ARTICULT #31 (3-2018) July-September
THEORY OF ART
ART AS A WAY OF MATERIAL THINKING. EXISTENTIAL PLASTIC OPTIONS
Author: Stupin Sergei Sergeevich, PhD in Philosophical sciences, leading researcher of The Research Institute of Theory and History of Fine Arts of the Russian Academy of arts (21, Prechistenka str., Moscow, Russia, 119034), e-mail: email@example.com
ORCID ID: 0000-0002-7973-5418
Summary: Plastic and conceptual foundations of the art form are analyzed in the setting of the existential art history, in their ability to express the semantics of the human existence. The various experience of the dialogue of the fine art’s masters and the sensually perceived reality is studied. The ability of the minimal units of the artistic art form, to accumulate existential values, is emphasized. On the material of the fine art of the twentieth century and of the current days.
Keywords: Art form, material, existential, plastic, conceptual, Art language
HISTORY OF ART
PAIRED DEPICTIONS OF PETER THE GREAT AND JOHN THE TERRIBLE: THE IDEA OF SUCCESSION OF MOSCOW TSARDOM AND RUSSIAN EMPIRE IN 18th-CENTURY RUSSIAN ART
Author: Skvortcova Ekaterina Aleksandrovna, PhD in art history, senior lecturer, Saint-Petersburg State University (7-9, Universitetskaia embankment, Saint-Petersburg, Russia, 199034), e-mail: firstname.lastname@example.org
Summary: In 18th-century Russian art before the formation of academic historical genre the theme of history developed in several forms, including collation of a ruling monarch with his predecessors. In such case a historical figure was a supposed to be an allegory – an embodiment of a certain feature or idea. Such a collation is a pair Peter the Great – John the Terrible which has not yet been specially studied. The paper examines its evolution throughout the 18th century on the material of little-studied pieces of different kinds and genres of art and in interrelation with state ideology and literature.
Keywords: Peter the Great, John the Terrible, Russian Empire, Tsardom, 18th-century Russian art, representation of monarch, the theme of history in art, state ideology
COLLECTION OF FURNITURE IN THE MUSEUM “RUSSIAN ANTIQUITIES” P.I. SHCHUKIN
Author: Ugleva Nаtalia Vladimirovna, scientific researcher of the Department of wood and furniture of The State Historical Museum (1 Red square, Moscow, Russia, 109012), e-mail: email@example.com
ORCID ID: 0000-0003-4126-0338
Summary: Collection of furniture in the Museum “Russian antiquity” P.I. Shchukin is considered in the context of collecting activities and the creation of the Museum of the famous Moscow collector. Its comprehension becomes possible after entering the Historical Museum. Τhe article argues the issue of the process formation the collection, identifying the type, character and value to the furniture collections of the Historical Museum.
Keywords: furniture collection, Museum “Russian antiquities”, P.I. Shchukin
HILMA AF CLINT'S PAINTING IN THE DISCOURSE OF OUTSIDER ART
Author: Suvorova Anna Aleksandrovna, PhD in Art Studies, Associate Professor, Chair of the Culturology and Social and Humanitarian Technologies, Perm State University (15 Bukireva st., Perm, Russia, 614000), e-mail: firstname.lastname@example.org
ORCID ID: 0000-0002-6421-8514
Summary: The changes of the art discourse in the 20th and early 21st centuries determine the inclusion of new phenomena (art brut, visionary art, outsider art) in the art context. In the article is researched the paintings of Hilma af Clint – the first of the newly opened artists of abstract art, revealed the causes of the phenomenon of her creativity, analyzed the boundaries of outsider art, determined the specificity of the work of Hilma af Clint through the outsider art phenomenon.
Keywords: visionary art, outsider art, abstract art, discourse, Hilma af Clint
THE IMAGINARY, THE SYMBOLIC AND THE REAL IN THE CINEMA
Author: Tuzova Anastasia Pavlovna, bachelor in Journalism, e-mail: email@example.com
ORCID ID: 0000-0001-8024-6286
Summary: Psychoanalysis is a promising way for analysis of cinematography. J. Lacan often refers to the cinema in his psychoanalytic theory. In his opinion, the concept of three orders – the imaginary, the symbolic, the real – is fundamental for his teaching. The paper deals with the problem of using psychoanalytic concepts in the interpretation of movies. Various ways of understanding the content of terms are discussed. The possibilities of their use are examined on the example of films “Arizona Dream” directed by Emir Kusturica and “Buffalo ‘66” directed by Vincent Gallo.
