Citations count: 6
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: 4
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: 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: 4
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: 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:
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:
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: 3
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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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: 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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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:
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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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. —
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:
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: 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:
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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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:
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:
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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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:
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:
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:
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:
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:
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:
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:
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:
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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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: 2
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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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: 1
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: 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:
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. —
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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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:
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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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: 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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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:
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: 1
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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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: 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:
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:
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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Abstract:
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:
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:
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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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. —
"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:
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:
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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Abstract:
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:
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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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:
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:
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:
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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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:
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:
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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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: 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:
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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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.
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:
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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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:
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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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:
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:
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 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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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:
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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Abstract:
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:
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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Abstract:
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:
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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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:
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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Abstract:
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:
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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Abstract:
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:
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:
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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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:
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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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:
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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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:
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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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:
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:
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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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. —
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:
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:
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:
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:
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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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:
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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Abstract:
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:
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:
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:
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:
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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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:
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:
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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Abstract:
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:
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:
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:
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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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:
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:
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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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:
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: 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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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:
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:
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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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:
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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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:
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:
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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Abstract:
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. —
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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Abstract:
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:
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:
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:
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: 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:
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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Abstract:
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:
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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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:
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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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:
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:
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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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:
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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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:
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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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: 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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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:
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:
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:
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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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:
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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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:
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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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:
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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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: 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:
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:
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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Abstract:
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.
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