Citations count: 7
Reference:
Budanov V.G., Sinitcyna T.A. —
Quantum-synergetic ontology of generalized corporeality: from anthropology of theatre to humanization of artificial intelligence. The question of boundaries
// Culture and Art.
– 2020. – ¹ 7.
– P. 13 - 28.
DOI: 10.7256/2454-0625.2020.7.33362 URL: https://en.nbpublish.com/library_read_article.php?id=33362
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Abstract:
The question of understanding of corporeality in philosophy, science, medicine and culture goes back centuries and remains relevant until the present. This relates mostly to anthropological challenges of the crisis technogenic civilization that is trying to improve human nature, without understanding of its holism, taking into account existential issues of hybrid man-machine systems and socies, virtual and cyber-physical umvelts, within which corporeality becomes more of an atavism and a deterrent for the rapid worlds managed by the powerful artificial intelligence. In philosophy of the XX century, the understanding of generalized corporeality is associated primarily with the phenomenological project of E. Husserl and its advancement in the works of M. Merleau-Ponty, French poststructuralists A. Artaud, G. Deleuze, F. Guattari, who conceptualizes the idea of generalized corporeality in cultural terms, rather than in natural science. The author proposes the introduction of the ontologies of generalized corporeality based on differentiation of its functional manifestations in communication and theatrical art, referring to the modern representations on the mechanism and their potential implementation on the level of physiology and mental sphere of personality, as well as on the level of substantial factors of biology, psychophysics and robotics. For these purposes, the author attracts the concepts of synergetics and quantum theory as the grounds for such functional ontologies; at the same time, full ontology of generalized corporeality is presented by direct product of the ontologies of states and temporal ontologies of physical and mental processes of a human, which allows creating a semiotics of corporeality of acting or anthropomorphic avatar-robot. The article explores the boundaries of emulation of human corporeality by the modern means of IT technologies, and the question of unattainability of many creative and spiritual sub-bodies of a person using technical means.
Citations count: 6
Reference:
Rozin V.M. —
The Feat and Fall of Janis Rainis (Thoughts on Roald Dobrovensky's Novel 'Rainis and His Brothers' and Joseph Schumpeter's Book 'Capitalism, Socialism and Democracy')
// Culture and Art.
– 2018. – ¹ 11.
– P. 49 - 59.
DOI: 10.7256/2454-0625.2018.11.27798 URL: https://en.nbpublish.com/library_read_article.php?id=27798
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Abstract:
In his article Rozin focuses on one single storyline in Roald Dobrovensky's novel that relates to a number of socio-cultural issues in the contemporary history of Latvia and Russia. These issues include how the development of the nation and the development of the statehood relate, the difference between two forms of the statehood (capitalist and socialist) and two kinds of socialism (bolshevist and democratic), contribution of capitalism and socialism to the development of a new state, and the role of personality and communities in the aforesaid social processes. These are the same issues Joseph Schumpeter in his work 'Capitalism, Socialism and Democracy' focuses on. Rozin appeals to this work in order to compare the problems raised by Dobrovensky and Schumpeter. The research is based on the following methodology: problem statement, case and comparative analysis, cultural-historical reconstruction, and scenario analysis. As a result of his research, Rozin demonstrates that both personalities like Rainis and socialistic and national ideas have made equal contribution to the development of the Latvian culture. In addition, Rozin has analyzed the consequences of socialistic ideas for the people and the country.
Citations count: 5
Reference:
Pankratova A.V. —
Flat design as visualization of flat ontologies
// Culture and Art.
– 2023. – ¹ 7.
– P. 23 - 32.
DOI: 10.7256/2454-0625.2023.7.43587 EDN: TFSLYE URL: https://en.nbpublish.com/library_read_article.php?id=43587
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Abstract:
The object of this research is design as a semiotic embodiment of the modern worldview, the quintessence of which are flat ontologies. The subject of the study is parallelism in the philosophy of flat ontologies and modern flat design. The purpose of this study is to explicate the philosophical problem of modern design, which is a consequence of the unconscious expression by designers of the philosophy of flat ontologies. The philosophy of flat ontologies struggles with anthropocentrism, insisting that a person should not have a privileged ontological status compared to other objects. In the philosophy of flat ontologies, a machine or a neural network are agents of action in the same way as a person. Modern flat design is an expression of this position, since the modern visual information environment is less and less adapted to human organs of perception, more and more transhumanistic. Both flat design and flat ontologies are a consequence of the horizontally oriented, materialistic line of philosophy, which forms the worldview of modern society. Thanks to the explication of the problem of flat design, it can be understood that the horizontally oriented line of philosophy is problematic for the further existence of man. The main conclusion of the study is that the horizontally oriented line in philosophy – materialism and positivism – in their logical development lead to the philosophy of flat ontologies, which postulates the same ontological status for human and non-human agents. Such a position is antihuman and transhumanistic, and this becomes evident in the philosophical analysis of modern design. The main stylistics of modern design is a flat design, which uses fourth-order simulacra as the main type of signs. The use of simulacrum signs in design creates an environment that is increasingly less adapted to human organs of perception, a transhumanistic environment.
Citations count: 5
Reference:
Rozin V.M. —
Metaphor as a means of constructing artistic reality (by the example of the analysis of the metaphor "centaur" in Meir Shalev's novel "Esav")
// Culture and Art.
– 2022. – ¹ 2.
– P. 31 - 42.
DOI: 10.7256/2454-0625.2022.2.37552 URL: https://en.nbpublish.com/library_read_article.php?id=37552
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Abstract:
The article introduces a new interpretation of the concept of metaphor. The author examines the traditional concept of metaphor, which comes from Aristotle, the semiotic concept, which introduces metaphorical meaning along with the usual one, and the rather complex construction of metaphor proposed by K.I. Alekseev in the "Sketch of the Theory of Metaphor" (it is based on the methodology of L.S. Vygotsky, the concept of social relays by Mikhail Rozov, the theory of classification and the logical theory of definitions). The author suggests analyzing the metaphor, including it not in the psyche and relay races of Rozov, but in artistic reality; the latter is created in the space of artistic communication and creativity of the artist and the viewer. Â Within the framework of this approach, a metaphor is characterized as a special scheme, a technique and an expressive means that allow, on the basis of two artistic contents (potential events), to create a new content (a new objectivity) in which they are fused ("removed") both of the original artistic contents and due to a kind of emergent effect, a fundamentally new content (objectivity) is for our consciousness. In order to make these general statements more understandable and to concretize them, the metaphor "centaur" in Meir Shalev's novel "Esav" is analyzed. In fact, this is a humanitarian reconstruction based on the author's theory of artistic reality. In the last part of the article, latent and revealed metaphors, metaphor and metaphorical discourse, metaphors and schemes are distinguished.
Citations count: 4
Reference:
Arkhangel'skaya R.I. —
Russian Cabaret as a Cultural Phenomenon: Historical Sketch
// Culture and Art.
– 2018. – ¹ 10.
– P. 16 - 22.
DOI: 10.7256/2454-0625.2018.10.27682 URL: https://en.nbpublish.com/library_read_article.php?id=27682
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Abstract:
The subject of the research is the Russian cabaret. The article presents a brief review of the creation and development of the cabaret in Russia. She pays special attention to cabaret as a new form of performance that had become an essential element of the Silver Age entertainment culture. The origin of the cabaret in Russia of the early XXth century is viewed by the author as an inevitable phenomenon created in the era f creative unsatisfaction and search with the blossom of the philosophy of free creativity, origin of completely new forms and aethetical principals in the background. In her research Arkhangelskaya touches upon the beginnings of the genre, aesthetic peculiarities of the cabaret as the main part of the entertainment culture of the early XXth century, and tries to compare Russian and Western European tradition. The author concludes that the analysis of the history of the Russian cabaret in terms of the socio-cultural cabaret environment allows to better understand the values of entertainment culture as one of the areas of modern pop culture.
Citations count: 4
Reference:
Ryzhkov K.L. —
Classification of Internet memes in realities of 2021
// Culture and Art.
– 2021. – ¹ 9.
– P. 18 - 28.
DOI: 10.7256/2454-0625.2021.9.36456 URL: https://en.nbpublish.com/library_read_article.php?id=36456
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Abstract:
The subject of this research is the corpus of the Internet memes of the English-language and Russian-language segments of the Internet. The object is the classification of the Internet memes, the division of relevant memes into the categories on various grounds. The author explores the emergence of new methods of content creation on the Internet, proliferation of popular culture and use of the concept of post-irony, as well as reflection of the latest social and political events in memes. Special attention is given to the detailed analysis of specific examples of the internet memes and their modifications by the users: the format of meme implies variability and possible modification by any content consumer. The main conclusions lies in the highlighted and illustrated examples of the new categories of Internet memes. The author’s special contribution consists in determination of the new categories of memes: post-ironic memes; memes created and spread via TikTok platform; and memes related to the reflection of coronavirus infection and its consequences in popular culture. The novelty of this research is define by classification and description of the aforementioned categories of Internet memes, as well as by outlining the prospects for further expansion of the classification. The article employs the methods of contextual and structural analysis of the corpus of the Internet memes; determines and groups the types of meme variations; and describes the potential for their transformation.
Citations count: 4
Reference:
Pankratova A.V. —
Modern design: a historical choice in favor of globalization
// Culture and Art.
– 2023. – ¹ 10.
– P. 12 - 25.
DOI: 10.7256/2454-0625.2023.10.44134 EDN: ZTTFUX URL: https://en.nbpublish.com/library_read_article.php?id=44134
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Abstract:
The object of this research is design as a cultural phenomenon and its historical formation. The subject of the study is the modernist design episteme, which began its formation in the paradigm of modernity. The purpose of the study is to show that in the modernist project, the development of design as a cultural phenomenon was not rigidly determined, and could have taken a different path. However, the historical choice was made in favor of American functionalism and European international design. International design creates a subject and information environment that is suitable for any country, regardless of the cultural context. This design meets the goals of globalization. At the same time, the essence of design also allows for such applications as the aestheticization of reality and the preservation of cultural identity. The main conclusion of the study is that the historical development of the design phenomenon could have taken a different path. The current state of design is determined by the vector of globalization, which was set during the transition from to modernism. This vector is the result of a choice in favor of functionalism, a style that meets the ideology of globalization, the transformation of society into a homogeneous consumer environment. It was during the Art Nouveau period that the genesis of design could have taken a different path, since Art Nouveau was originally a project of aestheticization and spiritualization of the subject environment, however, history has developed so that design has chosen a vector of development associated with functionalism. The scientific novelty of the study is connected with this conclusion, since so far the history of design has been interpreted unambiguously, from the standpoint of the advantages of international style and functionalism. While the phenomenon of design is broader, and may include the possibility of preserving cultural identity, which was discussed in the modern era.
Citations count: 3
Reference:
Grigoreva M.B., Akchurina-Muftieva N.M. —
Modern Crimean Tatar national costume: succession and novelties (based on the example of Crimean dress designers)
// Culture and Art.
– 2020. – ¹ 12.
– P. 1 - 13.
DOI: 10.7256/2454-0625.2020.12.34339 URL: https://en.nbpublish.com/library_read_article.php?id=34339
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Abstract:
This article analyzes the modern Crimean Tatar costume from the perspective of succession of the traditional elements. The author systematizes general approaches towards design of the traditional and modern costume, indicating the characteristic features. At the present stage, the elements of the traditional Crimean Tatar costume are growing in popularity. Interpretation and modern stylization of the traditional elements of national costume leads to the formation of the unique style. The leading phenomenon in the approach towards design of the modern national costume is the scientific basis, which helps to preserve the traditional elements. The object of this research is the modern Crimean Tatar costume, while the subject is decorative and graphic approaches towards design. The primary task consists in determination of the principles of creation of Crimean Tatar image and its implementation into Crimean modern culture. The novelty of this research is defined by insufficient examination of the modern Crimean Tatar costume on the scientific level, although actively implemented into modern youth culture. The creative direction in the works of modern Crimean Tatar designers is divided into three approaches: verbatim reproduction of ethnic costume (mostly used wedding gear and theater costumes), authorial interpretation, and avant-garde approach, using metaphors as the basics of style. It is noted that in the approach with allusive metaphors it enough to complement modern costume with headwear similar to the traditional to add national flavor to the image. The author underlines the importance of development of modern Crimean fashion in all three directions, as each approach has a particular function.
Citations count: 3
Reference:
Rozin V.M. —
Art Space: Historical Types and Organization Schemes
// Culture and Art.
– 2019. – ¹ 3.
– P. 53 - 64.
DOI: 10.7256/2454-0625.2019.3.29187 URL: https://en.nbpublish.com/library_read_article.php?id=29187
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Abstract:
The article is devoted to the definition of 'art space' that is usually opposed to a traditional concept of space. Rozin analyzes the process and stages of the development of art space as part of the scheme theory. In particular, Rozin studies four stages of how views on art space have developed. At the first stage the archaic culture created schemes that described various kinds of animals and humans. The second stage was the stage of ancient kingdoms that developed the method of depicting extended spaces by layering one kinds over others. The third stage, the era of Renaissance, represented the concept of one-point perspective, and the concept of reverse perspective was developed at the fourth stage. Rozin also focuses on cultural circumstances and schemes that contributed to the development of art space at all four stages. The researcher has used the following methods: problem statement, situtional analysis, comparative analysis, statement of definitions and description of the process and visual imagery argumentation. As a result of the research, the author has defined the term 'art space' and described four stages of its development as well as demonstrated the dependence of ideas about art space on the cultural environment (worldview and type of communication) as well as space schematization (schemes and means of operation with it).
Citations count: 3
Reference:
Bychkov V. —
The Theme of the Eternal Feminine in Symbolist Art
// Culture and Art.
– 2019. – ¹ 2.
– P. 44 - 56.
DOI: 10.7256/2454-0625.2019.2.28895 URL: https://en.nbpublish.com/library_read_article.php?id=28895
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Abstract:
The research focuses on the analysis of symbolist painting to identify its aesthetic features that can be expressed by the metaphorical concept of "the spirit of symbolism". The task is set based on the analysis of the most characteristic for the symbolism of specific works of art to approach the verbal description of this concept, its introduction into the scientific tools of aesthetic analysis of art. By studying the artistic and aesthetic means of expression in the works of Rossetti, Burne-Jones, Puvis de Chavannes, Borisov-Musatov, Segantini revealed a set of characteristics that can describe the spirit of symbolism in a certain approximation. The comparative method based on art criticism, philosophical and aesthetic approaches to specific paintings is used as a methodological setting. In this study, mainly the theme of expression in painting the symbolist understanding of the myths of the Eternal Feminine is taken out of the main thematic lines of the art of symbolism. This analysis is innovative, first used in domestic and foreign science. The plasticity of images, the refined linear rhythms, a lighter color, the statuesque quality of the figures, self-absorption and supernaturality of images, melancholic sadness, emphatically perfect and as if detached from the earthly world the beauty of female characters, far from the sensual materiality, etc. refer to the specific characteristics of the symbolist expression of this thematic line. In painting, all this leads symbolists and artists of their circle to the here and now phenomenon of the quantum of metaphysical reality, which can be defined as the "spirit of symbolism".
Citations count: 3
Reference:
Tsyaomin M. —
Main Intersections in the Approaches of Russian and Chinese Artists to Chinese Landscapes Painting
// Culture and Art.
– 2022. – ¹ 4.
– P. 33 - 46.
DOI: 10.7256/2454-0625.2022.4.37855 URL: https://en.nbpublish.com/library_read_article.php?id=37855
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Abstract:
The article is devoted to the study of Chinese landscapes painting by Chinese and Russian artists. Comparative analysis of landscape painting by Chinese and Russian artists dedicated to China allows to identify the most important trends and patterns in the methods of landscapes painting in Russia and China of the late XX â - early XXI century. The purpose of this study is to determine the main intersections in the approaches of artists of the two countries. The specificity of the artistic and expressive language of Chinese and Russian landscape artists in the embodiment of landscapes of China is determined primarily by the influence of the modern national school of painting, as well as the desire to develop and update existing traditions, finding inspiration in foreign experience, coming into contact with foreign culture and artistic tradition. The main conclusions of the study are that landscape painting by artists of Russia and China reveals similarities in formal terms: artists of both countries use techniques of both, realistic school and impressionism. Scientific novelty is determined by the fact that the mechanism of integration of the principles of realism and Western impressionism by Chinese painters is revealed. The author introduces an extensive body of artistic materials of Russian and Chinese painters into Russian science, notes that there are significant differences between the artists of the two countries.
Citations count: 3
Reference:
Malyutin A.S. —
Military Music Repertoire as a Phenomenon that Reflects the Socio-Political Life of the Society. The Case Study of Historical Periods of the Russian Soviet Federative Socialist Republic Since 1918 Till 1922 and USSR Since 1922 Till 1941
// Culture and Art.
– 2018. – ¹ 4.
– P. 39 - 53.
DOI: 10.7256/2454-0625.2018.4.25912 URL: https://en.nbpublish.com/library_read_article.php?id=25912
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Abstract:
The article is devoted to one of the brightest representatives of Russian mujsical art, military bands, and peculiarities of preparation of their repertoire. The aim of the research is to provide a general insight into the repertoire of Russian military bands, how it is prepared, selected and performed taking into account specific features of socio-political expositions of the Russian Soviet Federative Socialist Republic since 1918 till 1922 and pre-war period of the USSR since 1922 till 1941. In his research Malyutin analyzes the role of military music as an instrument of the political and ideological influence of the government. The methodology of the research is based on the study and analysis of historical facts and creative work of military music bands that are being introduced in the academic literature. The author of the article focuses on compositions of famous composers and musical activists as well as attitude of political agents to musical arts. The author also offers his own classification of periods in the development of the military music repertoire. Malyutin carries out a comparative analysis of activities of Russian military bands during the pre-revolutionary and post-revolutionary periods, objectives and methods of their performance, staff and organisation chart of military bands and the influence of art on people.
Citations count: 3
Reference:
Rozin V.M. —
Establishment, development and completion of new-European sociality (analysis of the book by V. Fedotova, V, Kolpakov, N. Fedotova “Global Capitalism: three great transformations”)
// Culture and Art.
– 2020. – ¹ 4.
– P. 29 - 43.
DOI: 10.7256/2454-0625.2020.4.32138 URL: https://en.nbpublish.com/library_read_article.php?id=32138
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Abstract:
This article analyzes the book by V. Fedotova, V, Kolpakov, N. Fedotova “Global Capitalism: three great transformations”. The author discusses research methodology applied by the book authors, indicating the points of divergence with his own position. For example, he claims that the subject of research should be the new-European sociality, rather than capitalism; the accelerator of social transformations – the European state, rather than the economy. In accordance with these views, characteristic is given to the new-European sociality that includes: concepts and structure of the state, officials who serve citizens and maintain work of government institutions, and society as a vectoring and controlling authority. The article outlines the scheme of four development stages of the new-European sociality: establishment of liberal-democratic state and society, organized capitalism, creation of the welfare society, completion of new-European sociality. As a result, the author was able to clarify research methodology of the new-European sociality, outline the patterns of its genesis, characterize four key development stages of sociality of modern age. The research leans on the classical writings of F. Braudel and J. Schumpeter, as well as modern classics M. Creveld. V. Fedotova, V. Kolpakov, and N. Fedotova.
Citations count: 3
Reference:
Pankratova A.V. —
Design as a cultural phenomenon
// Culture and Art.
– 2023. – ¹ 11.
– P. 1 - 17.
DOI: 10.7256/2454-0625.2023.11.33573 EDN: YUIVBS URL: https://en.nbpublish.com/library_read_article.php?id=33573
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Abstract:
The object of the study is culture in terms of its aesthetic component (art and design). The subject of the study is design as a cultural phenomenon. The author suggests that design from a philosophical point of view contains meanings that are not described by the traditional number of aesthetic categories.
The author demarcates the categories "design" with the categories "art" and "aesthetic", consistently identifying differences in the following parameters: 1. functional difference; 2. difference of origin; 3. semiotic difference. Having distinguished the design category from the art category, the author reveals the specific semiurgical essence of the design category. Semiurgic design is associated with projective activity, that is, the activity of creating new signs. Design is associated with the design of secondary reality and the gradual doubling of the world. The main conclusion of the study is an attempt to derive the formula of the philosophical content of the category "design". The philosophical category "design" is associated with the aesthetic organization of secondary reality and is characterized by projectivity (orientation to innovation), transitivity (orientation to real application), functionality (orientation to optimal application), immanence (lack of connections with the transcendent) and semiurgicity – the function of creating new signs. The semiurgic nature of design lies in the constant reproduction of itself, since the discourse of design "new" becomes synonymous with design and loses the meaning of the dialectical negation of "old".
The design is associated with the symbolic doubling of the world. Moreover, this doubling does not increase the meaning and value of being, but, on the contrary, enhances the illusory nature of being, since design, unlike art, is not associated with pointing to a transcendent reality.
Citations count: 3
Reference:
Bykova I.I. —
More Facts about the Creative Life of a Court Jeweler Yakob Dublon (1702–1768) and His Role in the Creation of the Small Imperial Crowns
// Culture and Art.
– 2018. – ¹ 12.
– P. 29 - 44.
DOI: 10.7256/2454-0625.2018.12.28356 URL: https://en.nbpublish.com/library_read_article.php?id=28356
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Abstract:
The object of the research is the biography and creative life of a court jeweler Yakob Dublon who worked on the governor's order during the reign of Empress Elizabeth Petrovna. In her research Bykova also discusses the biography of Yakob Dublon's full brother Martin Carl Dublon who was the silversmith. The scope of the research also covers jewelry masterpieces stored in the collections of Russian museums. Bykova focuses on the circumstances under which the Small Imperial Crowns were created and used during the first half of the XVIIIth century. In her research Bykova applied the integral research method (based on the combination of the fine art and historical-cultural approaches) which enabled a better view of the main research issues. For the first time in the academic literature the author of the article has managed to define the origin of two famous jewelers who worked at Russian palace in the mid of the XVIIIth century Yakob and Martin Carl Dublon and to discover that they represented the traditions of Nuremberg silversmithes. The documents found by the author in the archives extended the scientific view of the creative life of these masters and the orders they made. In a number of cases it was possible to 'define' jewels created by Yakob Dublon. The results of the research demonstrate that Yakob Dublon made a great contribution to the development of the Russian art of jewellery. The name of that master also relates to the creation of new imperial regalias. It was Dublon who defined the stylistics of these insignias that were efficient throughout the second half of the XVIIIth century. They also analyzed the problem of creation, use and existence of the Small Imperial Crowns of the first half of the XVIIIth century that had never before been raised in the scientific literature.
Citations count: 3
Reference:
Budanov V.G., Sinitcyna T.A. —
Quantum-synergetic ontology of generalized corporeality (II): post-nonclassics, temporality, and reflection of acting
// Culture and Art.
– 2020. – ¹ 10.
– P. 49 - 66.
DOI: 10.7256/2454-0625.2020.10.34181 URL: https://en.nbpublish.com/library_read_article.php?id=34181
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Abstract:
In this article, the author advances the idea of generalized corporeality in its functional manifestations in the acts of communication, activity, and theatrical art. The work is dedicated to the problem of “smart body”, in other words, conscious and manageable generalized corporeality is one of the core themes in development and self-improvement of acting skills and onstage genuineness. The key problem is the problem of harmony, unity between inner and outside, words and doings, thoughts and actions, realized by the actor just partially, so is by the stage director and audience. The author attempts to describe this problem by means of post-nonclassical philosophical methodology offered by V. S. Stepin, concepts of post-nonclassical practices, synergy of motion and state, which marks the synthesis of the ontologies of states of generalized corporeality and temporal ontologies, introduced in the previous article. The author also attracts the concept of unconscious reflection of V. Lefebvre, which describes a special type of reflection as a certain unconscious component of generalized corporeality that creates a specific interpretation of the skill and work with time in post-nonclassical context. Interpretation of the acquired acting skills that taught in many schools of classical and contemporary theatre, from K. Stanislavski and M. Chekhov to A. Artaud and E. Barba, are also viewed through the prism of reflection of synthetic ontologies of generalized corporeality. In conclusion, the author introduces theatrical interpretation of the twofold activity triad, which allows embracing the relationship between various observers, the actors of theatrical event: actor – stage director – audience.
Citations count: 3
Reference:
Bykova I.I. —
Artistic feautres of the Russian imperial funeral crowns in the XVIII – early XIX century
// Culture and Art.
– 2019. – ¹ 9.
– P. 28 - 46.
DOI: 10.7256/2454-0625.2019.9.30726 URL: https://en.nbpublish.com/library_read_article.php?id=30726
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Abstract:
The object of this research is the imperial funeral crowns of the Russian monarchy in the XVIII – early XIX century. The goal consist in determination of the artistic patterns and analysis of funeral crowns as the jewelry works of art considering the stylistic development. Reference to archival documents allowed revealing the circumstances of creating these crowns and names of the masters, role they played in funeral ceremony, as well as reconstructing the exterior of some of them. The author is first to analyze the artistic image of the imperial funeral crowns that undergone transformation throughout the XVIII – XIX century. It related to the shifts in stylistic preferences in the Russian artistic culture, as well as replacement of the court jewelers who executed the royal order. The author describes the stylistic evolution of funeral crowns – from exuberant, made out of multicolor gemstones in the early XVIII, to silver gilded silver crowns that only imitated the image of imperial crown of their deceased holder.
Citations count: 2
Reference:
Smirnova G.E. —
Particular Speech Use of the Concept 'Fatherland' in the Russian Language as the Factor of National Consciousness Development in Russia of the XVIIIth Century
// Culture and Art.
– 2018. – ¹ 10.
– P. 10 - 15.
DOI: 10.7256/2454-0625.2018.10.27589 URL: https://en.nbpublish.com/library_read_article.php?id=27589
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Abstract:
The subject of this research is the Russian culture of the XVIIIth century, development of the basic cultural values, the Russian language as the mirror of sociocultural transformations, definitions of the terms 'fatherland', 'motherland', 'native land' as the basis for the development of cultural identity and national self-identification. Extension of the knowledge about the basic constants of the Russian culture does not only improve the understanding of historical and cultural patternns of the society development but might be also useful for planning the state policy in the sphere of cultural heritage preservation under the globalization conditions. In her research Smirnova has applied the method of historical systems analysis of particular cases of the use of 'fatherland', 'motherland', and 'native land' in different texts. The main conclusion of the analysis of how the aforesaid concepts originated under the conditions of changing mental models of the Russian society, the author points out the importance of the latter on the development of self-identification of the Russians at a particular historical stage. The article also presents new information about transformations of the basic cultural constants.
Citations count: 2
Reference:
Nikiforova A. —
Interactive forms of preservation of cultural memory (on the example of historical reconstruction in the Northwest Russia
// Culture and Art.
– 2021. – ¹ 3.
– P. 37 - 46.
DOI: 10.7256/2454-0625.2021.3.33133 URL: https://en.nbpublish.com/library_read_article.php?id=33133
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Abstract:
This article examines the process of preservation of cultural heritage through interactive forms of historical reconstruction. The author reviews such relatively new for Russia phenomena as military-historical clubs, ethnic parks, thematic tourism zones, private museums and ethnographic collections, which familiarize with the history of our homeland in an interactive form. The active engagement of visitors and members of the club into the process of reconstruction of lifestyle and military traditions of previous generations is like being a participant of the restored history, which is more comprehensible than the textbook or exhibited artifacts, and thus arouses more emotional response and forms a respectful and patriotic attitude towards the native country. It is established that ethnic parks, thematic tourism zones, private museums, houses of ethnography, created by the efforts of enthusiasts do not often become the object of scientific interest, at times receiving contempt from the professional scientific community. However, the practice demonstrates that historical reconstruction draws more citizen’ attention than the traditional museum. Such situation requires examination and defines its novelty. The result of research consists in the creation of value-oriented classification of historical reconstruction organizations, as well as in assumption that from the visitor’s or participant’s perspective the leading role in historical reconstruction is not so much the accuracy (with a certain degree of fiction), but the creation of a holistic image of living history, filled with the value meaning of the bygone era.
Citations count: 2
Reference:
Popova L.V. —
'Dante's Trip' in Federico Fellini's Creativity
// Culture and Art.
– 2017. – ¹ 6.
– P. 113 - 120.
DOI: 10.7256/2454-0625.2017.6.21659 URL: https://en.nbpublish.com/library_read_article.php?id=21659
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Abstract:
The subject of the research is Federico Fellini's creativity which is rather well-studied as in Russia, and abroad. The author pays attention to poorly studied aspects such as Federico Fellini's communication with the Italian cultural tradition, namely, with Dante Alighieri's creativity. Analyzing various sources, literary and cinematographic, the author confirms this continuity. Special attention is paid to the cinematographic work by Federico Fellini. The cinematographic space of Federico Fellini is considered as the "symbolical space" that opens new opportunities for the analysis of the film language. In her research Popova uses Yury Lotman's approach, that is the semiotics method, and also the psychoanalysis method, in particular, that of Karl Jung. The novelty of the research is caused by the fact that the author discovers the relationship between Federico Fellini and Dante Alighieri, applies the integrated approach to the analysis of the cinematographic work by Federico Fellini. The conclusion is drawn that application of the semiotics approach combined with psychoanalysis opens great opportunities for the analysis of the screen work.
Citations count: 2
Reference:
Litvikh E.V., Liu Y. —
The interaction of traditional Chinese and Western musical instruments in Tang Dong's work as a multicultural dialogue
// Culture and Art.
– 2024. – ¹ 9.
– P. 41 - 56.
DOI: 10.7256/2454-0625.2024.9.71670 EDN: FJENFM URL: https://en.nbpublish.com/library_read_article.php?id=71670
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Abstract:
The article is devoted to the study of the role of traditional Chinese instruments in the chamber and symphonic music of Tan Dun. In this aspect, such works as Ghost Opera, Concerto for String Orchestra and Pipa and Crouching Tiger Concerto are analyzed. The authors consider in detail various types of interaction between traditional Chinese instruments and Western ones in terms of their influence on the general artistic idea of Tan Dun's works, as well as in the context of the relationship of the timbre side of music with other elements of the sound fabric. In connection with the problems of the article, some aspects of the concept of "organic music" by Tan Dun are also touched upon, the origins of which are found both in traditional Chinese culture and in Western music of the XX century. Thus, the multicultural nature of this original artistic concept is revealed. In the course of the research, the authors turned to the methods of holistic musicological analysis, comparative analysis (comparison of Ghost Opera and Concerto for String Orchestra and Pipa), comparative cultural method. Based on the analysis of Tan Dun's works, the authors conclude that national instruments are interpreted by the composer as carriers of Chinese culture and, interacting with Western instruments, act as subjects of multicultural dialogue. Depending on the concept of a particular work, traditional Chinese instruments in the composer's works can be represented as characters of instrumental theater, members of an instrumental ensemble (orchestra) in the context of Western musical genres, as well as as sound images reproduced by other instruments. The authors identify the application in Tan Dun's music of two concepts of working with musical material borrowed from different cultural traditions: collage and symbiosis. The article provides a rare example of using both methods of work in relation to the same musical material, which was implemented by the composer in Ghost Opera and Concerto for String Orchestra and Pipa.
Citations count: 2
Reference:
Ivanova E.V. —
Development of Porcelain Plastics in 1950 - 1960s in a Creative Work of a Leningrad Porcelain Artist Anatoly Kiselyov
// Culture and Art.
– 2018. – ¹ 5.
– P. 34 - 40.
DOI: 10.7256/2454-0625.2018.5.26113 URL: https://en.nbpublish.com/library_read_article.php?id=26113
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Abstract:
Based on the analysis of sculpture pieces from St. Petersburg collections (Yelagin Palace, State Russian Museum, Museum of Porcelain and Chess, St. Petersburg State Museum of Theatre and Music, Leningrad Museum of Everyday Culture 1945-1965 Years) and Soviet porcelain catalogues, Ivanova analyzes creative activity of a Leningrad artist Anatoly Kiselyov in terms of the development of the Soviet art industry of the 1950 - 1960s. The most famous and the brightest images were created by the master during his work in art workshops of Leningrad Porcelain Factory under the State Research Ceramic Institute. The porcelain of this factory was throught to be second-rate and was not accepted by Soviet criticism and art critics. Activation of museum exhibition activities over the past years using Anatoly Kiselyov's sculpture creates the acute need in a more in-depth analysis of the master's porcelain in particular and porcelain produced at the Factory in general. For this purpose, the author has offered her own classification of porcelain made by Anatoly Kiselyov in accordance with the mofits, plots and stylistic solutions typical for the Khrushchev Thaw. The author uses this classification to describe the role of the artist in the process of implementing new doctrines and arts and crafts concepts.
Citations count: 2
Reference:
Ushkarev A. —
Status Motivation of Consumption of Art
// Culture and Art.
– 2018. – ¹ 6.
– P. 1 - 12.
DOI: 10.7256/2454-0625.2018.6.26694 URL: https://en.nbpublish.com/library_read_article.php?id=26694
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Abstract:
The question about the sources of human's attitude to art has always been a nettlesome issue. However, numerous attempts to explain such complex phenomena as human's attitude to art or one's taste for art with simple causes as age, education and other measurable properties of the audience do not allow to explain consumer behavior but result in ignoring important potential determinants including motivation. In this article Ushkarev tries to answer the question about the influence of different kinds of motivation on one's attitude to art and the role of status motivation. The research is based on econometric tools and analysis of the results of surveys carried out at State Tretyakov Gallery as part of the project that is aimed at analyzing the audience of the Gallery and has been carried out by State Institute for Art Studies. The following results have been obtained as a result of the research. First of all, the researcher has described three basic kinds of motivation attributable to consumers of art: recreational, substantial and status motivations. The author has also managed to define and measure the relationship between cultural activity and the degree of cultural capital and respondent's motivation. The results of the research prove a significant positive influence of substantial motivation on the intensity of art consumption while recreational motivation turns out to be an essential factor of a negative influence on the intensity of cultural consumption. At the same time, the author has not discovered a conclusive evidence that there is a status effect of education as Pierre Bourdieu described it. For Moscow cultural audience the status effect of education is most likely to have a theoretical nature in terms of consumption of culture services. The author also demonstrates that despite a usual negative connotation of the term, status motivation plays a positive role for consumption of art.
Citations count: 2
Reference:
Wang S. —
Art education in China in the XX century: national traits, international trends, and Russian influence (on the example of the Central Academy of Fine Arts)
// Culture and Art.
– 2021. – ¹ 4.
– P. 54 - 65.
DOI: 10.7256/2454-0625.2021.4.35397 URL: https://en.nbpublish.com/library_read_article.php?id=35397
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Abstract:
The Central Academy of Fine Arts is the only higher education institution of fine arts under the jurisdiction of the Ministry of Education of the People's Republic of China. The history of the National Art School in Beiping dates back to the establishment of the National School of Fine Arts in Beijing in 1918, which was supported by the prominent pedagogue of art and its first director Cai Yuanpei. It was the first national school in the history of China, laid the foundation for the modern Chinese education in the field of fine arts. This article is dedicated to the analysis of the key events of more than a century-long history of the school, which allows tracings the evolution of the Chinese art education, and gives a better perspective on the role of modern China in the art world. The novelty of this work lies consists in description of the process of establishment of art education in China in the XX century, classification of the national traits of this period on the example of the Central Academy of Fine Arts in Beijing, as well as analysis of the Soviet impact upon the Chinese education in the field of art history. The international cooperation with the Russian School of Painting, namely I. E. Repin Academy of Fine Arts had a beneficial impact. The study of Chinese students in the USSR allowed the following generations to implement such valuable experience. The ancient techniques and plotline received a new life in the works of modern artists, which are justifiably regarded as the achievement and progress in the national culture.
Citations count: 2
Reference:
Usov A.A. —
Peculiarities of the formation and transformation of cultural landscape of the historical settlements of Onezhskoye Pomorye
// Culture and Art.
– 2021. – ¹ 11.
– P. 1 - 21.
DOI: 10.7256/2454-0625.2021.11.36850 URL: https://en.nbpublish.com/library_read_article.php?id=36850
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Abstract:
The object of this research is the historical,-cultural and natural environment of historical settlements of the Russian North. The subject of this research is the traditional dwelling as a factor of formation and transformation of the cultural landscape of Onezhskoye Pomorye. The goal lies in studying the peculiarities of formation and transformation of cultural landscape of the rural settlements Onezhskoye Pomorye based on the material of traditional dwelling. The research relies on the empirical data acquired in the course of expedition of the Scientific Center for Traditional Culture and Museum Practices of the Ural Branch of the Russian Academy of Sciences to Onezhsky District of Arkhangelsk Region (2018–2021);archival sources of A.V. Shchusev State Museum of Architecture (Moscow), experience of exploring the monuments of wooden architecture of the open-air museum “Malye Korely” (Arkhangelsk Region). The data were obtained by photofixation of the architectural monuments, schematic measurements, and ethnographic survey conducted among local residents using the method of interview. The research employs the original methodology developed by the Doctor of Culturology A. B. Permilovskaya on the architectural-ethnographic exploration of the sites of wooden architecture. Cultural landscape of Onezhskoye Pomorye (and the Russian North overall) primarily is the landscape of rural historical settlements. Northern settlements emerged in close connection with the natural landscape and transformed it into a cultural one. Special role in this process was played by the local population – the Pomors, who were guided by the principles of creating compact settlements, with closed type of dwelling to due to the harsh climate. The adaptive capabilities of traditional dwelling, reflected in its architectural design, allowed the people to survive in the severe conditions of the North. The dwelling is a reflection of natural space of the Russian North and the Arctic, passed through the “prism” of local mentality and carpenter's culture, coexistence of man and the surrounding natural environment, special marker of the North Russian identity, and intrinsic part of the North Russian cultural landscape.