Keywords: the imaginary, the symbolic, the real, cinematograph, psychoanalysis
UNDERSTANDING THE CINEMATOGRAPHIC PHENOMENON OF KHODASEVICH’S WORKS AT THE TIME OF EMIGRATION: FROM 1920s TO 1930s.
Author: Sukhoeva Darya Aleksandrovna, lecturer in the Department of Russian Literature, Perm State University (15, Bukireva st., Perm, Russia, 614990), e-mail: firstname.lastname@example.org
ORCID ID: 0000-0003-4797-5078
Summary: The article researches cinematograph as an aesthetic phenomenon in V.F. Khodasevich’s emigrant poems, critical articles and essays. In his poetry the writer implicitly shows his negative opinion about cinema. In contrast, in his essays and critical works he explicitly states his negative attitude towards this modern mass culture phenomenon. The change of his views happened due to his understanding of the development of culture. We can read the author’s reflections on the phenomenon of cinematograph in such genres as critical articles and essays. This article studies 2 stages of Khodasevich’s understanding of cinematograph. Firstly, in 1920s when the writer sees cinematograph as entertainment and then in 1930s as a kind of false art.
Keywords: V.F. Khodasevich, art, false art, cinematograph, Russian emigration
THE MIGHT-HAVE-BEEN ERA OF RUSSIAN SENTIMENTALISM, OR “NEW SENTIMENTALITY” IN A. SOKUROV’S FILMS
Author: Vinogradov Vladimir Vjacheslavovich, Dr.Habil. in art studies, assistant professor at the Chair of the Cinema Studies, All-Russian state institute of cinematography of S.A. Gerasimov (3 Wilhelm Pik street, Moscow, Russia, 129226), e-mail: email@example.com
ORCID ID: 0000-0002-6325-6092
Summary: The paper is devoted to the analysis of genre properties in A.Sokurov’s cinema. The author discover elements in Sokurov’s works evident to the end of particular historic period with its degree of sensibility and the dawning of a new consciousness, a new attitude to human being (however it’s never explained). The Sokurov’s art continues humanistic narrative that began to form in the cinema of the Thaw period and later had been developed in late 60-es through 70-es including strong feeling of moral anxiety. «The simple tenderness» and kindness in his films became an intention of the progress towards this feeling.
Keywords: cinema, sentimentalist art, new sentimentality, Sokurov, Soviet art
HISTORY AND THEORY OF CULTURE
“THE ESTATE TOPOS” AND “CITY OF THE FUTURE” IN THE CREATIVE WORK OF VELIMIR HLEBNIKOV
Author: Voron (Sklyadneva) Polina Alekseevna, post-graduate student of the Gorky Institute of World Literature of the Russian Academy of Sciences (25A Pvarskaja st., Moscow, Russia, 1210069), e-mail: firstname.lastname@example.org
ORCID ID: 0000-0001-6245-5869
Summary: The synthetic image of the Russian estate, going back to the biblical paradise, appeared in the architectural searches of V.V. Hlebnikov. The idea about the absence of temporal and spatial boundaries, numerical concept of Hlebnikov formed the basis for the construction of innovative architectural forms of the city of the future. These searches have an autobiographical reception of estates and villages which Hlebnikov visited. The estate is regarded as the organic unity of the garden and the house, nature and human, past and future. In the article for the first time the role of “estate topos” in the poetry of Russian futurism is considered. Concluded that in the literature of the first third of the XX century “estate topos” is the basis of the cultural concept of “city-garden”.
Keywords: estate, futurism, avant-garde architecture, “estate topos”, Hlebnikov
A WINDOW TO PARADISE? THE CULTURAL SEMIOTICS OF ESTATE AND DACHA IN THE RUSSIAN LITERATURE OF THE TURN OF XIX-XX CENTURES
Author: Bogdanova Olga Alimovna, Doctor of Philology, Leading researcher of the Gorky Institute of World Literature of the Russian Academy of Sciences (25A Povarskaja st., Moscow, Russia, 1210069), e-mail: email@example.com
ORCID ID: 0000-0001-7004-498X
Summary: It is shown the difference of the window semiotics in the Russian literature of the XIX–XX centuries (A. P. Chekhov, I. A. Bunin, A. N. Tolstoy) in the context of estate and dacha topos: in the first case, it is a sign of uniformity of the exterior and interior ideal space, in the second – the border separating them. Attention is paid to the ratio of local chronotopes and large-scale toposes covering large time periods. In the structure of the considered works the hierarchical relations between the chronotope of the window and the topos of the estate and the dacha as stable forms of national and cultural axiomatics are established. On the example of the semantic dynamics of the chronotope of the window in the Tolstoy’s works it is shown the convergence of estate and dacha topos in Russian literature of the first quarter of the XX century.
