Issue 16 (2014, 4) Summary

ARTICULT #16 (4-2014)

SUMMARY

THE LITERARYTHOUGHT AND THE IMAGE

AFFECTS OF THE HISTORY: STORIES ABOUT THE PAST IN CINEMA AND ON TV
UDC 93+791.43-24
Author: Lapina-Kratasjuk Ekaterina, Ph.D. in Cultural Studies, associate professor at the Faculty of communications, media and design at the National Research University Higher School of Economics, Deputy Director of the Center (Laboratory) of the Historical and Cultural Studies (ShAGI – School of the Actual Researches in Humanities) at the Russian Academy of National Economy and Public Administration (RANEPA), e-mail: kratio@mail.ru
Summary: The article reveals the problems of definition of historical film, its elusiveness in the situation of digital culture. Pragmatics of contemporary historical film and other forms of history’s instrumentalization in media as well as the objectives of Public History in the sphere of medialization of historical knowledge are also studied.
Keywords: historical film, history, past, digital culture, nostalgia, public history

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A RABBIT, A HAT AND THE MYSTICAL
UDC 111.1
Author: Danko Sofia, PhD, assistant professor of logic, ontology and epistemology at the Faculty of Philosophy at the National Research University Higher School of Economics (Moscow), e-mail: xljxlj@rambler.ru
Summary: The article explores one of the most dramatic ideas of philosophy L. Wittgenstein on the mystery of the existing world. The research regards the motive, according to which the question about the essence and meaning of the world is not detected in the world, as values or facts, but exceeds the world. Article eliminates known paradox of Wittgenstein`s philosophy, according to which the existence of the world as a whole is not a fact, but everything in it is given as facts. Because it is impossible to ask about the appearance of the world in terms of causes and effects, all the present in the world is not derived from the ultimate ontological causal series, as was done in traditional metaphysics, but, appearing out of nowhere. Consequently the presence itself is a sufficient basis of catching the world as a miracle, even in its everyday manifestation.
Keywords: L. Wittgenstein, J.-P. Sartre, the world as a whole, the mystical, the miracle of existence, the meaning of the world

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THE PROBLEM OF EXPERIMENT IN THE CINEMA DISCOURSE OF LARS VON TRIER
UDC 791.43-2
Author: Krishtaleva Ludmila, Senior Researcher, Institute of Philosophy of the RAS, e-mail: e-song@yandex.ru
Summary: In the article it is analyzed motion picture and scenario of Dogville, Breaking the waves and Dancer in the dark by Lars von Trier from the point of final experience of viewer. Trier’s movies give rise to deep painful emotions caused by contrastive change of heroines’ life situations. But rational ideas pronounced by characters or by voice off or incorporated in cinematic discourse don’t let to live out final pain’s experience. And this viewer trial is called in the article anticatharsis.
Keywords: Lars von Trier, psychology of cinema, catharsis, composition of the cinema

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THE PRESUPPOSITIONS OF THE QUESTION OF OTHELLO “HAVE YOU PRAY’D TO-NIGHT, DESDEMONA?”
UDC 008+009+801.733
Author: Zvereva Natalia, PhD, e-mail: zvereva.natalie@gmail.com
Summary: In this paper we consider the presuppositions of the question of Othello in the context of the important Christian ideas: the idea of salvation, the idea of repentance, the value of prayer and the ratio between the «earthly» world and the heavenly world. Like this, Hamlet says that murder of Claudius during prayer «is hire and salary, not revenge». Shakespeare's characters comprehend concepts of «life» and «death» in terms of earthly suffering and heavenly bliss. In this context the words of Othello have special meaning. The murder of Desdemona Othello calls «sacrifice». In the tragedy the sacrifice is the opposition of the murder. In this semantic context Othello calls itself «An honorable murderer» («For nought did I in hate, but all in honor»). In this way, question of Othello gives special sense to his action.
Keywords: Shakespeare, presupposition, idea of salvation, idea of repentance, Othello, Hamlet, culture, history of culture

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FROM TYPOLOGYTO INDIVIDUALITY: REAL AND MENTAL COLLECTIONS

THE ART OF THE MENTAL PATIENT IN THE CONTEXT OF THE PHENOMENOLOGICAL PSYCHIATRY AND EXISTENTIAL ANALYSIS
UDC 616.89:7
Author: Dvigalova Varvara, postgraduate student of the Saint-Petersburg University of Culture and Arts (Saint-Petesburg, Russia), e-mail: weeeds@yandex.ru
Summary: The article deals with the problem of the mental patient`s creativity in the context of the phenomenological psychiatry and existential analysis. The author identifies the main features of the psychopathological art. Also the author traces the influence of this art on the modern art.
Keywords: phenomenological psychiatry, existential analysis, psychopathological art, creativity of the mental patient, surrealism, Art Brut