Citations count: 2
Reference:
Bylevskiy P.G. —
Socio-cultural risks of multimodal large generative models of "artificial intelligence" (GenAI)
// Culture and Art.
– 2024. – ¹ 6.
– P. 213 - 224.
DOI: 10.7256/2454-0625.2024.6.70926 EDN: DWMERQ URL: https://en.nbpublish.com/library_read_article.php?id=70926
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Abstract:
The article is devoted to the study of the conditions for ensuring the information security of Russian citizens when using generative "artificial intelligence" technologies in the socio-cultural sphere. The relevance of the topic is due to the modern high rates of development of computer neural networks that generate multimedia content: texts, images, sounds and videos. The developers classify generative technologies as "artificial intelligence", position them as a "new nuclear project" capable of radically increasing the productivity of socio-cultural creativity, and receive significant government, corporate and investment financing. The object of the study is modern multimedia generative models, the subject of the study is the possibility of their use in the socio-cultural sphere of creativity and the associated risks of information security. The purpose of the study is to determine the conditions for ensuring the information security of Russian citizens when using multimodal generative technologies in the socio-cultural sphere. The research materials are scientific publications of recent years (2021–2024) in Russian journals of the HAC list (categories K1, K2) and international Scopus publications (quartiles Q1, Q2) devoted to research and critical analysis of the possibilities of multimodal generative models, associated risks and security tools. The philosophical methodology is applied: theoretical and cultural analysis, synthesis. The scientific novelty of the article is due to the application of a philosophical theoretical and cultural methodology for a critical comparison of the declarations of developers and the actual potential of applications of multimodal generative technologies. The result of the study is an assessment of how greatly exaggerated the risks predicted based on the positioning of the technologies in question as "artificial intelligence". The real risks are proposed to include: the incompatibility of development costs with the usefulness of the results; lowering the cultural level of professional and amateur creativity and worsening the tastes of the mass audience; use in "social engineering", fraud, mass disinformation, fake news, manipulation of public consciousness, "cancellation culture", destruction of traditional values and substitution of socio-cultural identity. The means of ensuring the safety of Russian citizens in the development and use of multimedia generative technologies in the socio-cultural sphere are recommended.
Citations count: 2
Reference:
Rozin V.M. —
Artistic Reality in Guzel Yakhina's Novel 'My Children'
// Culture and Art.
– 2018. – ¹ 10.
– P. 79 - 87.
DOI: 10.7256/2454-0625.2018.10.26710 URL: https://en.nbpublish.com/library_read_article.php?id=26710
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Abstract:
According to a number of critics, in her new novel Guzel Yakhina did not manage to naturally combine different artistic narrations and themes. Rozin analyzes the criticism and arguments based on his own concept of artistici reality. He demonstrates that the new novel of Guzel Yakhina is not traditional in terms of its narration. The writer used the method of artistic poetics that Rozin believes to belong to the phenomenological approach. The peculiar feature of the phenomenological approach is the description and expression of the reality outside the artist and performance of a complex subject content of the consciousness. For this regard, the author discusses the challenges that may be faced by the reader who tries to understand such artistic reality. Rozin has used the following methods: problem statement, comparative analysis, reconstruction of Guzel Yakhina's creative writing, positioning in polemics and axiological analysis. As a result of his research, Rozin demonstrates that it is necessary to differentiate between two different means of construction of the literary reality, wherein phenomenological discourse and aesthetics are very different from traditional ones. Even though the phenomenological approach provides new opportunities, it has certain drawbacks, too, especially in terms of understanding and thinking logic.
Citations count: 2
Reference:
Abbasov I.B., Sanchez K. —
Design of the Museum Space of Inca Culture 'Museo del Sol'
// Culture and Art.
– 2018. – ¹ 8.
– P. 40 - 53.
DOI: 10.7256/2454-0625.2018.8.27096 URL: https://en.nbpublish.com/library_read_article.php?id=27096
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Abstract:
The object of the research is the Museum of Sun as a monument of Inca culture located in Ibarra, Ecuador. The subject of the research is the influence of the museum brand on the development and popularization of Inca culture. The aim of the research is to analyze and develop a new museum space design concept for the purpose of giving recommendations on how to promote the brand and make it attractive for tourists as well as to enrich its contribution of the local economy. The research is devoted to the development of the museum space design concept in relation to Inca culture as presented by the Museum of Sun (Museo del Sol) located in Ibarra, Ecuador. The author of the article describes peculiar features of developing the museum space and design concept and describes modern trends in organisation of history museums in Latin America. The researcher gives a review of graphic tools used by Latin American museums of culture, archeology and history. The author also provides an insight into the historical grounds of the Inca culture museum and analyzes iconography of Inca civilization at different periods. The researcher describes the current state of the Museum, history of its formation, and grounds for creating a new brand. The author also describes an association series of graphic tools for creating a new logo of the Museum, describes the basic colours that should be used, presents the main parts of the brand, advertising and graphic tools, and offers a concept of the museum space organisation. The results of the research should be used to enrich the brand of the Museum of Sun, raise its social importance for popularization of Inca culture and promotion of the monument.
Citations count: 2
Reference:
Yarychev N.U. —
Cultural memory as a concept and phenomenon: the foundations of conceptualization
// Culture and Art.
– 2022. – ¹ 12.
– P. 11 - 20.
DOI: 10.7256/2454-0625.2022.12.36575 EDN: UPKANP URL: https://en.nbpublish.com/library_read_article.php?id=36575
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Abstract:
The article is devoted to cultural memory, on the one hand, as the most optimal concept denoting a socially determined form of supra–individual memory, and, on the other hand, as a theoretical construct (structural and functional model) denoted by this concept. Cultural memory is understood as a type of supra-individual memory that accumulates collective, value-significant memories, intentionally preserved and transmitted in mytho-symbolic forms. The main features of cultural memory include: conservatism, collectivism, presentism, symbolism, anti-historicity, written character, artificiality, institutionality, expert character, sacredness. The functional potential of cultural memory is realized in the following functions: accumulative, integrative, identification, interpretive, stabilization.The scientific novelty of the presented article is reduced to several positions. Firstly, to substantiate the concept of "cultural memory" as the most optimal (in comparison with the concepts of "historical memory", "social memory", "collective memory", etc.) to designate one of the types of supra-individual memory. The advantages of this concept are: broad semantic coverage, fixation of the collective, social and constructed nature of memories. Secondly, to conceptualize the phenomenon of "cultural memory", to determine its essential features and functional potential. As the main conclusion of the article, the following can be noted. In the context of the terminological and conceptual diversity of memory studies, it is extremely important to determine the categorical foundations of memorial research, fixing the content, structural, functional boundaries of the phenomena studied. In relation to supra-individual memory, this is especially important, mainly due to the presence of a very wide range of its conceptual and meaningful interpretation. In the article we offer our reasoned vision of the phenomenon of supra–individual memory, in particular one of its forms - cultural memory as a special reservoir of collective, social, value-significant memories, intentionally preserved and transmitted in mytho-symbolic forms.
Citations count: 2
Reference:
Voloshchenko G.G., Sleptsova t.V. —
Sport in Cultural Life of Russia at the Turn of the 19th-20th Centuries
// Culture and Art.
– 2017. – ¹ 8.
– P. 13 - 22.
DOI: 10.7256/2454-0625.2017.8.23928 URL: https://en.nbpublish.com/library_read_article.php?id=23928
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Abstract:
The relevance of research is connected with non-inclusion of lexeme "sport" as culture component in the passport of scientific specialty 24.00.01 "The theory and cultural history" that has caused the appeal to researches of the domestic and foreign culturologists, philosophers, historians connected with identification of sociocultural component of sport. In article the role and the place of sport in cultural life of Russia at turn of the 19-20th centuries come to light. Object of research - specifics of the Russian sport as sociocultural phenomenon of the pre-revolutionary period. The methodology of the system and axiological approaches used in research, causes inclusion of the examples illustrating reflection of phenomenon of sport in literary works. The main conclusions of the conducted research are the following: The historical retrospective has allowed to reveal the conditions and factors which have exerted impact on genesis and development of amateur and professional sport: many classes, coexistence of traditions of elite and national culture, the outlined democratization of society, introduction of occupations physical culture and sport in programs of educational institutions, influence of the ideas of Olympism and the developing international sports movement. The interest of the nobility and intellectuals in the Western European culture, existence of appliances and free time have caused origin of the gentlemen's sport which has become form of active and respectable leisure and transformed at boundary of the 19-20th centuries of amateur. Development of the market relations has exerted impact on formation of the professional sport which had utilitarian functions and gained development in mass culture. Correlation of the kinds of sport (amateur, military and applied, professional) presented in cultural space of Russia at the turn of the 19th -20th centuries with theories of origin of sport allows to explain current trends sport development variety as the phenomena of mass culture.
Citations count: 2
Reference:
Sorokina L.I., Pryamkova N.A. —
Folk art traditions in modern culture
// Culture and Art.
– 2021. – ¹ 3.
– P. 23 - 36.
DOI: 10.7256/2454-0625.2021.3.33006 URL: https://en.nbpublish.com/library_read_article.php?id=33006
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Abstract:
The subject of this research is traditional folk decorative and applied art in the context of modern society. The authors reviews the factors that affected the formation of this art form, the role of collective creative experience, the canon for preserving archaic images, symbols and manufacturing technique. The article reveals the conditions of familiarizing youth with the folk tradition, indicating the importance of continuity of generations. Since each artwork is the synthesis of tradition and creativity, attention is drawn to the possibility of interpreting traditional experience in the products of craftsmen. By referring to the facts from the history of the Romanov’s pottery and toy craft, the author provides examples of the emergence of new plotlines in the conditions of changing sociocultural situation, and analyzes their correspondence with the tradition. The application of dialectical method demonstrates fusions of the tradition and novelties in folk art of the past and modernity. The authors’ contribution consists in identification of the causes of the current crisis state of traditional folk decorative and applied art. The article analyzes various measures, including the creation of manufacturing groups in the XX century, which were aimed at its preservation. The experience of the previous generations of professional and folk artisans allows tracing the peculiarities in the development of crafts, such as correlation between the traditional and innovative. The authors examines the necessary conditions for continuity of traditions of folk culture in modern civilization, which requires deliberate actions.
Citations count: 2
Reference:
Belova D.N. —
Light symbolism of female mythological images as a spiritual foundation of Japanese and Chinese cultures
// Culture and Art.
– 2020. – ¹ 11.
– P. 75 - 92.
DOI: 10.7256/2454-0625.2020.11.34358 URL: https://en.nbpublish.com/library_read_article.php?id=34358
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Abstract:
This article analyzes female principle reflected in the images of goddesses of Japanese and Chinese mythology associated with the solar cult and light symbolism. An attempt is made to trace the role of female principle in the mythological phenomenon of Sky and its connection with Earth. The subject of this research is the Japanese and Chinese myths and legends, iconographic images of goddesses and their resemblance in foxes (Kitsune) in the religious painting of the XIII – early XX centuries. In the course of this work, the author applies comparative-historical and iconographic methods of research that lean on scientific materials dedicated to philosophy, culturology and art history. The relevance of the selected topic is substantiated by the fact that in globalizing world, the countries of the Far East are more capable of retaining ideological paradigms and preserving their national cultural identity due to traditionalism and spiritual consciousness. The novelty of this work consists in examination based on the iconographic material and mythological themes of solar manifestations of goddesses as demonstration of the energy of female principle and its reflection in the phenomenon of Sky – Earth connection. The conclusion is made that for assessing Japanese and Chinese art, it is essential to consider multicultural interaction of these countries founded on the the harmony of existence of human nature. The goddesses of Sun, Moon and Earth seek to communicate with the Sky, as in particular the autochthonous deity Inari through their intermediaries, the foxes. The sun and moon goddesses and Earth goddesses seek communication with the Sky, as the autochthonous deity Inari through their mediators – foxes. The female principle, resembled in femininity of divine foxes, is described as the endless struggle for immortality and opportunity to be in Heaven surrounded by the steam light and reason. The light saturation of female images contributes to their spirituality.
Citations count: 2
Reference:
Tyukhmeneva E.A. —
Sorrowful processions Peter the Great: principles of decoration and their evolution in the imperial funeral ceremonies of the XVIII century
// Culture and Art.
– 2020. – ¹ 12.
– P. 79 - 98.
DOI: 10.7256/2454-0625.2020.12.34466 URL: https://en.nbpublish.com/library_read_article.php?id=34466
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Abstract:
This research reveals the basic principles of the mourning decorations created for the burial of Peter the Great, and traces their fate in the Russian imperial sorrowful processions throughout the XVIII century. Decorative arrangement of state ceremonies is viewed in the context of the panegyric culture of that time. Ceremonial decoration was of temporary (occasional) nature and have been scarcely preserved; other than certain artifacts. The research is based on examination of a wide variety of written and graphic sources that allow reconstructing the image of funeral processions of that time. It is demonstrated that that in preparation for the funerals of Peter the Great, were developed certain patterns of mourning decoration preserved throughout the entire XVIII century. The principles of decorative arrangement of Russian imperial sorrowful processions were based on the European examples, and in many ways by inviting the foreign inventors and masters. The system of creation of mourning ensembles (as well as festive) obeyed the general laws inherent to the court ceremonial culture of Modern Age. The artistic solution of memorial halls and hearses corresponded to the stylistic evolution of art. The author introduces new materials and previously unknown facts into the scientific discourse, as well as clarifies the questions of terminology.
Citations count: 2
Reference:
Kannykin S.V. —
Specific running practices of certain regions of the East: the experience of philosophical analysis
// Culture and Art.
– 2021. – ¹ 10.
– P. 33 - 46.
DOI: 10.7256/2454-0625.2021.10.34933 URL: https://en.nbpublish.com/library_read_article.php?id=34933
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Abstract:
The subject of this research is the sociocultural conditionality of specific running practices of certain regions of the ancient and modern East, which reflect the basic worldview attitudes of the authentic religious-philosophical traditions and social patterns that are characteristic to the Eastern type of civilizations. In light of the crisis of Coubertin's Olympism as a social movement and ideology, civilization of the East vividly demonstrates the importance of comprehensive spiritual development, which prompts the extraordinary physical achievements. The running experience of the Buddhist monks proves that namely in the sphere of higher ideal values is the elevating source of the need for physical perfection, and the existential goal of a human lies in continuous improvement of own capabilities, development of spiritual and bodily unity, “enlightenment”, and pursuit of harmony with the cosmos. The following conclusions were made:
1. Specific running practices of the ancient East are not competitive in nature, being just one of the means for achieving spiritual liberation.
2. Running in the ancient East was often considered as a type of dynamic meditation, which defines its uniqueness.
3. The unique training techniques of the Buddhist monks were the true methods for fulfilling the higher levels of spiritual and physical potential, which proves their universal humanistic value.
4. The social significance of specific running locomotion found its reflection in performing by bhikkhu of the secular function of heralds and religious-magic functions of personal confirmation of attainability of moksha and incantation of evil spirits.
5. The peculiarity of running in the East in the modern context is substantiated by its large-scale involvement, nonreligious motivation, capability to unite cultural principles of the Western and Eastern civilizations, serve as the means of consolidation of people, as well as express the national spirit and be form of women's emancipation.
Citations count: 2
Reference:
Rozin V.M. —
The activity in sociocultural and natural environment.
// Culture and Art.
– 2020. – ¹ 7.
– P. 29 - 37.
DOI: 10.7256/2454-0625.2020.7.32667 URL: https://en.nbpublish.com/library_read_article.php?id=32667
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Abstract:
This article examines the ontology of activity. Such need emerged due to the problems in studying of modern technology. It is evident that an engineer and a technologist work in a complex environment and conditioned by different situation, but the theoretical representations of the activity do account for these circumstances. The author explores the traditional view and scenario. Analysis is conducted on the several situations (environmental, anthropological, cultural, social, population) that impact the work and mentality of an engineer and a technologist. A new pattern of an act is proposed. In the course of research, the author employs the following methodology: articulation of the problem, situational and comparative analysis, typological analysis, structuring of the narrative scheme of activity. As a result, the author was able to describe the situation that requires reconsideration of the ontology of activity. It is necessary to reveal the differences of several spheres, which are important from environmental, anthropological, cultural, social, and population perspectives. The article outlines the scheme of activity, which includes a new interpretation of the subject of activity, several processes launched by pursuit of the activity, response from these processes to articulation of goals and tasks of the activity.
Citations count: 2
Reference:
ZHao S. —
Reception of Taoist images in the artistic culture of Xieyi
// Culture and Art.
– 2024. – ¹ 9.
– P. 81 - 94.
DOI: 10.7256/2454-0625.2024.9.71439 EDN: FXWFRX URL: https://en.nbpublish.com/library_read_article.php?id=71439
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Abstract:
This article describes the artistic phenomenon of Xieyi in Chinese culture, examines the essential characteristics of the Chinese culture of handwritten writing, especially on the example of Taoist images, analyzes their unique value in artistic expression and cultural heritage. The author examines in detail such aspects of the topic as the definition of the culture of free Thought, its historical evolution, its connection with Taoist thought, as well as the cultural meaning and artistic characteristics of Taoist images. Special attention is paid to the detailed analysis of Taoist images in the artistic culture of Xieyi, which allows us to trace their historical origin and evaluate their heritage and innovation in modern art. A historical and cultural excursion into the formation and development of the Xieyi artistic style in Chinese culture allowed us to identify the philosophical and cultural meaning of Taoist images and their reflection in the Xieyi artistic culture. The research was carried out using the methods of deconstruction, comparison, formal and semiotic analysis, as well as the analysis of iconography. As a result of the research, the author comes to the conclusion that the reflection of Taoist images in the artistic culture of Xieyi has a deep spiritual meaning. The cultural significance of Taoist images lies in the fact that they are an integral part of religious rituals, spiritual practice and cosmology. Today, the interaction of Taoist images and modern art is deepening and developing thanks to artists who enrich the methods of expressing art and expand its content and meaning. Such a dialogue contributes to the emergence of new opportunities for the development of contemporary art. The inner artistic culture of free self-expression reveals the value and modern significance of Taoist art, embodies the aesthetic taste and philosophical thoughts of the Chinese nation with its unique intention for the artistic individual expressiveness of the main idea of the painting. The reception of Taoist images in the artistic culture of the Xieyi is a link between East and West, traditional and modern art, promotes cultural exchange and integration.
Citations count: 2
Reference:
Popkova N.V. —
Technosphere as a factor of the development of culture
// Culture and Art.
– 2017. – ¹ 8.
– P. 43 - 52.
DOI: 10.7256/2454-0625.2017.8.23805 URL: https://en.nbpublish.com/library_read_article.php?id=23805
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Abstract:
The article considers the impact of the technosphere on the processes of transformation of cultural norms and patterns. The technosphere (as a man-made environment created for human history) has its own laws, the existence of which is recognized by modern science: it is necessary to investigate these laws and modify social practices with their consideration. Technology in modern society acts as a mechanism for the generation of new cultural meanings, as an instrument of socialization and personal development, as a factor of social change. The attention to the question is brought how to consider the technosphere: as operated object (one of society subsystems) or the subject of social changes submitting to own laws. The causes and essence of independence of the technosphere from the will of the people (who created it) are analyzed. Two sources are singled out: insufficient rationalization of the creative process and the dependence of man on the anonymous regularities of social reality.It is concluded that the idea of the autonomy of the technosphere contains hidden contradictions: it makes sense only to fix its distancing from the social context that gave rise to it, in models that eliminate the social conditioning of technical activity. Since technical practices are a kind of social practices (regulated by cultural norms), in the study of cultural processes it is not necessary to postulate the autonomy of the technosphere. Nevertheless, the significant impact of changing technologies on culture is unquestionable, especially since it began with the active use of social technologies.
Citations count: 2
Reference:
Shapinskaia E.N. —
Images of the Past in (Post) Modern Representations
// Culture and Art.
– 2019. – ¹ 9.
– P. 70 - 82.
DOI: 10.7256/2454-0625.2019.9.30515 URL: https://en.nbpublish.com/library_read_article.php?id=30515
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Abstract:
The subject of the research is the historical 'turn' in the culture of our days. The beginning of a new understanding of history can be found in the researches of post-modernism theorists who wrote about the loss of the sense of history in fragmentary (post) cultural space. Shapinskaya raises a question about what causes the interest of modern human in the past and historical events in the form of myths or transformed in fantasies and narratives. One of the causes of this phenomenon is escapism that allows human to avoid the burden of everyday life by dwelling in fairy tales and fantasy worlds. The other important cause is expansion of digital technologies allowing to integrate historical-mythological images of virtual space. Shapinskaya describes several strategies of representation of the past, extreme examples are educational forms of representation of past events based on modern achievements and historical games that perform purely entertainment functions. Shapinskaya gives representational examples of such forms of presenting past events used in popular culture and concludes that there is a connection between the 'historical turn' and general characteristics of (post)Soviet culture such as fragmentation, changes in temporality, digitalization and gamification. At the same time, interest in the past is typical for the humankind in general and modern people are much concerned about preservation of cultural memory. From the point of view, searches for the grounds of human existence in the past are important for the development of identity of a modern human.
Citations count: 2
Reference:
Sokolova A.N. —
Content of the concept of “ethnic painting”: articulation of the problem
// Culture and Art.
– 2021. – ¹ 9.
– P. 1 - 17.
DOI: 10.7256/2454-0625.2021.9.36273 URL: https://en.nbpublish.com/library_read_article.php?id=36273
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Abstract:
This article analyzes the concept of “ethnic painting”, Russian and Western sources on the topic, as well as controversial approaches towards its interpretation. It is established that the Russian science avoids using the concept of “ethnic painting” to ambiguity of its content. The most commonly concepts in sphere are “national art”, “ethnocultural manifestations”, “territorial-ethnic nature of painting”, “national peculiarities”, and “national distinctness of art schools”. In Western literature, the concept of “ethnic painting” is attributed to both, folk art and professional art. Parallel is drawn between the concept of “national culture” and “ethnic culture”. The research is based on the painting of Circassians (Adyghe) of Russia and Turkey. Using the methods of comparative studies, comparative typology and art analysis, the article explores the works of contemporary Circassian painters of Turkey and Russia, revealing the specificity and universal characteristics of their paintings. The works of professional artists, which meet certain characteristics, should be referred to as “ethnic painting”. The author describes the key attributes and functions of plastic arts that allow classifying it as the concept of “ethnic”: 1) figurative characteristics (visualization of mythological and epic heroes and plotlines, ritual and common culture); 2) translation of ethnic mental characteristics and values; 3) design of ethnic identity and solidarity by means of painting; 4) introduction the art of painting not only to the elite, but other social classes as well; 5) usage of public instruments for proliferation and popularization of painting through education and enlightenment; 6) comprehension of ethnic art as a crucial element of national art; 7) development of ethnic art through various contaminants (ethnocultural content and modernist form or technique; modern content in the traditional genre or form).
Citations count: 2
Reference:
Rozin V.M. —
Some features of the construction of theatrical artistic reality (analysis of the production of "Eugene Onegin" by Rimas Tuminas)
// Culture and Art.
– 2022. – ¹ 6.
– P. 47 - 61.
DOI: 10.7256/2454-0625.2022.6.38336 EDN: EIZXEV URL: https://en.nbpublish.com/library_read_article.php?id=38336
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Abstract:
The article presents two plans for the analysis of the famous production of Rimas Tuminas "Eugene Onegin". The first discusses the problems and difficulties of translating Pushkin's poetic work into the language of the theater. At the same time, the author uses the analysis of this production carried out by Alexander Minkin in the book "Mute Onegin". In particular, a number of techniques are considered (splitting the heroes, Onegin and Lensky, into two persons, giving historical events a modern form of existence, which implies rethinking them); they, according to Minkin, were used in his production by Tuminas. The author provides a voice to Alexander Sergeevich, who does not recognize his work in the production of Tuminas, assuming that he solved problems far from those that interested Pushkin. In the second part, a reconstruction of the logic is proposed, in accordance with which Tuminas most likely acted, creating his own statement. The author shows that, firstly, Tuminas is not trying to present Pushkin's brilliant work in a new, modern way, but creates a new work, his own; secondly, the artistic reality of this new work is made up of very different events, including reflexive ones. He raises the question of how these heterogeneous events create a whole. If in the traditional aesthetics the artist depicts the world and life existing outside of a person (or inside him), which are considered as universally significant for everyone, then in the new one the world and events of consciousness of the personality of the artist and the viewer are described and constituted.
Citations count: 2
Reference:
Pyrova T.L. —
Development of the Hip-Hop Culture: From the Social Context to the Academic Phenomenon
// Culture and Art.
– 2017. – ¹ 12.
– P. 92 - 97.
DOI: 10.7256/2454-0625.2017.12.23999 URL: https://en.nbpublish.com/library_read_article.php?id=23999
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Abstract:
The article is devoted to the prerequisites of the hip-hop culture in terms of the late capitalism culture of the XXth century. The author of the article describes the formation of the main elements of the hip-hop culture against the backgrund of popular protest movements of yong people during the 1960 - 1980's in the after-war West. Western countries faced the disappointment of the wide strata of youth in political and economic valus. As a protest against the established regime, they created their own cultural movements. The methodology of this research is based on the historical comparative approach. Analysing social, economic, and political factors that have influenced the development of the hip-hop culture, the author of the article appeals to the historical roogs of hip-hop as a musical movement. Based on different examples, the author analyses particularities of the hip-hop aesthetics in dancing (break dancing), art (graffiti) and practice of using rhythmisized recitative (emceeing). At the present time the academic community does not offer a single approach to studying the hip-hop culture. The need to fill in this gap creates the rationale of the present research in particular and hip-hop researches in general. The author describes social, economic and political processes that have influenced the hip-hop culture. Focusing on the main milestones thereof, the author defines key changes that have accompanied the hip-hop culture from the moment it was created as a cultural movement and up to the present.
Citations count: 2
Reference:
Kuzovenkova Y.A. —
Virtualization of Graffiti and Street Art
// Culture and Art.
– 2018. – ¹ 12.
– P. 77 - 89.
DOI: 10.7256/2454-0625.2018.12.27917 URL: https://en.nbpublish.com/library_read_article.php?id=27917
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Abstract:
Modern world is experiencing drastic changes under the influence of new technologies. This is what made the course of this research. The subject of the research is the influence of communication technologies and means of informaton transmission on the development of graffiti and street art. In particular, the author analyzes what features of the aforesaid art practices have been modified by the Internet. The Internet has created such new means of information transmission as microsites, social networks, and photo hosting provider and has allowed to make audio- and video and film transmission to the mainstream audience. The research is based on the method of semi-structured interviews that involved graffiti and street artists from the Samara Region. The novelty of the research is caused by the fact that the author discovers that physical space loses its importance in the aforesaid art practices, the audience and artist's recognition are 'virtualized', and the fact that representatives of the graffiti and street art demonstrate different attitude to the influence of the Internet on their creativity. The author has also demonstrated that all the aforesaid changes have different intensity of expression in graffiti and street art.
Citations count: 2
Reference:
Chen' K. —
Syncretism of Christian and Asian features in the design of St. Paul's Church in Macau
// Culture and Art.
– 2022. – ¹ 11.
– P. 68 - 79.
DOI: 10.7256/2454-0625.2022.11.37314 EDN: VNEGFG URL: https://en.nbpublish.com/library_read_article.php?id=37314
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Abstract:
The subject of the study is the design of the Jesuit Church of St. Paul in Macau, built in 1602-1640. The plan and design of the temple are typical of the Jesuit churches of Europe, but the decoration is distinctive, which manifested a new strategy of the Jesuits. The focus of the publication is on the decor of the preserved western facade, combining both European Christian symbols and images, as well as Chinese and Japanese. The article shows how the Jesuits introduced the Christian doctrine into the consciousness of the inhabitants through the pictorial series familiar to the local population, seeking its speedy dissemination. The project of the church belongs to European masters, and local sculptors worked on the decoration. The novelty of the research lies in considering not only the historical aspects of the expansion of the influence of the Jesuit Order in the territories of the Far East in general, in China and Macau in particular, but also the artistic aspects, which is important, since art was an important tool for the Jesuits in promoting Christianity, especially in the era of the Counter-Reformation, after the Council of Trent. The main conclusion of the study is that the facade is a retablo of the Church of St. St. Paul's in Macau is a kind of doctrinal synthesis in stone: through images and inscriptions in Chinese and Latin, knowledge about Catholic doctrine and the basics of Christian teaching is transmitted to local residents.
Citations count: 1
Reference:
Pankratova A.V. —
The problem of design as a metalanguage of the information space
// Culture and Art.
– 2023. – ¹ 12.
– P. 1 - 11.
DOI: 10.7256/2454-0625.2023.12.68776 EDN: TYYZQY URL: https://en.nbpublish.com/library_read_article.php?id=68776
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Abstract:
The object of the study is modern design as a cultural phenomenon. The subject of the study is design as a metalanguage of the modern information space – hyperreality.
The relevance of the research is determined by the globalization of communication, characteristic of the modern socio–cultural situation: today communication takes place in hyperreality, which makes national languages a special case of communication - the whole world begins to communicate in a metalanguage understandable anywhere in the world, and today design becomes such a universal language.
The novelty of the research is due to the very formulation of the question: until now, design has not been considered as a metalanguage of hyperreality. In addition, the study reveals the problems of modern design associated with the modern stage of its functioning in hyperreality.The purpose of the study is to show that in the conditions of globalized hyperreality, design becomes a metalanguage, a semiotic system built on top of the semiotic system, which is the modern information and communication space.
The main method of research is the semiotic analysis of the design environment. The research is mainly based on the material of modern flat design, which is the most representative form of the existence of design at the present time. The main conclusions of the study: the socio-cultural environment of modern man is hyperreality. Hyperreality is a metalanguage in relation to primary reality. But hyperreality itself uses a metalanguage as the main language, this metalanguage is design. Design builds a system of images and connotations over the world of things, thus creating a metalanguage, or semiotic system of design. Modern design uses simulacra signs as the main sign form, since hyperreality in its development tends to distance itself from the primary reality, and develops its syntactic and paradigmatic structure, which is fundamentally different from the primary reality. The uniqueness of design as a metalanguage lies in the use of simulacra, signs that are fundamentally not expressive, not adapted for adequate transmission of information.
Citations count: 1
Reference:
Pogorelova I.V., Tarasova P.S. —
Artionyms in the semiotics of a painting
// Culture and Art.
– 2024. – ¹ 2.
– P. 48 - 54.
DOI: 10.7256/2454-0625.2024.2.68948 EDN: VCIPUL URL: https://en.nbpublish.com/library_read_article.php?id=68948
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The subject of this article is the semiotics of a painting as a work of art. The object of the study is the functioning of the title of a painting as a sign constituting its semiotic space. At the same time, the picture itself is considered as a complex sign that carries out a special kind of communication between the sender and the recipient. The main conclusions of the study are the thesis that semiosis occurring in the process of interaction between the viewer and a work of art is largely based on the artionymic text, as well as the conclusion that follows from it that, despite the generally accepted characteristic of modern culture as a visual culture, the text continues to play an important civilisational role as a conductor and keeper of various kinds of information. When decoding a message conveyed by the complex sign “painting”, under the conditions of limited perception time, the recipient tends to extract information and interpret it through a textual channel (i.e. through an artionym). The novelty of the study lies in considering the artionym not only as a small-format text, but also as a sign involved in the transmission of information in the situation of perceiving a painting by the recipient.
Citations count: 1
Reference:
Pankratova A.V. —
The visual content of neural networks as a return to the third-order simulacrum
// Culture and Art.
– 2024. – ¹ 2.
– P. 1 - 12.
DOI: 10.7256/2454-0625.2024.2.69753 EDN: ADDJPM URL: https://en.nbpublish.com/library_read_article.php?id=69753
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This article is part of a larger study of design as a cultural phenomenon. In this part of the study, the author examines the process that is currently taking place in the semiotic structure of design, associated with the active introduction of neural networks into the creation of visual content. Artificial intelligence products stylistically take the design away from the fourth-order simulacrum (from the flat design style) and return the design to using the third-order simulacrum as the main iconic form.The object of the research is the transformation of the semiotic design system. The subject of the study is a return to the third–order simulacrum in modern design. The purpose of the study is to show and try to explain how in modern design there is a return to the use of a third-order simulacrum.
The research method is a semiotic analysis of modern design based on the methodology of R. Barth's semiotic analysis. The study is also based on J. Baudrillard's theory of semiosis in hyperreality and three orders of simulacra. The author sees the philosophical justification of the art of neural networks in the concept of flat ontologies. The study of the semiotic structure of design allows us to see that the logic of design development carries this phenomenon through successive stages of semiosis associated with a decrease in meaning and a diminution of being. In its development, the design consistently uses first index signs, a second-order simulacrum, then a third-order simulacrum as the main sign form. Nowadays, the main iconic form in design has become a fourth-order simulacrum. Next, design had to either end as a profession and phenomenon, or move into a new cultural paradigm that was not related to simulation. However, unexpected transformations have begun to occur in design, due to the active involvement of non–human agents - neural networks – in the creation of visual content. Neural network products are a typical example of a third-order simulacrum. Thanks to the use of neural networks, modern design finally acquires the vector of transhumanism and closes in simulation.
Citations count: 1
Reference:
Tretyakova M.S., Kazakova N.Y., Kravchuk S.G. —
Japandi: between Nordic and Japanese design
// Culture and Art.
– 2025. – ¹ 3.
– P. 88 - 105.
DOI: 10.7256/2454-0625.2025.3.70753 EDN: WPAHCR URL: https://en.nbpublish.com/library_read_article.php?id=70753
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The article is devoted to the issue of the specifics of understanding design in different regions. In a narrow sense, design is a product of modernist culture, and its origins can be traced back to the European rationality of the Enlightenment. However, by today, the understanding of design has greatly expanded, and different regions of the world offer different understanding of design, contributing to the "science" of design. The purpose of the article is to identify similarities and differences in the understanding of design in Japan and the Nordic countries based on the analysis of the modern trend in environmental design "japandi", which involves a blending of Scandinavian (Nordic) and Japanese design traditions. Although "japandi" is a trend of the 2020s, it should be noted that the influence of Japanese design on Nordic design can be traced back to the middle of the twentieth century. The study is based on a comparative method, offering a comparison of different design models in the context of geographical, historical, cultural and socio-economic characteristics of the regions. Following N. Skou and A. Munch, the authors analyze the Nordic design using the keywords: "north", "nature", "models" [of welfare] and "minimalism". The authors conclude that the specifics of Nordic design as a whole are based on the idea of the balance of nature and culture, functionalism and pop culture, it is socially oriented and, as a result, simple, but not strict in its commitment to simplicity. This makes it accessible and understandable to everyone. At the same time, the design here is a "way of life".
Continuing the logic of keywords, the authors conclude that the main ones for Japanese design are: "tradition", "nature", "minimalism" and "care". In Japanese design, the creation of the new takes place by embedding in the old. Its minimalism is due not only to the influence of Buddhism or traditional aesthetics, in particular the simplicity of "wabi", but also to "Westernization" in general. Also, "Japanese minimalism" is associated with caring for other people, it is "contemplative", which is facilitated by the traditional connection with nature and the aesthetics of "sabi" scuffs. Although design in both regions strives for peace, harmony with nature and simplicity of forms, in general Japanese design is "contemplative", and Nordic design is "cozy" ("hygge"). Thus "japandi" is a Western trend offering a "cozy" Japan "for everyone."
Citations count: 1
Reference:
Popov D.A. —
On the question of the periodization of the history of Western art criticism
// Culture and Art.
– 2024. – ¹ 7.
– P. 23 - 32.
