Issue 47 (2022, 3) Summary

ARTICULT #47 (3-2022) ­July-September

SUMMARY

THEORY OF ART

AESTHETIC VIEWS OF FERDINAND HODLER: FR OM THE THEORY OF PARALLELISM TO SYMBOLIC FORMS AND IMAGES
Research article
UDC 7.01+75.01
DOI: 10.28995/2227-6165-2022-3-6-17
Author: Shtolder Natalya Vladimirovna, PhD in Art Studies, professor, Chair of the Fine Arts and Folk Art Culture, Gzhel State University (Elektroezolyator Settlement, Russia), e-mail: n.shtolder@mail.ru
ORCID ID: 0000-0003-0826-7597
Summary:: This article examines the aesthetic views of the Swiss artist Ferdinand Hodler (1853–1918) in the context of the evolution of his creation. The outstanding European master was noted by his contemporaries in the first row of artists who significantly influenced on the development of painting at the turn of the 19th-20th centuries. The relevance of the presented work lies in the objective significance of Hodler's ideas in the view of the universe, on the issues of constructing space in painting. The theoretical heritage of the artist, including the basic provisions of his theory of parallelism, for the first time in Russian art history is analyzed in depth based on his notes and statements of different years. The main provisions of the Fribourg’s lecture “Mission of the Artist” (1897) are considered in connection with the creative practice of the artist and in the context of the ideas of European symbolism and Art Nouveau.
Keywords: Ferdinand Hodler, aesthetic views, parallelism, European symbolism, Art Nouveau, space in painting

For citation:
Shtolder N.V. “Aesthetic views of Ferdinand Hodler: from the theory of parallelism to symbolic forms and images.” Articult. 2022, no. 3(47), pp. 6-17. (in Russ.) DOI: 10.28995/2227-6165-2022-3-6-17

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HISTORY OF ART

COLLECTING CHINA ART OBJECTS IN ENGLAND IN THE 19TH CENTURY
Research article
UDC 7.074
DOI: 10.28995/2227-6165-2022-3-18-24
Author: Qin Guoyi, postgraduate student of the Department of Foreign Art, St. Petersburg Academy of Arts named after Ilya Repin (St. Petersburg, Russia), e-mail: qinguoyi000@yandex.ru
ORCID ID: 0000-0001-9525-7690
Summary:: In the article, in the form of a brief overview, the Chinese influence on European art, in particular on English art, in the 19th century is described. The history of the emergence of Chinese art in Britain is summarized, the main stages of collecting and their prominent representatives are described. The article describes such areas of art as porcelain, engravings, painting, architecture, shows a description of their influence on European art, gives the reasons for the appearance of Chinese art in Europe. This article corrects the current picture of the development of collecting, based mainly on English-language material. The relevance of the study lies in the fact that the relationship of the studied cultures, the influence of Chinese culture on English is considered in the prism of social and political factors. The novelty of this study lies in the fact that the influence of Chinese art on the art of Europe depended on their position in the respective hierarchies: the higher the status of art in China, the less influence it had in Europe; and the higher the status of art in Europe, the less susceptible it was to Chinese influence.
Keywords: art, Chinese art, English art, porcelain, ceramics, antiques, engraving, painting, collecting

For citation:
Qin G. “Collecting Chinese art in England in the 19th century.” Articult. 2022, no. 3(47), pp. 18-24. (in Russ.) DOI: 10.28995/2227-6165-2022-3-18-24

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CONTEMPORARY ART

DISCO ELYSIUM: THE MORPHOLOGY OF POLYPHONIC NARRATIVE
Research article
UDC 004.9+81'42
DOI: 10.28995/2227-6165-2022-3-25-41
Author: Shibaev Maxim Valerievich, PhD student HSE Art and Design School, Faculty of Communication, Media and Design, National Research University – Higher School of Economics (Moscow, Russia), e-mail: keroldwonderfrog@gmail.com
ORCID ID: 0000-0003-2776-1486
Summary:: The author of the article focuses on the specifics of the text in Disco Elysium as one of the gameplay components. The dialogue with the virtual environment determines the peculiarity of this type of computer game. The work, which was the result of many years of work of developers, has become a synthetic genre in which interactive literature, CRPG and virtual book-games interact on equal terms. The polyphonic narrative plays a key role in this space. It is formed not only by the game itself, its plot and stories, but also by the player's internal dialogue with himself. The game as a medium, combining interactivity and text, demonstrates an unusual approach to the modern vision of not only the CRPG genre, but also the game as an art form. The multi-level narrative of Disco Elysium as a synthesis of game mechanics and in-game story, combined with the relevance of the topics covered by the game scenario, creates a deep and immersive work, one of the features of which is replay value. It becomes possible thanks to a wide freedom of choice and a variety of options for passing the story, each of which is unique in its own way. Taken together, Disco Elysium is a postmodern text that draws the reader into the story from different angles. The research task of the work is to analyze the features of the dialogue and polyphonic narration in the in-game text.
Keywords: narrative analysis, contemporary art, polyphonic narrative, game studies, RPG, Disco Elysium, video games aesthetics