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CONTEMPORARY TRENDS IN MODERNIZATION OF MUSEUMS: AN ANALYSIS OF NEW ARCHITECTURAL PROJECTS
UDC 727.7
Author: Fedotova Natalia, post-graduate student of the Stroganov Moscow State Academy of Arts and Industry, e-mail: 06.08.77@mail.ru
ORCID ID: 0000-0003-2185-3144
Summary: The article is dedicated to the architectural and artistic modernization of museum complexes of late 20 – early 21 centuries. The author analyzes functional and compositional approaches to modernize modern museum facilities using new architectural and technological capabilities, as well as the importance of modernisation for a museum as complex ambience.
Keywords: museum, architecture, modernization, refurbishing, restoration, museum designing, world museums, modern museum

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PORTRAITS OF BENVENUTO CELLINI: EXPEARENCE OF ATTRIBUTION BASED ON ANTROPOLOGICAL RESEARCH
UDC 7.041.5
Author: Nasobin Oleg, journalist, writer, screenwriter, e-mail: oleg.n.egr@mail.ru
Summary: The article introduces the results from the studies leaded by the doctor, professor Raul Perrot (of the Université de Lyon, Bernard 1) that were made with the participation of the author. The study concerns the anthropological comparisons of biometric parameters of Cellini’s faces in various works of art. The comparisons used the face on Vasari’s fresco as a template.
Keywords: Benvenuto Cellini, Vasari's tondo, self portrait, Cellini's portrait, portrait of Cellini, face of Cellini, anthropological studies, Raul Perrot, autoportrait of Cellini

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THE ROLE OF CULTURAL AND EDUCATIONAL ACTIVITIES OF ETHNOGRAPHIC MUSEUMS IN THE SHAPING OF A NATIONAL IDENTITY
UDC 394
Author: Gevorgyan Lianna, Lecturer at the Chair of Museology and Library Science of the Armenian State Pedagogical University after Kh. Abovyan, Deputy Director and Chief Curator at the Service for Protection of Historical Environment and Historical-Cultural Museum-Reserves of Ministry of Culture of the Republic of Armenia, e-mail: glp61@mail.ru
ORCID ID: 0000-0002-0376-7624
Summary: Collective historical memory is one of the essential parts of shaping a national identity. Museums are a form of preservation and reconstruction of the collective memory. As an institution of collective memory museums select, conserve, study, exhibit and construe the primary sources of knowledge about the development of a society and the nature, such as museum objects, their collections and other sorts of movable and immovable, tangible and intangible cultural heritage. Thus, we can observe an evident connection between the shaping and preservation of the national identity and all the activities of both ethnographic museums and museums of other types containing ethnographic exhibitions and collections.
In order to answer the needs of the modern society ethnographic museums have to reconsider the contents of their educational activities and become cultural centers of education and recreation.
Keywords: museum, ethnographic museum, exposition, national identity, cultural educational activity

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ARTISTIC REPRESENTATION: NEWQUESTIONS

THE ISSUE OF REPRESENTATION IN LIGHT OF CONTEMPORARY ART
UDC 7(01+036)
Author: Smolianskaia Natalia, assistant professor, Chair of the Cinema and Contemporary Art Studies, Russian State University for the Humanities (RSUH, Moscow, Russia), e-mail: smolianskaia@gmail.com
ORCID ID: 0000-0002-0223-1510
Summary: The question of representation functionally binds an event in the field of contemporary art and modes of transmission of the content, corresponding to the presumption of identification of this content. How does the process of representation reflect the changes in arts in the last 100 years, and particulary now? The change of relations between verbal and figurative representations could be explained with the change of standards to define representation and with transformation of the proper forms of representation in the contemporary art.
Keywords: representation, sign, symbol, aesthetic event

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ON THE REPRESENTATION OF RADICAL ART PRACTICES
UDC 7(01+036)
Author: Kitashova Oxana, art critic, independent scholar, e-mail: unoktitled@gmail.com
Summary: Art of performance and other non-object practices gave new dimension to representation problem. How could be represented a work of art that lacks materiality and frequently performed outside museums or galleries? The article tries to figure out and classify possible ways to solve this problem.
Keywords: performance, action, representation, reperformance, self-representation