DOI: 10.7256/2454-0625.2024.7.71039 EDN: RBVGFL URL: https://en.nbpublish.com/library_read_article.php?id=71039
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The subject of the study is the Western historiography of the history of art from the middle of the XIX century to the present, the patterns that determined the nature of its development, general cultural and general scientific factors that determined the paradigm shift in art criticism. The time frame of the study is determined, on the one hand, by the emergence of scientific art studies, on the other hand, by the assertion of a postmodern worldview that denies the possibility of scientific study of any texts, including artistic ones. The paper examines the characteristics of each of the highlighted stages, as well as their relationship with the general trends in the development of humanitarian knowledge at each stage. Thus, the history of art is placed in a broad context of general scientific and general cultural processes, which makes it possible to identify and study the driving forces that determine the course of its development. The main method of research is the method of periodization, the criterion for which is the predominance of a particular methodology at a particular historical stage of the development of art studies. The paper proposes the following periodization of the history of art studies: 1. Pre-scientific art criticism (before XIX century).
2. The cultural and historical stage (XIX century). 3. Formal and stylistic stage (XX century).
4. The iconological stage (XX century). 5. Post-scientific art criticism (beginning of the XXI century). This classification allows us to present the history of scientific art studies as a natural and consistent process of changing dominant methodologies, starting with the formation of a scientific approach to the study of art and up to the present time, when the very possibility of its application was questioned by the postmodern worldview. The main factor determining the change of stages in the development of art criticism is a change in the general cultural situation, as well as a change in the prevailing paradigms in art knowledge.
Citations count: 1
Reference:
Vinokurova M.A., Konopleva N.A. —
Gastronomic tourism as a significant cultural form in the branding of territories
// Culture and Art.
– 2024. – ¹ 10.
– P. 92 - 109.
DOI: 10.7256/2454-0625.2024.10.71972 EDN: EPCEDZ URL: https://en.nbpublish.com/library_read_article.php?id=71972
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The article substantiates the essential characteristics and factors of the development of tourism activities based on gastronomy, as a form significant in the promotion of territories and their branding. Our research is significant for understanding this issue in the Republic of Sakha (Yakutia). The form of tourism we have mentioned plays a significant role in the branding of territories, as it allows regions to stand out and attract tourists through unique culinary offerings. The object of the study is the branding of territories. The subject is gastronomic tourism as a form of socio-cultural branding of territories. The authors consider such aspects of gastronomic tourism as cultural immersion, economic impact, importance in the formation of the territory's brand, its sustainable development and educational opportunities. These aspects emphasize the importance of gastronomic tourism as a multifaceted and significant area in international tourism, contributing to cultural exchange and economic development. The work uses a culturological approach, descriptive and the method of included observation, reception of analysis and synthesis, induction and deduction. The SWOT analysis method was aimed at understanding the strengths and weaknesses, opportunities and threats to the development of the tourism industry in the region. The relevance of the study is due not only to the growing interest in gastronomic tours in world practice, but also to the importance of this type of tourism in positioning regional culture and promoting the territory. Recommendations have been developed aimed at developing and strengthening gastronomic branding in the Yakutia, the implementation of which will allow the formation of a strong gastronomic brand of Yakutia, contributing to attracting tourists and supporting the local economy. The article emphasizes that the gastronomic brand is a powerful tool for the development, strengthening and promotion of regional territories, contributing to their economic growth and strengthening cultural identity.
Citations count: 1
Reference:
Trishina N.V. —
Amateur Theatre in the System of Leo Tolstoy's Spiritual Coordinates
// Culture and Art.
– 2017. – ¹ 2.
– P. 133 - 143.
DOI: 10.7256/2454-0625.2017.2.17538 URL: https://en.nbpublish.com/library_read_article.php?id=17538
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The subject of the research of this article is the place of amateur theatre in the spiritual world of Leo Tolstoy. The object of the research is the spiritual world of Leo Tolstoy, and ethical reference points of the writer. The author of the article examines such aspects of the topic as Tolstoy's views on the nature and objectives of art in general and theatre in particular. The aim of the article is to identify the fundamental differences of amateur and professional theatre in the mind of Tolstoy. The author sets the task to analyze the theoretical ideas of Leo Tolstoy about art, theatre, and compare them with the practical theatre work of Leo Tolstoy as an example of amateur stagings of his family.The research is carried out using the literary-historical method by examining the documentary evidence of contemporaries of Leo Tolstoy, analysis of his theoretical articles on art, extracts from his writings that reflect the views of Tolstoy on the nature of the theatre. In addition, the article is an attempt to Yasnaya Polyana partial reconstruction of stagings of "Nihilist" (1866) and "The Fruits of Enlightenment" (1899). The main conclusions of the research is the idea that Tolstoy shared concepts of professional and amateur theatre; accusations towards the contemporary theatre made by the writer in his theoretical work did not always relate to the domestic amateur performances. More than that, for Tolstoy the domestic amateur plays were is an original way to communicate with loved ones, an opportunity for a dialogue, and an attempt to overcome misunderstandings and resolve urgent problems. The theme of "Leo Tolstoy and the theatre" was studied in the Soviet theatre criticism from various points of view. The book of E.I. Polyakova "Tolstoy’s Theatre" is analyzed in terms of the dramatic composition of the writer, in the analysis of B.F. Sushkova in "The Lessons of Tolstoy’s Theatre" the author pays more attention to the theatrical realization of the plays and their moral lessons. The author of this article is primarily interested in the relationship of the individual - Leo Tolstoy – with the theatre as an institution. Never before in theatre criticism similar question has not been seriously investigated. The novelty of the research is caused by the fact that the author raises this problem. The results of the research can be used in lectures on the history of theatre, based on them new trips to the Museum-Estate of Leo Tolstoy "Yasnaya Polyana" and the State Museum of Lev Tolstoy in Khamovniki can be established.
Citations count: 1
Reference:
Bogdanov F.Y. —
The old song in dialogue with a work by a modern composer (dedicated to the 165th anniversary of the birth of the Russian songwriter Matvei Ozhegov)
// Culture and Art.
– 2025. – ¹ 7.
– P. 1 - 11.
DOI: 10.7256/2454-0625.2025.7.75048 EDN: ERUYQF URL: https://en.nbpublish.com/library_read_article.php?id=75048
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The article is dedicated to Matvey Ozhegov's 165th birthday. The article is devoted to the popular Russian song Mezh krutyh berezhkov ["Between the steep banks"]. Modern Russian composer Vladimir Ryabov used this music to create variations. It is noted that the author of this song is Matvei Ozhegov, a self-taught songwriter who worked at the turn of the XIX and XX centuries. He was born into a peasant family in Vyatka province. The process of popularization and cultural diffusion of his songs is described. Throughout his life, Matvei Ozhegov composed over a hundred and fifty «songs in the spirit of his native region’s people», as he put it himself, some of which have become an integral part of Russian musical culture. It is marked, Russian composers Igor Stravinsky and Dmitry Shostakovich quoted other song melodies by Matvei Ozhegov.
The style of Vladimir Ryabov's compositions is characterized, in particular, his piano works in purpose to demonstrate the interaction of his variations with the melody of Matvei Ozhegov's song. The statements of authoritative experts in this field are given. An overview of his variation cycle "Twenty-five Russian folk Songs", consisting of two opuses, one of which includes the considered variations on the theme of the song Mezh krutyh berezhkov ["Between the steep banks"]. It is claimed that Ryabov doesn’t merely turn to the well-known melody of the song but treats his variations as a coherent musical and poetic work. The analysis of the substantial basis of the above-mentioned variations is carried out, for which the facets of the form and the elements of texture are correlated with the text of the song by Ozhegov. Offering own "program" of the work, the article proves that the composer not only managed to create virtuoso variations on the theme of the song, but also accurately convey the plot of the poetic text of Matvei Ozhegov in music.
Citations count: 1
Reference:
Prikhodko N. —
One Some Specific Practices of Moscow Conceptualism: the Crossing Points of Art and Life
// Culture and Art.
– 2017. – ¹ 3.
– P. 163 - 175.
DOI: 10.7256/2454-0625.2017.3.18152 URL: https://en.nbpublish.com/library_read_article.php?id=18152
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The subject of the research is the specific artistic practices of Moscow conceptualism, in particular, such typical genres as painting, graphics (album and catalogue cards), actions and installations. The researcher focuses on such issues of the problems of the artistic language, the loss of autonomy and demateralization of art objects, and procedurality in conceptual works. The author relates the change in the formation to the search for new forms of communication and expression. In a conceptual work the perception is focused on the context where the work is created and exhibited integrating discussion and communication into the structure of the work. The methodological approach involves historical analysis of the artistic practices of Moscow conceptualism. Typical genres and individual works are analyzed from the point of view of changes in the perception process as well as the relation to socio-political and ideological environment. The main conclusion of the article is the idea about merging artistic and life practices in Moscow conceptualism. Working with the principle of indirect expression, artists create new situations for communication. Defining ideological standards for expressoin and behavior, conceptualists search for new ways to overcome them and to give a new form of expression to one's mind. Creativity is thus integrated into the real life of artists and their friends (audience) as the mean of everyday communication.
Citations count: 1
Reference:
Iankovskii A.N. —
The Quest Game as the Synthesis of Literary and Cinematographic Traditions
// Culture and Art.
– 2018. – ¹ 9.
– P. 50 - 58.
DOI: 10.7256/2454-0625.2018.9.27465 URL: https://en.nbpublish.com/library_read_article.php?id=27465
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The subject of this article is the phenomenon of the quest genre popular in media culture and cultural life of megacities. The origin of this genre is associated with literary and cinematic traditions but modern video games have begun to have the opposite effect on cinema. The “quest” genre in cinema today is an imitation of video games or direct borrowing of the plots and principles of the drama of computer games. The analysis of material on this aspect undertaken by the author is relevant in the context of the general trend of modern culture, virtualization of man and society. The researcher has applied the cultural research method that includ description, comparison, analysis, as well as hermeneutic approach. The main conclusions of the study are the following. As the genre of art and game, quest is in demand both in the gaming industry and in screen culture. The quest dramaturgy is built on the principles of an adventure novel and involves such basic archetypes as a model of confined space and the desire to cross the border as well as the tragic motives that are neutralized by the idea of a happy ending. In addition, this process is becoming part of the general trend of virtualization of man and society which many scientists consider to be the stage preceding the emergence of “post-human” as a representative of the new anthropology.
Citations count: 1
Reference:
Morozova A.V. —
Research of Spanish Art in Terms of Russian Cultural Paradigms
// Culture and Art.
– 2018. – ¹ 12.
– P. 45 - 51.
DOI: 10.7256/2454-0625.2018.12.28121 URL: https://en.nbpublish.com/library_read_article.php?id=28121
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In this research Morozova focuses on the Russian culture and Russian research of art, the subject of the research is the Russian research of Spanish art. She examines such aspects of the topic as the determinancy of directions, themes, range of problems, methodological approaches of the Russian cultural research and Russian research of Spanish art to Russian cultural paradigms. The researcher has chosen to study Spanish art as a particular case of art history. This has allowed the author to make grounded conclusions because there are a lot of researches on the history of Spanish art available. The conclusions based on the analysis of Spanish art are carried over the Russian art history in general. The author analyzes the socio-cultural factors of the art history and describes particular stages of its development as well as provides a description of each stage. She also analyzes the development of the research of Spanish art in terms of the socio-cultural environment. According to the researcher, it is not enough to study internal or immanent factors of the Russian history art evolution to understand the actual shifts and transformations happening there. Only the analysis of the Russian history art development from the point of view of the Russian cultural paradigms may explain the nature of those changes and transformations. The novelty of the research is caused by the fact that the author's predecessors focused immanent or intrascientific factors of the Russian art history and Russian research of Spanish art development which is not enough to explain the changes in the process of the cultural research development that influenced the choice of styles, artists, master pieces for the research and their evaluation. Morozova analyzes socio-cultural factors of the development of the Russian cultural research based on the example of the Russian research of Spanish art. The main conclusion made by the author is her statement that the development of the Russian cultural research has always been determined by the Russian cultural paradigms.
Citations count: 1
Reference:
Shekhovtsova I.P. —
Little-Known Pages of Dimitry Razumovsky's Biography (On the 200th Anniversary of His Birth)
// Culture and Art.
– 2018. – ¹ 12.
– P. 1 - 28.
DOI: 10.7256/2454-0625.2018.12.28290 URL: https://en.nbpublish.com/library_read_article.php?id=28290
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The subject of the research is the biography of a famous scientist and founder of Russian musical medieval studies, head of the Department of the History of Church Singing opened at Moscow Conservatory in 1866, acting member of a number of academic communities including Moscow Archeological Society, archpriest Dimitry Razumovsky whose 200th anniversary was celebrated in 2018. In her article Shekhovtsova analyzes different activities of Dimitry Razumovsky, his pastoral care and teaching, education, participation in publishing church singing and religious literature, mentoring and guidance of students and followers, and profound research. She also touches upon communication of Dimitry with important leaders of those times such as Count S. Sheremetev, Prince V. Odoevsky, V. Stasov, M. Balakirev, P. Tchaikovsky, S. Smolensky, Yu. Arnold, I. Voznesensky, N. Potulov, A. Lvov and others. The methodology of the research is based on the fundamental principles of the history of music, first of all, source studies, and the experience of the author in such fields as archivistics, liturgic music studies, general and special textual analysis. The novelty of the research is caused by the fact that the researcher involves a number of little-known or understudied sources which has allowed to define new facts and to clarify the scientist's biography as wll as to give a better insight into his activities and professional communication as well as to review his personal contribution to the development of the music studies. For the first time in the academic literature the author raises a question about what is going to happen to the archives and collections of Dimitry Razumovsky's writings.
Citations count: 1
Reference:
Rozin V.M. —
Mathematics: Definiteness Renewal (Methodology and Cultural Studies approach)
// Culture and Art.
– 2019. – ¹ 5.
– P. 20 - 30.
DOI: 10.7256/2454-0625.2019.5.29522 URL: https://en.nbpublish.com/library_read_article.php?id=29522
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The article discusses a crisis in mathematics. The problems of origin, essence, and justification of mathematics are analyzed. The author presents the concept of mathematics, based on his research in mathematics, including ideas about the "starting subject areas" of mathematics, its constructive basis, the conceptualization of mathematics, the mechanisms of its development. The author shows that mathematics constitutes a complex sphere of activities and the institution of modern, and that is why there will inevitably appear contradictions, as well as the activities for their solution and justification. In the research, the following methodology is used: problem formulation, situational analysis, comparative analysis, construction of new concepts, cultural and historical reconstruction. As a result of the study, it was possible to build a methodological concept of mathematics, discuss the nature of the crisis of mathematics, show that the program of justification of mathematics could not be implemented, and mathematics is facing the task of a new reform. These results are based on the author's genetic and methodological studies of mathematics.
Citations count: 1
Reference:
Ushchapivska O. —
The image of femme fatale in Sergei Prokofiev’s opera of the 1910s – 1920s
// Culture and Art.
– 2021. – ¹ 10.
– P. 21 - 32.
DOI: 10.7256/2454-0625.2021.10.36633 URL: https://en.nbpublish.com/library_read_article.php?id=36633
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The comprehensive analysis of Sergei Prokofiev’s operas “Maddalena”, “The Gambler”, “The Fiery Angel” reveals the peculiarities of personification of the image of the protagonist as femme fatale (Maddalena, Polina, Renata). Despite heightened interest to this topic, this article is first to view the listed operas from such perspective, which defines the scientific novelty. The fact that the libretto of these works was created by the composer himself can be considered as testimony that S. Prokofiev deeply intertwines with the psychology and personality traits of his heroes. The composer depict “femme fatal” a specific type of personality that combines self-worth and spiritual pursuit, desire to manipulate others and natural talent, no sense of guilt, and realization of self in another person. The use of comparative-historical, musical-culturological, and theoretical-analytical methods allow tracing correlation between the opera plot and their life context of creation, finding differences and commonalities in the means of expressing the image of femme fatal, and indicating the evolution and universality of the composer’s way of thinking on the early stage of creation. Attention is given to the synthesis of the principles of symbolist, romantic, realistic and expressionist musical drama, which S. Prokofiev uses in the opera under review.
Citations count: 1
Reference:
Jin C. —
The symbolism of the mask in the theatrical art of the West and East
// Culture and Art.
– 2023. – ¹ 8.
– P. 16 - 28.
DOI: 10.7256/2454-0625.2023.8.43584 EDN: UPLCEK URL: https://en.nbpublish.com/library_read_article.php?id=43584
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The article examines the ancient and unique culture of the mask, analyzes the features of its perception, understanding and interpretation in different theatrical traditions of the West and East (ancient Greek tragedy, comedy dell'arte, Chinese no-si theater, Peking opera, etc.). Particular attention is paid to how the mask is interpreted and used, based on tradition, to create and enhance stage effects and deepen meaningful symbolism in modern performances.
The relevance of this work lies in the typology and classification of common and distinctive characteristics of similar, but at the same time unique artifacts of various theatrical cultures of the East and West on the example of the use of masks in productions in the past and present. Addressing this topic can help to establish intercultural ties, facilitate intercultural communication and reduce the degree of civilizational contradictions in a multipolar world. The scientific novelty of the study lies in the results of processing the original selection of case studies, scientific publications and literary sources. The purpose of the study is to search for the features of the perception and understanding of masks in various theatrical systems. To achieve this attitude, the history of masks in different countries, their semantics are analyzed, in particular, the ancient Chinese thermal culture and the ancient Greek theater, as well as the Italian comedy dell'arte are compared.
In conclusion, we note that in different theatrical systems, the mask has unique symbols and uses. Thus, it reveals the complex and contradictory human nature, reveals the unknown and people's fear of reality, embodies and expresses emotions, provides the rhythm and sharpness of the development of the drama, deepens the meaning of ongoing events.
Citations count: 1
Reference:
Rakhmankulov B.M. —
Prompt as a new element of the film language, or How can Sora change the future of digital cinema?
// Culture and Art.
– 2025. – ¹ 2.
– P. 138 - 150.
DOI: 10.7256/2454-0625.2025.2.70171 EDN: AVONZC URL: https://en.nbpublish.com/library_read_article.php?id=70171
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The subject of this article is the influence of generative neural networks on the film industry. The Sora neural network, used to generate video content based on text prompting queries, is considered as an object of research. The author of the article discusses the potential application of artificial intelligence in the development of new approaches to visual narrative and also addresses issues related to authorship and creativity. The article reveals the prospect of including prompts as a new element of film language, which can radically transform the film industry, providing directors and screenwriters with unique tools to implement their creative concepts. The author argues that this approach will allow cinema figures to experiment more and showcase their creativity, overcoming previous economic and technical limitations.
The article analyzes experiments with artificial intelligence in cinema. The works "Blink of an AI" and "Thank you for not answering" are described, differing in the "grotesque" quality of visualization and the presence of digital artifacts characteristic of early versions of neural networks. It is also emphasized that in the context of rapid technological development, it should be expected that these shortcomings will soon be overcome. This work is devoted to the problem of the relationship between artificial intelligence and human creative thinking in creating audiovisual content. The author concludes that the integration of artificial intelligence into the process of creating cinema opens up new opportunities for experimentation in the film industry, transforming not only the methods of creating content but also the very idea of film language. At the same time, it is emphasized that for the harmonious development of the future of cinema, it is critically important to find a balance between human creativity and machine algorithms, ensuring the protection of intellectual property and the ethical use of new technologies.
Citations count: 1
Reference:
Kirnarskaya D.K., Sizova E.R., Taskaeva A.V. —
The professional hero in the field of music pedagogy
// Culture and Art.
– 2024. – ¹ 8.
– P. 16 - 29.
DOI: 10.7256/2454-0625.2024.8.71485 EDN: MXWAYB URL: https://en.nbpublish.com/library_read_article.php?id=71485
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The object of the study is heroization in the professional sphere, which assumes that a professional hero becomes a person who has achieved outstanding results in his professional activity and has received public recognition. The purpose of the article is to present outstanding musicians and teachers as professional heroes involved in the formation of ideological, artistic and aesthetic attitudes of society. The study analyzes the experience of pedagogical activity of outstanding teachers of the South Ural State Tchaikovsky Institute of Arts (hereinafter referred to as the Tchaikovsky Law School): G.K. Gavrilova, M.A. Sadovskaya, E.V. Mikhalchenko, V.G. Khudyakova, G.K. Kendysh, who are presented as professional heroes. As a result of the research, a cognitive model of the glorification of a professional figure was developed and criteria for the glorification of a professional in the field of music pedagogy were proposed: the presence of their own methodological teaching system, the presence of a large number of outstanding student musicians occupying a high segment of professional musical art and education, recognition of outstanding achievements by students and the pedagogical community. The methodology consists in using an integrated approach and synthesis of research methods for music pedagogy, art history, linguistics, namely, the concretization of certain provisions of heroic linguistics; observation and diagnosis; generalization and analysis of the experience of creative and pedagogical activities of outstanding professionals based on heterogeneous material (scientific and methodological literature, publications in the press, conversations with colleagues and students). The novelty of the research consists in considering the results of the professional activities of teachers and musicians of the Tchaikovsky Law School in the heroic paradigm, as a socially creative product having not only local professional and pedagogical value, but also universal socio-cultural significance, which determines their influence on the formation of axiological guidelines and artistic and aesthetic attitudes of society. The authors conclude that the proposed criteria for evaluating the activity of a musician-teacher are justified for the glorification of a professional figure in the field of music pedagogy, and each of the musicians considered in the article meets the designated criteria for the glorification of the personality of a professional figure. The reference character of the creative and pedagogical activities of professional heroes determines the possibility of their participation in the formation of ideological and artistic and aesthetic attitudes of society.
Citations count: 1
Reference:
Keiran V.V. —
Theoretical expression of self-portrait in contemporary Russian art history
// Culture and Art.
– 2025. – ¹ 2.
– P. 39 - 54.
DOI: 10.7256/2454-0625.2025.2.73280 EDN: HYFTFU URL: https://en.nbpublish.com/library_read_article.php?id=73280
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The article considers the meaningful and conceptual boundaries of self-portrait in the modern Russian art history. A study of self-portrait is being carried out both on the example of intellectual positions of thinkers of the last century and of the scientific works of contemporaries. The text of the article reveals the ideological perspective of the semantic meanings of the self-portrait according to the ideological and constructive views of the present era. The object of research is the portrait genre in the fine art. The subject of research is the theoretical definition of self-portrait in the Russian art history. The purpose of this work is to establish the ideological and substantive values of a self-portrait in the modern art science. According to the set goal, the following tasks are solved: - to provide scientific and theoretical views on the artistic image of a self-portrait of modern researchers of the 21st century; - define terminological lexical units in these judgments, which can subsequently take the role of conceptual values. The novelty of the study is determined by the disclosure of the conceptual and theoretical aspects of the artistic form of a self-portrait, which has strong interpretative significance in the field of contemporary art. The author formulates the following conclusion: the ideological and theoretical expression of a self-portrait in the space of modern art history is revealed through interdisciplinary methods of scientific research, which assert their own terminological units in the meaningful disclosure of the artistic image of the portrait genre. Each of the terms established in the article is related to the conceptual representation of the socio-psychological sphere.
Citations count: 1
Reference:
Zhelezniak V., Stolbova N., Museev N. —
Ontology of the Beautiful: Methodological Project
// Culture and Art.
– 2017. – ¹ 3.
– P. 31 - 40.
DOI: 10.7256/2454-0625.2017.3.23146 URL: https://en.nbpublish.com/library_read_article.php?id=23146
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The subject of the study is the justification of the following hypothesis: contemporary art tends to go into reality, beyond the artistic consciousness; people see the beautiful in the things of real life, acts, events, situations, etc. The object of the research is the principle that the infinite being is available to the modern man only within the aesthetic attitude. The authors consider in detail such topics as a specially organized aesthetic experience that allows to "take roots in being"; the ontological status of the "aesthetic attitude" which has priority over traditional types of ideology, equipment and technology, scientific knowledge and critical philosophy; the role of the critical metaphysics of beauty which allows to formulate the significance of contemporary art and the experience it brings to the modern man. Particular attention is paid to the possibility of weakening the antinomy between classical and contemporary art. The research method is the application of the experience of constructing critical ontologies in modern philosophy (at the theoretical meta-level) to aesthetics and the philosophy of art (at the level of specific realization of ontological concepts). The novelty of this approach is caused by the fact that the authors try to go beyond this antinomy relying on three key provisions: ontological universality of the aesthetic, existential and aesthetic complementarity principle and the ideality of the real thing enclosing an aura of beauty. According to the proposed methodological principles, it is possible to develop a new critical ontology tha would be based on the concept of aesthetic attitude (the central mode of human existence).
Citations count: 1
Reference:
Sidorova G.P., Shutaya N.K. —
Soviet Art Cinema about Revolution of 1917 in Russia: Dynamics of Film Production and Perception (1918 - 1991)
// Culture and Art.
– 2017. – ¹ 10.
– P. 26 - 39.
DOI: 10.7256/2454-0625.2017.10.24522 URL: https://en.nbpublish.com/library_read_article.php?id=24522
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The object of the research is Soviet art movies produced in 1918 - 1991 (including those that were co-produced with foreign cinematographers) about the Russian Revolution of 1917 which is dated sometime from February 1917 till March 1921 based on modern historiographical data. The subject of the research is production and perception of such films in terms of crosscultural communication, globalisation and socio-cultural particularities of the periods in Soviet history and Soviet cinematograph. The method of historical typologization, qualitative and comparative methods as well as periodization of the history of Soviet cinematograph developed by VGIK is used by the authors in this article. Soviet entertainment movies about the Russian Revolution of 1917, dynamics of these films production and perception is studied for the first time in the academic literature. The authors discover a general number of films, films that were co-produced with foreign cinematographers, films that received international awards, 'hot ticket' movies and most popular films. The results of the research can be used during lectures on cultural studies, art history and history.
Citations count: 1
Reference:
Ushkarev A. —
Dynamics of Artistic Needs: Causes and Consequences
// Culture and Art.
– 2018. – ¹ 8.
– P. 15 - 30.
DOI: 10.7256/2454-0625.2018.8.27230 URL: https://en.nbpublish.com/library_read_article.php?id=27230
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The subject of the research is the role of art in the life of people, actual trends and patterns of communication between human and art as well as processes of changes of artistic needs of a modern society. The aim of the research is to evaluate actual consequences of changes in artistic needs of a modern society that make cultural experts to speak of the crisis of artistic culture. Summing up the results of recent researches that involved surveys of population and art audience for a long period of time and continuing their interpretation, the author evalutes actual changes in the leisure role of art, patterns of communication of art and audience, and actual risks of objective social processes. The methodological basis of the research is the priniple of sociological substantiation of cultural constructs with facts obtained in the course of empirical social measurements. Traditional descriptive methods do not bring us close to understanding the origin and patterns of consumer behavior in art. The author of the article bases the research on the results of empirical research and methods of mathematical statistics based on computer technologies. The novelty of the research is caused by the targets and results of the research. It is the first time in the academic literature that the author raises the problem of defining changes in artistic needs and leisure role of art in a long-term perspective. Determination of consumer behavior patterns in art is a new task as well. As a result of the research, the author discovers and describes some fundamental patterns of introducing arts to human, cultural evolution of consumer, and reproduction of art audience.
Citations count: 1
Reference:
Ivinskikh G.P. —
Scenic Transformations and Problems of Artistic Reception at the Turn of the XIXth - XXth and XXth - XXIst Centuries
// Culture and Art.
– 2019. – ¹ 8.
– P. 11 - 19.
DOI: 10.7256/2454-0625.2019.8.30547 URL: https://en.nbpublish.com/library_read_article.php?id=30547
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The object of the research is the relationship between theatre and audience at the turn of the XIXth - XXth and XXth - XXIst centuries. The subject of the research is the influence of transient processes in the society and theatre on perception peculiarities. In the course of the analysis Ivinskikh has discovered the dependence of perception on the historical background, scenic means, and recipient's life and aesthetic experience. The author of the article analyzes how, why and depending on what conditions the role of theatre for the society and the status of the artist had been changing, what changes in the theatre life had been happening as a result of overall historical reasons, what changes were immanently conditional and what changes were defined by the cultural policy. In his research Ivinskikh has used comparative and receptive approaches combined with the dialogics principles offered by M. Bakhtin and A. Ukhtomsky's idea of the 'dominant' and 'worthy interlocutor'. As a result of the research, the author of the article makes a conclusion that problems of artistic reception are different by their nature. Changes that had happened since 1917 were caused by the cardinal transformation in the structure of the audience that were unprepared to perceive theatrical performances. Changes and the breakup between theatre and audience in the post-Soviet period, especially at early 1990s, happened as a result of changing values of both artists and audience. The researcher discovers that the dominating orientation at self-affirmation and individualism in many causes blocks the opportunity of dialogue. The novelty of the research is caused by the fact that the author offers to overcome contradictions through interaction and orientation at alternative dominant, i.e. satisfaction of essential needs of the audience, instead of antagonism.
Citations count: 1
Reference:
nikiforova s.v., Pokatilova I.V., Kharlampieva N.R. —
Nomadic singularities of the contemporary art of Yakutia
// Culture and Art.
– 2019. – ¹ 11.
– P. 1 - 8.
DOI: 10.7256/2454-0625.2019.11.31431 URL: https://en.nbpublish.com/library_read_article.php?id=31431
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The relevance of the study is due to the fact that museum and exhibition activities in the region are not sufficiently diverse. Rare precedents of modern practices of contemporary art of Yakutia in the media hype, do not become the object of scientific research. The purpose of the proposed study is to consider the specifics of the organization of the exhibition space (2013), which has become a platform producing new meanings and forms of symbols of the traditional culture of Sakha (Yakuts). The subject of the study is the specifics of building a cultural text in the exhibition space, which allows practitioners of contemporary art to initiate artist-viewer interaction. The analysis of the reception of the inclusion of signs of traditional culture in the modern environment is proposed. The nomadology strategy chosen by the curators allows artists and viewers to transform the structural orderliness of traditional forms of culture into a nomadism unfolding before their eyes. The novelty of the research lies in the fact that contemporary art in the region is taking its first steps and has not yet become the subject of research. For the first time, the postmodern methodology is used on the material of contemporary Yakut art. We have considered one aspect of the exhibition "Prelude to Siberia" - the organization of the exhibition space as an unpredictable unfolding of a nomadic singularity and a provocative clash of traditional and postmodern discourse in regional culture.
Citations count: 1
Reference:
Rozin V.M. —
Notes on the nature of avant-garde and constructivism
// Culture and Art.
– 2020. – ¹ 5.
– P. 106 - 119.
DOI: 10.7256/2454-0625.2020.5.32555 URL: https://en.nbpublish.com/library_read_article.php?id=32555
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Based on the materials of the family of architects Zimonenko-Feierstein, this article examines the peculiarities of avant-garde and constructivism. Roman Feierstein and Lyubov Zimonenko graduated the Moscow University of Arctitecture and were taught by pedagogues – the representative of avant-garde and constructivism. To understand the nature of avant-garde and constructivism, the author characterizes the goals and tasks solved by these trends and concepts, as well as analyzes the works of Roman Feierstein and Lyubov Zimonenko. It is demonstrated that constructivists create artistic reality, juxtaposing and simultaneously combining various processes and contents, sending over consciousness of a spectator to a particular reality. This pattern is inherent not only to figurative art, but also literature. The article employs situational and comparative analysis, methods of reconstruction of the works of applied arts and generalization. As a result, the author was able to reveal certain peculiarities of avant-garde and constructivism as an approach and activity, as well as underline that avant-garde and constructivism as approaches also suggest conceptualism. The role of conceptualism consists in outlining and explaining of reality, created by an artist for their audience.
Citations count: 1
Reference:
Belova D.N. —
Manifestation of female image in iconography of the Tibetan thangka and orthodox icon
// Culture and Art.
– 2020. – ¹ 5.
– P. 1 - 17.
DOI: 10.7256/2454-0625.2020.5.32764 URL: https://en.nbpublish.com/library_read_article.php?id=32764
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This article analyzes the female beginning reflected in the Buddhist art of thangka, and emphasizes its specificity in comparison with the Orthodox icon. The author examines symbolism of the key visual elements that form iconography of female characters and their color solution, as well as analyzes the symbolism of light in thangka painting and painting of icons. In drawing parallels between light symbolism of a female image in both types of religious paintings, the author determines their definite similarity in perception of light as a divine beginning of enlightened mind. The subject of this study is the Tibetan thangka and the Orthodox icon, viewed in the context of evolution of the female divine image within the chronological framework of the XV – XVII centuries. The relevance is substantiated by the growing interest of various experts to the religious painting thangka. In examination of sacred images of Buddhist thangkas and Orthodox icons were applied the comparative-historical and iconographic methods that lean on philosophical, culturological and art scientific materials. The novelty consists in the fact that based comparative analysis of the material of Tibetan thangkas and Orthodox icons, the author explores the traditions of depicting light manifestations of sacred images of women. Iconographic plot traces the formation of light and its role in creation of the female guise of wisdom. The conclusion is made that for assessing the Tibetan Buddhist art of thangka and Orthodox icon it is necessary to grasp the essence of female beginning and significance of the symbolism of light that indicates the aspect of wisdom and love on the path of spiritual growth.
Citations count: 1
Reference:
Popova L.V. —
Myth and reality in the work of Italian neorealists
// Culture and Art.
– 2024. – ¹ 3.
– P. 153 - 164.
DOI: 10.7256/2454-0625.2024.3.70172 EDN: WZSLAY URL: https://en.nbpublish.com/library_read_article.php?id=70172
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The object of research is Italian neorealism of the 1940-1950s. The subject of research is the work of neorealist directors Roberto Rossellini, Cesare Zavattini, Giuseppe de Santis, Vittorio de Sica, Alberto Latuada. Features of neorealism are also inherent in the early work of directors Luchino Visconti («Obsession» 1943, «Earth Trembles» 1948), Federico Fellini («The Road» 1954, «Nights of Cabiria» 1957), Piero Paolo Pasolini («Accatone» 1961, «Mama Roma» 1962), Michelangelo Antonioni «People from the Po River» 1947). Neorealism develops under the influence of French poetic realism, as well as, under the influence of verism, especially, the work of L. Pirandello. The focus of the neorealists was a person in interaction with society, the environment.
The purpose of this study is to consider the features of realism and neorealism, to consider the space created by directors. This study uses various research methods - phenomenological, intertextual, comparative, hermeneutic, content analysis in their combination and complementarity.
The scientific novelty of this study lies in the opposition of mythological and real space in the films of Italian directors, as well as in the application of an integrated approach. The main conclusion of this study is the thesis that myth and reality in the work of Italian neorealists interact with each other. Despite the documentary approach to filming, neorealists create their own, special reality, turn to history and myth. The concept of "neorealism" is quite complex, many of its representatives called themselves realists. The focus of neorealism becomes a person in interaction with society, with the environment. As the principles of neorealism, one can single out chorality, that is, the interaction of people. A separate feature of neorealism is the appeal to fantasy. F. Fellini and M. Antonioni open a new chapter in the history of Italian cinema.
Citations count: 1
Reference:
Bogdanov V.P. —
Discourses about Studying Old Believers: Articulating the Issue
// Culture and Art.
– 2017. – ¹ 5.
– P. 12 - 24.
DOI: 10.7256/2454-0625.2017.5.20142 URL: https://en.nbpublish.com/library_read_article.php?id=20142
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As a socio-cultural phenomenon, Old Believers have been attracting attention of many religious activists, politicians, economists, historians, etc. However, the main contribution of the representatives of this ethno-confessional tradition to the general Russian culture has not been defined yet. According to the author, this historiographical gap can be covered by analyzing various discourses about studying Old Believers. Based on the author, there has been four approaches to studying Old Believers: political, ethnographical, philosophical and scientific. At the turn of the 17th - 18th centuries Symeon of Polotsk, Dimitry of Rostov and others formed the political discourse. The main feature of the political approach is that it first it had a negative nature but then started to attain positive attitudes to Old Believers. With the development of the liberal movement in the 19th century, Old Believers were often perceived as the bearers of true RUssian culture on the one hand (which brought them close to Slavophiles) and fighters against the unfair state government on the other hand (this is the way Old Believers were viewed by Westerners and revolutionists). When the academic community started to study traditions of Old Believers in the 19th century, the ethnographical discourse was formed and later the philosophical discourse developed. Archeographical expiditions played an important role therein. Moreover, in the 20th century Old Believers started to actively participate in the research process themselves. At the present time the academic historiography cannot be imagined without Old Believers and their tradition. In this research Bogdanov provides examples of the influence of Old Believers on the origin or these or those cultural works and development of the scientific and philosophical thought. Appearing at different times, discourses influenced one another and all four discourses exist today, too. According to the author of the article, analysis of various discourses about studying Old Believers will allow to better understand their contribution to the development of Russian culture.
Citations count: 1
Reference:
Burmatov M.A. —
The Role of Performers on the Russian Musical Stage in Developing and Popularization of the Song in the 1920s - 1930s
// Culture and Art.
– 2017. – ¹ 2.
– P. 166 - 182.
