Issue 29 (2018, 1) Summary

ARTICULT #29 (1-2018) January-March

SUMMARY

THEORY OF ART

MEANS OF EXPRESSION OF THE THEORY OF ART
UDC 001.89+7.01
Author: Schtein Sergey Yuryevich, PhD in Art Studies, assistant 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: sergey@schtein.ru
ORCID ID: 0000-0002-4419-1369
Summary: Theoretical knowledge applied to art is possible only through overcoming the discourse of existing art studies researches, in which it was impossible to build any full theory, but only concepts. Defining activity approach to cognition as specific cognitive principle making this overcoming possible, the question is raised on the need for formation of adequate means to express relevant knowledge. Proceeding from this, as well as from the specifics of the methodologically refined subject area of art studies as specific disciplinary objectivity, the ontological scheme of which forms various types of activity, including the existing discursive art studies, the scheme for analyzing the polystructural system by G.P. Shchedrovitsky is defined as the basis for such kind of tool. Thus, the functional means to express the full theory of art satisfying the initial specific cognitive principle is formed.
Keywords: methodology of art studies, art theory, methods of art studies, science about art, activity approach, ontologization, Shchedrovitsky

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THE PLASTIC THINKING AT THE ART: THE LINES OF INFLUENCE
UDC 7.01
Author: Krivtsun Oleg Aleksandrovich, Dr. Hab. of Philosophy, professor, academician of the Russian Academy of Arts, head of the Department of Art Theory of the Research Institute of Theory and History of Fine Arts of the Russian Academy of Arts (21 Prechistenka street, Moscow, Russia, 119034), e-mail: Oleg_Krivtsun@mail.ru
ORCID ID: 0000-0001-8006-6277
Summary: An attempt is made to reveal the special dominants of plastic thinking, the “centers of gravity” that are formed in contemporary art. The author analyzes that in the plastic expressiveness of art comes from the aesthetic properties of nature itself, and what is born in the bosom of the artist's imagination. Leading and facultative lines of plastic thinking in art creativity are analyzed. A typology of modern plastic thinking is proposed.
Keywords: plastic thinking, creativity, artist, artistic form, picturesque “jargon”, “reformulation of the horizons of the world”, self-depiction of the figure

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HISTORY OF ART

SOGDIANS IN THE ART OF CHINA OF THE EARLY TANG DYNASTY: CRITERIA OF IDENTIFICATION
UDC 745
Author: Yatsenko Sergey Alexandrovich, Dr.Habil. in history, professor of the Department of History and Theory of Culture, Russian State University for the Humanities (bld. 6, Miusskaya Square, Moscow, Russia, GSP-3, 125993), e-mail: sergey_yatsenko@mail.ru
ORCID ID: 0000-0002-5103-9736
Summary: The identification problems of Sogdians in Chinese mingqi / 冥器 burial terracotta of the 7th-mid. 8th cc. were analyzed. The ethnic identification of Sogdians based on the author studies of Sogdian and their neighbours’ male costume in the Motherland and in China. There are 10 costume elements of complex which was the specific for Chinese Sogdians: 1 – long sleeved coat with one left lapel; 2 – upper shirt with short sleeves; 3 – high conical headdress; 4 – headdress with protrusion on the back and with special décor; 5 – boys’ hairstyle with two spherical protrusions on sides; 6 – textile belt with special knot; 7 – short fur coat made of the sheepskin; 8 – headdress similar to Sogdian combat helmet; 9 – kitchen apron of boys; 10 – very long stockings for the travels.
Keywords: Chinese Sogdians’ identification, Sogdian costume, “mingqi” burial terracotta, complex of 10 costume elements, the 7th-8th cc.

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GIOVANNI BELLINI’S “THE BLOOD OF REDEEMER”: SOME PROBLEMS OF ITS ICONOGRAPHY AND THE MEANING OF LANDSCAPE
UDC 7.034(450)+7.046.3+7.047
Author: Yaylenko Evgeny Valerievich, PhD in Art Studies, Associate Professor, Department of Semiotics and Theory of Art, Faculty of Art, Lomonosov Moscow State University (1, 3 Bolshaya Nikitskaya str., Moscow, Russia, 125009), e-mail: eiailenko@rambler.ru
ORCID ID: 0000-0002-4497-2413
Summary: The article contains new interpretation of the meaning in the picture by Giovanni Bellini, known as “The Blood of Redeemer”, first of all the meaning of landscape in it and the depiction of two pseudo-classical reliefs. According to the author, in them one can see the condemnation of the Christian martyr (scene on the right side), who abstained from taking part in the pagan sacrifice (left side). Such the interpretation allows us to trace the resemblance between the meaning of both fictive reliefs and the depiction of Christ, represented in the iconographical form as a Man of Sorrow, which has to emphasize the basic idea of the whole picture treating the theme of Redemption. Serving as a starting point in the process of religious meditation this picture as well as contains a very interesting and stimulating landscape background whose task was to intensify the devotion and also lead the spectator’s mind toward the meditation on the redemption.
Keywords: Renaissance, Venice, art, picture, Giovanni Bellini, “The Blood of Redeemer”, landscape