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APPLYING FAN-ART DEVICES IN POP-CULTURE PRODUCTION: A CASE OF THE ANIMATION SERIES ADVENTURE TIME WITH FINN & JAKE
UDC 7(036+077)
Author: Tatsenko Maria, art historian, post-graduate student, Chair of the theory and history of modern art, Art history department, Russian State University for the Humanities (RSUH, Moscow, Russia), e-mail: maria_tatsenko@hotmail.com
ORCID ID: 0000-0002-0846-1392
Summary: Fans’ creative activity (fan-art) is peculiar tribute to a popular culture product. The influence of fan-art’s specific devices on popular production and media industry of our days is analyzed with the case of the animation series Adventure Time with Finn & Jake.
Keywords: fan-art, fan-fiction, convergence, fandom

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MAPPING AS METHOD OF REPRESENTATION IN THE ART OF ÖYVIND FAHLSTRÖM
UDC 7.036
Author: Minaeva Irina, student of the MA program, Chair of Cinema and Contemporary Art, Faculty of the Art History, Russian State University for the Humanities (RSUH, Moscow, Russia), e-mail: researches@mail.ru
Summary: This article discusses the mapping as representation method, taking the case of the Oyvind Fahlström art. Fahlström was one of the first artists, who not only declared this method, but continuously developed it in his artworks. “Mapping” is new term for Russian art criticism and practices, so we pay special attention to define the content and meaning of the term. Mapping as key term in the study of the art of Oyvind Fahlström opens new perspectives for research: it allows to understand better the artist's particular artwork and to develop the idea of mapping as art method in the context of artistic practices.
Keywords: mapping, conceptual map, representation, Öyvind Fahlström

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ARCHIVE AS MEAN OF REPRESENTATION IN THE CONTEMPORARY ART
UDC 7.036+73.04+930.25
Author: Mironova Tatiana, undergraduate student, Chair of Cinema and Contemporary Art, Faculty of the Art History, Russian State University for the Humanities (RSUH, Moscow, Russia), e-mail: taniamironova8@gmail.com
Summary: Archive as mean of representation appears in contemporary art in 1960s. Curators and artists immediately start to analyze the process of archiving as it was. They questioned, how to divide the archive in contemporary art space and the archive in historical studies field? What problems, gained representation as an archive, give us the opportunity to talk about that archive as object of the art field? And last, what strategies do artists use to represent archive?
Keywords: archive, history, memory, representation

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THEORETICAL LIMITS OF THE COLORISTIC IN THE EXHIBITIONAL PROJECTS OF YVES KLEIN
UDC 7.036
Author: Shuvalova Anna, PhD, postgraduate student, Chair of the Cinema and Contemporary Art Studies, Faculty of the Art History, Russian State University for the Humanities (RSUH, Moscow, Russia), e-mail: anna.shuvalova@ymail.com
ORCID ID: 0000-0003-4478-0240
Summary: The article analyses the artistic development of Yves Klein and the new problematics of art proposed by the artist. Starting with the new understanding of painting and colour that has led Klein to the creation of the monochrome, he then burns one of them in fire, which symbolizes the transition to the immaterial nature of art. This transition reached its climax in the exhibition “Void”, where Klein presented an empty gallery. A detailed analysis of this exhibition proves that Klein assumed his artistic objection was to make an impression on the viewer and to leave him with a heightened visual memory. By exploring the main concepts in Klein’s art, sensibility and immateriality, as well as the artistic methods that the artist used to uncover these concepts, the article shows that by his project Klein offered a new form of exhibition – exhibition as an artwork.
Keywords: Yves Klein, monochrome, void, the immaterial, exhibition as an artwork

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CHRONICLE

CINÉMA VÉRITÉ/DIRECT CINEMA IS THE FUTURE OF MODERN DOCUMENTARY, ISN’T IT?
UDC 791.43.03
Author: Kazuchitz Maxim, Ph.D., Associate Professor at the department of cinema studies and modern art of The Russian State University for the Humanities (RSUH, Moscow, Russia), e-mail: mkazuchitz@gmail.com
ORCID ID: 0000-0002-3015-3046
Summary: The article is devoted to the documentary films shown at The 36th Moscow International Film Festival (2014). The author examines three films, shot in the style of cinéma vérité/direct cinema. “Deep love” – the example of development of the style in the commercial segment of television (HBO). “L’expérience Blocher” is an attempt to apply the classical method of observation by R.Leacock and explore and/or deconstruct the image of modern politics and policy. “Happiness” continues the tradition of R. Flaherty’s documentary. The diegesis of the film – virgin nature and natural people who forced to face civilization. Thus, the modern documentary film cinematographers actively use the cinéma vérité/direct cinema style and it’s basement, the method of observation, because of its uncontrolled character and the ability to truly surprise the audience.
Keywords: cinema, television, film festival, documentary, R.Leacock, R.Drew, R.Flaherty, cinéma vérité, direct cinema

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