DOI: 10.7256/2454-0625.2017.2.21950 URL: https://en.nbpublish.com/library_read_article.php?id=21950
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Abstract:
The subject of the research is the role of Russian performers on the musical stage in developing and popularization of the song in the 1920s - 1930s. The rationale fo the research is caused by the need to rehabilitate Russian cultural identity that has somehow lost its entirety over the last decades of drastic social and economic as well as cultural shifts in the society. In his research Burmatov tries to trace back performance traditions of those times (folk song, urban folklore, mass song) and define the role of famous performers in developing the art of singing. The author underlines that the musical and poetical signs of the song are very easy to understand which made the song be so popular with the population masses. The author also describes particularities of the genre of the musical stage song and patterns of its functioning in terms of the Russian musical culture of the 1920s - 1930s. Based on the diachronic method of the cultural history analysis, the author pays attention to studying the experience of the choral performance (musical groups headed by M. Pyatnistky, P. Yarkov, M. Myakushin, K. Massalitinov, A. Sveshnikov, A. Alexandrov and others). Using the diachronic research method and based on the example of famous musical stage performers (such as O. Kovaleva, L. Ruslanova, I. Yauzen, A. Dolivo, A. Zagorskaya, V. Panina, A. Vyaltseva, T. Tsereteli, L, Utesov, K. Shulzhenko, M. Bernes, N. Obukhova, M. Maksakov, S. Lemeshov and others) the author studies the images of the song and defines features of their style and genre. The author describes how these performers presented their messages, what individual features they had that had a trace on the development of Russian musical vocal art. Using broad material, the author illustrates the growth of their professionalism during the first decades of the Soviet culture and art development (broad repertory, performance skills, creative individuality, etc.) which contributed to the development and popularization of Russian singing. The author states that the high level of performance that had been achieved by Soviet artists of those times encourged further development of the Soviet (and Russian) and foreign musical stage art.
Citations count: 1
Reference:
Vorontsova E.A. —
National Literature – Literature Museums – Encyclopedia of «Literary Museums in Russia»: Problem of Memory and Oblivion
// Culture and Art.
– 2017. – ¹ 6.
– P. 96 - 112.
DOI: 10.7256/2454-0625.2017.6.23333 URL: https://en.nbpublish.com/library_read_article.php?id=23333
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Abstract:
In her article Vorontsova presents the results of analyzing a list of encyclopedia articles 'Literary museums in Russia' and provides statistical data depending on regions and main groups of literary museums in 2016. These museums are considered to be institutions of culture, system, information system, and institute of social memory. The author gives a regional dimension of statistical data. The author shows how literary museums represent national literature. Attention is paid to the importance of the personality, as well as museum exposition and shows the danger of actions that lead to the loss of memory and increase of entropy. The author has applied the interdisciplinary approach, methods of museology, cultural studies, literary studies, and comparative-historical method; she has also analyzed of the list of encyclopedia articles as a source of information. The author shows that Museum presents literature as a phenomenon of the relatively recent past, that the memory of it is fragmented and contains significantly fewer names, their set differs from a set in the history of literature, because it has almost no styles and genres.
Citations count: 1
Reference:
Kalitzky V.V. —
Director Functions in the Creative Work of a Piano Concertmaster
// Culture and Art.
– 2018. – ¹ 5.
– P. 79 - 86.
DOI: 10.7256/2454-0625.2018.5.25869 URL: https://en.nbpublish.com/library_read_article.php?id=25869
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Abstract:
The aim of this research is to trace back director functions in a professional activity of a piano concertmaster. The subject of the research is the work of a piano concertmaster with an ensemble composition using the stage production techniques. The author of the article analyzes a director method of working with a text, stage movements, expressivity, acting areas, etc. Kalitsky pays special attention to the organisation function of a director and piano concertmaster that is necessary for creation of a single artistic style. The author also touches upon the duality of acting and directing in an activity of a piano concertmaster. The author uses the comparative analytical methodology to analyze the activity of a director and concertmaster. He demonstrates that the ensemble model used to organize the sound and stage space is one of the most important functions in a professional activity of a piano concertmaster which can be achieved only through understanding and perception of directing techniques used to produce a stage action. The author of the article emphasizes the need in a directing approach to stage production and work of a piano concertmaster not only with ensemble partners but also for individual studying a musical text in factor, dynamic and agogical terms. Kalitsky underlines the importance of the solo performance training of a pianist for success as a director of a musical ensemble. Application of the research results in a professional activity of a concertmaster will give a better understanding of not only artistic targets faced by him or her but also organisation functions of a pianist in a musical ensemble. The author concludes that there is a need in ajdustment of current programs of piano concertmaster training in order to teach them director principles of being a pianist in a musical ensemble as well as independently seeking his or her artistic ensemble solutions.
Citations count: 1
Reference:
Kannykin S.V. —
Running in a myth
// Culture and Art.
– 2021. – ¹ 3.
– P. 10 - 22.
DOI: 10.7256/2454-0625.2021.3.32927 URL: https://en.nbpublish.com/library_read_article.php?id=32927
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Abstract:
This article solves the tasks of determining the spheres of use and functions of running in primitive societies based on the sources of mythological nature, associated with the culture of Ancient Greece, American Indians, Slavs, peoples of the Far North, Roman tribes, Celts, peoples of Ancient Egypt, Jews, peoples of Oceania, and others. The indicated problematic gives a broader outlook upon the spiritual grounds for developing physical abilities in the past, as well as to describes the stages and specificity of current transformation of the socially significant practices related to running. The article employs the methods of analysis, comparison and synthesis; the area of application of the acquired results is the philosophical anthropology and philosophy of sports. The novelty of this research consists in determination of peculiarities of the functionality of running in a myth in three dimensions: cosmological (running is considered in etiological and intermediary between the macro-and microcosm functions), biological (as a manifestation of physical health and a unique for the mammals way of hunting based on endurance run), and social (running as a means to raise and maintain social status, finding a partner for marriage, element of ceremonialism, initiation, etc.).
Citations count: 1
Reference:
Zolotukhina N.A. —
Artistic and stylistic uniqueness of the Crimean motifs in visual art of the late XIX – early XX centuries
// Culture and Art.
– 2020. – ¹ 11.
– P. 1 - 10.
DOI: 10.7256/2454-0625.2020.11.34448 URL: https://en.nbpublish.com/library_read_article.php?id=34448
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Abstract:
The object of this research is the Russian visual art of the turn of the XIX – XX centuries. The subject of this research is the Crimean theme in visual art of that period. The goal consist in determination of artistic and stylistic uniqueness of the Crimean motifs in paintings and graphics of the late XIX – early XX centuries. Research methodology is comprised of the cultural and historical method, which allow analyzing the evolution of artistic and stylistic systems in the national landscape genre, as well as the development of Crimean theme in art. Based on the synthesis of culturological and art methods, the author reviews cultural and stylistic distinctness of the Crimean motifs of the late XIX – early XX centuries. The novelty of this work lies in the statement that Crimean motifs that enjoyed wide popularity in the artworks of this period are considered one of the style-forming and meaning-forming factors in development of the art and style modes of landscape genre in Crimea. Specificity of the image of nature is defined by the art and style modes that substantiate the authorial concept and system of pictorial means. It is established that the uniqueness of Crimean motifs in painting and graphic art at the turn of the XIX – XX centuries lies in application of vibrating color, fusion with rough strokes of colored shadows, rhythmic principle of creating gradation of colors, soft airy and lighting environment of Crimean landscapes.
Citations count: 1
Reference:
Boitñova A.A. —
The dynasty of iconographers Rogachevsky-Nikita in the context of the history of the Old Believer Romanian rural localities Zhurilovka and Sarikei
// Culture and Art.
– 2020. – ¹ 12.
– P. 116 - 123.
DOI: 10.7256/2454-0625.2020.12.34713 URL: https://en.nbpublish.com/library_read_article.php?id=34713
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Abstract:
This article examines the iconographic heritage of the Old Believer Lipovan Rogachevsky-Nikita family in the context of history of Romanian rural localities. Based on the expedition material, analysis is conducted on the peculiarities of folk icon and local traditions that established in the Old Believer center of Romania. The reviewed documentary sourced were acquired in the course of expeditions and further personal contact with the family. The collected material contains history of the family of iconographers, their lifestyle and customs, conditions for fulfilling the orders that are closely related to the history of this rural locality and way of life of the Nekrasov Cossacks. The research is of applied nature in the area of art history, as well as of interdisciplinary in nature. The article employs the methods of stylistic and historical-cultural analysis; biographical method for reconstruction of biography of the family members and their artistic heritage. New records on the dynasty of Romanian iconographers are introduced, which expands the information on the Lipovan icon and indicate regional peculiarities of its creation. The author also introduces the new names and monuments of iconography into the scientific discourse that allows clarifying the attribution. The artistic heritage of iconographers of the late XIX – early XX centuries is also introduced into the scientific discourse: Rogachevsky-Nikita; in the XX century – Egor Nikitovich Nikita and Roman Egorovich Nikita.
Citations count: 1
Reference:
Cao T., Le H. —
The Vietnamese Dance Academy and its role in the formation of the national choreographic education system
// Culture and Art.
– 2023. – ¹ 8.
– P. 96 - 111.
DOI: 10.7256/2454-0625.2023.8.43683 EDN: VSVOSB URL: https://en.nbpublish.com/library_read_article.php?id=43683
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Abstract:
The article highlights the history of the formation and the main stages of the activity of the Vietnamese Dance Academy, which has secured the reputation of the leading national choreographic school of Vietnam. In the context of the historical and cultural process, it is shown how the tasks of the school's activities and its status changed over time and in accordance with changes in the priorities of the state cultural policy. There are three stages in the development of an educational institution. In accordance with the spirit of the times, the school underwent changes, was transformed into the Vietnamese College of Dance, then into the Vietnamese Academy of Dance. The initial period of the school's activity is associated with the process of professionalization of choreographic art and the institutionalization of the national ballet. The transitional stage was the transformation of the school into a Vietnamese dance College, when the potential was being built up, which later ensured the transition to an Academy engaged in training highly professional personnel at the level of secondary and higher education. The importance of the Soviet system of integrative choreographic education at the initial stage is shown. For the first time, the question of the personal contribution of Soviet teachers Y.E. Brunak and H.F. Mustaev to the formation of the Vietnamese system of professional choreographic education is highlighted. On the basis of a combination of general scientific and special methods, including chronological, typological, historiographical methods, methods of comparative and source analysis, new facts on the history of the formation and development of the choreographic education system of Vietnam are established and introduced into scientific circulation. The educational, methodological, scientific and international directions of the Academy's activities at the present stage are highlighted. The author deals with the problems of modern development and prospects for development in the near future. It is concluded that the Vietnamese Dance School is the first educational institution in the history of Vietnam that provides professional training for a previously non-existent type of ballet performing art in Vietnam.
Citations count: 1
Reference:
GAO G. —
Research of methods of analysis and visual transmission of cultural heritage in the design of the city brand
// Culture and Art.
– 2025. – ¹ 7.
– P. 32 - 48.
DOI: 10.7256/2454-0625.2025.7.75110 EDN: BHMNFB URL: https://en.nbpublish.com/library_read_article.php?id=75110
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Abstract:
The subject of the research is the expression of local cultural heritage elements in the visual system of the city brand and the methods of their visual translation. The object of the research is the elements of cultural heritage in the visual system of the city brand. Unlike the author's previous publication in the journal, this paper proposes for discussion a three-level way of expression: "cultural purification - form reconstruction - visual communication". Three translation methods are analyzed in detail: purification and recoding of symbols, pattern deconstruction and rhythm reorganization, as well as reconstruction and symbolization of the regional color spectrum. This study is devoted to the artistic expression of local cultural heritage in the design of visual elements of the city brand and substantiates how cultural symbols are translated into the image of the city. A method is used that combines theoretical research with case studies: collection and analysis of successful practices (Bishan, Luduan, Yunnan). Also semiotic analysis: interpretation of cultural symbols through the prism of the theory of signs (for example: Nuo masks as signs of ritual heritage). Visual Analysis of the Rhythm of Luduan Ornaments: A Field Study at the Stage of “Cultural Purification”. The study found that traditional cultural resources not only strengthen the recognition of urban culture through scientific visual reconstruction, but also expand the communication path of the brand system. This article provides a theoretical basis and methodological recommendations for the visual construction of urban brands, and considers a project path that can expand the possibilities of modern expression of cultural heritage. The scientific novelty of the study lies in overcoming the traditional linear model of “element extraction - simple application” by integrating three interrelated processes: decoding the cultural core, modern design reconstruction and optimization of communicative efficiency. The author develops a three-stage visual model (“cultural purification - formal reconstruction - visual communication”) that systematizes the logic of heritage transmission in urban branding, and also proposes three specific methods - symbolic purification, ornament restructuring and color adaptation - to improve the efficiency and applicability of the theory. Four principles of visual strategy are formulated: simplification, semantic consistency, modern aesthetics and systemic unity. Recommendations are given for integrating cultural heritage into visual systems of different types of city brands.
Citations count: 1
Reference:
Epishin A.S. —
The Representation of Art as the Representation of Power in the Paintings of the 1924 - 1930s from the Collection of the State Revolution Museum
// Culture and Art.
– 2017. – ¹ 5.
– P. 33 - 41.
DOI: 10.7256/2454-0625.2017.5.19799 URL: https://en.nbpublish.com/library_read_article.php?id=19799
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Abstract:
The article considers the paintings from the part of the collection of the State Revolution Museum, formed in the 1924 - 1930's, as a holistic art phenomenon and a visual reconstruction of revolutionary era. The author analyzes the paintings from the position of the official power in order to see the inside of a political utopia, by the eyes of its creators, however, without distorting the objective historical circumstances. The researcher's attention focuses on the method of reconstructing the historical era through its art component. The author believes it is necessary to view reconstruction as intentional and the part of the collection under study - in the process of its perception and interpretation, i.e. phenomenologically, but not as a complete artwork. In his research Epishin applies methodological principles and concepts of such approaches as the social philosophical analysis, historical phenomenology, deconstructivism and hermeneutics. As a result of his research, the author makes a conclusion that being a strategic instrument of the Soviet government, the State Revolution Museum developed ideas and values of the cultural, historical, social and political life of the country. Thus, the pat of the paintings collected in the 1924 - 1930s can be reconstructed by a researcher's intent through concretization as an integral art phemoneon representing an identity marker of the government and the 'memory about the government'.
Citations count: 1
Reference:
Amgalanova M.V. —
Buryat Socialist Culture in Terms of Ideological and Political Messages of the Late 1920's - Early 1930's
// Culture and Art.
– 2018. – ¹ 3.
– P. 1 - 7.
DOI: 10.7256/2454-0625.2018.3.25510 URL: https://en.nbpublish.com/library_read_article.php?id=25510
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Abstract:
The article is devoted to the place and role of ideology in the national and cultural construction of the late 1920's - early 1930's. The subject of the research is the views and opinions as well as social, political and cultural activity of the Buryat intelligentsia that was understood as counter-revolutionary and was conceptualized with such ideologemes as 'borgeous nationalism' or 'pan-mongolism'. As an example, the author of the article analyzes newspaper articles that had a prescriptive nature and required 'self-criticism' from cultural activists. The methodological basis of the research implies the historical-cultural approach, the main methods are historical-cultural, retrospective and narrative. The results of the research demonstrate that when the Buryat culture, national by form and socialist by content, was being formed, it implied those elements of the cultural heritage that were officially understood as 'feudal religious carry-overs' of the exploitative class. Consequently, those who transmitted or translated such ideas, were withdrawn from the socio-cultural space. Pre-revolution Buryat intelligentsia was viewed by the ruling power as an oppositional social group. That had a tragic effect on its status.
Citations count: 1
Reference:
Shumilov K.S. —
Peculiarities of Orchestra Writing in Igor Savinov's Brass Band Compositions
// Culture and Art.
– 2019. – ¹ 12.
– P. 10 - 20.
DOI: 10.7256/2454-0625.2019.12.27538 URL: https://en.nbpublish.com/library_read_article.php?id=27538
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Abstract:
The aim of this research is to analyze peculiarities of Igor Savinov's compositions for orchestra band. Shumilov has chosen to study Igor Savinov's works because this composer has made a great contribution to the development of Russian music and instrumentation for brass band. His compositions cover a lot of genres of brass music, march, ordre, fantasy, rhapsody, overture, poem, ballad, concert and others. Savinov composed works of each genre and accumulated all the best features of brass music scores. Savinov's works have been popular with the audience and concert performers. The method of studying orchestra writing is based on the experience of analysing particularities of orchestra texture, expressive and shape-generating role of timbre and interpretation of orchestra means. The main research goals were to give aesthetical evaluation of Savinov's compositions for brass band, to describe genres and styles of his themes, peculiarities of his tembre and quality changes in the timbre texture, to discover typical features of Savinov's orchestra writing in interpretation of instrumental means of brass orchestra, to understand succession and the use of orchestration principles in Russian and Soviet classical music. For the first time in the academic literature Shumilov analyzes the problems of modern instrumentation for brass band in terms of Igor Savinov's individual style and overall evolution of orchestra music since the 1980s. This allowed to define individual features of the composer's orchestra writing.
Citations count: 1
Reference:
Volodina A.V. —
Deleuzian theory of affect: aesthetic problematic
// Culture and Art.
– 2019. – ¹ 12.
– P. 35 - 45.
DOI: 10.7256/2454-0625.2019.12.31729 URL: https://en.nbpublish.com/library_read_article.php?id=31729
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Abstract:
The subject of this research is the philosophical theory of affect developed by Gilles Deleuze that found its reflection in the works of modern philosophers and theoreticians of culture. The article covers the genesis of Deleuzian interpretation of the affect emerged on the basis of Baruch Spinoza’s concept, as well examines the specificity of affect as a collective preindividual emotion, dynamic intensity representing the ability to influence and be influenced. Nonpsychological and nonvisual nature are determined as the key characteristics of affective event. The research combines the historical-philosophical approach in interpretation of the texts of G. Deleuze, B. Massumi, T.Brennan, and other philosopher and theoreticians of culture engages in this problematic, as well as Deleuzian immanentistic approach to aesthetics and philosophy of art and culture. It is proven that Deleuzian problematic of affect, which is insufficiently studied within Russian literature, requires unfolding on the materials of art; this is substantiated by the fact that namely the situation of the encounter with art allows not only conceptualizing affect as the influence and enduring influence, but also trace its dynamics (as an inseparable aspects of existence and functioning of the affect). Diversified, resonant and tangible nature of the affect, in turn, suggests the tools for comprehending the changeability, fluctuation and dynamicity of the modern sociocultural processes.
Citations count: 1
Reference:
Ushkarev A. —
Audience of Art Museums: History and Methodology of Studying in Russia
// Culture and Art.
– 2017. – ¹ 7.
– P. 36 - 49.
DOI: 10.7256/2454-0625.2017.7.22278 URL: https://en.nbpublish.com/library_read_article.php?id=22278
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Abstract:
The subject of the research is Russia's experience in studying the audience of art museums as well as development of the sociological research methodology that can be applied to analyse the audience of art museums. The object of the research is the research articles devoted to sociological surveys of the art museum audience in Russia starting from the 20s of the XXth century. The author focuses on the modern state of the relationship between art museums and audience. This allows to trace back the evolution of how museums have understood their audience as well as define particular research methods, identify the problem situation and outline the priority tasks in the sociological study of the art museum audience. The author applies the dialectical approach to studying the experience of social resaerch of the art audience. The research also involves materials that have had the greatest influence on the evolution of the concept of the art museum audience and their research methodology. The main result of the study is the reconstruction of the real picture and the degree of study as the characteristics of the audience of art museums, and the basic patterns of consumer behavior in relation to art. A large number of publications on the results of concrete sociological studies of the audience of museums, held by generations of scientists and museum enthusiasts with different goals and at different scientific and methodological levels, sometimes creates the illusory impression that most problems in this area have already been resolved. However, insufficient understanding of some important patterns of consumer behavior preserves the general problematic situation, which manifests itself in the existence of communication barriers between museums and the audience.
Citations count: 1
Reference:
Timoshchuk E.A. —
Phenomenological and Aesthetic Construction of Religion
// Culture and Art.
– 2017. – ¹ 7.
– P. 20 - 35.
DOI: 10.7256/2454-0625.2017.7.23168 URL: https://en.nbpublish.com/library_read_article.php?id=23168
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The object of this research is the representation of the religious in modern descriptive philosophical models. The subject of the research is religion taken as a phenomenon and aisthesis. The author examined the evolution of the phenomenological-aesthetic construction of religion from the enthusiastic reception of R. Otto to the crisis of the intuitive-essentialist phenomenology of religion. Assuming that the resources of this paradigma are not yet exhausted, the researcher illuminates other branches such as the aesthetic phenomenological representation of religion associated with the Munich group of philosophers, the intentional phenomenology of religion that goes through Ingarden. Particular attention is paid to the integral function of phenomenology and aesthetics. The research was carried out mainly with the help of general scientific methods of the theoretical level: comparative, genetic, systemic, and structural types of analyzes. General scientific methods of the empirical level are represented by the account and frequency analysis. As general scientific methods, the author relied on analysis / synthesis, abstraction / concretization, and generalization / restriction. From the private scientific philosophical methods, hermeneutics was used. The toolkit of scientific research includes arrays of scientific knowledge such as rsl.ru, elibrary.ru, google.scholar.ru. The main findings of the study are: 1) the aesthetics and phenomenology of religion are presented as a methodology for transcending religious and cultural differences; 2) the emphasis of intentional phenomenology on the accuracy of the sociocultural description of religion instead of the incomprehensibility of religious entities facilitates the disclosure of beliefs as self-constituting life-worlds, while religion is a form of sociocultural identity and its ontological status entirely depends on the intentionality of participants in a particular social group, which makes religion similar to art; 3) despite the fact that most religions claim the exclusivity of their dogmas, an intentional analysis of the history of their origins allows us to confidently assert that the objects of their faith are rooted in the socio-historical context and are projective entities rooted in the aesthetic structure of consciousness. A special contribution of the author to the study of the topic is the phenomenological-aesthetic constituting of the sociocultural network of being. The novelty of the research consists in conjugation of the individualized vital worlds of science and religion and the attempt of their totalizing theorization through a phenomenological-aesthetic paradigm. The scope of the application of these results includes media policy, intercultural communication, and art criticism.
Citations count: 1
Reference:
Tkacheva D. —
Between Art and Society. To the Problem of Definition of 'Public Art'
// Culture and Art.
– 2017. – ¹ 12.
– P. 77 - 84.
DOI: 10.7256/2454-0625.2017.12.24383 URL: https://en.nbpublish.com/library_read_article.php?id=24383
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Abstract:
In her research Tkacheva studies various points of view on the definition of 'public art' and analyses this term from the point of view of polysemy of its components. The research results demonstrate the connection between reviewing key concepts of aesthetics under the influence of post-modernism ideas and conceptualism and development of a new direction in art. Special attention is paid to features of perception and use of the term "public art" in Russia. On the one hand, the author gives examples of it as western practice, on the other hand, reviews attempts of the Russian academic community to give their own definition based on the sociocultural and historical specifics. The method of the bibliographic analysis has been used for this research. In the course of the research the author analyzes analytical texts that describe various points of view both on contents of the term 'public art', and on the perspective of interaction between art and society in general. As a result of the research the author analyzes key approaches to interpretation of the concept 'public' as the main component of the term 'public art'. The choice between understanding 'public' as characteristics of the place, character of problems which the artist addresses or as a way of communication, leads to emergence of various art strategy within one phenomenon. On the one hand, this defines its mobility and variability, and on the other hand, allows to define the main borders of the considered concept.
Citations count: 1
Reference:
Osipov S. —
Changing Russia and Changing Bondiana: the Country and People in the Eye of Media Franchise (1962 - 2015)
// Culture and Art.
– 2018. – ¹ 6.
– P. 25 - 54.
DOI: 10.7256/2454-0625.2018.6.26463 URL: https://en.nbpublish.com/library_read_article.php?id=26463
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The subject of the research is the changing image of the USSR / Russia as it has been reflected by the popular media franchise about James Bond during the period since 1962 till 2015. In his research Osipov traces back the intensity, viability and particularities of using Soviet / Russian themes over 50 years in terms of developing relations between the USSR / Russia and the West including political, social, cultural and other features. Osipov describes different periods of mentioning the Soviet Union / Russia in the movies about James Bond, with a different degree of the depth and criticism of the USSR / Russia image. This interdisciplinary research is devoted to the analysis of the global cultural phenomenon in terms of the political history of the second half of the 20th - beginning of the 21st century. The research is based on the initiative of Russian government to use the 'soft power' that uses quite a limited number of formats. The author pays attention to the success of the multimedia franchise format used by the Western pop culture. Bondiana is viewed as an example of a successful franchise with the political message. By analysing the image of the USSR / Russia in the movies about James Bond, the author of the article has managed to describe the mechanisms of the successful franchise and what image it offered. The author has also assessed the degree of its stereotype/originality. The author concludes that despite the opinion of Soviet film criticism, Bondiana did not create a negative image but was more included to a neutral or even positive image of the USSR. The negative image of Russia of the 90s was objectively founded. Then the image of Russia was replaced with the image of the world terrorism. The interest in Soviet / Russian themes falls on the second hlf of the 70s - mid 80s and mid 90s which was directly related to the political processes ongoing in the world back in those times.
Citations count: 1
Reference:
Krevchenko E.V. —
The symbolism of mappae mundi: genesis and evolution of historical images
// Culture and Art.
– 2020. – ¹ 1.
– P. 43 - 55.
DOI: 10.7256/2454-0625.2020.1.30247 URL: https://en.nbpublish.com/library_read_article.php?id=30247
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Abstract:
The subject of this research is the genesis and evolution of iconography of historical images in illumination of the medieval monastic maps of the world – mappa mundi. Such images on the maps visually depicted the process of sacred Christian history. The reflection of the sacred history was necessary for introducing the time element into the model of the world represented by mappa mundi map. This moment was important in light of representations on the existing continuity of the world and its history, due to inevitability of realization of the divine plan. For the analysis of iconography of historical images of the maps, the author applied the means of formal, iconological, iconographic and comparative analysis. The medieval illuminated map of the world is views as a complex information matrix, as well as a methodological tool for tracing the historiography of sacred history. The role of medieval maps mappae mundi in comprising the worldview perception of the era until the present remains insufficiently studied not only within the national, but also foreign science.
Citations count: 1
Reference:
Chernova A.V. —
Ceramic art of Russian Primorye
// Culture and Art.
– 2020. – ¹ 3.
– P. 70 - 82.
DOI: 10.7256/2454-0625.2020.3.30669 URL: https://en.nbpublish.com/library_read_article.php?id=30669
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Abstract:
The goal of this work is determination of the development stages of ceramic art in Russian Primorye, as well as their specificity. It is established that the history of ceramic art of this region alongside its current stage are insufficiently studied. The evolution of ceramic art of Primorye is viewed in the context of its manufacture and production. The author examines the role of the three major factories – Vladivostok Porcelain Factory, Artemovsk Porcelain Factory, and Spassky Plant in development of ceramic art of Russian Primorye. The two main development stages of ceramic art in Primorye are determines. The first one includes the activity of porcelain factories in Vladivostok and Artem, as well as pottery plant in Spassk-Dalny, which resulted in the inflow of certified specialists in the area of decorative-applied arts and formation of a unique style of the regional ceramic art. The second one includes the forms of existence of ceramic art in Primorye after closing the factories and creation of private workshops that developed the ceramic branch of decorative-applied art, namely souvenirs, use of pottery and porcelain objects in landscape and interior design, as well as involvement of ceramics in inclusive education.
Citations count: 1
Reference:
Arkhangel'skaya R.I. —
Inquiry into the success of Russian cabaret in Vienna in the 1920’s – 1930’s
// Culture and Art.
– 2019. – ¹ 12.
– P. 28 - 34.
DOI: 10.7256/2454-0625.2019.12.31653 URL: https://en.nbpublish.com/library_read_article.php?id=31653
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Abstract:
The subject of this research is the factors of consistent success of concert tours of the Russian cabaret theatre “The Blue Bird” in Vienna. The author presents a brief review of the various aspects related to the work of Russian theatres abroad. Special attention is paid to the cultural-historical context of Vienna of the 1920’s, in which there was demand for performances of the Russian cabaret theatre. The article describes the Austrian cabaret and its traditions, as well as provides information on the Russian component in the theatrical life of Vienna over the period under consideration. Examination of the memoire and scientific sources allowed obtaining the historical and culturological records. The main conclusion consists in the thesis that in the 1920’s the Russian cabaret theatre had sensational success among the indulged Viennese audience due to the unique qualities unlike anything made in Austria or Germany – theatricality, aesthetism, delicacy, impressive performance, and unique style of conferencier Jascha Juschny. The presented materials may be valuable for further research in the theatrical-aesthetic distinctness of the Russian cabaret theatres in Western Europe, particularly avant-garde in scenography of the Russian artists.
Citations count: 1
Reference:
Li Y. —
Soviet engravings and the Chinese writer Lu Xun
// Culture and Art.
– 2020. – ¹ 3.
– P. 38 - 50.
DOI: 10.7256/2454-0625.2020.3.32397 URL: https://en.nbpublish.com/library_read_article.php?id=32397
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Abstract:
This article analyzes the relations between the Chinese writer Lu Xun and Soviet engravings. Lu Xun is attributed to one of the most prominent Chinese literary figures of the past century. His significant contribution to the development of culture also consists in the fact that in the 1930’s he collected, edited and published a substantial amount of Soviet engravings. This is why his is known in China as the “Founder of the collection of wood engravings”. The article represents an cross-disciplinary research in the field of art history, culturology and literature, particular in the area of history of Soviet art and Chinese literature. The research elucidates the key milestones of life path of Lu Xun, associated with the increase of cultural level of Chinese young students through familiarization of majority of the population with Soviet engraving. However, his relations with the Soviet art, and namely Soviet engraving, are insufficiently covered. The article talks about the forgotten achievements in the area of Soviet arts in China.
Citations count: 1
Reference:
Wang J. —
Expressionism in European and Chinese painting (late XIX – early XXI centuries)
// Culture and Art.
– 2020. – ¹ 5.
– P. 27 - 46.
DOI: 10.7256/2454-0625.2020.5.32729 URL: https://en.nbpublish.com/library_read_article.php?id=32729
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Abstract:
This article examines the impact of Chinese traditional painting upon the formation of Western expressionism, as well as interprets the influence of Western expressionism upon Chinese painting in expressionist manner of different periods. The author reveals the mutual influence, similarities and differences between Western expressionism and Chinese painting in expressionist manner, Chinese imagery oil painting, Chinese colored ink painting, and Chinese imagery painting in Western style. Based on correlation between the spiritual ideology of painting and artistic form, the author carries out a comparative analysis of spiritual and formal factors of Chinese and Western painting systems for the purpose of determination of their mutual influence, and how it affects the emergence of new concepts in painting. The structure of brush stroke of the artist defines his aesthetic spirit. The article determines the “cyclic” nature of interinfluence processes between Chinese and Western painting systems that stimulate the development of human civilization. The analysis of corresponding cultural factors allows assessing the individual artistic characteristics of painting. Both, Chinese and Western painting systems entered the period when spiritual ideology of painting interacts with the artistic forms, opening the era of “globalization” of the language of painting.
Citations count: 1
Reference:
Shevchuk V.G. —
Creative personality as the synthesis of various texts in Russian cultural space of the early XX century
// Culture and Art.
– 2020. – ¹ 12.
– P. 99 - 115.
DOI: 10.7256/2454-0625.2020.12.34650 URL: https://en.nbpublish.com/library_read_article.php?id=34650
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Abstract:
This article conducts culturological analysis of the diversity of intercultural communications in Russian culture of the early XX century. Cultural space as the text of culture of that time is characterized by a transitional state, synthetic and dialogical focus. The phenomenon of Russian culture consist in the intelligentsia represented by the cultural figures of the Silver Age and avant-garde, who have creative way of thinking and propensity for new achievements in art. The object of this research is the “textuality"”of Russian cultural space of the early XX century, which is comprised of a range of texts and semiotic systems. The subject is the creative minds interpreting as the text of personality. The leading theme became the determination of interaction and mutual influence of the phenomena of culture, dialogue between creative minds, interested in the problems of synthesis of arts, within the cultural-textual space. The novelty of this work is defined by insufficient coverage in culturology of the problem of interrelation between creative personality and text in culture of the Silver Age and the avant-garde. It is established that the cultural space of Russian avant-garde can be viewed as a “meta-semiotic formation”, which includes texts and “metatext”. Personality of the cultural figure as the foundation for classification of texts is referred to as “metatext”. Classification of texts consists of the verbal text (theoretical and literary texts, literature, epistolary) and nonverbal text (texts of behavior, everyday life, era). Literary texts of the cultural figures of the Silver Age contain texts of the works of art: painting, musical, poetic, prosaic, as well as critical reviews on art, manifestos, and others. Nonverbal texts include theatricalization of behavior, creative life, and mythologization of personality, which form the identification code of creative personality of the Silver Age that gravitates towards the synthesis of arts. It is determined that the period of development of Russian cultural space of Russia of the early XX century is characterized by such peculiarities as: synthetical nature, innovation of artistic language that consists of visual, verbal and audial texts on the basis of synthesis of painting, poetry and music.
Citations count: 1
Reference:
Panaiotidi E.G. —
Musical Persona as a Bearer of Emotion
// Culture and Art.
– 2017. – ¹ 4.
– P. 25 - 40.
DOI: 10.7256/2454-0625.2017.4.17610 URL: https://en.nbpublish.com/library_read_article.php?id=17610
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Abstract:
The article deals with the notion of musical persona as it is employed in the discussion of musical expressiveness in the analitic philosophy of music. The main part of the paper is devoted to the account of musical expressiveness put forward by Jerrold Levinson, in which the notion of musical persona acquires central role. It includes a detailed analysis of different versions of Levinson’s definition of musical expressiveness which is subsequently compared to one suggested by Saam Trivedi and evaluated in terms of Levinson’s own criteria for a tenable theory of musical expressiveness. The main research method used by the author of the article is the analysis and explication of the key concepts and argumentative strategy that lies at the heart of Jerrold Levinson's theory. The author of the article has also used the historical parallel and comparative methods. The author views the notion of musical persona based on the material that is being mentioned in Russian philosophical literature for the first time. The article presents a detailed analysis of Jerrold Levinson's concept of emotional expressiveness and as a result of this analysis, the author comes to the conclusion that the explicative potential of the strategy that is based on the notion of persona has certain limits.
Citations count: 1
Reference:
Kuvatova V.Z. —
Semantic and Compositional Interconnections Between Compositions Depicted on the Western Wall of the Early Christian Mausoleum 'Exodus Chapel'
// Culture and Art.
– 2018. – ¹ 4.
– P. 17 - 32.
DOI: 10.7256/2454-0625.2018.4.26030 URL: https://en.nbpublish.com/library_read_article.php?id=26030
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Abstract:
The object of this research is the iconographic composition of the dome of an early Christian mausoleum that is often referred to as the Exodus Chapel (Bagawat necropolis, Kharga, Egypt). The subject of the research is the compositional and semantic interactions between three compositions depicted on the western wall of the mausoleum. The author of the article examines such aspects of the topic as the mutual location, iconography and semiotic relations between these compositions. She pays special attention to the origin of iconographic types, sequence of how those compositions were created, their interpretation and the place they take in a range of Egyptian and Eastern Mediterranean memorials of those times. Particular features of the research matter predetermined the author's choice of methods, in particular, the author applied the iconographic approach and methods of historical contextualisation and semiotic analysis as the main research methods. The main conclusion of the research is the author's proved hypothesis that initially the orant entered the Sacrifice of Abraham scene and it was Isaac. Later, as a result of compositions being drawn in a limited space and united according to the gender and virginity features, the orant figure was depicted in a new composition that was most likely to be devoted to the deceased. The author's special contribution to the topic is her analysis of the influence of the mainstream and local artistic traditions on early Christian funeral art of the Kharga Oasis. The novelty of the research is caused by the fact that the author defines probable stages of creation of that group of compositions and clarifies precedent hypotheses about their semantics. The author also evaluates the role of the memorial in the history of the Coptic Art development.
Citations count: 1
Reference:
Zavyalova N.A. —
Word as the Core Element of the Sense-Making Process in Contemporary Culture of Russia, the USA and China
// Culture and Art.
– 2018. – ¹ 6.
– P. 13 - 24.