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SOME NOTES ON THE RUSSIAN STYLE REVIVAL IN 19TH-CENTURY ARCHITECTURE
UDC 72.035
Author: Pechenkin Ilia Evgen'evich, Ph.D. in Art Studies, Head of Department History of Russian Art at Faculty of Art History, Russian State University for the Humanities (bld. 6, Miusskaya Square, Moscow, Russia, GSP-3, 125993), e-mail: pech_archistory@mail.ru
ORCID ID: 0000-0002-8000-7792
Summary: There is a massive bibliography on Russian Style Revival in the architecture of the XIX century, but the fact does not mean the exhaustion of the topic. Among its “difficult places” is, e.g., questions about the genesis of “Russian” architectural morphology at an early stage of this phenomenon; about how the images of “Russianness” in the court building of Alexander I and Nicholas I were formed or selected; about the cultural and political context in which the construction of national architecture in the Russian Empire began. Despite the existence of a number of monographs on the Russian Style Revival, the above aspects have not yet been studied well and described. The history of architecture in Russia is especially closely intertwined with the history of the state, and its outline depends on understanding how the state is structured and what meanings it translates through architecture.
Keywords: Russian Style Revival, historicism, Russian Empire, modern period architecture, cultural studies

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AUGUST CUSTOMERS OF EASEL PLASTICS IN RUSSIA IN THE SECOND HALF OF XIX – EARLY XX CENTURY
UDC 7.074+730
Author: Kalugina Olga Veniaminovna, Dr.Habil. in Art Studies, Chief Researcher of Chair of the Cinema and Contemporary Art Studies, Russian State University for the Humanities (bld. 6, Miusskaya Square, Moscow, Russia, GSP-3, 125993), e-mail: evaksenia@gmail.com
ORCID ID: 0000-0002-8024-5379
Summary: Article is devoted to a little developed problem of definition of a circle of easel works of the Russian sculptors custom-made the reigning house of the Russian Empire in the second half of XIX-of the beginning of the 20th century. This problem is closely bound with collecting questions representatives of an imperial surname of the Russian and European plasticity. Only the initial stage of a research is presented in this publication. Tastes of a family of Romanov not only stimulated creation of works of a certain stylistic orientation and genre, but also further have predetermined structure of meetings of a sculpture of the largest state museum meetings – the State Hermitage and the State Russian Museum.
Keywords: Russian easel plasticity, imperial order, collecting

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ESTABLISHMENT OF THE SOYUZ ZODCHIH: THE EXPERIENCE OF ARCHITECT’S SELF-ORGANIZATION ON THE BACKGROUND OF THE EVENTS OF 1917
UDC 331.105.5+72
Author: Starostenko Yulia Dmitrievna, Ph.D., Senior Research Associat at the Scientific Research Institute of Theory and History of Architecture and Urban Planning, branch of the Central Institute for Research and Design of the Ministry of Construction and Housing and Communal Services of the Russian Federation (9, Dushinskaya st., Moscow, Russia, 111024), e-mail: ystarostenko@yandex.ru
ORCID ID: 0000-0002-1840-931X
Summary: The article traces for the first time on the basis of various sources the history of the creation the Vserossijskij soyuz zodchih [All-Russian Union of Architects]. This association of architects, founded in 1917, for a long time remained practically outside the field of view of researchers. Meanwhile, the very fact of its creation, the issues that were discussed the architectural community, and the fate of the Union are an important link in understanding the processes that eventually led to the creation of the Union of Soviet architects. In addition, special attention deserves the evolution of ideas about the goals and objectives of the Union during 1917, which shows the transition from the charm of the revolution to the comprehension of the occurred changes.
Keywords: Soyuz Zodchih, Soyuz deyatelej iskusstv, architectural society, public organizations, creative unions, architecture, 1917

