ARTICULT #24 (4-2016) December
THEORY OF ART
BUTTERFLY AS KA: TO THE VISUAL METAPHYSICS OF NAME IN MANDELSTAM’S POETRY
Author: Kolotaev Vladimir, Dr.Habil. in philology, full professor, dean of the Faculy of the History of Art Russian State University for the Humanities (Moscow, Russia), e-mail: firstname.lastname@example.org
ORCID ID: 0000-0002-7190-5726
Summary: Based on analysis of Mandelstam's poem we reconstructvisual program of his psychology: the soul as a living and luminous medium. In such soul are connected anxious experience of life and mission of turning the abyss into being. We prove productivity of comparisons Mandelstam’s position with Platonism, Gnosticism, and other teachings on the soul as part of the space to interpret correctly the Mandelstam’s aesthetic. The specific interpretation of the substance of light in Mandelstam’s poetry allows to draw parallels between his teaching about the language and the contemporary criticism of language. Also is clarified understanding of cultural memory by Mandelstam, which should provide not only sentimental but also catastrophic moments. Mandelstam understood the name of both as soul of the reality of and as instrument of criticism of language, visualizing representation of the immortality of the name in his later work.
Keywords: Mandelstam, visual, name philosophy, poetics, art psychology, philosophy of culture
THE SKY AND THE EVENT: MANDELSTAM’S LAST SUPPER
Author-1: 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: email@example.com
ORCID ID: 0000-0001-6874-1073
Author-2: Faybyshenko Viktoriya, PhD, senior researcher,Russian Institute for heritage research (Moscow, Russia), e-mail: firstname.lastname@example.org
ORCID ID: 0000-0003-0976-0236
Summary: The article proposes reading of poem The Last Supper by Osip Mandelstam's as a text of human martyrdom and artwork martyrdom. It is proved that Mandelstam continued and developed the complex concept of martyrdom, and that the visual imagery of the poem is to be compared with cinema of Eisenstein. This allow to show that the conception of martyrdom in Mandelstam is both more tragic and more traditional than of his avant-garde contemporaries.
Keywords: Mandelstam, visual, martyrdom, cinema and poetry, ekphrasis, theory of art
HISTORY OF ART
MILITARY REWARDS IN XVIII-th DYNASTY EGYPT: MORPHOLOGICAL FEATURES AND SYMBOLIC MEANING
Author: Ershova Elena, Department of theory and history of art, School of Art History, Russian State Universituy (Moscow, Russia), e-mail: email@example.com
ORCID ID: 0000-0002-1345-7056
Summary: The XVIII-th dynasty of the New Kingdom Egypt is marked by considerable foreign policy actions, such as Nubian and Asiatic campaigns. Those participants who has shown a courage and bravery on the battlefield received military insignia. The article is devoted to different kinds of rewards, its typology and symbolic understanding. As the fly-typed rewards were most common in XVI century B.C. the author places emphasis on them. Art analysis of both archaeological and pictorial artifacts is revealing image semantics and artistic methods of reward execution in Ancient Egypt.
Keywords: Ancient Egypt, New Kingdom, Dynasty XVIII, military rewards, necklace, amulets, ceremonial weapons, symbolism
STUDENT PORTRAIT IN RUSSIAN PHOTOGRAPHY OF THE 19 CENTURY (FROM THE COLLECTION OF THE RUSSIAN STATE LIBRARY OF ART)
Author: Orlova Evgenija, PhD in art studies, senior research fellow, department of foreign art studies, Institute of theory and history of art, Russian Academy of Arts (Moscow, Russia), e-mail: firstname.lastname@example.org
Summary: On the example of student portrait photograhies in the nineteenth century we consider photoskill as craft and as art. The article describes and characterizes daguerreotypes and photographs from the collection of Moscow's Russian State Library of Arts (RGBI) that demonstrate various techniques and technical level of performance (from amateur to professional), as well as the stylistic and genre specifics, aiming figurative expressions of photo-portrait.
Keywords: daguerreotype, photography, Bergner, Grekov, Aksakovs, Diderot
GENDER ΙΝTERPRETATION OF PAINTINGS OF LEADING PEREDVIZHNIKI ARTISTS
Author: Perelman Irina, teacher of the Moscow Cadet Corps Women college of the Ministry of Defense (Moscow, Russia), graduate student of the State Institute of Art Studies (Moscow, Russia), e-mail: email@example.com
Summary: This article explores the relationship between representation of the social stratification and representation of the gender identity in Peredvizhniki painting. It is proved that the problem of social art was understood by Peredvizhniki not only as a critique of existing social relations, but also as a kind of re-creation of society, based on social and gender harmony within the depth of of national feeling conceptualization. This harmony was understood as complex and mobile structure, including interaction of social standards and aesthetic representations. Peredvizhniki sought aesthetically convey this complexity. Without an understanding of the meaning of their gender images it is impossible now to reconstruct their desired standard of social life.
Keywords: gender, Peredvizhniki, social art, realistic art, Russian art, the representation of women, representation of the family
VISUAL ASPECTS OF IRONY IN FILM: OVERVIEW
Author: Skaldina Sonya, Masters of Art Criticism (RSUH, Moscow, Russia), e-mail: firstname.lastname@example.org
ORCID ID: 0000-0002-3537-2299
Summary: The world “irony” is often used in cinema criticism to describe a particular film or director. There are some well-known persons, whose works are considered to be ironic (e.g. Woody Allen, Ethan & Joel Coen). Irony could be distinguished on different levels of their films: author’s attitude, depicted situations and dialogues. Yet the question is, whether the film – as a medium – has its own specific capacities to «transfer» irony via visual elements and patterns? This article takes an overview of researches, related to the different aspects of irony’s visualization in the films and tries to ground theoretical conceptualization of the problem.
Keywords: visual irony, cinema, film, visualization, interpretation, visual capacities, filmic irony
HISTORY AND THEORY OF CULTURE
PHOTOGRAPHY IN THE HARRY POTTER NOVELS
Author: Samarkina Mariia, Ph.D. Student at the Russian State University for the Humanities (Moscow, Russia), e-mail: email@example.com
ORCID ID: 0000-0001-9489-8509
Summary: The article analyzes wizard photography and portraits the way they exist in the Harry Potter novels. Photography lacks magical features, and portraits become truly magical artifacts. However all the photography characteristics, since they are beyond the border of magical existence, help to comprehend the notion of photography in literature as a whole.
Keywords: Harry Potter, photography, wizard photography, photography in literature, visual in literature
HEIDEGGER’S ANALYTICS OF DASEIN AND THE PROBLEM OF TEMPORALITY
Author: Ishchenko Natalia, PhD in History of Philosophy, assistant professor, Faculty of Humanities, School of Philosophy, National Research University Higher School of Economics (Moscow, Russia), e-mail: firstname.lastname@example.org
ORCID ID: 0000-0002-3239-6148
Summary: In the existential analytic of Martin Heidegger temporality is seen as a fundamental ontological attribute of human existence: existence is ecstatic temporality which provides a horizon for understanding the notion of being, attributed by its nature to Dasein. Heidegger calls temporality interpreted this way a source of ontological difference between being as entity and being itself. The study of temporality redefines sense of art temporality.
Keywords: temporality, Dasein, existence, ecstasy, horizon, phenomenology, ontology, Heidegger