DOI: 10.7256/2454-0625.2018.6.26468 URL: https://en.nbpublish.com/library_read_article.php?id=26468
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Abstract:
The object of the research is the decorative art, paintings, and installations that contain both phrases and words. Based on the analysis of the art work of an Ural artist Udmurt, American artist Barbara Kruger, and Chinese calligrapher Vand Gu, the author of the article describes stages in the evolution of the role of the word in the artwork of Russia, the USA and China. The subject of the research is the role of words in the overall canvas of an artwork in synchronic and diachronic aspects. The hypothesis of the research is that in terms of contemporary fine art, word plays an extremely important role which is not confined to the sphere of decorative arts but comporises the core element of the sense-making process in general. The methodology of the research implies the systems approach to cultural research. According to this approach, culture is a whole phenomenon that consists of individual mechanisms interacting with one another based on the general principle. In her research Zavyalova appeals to the studies of both Russian and foreign art experts, art critics and cultural researchers such as M. Vaymugina, M. Davydenko, V. Dyakonova, A.Zubareva, Vl. Lukov, V. Razakov, V. Woolf, Yu. Kharari, and R. Zajonc. The results of the research may be applied for cross-cultural description of contemporary art. The author's contribution is her statement that games with words, written symbols and phrases brings a new global meaning to contemporary fine arts. As a result of the research, the author has discovered important strategies of the Post Modernism such as citationality, collaging, and picturing objects as an artists sees them to the detriment of their realistic image, double actualization of meanings, mysteriousness, anonymity and deliberate play with the audience.
Citations count: 1
Reference:
Fusu L.I. —
Liminality in Russian Folklore
// Culture and Art.
– 2019. – ¹ 9.
– P. 22 - 27.
DOI: 10.7256/2454-0625.2019.9.30492 URL: https://en.nbpublish.com/library_read_article.php?id=30492
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Abstract:
The subject of the research is liminality in Russian folklore. In his article Fusu aanlyzes liminality as a typical feature of Russian folk culture caused by its adherence to pluralism and immensity. This specific feature of mentality is expressed in folklore as the core of etnic mind and national spirit. Fusu analyzes chronotopes, characters and narrative features of Russian fairy tales in which liminal locations and liminal characters are a frequent case. Fusu discusses how initiation rituals that imply liminality and transfer are expressed in fairy tales. To write this article, the author has used the historical-culturological, structural and comparative approaches. The research methodology also includes psychoanalysis that allows to interpret liminality as a longtime immersion into the unconscious and functioning of psyche at the borderline level. The author's special contribution to the topic is the anlaysis of how liminailty is expressed in Russian folklore based on the example of fairy tales and the author's conclusion that as the core of national everyday consciousness, folklore reflects boundedness typical for the world view and attitude of Russian ethnos. Liminal spaces and liminal characters in folklore tales reflect inherency of liminality from life and personality development.
Citations count: 1
Reference:
Rozin V.M. —
“Cultures is the content of education” (Efim I. Passov’s revolutionary concept of foreign-language education)
// Culture and Art.
– 2021. – ¹ 5.
– P. 47 - 57.
DOI: 10.7256/2454-0625.2021.5.35498 URL: https://en.nbpublish.com/library_read_article.php?id=35498
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Abstract:
This article discusses the concept of foreign-language education of E. Passov. The author divides this concept into two parts: the first represents a general new concept of education with culturological and personalistic orientation; while the second represents concretization of this concept in relation to teaching foreign languages. Analysis is conducted on the definitions of communication and situation introduced by E. Passov, which mediate V. S. Bibler’s concept of the “dialogue of cultures” and the new semiotically communicative practice of teaching foreign language. The author demonstrates that E. Passov offers fundamental restructuring of the paradigm foundations of education, orienting it towards the dialogue of cultures, individualization, communication, equal horizontal relations teacher – student relations. Instead of cognition and digestion of normative contents, the puts the desire and motivation to learning alongside spiritual becoming and competence of creative activity to the forefront of the educational process. The author analyzes the method and means of specification of the general foreign-language concept of education offered by E. Passov – modeling of culture, classification of communication situations and language meanings, techniques and technologies used in foreign-language education. Attention is given to the fact that E. Passov has a nontraditional perspective upon techniques and technology – as the competencies and abilities developed by a young person in the course of education.
Citations count: 1
Reference:
Kirillova A.N., Belomytsev A.A. —
Semantic oscillations of supporting music of the ancient cult as the foundation of metamodernism elements in the works of contemporary opera directors
// Culture and Art.
– 2021. – ¹ 8.
– P. 11 - 19.
DOI: 10.7256/2454-0625.2021.8.36335 URL: https://en.nbpublish.com/library_read_article.php?id=36335
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Abstract:
In recent decade, modernism as one of the varieties of post-postmodernism, draws interest of the researchers. It is suggested that modern culture has transgressed the situation of postmodernism, gravitating towards conceptual and semantic sustainability. As a language of self-description of the new era, the foundations of metamodernism are reflected in various forms of art. The opera house, overcoming the inertia of conservatism, perceives these trends, refracting them in a characteristic oscillation between the extreme semantic poles, which formed during the period of antiquity. The subject of this research is the correlation between the ancient musical heritage and metamodernistic trends in the modern opera theater. It is determined that translation of the principles of musical score of the ancient cult within the framework of the works of modern opera directors implies the characteristic to the supporting music of the cult forms of Ancient Greece and Rome oscillation between the poles of monophony – polyphony, instrumentality of accompaniment – a cappella, improvisational – preset of musical pieces. Paradigmatic assimilation of the fluctuations inherent to the cult of antiquity, as well as the absence of intentionality in their manifestations (which partially reflects the religious-ecstatic procedurality of art), largely determine the specific attributes of metamodernism, emphasized in the works of R. Castellucci, P. Sellars, R. Wilson, and D. Chernyakov.
Citations count: 1
Reference:
Rozin V.M. —
From the concept of technogenic civilization to the concepts of post-culture and culture-congruent technology
// Culture and Art.
– 2020. – ¹ 8.
– P. 34 - 47.
DOI: 10.7256/2454-0625.2020.8.33488 URL: https://en.nbpublish.com/library_read_article.php?id=33488
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Abstract:
This article examines the concept of technogenic civilization outlined by the academician V. S. Stepin. The factors of its ponderability and disadvantages are subjected to analysis: F. Vacon's historical project of mastering natural processes, focus of social institutions on implementation of this project, negative consequences thereof. The author discusses the methods for overcoming such consequences. According to Stepin, the way out consists not in rejection of the scientific and technological progress, but in attribution of humanistic dimension to it; another opinion (expressed by the biologist Timofeev-Resovsky) ‒ maximum usage of modern sciences and engineering, as well as reasonable and rational management. The author formulates the original concept: from his perspective, modern culture is being replaced by a new culture, which he names “post-culture”, forming a culture-congruent technology necessary for solving problems and tasks of the post-culture. A brief description is given to the idea of post-culture and the alternatives that may have to be addressed in the course of its establishment, for example, to problem of life preservation on the Earth. The author articulates and discusses the problem, as well as constructs the pattern of transition from the concept of technogenic civilization to the concepts of post-culture and culture-congruent technology.
Citations count: 1
Reference:
Rakova O.A., Rakov M.P. —
Religious painting by Alexander Smirnov in line with the traditions of Slavic culture
// Culture and Art.
– 2022. – ¹ 7.
– P. 57 - 67.
DOI: 10.7256/2454-0625.2022.7.38317 EDN: ACYEOH URL: https://en.nbpublish.com/library_read_article.php?id=38317
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Abstract:
The author of this article aims to reveal the features of Alexander Smirnov's religious painting in the context of the general culture of the Slavic peoples. This analysis is based on the diptych of the specified author, consisting of two samples of fine art – "Wonderful fishing" and "Blessing of loaves", whose creation history dates back to 1991-1993. The structure of the article is conditionally divided into two parts, the first of which is devoted to the analysis of the plastic language of the diptych in line with the traditions of Slavic culture. The organizational structure of the diptych is analyzed through the prism of traditional Russian symbols. The continuity of some forms of expression and their transformation in the key of religious contemporary art is considered. In the second section, from the point of view of compositional integrity, Alexander Smirnov's diptych "Wonderful Fishing" and "The Blessing of Loaves" is analyzed. The semantic and aesthetic component of this diptych is also considered through the analysis of rhythmic and compositional constructions. Comparison, analysis and synthesis are used as research methods. As a result of the conducted research, it was found that the use of artistic plastic language turns out to be necessary for the master, since it allows him to conduct a dialogue with the recipient, revealing to him the full depth of the essence of the gospel tragedy. It is no coincidence that the basis of the diptych is the Christian teaching, which most fully reflects the phenomenon of human existence, echoing with modernity.
Citations count: 1
Reference:
Kalaikova I.V., Pankina M.V. —
Choice as an object of cultural studies
// Culture and Art.
– 2022. – ¹ 7.
– P. 31 - 42.
DOI: 10.7256/2454-0625.2022.7.38527 EDN: BBGJWX URL: https://en.nbpublish.com/library_read_article.php?id=38527
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Abstract:
The object of the research is the representation of the phenomenon of "choice" through the optics of modern scientific works in various fields. The subject is a culturological approach to the formation of modern knowledge about choice. Modern researchers, although they do not exclude cultural determinants in the formation of choice, however, relatively little attention is paid to culturally conditioned practices of making a choice regarding the interpretation of individual aspects of choice, principles and laws of rational and irrational choice, problems of consciousness and freedom of choice. The purpose of the work is to reconstruct current interpretations of choice and methods of choice research, as well as to determine the place of culture in the structure of modern knowledge about choice through a theoretical analysis of the corpus of modern scientific works (primarily foreign articles), the subject of which is "choice" in its many manifestations: psychological and socio-cultural aspects of choice, the share and the value of rationality in choice research, the possibility of making a "free choice", the agency of choice, etc. It is shown that the choice as a process and result is based on cultural, social and psychological factors, which are based on knowledge internalized by the subject, externally distributed among a variety of social and material agents. Studies of choice in various disciplines do not completely ignore the potential influence of socio-cultural factors on choice and the process of its formation. It is possible to determine the nature and extent of this impact in a comprehensive and interdisciplinary manner within the framework of cultural research. The study of choice as a set of cultural practices should take place under the auspices of various sciences, whose approaches will allow multidimensional construction of cultural practices taking into account technical, material, epistemological, semiotic and normative dimensions.
Citations count: 1
Reference:
Kulemin A.E. —
Archaic in the art of place: land art
// Culture and Art.
– 2024. – ¹ 5.
– P. 112 - 121.
DOI: 10.7256/2454-0625.2024.5.40918 EDN: EQFKWV URL: https://en.nbpublish.com/library_read_article.php?id=40918
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Abstract:
This article is devoted to the study of the manifestations of the artistic language of archaic art in such a direction of modern art as land art. The purpose of the article is to identify some of the prerequisites and goals of the appeal of land art artists to the discourse of archaic art through the visual language of archaic art and to reveal the features, motives and mechanisms of this language on the basis of cultural and art criticism analysis of land art art projects. The subject of the research is the artistic language of archaic art; the object is the artistic works and land art projects of British and American artists: A. Goldsworthy, R. Long, R. Smithson. The scientific novelty is due to the lack of research on land art as an example of the manifestations of the actualization of the archaic discourse in the modern world. As a result of the research, the prerequisites for the relevance of archaic artistic forms in land art are determined in the form of a general actualization of the archaic discourse in culture and the need to develop a new artistic language of interaction between man and nature. Using the example of land art projects, archaic forms are considered as a tool for constructing an artistic space that allows expanding the viewer's emotional interaction with nature. Examples of the use of characteristic archaic archetypal signs and symbols by land art artists in order to create an intuitively readable image of a mythological space are analyzed. The absence of a context of direct appeal to real archaic beliefs and sacred practices is revealed. A parallel is drawn between the method of direct interaction with nature when creating works of art by British land art authors with a minimal presence of a transformative aspect in economic activity in the archaic.
Citations count: 1
Reference:
Sapanzha O.S. —
The works of the Leningrad art industry enterprises of the second half of the twentieth century and their role in the organization of the living environment (on the example of the products of the Leningrad Enamel plant)
// Culture and Art.
– 2023. – ¹ 11.
– P. 42 - 57.
DOI: 10.7256/2454-0625.2023.11.68976 EDN: FVCAWI URL: https://en.nbpublish.com/library_read_article.php?id=68976
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Abstract:
During the last decade scientific interest of the Soviet period consumer goods has been increasing in the context of global political processes, on the one hand, and from the point of view of the organization of the living environment, on the other. The post-war and the late Soviet period consumer goods are interesting for analysis, since they are connected with the state policy of the everyday life of a Soviet citizen. Since the late 1940s, the formation of the consumer goods has been taking place on three levels of everyday culture: the space of the body, the space of the house, the space of the city. The article examines the problem of transition from an environment filled with private objects (1950s) to a single concept of the organization of the environment – design (1960s), using the example of the products of Leningrad art industry enterprises and archival materials (enterprise reports). The study of the material filling of the everyday space of the Soviet are citizen within the framework of the culturological approach assumed the use of a structural and functional method. As part of archival research, a source–based assessment of materials was carried out – annual reports of enterprises. When analyzing the works – products of the art industry enterprises, a set of art criticism methods was used. The materials of the Leningrad Enamel artel/plant are presented for the first time, some samples of the company's products are selected and analyzed in the context of changing stylistic coordinates and the formation of technical aesthetics. Based on the analysis of the degree of study of the porcelain and textile industry of Leningrad in the post-war and late Soviet periods, the conclusion is made about the importance of studying the problem of transition from a stylistic marker of the subject component of the living environment to a design one. This transition is demonstrated by the example of the history and some works from the assortment of the Leningrad Enamel company. Archival materials made it possible to expand the understanding of the history of the enterprise, the circumstances of the transfer of the artel to state administration and the making of products in accordance with the requirements of decorative minimalism. The analysis of artistically designed household goods (cigarette cases, compact boxes) confirms the theses not only about the formal change of artistic language, but also about the formation of ideas about a new living environment.
Citations count: 1
Reference:
Han D. —
Features of artistic presentation of images of people's leaders in the context of the development of the system of realistic painting in China in the XX – early XXI century
// Culture and Art.
– 2024. – ¹ 8.
– P. 94 - 109.
DOI: 10.7256/2454-0625.2024.8.71390 EDN: YRDWXA URL: https://en.nbpublish.com/library_read_article.php?id=71390
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Abstract:
The article shows how the attitude of Chinese artists towards the ideological content and methods of artistic presentation of the image of the people's leader has changed in the context of changes in approaches to realism. Two genres were chosen as the reference material: portrait and story painting, in which this image developed continuously and consistently throughout the time period under consideration. The study showed that the image of the leader in Chinese painting is closely related to realism, as it assumes a fairly accurate depiction of a person. The changes in the image of the leader were the results of the transformation of the attitude of artists towards approaches and methods of artistic expression. Using the example of the work of Chinese masters, continuous and deep reflections on the relationship between art, people and society are traced. The research is based on elements of a cultural approach and hermeneutical method combined with descriptive and comparative methods used to analyze the ideological content of works and elements of the figurative system of Chinese realistic painting. Interdisciplinary, historical, cultural and sociocultural approaches were used, as well as special methods of art criticism, in particular the principles of iconographic and iconological analysis. The object of research is Chinese portrait and subject painting of the XX – early XXI century. The subject of the study is the process of forming and changing the ways of presentation and ideological content of the image of the leader in Chinese painting of the specified period, its elements and structure. The purpose of the study is to determine through the transformations that took place in the system of realistic painting in China their influence on the ways of artistic interpretation and depiction of the image of the leader in a portrait and thematic painting, including in the historical genre. This makes it possible to find out the influence of the power and positions of the authors on the artistic process, as well as to determine the interaction of the masters with the society that focuses on such images and forms a request for them, which makes it possible to make a balanced assessment of the art of this period.
Citations count: 1
Reference:
Kalitzky V.V. —
Toward the Origins of the Concertmaster-Pianist’s Profession: The Art of Maestro al Cembalo
// Culture and Art.
– 2025. – ¹ 3.
– P. 1 - 9.
DOI: 10.7256/2454-0625.2025.3.73373 EDN: OZGRIM URL: https://en.nbpublish.com/library_read_article.php?id=73373
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Abstract:
The relevance of the research lies in the urgent need for modern musicology to reconstruct the profession of a concert pianist. The subject of the study is the art of maestro al cembalo. The object of the research is the work of maestro al cembalo and the features of his creative activity. The purpose of the research is to study the process of formation of the initial stage of the development of the profession of a concert pianist, which spanned the period from the late Renaissance to classicism. Research objectives: to highlight the main characteristics of joint performance using basso continuo; to provide information about the specific skills and knowledge that maestro al cembalo should have possessed; to show the importance of these musicians in the musical performances, as well as in the evolution of musical creativity; to present portraits of the most significant representatives of this profession. The author of the study focuses on the influence of the maestro al cembalo’s art on the formation of European concertmaster schools. To disclose the author's stated topic, the following methods are used: anthropological, hermeneutic, comparative-historical, theoretical, and analytical. A special contribution of the author is the search, analysis, and systematization of archival materials from Italian theaters and city archives, based on which information about the life, work, and specifics of the maestro al cembalo’s creative and pedagogical work has been introduced into scientific circulation. The main conclusions of the study show that the most important principles of professional activity of a modern pianist-concertmaster of a musical theater were formed several centuries ago. The results obtained can be applied both in conducting courses on the theory and history of performing arts and in the practical activities of modern concert pianists. The study’s conclusions allow us to form a clear picture of the initial stage of the formation of concertmaster art and trace its leading trends, which will be reflected in the subsequent development of this creative specialty.
Citations count: 1
Reference:
Litvikh E.V., Shi J. —
On The Technical and Expressive Features of Chinese Cello Music, Using the Example of the Cycle "Seven Tunes Heard In China" by Sheng Zongliang (Bright Sheng)
// Culture and Art.
– 2025. – ¹ 11.
– P. 1 - 18.
DOI: 10.7256/2454-0625.2025.11.76475 EDN: FBXEDJ URL: https://en.nbpublish.com/library_read_article.php?id=76475
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Abstract:
The subject of this article is the suite Seven Tunes Heard in China by Sheng Zongliang (Bright Sheng), examined in two aspects: as one of the outstanding works of contemporary Chinese composers for cello and as an example of musical multiculturalism. Particular attention is paid to the synthesis of various stylistic influences, which is manifested in all components of the musical language of the work: modal organization, rhythm, texture, timbre, and performing technique. The authors of the article analyze the methods and techniques for working with musical material borrowed by the composer from both Chinese traditional music and a number of European styles and movements. They also examine the cultural connotations of the composer's expressive means (in particular, the symbolic significance of imitating the guqin's sound and associative "references" to the music of J. S. Bach). The multicultural nature of the work under study prompted the authors to employ a comparative cultural method. A holistic analysis of the musical work was also employed. The scientific novelty of this article lies in its detailed, comprehensive analysis of various aspects of the work under study, reflecting their synthetic, multicultural nature, which manifests itself at all levels of the composition—in musical language, the structure of the cycle, and musical and aesthetic principles. The conceptual and symbolic function of Bach's stylistic features and the imitation of guqin playing in Sheng's suite are revealed; conceptual parallels are drawn between Sheng Zongliang's Seven Tunes Heard in China" and Tan Dun's Ghost Opera. The authors conclude that Seven Tunes Heard in China played a significant role in the development of Chinese cello music, as well as the mutually enriching nature of the intercultural interaction embodied in Sheng Zongliang's suite. Specifically, applying Western methods of polyphonic development to traditional Chinese melodies reveals new expressive possibilities. At the same time, the introduction of sound production techniques borrowed from traditional Chinese instruments into cello music enriches the cello's technical arsenal and timbral palette, and contributes to the rapidly expanding range of performance techniques in avant-garde music.
Citations count: 1
Reference:
Rozhkova N. —
Literary Creation of Hermann Hesse in the Dialogue between Orient and West
// Culture and Art.
– 2017. – ¹ 3.
– P. 17 - 30.
DOI: 10.7256/2454-0625.2017.3.20191 URL: https://en.nbpublish.com/library_read_article.php?id=20191
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Abstract:
The subject of this research is the role of Herman Hesse's philosophy and literature in the dialogue between Oriental and Western cultures. The interaction of these two cultures in the XIX century received a new impulse as a mutual interest of the intellectual elites. The author of the article studies Oriental philosophy and arts by Schopenhauer, Schlegel brothers, Goethe, Novalis, J.G. Herder, G.W.F. Hegel, as well as many other outstanding representatives of Western culture coincided with the approaching of its ideological crisis. The present research has three objectives: to define the status of Eastern philosophy in Hermann Hesse's worldview, to describe types of Eastern culture elements in his creative work and to determine the role of Hermann Hesse's writings in the dialogue between Oriental and Western cultures. The research methodology involves analysis of Hermann Hesse's texts, determination of his key ideas and philosophical motifs typical for Eastern culture and the role of Eastern culture in the writer's worldview development. The novelty of the research is caused by the fact that the author defines the level of penetration of Oriental culture and traditions into the creative ideas of the German writer and establishes the degree of influence of these ideas on his outlook. In particular, the influence of the Orient is represented by plot, factual, ideological, thematic and philosophical elements in his writings. Noteworthy that the writer's worldview kept the main value orientations typical for Western culture. Hermann Hesse's writings are especially interesting to be studied at our age of globalization because they prove the unity of spirits important for all humanity.
Citations count: 1
Reference:
Murashova N.S. —
Historiography of the Study of Musical-Stylistic Features in Old Believers' Spiritual Verses
// Culture and Art.
– 2017. – ¹ 9.
– P. 125 - 142.
DOI: 10.7256/2454-0625.2017.9.24063 URL: https://en.nbpublish.com/library_read_article.php?id=24063
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Abstract:
There are two reasons for the author of the article to have chosen to study the history of research of musical stylistics in Old Believers' religious verses. The one reason is that Old Believers' memorials were distinguished from the general Russia's repertoire quite late. The other reason is that there is a priority attention towards contents and poetic features of spiritual songwriting. The purpose of the present article is to systematise information sources that describe the history of establishment and development of researchers' interest in musical stylistics of Old Believers' spiritual verses while paying attention to the note publications and theoretical findings of different research genres. By using historiographic methods, the author has defined 70 publications including note compilations, or note records of individual samples in regional periodicals, descriptions of book compilations, musical poetical interpretations of local repertoires, and researches. Comparative analysis of publications has allowed to define key problems of researches devoted to Old Believers' spiritual songwriting, and to describe to what degree these regional traditions have been studied. The data that have been analysed prove that melodic features of spiritual verses are of great interest to reseachers in the spheres of musical archeography and medieval studies, ethnomusical studies, history of music, and regional studies of music that reveal musical-stylistic features of Old Believers' spiritual verses. The information sources systematised by the author can be used as references in various researches.
Citations count: 1
Reference:
Pereverzeva M.V. —
Ostinato and Means of Repetitive Technique in John Cage's Creativity
// Culture and Art.
– 2017. – ¹ 9.
– P. 94 - 100.
DOI: 10.7256/2454-0625.2017.9.24228 URL: https://en.nbpublish.com/library_read_article.php?id=24228
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Abstract:
The subject of this research is John Cage's methods of composition used by him in the 1940th years: melodic or rhythmic ostinato, counterpoint technique and rhythm pattern technique. He has found in these, initially traditional methods of composition, something new and has anticipated what will appear in music later, in particular, ways of the repetitive technique used by minimalists. Special attention is paid to such Cage's works as Metamorophisis and Amores Cycles as well as Credo in Us that present the composer's typical style. The research method used by the author to analyze Cage's composition technique involves analysis of the sound material, its features, and principles of organisation of small and major structural units and form in general. The novelty of the research is that Cage's techniques (ostinato, counterpoint, rhythm pattern technique, etc.) are studied in detail on the example of musical pieces for the first time in Russian academic literature, and the early period of works by Cage, who is better known as an experimenter and avant-gardist, is also researched for the first time in Russian literature. At the same time there is a discovered individual approach in using of these methods of the composition which are characterizing composer style of Cage.
Citations count: 1
Reference:
Shirina N.S. —
The impact of deconstructivism upon font graphics of the XXI century
// Culture and Art.
– 2021. – ¹ 12.
– P. 56 - 65.
DOI: 10.7256/2454-0625.2021.12.35628 URL: https://en.nbpublish.com/library_read_article.php?id=35628
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Abstract:
The object of this research is the graphic design in the style of deconstructivism. The subject is the impact of deconstructivism upon font graphics of the XXI century. The goal lies in determination of the impact of deconstructivism upon font graphics of the XXI century. The article examines the concept of deconstructivism and the impact of this phenomenon upon graphic design and typography. The ideas of deconstructivism initially obtained their material form in architecture; thus analysis is conducted on the structures, the authors of which were inspired by the new philosophical ideas and brought them to life them in their projects. After familiarization with the architectural monuments, the article lists the key characteristics of the architecture of deconstructivism, which in turn, affected various types of design. Having analyzed the project situation in the area of visual communications, the author reveals the distinctive features of the objects of graphic design that were inspired by deconstructivism. The scientific novelty consists in comprehensive analysis of the impact of deconstructivism upon font graphics. The main stylistic peculiarities of modern font graphics created under the influence of deconstructivism are described. The acquired materials and results are translated into the sphere of graphic design and can be used in preparation of graphic design specialists, professional and creative activity of graphic designers and typographers, which defines the practical importance of this research.
Citations count: 1
Reference:
Rubin V.A., Spiridonova E.V., Shub M.L. —
Essential parameters of military-memorial heritage as a cultural phenomenon
// Culture and Art.
– 2020. – ¹ 9.
– P. 55 - 67.
DOI: 10.7256/2454-0625.2020.9.32184 URL: https://en.nbpublish.com/library_read_article.php?id=32184
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Abstract:
The relevance of studying military-memorial heritage is defined by terminological uncertainty of the phenomenon. The subject of this research is the basic essential parameters of military-memorial heritage within the framework of humanistic knowledge. The object of this research is the military-memorial heritage as a phenomenon of national culture. The authors explore the key structural forms of existence, species diversity, social functions and specific attributes of the military-memorial heritage; leaning on that conduct structural-functional analysis and determine essential parameters of the “military memorial heritage” as a cultural phenomenon. In the course of this work, the authors apply the interdisciplinary method of research due to the fact that military-memorial heritage attracts attention of the scholars of humanities (culturology, sociology, political science, history, philosophy, and others), as well as deductive method that suggests narrative logic from the general to the specific. In the context of this study, the “general” implies such phenomena as historical memory, heritage, and cultural policy, while the “specific” implies the derivative sociocultural phenomena (military-memorial culture, military memorial heritage, etc.). The scientific novelty lies in the attempt to determine the essential parameters of the phenomenon of military-memorial heritage. The conclusion is made that possessing the particular characteristics, military-memorial heritage requires conceptualization and profound scientific cognition. The key positions of the research were implemented in terms of grant programs of the President of the Russian Federation for government support of the leading young Russian scholars – Doctors of Sciences (MD-2020 Contest), and the project “Culture of Memory of Industrial Cities of the Russian Province: Memorial Strategies of Regional Identity”.
Citations count: 1
Reference:
Rozin V.M. —
Three hypostases of dance and approaches to its study (socio-cultural, semiotic, psychotechnical)
// Culture and Art.
– 2022. – ¹ 5.
– P. 74 - 85.
DOI: 10.7256/2454-0625.2022.5.37996 URL: https://en.nbpublish.com/library_read_article.php?id=37996
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Abstract:
The article is devoted to the discussion of the essence and nature of dance. At the beginning of the work, the author states his approach: consideration of dance within the framework of a broader whole (the reality of culture and communication), as well as development, analysis of new anthropological images and ideals, description of the reboot of physicality. Based on Aida Aylamazyan's research, the author characterizes two stages of dance development: the formation of classical ballet in the XIV century and the formation of free dance. In both cases, a new anthropological ideal was initially formed, the realization of which then entailed the formation of a new way of life, the transformation of physicality and a new synthesis of physicality in music. This pattern is confirmed by another anthropopractic, karate. In general, dance is considered from the point of view of three approaches: socio-cultural (analysis of new anthropological images and ideals), semiotic (the role in the formation of the reality of dance schemes and other semiotic cresdtv) and psychotechnical (the formation of a new physicality and reality). It is indicated that there is a need for another plan of study - psychological. Here, for example, "modes of the psyche" can be considered. The author assumes that living in dance and experiencing dance events is a person's life in a certain mode, conditioned by the dance narrative and the reality of dance. Without referring to the psychological plan, it is also difficult to talk about the formation of a dancer's personality.
Citations count: 1
Reference:
Rykov S.S. —
Amateur marathon running in modern literature: types of description and reflection of reading
// Culture and Art.
– 2022. – ¹ 12.
– P. 21 - 31.
DOI: 10.7256/2454-0625.2022.12.38319 EDN: RAIWTQ URL: https://en.nbpublish.com/library_read_article.php?id=38319
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Abstract:
The main purpose of this work is to analyze the modern literature on amateur marathon running and the motivational effect that such publications give to novice marathon runners. The author pays special attention to the fact that the appearance of such literature in recent years has coincided with a general decline in reader activity around the world. This demand may be explained by the fact that the preparation of a marathon runner is very specific and requires a lot of time for training. And this feature, which consists in long-term planning, makes it an additional attractive "long-term project" in comparison with most modern tasks, which are increasingly, being short-term, perceived as a duty-passing fluidity of life. The fact that there is no similar literary activity in other sports (best-selling books based on the description of the sport as a plot basis, the presence of authors – former athletes), allows us to conclude that marathon running, becoming not only a professional sport, but also acquiring the status of an amateur, is a challenge, generating the need for constant reflection both among the authors themselves and among readers. Against the background of the analysis of the content of books and "feedback" (readers' feedback), it is concluded that the basis of the appeal and mass popularity of amateur marathons should be associated with the "culture of challenge", which is clearly manifested in the practices of understanding and development of amateur running. The culture of challenge can be interpreted from the standpoint of L.N. Kogan's value-motivational analysis of culture and understood as the realization of essential human forces.
Citations count: 1
Reference:
Budanov V.G., Sinitcyna T.A. —
Quantum-synergetic ontology of generalized physicality (III): psychosemantic language of theater, anthropological jazz.
// Culture and Art.
– 2020. – ¹ 12.
– P. 138 - 159.
DOI: 10.7256/2454-0625.2020.12.34793 URL: https://en.nbpublish.com/library_read_article.php?id=34793
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Abstract:
The paper continues the topic of applications of the methodology of generalized physicality, which goes back to the concept of quantum synergetic anthropology, elaborated in detail in the previous parts of the triptych. Ontologies of states (functional bodies and subteles of generalized corporeality) and temporal ontologies are considered on the material of the theatrical play of actors. An isomorphism of a well-known musical notation and representation of a changing anthropological profile in the form of a chord of simultaneously activated "sounding" states of the actor is constructed. The relevance of such a musical metaphor, an analogy of the freedom of acting improvisation, as an anthropological jazz inherent in any performer, albeit to varying degrees, is discussed. The classical manner has less variability than, in fact, jazz improvisation. Â Parallels of such performances are drawn with the works of classics of theater directing, philosophy of play and communication of musicologists: K. S. Stanislavsky, A. A. Vasiliev, B. Latour, J. Huizinga, I. E. Berendt.In fact, a certain language of interpretation of acting is proposed with the help of dynamic schemes for describing what is happening during the game. If these schemes are adequate to the stage reality, which we tried to prove, then they may well be used in the preparation of actors, staging performances, etc. In fact, a new psychotechnics is being created that allows changing the available capabilities of acting technique, replenishing its tools. In addition, this kind of notational representation of actors' parts allows you to archive and decipher the director's idea in a fairly universal way.
Citations count: 1
Reference:
Atencio R., Kargovskaia E.A., Kuznetsova V.V. —
THE PROBLEMS OF PRESERVING THE CULTURAL HERITAGE OF THE GUNA INDIANS
// Culture and Art.
– 2024. – ¹ 12.
– P. 15 - 29.
DOI: 10.7256/2454-0625.2024.12.70360 EDN: XNYFTX URL: https://en.nbpublish.com/library_read_article.php?id=70360
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Abstract:
Indigenous cultures around the world face unprecedented challenges and are often in danger of extinction. The preservation of the cultural heritage of these peoples is an important task not only for themselves, but also for all mankind. These cultures possess valuable knowledge and traditions that have developed over the millennia and open unique prospects for the development of the world. The loss of indigenous knowledge and practices is an irreparable loss for all of us, as we are losing part of the cultural heritage of all mankind.
The indigenous peoples of Panama have a rich cultural heritage deeply rooted in their traditions and beliefs. The Guna people living in Panama and Colombia represent one of the most sovereign indigenous communities in the world, with extensive land holdings and self-government rights. They are known for their colorful traditional clothes, intricate manners, beliefs, and strong sense of community.
The relevance of the topic is since in a world that is becoming increasingly homogenized, the preservation of indigenous cultures ensures that this cultural diversity will not be lost due to the impact of globalization.
This article is devoted to the problems of preserving the material and spiritual heritage of the Guna people living in Panama and Colombia. The lifestyle of the Guna Indians, their traditions, worldview and definition of the role of man in the world are unique and of great interest for research. The authors of the article analyze the distinctive features of the Guna cultural heritage and highlight current phenomena and processes that pose a threat to the preservation of the traditional way of life of this people. Understanding the history and traditions of the indigenous Guna people is essential to preserve their culture.
Citations count: 1
Reference:
Kozlovskiy V.D. —
Artistic and industrial culture of the first quarter of the XXI century: key concepts, strategies, and principles
// Culture and Art.
– 2025. – ¹ 11.
– P. 40 - 49.
DOI: 10.7256/2454-0625.2025.11.73202 EDN: GJUDSA URL: https://en.nbpublish.com/library_read_article.php?id=73202
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Abstract:
The relevance of the study is to highlight and systematize the main concepts, strategies and principles of modern artistic and industrial culture. The object of this study is the artistic and industrial culture of the first quarter of the XXI century. The main concepts, strategies and principles of artistic and industrial culture of the first quarter of the XXI century, determining its development and distinctive features are the subject of the study. The aim of the study: to identify, analyze and systematize the main concepts, strategies and principles of artistic and industrial culture of the first quarter of the XXI century in their interrelation with socio-cultural and ecological issues of modernity. In the artistic and industrial culture of the first quarter of the XXI century, the main concepts were formed: sustainable design, digital design, emotional design and inclusive design. The main strategies of modern artistic and industrial culture include multidisciplinary approach, interactive design and balance between the requirements of the global market and national characteristics. The principles of modern artistic and industrial culture in its base remain unchanged and consist of functionality, anthropocentrism, innovativeness and aesthetic expressiveness.
Citations count: 1
Reference:
Bkhat S.B. —
The Development of Visual Communication Media from the Traditional "Old" to Digital "New"
// Culture and Art.
– 2017. – ¹ 6.
– P. 32 - 44.
DOI: 10.7256/2454-0625.2017.6.21784 URL: https://en.nbpublish.com/library_read_article.php?id=21784
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Abstract:
This article is devoted to the visual media of communication as technological progress in culture. The subject of research is the study of the developing of visual tools from the traditional "old" (printed and electronic) to digital "new" (Internet) forms of mass communication and their interaction with the culture. Particular attention is given to the main landmarks of the development of visual tools, and especially to the information age or digital age, because it gives individuals the maximum opportunity to freely communicate, transmit or receive information. The main methods of study are cultural and historical. By analyzing of vast amounts of materials devoted to visual communication, including both national and foreign sources, these methods allow to identify and interpret the main historical stages of development visual tools: the written era, the printing era (the printing press of Gutenberg), the electronic era (TV, movie) and the informational or the digital era (Internet, World Wide Web). The conclusion is that every form of visual mass communication, one way or another, affects society in fundamental areas. Books allow people to educate themselves, and not rely solely on teachers and clergy. Newspapers began to chronicle the everyday life of society with the presence of a public forum for the exchange of information and discussion. Magazines were the first visual mass communication, which began massively using photography to the advent of television. Television has brought the sound and motion in the picture and gave a view of cultural heritage as a movie. With the advent of the Internet, new digital forms, such as personal and social media communications. The result of the study is the conclusion that new media play an important role in the formation of modern culture, depicting a particular set of beliefs, values and traditions (whole life) as visualized reality. The novelty of research is determined by the new faces of ideas about the social and cultural reality, contributing to a more adequate understanding of its dynamics.
Citations count: 1
Reference:
Borian V. —
Forming the New Paradigm of Post-Soviet Feminist Art
// Culture and Art.
– 2017. – ¹ 6.
– P. 78 - 87.