Keywords: window, chronotope, estate, dacha, paradise, border, Silver age
THE PREHISTORY OF THE CONCEPT OF THE MANOR TEXT IN THE SOVIET SCHOLARSHIP OF 1920-1930s.
Author: Markov Alexander Viktorovich, Dr.Habil. in philology, full professor, Chair of the Cinema and Contemporary Art Studies, Russian State University for the Humanities (6 Miusskaya sq., Moscow, Russia, GSP-3, 125993), e-mail: firstname.lastname@example.org
ORCID ID: 0000-0001-6874-1073
Summary: The term “manor text” is usually considered only as structuralist and not beyond the presumption of the structural method. The paper proves that this concept is rooted in the Russian scholarship of the 1920s to the 1930s, which repelled the cultural myth about estates and sought to understand the interaction of human and space as a genre and stylistically marked process. The concept of “text” is not here a structuralist replacement of the concept “work”, but one a way to represent semantics, along with topos, decoration or ecphrasis. The study of the performativity of artistic space and the transformation of genre semantics in this space is the only that unites such dissimilar thinkers as Florensky, Bakhtin, Russian formalists and Olga Freudenberg. The article proves that the reconstruction of this primary approach to the manortext allows to describe the manor text not only negatively, as a system of prohibitions and preferences, but also positively, as certain mode of performative genre. The study allows us to clarify some features of the national humanities of this time, in particular, interest in space not only as an interest in life, but also as a search for deeper foundations of the genre than just the stability of its semantic implementation in culture. Such properties of the manor space as the gate, fence and garden turn out to be genre rather than decorative, and the decoration turns out to be part of the ecphrasis genre or of the drama evolving as pre-novel. Thus, the humanities of the period of interest already included a consistent study of space and the “manor text” as a correspondence of the spatial organization of narration in the field of genre-generation, which was not developed into a system only because of the absence of a single research apparatus: each researcher re-invented research apparatus for his or her own purposes. Whereas at the present stage, we can already be guided by a more sustainable research apparatus.
Keywords: manor text, manor myth, history of Russian humanities, Russian formalism, structuralism, topos, performativity, culture of manors, artistic space, semantics of space
PSYCHOLOGY OF CULTURE AND ART
THE RESEARCH OF THE VALUES, THE COGNITIVE AND EMOTIONAL INDICATORS OF ADOLESENT GIRLS WHO WERE EXPOSED TO VIOLENCE BY THE PEERS
Author: Manukhina Svetlana Yuryevna, PhD in Psychology, assistant professor, Department of General Psychology, The Russian Presidential Academy of National Economy and Public Administration (office 24-02, Block 9, 82 Vernadsky Prospekt, Moscow, Russia, 119571), e-mail: email@example.com
Summary: The problem of adolescent violence is a complex and topical issue. A lot of violence facts are not recorded by official sources. Teenagers often do not understand what happened of them, whom they can ask to help, where they can go. Many adolescents ignore their problems. It is interesting that the teenage violence is not only in criminal teenage collectives, but also in quite respectable communities. Destruction of physical boundaries can be a deep trauma to the immature mentality of a teenager, who is not used to such actions. In our article, we present the research’s data of the value sphere, the cognitive and emotional spheres among adolescent girls who were exposed to violence by the peers.
Keywords: adolescent violence, teenage violence, teenage, violence, cognitive indicators, values, emotions, self-efficacy, psychological trauma, peers, violence behavior, psychological counseling, recommendations
THE POWER OF WORDS: POLITICAL THEOLOGY AND THE THEOLOGY OF POETRY IN THE ANALYSIS OF ONE PLOT PATTERN
Author: Faybyshenko Viktoriya Julievna, PhD in philosophy, Senior Lecturer, St Philaret`s Christian Orthodox Institute (29, Pocrovka st., Moscow, Russia, 105062), e-mail: firstname.lastname@example.org
ORCID ID: 0000-0003-0976-0236
Summary: Analyzing a number of related poetic texts, we try to explore some of the features of poetic theology that appear in its relationship with political theology. The power of speech as a special kind of knowledge and a special kind of deeds; boundaries, meaning and paradoxes of this power in relation to human nature – there are the sphere where the domains of politic and poetic cross each other. We consider on the interaction and mutual projections of these domains.