For citation:
Shibaev M.V. “Disco Elysium: the morphology of polyphonic narrative.” Articult. 2022, no. 3(47), pp. 25-41. (in Russ.) DOI: 10.28995/2227-6165-2022-3-25-41

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VISUAL ARTS

YURI SOBOLEV’S CULTURAL CIPHER SYSTEM
Research article
UDC 7.071.1+769.2
DOI: 10.28995/2227-6165-2022-3-42-50
Author: Vasilyeva Victoria Vasilyevna, postgraduate student of the Department of History of Russian Art at Lomonosov Moscow State University (Moscow, Russia), e-mail: la-viva-rosa@yandex.ru
ORCID ID: 0000-0003-4099-9712
Summary:: This article focuses on Y. Sobolev's artistic work in different media: magazine illustration, independent graphics, animation and video-art, in which he practiced playing with images taken from different eras of art history. The author is interested in the degree of independence and originality of the artist in addressing heterogeneous traditions and pre-existing images. This article aims to use examples of his works to illustrate specificity of Sobolev's imagery, as he embodied his interest in metaphysics, esoterics and codes of other cultures in his art. The author aims to reveal and analyse the intercontextual practices of the artist, their peculiarities with the consideration of the genre of his projects, the search for the background of Y. Sobolev's original vision of art in his biography and his personal preferences in literary and philosophical fields. The description and analysis of the artist's works in different media were used as a method, with the focus on the works of Y. Sobolev in the illustrations for the popular science periodicals, in particular, for the “Znanie sila” magazine and “Nauka i mankind” anthology. After the research it was established that Y. Sobolev, while actively referring to a wide range of contexts, never was eclectic, but created meta-cultural artistic space according to its own logic, according to which dialogue with the past serves to better disclose the new meanings and challenges emerging with the development of science and progress of the second half of the 20th century. The individual works of the artist are put together into a coherent work, in which he involved contemporary artists as well. In the scientific literature, a comprehensive approach to the chosen topic with a description and analysis of the specific illustrations appearing in this text has not yet been given.
Keywords: Yury Sobolev, illustration, book graphics, image play, Soviet illustration, “Znanie-sila” magazine

For citation:
Vasilyeva V.V. “Yuri Sobolev’s cultural cipher system.” Articult. 2022, no. 3(47), pp. 42-50. (in Russ.) DOI: 10.28995/2227-6165-2022-3-42-50

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ROAD ART: THE VIDEO INSTALLATIONS OF GULNARA KASMALIEVA AND MURATBEK DZHUMALIYEV
Research article
UDC 7.038.53:791.43+7.038.55
DOI: 10.28995/2227-6165-2022-3-51-55
Author: Fomenko Andrey Nikolaevich, Dr. Habil, Senior Researcher, Chair of the Cinema and Contemporary Art Studies, Russian State University for the Humanities (Moscow, Russia), e-mail: st802682@spbu.ru
ORCID ID: 0000-0002-1497-3984
Summary:: The works of Gulnara Kasmalieva and Muratbek Dzhumaliyev, contemporary artists from Kyrgyzstan, are considered by Andrey Fomenko in the context of current processes in post-Soviet art, including the request for factography, as well as “orientalist” aestheticization of national and cultural identity of an artist. The video installations of Kasmaliyeva and Dzhumaliyev, outwardly strictly documentary and “anti-romantic”, are in fact far from being so unambiguous in their implications and can be interpreted as a resuscitation of romantic values at a new level of reflection.
Keywords: contemporary art, art of Central Asia, video art, orientalism, romantic irony

For citation:
Fomenko A.N. “Road Art: the Video Installations of Gulnara Kasmalieva and Muratbek Dzhumaliyev.” Articult. 2022, no. 3(47), pp. 51-55. (in Russ.) DOI: 10.28995/2227-6165-2022-3-51-55

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CINEMA

THE IMAGE OF THE CITY IN FRENCH EXPERIMENTAL CINEMA OF THE 1970S: GEORGES PEREC’S “THE MAN WHO SLEEPS”
Research article
UDC 791.43.03+791.43.04
DOI: 10.28995/2227-6165-2022-3-56-66
Author: Ushakov Fedor Viktorovich, bachelor’s student of the Faculty of Culturology, Russian State University for the Humanities (Moscow, Russia), e-mail: f.ushakoff@yandex.ru
ORCID ID: 0000-0002-8870-2749
Summary:: The article examines the image of the city on the example of the film “The Man Who Sleeps”, released in 1974. The presented film accumulates the first experimental experiences of avant-garde cinema of the 1920s in working with image and sound and tries to create a new narrative, resorting to the actual social issues of 1970s, in particular to issue of private and public space. Private and public spaces, considered in the film as part of general urban space, are spaces of repetitive actions and practices of the protagonist filmed in a chaotic sequence. The city is understood as constantly changing construction wh ere the line between subjective perception of the protagonist of the city and objective perception for which the movie camera, CCTV cameras are responsible is blurred.
Keywords: city, everyday life, French experimental cinema, Georges Perec, audiovisual image, asynchrony, avant-garde