DOI: 10.7256/2454-0625.2017.6.23427 URL: https://en.nbpublish.com/library_read_article.php?id=23427
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Abstract:
The author of the article analyzes the impact of a critical feminist statement in the field of contemporary art on the social position of women in post-Soviet society. It is considering the confrontations that feminist art is faced in discursive and social fields and possible solutions of listed problems. The reasons and events that led the modern feminist discourse to the position in which this phenomenon exists today in Russian society and the dynamics and interference of feminist art with academic and public spheres are described and analyzed in the article. The investigation method can be designated as experimental. In the process of creating a work, there are applied tactics such as observations, simulations, comparisons. We can get an extensive view based on historical and scientific facts, comparing the achievements of the previous studies, in cooperation with the empirical experience. The main conclusion of the research is that for changing the perception of the phenomenon of feminism by the large society feminist artists and activists should popularize the gender theories and the feminist art. The important perspectives of feminist art are civil activism, the spreading of art through graffiti, stickers, social networks, video and zines (Self-publishing). Feminist art is intended not only for professionals in the art and gender studies field but also for the nonprofessional viewer, who wants to understand and sort out the phenomenon of feminist rhetoric. To win a non-professional audience and make art understandable and accessible to the masses, feasibly by attracting the attention of society to socially sensitive topics that rise in works and acts of feminist artists. That kind of art can become a powerful lever of influence on the formation of public consciousness. In addition very important to develop institutions which can receive a systematic education, to develop a verbal and visual language expressing the values of feminist discourse. As a result, more artists and activists will be able to attract attention to the social problems faced by millions of people each day, it will give an opportunity for correctly inspiring others, who afraid of openly expressing their views, it can afford a platform for the utterance of oppressed groups, to allow the subject to quest about correctness of the social norms grafted to him by default.
Citations count: 1
Reference:
Smirnova G.E. —
Food as an Instrument of Developing the Image of the Country: Contepmorary English National Cuisine in the Vision of Russian People
// Culture and Art.
– 2018. – ¹ 11.
– P. 11 - 16.
DOI: 10.7256/2454-0625.2018.11.27766 URL: https://en.nbpublish.com/library_read_article.php?id=27766
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The subject of the research is the image of England in the perception of English national cuisine by Russians. As special means of reproduction and understanding the reality, the image of an item or matter presents an integral reflection of all processes and phenomena happening in the cultural environment. National cuisine is a significant instrument that develops an image of a country. Creation of an image as a result of experiencing another socio-cultural environment is an important aspect of cross-cultural communication which provides a better understanding of cultural processes and phenomena. Based on the socio-cultural analysis of letters and memoirs written by Russians at the end of the XXth - beginning of the XXIst centuries, Smirnova deffines the main peculiarities of eating traditions in modern England which gives a new insight into the culture of the region, mentality of people living there and, as a consequence, creates the image of the country and the ground for a successful dialogue of cultures. Introducing new sources for academic analysis that tell us about the understudied aspect of the history of Foggy Albion, Smirnova describes features of the image of this country, national character of Englishmen that has such typical features as traditionalism, tendency towards preservation of local traditions, substantiation, rationalism, adherence to the trends of the time, and ability to adopt values of other cultures.
Citations count: 1
Reference:
Makeeva S. —
Jackson Pollock and Allan Kaprow: figure of a painter at the turning point of modernism
// Culture and Art.
– 2019. – ¹ 11.
– P. 45 - 52.
DOI: 10.7256/2454-0625.2019.11.31584 URL: https://en.nbpublish.com/library_read_article.php?id=31584
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This article is dedicated to the two prominent figures in the art world of 1950’s-1960’s – abstract expressionist, representative of “painting of action” Jackson Pollock, and future generation painter, founder of the “environment” Allan Kaprow. On the grounds that the turn of the 1950’s-1960’s is viewed as a breakthrough era for the art of modernism, the article analyzes the artistic techniques of Pollock and Kaprow, as well as the social aspect of their work for determining the points of convergence and divergence in their practice. Critical and theoretical texts used in the article include the works of Clement Greenberg, Michael Fried, Yve-Alain Bois, and Allan Kaprow himself, who is known not only as a painter, but also as theoretician of the new artistic practices of 1960’s – assemblage, environment and happening. The focus of author’s attention became the insufficiently studied and untranslated into the Russian language text of Allan Kaprow “Legacy of Jackson Pollock” (1958), which defines the scientific novelty of this research. Within the framework of modernistic discourse, the works of Jackson Pollock are viewed as a pinnacle of “self-purification” of the avant-garde painting and realization of the principle of medium-specificity. However, some aspects played a significant role for artistic practices of the 1960’s, longing to cut ties with abstract expressionism. Reference to such aspects – performativity of Pollock’s painting, his representation on the graphic form, format and spatial dimension of his canvasses – allows determining continuity between the opposing trends of art of the 1950’s-1960’s, and reveal the role of Jackson Pollock as a crucial transitional figure at the turning point of modernism.
Citations count: 1
Reference:
Rashitov D.D. —
Traditions of using jewelry and precious metals in customs, religion and folklore of the Tatars
// Culture and Art.
– 2021. – ¹ 1.
– P. 22 - 36.
DOI: 10.7256/2454-0625.2021.1.32186 URL: https://en.nbpublish.com/library_read_article.php?id=32186
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The article discusses the historical-culturological component of jewelry and precious metals in culture and living environment of the Volga Tatars. Emphasis is placed on the customs, folklore and religious aspects with mentioning on the jewelry and precious metals. Detailed description is given to the current situation and meaning of jewelry within the framework of the topic of research. The goal lies in conducting a historical-culturological overview and analysis of jewelry and precious metals in the context of spiritual culture of the Volga Tatars, which necessitates to examine the cult component of jewelry and images related to precious metals. The author also touches upon the influence of pre-Islamic and Islamic culture upon the survived artifacts. Analysis is conducted on such aspects of the Tatar culture, which indicate correlation between jewelry, spiritual heritage, and religion. The author point out the instances when jewelry reflects intangible culture in the material component of the Tatar people; as well as reveals the unique code of the Tatar culture that to one or another extent is depicted on jewelry items. The article reviews some cultural traces of the period before the Bulgars, and chronological development of the Tatar culture up to the present day under the influence of Islam.
Citations count: 1
Reference:
Kormin N.A. —
Art and aesthetic structures of metaphysics of color
// Culture and Art.
– 2020. – ¹ 5.
– P. 47 - 76.
DOI: 10.7256/2454-0625.2020.5.32877 URL: https://en.nbpublish.com/library_read_article.php?id=32877
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This article analyzes the aesthetics of color as a branch of metaphysics of light and entire photonic zone, which from phenomenological perspective can be viewed as the source of intentional radiations in various bands. It is demonstrated that the image of light is the result of work of aesthetic and artistic consciousness that pan the world and place of a human therein; at the same time, it is important to underline the set-up of meaning with all its predicates in the a posteriori score of color perception itself. Special attention is given to examination of the phenomenology of color. Metaphysically, it represents an even, when the color reflect itself in the value and acquires a prospect. Structuring of modern phenomenological attitude to reality leads to the emergence of new opportunities for the experience of working with color, reconsideration of beauty of coloristic data. According to Husserl, color originated by fantasy, can be an act of life within aesthetic consciousness. Despite the rich research material on the topic, these is still no special research that would demonstrate the artistic shift of boundaries of the color image in relation to metaphysical axes of reference (which becomes a leitmotif for metaphysical painting Giorgio de Chirico), as well as possibility of existence of cross-platform toolset that works on several instrumental systems of aesthetic consciousness and allows conducting the analysis of aesthetic methods of examination of the color itself. This article helps to fulfill such gap.
Citations count: 1
Reference:
Dai C. —
The state of contemporary art in China: tradition and postmodernism
// Culture and Art.
– 2020. – ¹ 8.
– P. 1 - 10.
DOI: 10.7256/2454-0625.2020.8.33621 URL: https://en.nbpublish.com/library_read_article.php?id=33621
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Abstract:
This article is dedicated to examination of the phenomenon of contemporary Chinese art, its essential specificity within the framework of tradition and in the conditions of globalization. For achieving the set goal, the author applies the method of historical-cultural analysis in combination with the elements of structural-semiotic analysis of contemporary art in China of the late XX century. For historical and social reasons, contemporary art became a substantial part of the works of Chinese artists only after the “Reform and Opening-Up” in the 1980s. China was able to preserve tremendous artistic heritage, thus the contemporary art resembles a fusion of the tradition and postmodernism. The scientific novelty of this work consists in shifting away from art discourse in studying artistic material and concentrating on philosophical perspective. The conclusion is drawn that since the 1980s until the present China undergoes a drastic period of transformation of art from traditional to contemporary. The works of that time reflect such themes as the alienation of a modern person from tradition, change in experience of world perception, conflict between modern politics and society.
Citations count: 1
Reference:
Ivanova A.A. —
Visual means of artistic expression of Italian social advertising
// Culture and Art.
– 2022. – ¹ 5.
– P. 19 - 35.
DOI: 10.7256/2454-0625.2022.5.38000 URL: https://en.nbpublish.com/library_read_article.php?id=38000
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Abstract:
This article is devoted to the consideration of visual means of artistic expression in visual and cinematic social advertising in Italy. The research material was videos from the Internet archives of non-profit organizations and advertising agencies. The relevance of the research is due to the high significance of social advertising in modern society, and the novelty is due to the lack of works devoted to the study of visual means of artistic expression within the socio—advertising discourse of Italy. Within the framework of the study, methods of analyzing visual artistic images used in Italian social advertising were applied. An analogy was drawn between stylistic figures related to the field of philology and artistic and pictorial forms of the material under study. As the analysis has shown, the most popular visual means of artistic expression is metaphor; the author has identified a number of models of metaphorical transfers, on which most of the plots of social advertising are based, among which a special place is occupied by models of color and zoonymic metaphors. In a significant part of the videos, such means of visual artistic expression as allegory, personification, depersonification, hyperbole, allusion are also involved. Important conclusions are drawn about the cultural peculiarities of the use of these visual stylistic figures. A special contribution of the author is the development of a classification of metaphorical models of Italian social advertising, some of which may be applicable in Russia due to their universality.
Citations count: 1
Reference:
Belonogov I.N. —
To the question of modernity and associated representations on subjectivity
// Culture and Art.
– 2020. – ¹ 12.
– P. 61 - 78.
DOI: 10.7256/2454-0625.2020.12.34467 URL: https://en.nbpublish.com/library_read_article.php?id=34467
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Abstract:
This article is dedicated to the question of interpretation of modernity. The author uses the groundwork of postmodern philosophy as a new optics and method that touch upon underpinnings of the approach towards analysis. It is also essential to examine the impact of distribution of the ideas of “French post-structuralism” upon future theories. It is demonstrated that through the prism of virologic approach, modernity is characterized by irreducible multiplicity of views contesting with each other for being distributed. At the same time, various concepts of modernity can be viewed as actualization of deconstructivist project, which defines the key vector of this research. Moreover, modernity itself is such research. The novelty consists in the fact that the question on the form of interpretation of modernity has not been previously raised within the framework of the Russian academic philosophical community. Although relevance of this question stems from such methodological and ideological transformations that took place in the late XX century. The conclusion is made that the philosophies united under “postmodern” have heuristic value, allowing to see that in fact postmodernism was related to “superficial” point of view and represented articulation of the problem – deconstructions of andro-logo-theo-teleo-anthropo-onto-phono-centrism. Post-poistmodernism, in turn, is the actualization of postmodernism as a multivariate comparative analysis, conducted by different research programs that exist as viral methods and contest with each other for being distributed.
Citations count: 1
Reference:
Popova A., Fomenko E. —
The Place of Intangible Cultural Heritage in the State Policy of China
// Culture and Art.
– 2022. – ¹ 11.
– P. 42 - 53.
DOI: 10.7256/2454-0625.2022.11.38835 EDN: SDTTRC URL: https://en.nbpublish.com/library_read_article.php?id=38835
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Abstract:
The object of this research is the intangible cultural heritage of the People's Republic of China (NPC), the subject is the state policy in the field of protection of monuments of intangible cultural heritage. The article analyzes the approach of the Government of the People's Republic of China to the definition of the essence of the national intangible cultural heritage on the materials of legal documents, considers the classification developed in accordance with national, historical, cultural characteristics for the typologization of intangible cultural heritage objects. To improve the protection of intangible cultural heritage, the State Council of the People's Republic of China provides for a four-level hierarchy of monuments of the National Heritage: national, provincial, city and county, which contributes to more thorough and effective work with them. Particular attention is paid to the consideration of concepts that allowed China to fully integrate the protection of intangible cultural heritage into the modern political course of the state. The novelty and relevance lies in the study of the fundamental principles that guide the State Council of the People's Republic of China in its work on the study of intangible cultural heritage objects, the creation of their nomenclature base, the promotion of digital transformation in meeting the needs of the public in understanding the importance and uniqueness of cultural heritage. An important contribution is the analysis of approaches to ensuring the transfer of spiritual culture, the creation of favorable conditions for the support of "representative heirs" of China's spiritual culture.
The main conclusion of the study is that as a result of the measures taken in China, progress has been made not only in the protection of intangible cultural heritage, but also in strengthening cultural awareness, spreading knowledge about the objects of the ICH, the development of traditional crafts, the study and popularization of traditional spiritual culture.
Citations count: 1
Reference:
Iakovleva E. —
Interpretation of The Little Prince by Antoine de Saint-Exupery in Terms of the Glamorous Social, or Small Trilogy about the Global
// Culture and Art.
– 2017. – ¹ 2.
– P. 35 - 60.
DOI: 10.7256/2454-0625.2017.2.18380 URL: https://en.nbpublish.com/library_read_article.php?id=18380
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Abstract:
The subject of the research is the philosophical parable The Little Prince written by Antoine de Saint-Exupery interpreted from three important positions: the childhood, the glamorous social and symbolism. The aforesaid aspects have a global nature not only due to the inclusivity of phenomena but also due to transformations they undergo under the modern conditions. Using expressive means, in The Little Prince Antoine de Saint-Exupery describes the ontology of the childhood with all its purity and spontaneity shoging an active life of a child and his inclusivity as part of the existence. Through the eyes of the child, the writer demonstrates vices of the adult worl and their transformations in real life as a result of the influence of the glamorous ideology being the 'travelling oddity'. According to the researcher, it is possible to overcome the immoralism gaps in the society's intellectual development by the means of interpreting symbolic signs as the revival of the spirit and intellect. The aforesaid problem is presented in a form of a narrative description using dialectical, interpretative and phenomenological research methods and based on the principle of intentional analysis which allows to describe special feautures of this small novel that is written for children but addressed to adults. By analysing the short story of a French pilot, the researcher demonstrates Antoine de Saint-Exupery's talent who enabled the writer to carry the 'crystall of the childhood' through all his life and helped him to describe the world of the child so vividly casting light on the sins of adults and conveying symbolic messages for future generations. The provisions and conclusions of the present research can be used for further research of Antoine de Saint-Exupery's creative work and interpretation of his fiction as well as criticism of the modern socio-cultural environment subject to the influence of the glamorous ideology and analysis of the latter from the point of view of literary works.
Citations count: 1
Reference:
Rubin V.A., Spiridonova E.V. —
Historical and Cultural Aspects of the Creation, Development and Preservation of the Russian Military Memorial Heritage During the Pre-Revolutionary Period
// Culture and Art.
– 2018. – ¹ 11.
– P. 60 - 71.
DOI: 10.7256/2454-0625.2018.11.27772 URL: https://en.nbpublish.com/library_read_article.php?id=27772
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Abstract:
The rationale of the analysis of historical and cultural aspects of the creation, development and preservation of the Russian military memorial heritage during the pre-revolutionary period is caused by the fact that this is an understudied topic as well as the need to define the basic vectors of today's state policy in culture, education, patriotic education of youg people, and heritage preservation. The object of the research is the famous monuments and places. The subject of the research is the creation, development and preservation of the Russian military memorial heritage during the pe-revolutionary period. The authors focus on the temple construction, creation of the first monuments, adoption of the first legal acts, development of the military memorial environment after major military conflicts, and establishment of the Imperial Russian Military Historical Society. The conceptual grounds for cultural policy of the modern time and problems of transmitting Russian traditions of cultural heritage preservation were studied by O. Astafieva, O. Avanesova, S. Sinetsky, O. Galkova and other researchers. The scientific novelty of the research is caused by the fact that this is a rather understudied issue in the history of culture. The analysis of the military memorial heritage is of fundamental importance for science, society and state because many problems related to preservation of military memorial heritage can be solved only through scientific analysis and, without any doubts, will contribute to the development of the cultural sphere, achievement of state defense objectives and creation of the careful attitude to the historical memory objects.
Citations count: 1
Reference:
Aganina N.S. —
Calligraphy as the Art of Space and Time: the Nature of Movement as the Basis for Identification of Far Eastern Calligraphy
// Culture and Art.
– 2018. – ¹ 12.
– P. 90 - 103.
DOI: 10.7256/2454-0625.2018.12.27863 URL: https://en.nbpublish.com/library_read_article.php?id=27863
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Abstract:
In her research Aganina analyzes calligraphy as a time-related intermedia and this is why the nature of the line movement and the sign pattern in general is one of the main criteria for evaluating the caligraphic piece. Considering that the aesthetics of the handwriting movement is more developed in the calligraphy of the Far East, the purpose of this research is to analyze movement as a category that creates the identity of Chinese, Korean and Japanese handwriting in order to review and to use the experience of Far Eastern calligraphy in the European writing. The methodological basis of the research involves the following: the problem statement, classification of aesthetic categories, comparative historical and axiological analysis, and iconological method. As a result of the research, the author concludes that the compositional movement of signs in the Far Eastern calligraphy directly and symbolically relates to the free movement of human body (and spirit) through the space. The fact that China, Korea and Japan have different concepts of the movement of spirit dictates differences in the nature of the sign pattern in the calligraphy of these countries.
Citations count: 1
Reference:
Rozin V.M. —
The study and concept of technology (a perspective from methodology and culturology)
// Culture and Art.
– 2021. – ¹ 4.
– P. 74 - 81.
DOI: 10.7256/2454-0625.2021.4.35331 URL: https://en.nbpublish.com/library_read_article.php?id=35331
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Abstract:
This article raises the question about the nature of technology, namely whether there is universal technology that evolves and develops in culture, or there are different technologies that are interrelated in genesis. The author examines the pros and cons, as well as other problems, the solution of which sheds light on the nature of technology. The conclusion is made that the invariant characteristics of technology (technology as an artifact; synergy of natural effects and human activity; social body of a person; conceptualization; factors of sociality) do not represent the ontology of technology, but rather the methodology. In order to solve the dilemma, the author analyzed the two current states of technology ‒ engineering and technology. Technology is defines as an activity on creating technical products and as a technical environment that is essential for human life. It is claimed that the technology is a result of the activity turn and turn, which was later associated with management, including research and rational restructuring of the activity by specialists trained for solving such tasks. Ultimately, the author inclines towards the thesis of multiple technologies. The article discussses the Internet as a new type of technology.
Citations count: 1
Reference:
Lomanova T. —
The reflection of Siberian identity in art of the late XX – early XXI centuries
// Culture and Art.
– 2020. – ¹ 4.
– P. 1 - 14.
DOI: 10.7256/2454-0625.2020.4.32188 URL: https://en.nbpublish.com/library_read_article.php?id=32188
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Abstract:
The object of this research is the phenomenon of Siberian identity through the analysis of visual art of Siberian authors of the XX and XXI centuries. Siberian identity in the works of artists is substantiated by multiethnic population of Siberia and rich history of the region. The leading trend consisted in the popular in 1980’s – 2000’s “neo-archaic” motifs, i.e. reference to the ancient and traditional ethnic cultures of Siberia through the prism of modern perception. But it was not the first experience of resorting to the theme of Siberian ethnic archaism, since the masters of the late XIX – middle XX centuries also addressed to the artistic motifs of indigenous Siberian ethnoses and ancient culture, but it manifested in fundamentally different forms of aesthetics. The main method applied in this research consists in comparative analysis of the artworks of Siberian masters of visual and decorative art at two stages of its establishment (late XIX – middle XX centuries, and second half of the XX – XXI centuries), which reflected the process of finding Siberian identity. Novelty of the presented material lies in the thesis that the concept of “Siberian identity” is being developed by sociologists, philosophers and culturologists, who interpret it in the context of sociological and culturological constructs. The art review of this problem has not been conducted, despite the fact that the process of finding identity in the modern world is most vividly reflected through the images of visual and decorative-applied art.
Citations count: 1
Reference:
Rozin V.M. —
On the ability of visual representation of ideas and verbal contents
// Culture and Art.
– 2021. – ¹ 9.
– P. 55 - 68.
DOI: 10.7256/2454-0625.2021.9.36439 URL: https://en.nbpublish.com/library_read_article.php?id=36439
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Abstract:
Using the examples of displayed works of art, painting and music, this article discusses the ability of visual representation of ideas and verbal contents. The author compares two stages in the development of art: the early XX century with the popular were popular ideas of cosmism and the advent of the new world; and the present time characterized by pessimism due to the crisis of modernism. Analysis is conducted on the examples of artworks characteristic of each stage. The author dwells on why in the beginning of the XX century the artists were able visually create a complex verbal content and ideas, while at the present day it is quite challenging. The article determines two techniques of visualization of verbal contents ‒ works with the conceptual verbal explanations, which still do not allow to organically synthesize visual and verbal-conceptual planes; and complex work on conceptualization of verbal narratives. As the case for clarification of the second method, the author chooses the theatrical-musical-dance action projected and implemented by the psychologist Aida Aylamazyan, and offers the analysis of this technique as promising for solution of the problem of visual representation of ideas and verbal contents. The author believes that solution of such tasks requires creating the concept of artistic reality of the intended work, taking into account available visual means, potential audience, and personal aesthetic attitudes.
Citations count: 1
Reference:
Tomyuk O.N. —
Creativity in Martin Heidegger's existentialism
// Culture and Art.
– 2020. – ¹ 5.
– P. 18 - 26.
DOI: 10.7256/2454-0625.2020.5.32811 URL: https://en.nbpublish.com/library_read_article.php?id=32811
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In the conditions of globalization with characteristic for this era sociocultural transformations, the anthropological problematic, which emphasizes the role of interrelation between creativity and personal being, comes to the forefront. The object of this study is creativity in the philosophical-cultural concept of M. Heidegger. The subject is the phenomenon of creation in M. Heidegger's existentialism. Reference to the concept of M. Heidegger is not accidental, since the problem of human and creativity is focal in his philosophical writings. In his work “The Origin of the Work of Art”, Heidegger sets an ontological vector of studying creativity in art, assigning to being as such the core position. The article explores M. Heidegger's understanding of creation, which he describes using the terms of "being", "time", "space", "unconcealment", "truth", "thingness", "beautiful", and "beauty".The theoretical and methodological basis of the study was the cultural and historical method. The appeal to the existential-phenomenological methodology allows identifying the peculiarities of comprehension of creativity in the concept of M. Heidegger. The systemic approach serves as the foundation for examining the phenomenon of creativity as a system. It is determines that Heidegger explains creativity as the artist’s way to personal fulfillment. The conclusion is made that according to the philosopher not every work can be attributed to creation, but only those that reflect the system of views of the artist and specificity of time. For Heidegger, art is the space of existence and creation; the essence of art consists in the truth being created in creation.
Citations count: 1
Reference:
Hu A.J. —
Jan Philip van Thielen and his flower garland paintings
// Culture and Art.
– 2021. – ¹ 3.
– P. 58 - 65.
DOI: 10.7256/2454-0625.2021.3.33322 URL: https://en.nbpublish.com/library_read_article.php?id=33322
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The subject of this research is the artworks of the Flemish painter Jan Philipp van Thielen – a prominent author of the pieces depicting flower garlands in the XVII century, but so little-known nowadays. His name is unjustly forgotten in Russian historiography, although his paintings exhibited in the national museums; although in Western historiography, his popularity has grown in recent decades. Special attention is given to the painter’s works in different genres (religion, portraits, mythology), which are framed by a flower garland accentuating and symbolizing the central images. The scientific novelty of consists in ratification of art of the once renowned and now almost forgotten painter Jan Philipp van Thielen, as well as in the proof that he was one of the most popular flower painters in Flanders, and his patrons and customers were such high-rank aristocrats as Diego Felípez de Guzmán 1st Marquess of Leganés (1580-1655), and Archduke Leopold Wilhelm of Austria (1664-1662), both art lovers and philanthropists. The acquired results demonstrate that Jan Philip van Thielen painted flower garlands in different genres. In the art of Flanders of the XVII century with remarkable success the showed the beauty of garlands and their use for enhancing the religious or moralizing meaning of the central images. His works are widely exhibited not only in museums, but also in auctions, which once again proves his important role in the painting of the XVII century.
Citations count: 1
Reference:
Gerasimova I.A., Ivanov A.V., Fotieva I.V. —
Transcendental experience: the possibility of the intersection of theological, philosophical and scientific approaches
// Culture and Art.
– 2023. – ¹ 3.
– P. 9 - 24.
DOI: 10.7256/2454-0625.2023.3.38068 EDN: COERDD URL: https://en.nbpublish.com/library_read_article.php?id=38068
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The article is devoted to the study of the problem of transcendental experience, by which the authors understand various forms of consciousness going beyond the studied forms of human experience and cognitive practices. The problem of transcendental experience is posed as a complex one. The comprehensive approach includes the history and theory of Western European thought, the Russian philosophical tradition, and modern research. An attempt is made to problematize the possibility of integrating theological, philosophical and scientific research in this area. Special attention is paid to the cognitive aspect of the problem of transcendental experience. In this paper, the authors limit the scope of the research to the methodological task of the possibility of interdisciplinary and transdisciplinary studies of transcendental experience. The authors adhere to a post-non-classical methodology covering humanitarian campaigns and the results of natural science experimental research. The position of the embeddedness of transcendental experience in the general system of human cognitive abilities is confirmed. Transcendental experience can be considered as a qualitatively higher degree of "openness" of consciousness to the world, which implies the immediacy of perception of the object. The transcendental experience is characterized by a great depth of penetration into the object, accompanied by the experience of merging the "I" and the object, and in the limit of the "I" and the world. In the cognitive-evolutionary aspect, it is appropriate to raise the question of a new stage of transformations of consciousness. The following criteria for distinguishing genuine and false transcendental experience are proposed: reliance on a developed picture of the world; the addition of direct experience with rational reflection; spiritual/anthropological transformation as the ultimate goal of this experience; the obligation of moral self-transformation; guidance by a student from a spiritual teacher, a follower of this tradition.
Citations count: 1
Reference:
Nekrasova-Karateeva O.L. —
Philosophical reminiscences in the work of the artist Mikhail Kapustin
// Culture and Art.
– 2023. – ¹ 9.
– P. 23 - 38.
DOI: 10.7256/2454-0625.2023.9.44086 EDN: YSERQJ URL: https://en.nbpublish.com/library_read_article.php?id=44086
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The author examines the art history problem of the influence of philosophical trends on the art that is relevant to them on the example of the work of the St. Petersburg ceramic artist Mikhail Yuryevich Kapustin and his philosophical reflections revealed in the plastic search for impressive images. His worldview was formed in a whirlwind of contemporary philosophical trends, scientific and technological discoveries, new trends in culture and contemporary art. The article reveals the regular change of one philosophical direction to the next, often alternative, and how artists reacted to this in their work, finding new ideals and expanding expressive possibilities in the visual arts. The purpose of the article is an attempt to decipher the in-depth meanings of the artist's works. The subject of research is philosophical reminiscences in the author's sculptural and graphic works of the ceramic artist. The main themes of his artwork are Man, Earth, and Time.
The study has a novelty, because its materials are original and are offered for publication for the first time. In domestic and foreign art criticism there was no scientific study of the work of M. Kapustin. The works of M. Kapustin are large-scale, peculiar ceramic (sculptural and graphic) compositions of epic imagery, represent a compressed formula of an idea in a tense volume of form. The logical chain of his creative process as a ceramic artist goes as follows: from the idea towards the artistic image, material, technology, and finally – work. The results and research methods in this article can be used in art criticism for contribution in writing monographic works about the work of other artists.
Citations count: 1
Reference:
Kotliar E.R., Zolotukhina N.A., Zolotuhina A.Y. —
Architecture in the "Stalinist Empire" style in the cultural landscape of Crimea.
// Culture and Art.
– 2025. – ¹ 4.
– P. 99 - 120.
DOI: 10.7256/2454-0625.2025.4.72345 EDN: GMNRMD URL: https://en.nbpublish.com/library_read_article.php?id=72345
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The subject of the study is the features of the architectural style known as "Stalinist Empire" as part of the cultural landscape of Crimea. The article examines the concept of "cultural landscape" and its significance in the multi-ethnic territory of Russia in general and Crimea in particular, the concept of architectural style, the influence of ethnic cultures and shifting state formations on the development of styles in Crimea, the formation of a local "Crimean style" during the modern period, and its impact on the subsequent development of postmodernism. The Empire style spread during the reign of Napoleon in Western and Eastern Europe, as well as in Russia, is analyzed. The reasons for the perception of the main features of the Empire style during the USSR under the rule of I. V. Stalin are explained using examples of several architectural objects in Crimea. The article employs an ontological method regarding the history of the Empire style, a comparative method to compare the features of European and Stalinist Empire, a synthesis method to identify their common traits, and an analytical method to study individual architectural examples. The main conclusions of the research are : 1. Architectural styles are an integral part of the cultural landscape of Crimea, as they reflect the socio-ethnic and religious components, as well as the state formations that followed one another in Crimean history. 2. The basic Empire style became the embodiment of the imperial rule of Napoleon Bonaparte and spread in the countries of Western and Eastern Europe, as well as in the Russian Empire in the first third of the 19th century. It is based on the ancient order system in its ancient Roman interpretation, with the introduction of features of the palace style of the 18th century – Rococo. 3. The term Stalinist Empire refers to the style of public architecture in the USSR during the rule of I. V. Stalin, in which, as in Ancient Rome and France during the Directory period, the ideas of uniting numerous territories under a single government were embodied. The Stalinist Empire in Crimea has a number of features related to the influence of regional characteristics of Crimean modernism, making it one of the recognizable markers of the Crimean cultural landscape.
Citations count: 1
Reference:
Muradov A.B. —
The Great Patriotic War In Serial Films: Epos, Myth and Historical Credibility
// Culture and Art.
– 2017. – ¹ 6.
– P. 1 - 10.
DOI: 10.7256/2454-0625.2017.6.22385 URL: https://en.nbpublish.com/library_read_article.php?id=22385
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In his research Muradov analyzes traditions of research devoted to films about the Great Patriotic War. The author demonstrates contradiction of two approaches offered by modern critics that were born at the crossing of different traditions, the concept of the epic narration and the principle of historical credibility. Images of the war in the 20th century including the image of the Great Patriotic War are developed by media - TV and cinema in the first place. TV serials about war (both feature motion films and documentaries) reflect both ideological and social needs of the time. Noteworthy that today, 70 years after, analysis of the image of war on TV is inextricably connected with the concept of epos as well as the relationship between epos and the problem of historical and human memory. These are visual mass media means that substitute our own memory with the 'collective' memory which creates the problem of mythologisation. The narration about war becomes some kind of an epos, sometimes heroic, sometimes folk, sometimes both, while it is not an epos as it is. The problem of historical credibility arises when epos is opposed to myth in modern films. Each serial film is critisized from the point of view of the epic and historical approaches which are opposite principles. The farther the events are in time, the deeper the conflict between historical credibility and the attemp to create a new epos is.
Citations count: 1
Reference:
Tretyakova M. —
From the Beauty of Iki to the Melancholic Beauty of Toska: Revealing Modifications of the Beauty in Russian Culture in Dialogue with the Japanese Traditional Aesthetics
// Culture and Art.
– 2017. – ¹ 11.
– P. 46 - 55.
DOI: 10.7256/2454-0625.2017.11.22958 URL: https://en.nbpublish.com/library_read_article.php?id=22958
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Although there are many researches concerning the Beauty, as known in Europe as well as Russia aesthetic categories are traditionally abstract and consequently not applicable in practical use for example in design. Therefore, the author of this research offers to find concrete categories of traditional aesthetics and then incarnate it in objects. As an example of this approach, he takes a work of Japanese philosopher Shuzo Kuki (1888–1941) “The Structure of Iki [Beauty]” and basing on it, he offers concrete incarnation of such Russian aesthetics category as Toska [Melancholy]. Using interpretation of Toska by Nikolay Berdyaev (1874–1948) the author formulates “Structure of Toska” and extends Toska to arts defining melancholic beauty of Toska in ornaments and colors. The author concludes that melancholic beauty of Toska in our culture is connected not only with the visible void but also with an ornament, which expresses our spiritual aspirations and therefore becomes an essential part of the Beauty in Russia.
Citations count: 1
Reference:
Rozin V.M. —
The Road Map of Reconstruction of Ancient Greek Culture and Sociality (the Period of Polises before the Empire)
// Culture and Art.
– 2018. – ¹ 3.
– P. 8 - 20.
DOI: 10.7256/2454-0625.2018.3.25359 URL: https://en.nbpublish.com/library_read_article.php?id=25359
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The analysis of the development of ancient greek sociality is made in the form of the 'road map', i.e. the author focuses on the methodological side of the research. The author of the article describes four stages of the research and moves: reconstruction of the trigger, analysis of the development of independence and social practices that ensured it, reconstruction of the institutionalization of sociality, analysis of the influence of social theories of Plato and Aristotle on practice. The central issue the author focuses on is the explanation of how the phenomenon of sociality arose. The author demonstrates that a 'new assembly of the social group' that happened under the influence of ancient greek personality and associated politia implied solutions of a number of problems and determination of common grounds that underlined particular opinions and concepts. Plato and Aristotle created schemes that allowed to solve the aforesaid problems and find those grounds. As a result, ancient greek sociality developed. In his research Rozin has used the following research methods and methodologies: problem statement, schematization, construction of terms and concepts, and analysis of empirical material. As a result of the research, the author outlines stages of ancient greek research and analysis of polis sociality, i.e. before Alexander III of Macedon created the Empire and Rome was built. The results of the research also allow to explain how ancient greek sociality developed as a result of philosophical reflection and creation of schemes and solutions of common affairs in polises.
Citations count: 1
Reference:
Rozin V.M. —
Prolegomena to Reconstruction of Sociality of the Middle Ages
// Culture and Art.
– 2018. – ¹ 3.
– P. 21 - 32.
DOI: 10.7256/2454-0625.2018.3.25842 URL: https://en.nbpublish.com/library_read_article.php?id=25842
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In his article Rozin analyzes sociality of the middle ages. The author bases his article on the in-depth research of S. Neretina who focused on the personal nature of medieval relations, the role of cities, development of the third social class, complex relations between the king and the main social classes of France. The author offers an analysis of four medieval social groups (Christians, 'suzerain - vassal' communities, royalty and townsmen such as craftsmen and merchants) as well as relations (Christian faith, politics, law and order) that united them as one big group. Further, the author analyzes the process of decomposition of those medieval social groups and development of a larger social group, monarchy and nation state. In this research Rozin has used the following methods and methodologies: problem statement, situation analysis, historic reenactment, and construction of an ideal type of medieval sociality. As a result of the research, the author demonstrates that to some degree, the middle ages repeated the history of the ancient greek times: polity-and election-based sociality was replaced with sociality that imitated both. As a consequence, institutions and bureaucracy developed and subdued society and personality. The author makes an assumption that the same pattern occured in the history later, too, and there have been no other ways to change the course of events.
Citations count: 1
Reference:
Gerasimova A.A., Gavritskov S.A., Kagan-Rozentsveig B.L. —
Use of Art Objects in Artistic Enameling in the Process of Interior Decorating
// Culture and Art.
– 2019. – ¹ 5.
– P. 8 - 19.
DOI: 10.7256/2454-0625.2019.5.29466 URL: https://en.nbpublish.com/library_read_article.php?id=29466
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The subject of the study is the consideration of the connection between design and arts and crafts objects, the necessity of correct organization of interior space, the creation of a specific atmosphere which will fit a worldview, social status and internal state of the consumer's personality. A clear tendency of interior transformation with the help of arts and crafts objects which combine traditional and modern view, determine the overall style of the room, and carry a special emotional load was detected. The emphasis is placed on modern enamel as a process of active renewal of one of the oldest forms of art, in which knowledge of the craft, its technical heritage and specificity are mandatory for the artist of arts and crafts. In the course of the study, general scientific methods were used, such as systematization of art criticism literature and specialized sources; synthesis and generalization in the process of comparison and integration of principles, ideas, and results of domestic and foreign studies; typological method for the analysis of objects of decorative and applied art; method of classification and method of comparisons for the consideration of objects of applied art; method of stylistic analysis for determination of the visual features of the analyzed objects. The main conclusions of the study are the establishments of the fact that in the creative process the use of enamel helps to understand and synthesize traditional technologies, artistic experience, and new stylistic trends. This approach to work in the art of enamel makes it an element of design and form, equivalent to metal. In this case, both volume-spatial objects and planar compositions cannot exist without it, since it serves as the color, conceptual or compositional dominant of the work.
Citations count: 1
Reference:
Alikhanova V.L. —
Massification of culture and art on the example of the activity of modern libraries
// Culture and Art.
– 2020. – ¹ 11.
– P. 103 - 107.
