ARTICULT #25 (1-2017) January-May
THEORY OF ART
POSTTOTALITARY PERIOD IN THE HISTORY OF RUSSIAN CINEMA: RELIGIOUS TRADITION AND MASS MENTALITY. FIRST PART
Author: Hrenov Nikolai, Dr.Habil. in Philosophy, Professor, Chief Researcher at the Department of Arts and mass media of the State Institute of Art Studies (Moscow, Russia), e-mail: firstname.lastname@example.org
Summary: The article examines the specifics of mass religious beliefs and habits, as they manifest themselves in extreme situations in Russia. It is proved that the Russian cinematography of perestroika and our days clarifies the conclusions about the specifics of the mass religious mentality received by Russian social thought (messianism, apocalyptic traits). Cinematography was successful in this task, because it set the goal to reconstuct not only the plots, but also the coordinates of Russian life (radicalism, idealism, barbarization, totalitarian mentality etc.). Therefore, the analysis of films makes possible to clarify the nature of the processes in Russian culture and art during the period of radical changes, seeing in these processes not only plots and personal fates, not only aesthetical constructions of emotions, but also vicissitudes and trends of mass mentality.
Keywords: cinema of perestroika, contemporary Russian cinema, mass consciousness, social cinematography, religion in art, intelligentsia
ART OF PHOTOGRAPHY AS SYSTEM OF POETICALLY EXPLAINED REPRESENTATIONS
Author: Kolotaev Vladimir, Dr.Habil. in philology, full professor, dean of the Faculty of the History of Art Russian State University for the Humanities (Moscow, Russia), e-mail: email@example.com
Summary: The article proves that photography becomes a necessary part of the poetics of poems that analyze intentionality. Photography allows us to materialize sustainable cultural metaphors, such as a mirror, and at the same time intellectualize the notion of the visual. The achievements of the philosophy of the 20th century make it possible to reveal the main features of the representation of photo art in poetry, such as the creation of a system of projections, the revision of the concept of personality, attention to the texture of words and the new boundaries between poetry and prose. A close reading of the poem “Frost” by Boris Pasternak makes it possible to speak of this poem as poetics of representations, showing the boundaries of the representation of external and internal states of things through support of the features of photographic technique.
Keywords: Pasternak, photography, poetics, intentionality, time in art, duration, projection
HISTORY OF ART
ON THE QUESTION OF GENESIS AND SEMANTICS OF CHRIST REPRESENTATIONS IN EARLY MEDIEVAL ART IN THE WORKS OF MEDIEVALISTS OF THE XX-XXI CENTURIES
Author: Chuvorkina Olga, independent scholar, e-mail: firstname.lastname@example.org
Summary: The article is devoted to the problem of genesis and development of Early Medieval Art and searches the question of semantics of the early Christian images of Christ and their relationship with the Imperial Roman art. Author pays attention to the scientific approaches and methods of studying, outlines ways of methodology development in contemporary medieval studies.
Keywords: Early Christian art, Imperial intervention, “the clash of gods”, iconography
GOETHE – PALLADIO – ZHOLTOWSKI. A HYPOTHESIS ON THE GERMAN SOURCES OF RUSSIAN PALLADIANISM OF XX CENTURY
Author: Pechenkin Ilia, Ph.D., Associate Professor at Department of History of Russian Arts, Faculty of the History of Art Russian State University for the Humanities (Moscow, Russia), e-mail: email@example.com
Summary: Usually we tend to associate the name of the famous architect and the protagonist of Russian neoclassicism Ivan Zholtovsky with Italy. Since 1910s all of reviewers Zholtovsky's creativity were focused on the importance of the “Italian” factor. But is actually everything so simple in the genealogy of the Russian palladianism of the 20th century? There is no any whole hypothesis in offered paper, rather the problematic contours of a future study of this topic will be indicated. Studiing Zholtovsky's early biography, one can find some features of the more wide international context of his education as an architect, and the origins of his professional attitudes acquires greater complexity and looks more Germanian than Italian.
Keywords: architecture, personalities, Zholtowski, Palladianism, intercultural communication, Goethe, Italy
TAKASHI MURAKAMI AND OTAKU CULTURE: “THE HIGH” AND “THE LOW”, “THE EASTERN” AND “THE WESTERN”, “THE OLD” AND “THE NEW” IN CONTEMPORARY JAPANESE ART
Author: Krylovskiy Konstantin, ΜΑ, Department of Cinema and Contemporary Art Studies, Faculty of Art History, Russian State University for the Humanities (Moscow, Russia), e-mail: firstname.lastname@example.org
Summary: In this article, the interrelations between “the high” and “the low”, “the Eastern” and “the Western”, “the old” and “the new” in contemporary Japanese art are studied through the works of Takashi Murakami. Otaku culture is viewed as a bridge between traditional Eastern art and the Western mass culture, one that lets an artist find its place in a globalised world which is nevertheless still clinging to conventional contrapositions.