Keywords: sovereign, sovereignty, poet, power, word power, performativity, temporality, fate
THE ARTISTIC HERITAGE OF JOHN LASKARIS
Author: Gertsman Evgeniy Vladimirovich, Doctor of Art History, Professor, Leading Researcher of Russian Institute of Art History (5, Isaakievskaya Square, St. Petersburg, Russia, 190000), e-mail: email@example.com
ORCID ID: 0000-0002-1300-0195
Summary: The paper is devoted to the review of the artistic heritage of the late Byzantine church composer John Lascaris, who lived at the turn of the 14-15 centuries and who founded his own singing school in Crete. In the history of Byzantine music Lascaris is known as talented master of church chanting and as author of the musical-theoretical work Interpretation and parallaga of musical art, intended to introduce young psalts in the theoretical and practical aspects of their craft. The argumentation of the paper is based on analysis of his founded musical theoretical and practical works.
Keywords: Lascaris, Byzantium, Byzantine music, church musical tradition, music and singing education, liturgical singing
THE FORGOTTEN NAME AND ACTUAL WORKS. VLADIMIR DAVYDOVICH DNEPROV AND MUSIC
Author: Kovnatskaya Ludmila Grigoryevna, Doctor of Art Studies, Professor of N.A. Rimsky-Korsakov Saint Petersburg State Conservatory (3, Teatral’naya sq., Saint Petersburg, Russia, 190000), e-mail: firstname.lastname@example.org
ORCID ID: 0000-0003-2544-0371
Summary: Distinguished philosopher and literary scholar V. D. Dneprov’s short biography invites to pay respect to him as a scholar and a citizen who’s work are well known to older generation readers. And are still relevant today. Dneprov’s work was ahead of its time. His research of both contemporary foreign and Russian literature gave his work unrivaled breadth. And his unprecedented erudition allowed to construct cultural contexts. The role of music, comprehension of music, composer’s creativity and composers themselves, specifically the 20th century ones like Shostakovich and Stravinsky, is prevailing in most of his books and articles. Music helped Dneprov to interpret ideas and contemporary art, identify correlation between the moral and the aesthetics, systemize styles, and demonstrate subconscious during the creative process.
Keywords: opposition, aesthetics, typology of individual styles, music in literature, perception, emotion
THE CHARACTER OF KHOZREV-MIRZA IN D. SHOSTAKOVICH'S OPERA “THE NOSE”
Author: Seregina Natalia Semyonovna, Doctor of Art Studies, Leading Researcher, Russian Institute of Art History (5, St. Isaac's Square, Saint Petersburg, Russia, 190000), e-mail: email@example.com
ORCID ID: 0000-0002-9918-7973
Summary: Khozrev-Mirza is the character of the first opera by D. Shostakovich “The Nose” (1928) based on the story of the same name by N.V. Gogol, arose from a single phrase, as if accidentally mentioning a real historical person (1813-1875). In the libretto of Shostakovich's opera Khozrev-Mirza appears as a character in the mass scene of the 8th painting. Pushkin mentions Khozrev-Mirza in the episode of the essay “Journey to Arzrum”, which tells of his meeting in the Caucasus with the body of A.S. Griboedov, who died tragically in Tehran in January 1929. According to researchers, this episode is fictional. Pushkin wanted to remind compatriots about the tragic fate of AS Griboedov. The name of hero Khozrev-Mirza in the story of N.V. Gogol “Nose”, most likely, is also a reminder of the tragedy of 1829. The character Khozrev-Mirza is described in detail in Y. Tynyanov's novel The Death of Wazir Mukhtar, published in 1928. Dramaturgic motifs and individual phrases of this novel are used in the libretto of the opera “The Nose” in the scene with Khozrev-Mirza, although Tynianov among the authors is not indicated. The article is devoted to the statement of the idea that the opera directors should take into account this forgotten historical tragedy in D. Shostakovich's opera.
Keywords: D. Shostakovich, opera “The Nose”, A. Pushkin “Journey to Arzrum”, A.S. Griboedov, Khozrev-Mirza, N.V. Gogol “The Nose”, Yu.N. Tynyanov