DOI: 10.7256/2454-0625.2020.11.32047 URL: https://en.nbpublish.com/library_read_article.php?id=32047
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This article reviews the transformation of book culture in the context of activity of modern libraries, as well as the impact of government cultural policy upon this phenomenon. Special attention is given to the changes in the activity of libraries within the framework of national project “Culture” and model standard of the activity of public libraries. In The author underlines the transformation of the phenomenon of library, and the result of these processes reflected in blurring the distinctions between the upmarket and mass, and turning the audience into mass “consumer”. In the course of this research, the author applies functional analysis, dialectical method, and comparative analysis for consideration of the functions of modern library in relation to the historically first forms of their activity. The novelty consists in systemic and nonlinear analysis of the process of transformation of libraries, taking into account incoherence of this process. Emphasis is placed on the transformation of library as a cultural phenomenon, its essence, which leads to the vague understanding of the concept of library, and thus, result, loss of its uniqueness and dysfunction as a sociocultural institution.
Citations count: 1
Reference:
Tun D. —
Chinese folk tales: the analysis of cultural code in folklore
// Culture and Art.
– 2020. – ¹ 7.
– P. 38 - 46.
DOI: 10.7256/2454-0625.2020.7.33500 URL: https://en.nbpublish.com/library_read_article.php?id=33500
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Abstract:
In recent years, due to expansion of cooperation between Russia and China in various spheres, and heightened interest to Chinese culture and cultural exchange, the folk tales and their in-depth review more and more relevance. This article examines and analyzes the Chinese folk tales, ethnocultural representations on the world, values, relationships, and assessment of surrounding environment contained thereof. The understanding of traditional concepts and images allows to better understand mentality of the nation, their priorities and ideologies. The parallel is drawn with the Russian tales and stereotypes. The author determines the universal ethical messages typical for the people of any culture, as well as specific features characteristic to Chinese people. The differences and similarities in perception of various images, actions and conclusions are considered on the examples of Chinese and Russian cultures. A popular idea of “two brothers” in narration of the tales is presented. On the example of several tales, the author analyzes this traditional model and describes its peculiarities, as well as behavioral models that are typical to China. Behavioral analysis can be valuable in in-depth review of Chinese culture, namely folk culture, as well as in strengthening of cross-cultural ties and improving efficiency of studying Chinese language through understanding the national stereotypes and linguistic worldview.
Citations count: 1
Reference:
Bykova I.I. —
Jewelers who were commissioned by the tsar in Russia during the time of Peter the Great: biography, work organization, and stylistics
// Culture and Art.
– 2020. – ¹ 12.
– P. 27 - 51.
DOI: 10.7256/2454-0625.2020.12.34368 URL: https://en.nbpublish.com/library_read_article.php?id=34368
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Abstract:
The goal of this research consists in comprehensive examination of all groups of gold, silver and diamond jewelers who were commissioned by the tsar in Moscow and Saint Petersburg in the late XVII – early XVIII centuries (their biographies, work organization, and artworks), as well as in analysis of stylistic evolution in the artistic image of items made of precious metals of that period. The research is based on the combination of art and historical-cultural approaches. The object this work the jewelry art of the time of Peter the Great. For achieving the set goal, the author refers to the unpublished archival documents and monument of decorative and applied art from the collections of Russian museums. Summary and analysis are conducted on the published material dedicated to the work of jewelers of that time; new records on the jewelers are introduced into the scientific discourse. The research demonstrates that that in the early XVIII century, tsar’s order was carried out by several teams of jewelers from Moscow and Saint Petersburg, who were simultaneously public servants and “free” artisans. The analysis of archival documents allowed specifying the nationality of foreign specialists, as well as the time of their arrival to Russia. The author suggests correlation between attitude of the monarch-commissioner towards court culture and the stylistics of works of decorative and applied art.
Citations count: 1
Reference:
Belkina V.A. —
Ecological bioethics, ecological and technological ethics in the aspect of the formation of the ecological technosphere
// Culture and Art.
– 2023. – ¹ 9.
– P. 9 - 22.
DOI: 10.7256/2454-0625.2023.9.43984 EDN: ZWWHJL URL: https://en.nbpublish.com/library_read_article.php?id=43984
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Abstract:
The relevance of this topic is determined by the fact of the transformation of the modern anthroposociotechnosphere, which is characterized by extremely rapid development of new technologies with ambiguous consequences for nature and man. In our opinion, in order to successfully adapt to this transformation, competent installations of ecological bioethics, environmental and technological ethics should be developed. The purpose of the research is a philosophical analysis of the representations of ethical models of ecological bioethics, ecological and technological ethics in the aspect of the formation and formation of the ecological technosphere as a form of coevolutionary relations of nature, society and technogenic civilization. The need for this analysis is determined by the desire to find a universal strategy for building harmonious relationships in the "nature-man-technology" system. The research is carried out within the framework of the concept of a "new ecological paradigm", which acts as the main theoretical and methodological guideline for us. This concept is based on the idea that humanity is part of an ecosystem, and therefore should live in harmony with nature. In conclusion, it is concluded that in the modern information society, in connection with the growing ecological crisis, the need for the formation of a network, synergetic-coevolutionary concept, methodology, which can be the concept of an ecological technosphere aimed at building a "new dialogue between man and nature", and involving the formation of a new ecological thinking, is of particular importance., including ethical guidelines of ecological bioethics, environmental and technological ethics.
Citations count: 1
Reference:
Tretyakova M.S., Kazakova N.Y. —
Design as meaning formation: Western and Eastern approaches
// Culture and Art.
– 2024. – ¹ 10.
– P. 121 - 135.
DOI: 10.7256/2454-0625.2024.10.69381 EDN: EVEQJA URL: https://en.nbpublish.com/library_read_article.php?id=69381
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Abstract:
The research is devoted to the issue of changing the understanding of design and its current state. Although design originated in the West, today the East is beginning to play an increasingly important role in its development. As a product of modernist culture, design initially followed the principle of "form follows function", but after a "semantic turn" it began to be understood as meaning-making, and form followed meaning. However, today the understanding of meanings only through the prism of "language" has exhausted itself, the understanding today is that design not only intellectually generated meanings, but also senses–sensations, therefore Western design theorists and practitioners began to look for alternative ways of developing design, which turned out to be consonant with the path that is being followed in the East today. The purpose of the article is to summarize some of the results of the alternative "linguistic" understanding of design in the West and in the East. The subject of the study is the change in the ways of meaning formation in modern design. Research methods used in the article are:
- methods of synchronous and asynchronous analysis, that allowed us to analyze transformations in the understanding of design, both historical and regional;
- the method of generalization, including comparative analysis, allows to understand the difference in approaches to design and shaping in different regions. The article presents modern design as a multicultural process, where different regions contribute to the general "theory" of design. However, the current eastern way of design is heterogeneous. Here we can highlight the Japanese vision of design – the "meditative approach", which involves reflection of sensations, reliance on personal experience, as well as the Chinese vision of design that is just taking shape today. We see China's potential contribution to the development of design in the inclusion of "embodied mind" in the design process, when the correctness of the chosen solution is determined not only by speculative calculations, but "resonates" with the feelings of the designer and the customer, as well as in the concept of "living form", when not only compositional or functional connections between elements are seen, but also the coherence of their movements. The Chinese approach can be called "vitalizing".
Citations count: 1
Reference:
Popova L.V. —
Michelangelo Antonioni, Jean Vigo and Dziga Vertov: Experience of Dialogue
// Culture and Art.
– 2017. – ¹ 7.
– P. 57 - 66.
DOI: 10.7256/2454-0625.2017.7.22254 URL: https://en.nbpublish.com/library_read_article.php?id=22254
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Abstract:
The subject of the research is Dziga Vertov's, Jean Vigo's and Michelangelo Antonioni's creativity which is rather well studied botj in Russia and abroad. The author pays special attention to such poorly studied aspect as Dziga Vertov's influence on Jean Vigo and Michelangelo Antonioni's creativity. The author confirms their continuity by analysing various sources, both literary and cinematographic. Much attention is also paid how creativity of Jean Vigo and Michelangelo Antonioni relate to French and Italian traditions of cinema. In this research the comparative method is applied to the analysis of communications between directors. Also the phenomenological method is applied. The novelty of this research is caused by the fact that the author describes communication between Dziga Vertov, Jean Vigo and Michelangelo Antonioni applying the integrated approach to the analysis of screen pieces. The conclusion is drawn on what practices of Dziga Vertov were the most valuable to the western cinematograph, and also about Michelangelo Antonioni's innovation.
Citations count: 1
Reference:
Puchkovskaia A.A., Tretiakov A.O. —
Digital Humanities: Analysis of the Application of Digital Technologies in the Sphere of Humanities
// Culture and Art.
– 2018. – ¹ 10.
– P. 1 - 9.
DOI: 10.7256/2454-0625.2018.10.27277 URL: https://en.nbpublish.com/library_read_article.php?id=27277
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Abstract:
The subject of the research is the variety of digital culture forms that have been developed within the framework of the interdisciplinary research at the interface of cultural research and information communicative technologies. The object of the research is the application of digital technologies in humanities projects. The aim of the research is to analyze app projects Digital Humanities as part of the development of the digital culture. The authors examine the application of information communication technologies in studying cultural heritage, corpus analysis of literary texts, work with big media collections, 3D modelling of art objects, network analysis, etc. The authors focus on interpretation and definitions of Big Data and Linked Data in terms of humanities. The research methodology has a complex nature that combines different methods and approaches. The authors of the article apply the comparative analytical and cross cultural analysis as well as synergetic approach. The main conclusions of the research are the new definitions of aura, replicability, pre-representational thinking, rhizome in terms of the development of digital culture and based on the example of digital humanities. The authors' special contribution to the research is their analysis of a great number of interdisciplinary projects that illustrate the influence of digital technologies on the development of modern culture. The novelty of the research is caused by the fact that the authors constructs a new concept of cross cultural capital that is developed in the process of consumption of digital cultural products online or offline.
Citations count: 1
Reference:
Shalaeva A. —
On the integration of methodological principles of vocal schools in the practice of foreign vocal art teachers within the system of China’s higher music education
// Culture and Art.
– 2020. – ¹ 1.
– P. 92 - 98.
DOI: 10.7256/2454-0625.2020.1.30508 URL: https://en.nbpublish.com/library_read_article.php?id=30508
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Abstract:
The goal of this article consists in determination of the relevant problems in preparation of students majoring academic solo singing in the Institute of Art of Jinggangshan University in groups of the educators representing vocal schools of Russia. The article examines the key aspects of the problems of Chinese vocal education in the context of European representation on the fundamentals of vocal skills. The study is dedicated to comparison of academic programs in the two leading universities of Russia and China, as well as detailed analysis of the curricula. The curriculum of Herzen State Pedagogical University of Russia focuses on the development of general cultural and professional vocal cycle, while Jinggangshan University focuses on upbringing an ideologically faithful citizen of the People’s Republic of China. The conclusion is made that despite the major impact of PRC’s leader Mao Zedong upon the music and vocal education, as well as vocal-methodological conference held in Beijing in 1957, the development of the vocal-pedagogical process has stagnated. The educators and students of music education in PRC should pursue the following objectives: openness to the new as a condition for cultural development; balance between the national spiritual values and professional competences; fulfillment of the role of cultural dialogue as a way of existence of art in the modern Communist China; preservation and continuous improvement of the system of music and arts education.
Citations count: 1
Reference:
Rutsinskaya I. —
Exhibitions for Stalin’s anniversaries: peculiarities of structuring a biographical narrative
// Culture and Art.
– 2020. – ¹ 1.
– P. 1 - 7.
DOI: 10.7256/2454-0625.2020.1.31908 URL: https://en.nbpublish.com/library_read_article.php?id=31908
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Abstract:
In 1939 and 1949 the museums and exhibit halls of the large and small Soviet cities held dozens of art exhibitions dedicated to the anniversaries of Stalin. Strictly aligned to the text of his canonized biography, they became an important element of jubilee celebrations, and simultaneously, a distinct culmination of visual representations of the chieftain, overcrowding the public space of every city of the country. The exhibitions resumed the results and outlined the future paths of development of the pictorial art of Staliniana. The article makes an attempt to review the common grounds the united the anniversary expositions, regardless their scale, presentability and venue. Special attention is given to correlation between verbal and visual texts, logics of structuring of a biographical narrative, methods of organization of dialogue with the audience, as well as forms of “dictate” over the creative process of Soviet artists. The source for this research became an extensive body of documents: brochures, catalogues, guides that accompanied such exhibitions and reflected their concept, logics, structure and communication objectives.
Citations count: 1
Reference:
Osipov S. —
Playing with stereotypes: Russia and the Russians in the animated TV series “The Simpsons” (1989-2020)
// Culture and Art.
– 2021. – ¹ 5.
– P. 76 - 100.
DOI: 10.7256/2454-0625.2021.5.33404 URL: https://en.nbpublish.com/library_read_article.php?id=33404
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Abstract:
The subject of this research is the image of the USSR/Russia resembles in the popular animated TV series “The Simpsons” throughout the past 30 years, considering the method of translating information inserted in the media text, as well as the complexity/simplicity of decoding this information by the viewer, ambiguity/unambiguity of interpretations, etc. The TB series touched upon the following topics related to the USSR/Russia: immigration to the United States and life of the immigrants in the new homeland, the Cold War, Communism and anti-Communism, Russian culture, Russia as a rival of the United States. The author traces the dynamics, diversity, and specificity of covering Soviet/Russian theme for over 30 years in the context of the dynamics of relations between the Soviet Union/Russia and the West, including political, social, cultural, and other nuances. The author carries out a cross-disciplinary dedicated to the work of popular culture in the context of political history of the XX – early XX centuries. The novelty consists in revealing the main themes of the “Russian presence” in the TV series (based on the analysis of almost 700 episodes), and the way they are conveyed (leveling the established stereotypes or their debunking for the sake of countering manipulations with public sentiment). Impugning the statement that ideology of “The Simpsons” is purely neoliberal, the author draws a more complex and critical worldview of “The Simpsons” in with regards to American society. Russia holds a special place in this world due to complicated bilateral relations since the Cold War, which consequences are yet to be fully overcome. An ineradicable remnant of the Cold War is the link between Russia and Communism, in which “Communism” is a synonym of any dissenting view. Russia is also associated with a rich, although highbrow culture, unattractive to most of the ordinary citizens. The main satirical idea of “The Simpsons” is to emphasize the cultural dissonance, which intensifies the difficulties of mutual understanding based on political confrontation and remaining ideological prejudices.
Citations count: 1
Reference:
Azarova V.V. —
French mystery drama in the mirror of the twentieth century
// Culture and Art.
– 2022. – ¹ 3.
– P. 54 - 72.
DOI: 10.7256/2454-0625.2022.3.37697.2 URL: https://en.nbpublish.com/library_read_article.php?id=37697
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Abstract:
The article considers the reflection of the basic laws of the mystery of the XIV–XVI centuries in the musical and theatrical works of the French "synthetic theater" of the twentieth century. These are "The Martyrdom of Saint Sebastian" by G. d'Annunzio — C. Debussy (1911) and "The Good News of Mary" by P. Claudel (1912-1948). The purpose of the work is to establish the peculiarities of the operation of the principles of semantics and composition of the genre, revived at the end of the XIX century and further developed in the French musical theater. In interdisciplinary, hermeneutical and art criticism approaches to achieving this goal, we distinguish a comparative method that allows us to draw conclusions about the identity and difference of the elements of these works, as well as about the genre "codes" of mystery dramas that enter into dialogue over a significant (about 300 years) time interval. We are talking about a dialogue within the history of Western European theater. In favor of the scientific novelty and significance of the work, we present theses on the integration of the spiritual dimension into the space of the mystery drama of the twentieth century, as well as on the relevance of the spiritual messages of the French composers of the twentieth century, who created mystery dramas in line with the Christian tradition. Conclusions are drawn: About the functions of liturgical choirs in Latin in French mystery dramas of the twentieth century, revealing the spiritual meaning of the works considered in this article. On the interaction of the sacred and profane as the leading genre feature of the mystery drama of the XIV–XVI centuries and the twentieth century. About the preservation of the spatial vector "earth — sky" by the French mystery drama of the twentieth century. On the connection of the French mystery drama of the twentieth century with the spiritual problems of modernity. About the search by the French mystery drama of the twentieth century for the possibility of overcoming the discrepancies between the world, God and man.
About the inclusion of the French mystery drama of the twentieth century in the general cultural context.
Citations count: 1
Reference:
Azarova V.V. —
On the organization of sound space in "The Tidings brought by Mary" by Paul Claudel, 1912 edition
// Culture and Art.
– 2022. – ¹ 4.
– P. 141 - 163.
DOI: 10.7256/2454-0625.2022.4.37912 URL: https://en.nbpublish.com/library_read_article.php?id=37912
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The article examines the words and the meaning, as well as the dramaturgy of sound in the first edition of the mystery "The Tidings brought by Mary" by Paul Claudel. Understanding the synthesis of verbal and vocal intonation leads the author of the article to discover new ways of solving the problem of stage music in mystery drama by Claudel. The discrete nature of the design of the sound space of the mystery in the first edition represents the concept of separately performed fragments, in which the episodes integrated into the action in liturgical Latin are united by a common spiritual meaning. At the same time, the design of the sound space in the 2nd scene of Act III (the dramatic climax, the sacred space of the mystery) is characterized by novelty. Based on the interaction of theatrical-dramatic and musical structural elements, the composition of the scene is subordinated to the principle of end-to-end, continuous vocal-dramatic development of the action.
Conclusions are drawn: during the 1910s, Claudel's idea of music in mystery drama was transformed - instead of musical fragments of an "applied" nature, a new compositional idea of stage music arose. The lyrical intonation of the author's voice is found in the sound space of the work. The mirror of Claudel's mystery reflects the principles of sound design of dramatic productions of traditional Japanese theater (Bunraku, Kabuki, Noh), as well as images of poetry of China and Japan. In the sound of the "The Tidings brought to Mary", the semantic and dramatic functions are performed by the verses of the songs "Oriole sings" and "Margarita, clear May!" performed by children's voices. Claudel's mystery drama formed a new understanding of the universal meaning of the mystery in the twentieth century.
Citations count: 1
Reference:
Khokhlova D. —
Choreographic interpretation of the images of Hippolyta and Theseus in the ballet by J. Neumeier's "A Midsummer Night's Dream"
// Culture and Art.
– 2022. – ¹ 6.
– P. 1 - 10.
DOI: 10.7256/2454-0625.2022.6.38010 URL: https://en.nbpublish.com/library_read_article.php?id=38010
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Abstract:
In this paper, the author continues to study and comprehend the author's interpretation of J. Neumeier images of the main characters of the ballet "A Midsummer Night's Dream". A meaningful interpretation of the choreographic embodiment of Hippolyta and Theseus, one of the two hypostases of the main characters of the ballet, is carried out in order to identify their features in the context of the performance and the choreographer's creativity.
Based on the methods of ballet studies analysis approved by historians and ballet theorists Dobrovolskaya, Krasovskaya, Surits, the author used comparative-historical, ideological-artistic and analytical methods, as well as the method of included observation (based on personal experience with Neumeier). In the course of the source analysis, the author used video materials from the archives of the Hamburg "Ballettzentrum" and the Moscow Bolshoi Theater.
A detailed analysis of the choreographic score of the roles of Hippolyta and Theseus allows us to conclude that Neumeier makes two detailed duets that differ from each other as the main fragments characterizing these characters. In the first of them, the choreographer uses a rich duet technique: upper supports without approaches (often starting from kneeling positions), non–standard combinations of paired rotations - elements that determine the further line of development of his choreographic style. The composition and means of choreographic expressiveness of the second duet are rather atypical for Neumeier's work. Here, the choreographer, with poses and technical solo fragments of the dancers, hints at the similarity with the ballets of the classical heritage, with the help of which he emphasizes the ceremonial and ceremonious solemnity of this duet. It also uses such an additional attribute as a train, which gives the ballerina's movements even more weight and royalty. Thus, the choreographic development of the images of Hippolyta and Theseus occupies one of the key positions (along with Titania and Oberon) in the play "A Midsummer Night's Dream", and also becomes an important stage in the evolution of the author's style of J. Neumeier.
Citations count: 1
Reference:
Zheltikova I.V. —
Possible future options in the Russian modern cinematography
// Culture and Art.
– 2020. – ¹ 11.
– P. 36 - 52.
DOI: 10.7256/2454-0625.2020.11.34473 URL: https://en.nbpublish.com/library_read_article.php?id=34473
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The subject of this research is ten Russian science-fiction films released over the period from 2013 to 2020. The goal of this article consists in examination of scenarios of seeing the future presented in the Russian modern cinematography. An overview of approaches towards studying visual images is provided, based on which the author offers a new strategy for studying film images of the future that demarcates three groups of elements in the film – cognitive, visual, and emotional-modal, and four thematic components that correspond to the spheres of social life. As a result of implementation of the aforementioned method, the author determines four underlying themes in cinematographic representation of the future – space, armed conflicts, entertainment industry and drastic changes of human personality. It is established that the visual representation of the future is resembled in the four groups of images – universal images, images of the present, images of the past, and images unfamiliar to the audience that imply something unprecedented that makes the future attractive. It is acknowledged that in most films the future is presented as unfair, wrong, which causes moral discord. It is not the world we would like to live in. Most of the Russian films are dedicated to the local future for approximately 50 years from now. This approach engages the audience in the events, and conveys an pessimistic spirit about tomorrow, which is traced not only in the plot, but also in visual imagery of most films. Holistic mages of the future, functioning in a certain culture, can be determined based on the comparison of various sources, where cinematography is just one of such sources. Therefore, the conclusions on perception of the future by our contemporaries should not be made based on this alone. However, films are a valuable source of information on visualization of the future and transmission of general moods associated with it.
Citations count: 1
Reference:
Usov A.A. —
Peasant house as a factor of formation of cultural landscape of the Russian North and the Arctic (on the example of Purnema settlement)
// Culture and Art.
– 2021. – ¹ 4.
– P. 1 - 18.
DOI: 10.7256/2454-0625.2021.4.35018 URL: https://en.nbpublish.com/library_read_article.php?id=35018
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Abstract:
The subject of this research is the traditional dwelling in the natural and cultural space of the Russian North and the Arctic. The goal of this work is to examine the peculiarities of a peasant house in Purnema settlement as a factor of formation of the cultural landscape of Onezhskoye Pomorye. The dwelling is examines not as an isolated structure, but an integral part of the North Russian cultural landscape, one of the key elements of the traditional culture of Pomorye— the Russian variant of marine culture in the Arctic. The research is based on empirical data acquired in the course of expedition in 2020 on the territory of Onezhskoye Pomorye, settlement of Purnema, Arkhangelsk Region. The article emplopys archival sources of the State Museum of Architecture named after A.V. Shchusev (Moscow), wooden architecture sites in the open-air museum “Malye Korely” (Arkhangelsk Region). Empirical data was obtained via photographic evidence of architectural sites, schematic measurements, and ethnographic questionnaire of local residents, using the method of interview. The research also leans on methodology developed by the Doctor of Culturology A. B. Permilovskaya on the architectural and ethnographic survey of the wooden architecture sites. The conclusion is made that the architectural-construct peculiarities of the dwelling and type settlement demonstrate the specific lifestyle of the Russian people in the harsh forest zone and their adjustment to the local climate. In the conditions of the North and the Arctic, a peasant house manifests as a stabilizing factor of adaptation, which ensures sustainable coexistence of population and cultural landscape formed therein; and thus, the effectiveness of ethnosocial and environmental development of the Northern and Arctic territories of the Russian Federation.
Citations count: 1
Reference:
Faritov V.T. —
Philosophical Aspects of Alfred Schnittke's Musical Compositions (Music and Philosophy)
// Culture and Art.
– 2017. – ¹ 4.
– P. 130 - 141.
DOI: 10.7256/2454-0625.2017.4.19417 URL: https://en.nbpublish.com/library_read_article.php?id=19417
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The subject of the present research article is a problem of interpreting the philosophical content of classical music. The object of the research involves philosophical aspects of Aldred Schnittke's compositions. In his analysis of the composer's works Faritov relies on the theoretical study of Kant, Hegel, Wahl, Shestov, Bakhtin, Jaspers and Deleuze. Compositions of Alfred Schnittke explicated such fundamental philosophical categories as transgression, transcendence and the transcendent. In his study Faritov has used the methodological principles and guidelines of such areas as the structural analysis of music and musical semiotics. The main result of the research is the conclusion about the predominance of the phenomenon of transgression in musical works by Alfred Schnittke. The contribution of the author to the topic is the classification of music transgression methods in the works of the composer. The research has also allowed to identify and describe ways of representing transcendence and the transcendent in music.
Citations count: 1
Reference:
Zverev A.S. —
The Idea of the Integrity of Art Work in Hans Sedlmayr's Researches
// Culture and Art.
– 2018. – ¹ 3.
– P. 41 - 47.
DOI: 10.7256/2454-0625.2018.3.25918 URL: https://en.nbpublish.com/library_read_article.php?id=25918
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The subject of the research is the theoretical views of an Austrian art historian Hans Sedlmayr on interpretation of art work. The corner stone of Hans Sedlmayr's approach is the idea of integrity. According to the art historian, art work is not just a system of external relations or formal structure but an organic whole that can be perceived both intellectually and sensually. The most important feature of integrity is a graphic nature of art work which was understood by Hans Sedlmayr as the unity of the sensual and spiritual, abstract and concrete, subjective and objective based on traditions of classical German philosophy. The method of this research is the systems approach that allows to understand ideas of Hans Sedlmayr as one whole. The novelty of the research is caused by the fact that the researcher views the ideas of Hans Sedlmayr in terms of classical German philosophy but not only as part of Vienna School of art. This approach allows to take another look at the main categories used by Hans Sedlmayr to analyze art work, in particular, the midpoint and graphic (visual) nature.
Citations count: 1
Reference:
Ushkarev A. —
Analysis of Art Audience: Seeking for Essence
// Culture and Art.
– 2018. – ¹ 5.
– P. 41 - 58.
DOI: 10.7256/2454-0625.2018.5.26394 URL: https://en.nbpublish.com/library_read_article.php?id=26394
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Analysis of the audience always remains one of the key objectives in a study of social functions of art. However, the world is so rapidly changing that what was thought to be true long ago is now turning out to be illusion or banality. What is the problem and what do we know about the art audience today? How research approaches to creating concepts and methods that would be adequate to modern science targets have been developing? These are the questions this article is devoted to. Briefly tracing back Russia's experience in conceptualization of art audience and methodology of sociological research of audience, the author of the article outlines the main problem and describes high-priority tasks in a sociological analysis of the art audience. Traditioinal approaches of sociology of art, psychology or marketing do not give a full understanding of trends and patterns of consumer behavior and thus may lead to ignoring some potentially important determinants. Application of interdisciplinary methods allows to reveal hidden statistical patterns and assess determinants of consumer behavior that cannot be measured by traditional methods but play a crucial role. This means the shift to a completely new level of research validity. The most valuable conclusion of the research is that man-and-art relationship is not accidental but determined by both objective characteristics and intellectual cultural resources and external influence of the social and cultural environment. Along with that, there is a growing understanding that the art audience of different kinds still have much in common although each of them has their own peculiarities. The research results contribute to art studies and analysis of social functions of art, and offer new prospective methodological approaches that become available due to interdisciplinary convergence.
Citations count: 1
Reference:
Chernyavskaya E.N. —
Areas of Landscape Transformation of Moscow Historical Estates
// Culture and Art.
– 2018. – ¹ 9.
– P. 66 - 75.
DOI: 10.7256/2454-0625.2018.9.27284 URL: https://en.nbpublish.com/library_read_article.php?id=27284
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Abstract:
The object of the research is the landscapes of 33 historical estates that were built near Moscow in the XVII-XIX centuries and are now protected as objects of cultural heritage of Moscow. The boundaries of these objects were developed by the author of the article in 1972 for placing on state protection as monuments of landscape art. The subject of research is the changes that have occurred during this time and essential parameters of the estate landscapes. These parameters include the preservation of the territory, type of use, restoration and state of the landscape. The researcher has used the method of comparative analysis of the specified parameters of objects in the 1970s and in our time. The research results demonstrate that the boundaries of the monuments approved by the state in the 1970s were not violated but clarified. In the area of change in use, positive phenomena have been established in terms of preservation of cultural heritage sites: museumification (5 territories), revival of temples (19 temples), transfer of the territory of the Russian Orthodox Church (3), increasing the status of users (2), and negative phenomena: user loss (3) an increase in the number of territories closed to public access (from 10 to 12). In the area of restoration, quantitative and qualitative prevalence of buildings over the park (25 and 10 territories) was recorded, which creates visual dissonance. The parks are leveling historical parameters (20 territories). When parks were restored, the tendency to include new forms consonant with historical ones was revealed. Landscapes thus formed are proposed to be considered as developing historical landscapes. The analysis performed is valuable in terms of the evolution of one of the most complex types of cultural heritage in Moscow. An additional contribution of the author is specific suggestions for optimizing the process.
Citations count: 1
Reference:
Popkova N.V. —
The Role of Philosophy in the Culture of a Technogenic Society: Criticism of Technological Mind
// Culture and Art.
– 2019. – ¹ 4.
– P. 37 - 52.
DOI: 10.7256/2454-0625.2019.4.29324 URL: https://en.nbpublish.com/library_read_article.php?id=29324
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Abstract:
The subject of the research is the status of philosophy in the culture of am odern technogenic society, in particular, its importance for people in the era when technical rationality prevails. In her research Popkova examines peculiarities of technical rationality and its difference from philosophical rationality. She demonstrates the difference of worldviews developed by these types of rationality and signs of expansion of technical rationality into the sphere of philosophy. Popkova also desribes the main views regarding the aim and functions of philosophy and makes a conclusion about the conflict between philosophical and technological activity goals. The research methodology involves problem statement and discussion, comparative and situational analysis, historical cultural comparison, composition of definitions, typological constructs and generalisations. The researcher also describes the main postulates of technical mind, i.e. principles that arose during the technical activity and extended to other activities as a result of expansion of technical rationality. At the end of the article the author concludes that philosophy is also attacked by technical mind which to a great extend explains its crisis in modern society. Nevertheless, this is philosophy that can develop new forms of thinking and become the basis for new humanitarian activities.
Citations count: 1
Reference:
Shinzhina A.I. —
Altai National Dance Theater “Altam” as a laboratory of practical implementation of the results of research work on studying traditional culture of the Altai people
// Culture and Art.
– 2021. – ¹ 2.
– P. 65 - 79.
DOI: 10.7256/2454-0625.2021.2.34621 URL: https://en.nbpublish.com/library_read_article.php?id=34621
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Abstract:
The subject of this research is the analysis of choreographic art of the Altai Republic in the context of reconstruction of the concepts of traditional culture of the Altai people on the example of the State National Dance Theater “Altam”. Relevance of the selected topic lies in the fact that Altai dance is studied virtually for the first time. The article reviews the traditional culture of the Altai people, namely dance culture. The goal is to examine Altai dance as an independent form of choreographic art in reconstruction of the artistic stage imagery. The theoretical and practical significance consists in proving the relevance of analysis of the activity of the Altai Dance Theater “Altam” as a laboratory of practical implementation of the results of research work on studying traditional culture of the Altai people. The acquired results on the development of choreographic art in the Altai Republic give a better perspective on the artistic-imagery structure of stage performance. The methodological framework is based on the art, historical, and comparative methods that allows clarifying the specificity of development of the Altai folk choreography in the context of ethnic theatrical art, as well as revealing the peculiarities of such organics in creating the artistic-imagery structure of stage performance. Scientific novelty lies in the attempt to generalize and analyze the sources for studying the Altai dance. The author traces the evolution of the national choreographic art, beginning with the folklore origins. The article introduces into the scientific discourse the factual material, such as examination of dance elements in petroglyphs, folk epic tales, folklore, cultural rites, folk games and songs. The author observes the transformation of the indicated range of sources in various genres of national choreography. The analysis of ethnic creativity of the Altai National Dance Theater “Altam” demonstrates that for many years Altai dance integrates the typical for Altai people motions, poses, gestures, substantiated by ethno-genetic identification. The article directly connects the traditional Altai dance and formation of the Altai folk stage dance for the purpose of establishment and development of the professional choreographic art of the Altai people.
Citations count: 1
Reference:
Rozin V.M. —
Can the puma Messi, the cheetah Gerda, the panther Luna, the wolf Kira be considered pets? (man in culture and the animal world)
// Culture and Art.
– 2024. – ¹ 3.
– P. 76 - 88.
DOI: 10.7256/2454-0625.2024.3.69503 EDN: RQSSKU URL: https://en.nbpublish.com/library_read_article.php?id=69503
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Abstract:
The article discusses a new trend to have wild animals (big cats, foxes, ferrets, etc.) in some homes, and it turns out that since they have been raised since childhood, loved and cared for, they behave like pets (dogs and cats). The question is whether these animals can still be considered domestic or not. To solve this problem, characteristics are given that make it possible to distinguish between wild and domestic animals, and the question is raised whether they can be applied to this case. To understand this new class of animals, the concept of "anthropomorphic" is introduced and it is shown that their psyche differs from that of wild animals, it is closer to domestic ones. An explanation is offered for the experiments of geneticist Dmitry Belyaev on the domestication of silver foxes. The author argues that the evolution of foxes was influenced by two factors, not only genetic selection, as Belyaev believed, but also the impact of the environment created by man, an environment conducive to the formation of anthropoids. Attention is drawn to the fact that humans continue to crowd large wild animals. Humans increasingly need land for goats, cows, horses, pigs, poultry, and agricultural land. The paradox ‒ our big cats of anthropoids are fed the meat of these pets. At the end of the article, Belyaev's hypothesis, according to which we are "self-domesticated" monkeys, whose innate psychological tendencies, behavior and social structure have radically changed under the influence of selection for reduced aggressiveness, is compared with the author's hypothesis about the role of signs in human origin. He shows that domestication occurred as a result of the transition of hominids to "paradoxical behavior", which required the creation of a sign based on a signaling system. The latter allowed the hominids to act contrary to biological evidence at the command of the leader. A necessary condition for this was the imagination conditioned by signs, which helped to invent the first tools.
Citations count: 1
Reference:
Li Z. —
XieYi's legacy in the context of the challenges of the fourth technological revolution
// Culture and Art.
– 2024. – ¹ 9.
– P. 105 - 120.
DOI: 10.7256/2454-0625.2024.9.71445 EDN: CFNWPT URL: https://en.nbpublish.com/library_read_article.php?id=71445
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In China, freehand brushwork is an important part of traditional culture. It is rooted in China's long history and profound cultural soil, and embodies the unique aesthetic concept and philosophical thought of the Chinese nation. Freehand brushwork is not only an artistic expression method, but also a spiritual pursuit and philosophical thinking. With the rapid progress of globalization and the rapid development of modern science and technology, traditional cultural arts are facing unprecedented challenges and opportunities. In the wave of the fourth industrial revolution, advanced technologies represented by artificial intelligence, big data, and virtual reality are profoundly changing society, and the way of artistic creation and dissemination have also undergone tremendous changes. In this context of rapid technological development and multicultural integration, preserving the humanistic spirit and cultural value of traditional Chinese freehand brushwork has become an important topic of concern for contemporary artists and cultural scholars. This article aims to explore how to broaden the expression form and cultural dissemination method of freehand brushwork art with the help of modern science and technology, so that it can keep up with the development of the times while maintaining the traditional spiritual core and radiate new vitality. It is hoped that as science and technology develop, a balance can be found between tradition and modernity, so that Chinese traditional culture and art can maintain their unique national and humanistic characteristics in the process of globalization and continue to contribute unique wisdom and value to world culture.
Citations count: 1
Reference:
Pozharov A.I. —
Gnostic images in the visual culture of modernity
// Culture and Art.
– 2025. – ¹ 7.
– P. 64 - 88.
DOI: 10.7256/2454-0625.2025.7.75333 EDN: CAOOGR URL: https://en.nbpublish.com/library_read_article.php?id=75333
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Abstract:
The visual culture at the turn of the 20th to the 21st century demonstrates a persistent interest in gnostic motifs, manifesting in film and media art as well as in performative, architectural, and bioart practices. The focus of the study is the analysis of visual forms in which gnostic knowledge is realized not as iconography but as a way of experiencing otherness, loss, and sacred rupture. The object of study is the visual culture of modernity as a field of representation of sacred knowledge in a post-secular context. The subject of the research includes gnostic images and their interpretation in contemporary visual practice—from cinema and bioart to installation, performative, and architectural forms. The emphasis is on the ways in which gnostic optics transform into visual codes that are not reducible to illustration but act as initiation, a gap in the sign, a challenge to the sensual. Special attention is given to how contemporary art uses light, emptiness, silence, and fragment not as formal techniques but as structures of sacred experience. Gnostic visuality is viewed as a form of pneumatic knowledge—not conveying meanings but invoking anamnesis. The research relies on the philosophy of the visual as a method of analyzing media representation of the sacred, the phenomenology of the image—to reveal the ontological status of the visual motif, hermeneutics of the symbol—for the interpretation of archetypal structures, and gnostic ontology—as a metaphysical framework for reading visual experience. The main conclusions of the study assert gnostic visuality as a special type of imagery manifested in contemporary artistic, performative, and cinematic practices, identifying mechanisms of remythologization of sacred experience through images of light, fragment, silence, and decay. The study shows that the gnostic image acts not as an iconographic sign but as initiation—through perceptual and bodily experience. The scientific novelty lies in the interpretation of gnostic motifs—Sophia, the demiurge, tripartite anthropology, pleroma—in the context of contemporary visual culture, as well as in the introduction of the concept of iconic neomyth as an aesthetic strategy for restoring sacred form outside of tradition, through light, silence, and emptiness. A unique contribution of the author is the development of an interdisciplinary approach that connects gnostic ontology of the image with the phenomenology of perception and the philosophy of visual experience.