Keywords: high art, mass culture, otaku culture, Japanese art, Takashi Murakami
WHY A STEAM-LOCOMOTIVE IS SO TERRIBLE? THE MYTH OF THE “ARRIVAL OF A TRAIN AT LA CIOTAT”
Author: Filippov Sergei, researcher at the Faculty of Journalism, Lomonosov Moscow State University (Russia), e-mail: email@example.com
Summary: L. Lumiere's film “Arrival of a Train at La Ciotat” is still often considered the first in the history of cinema, even though it was not only not shown on the session on December 28, 1895, but also, most likely, was produced only in 1896. This myth is reproducable due to the shock effect of this film made on the first moviegoers, but the principle of this shock is usually explained incorrectly. We prove that it is result of a combination of two factors: media-cultural factor (the first in cultural history active movement from the depth of a flat image) and direct psychological factor (the psychological tendency to false self-interpretations).
Keywords: film history, early cinema, cultural reception of cinema, Louis Lumière, space perception in the flat pictures
THEORY AND HISTORY OF CULTURE
PATTERNS OF THE ANCIENT THEATER AND THEIR ARTISTIC TRADITIONS
Author: Stakhorskiy Sergey, Dr. Hab of Art Studies, Professor, Head of the Department of Theory and History of Culture of the Institute of Cinema and Television (GITR, Moscow, Russia), e-mail: StakhorskiSV@yandex.ru
Summary: The article considers archaic patterns of the ancient theater and their imprint on drama and the theatrical art of modernity in making artistic devices. It is proved that the early forms of theater survived after the end of the ancient era, stored in deep layers of theatrical matter under a layer of new techniques, and so they are constantly tended to be actualized. Sometimes this actualization was defined with conscious artistic plans, but more often without direct aesthetic presumptions and plans of creators. Due to ancient patterns, the work of art made to the spirit of the time (Zeitgeist or intellectual content of the epoch) transcends its conceptual boundaries and associates in other historical times.
Keywords: theater, drama, pattern, archetype, artistic tradition
THE SHADOW OF SLUCHEVSKY IN M. KUZMIN'S POEM “THE END OF THE SECOND VOLUME”
Author: Markov Alexander, Dr.Habil. in philology, assistant professor, Chair of the Cinema and Contemporary Art Studies, Russian State University for the Humanities (Moscow, Russia), e-mail: firstname.lastname@example.org
Summary: The article analyzes the objective limitations of the ekphrasis genre on the material of European painting, in which the relation between form and material has changed. It is proved that the ekphrasis of European painting, unlike the ekphrasis of ancient painting, acquires the properties of an expressionistic text: perception is transformed from “pleasant” into alienated and intermittent. In poetry, oriented to the ancient aesthetics and to the plot norm of expressionism, this type of ekphrasis is in demand. Taking into account the peculiarities of such ekphrasis it made possible to clarify some obscure places in Kuzmin's poem “The End of the Second Volume” (1922), which had not been convincingly interpreted before. The fruitfulness of this approach is shown for studying the hermetic poetry of the 1910s-1920s and cultural changes in the era of expressionism in art.
Keywords: expressionism, ekphrasis, Russian poetry, classic, hermetism, hermeneutics, interpretation
PROBLEMS OF METHODOLOGY
METHODOLOGICAL TOOLS OF MARTIN KEMP IN STUDYING ARTISTIC HERITAGE OF LEONARDO DA VINCI
Author: Lashkhia Liana, 2nd year student of the Master's program “History of foreign art of the XV – beginning XX centuries: Contexts and interpretations”, faculty of art history, Russian State University for the Humanities (Moscow, Russia), e-mail: email@example.com
Summary: Using methodological tools of Martin Kemp we study artistic heritage of Leonardo Da Vinci considering spatial visions as visualization basis, defining existential basis of his art, and analyzing graphic accuracy as essential component of art of his work. Also we define main features of his composition of visual models. We prove, that studying heritage of Leonardo Da Vinci M. Kemp introduces cross-disciplinary approach, in all steps taking into account Da Vinci’s heritage in the field of optics, anatomy and physics. Leonardo Da Vinci's artistic program may be compared with mathematical conception of growth (according to Fibonacci's method), and his concept of art implies complete consequences of mathematical row.
Keywords: existential basis, visualization, model, cross-disciplinary approach, graphic accuracy