Issue 4 (2012, 4) Summary

АРТИКУЛЬТ-4


ARTICULT #4 (4-2011)

SUMMARY


ALLEGORY OF MUSIC
   

ALLEGORY AND ALLOGRAPHY: TOWARDS THE QUESTION ON MUSICAL ALLEGORICISM
Author: Yakobidze-Gitman Alexander, teaching assistant of the Russian School of Anthropology, Russian State University for the Humanities (RSUH, Moscow, Russia), e-mail: aigitman@gmail.com
Summary: The reflections about the metaphysical dimension of music by many thinkers since ancient times were basically of allegorical nature. In spite of this fact, the very term 'allegory' in its application to music is very seldom used by both philosophers and scholars. This article is trying to show that we can rightfully speak of a musical allegory as of a purposeful message of the composer only in case of written (notated) music. Most of the examples of allegorical music come from the 17th century, when neopythagorean theories emerged that were aimed at drawing parallels between various areas of nature and culture on a basis of numeric symbolism.
Keywords: music of the 17th century, allegory, musical semantics, theory of notation by Nelson Goodman, numeric symbolism, proportions, iconological analysis

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PARIS INVENTION OF SERGEI DIAGUILEV: ERIC SATIE AS AVANT-GUARD FATHER AND PARADE COLLAGE BALLET
Author: Arias-Vikhil Marina, Senior Research Associate of the Gorky Institute of World Literature, Russian Academy of Sciences, e-mail: arias-vikhil@mail.ru
Summary: The exceptional role of Dyagilev in the Russian and world music culture is well-known. His probably main achievement was the discovery of the new names in the field of music which later proved to become classical. Among them is the French composer Eric Satie (1866-1925), an avant-guard musician whose music Dyagilev used for the ballet-collage «The Parade» (text by J. Cocteau, decorations and costumes by P. Picasso, directed by L. Myasin). The scandalous first night performance of the «white» ballet at the «Chatelet», Paris, May 18, 1917 did not prevent the contemporaries to highly appreciate the paradoxes of the avant-guard premier (collage, rag-time, noises, montage, etc). The Satie advantageous music experiments influenced greatly the XXth c. French music avant-guard (Georges Auric, Louis Durey, Arthur Honegger, Darius Milhaud, Francis Poulenc).
Keywords: Diagilev, modernist art, avant-guard, ballet, performance experiments

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ALLEGORY OF POLITICAL


THE EMPTY NOTION AND MANIPULATION SPACE: STATE REASON ACCORDING LODOVICO ZUCCOLO AND HIS GREAT PRECEDORS
Author: Ivanova Julia, Leading Research Associate of the Institute for Theoretical and Historical Studies in the Humanities of the National Research University Higher School of Economics, Associate Professor of the National Research University Higher School of Economics, e-mail: juliaivanova@list.ru
Summary: Present article explores one of the most original treatises on ragion di Stato – Lodovico Zuccolo’s Della ragione di Stato. The notion of the reason of state is ranked among other Early Modern categories having similar semantic structure and performative potential – Lorenzo Valla’s res and Niccolт Machiavelli’s virtщ. Thus, revolutionary effect of Early Modern Realpolitik partly owes to the subversive impact of this empty notion – one of the fundamental elements of Quattrocento dialogue.
Keywords: ragion di Stato, virtù, Quattrocento dialogue, Machiavelli.

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RUSSIAN HISTORY PICTURED: THE DEED OF KIEVAN BY ANDREY IVANOV
Author: Bulkina Inna, Senior Research Associate of the Ukrainian Center for Cultural Studies, e-mail: inna001@rambler.ru
Summary: The article investigates development of one of the “recommended fables” in the Russian Empire at the time of Napoleonian wars. This fable, about ordinary man in ancient Kiev (Kyiv) as “savior of the Throne and Fatherland”, was popular in opera librettos and historical monumental painting. This fable belongs to the deep tradition, with biblical (young David) and mythological (Tom-Thumb and so on) roots, as result of the mythological scheme of salvation act.
Keywords: Andrej Ivanov, Lomonosov, Courage of Kievan Man fable, recommended fables, opera libretto on salvation, anecdote from history, Ivan Sousanin

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ALLEGORY OF THEORY


AN OTHER REPRESENTATION
Author: Sakhno Irina, Professor, Peoples’ Friendship University of Russia, e-mail: irinasachno@mail.ru
Summary: The article investigates historical development of the notion “representation” as part of “practicalization” of the avant-guard and postmodernist art. The changeable semantics of the term and synonymic contextualizations supposed to be under influence of the revision of the state of “the Artist” in XX century and of the reconceptualization of symbolic meaning of the institutions of art.
Keywords: presentation, representation, ready-made, avant-guard, theory of art

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SOCIAL ROLE OF THE ARTIST: FROM MEMORY TO RECOLLECTION
Author: Koltygina Anna, Research Associate, State Historical Museum, e-mail: akoltygina@yandex.ru
Summary: Analytical discussion (A critical review) on: Benjamin H.D. Buchloh. Divided Memory and Post-Traditional Identity: Gerhard Richter`s Work of Mourning // October, Vol. 75 (Winter, 1996), pp. 60-82.
Keywords: neo-avant-guard, photo-painting, found photograph, ready-made, legitimation

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CRISIS OF EXPOSITION: SECOND ISSUE
Author: Chukhrov Keti, associate professor, General History of Art Department, Faculty of the History of Art, Russian State University for the Humanities (RSUH, Moscow, Russia), e-mail: keti.chukhrov@rambler.ru
Summary: The article investigates so called crisis of curator’s role in conceptualization of exhibitions as result of conflicts about curators’ politics of appropriation and development of strategies of “artist-as-curator”. The crisis needs to considerate in the broad context of decay of “art collection” as basic principle of exhibitions for benefit of any inter-subjective experiments.
Keywords: curator profession, exposition, crisis of curator’s role

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TO THE NOTION OF EXPOSITION: MARGINS TO THE TOPIC
Author: Markov Alexander, Leading Research Associate of the Institute of World Culture, Lomonosov Moscow State University, assistant professor of the Research and Educational Center "Cinema and Contemporary Art", Russian State University for the Humanities (RSUH, Moscow, Russia), e-mail: markovius@gmail.com
Summary: In this paper we establish the connection between Heidegger's criticism of humanism and unusual semantics of the aesthetic categories of "truth" and "credibility" in his works. Interpreting the phenomenon of seeing the landscape as an exposition Heidegger has to use this duality of aesthetic categories for the criticism of the whole European philosophical tradition.
Keywords: Heidegger, exposition, the truth in art, truth-like art, general aesthetics, deconstruction

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