Citations count: 1
Reference:
Amgalanova M.V. —
Historical Fates of Culture and Literature Activists and Their Works in the Second Half of the 20th - Beginning of the 21st Centuries: 'Rehabilitated' Culture
// Culture and Art.
– 2018. – ¹ 4.
– P. 1 - 7.
DOI: 10.7256/2454-0625.2018.4.25541 URL: https://en.nbpublish.com/library_read_article.php?id=25541
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The article is devoted to activity of repressed Buryat writers of the 1920 - 1930's viewed from the new methodological positions. Practically to the end of the 1980's, the main criterion for evaluating their social and creative activity was 'political' accusations. The author of the article pays special attention to the process of rehabilitation when culture activitists whose names were eliminated from the history as a result of repressive policies return to the academic literature. The methodological basis of the research is the axiological approach, the main research methods include historical-cultural, retrospective, descriptive methods and analysis. The objective analysis of social-political and national-cultural activity of Buryat intelligentsia should include full and, if possible, completely new reconstruction and interpretation. This, in its turn, provides big opportunities for methodological experiments and allows to restore historical justice in relatin to Buryat culture activisits who tried to preserve national values when the socialist culture was developing.
Citations count: 1
Reference:
Korpan L.M. —
The Concepts of 'Language' and 'Grammar' of Symbols in Russian Avant-Garde Art and its Influence on the Symbol Systems of the 20th Century
// Culture and Art.
– 2018. – ¹ 3.
– P. 33 - 40.
DOI: 10.7256/2454-0625.2018.3.25790 URL: https://en.nbpublish.com/library_read_article.php?id=25790
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In this research Korpan analyzes the concepts of 'language' of the artwork created by V. Kandinsky, researchers of the State Academy of Fine Arts (in particular, N. Volkov and A. Gabrichevsky) and Ya. Chernikhov from the point of view of the influence of these concepts on the development of visual communications of the 20th century. Based on the non-figurative fine art of the Russian avant-garde, artists and philosophers tried to create the 'language' that would be universal for all kinds of arts, and the theory of morphogenesis (V. Kandinsky and other researchers of the State Academy of Fine Arts) as well as a universal instrument for all kinds of visual communication (Ya. Chernikhov). The author of this article carries out a comparative analysis of different concepts of 'language' of art, defines general elements and principles of morphogenesis that had the greatest impact on the development of visual communications of the 20th century. The novelty of the research is caused by the fact that the author views the theories of Kandinsky, N. Volkov, A. Gabrichevsky and Ya. Chernikhov as an integral concept that resulted in further development of methods and techniques of visual communication up to creation graphical user interfaces. The results of the research can be used to develop the system of graphical symbols (including computer interfaces) and in the field of graphic design.
Citations count: 1
Reference:
Neglinskaya M.A. —
“Gunpowder painting” of Cai Guo-Qiang: Chinese artistic tradition in the era of postmodernism
// Culture and Art.
– 2020. – ¹ 2.
– P. 44 - 50.
DOI: 10.7256/2454-0625.2020.2.29690 URL: https://en.nbpublish.com/library_read_article.php?id=29690
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The subject of this research is the art of Cai Guo-Qiang (born in 1957) – the modern Chinese painter who lives and works in China and the United States (New York). The object of this research is the storyline fireworks of Cai and his innovative technique of “gunpowder painting”. The first works of the painter were canvasses in oil painting, and by 1980’s he invented a new “gunpowder” technique, which was first applied in combination with oil on the canvas, and since 1990’s – with ink on the paper, as a version of modern traditional painting guo-hua. His works evolved from social realism to a distinct variation of modern expressionism, as demonstrated the first in Russia retrospective exhibition of the works of Cai Guo-Qiang that took place in the Phuskin State Museum of Fine Arts (“October”, Moscow, 2017). Authors of the exhibition catalogue justifiably note the “cosmopolitan mission” of his art, but leave out of account the traditional context. The proposed methodology, which integrates art and culturological analysis, allows seeing in the works of this prominent modern painter the version of mass art that retains mental and reverse connection with the Chinese tradition. The scientific novelty of the article is defined by the following conclusions: the art of Cai Guo-Qiang is addressed to the international audience, but concords with the traditional paradigm due to Buddhist mentality deeply rooted in the painter’s consciousness. The traditional aspect is his proclivity for harmonization of social environment. This mass art that possesses formal and substantive novelty is associated with the modern international artistic market, as well as market version of “Chinese style” (Chinoiserie) of the XVIII century.
Citations count: 1
Reference:
Melkova S. —
Fashion design within the structure of contemporary design
// Culture and Art.
– 2020. – ¹ 3.
– P. 1 - 12.
DOI: 10.7256/2454-0625.2020.3.32432 URL: https://en.nbpublish.com/library_read_article.php?id=32432
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The object of this research is fashion design as one of the new directions in design. Design is constantly developing due to broadening of its area of application and people demonstrate new ideas and demands. The subject of this research is the conceptual-terminological apparatus of fashion design. The author reveals the content of the new concept of “fashion design” that reflects vast proliferation of design activity generated by fashion, including costume design, fashion magazines, magazine covers, fashion illustrations, fashion albums, advertising of fashionable brands, etc. The foal of research consists in systematization of sketchy theoretical data on fashion design as a new trend of design. The scientific novelty consists in interpretation of the term “fashion design” and determination of its role within the structure of contemporary design. The conducted research allows identifying close connection of this concept with costume design and graphic design. The presented materials can be used in teaching professional disciplines of “Graphic Fashion Design” and “Project Design” to graphic designers and fashion designers. The research results found application in educational process of future designers in Kemerovo State Institute of Culture.
Citations count: 1
Reference:
Rozin V.M. —
Reconstruction of the Logic and Process of Building an Artistic Image (Based on the Image of Sarah in Meir Shalev's Novel "Esav")
// Culture and Art.
– 2023. – ¹ 1.
– P. 42 - 54.
DOI: 10.7256/2454-0625.2023.1.39654 EDN: ENKXPB URL: https://en.nbpublish.com/library_read_article.php?id=39654
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The article describes the experience of reconstructing the logic and process of building an artistic image. Reconstruction includes two stages: analysis of the creation of a specific artistic image and theoretical generalization in order to reach constructions that can be extended to other cases of the construction of artistic images. At the same time, the author in the reconstruction relies on his research of art and his works. In the latter, he examines, on the one hand, the problems that the artist solves, on the other hand, the answer to these problems, which is the construction of events of artistic reality. It is in this context that artistic images are created. Their function is twofold: it is an expressive means, one of the tools for building artistic reality, and at the same time the "bricks" from which the world of artistic reality is created. The characteristics of the image of Sarah from Meir Shalev's novel "Esav", the schemes and expressive means used in its construction are analyzed. The mystery of the impact of an artistic image on the reader is discussed. In the last part of the article, the author compares the artistic image with ideal objects in philosophy and science. He argues that an ideal object does not need to be perceived as an event, it is used in reasoning and cognition, where the main thing is not the vision and experience of a phenomenon, but the constancy, consistency of its properties; and the problems that a philosopher or scientist solves are different.
Citations count: 1
Reference:
Wang X. —
A Study on the Inheritance and Protection Mechanism of Chinese Handicraft Intangible Cultural Heritage
// Culture and Art.
– 2023. – ¹ 12.
– P. 143 - 155.
DOI: 10.7256/2454-0625.2023.12.69097 EDN: PDDILA URL: https://en.nbpublish.com/library_read_article.php?id=69097
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This paper takes the intangible cultural heritage of Chinese handicrafts as the object of study, aiming to deeply explore the mechanism of its inheritance and protection. The intangible cultural heritage of handicrafts refers to traditional artefacts and handicraft products created through craftsmanship, as well as the knowledge, skills and cultural expressions associated with them. Such heritage is not only a collection of tangible products, but also intangible cultural expressions rich in history, culture, skills and philosophy. They often represent the history, tradition and identity of a culture. Chinese handicrafts have a rich history and contain many cultural connotations and historical values. Each craft holds deep cultural traditions and unique regional characteristics. The innovation of the article is that it proposes a diversified protection framework, stresses the synergy of government, market and society, and analyses the lessons learned in combination with specific cases. It is found that although China's intangible cultural heritage of handicrafts faces many challenges, such as the impact of industrialization, the transformation of the market economy, and the loss of talents in traditional skills, its inheritance and preservation can be effectively promoted through measures such as improving laws and regulations, strengthening public education, and promoting social participation. The article ultimately calls for the construction of an inclusive protection mechanism to achieve the sustainable development of China's handicraft-based intangible cultural heritage. (This article is the result of the project "Mutual learning of strategies for preservation and transmission of intangible cultural heritage of Russia and China in the field of handicrafts".)
Citations count: 1
Reference:
Zaitcev A.Y. —
Personalities of Russian animation: synergetic films of Alexander Svirsky
// Culture and Art.
– 2024. – ¹ 11.
– P. 10 - 25.
DOI: 10.7256/2454-0625.2024.11.72187 EDN: NWDWMN URL: https://en.nbpublish.com/library_read_article.php?id=72187
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Russian animation director Alexander Svirsky is known for his desire to push the boundaries of animation and avoid traditional conventions, often rejecting the standards accepted in the animation industry. His works are a synthesis of artistic techniques, where the author uses images and symbols, harmoniously intertwining graphics with a musical accompaniment. The relevance of the study is due to the fact that the director's works deserve deep analysis in order to identify promising types of artistic forms in domestic animation cinema. The object of the study is the animated films of Alexander Svirsky, a visionary artist with a unique view of the nature of animation. The subject of the study is the peculiarity of the director’s synergetic animation, which manifests itself, in particular, in the integration of visual and sound spaces into a holistic artistic image according to the type of associative flow. The work uses a complex of general scientific (comparison, analysis, generalization) and special methods (visual-iconic, artistic-evaluative). In the analysis of animated films, descriptive-analytical and structural-semantic methods were used. The scientific novelty of the work is due to the fact that in art studies the analysis of the director's work has not been given sufficient attention, while the films he creates are highly appreciated at animation festivals. The author's contribution to the study of the topic is a detailed analysis of the director's work using some of his works as an example. The main conclusions of the conducted research are that the artistic form of Alexander Svirsky's animated films predominantly belongs to the promising, actively developed in the media space, flat-conceptual type, resonating with the perception of audiovisual content by the younger generation of viewers.
Citations count: 1
Reference:
Khotin D.M. —
The problem of defining an interactive film: game or cinema
// Culture and Art.
– 2025. – ¹ 1.
– P. 50 - 66.
DOI: 10.7256/2454-0625.2025.1.73018 EDN: CVJPZH URL: https://en.nbpublish.com/library_read_article.php?id=73018
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Abstract:
The article is devoted to the study of the problem of defining and classifying interactive cinema as a special media format in the modern digital space. The relevance of the research is conditioned by the rapid development of hybrid forms of media content, blurring the traditional boundaries between cinema and video games, as well as the lack of clear criteria for their theoretical classification. The research methodology is based on a comparative analysis of the characteristics of video games and cinema using M. McLuhan's theoretical concepts of ‘hot’ and ‘cold’ media, the ludological approach and narratological analysis. Interactive projects of Quantic Dream studio – ‘Fahrenheit’ and ‘Heavy Rain’, as well as examples of experimental formats in traditional cinema were used as the research material. The scientific novelty of the research consists in the attempt to distinguish interactive cinema as a separate type of media content; in the proposal of the concept of “hybrid media”, which combines the principles of visual narrative cinematography and interactivity, which allows us to classify new formats more precisely and to understand their features and possibilities more deeply. As a result of the research: the essential differences of interactive cinema from both traditional video games (the absence of classical game mechanics and progression systems) and cinematography (the presence of active user participation and variability of plot development) were revealed; the definition of a new category of “hybrid media” characterized by the combination of cinematic principles of visual narrative with elements of interactive interaction was proposed and substantiated; the specific position of the user in interactive cinema was analyzed, The results of the study contribute to the development of the theory of modern digital media and can be used for further study of hybrid forms of media content.
Citations count: 1
Reference:
Zaitseva M.L., Bobrina D.S. —
Pancho Vladigerov's Education System as the Grounds of Bulgarian Pianistic School
// Culture and Art.
– 2017. – ¹ 12.
– P. 122 - 127.
DOI: 10.7256/2454-0625.2017.12.24878 URL: https://en.nbpublish.com/library_read_article.php?id=24878
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Abstract:
The article is devoted to the analysis of the education system offered by a famous Bulgarian composer, pianist and folklorist Pancho Vladigerov. The authors of the article prove the idea that Pancho Vladigerov's education system develops European and Russian music pedagogy traditions and, at the same time, has original features conditioned by personality traits of the composer and his individual performing style and priorities in education. The authors of the article define particularities of the musician's approach to interpreting note texts and describe Pancho Vladigerov's contribution to the development of the piano art of the XXth century. The research methodology is based on the systems approach that allows to define the connection between expressive and technical goals set by Vladigerov for his students in the process of teaching professional skills as wellas to determine the nature of the relationship between tradition and innovation in his education system. For the first time in the academic music literature the authors provide information and data from foreign resources on Pancho Vladigerov's teaching activity as translated by D. Bobrina from Bulgarian. The novelty of the research is caused by the fact that the authors define the main teaching principles used by Vladigerov in the process of teaching piano playing and composition and describe the musician's contribution to the process of developing Bulgarian pianistic and composition schools.
Citations count: 1
Reference:
Usov A.A. —
Traditional Peasant Dwelling in Cultural Landscape of Onezhskoye Pomorye (on example of Vorzogory Village)
// Culture and Art.
– 2019. – ¹ 5.
– P. 31 - 41.
DOI: 10.7256/2454-0625.2019.5.29339 URL: https://en.nbpublish.com/library_read_article.php?id=29339
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In the article, the study of traditional peasant dwelling (the subject of the study), as an object, forming a rural cultural landscape of Northern and Arctic territories, is conducted. The aim of the research is to study the architectural-constructive organization of North Russian yard house in the environmental and cultural space of Onezhskoye Pomorye. Pomor culture is a Russian variant of maritime culture of the Arctic. The cultural landscape of the Russian North is, primarily, a landscape of rural historical settlements. The house was one of the ways of environmental reclamation, due to its adaptive abilities, reflected in architectural-constructive and planning organization, human survival in the North and the Arctic became possible. Source of the research: empirical forwarding materials on the Primorsky and Onega districts of the Arkhangelsk region, 2018; archival sources of scientific and production center for the protection of monuments of history and culture (Arkhangelsk), the monuments of wooden architecture from the open-air museum "Small Karelians" (Arkhangelsk region). The article is based on the use of complex of methods: systemic, cultural-historical, art criticism, ethnocultural. Photo fixation of architecture monuments was conducted, schematic measurements were performed, an ethnographical survey of local people by the method of the interview was conducted. The research is based on the application of the author's methodology of Dr. A. B. Permilovskaya on the architectural and ethnographic survey of objects of wooden architecture. As a result of the study, the new information on the architectural-constructive organization of Pomor house, its adaptation to the subarctic climate conditions, and its town-forming role in forming a cultural landscape of unique historical village Vorzogory was received. Results application field: scientific works, the formation of expositions of museums in the open-air, the restoration of monuments of wooden architecture, modern rural housing.
Citations count: 1
Reference:
Rozin V.M. —
Postculture Concept
// Culture and Art.
– 2019. – ¹ 6.
– P. 45 - 52.
DOI: 10.7256/2454-0625.2019.6.29768 URL: https://en.nbpublish.com/library_read_article.php?id=29768
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Abstract:
The article presents the ideas of the author's postculture concept. Firstly, the problems forcing to revise the traditional concept of culture, which is given through four procedures (comparison of cultures, setting their integrity, degree of development, and uniqueness) are set. Afterward, the author characterizes the connection between the definition of culture and the concept of modern. Meanwhile, the modern is observed as a project of the organization a new world based on man's mastery of nature. The author explains the introduction of the concept of culture by the problems that arose during the implementation of the project of modernity. The author includes, on the one hand, the processes of transformation and transition characteristic of our time, on the other ‒ the formation of a new culture ("future culture"), into the postculture. Both sides of this new cultural formation are outlined. The following methodology is implemented in the research: problem statement, situational analysis, cultural and historical constructions, the introduction of new concepts, their explanation and justification. As a result of the study, it was possible to show that the traditional concept of culture is set by specific procedures and is connected with the concept of modern. Currently, in modernity, which the author calls postculture, he proposes distinguishing between the processes of transformation of sociality and transition, as well as the formation of the culture of the future. He characterizes the latter one in terms of a new vision of reality, sociality, and values.
Citations count: 1
Reference:
Usachev A. —
Philosophical aspects of the modern religious worldview
// Culture and Art.
– 2022. – ¹ 9.
– P. 1 - 16.
DOI: 10.7256/2454-0625.2022.9.35868 EDN: PIAJDY URL: https://en.nbpublish.com/library_read_article.php?id=35868
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Abstract:
The object of the research is one of the most important issues today - the structural relations of the scientific and philosophical spheres and religion, since new communicative and ontological possibilities have appeared. The subject of the study is the separation of science, philosophy and religion, which in Modern times could not destroy the belief in a single source of knowledge, which became an organizing principle, uniting the disparate data of experimental science, which required a single goal-setting and moral attitude, justifying the meaning of the search for new types of being of matter and phenomena of consciousness. The research is organized in accordance with the structural and functional method, which allows us to correlate various disciplines of philosophy and religious knowledge with each other. The purpose of the study is the question of the relationship of philosophy and religion in modern Russian self-consciousness, based on the attitudes of philosophical thinking and religious worldview. History shows that the thesis that scientific progress will contribute to the fact that the religious worldview will be leveled does not find support in reality. Historical fractures lead to the strengthening of religion in self-consciousness, and raises the question of the relationship between philosophical thinking and religious worldview in a new way.The objectives of this study are: to prove the position that religion can be called one of the modern modes of consciousness; to show how the philosophical attitude to reality enters into a dialogue with religion with a new force – it is forced to self-determine in relation to the mythological and intuitive religious worldview; the relationship of philosophical thinking and religious worldview gives rise to new meanings which must be taken into account in modern philosophizing.The scientific novelty of the research is that the syncretic type of thinking is shown on the example of Russian religious philosophy, which activates the philosophical understanding of the world and elements of the religious picture of the world.
Citations count: 1
Reference:
Li J. —
Visual and technical reinterpretation of Xie-yi artistic traditions in contemporary Chinese oil painting
// Culture and Art.
– 2025. – ¹ 8.
– P. 101 - 118.
DOI: 10.7256/2454-0625.2025.8.71450 EDN: VTVVXQ URL: https://en.nbpublish.com/library_read_article.php?id=71450
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Abstract:
The article explores the transformation of the philosophical and aesthetic principles of Chinese xieyi painting in contemporary artistic practices and addresses the problem of preserving cultural identity under the conditions of art internationalization. The object of the study is contemporary Chinese oil painting as a space of interaction between national and Western traditions. The subject is the processes of visual and technical reinterpretation of the xieyi style in the practice of modern Chinese painters. It is argued that authorial strategies combining traditional figurative thinking with Western techniques turn oil painting into a medium of cultural continuity and adaptation of the national visual code to new artistic and social contexts. Special attention is paid to the works of Zhu Dequn and Wu Guanzhong, in which the techniques of Chinese ink painting—such as the spiritualized brushstroke, poetic imagery, and compositional spontaneity—are integrated with the chromatic, textural, and spatial structures of Western oil painting. The methodological framework includes iconographic analysis, cultural interpretation of artistic concepts, and hermeneutic reading of the cultural spirit embodied in the works. The novelty of the study lies in identifying the mechanisms through which the fundamental values of the Chinese visual tradition are preserved while being adapted to new technical and cultural environments. This contributes to the broader understanding of cultural hybridity in global art history, revealing how the synthesis of aesthetic codes not only sustains national identity but also expands the interpretive potential of oil painting within transnational artistic dialogues and strengthens its relevance in contemporary cultural theory.
Citations count: 1
Reference:
Aliev R.T. —
The Culture Forming Role of an American Comic Superhero as the Image of Other/Alien
// Culture and Art.
– 2017. – ¹ 10.
– P. 1 - 12.
DOI: 10.7256/2454-0625.2017.10.24508 URL: https://en.nbpublish.com/library_read_article.php?id=24508
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Abstract:
The article is devoted to such phenomenon of modern popular culture as superheroic comic series. Taking into account the fact that American comic series have long ago broken the tether of such American culture and comic series have taken an important place in cultural and economic clusters of the majority of today's countries, the theme of the present research article remains topical up to now. The author of the article examines the culture forming role of an American superhero of comic series from the point of view of the culturological problem of the Other/Alien image. In particular, the author analyzes such phenomena of popular culture as cosplay, fan communities, fan festivals and costumized heroism. The research is based on theoretical and methodological approaches of J. Lacan and S. Zizek that allow to view the problem of heroism in historical perspective through the prism of psychoanalytical methodology. J. Derrida's works have also played an important role in this research, in particular, his method of 'deconstruction' that is used by the author of the article to develop the image of Hero that has the basic features of the Other/Alien and so did the views of postmodernists J. Deleza and V. Turner who developed the concept of liminality. As a result of his research, the author has come to the conclusion that the influence of an American comic superhero on the modern cultural environment is tremendous and can be found in the influence on different kinds and genres of art, subculture of comic fans and popular phenomenon of cosplay as well as certain behavioral patterns imitating the behavior of superheroes.
Citations count: 1
Reference:
Fedorovskaya N.A., Rogova A.V. —
Problems and Directions of Digital Sculpture Studies
// Culture and Art.
– 2018. – ¹ 1.
– P. 56 - 61.
DOI: 10.7256/2454-0625.2018.1.24971 URL: https://en.nbpublish.com/library_read_article.php?id=24971
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Abstract:
The article is devoted to the rapidly developing modern art and design phenomenon, digital sculpture. The authors of the article state that despite a broad popularity and active practical use of digital sculpture in various kinds of modern life, researches of this phenomenon have only started. Within the framework of this research, the authors view the most important problems of digital sculpture that, in their turn, create directions of relevant research. The object of the research is the digital sculpture and the subject of the research is the directions and problems of studying this phenomenon. Historical comparative and analytical approaches used by the authors allowed to analyze historical, technological and expressive aspects of digital sculpture that relate to both the process of digital sculpture creation and associated software (ZBrush, Sculptris, 3D-Coat, etc.). The novelty of the research is caused by the fact that in the process of their analysis, the authors define the most promising directions for studying the phenomenon of digital sculpture, each can serve as an individual research subject in the future. These directions include: 1. accumulation and generalisation of research methods and historiographic basis; 2. development of the framework of terms and methodologies; 3. analysis of the history of sculpture and software development; 4. analysis of artistic features of such artwork as well as particularities of using digital sculpture.
Citations count: 1
Reference:
Popova O.V. —
Artistic Heterotopy as a Term of Modern Art Studies
// Culture and Art.
– 2019. – ¹ 8.
– P. 54 - 59.
DOI: 10.7256/2454-0625.2019.8.30435 URL: https://en.nbpublish.com/library_read_article.php?id=30435
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Abstract:
The subject of the research is heterotopy as a concept that can solve a number of serious issues in art studies. The aim of the research is to demonstrate that the concept of heterotropy can be used to describe artistic phenomena that cannot be analyzed by the methods that are traditionally used in art studies. In her article Popova tries to prove that the concept of artistic heterotropy can be useful to analyze polysemantic artistic phenomena created at the border between art and science, art and life, art and social practices. In her research Popova combines spacial and linguistic approaches of Michel Foucault in interpretation of heterotropy essence. Conceptualization of the concept of heterotopy is based on the view of heterotopy as a specific semiotic mechanism of 're-scription' (according to N. Rudenko). Popova describes the following features of artistic heterotropies: they are based on the transition of an object into the space of an artwork; semantics of such an artwork is formed at the crossing of different meanings in which several semiotic systems are expressed at once; and such artwork is based on an artist's desire to destroy customary patterns and create an alternative image of the world.
Citations count: 1
Reference:
Hu A.J. —
Madonna in flower garlands in Flemish painting of the XVII century
// Culture and Art.
– 2021. – ¹ 7.
– P. 66 - 80.
DOI: 10.7256/2454-0625.2021.7.33907 URL: https://en.nbpublish.com/library_read_article.php?id=33907
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Abstract:
The subject of this research is Flemish painting the XVII century in the spiritual and cultural context of the Counter-Reformation, which created remarkable decorative and religious images to counter the iconoclastic trends of the Reformation movement. The object of this research is Flemish paintings of the Baroque Period of the XVII century with flower garlands edging the central image of Madonna. Special attention is given to the variety of iconographic patterns of the image of Virgin Mary framed in a flower garland, which was widely popular in painting of the Baroque period. Some artists use the pattern of “painting in a painting”; others imitate sculpture, the color of which accentuates the brightness of garlands. The article employs iconographic, iconological, and artistic methods, as well as stylistic analysis. The scientific novelty consists in proving the fact that Virgin Mary appears in painting not only as an individual image, but in paintings of flower garlands as well. The acquired results demonstrate that in the XVII centuries, the artists used different iconographic patterns for creating the image of Virgin Mary. The masters were able to combine different types of flowers, reaching the harmony of floral motifs and balancing them with the image of Madonna. The artists demonstrated the beauty of flower garlands by adding different living creatures in their paintings, such as birds and animals, to make them look more colorful, peaceful and vibrant. Thanks to these works, the image of Madonna remained extremely revered in the XVII century.
Citations count: 1
Reference:
Pokatilova I.V., Yadreeva A.P. —
Architectonic method in studying the culture of Yakutia
// Culture and Art.
– 2020. – ¹ 11.
– P. 11 - 18.
DOI: 10.7256/2454-0625.2020.11.34490 URL: https://en.nbpublish.com/library_read_article.php?id=34490
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Abstract:
The subject of this article is the artistic culture of Yakutsk. Among a wide variety of regional, historical, sociological and economic research dedicated to the history of Yakutsk, very few works of culturological nature. In the early XXI century, one of the relevant methods of historical culturology becomes the architectonic method developed by I. V. Kondakov (1998). Proposed by the author architectonics of the Russian culture consists of the two-stage mechanism of cycles: 1) cumulation/divergence; 2) selection/convergence, which is of universal nature. The relevance of this research is substantiate by insufficient examination of artistic culture of Yakutia as a whole. The purpose of the article is to use the architectonic method of studying the culture of Yakutia, using the example of the city of Yakutsk. The novelty of the research shows the effectiveness of using the architectonic method in studying the culture of Yakutia. At the cumulative stage of the XVII – XIX centuries, the architectonics of culture of Yakutsk represents a semantic core of cultural integrity. At the divergent stage (late XIX – early XX centuries) this core is being divided, gradually losing its integrity. The beginning of the XX century marks the synthesizing level, stage of enlightenment of the Yakut culture, concentrated in Yakutsk. The selective level (1920s – middle of 1980s) is oriented towards achieving cultural integrity and civilizational identity through coercion and selection around the values of the Soviet culture. The convergent level suggests conditional synthesis (1990s – 2020), one of its components in “reinterpretation and modernization of the archaic”, taking conventional and game character.
Citations count: 1
Reference:
Rozin V.M. —
"The Peasant Lady": an Existential Choice, Super-Difficult in Life, but Possible in Art
// Culture and Art.
– 2023. – ¹ 2.
– P. 33 - 42.
DOI: 10.7256/2454-0625.2023.2.39727 EDN: DKGTCA URL: https://en.nbpublish.com/library_read_article.php?id=39727
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Abstract:
The article offers a new, in fact, cultural and psychological version of Pushkin's famous story "The Peasant Lady". Various assessments of this work are given, including the author's, teenage. The author argues that the modern understanding of works of art involves an analysis of the culture in which it was created, as well as the author of this work. Realizing this installation, he discusses why Pushkin shifted to the reader the consideration of the consequences that followed from the last scene of the "Peasant Girl", when the deception-Lisa's game was revealed. According to the author, this would destroy the plot, since it would show that the behavior of Lisa and Alexey contradicted the ideas of marriage and the actions of young people accepted in Russian society at that time. It is hypothesized that Pushkin, composing "The Peasant Lady", solved his own existential problem, which P. Chaadaev pointed out to him, namely, his real life contradicted Pushkin's declared values and poems. Unable to rebuild his life in 1830, Alexander Sergeevich compromises, reconciling the real and desirable life in the field of art, this largely explains the peculiarities of the "Peasant Lady". In Marina Tsvetaeva's work, there was also the use of art (and other discourses) to bridge the gap between real and desired life, which to a certain extent allowed the artist to realize himself and preserve his mental health.
Citations count: 1
Reference:
Zhang S. —
Exploring the origins and early development of Chinese military bands
// Culture and Art.
– 2024. – ¹ 5.
– P. 139 - 149.
DOI: 10.7256/2454-0625.2024.5.70749 EDN: EPIJJU URL: https://en.nbpublish.com/library_read_article.php?id=70749
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Abstract:
Chinese military music plays a significant role in cultural and historical traditions, serving not only as a means of communication during war but also as a vital component of national identity. Studying military music reflects the changes in China's political structures, technological advancements, and international influences, providing deep insights into the socio-political history of China. By analyzing military music, we can trace the impact of cultural exchanges and interactions with other nations and cultures on Chinese musical traditions. This research explores the origins and early development of martial music in ancient China and how these bands reflected and influenced China's cultural traditions and socio-political history, revealing the evolution of martial music through various historical periods. It examines how these changes interacted with political structures, technological progress, and international influences. Employing historical documentary analysis and musicological research, the study investigates the multiple roles of military music in state ceremonies, public celebrations, and on the battlefield. The scientific novelty of this study lies in its systematic integration of musicology, history, and cultural studies to comprehensively understand the origins and early development of wind music in ancient China. It analyzes the evolution of national wind music and its roles in society from a multidimensional perspective, demonstrating how marching band music reflects and influences philosophical, religious, and cultural concepts throughout Chinese history. This approach not only deepens our understanding of specific aspects of Chinese musical culture but also contributes to a broader comprehension of music's influence on social processes and identity.
Citations count: 1
Reference:
Shapinskaia E.N. —
'Strong as Death is Love...': Tristan and Isolde Legend in Terms of Interpretation
// Culture and Art.
– 2017. – ¹ 6.
– P. 121 - 133.
DOI: 10.7256/2454-0625.2017.6.23451 URL: https://en.nbpublish.com/library_read_article.php?id=23451
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Abstract:
The aim of this research is to find out universal foundations of the archetypal plot interpreted in different cultural contexts and in different cultural forms. Having appealed to the medieval plot, the author of the article views modifications of the plot at different epochs, how it was conditioned by the environment and how the semantic core of the texs stayed unchanged. Based on the legend about Tristan and Isolde the author has traced changes in semantics of different cultural contexts. The author also analyzes interpretation strategies typical for different artistic presentations of the legend (opera, drama and artwork). In her research Shapinskaya uses the method of textual analysis, descriptive and comparative methods as well as elements of the semantic analysis. As a result of the research, Shapinaskaya demonstrates that the semantic core of the legend contains universal human values relevant for each historic cultural formation. The essence of this meaning has been shown in symbolism, with its negation of attachment to a time or a place. Comparing the Tristan and Isolde legend to the symbolist drama “Pelleas and Melisande” by Meterlinck and opera by Debussy allows to better understand human values contained in the legend which explains why interpretations of the legend have been so frequent in art.
Citations count: 1
Reference:
Sidorova G.P. —
"Overcoming the Differences between City and Village", or Soviet Everyday City Life Versus Rural One
// Culture and Art.
– 2019. – ¹ 2.
– P. 28 - 36.
DOI: 10.7256/2454-0625.2019.2.28762 URL: https://en.nbpublish.com/library_read_article.php?id=28762
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Abstract:
The features of the city and rural subcultures in the Russian-Soviet culture of the 1950s-1980s and their everyday manifestations in direct communications are analyzed. Soviet - city and rural - everyday life is observed through its reflection in works of art of this time. Through the artistic images of city and rural everyday life, analyzed in the historical and sociocultural context, their subcultural and national specific is determined. Sources: cult texts of Soviet fiction and cinema of the 1950s-1980s, where the city subculture is represented in direct communication with the rural subculture. Method of historical and spatial typologies, ethno-psychological method, hermeneutic method, the artistic method of understanding culture is used. Theories of L. Wirth, G. Zimmel, R. Redfield, R. Frankenberg and L. N. Kogan on urban and rural subculture and the corresponding lifestyle. City subculture is more "industrial" and "complicated", but rural one is more "traditional" and "simple". In the middle type of Russian-Soviet culture "overcoming the differences between city and village" in the process of accelerated modernization at the daily level – often assimilation, as well as the marginalization of both city and rural society. Under immediate mass communications, this led to the antagonism of city and rural subcultures.
Citations count: 1
Reference:
Popov D.A. —
Structuralism and contemporary mass art
// Culture and Art.
– 2020. – ¹ 8.
– P. 48 - 55.
DOI: 10.7256/2454-0625.2020.8.32542 URL: https://en.nbpublish.com/library_read_article.php?id=32542
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Abstract:
The subject of this research is the impact of structuralism as a scientific direction upon mass art. Stable invariant structures discovered by the structuralists in multiple artworks can be observed in mass art. Structuring, which initially was a method of research, turned into one of the practical recommendations on reating new works in mass art. The goal consists in the analysis of susceptibility factors of mass culture to the ideas of structuralism and results of using methodology of structuralism in mass artistic production. The initial methodological focus of this work lied in the concept of juxtaposition of craft and art, which goes back to I. Kant and is applied in modern aesthetics. The author leans on the methods of structuring and comparative structural analysis, as well as the elements of functional analysis. The main conclusion of consists in the statement that susceptibility of mass culture to the ideas of structuralism is substantiated by its economic goals, need to possess reliable and scientifically proven tools that would ensure commercial success of the artworks. However, the patterned application of structuring methods in mass art is capable of creating only craft products, rather than actual art.
Citations count: 1
Reference:
Rozin V.M. —
Transformation of the theater: ancient and New European theater, director's theater of the XX century, theater of "social changes"
// Culture and Art.
– 2022. – ¹ 7.
– P. 96 - 114.
DOI: 10.7256/2454-0625.2022.7.38420 EDN: AYIZOD URL: https://en.nbpublish.com/library_read_article.php?id=38420
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Abstract:
The author connects the analysis of the formation of the ancient theater with the formation of art in ancient Greece, theatrical communication (including the positions of the author, artist and viewer), theater as a special space, awareness of the art and nature of ancient Greek drama in the "Poetics" of Aristotle. In the culture of modern times, the ancient canon of the theater is being established anew, since ancient Greek works are being reinterpreted from the point of view of the relationship to the medieval heritage and the social reality of the emerging new time. The new socio-cultural situation has predetermined three important consequences for the theater: firstly, the content of the stories written by playwrights is radically changing, secondly, the audience is changing, and thirdly, the rapid growth of theaters in emerging national states begins. These innovations are illustrated by the example of the French theater of the times of Louis XIV and Racine. In the second half of the XIX, the beginning of the XX century, the director's theater was formed. The director considers the artist as one of the "expressive means" along with others (music, scenery, theatrical clothing, symbols, etc.). The author suggests that the director's theater was influenced by the reflection of music. In the director's theater, the artist does not disappear, as Kugel claims, but on the contrary, he creates a tense field of meanings, communication and actions; while the artist on stage retains the original, coming from archaic times and religion, communication between the audience and the creators of works of art. The problems that arise in the director's theater are discussed on the example of the theatrical production "Eugene Onegin", which was carried out by Rimas Tuminas. In conclusion, the documentary theater and the theater of complicity are discussed. In both cases, the theater remains a theater: the performance is maintained by the actors' play, a second, full-fledged world of artistic reality is created, although the audience takes part in the constitution of what is happening, they, nevertheless, remain spectators at the same time, observing and experiencing events arising with their participation.