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CULTURAL PALIMPSESTES: THEIR IMAGING AND READING IN ARCHITECTURAL ARTISTIC TEXTS OF SOVIET TIME
UDC 7.036(47+57)1+7.011+7.011.2+7.011.3
Author: Malinina Tatyana Glebovna, Dr.Habil. in Arts Studies, Chief scientific fellow at the Research Institute of Theory and History of Fine Arts of the Russian Academy of Arts (21 Prechistenka street, Moscow, Russia, 119034), Full Professor of Moscow State Academic Art Institute named after V.I. Surikov of Russian Academy of Arts (30, Friendly Lane, Moscow, Russia, 109004), e-mail: tgmal01@yandex.ru
ORCID ID: 0000-0003-0785-305X
Summary: This article raises the question of the impact of the random factor on artistic creativity in the moments of revolutionary demolitions and wars of the last century, in particular, its role in the mechanisms of the survival of the culture of post-revolutionary Russia, the adaptation of the avant-garde discoveries to historical experience and the realities of life and the re-organization of cultural space. During the analysis of the works the first post-revolutionary years, the early 1930s, wartime, the content, semantic and constructive-plastic and composite aspects of artistic integration, are characterized through their features.
Keywords: transformative and destructive factors of revolution, mechanisms of cultural regeneration, ways of artistic integration

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VISUAL ARTS

REFLECTING MAGIC LANTERN: A. RIMBAUD’S ILLUMINATIONS TRANSLATED BY F. SOLOGUB AS RETHINKING OF EARLY VISUAL MEDIA ARTS
UDC 791.42+81'37+82-1
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: markovius@gmail.com
ORCID ID: 0000-0001-6874-1073
Summary: The translation of the Illuminations by A. Rimbaud, published in 1915 by F. Sologub, involuntarily displaces many images of the source text: the representation of illuminations as pictures in the magical lantern in this translation fades into the background, but images appear as in the mute cinematography, which F. Sologub approved as universal and at the same time entertaining language of modernity. Such freedom of translation was facilitated by a number of factors, ranging from the semantic uncertainty of many images of the original and the presence in it of markers of identifiable individuality not reproduced in Russian, such as articles and tenses in grammar, and to the need to inscribe translation into the aesthetics of futurism, with its pathos of city life and constant movement, at the same time fixed as static at every moment, which corresponds to the principles of the work of cinematographic and increased interest to the vibrant city life. The article proves that A.Rimbaud's radical project on criticizing rhetoric and returning to childish immediacy was not perceived by the Russian culture, in which axiological attitudes proved to be stronger than the aesthetic experiment, and thus the visual media arts, which became for Rimbaud a perfect alternative to the rhetorical system of literature, were perceived only as a moment of literary experiment, and not as its criterion.
Keywords: intermediality, magic lantern, visual media arts, artistic translation, images of technique in poetry, visual experiment, poetic semantics, Rimbaud, Sologub

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CINEMA

IMAGE SUPERHEROES IN MODERN AMERICAN COMIC BOOK MOVIES
UDC 159.923.2+791.43-2
Author: Kovaleva Larisa Sergeevna, teacher of the Federal State Budget Educational Establishment of Higher Professional Education the Khabarovsk State Institute of Culture, Krasnorechenskaya str. (112, Khabarovsk, 680045, Russia), e-mail: haoma8@yandex.ru
ORCID ID: 0000-0002-7983-538X
Summary: A new era of movies about superheroes began in 2000. Every year more and more superheroes find their embodiment on the movie screen. The article deals with the image of a superhero in the context modern American kinokomiks. The author focuses on the detection of essence and the specifics of the superhero as the information and communication system, which reflects the reality of the context. The author attempts to classify the basic types of superhero and subjects to the analysis ways they interact as each other and with the viewer.
Keywords: superhero, superpowers, identification, identity, comic book movies, modern culture

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HISTORY AND THEORY OF CULTURE

“OTAKU ATTACK”: RUSSIAN COSPLAY FANDOM IN MEDIA PUBLICATIONS (FROM 1999 TO 2017)
UDC 316.723+791.43-252.5
Author: Ryabinina Alexandra Mihajlovna, 2d year student of master’s program “Visual culture” at National Research University Higher School of Economics (21/4 Staraya Basmannaya str., Moscow, Russia, 105066), e-mail: sigursoul@gmail.com
ORCID ID: 0000-0001-5317-2453
Summary: To date, Russian cosplay community has thousand members from all over the country, and the word “cosplay” is widely used in media. Despite its prominence, cosplay remains a fan practice or, using Henry Jenkins’ term, participatory practice. In participatory culture (or cultures) fans not only consume media content but actively interpret it and make their own. This article attempts to restore the history of Russian cosplay – its development and its perception. Using media publications from newspapers and magazines that are not directly related to mass culture, we gain a view from outside the community and analyze different context of the usage of the word “cosplay”. In sum, we try to answer the question if russian cosplay community and cosplay itself are stigmatized as a part of participatory culture or not.
Keywords: cosplay, fandom, participatory culture, participatory practice, mass culture, media studies

