Issue 3 (2012, 3) Summary

ARTICULT #3 (3-2011)

SUMMARY

SPACE OF SUBJECTIVITY AND ARTIFACTS FROM THE PAST

SOCIAL FACES OF THE CONTEMPORARY MUSEUM: HOW INSTALLATION SERVES TO HUMANS
Author: Chuvorkina Olga, teaching assistant, Chair of the Cinema and Contemporary Art Studies, Russian State University for the Humanities (RSUH, Moscow, Russia), e-mail: ochuvorkina@gmail.com
ORCID ID: 0000-0002-6386-3351
Summary: The article highlights the role and status of the 21 century Museum. Recent changes in society, globalization, and the increasing significance of the media are a mix that presents the contemporary cultural institution with new challenges. The museum as “a temple of Muses”, a place for the preservation and presentation of art is developing into an institution which not only mirrors society but also produces societal realities.
Keywords: museum, new museology, sociology museum, ecomuseum, center for contemporary arts

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THE RETURN OF SUBJECTIVITY IN THE THEORY: PROBLEMATIZING ARTIFACTS
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
ORCID ID: 0000-0001-6874-1073
Summary: The article investigates how modern theory of subjectivity, founded by Descartes, exercised strong influence on visual engagement of the modern culture. Some controversies in modern conception of visual (plain of view vs. mood of vision) could be explained by the complexity of terms of the notion of subjectivity.
Keywords: art philosophy, visual phenomena, rationalism, Descartes, phenomenology, Derrida

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ROMANTIC MYSTICISM: GENESIS OF MODERNITY FEELINGS

JACOB BOEHME'S PHENOMENOLOGY AND MYSTICISM INTERPRETED BY A. KOYRÉ
Author: Yampolskaya Anna, assistant professor, Faculty of Philosophy, Russian State University for the Humanities (RSUH, Moscow, Russia), e-mail: iampolsk@gmail.com
ORCID ID: 0000-0003-3514-3952
Summary: We show how Koyré, in his interpretation of Böhme’s mysticism, uses methods of phenomenology, albeit not the phenomenology of Husserl. He views the revelations of the Divinity to itself in analogy with the epiphany of the world and the ego to the phenomenological observer. Koyré reduces the Sophia to the exterior objective image of the Divinity, while emphasizing the role of nature and the world in Böhme’s cosmological views. Böhme’s theosophy is understood as a teaching about the conditions of the ideal personality. The anthropocentric tradition of German metaphysics stems from Böhme; it is a counterweight to the dehumanising philosophy of scientific rationalism.
Keywords: Koyré, Böhme, mysticism, phenomenology, anthropology, cosmology, history of science, history of religion

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SPEECH IMAGES OF GERMAN ROMANTICISM AS ASCENSION TO WAGNER'S TOTAL ARTWORK (GESAMTKUNSTWERK)
Author: Gerasimenko Inna, teaching assistant, V. N. Karazin Kharkiv National University, e-mail: inna.gerasymenko@gmail.com
Summary: Musical theories of German Romantic movement I considerate as part of the language philosophy of the European Romanticism, re-interpreted by next generations of artists and theorists as aesthetic approach to Gesamtkunstwerk. The Romantic language theory needs to be investigated as new version of classical poetics and speech theory, enriched with phychological and historical implications.
Keywords: Romanticism, music theory, language theory, Wagner

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CINEMA: LABYRINTH OF IDENTITIES

REPRODUCTIVE MODEL OF THE IDENTITY IN 1960s SOVIET CINEMA
Author: Kolotaev Vladimir, Dr.Habil. in philology, professor of the Research and Educational Center "Cinema and Contemporary Art", Russian State University for the Humanities (RSUH, Moscow, Russia), e-mail: vakolotaev@gmail.com
ORCID ID: 0000-0002-7190-5726
Summary: The article investigates polymorphic identities and carnivalization of identity in the Soviet cinema during the 1960ies liberalization (“Khrushchev's Thaw”). The epoch’ tendencies show first attempts to deconstruct Socialist Realism aesthetics in the trend to re-actualize theoretical heritage of Eisenstein and other great artists.
Keywords: soviet culture, soviet cinema, identity, concept of identity in historical overview

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THE OUTLINE OF DIRECTORSHIP: DENNIS HOOPPER
Author: Agranovskiy Nikita, student of the MA program, Smolny college, St.Petersburg State University, e-mail: pasto_dezute@mail.ru
Summary: The complex of director works by Denis Hopper, mostly famous for the cultical movie "Easy rider" script and his role in it, is considered in the article. They let us follow author's style, themes and methodology evolution. Reasons and nature of an independent American movies sudden rise and quick decline in the late 60s - early 70s appear in Hoppers works, as well as further Hollywoods development vector.
Keywords: Dennis Hopper, 1960s, “independents”, “American New Wave”, “Easy rider”

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FATHER OF CULT CINEMA AND NEW HOLLYWOOD: ROGER KORMAN IN THE USA CINEMA HISTORY
Author: Pavlov Alexander, assistant professor, Faculty of Philosophy, National Research University – Higher School of Economics, e-mail: ale-pavlov@yandex.ru
ORCID ID: 0000-0001-5449-1050
Summary: The article is dedicated to Hollywood “invisible revolution”. As reaction to stagnation, the B-cat movies by R. Corman provoked many young professionals to create New Hollywood cinema, to ennoble Cult Films. Now we have generations of wide public of cinema-adorers, with perceptive habits formed after cinema experience, linked with Corman’s “school” of directors.
Keywords: cult film, cinema montage, midnight cinema, American cinema, New Hollywood, thrillers, B-cat. movies

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THE SPACE OF PRESENCE ACCORDING TO HEIDEGGER AS MEAN OF ART EXPRESSION STUDIES
Author: Ischenko Natalia, PhD, assistant professor, Faculty of Philosophy, National Research University – Higher School of Economics, e-mail: iinatalie@yandex.ru
ORCID ID: 0000-0002-3239-6148
Summary: The article is dedicated to Heidegger’s understanding of spatiality. It isn’t reconceptualized ontology or cognitive modeling, but recovering of experience structures, closer to aesthetic descriptions, as dimension, expression, narration of the space. Heidegger’s conception of spatiality is rupture with phenomenology, and it pretends to base aesthetics and artistic practice both on complex notion of a priori experience of spatial relations.
Keywords: Heidegger, Dasein-analysis, ontology, spatiality, intellectual reception

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