For citation:
Ushakov F.V. “The image of the city in french experimental cinema of the 1970s: Georges Perec’s "The man who sleeps".” Articult. 2022, no. 3(47), pp. 56-66. (in Russ.) DOI: 10.28995/2227-6165-2022-3-56-66

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HISTORY AND THEORY OF CULTURE

FILMS OF ESCHATOLOGICAL CATASTROPHISM AS CULTURAL ARTIFACTS OF THEIR TIME: CONSIDERATION IN HISTORICAL DYNAMICS
Research article
UDC 791.43-2
DOI: 10.28995/2227-6165-2022-3-67-86
Author: Kirsanova Anna Vladimirovna, PhD student, Chair of the Philosophy, Sociology and Cultural Studies, Moscow University for the Humanities (Moscow, Russia), e-mail: miss.muz-anuta@yandex.ru
ORCID ID: 0000-0002-0859-534x
Summary:: This article is devoted to the identification and research on films of “eschatological catastrophism”, their evolution and features. The concepts of “catastrophism” and “eschatology” and their relationship are indicated, and on this basis the author's concept of “eschatological catastrophism” in cinema and its attributive signs are revealed. The methodology used in this article includes the analysis and synthesis of films, considering the historical dynamics and their relationship with the socio-cultural context of the era. The study covers films produced in the USA, France, Italy, China, and Canada and other countries. The general trends in the development of eschatological catastrophism films, the factors that determined the rise of these films, are reflected. This research explains the reasons behind the popularity of catastrophe films in a particular period, and using the method of sociocultural observation, the philosophy of films and the dynamics of changes in the semantic context of eschatological catastrophism in the period from 1910-2020 are tracked. The possible reasons for the demand for the secular apocalypse films at the intersection of the XX-XXI centuries are discussed.
Keywords: catastrophe, catastrophism, eschatology, disaster film, Apocalypse, mythology, secular apocalypse, millennium

For citation:
Kirsanova A.V. “Films of eschatological catastrophism as cultural artifacts of their time: consideration in historical dynamics.” Articult. 2022, no. 3(47), pp. 67-86. (in Russ.) DOI: 10.28995/2227-6165-2022-3-67-86

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METHODOLOGY

RESEARCH IN THE CONDITIONS OF ARTISTIC ACTIVITY
Research article
UDC 7.01
DOI: 10.28995/2227-6165-2022-3-87-109
Author: Schtein Sergey Yuryevich, PhD in Art Studies, assistant professor, Chair of the Cinema and Contemporary Art Studies, Russian State University for the Humanities (Moscow, Russia), e-mail: sergey@schtein.ru
ORCID ID: 0000-0002-4419-1369
Summary:: The article is devoted to the methodical presentation of research and the function of its product in the conditions of artistic activity. To implement this, it is necessary to determine the specifics of the artistic activity itself, which in turn causes the need to update the issue of the possibility of a non-conceptual definition of the ontology of art. The relevance of this work is associated with an existing confusion among authors (artists, curators) and even cultural and art researchers of such concepts as applied and academic research, as well as everyday and scientific cognition. The obtained methodical and methodological constructions can be used, firstly, as a basis for understanding by the subjects of artistic activity the nature and specifics of one of its possible stages, and, secondly, as a tool for disciplinary propaedeutics of applied research deployed in the conditions of artistic activity.
Keywords: artistic activity, creativity, art, ontology of art, applied research, academic research, author's research, art studies, activity approach

For citation:
Schtein S.Yu. “Research in the conditions of artistic activity.” Articult. 2022, no. 3(47), pp. 87-109. (in Russ.) DOI: 10.28995/2227-6165-2022-3-87-109

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REVIEWS

REVIEW OF THE COLLECTIVE MONOGRAPH “THE VITALITY OF THE ART. MODERN MANIFESTATIONS. ANALYTICS”
Review
UDC 655.552+7.01
DOI: 10.28995/2227-6165-2022-3-110-114
Author: Martynova Daria Olegovna, PhD in Art History, Assistant of the Institute of History at the Saint-Petersburg State University (5 Mendeleevskaya line, Saint-Petersburg, Russia, 199034), e-mail: d.martynova@spbu.ru
ORCID ID: 0000-0003-0426-6458
Summary:: Review of the collective monograph “The Vitality of the Art. Modern manifestations. Analytics” / Ed. by O.A. Krivtsun. – Moscow; St. Petersburg: Center for Humanitarian Initiatives, 2022. – 256 p.
Keywords: theory of art, history of art, vitality of art, interdisciplinary research

For citation:
Martynova D.O. “Review of the collective monograph "The Vitality of the Art. Modern manifestations. Analytics".” Articult. 2022, no. 3(47), pp. 110-114. (in Russ.) DOI: 10.28995/2227-6165-2022-3-110-114

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