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FEATURES OF THE INTERPRETATION OF DON JUAN IN ARTISTIC REASEARCH AND TEACHING “STORY” ALESSANDRO BARICCO “DON JUAN”
UDC 130.2+82-3
Author: Pogrebnaya Yana Vsevolodovna, Doctor of Philology, Associate Professor of the Department of Literature and Methods of Teaching of the Stavropol State Pedagogical Institute (417 “A” Lenina street, Stavropol, Stavropol Krai, Russia, 355029), e-mail: maknab@bk.ru
ORCID ID: 0000-0002-9974-9147
Summary: The article analyzes a new interpretation of Don Juan, undertaken in 2010, within the frame work of the educational cultural project “Save the story”, A Barikko. A new reading of the image of Don Juan, created by A. Barikko, is analyzed in the article in the context of the history of the interpretations of Don Juan in art and literature, in terms of the typology and the main ways of its interpretation of Don Juan. The author of the article emphasizes that Barikko offers his own original version of the image polemically opposed to the majority of interpretations of Don Juan in the art of the twentieth century, which are relevant to morality. The article concludes the artistic originality of the work of A. Barikko, built as a sum of interpretations, in which artistic, research and teaching begin to be synthesized.
Keywords: interpretation, Don Juan, legend, classicism, Enlightenment, romanticism, modernism

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PSYCHOLOGY OF CULTURE AND ART

ON THE NATURE OF MENTALITY
UDC 159.964+316.37+316.722
Author: Yakovenko Igor Grigor'evich, Dr.Habil. in Philosophy, Professor of the Chair of History and Theory of Culture, Department of Social and Cultural Studies, Russian State University for the Humanities (bld. 6, Miusskaya Square, Moscow, Russia, GSP-3, 125993), e-mail: igjack@yandex.ru
ORCID ID: 0000-0003-4286-4336
Summary: The article substantiates the concept of mentality as a key for the psychology of culture and for the analysis of deep cultural structures. It is proved that the mentality can not be reduced to either the patterns of biological behavior or to the deep processes of cultural consciousness. Mentality is a meta-language of culture and an essential part of cultural integration and the movement of culture from simple to complex. Therefore, mentality should not be taken into account only as an element of intercultural dialogue or a set of tendencies in the development of culture, but be studied as the most personal moment of culture. Mentality is the basis for the presence of personality in culture and at the same time the only way to experience culture as deeply personal fact of consciousness. Thus, the concept of mentality should be rethought on the basis of inadmissibility of reductionism in today knowledge on culture taking into account the latest achievements of psychological study of changes in mentality. The article proves and justifies the mentality model that can explain the stability and variability of cultural processes at different levels.
Keywords: mentality, deep psychology, mass psychology, instinct, structure of culture, psychology of culture

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METHODOLOGY

ALEXANDRE BENOIS ABOUT NARRATIVE PROBLEMS IN THE VISUAL ARTS
UDC 7.035(47+57)+7.071.1
Author: Zavyalova Anna Yevgenyevna, PhD in Art Studies, leading research associate of the Research Institute of Theory and History of Fine Arts of Russian Academy of Arts (21 Prechistenka street, Moscow, Russia, 119034), e-mail: annazav@bk.ru
ORCID ID: 0000-0003-2704-0486
Summary: The article is devoted to the question of Alexander Benois's views on narrative problems in the Russian art of the middle – second half of the XIX century on the basis of the analysis of his works “The History of Painting in the 19th Century. Russian painting” and “On the narrative in painting”. It was revealed that Benois shared the views of the German researcher Richard Muther on the negative role of edification, entertaining and narrative – literary – in works of art. It was also revealed that a major role in shaping Benois's views on this issue was played by his polemic with art critic Vladimir Stasov.
Keywords: Alexander Benois, Russian art of the XIX century, literary works of fine art, Richard Muter, Vladimir Stasov, Stepan Yaremich

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A FREE MAN. BOUNDARIES AND THE INFINITY IN THE CREATIVE CONSCIOUSNESS
UDC 159.947.2+7.038
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: stupin-ss@mail.ru
ORCID ID: 0000-0002-7973-5418
Summary: The existential, ontological, artistic aspects of the phenomenon of freedom are analysed. The antinomical couple of “freedom – non-freedom” is considered as one of the grounds of cause-effect mechanisms in the microcosm of a man and in the existence in general. In the framework of the anthropology of art a theoretical model of homo apertus, an opened human, which describes the specific type of the creative consciousness of the artist in the twentieth century. Based on the modern painting, sculpture, cinema and videoart.
Keywords: freedom, the existence, modern art, cinema, video art, artistry

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