Issue 33 (2019, 1) Summary

ARTICULT #33 (1-2019) January-March

SUMMARY

THEORY OF ART

CINEMA-PHOTO-SOUND RECORDING. AUTOMATIC FIXATION PHENOMENON: ONTOLOGY, PHYLOGENESIS, ONTOGENESIS OF DERIVATIVE FORMS
UDC 001.8+7.01+791.43.01
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), acting Head of the Departament of Film, television and multimedia directing, GITR Film & Television school (32a, Horoshevskoe sh., Moscow, Russia, 123007), e-mail: sergey@schtein.ru
ORCID ID: 0000-0002-4419-1369
Summary: Article is devoted to the substantiation of the possibility and the functional need of consideration of the photo, sound recording and a way of receiving a dynamic frame used as means or initial material in different types of creative activity as specific “branches” of phylogenesis of the phenomenon of automatic fixing having unique ontology and in the individualized look reported to “branches” which ontology, in turn, is a basis for different types of creative activity, and evolution of these types – as their own ontogenesis connected with transformation of an ontological basis. The designed ontological scheme of a phenomenon of automatic fixing can be used as matrix for any subsequent derivative constructions connected with this phenomenon, setting thus methodological uniformity to the produced knowledge, transferring research in the conditions of art studies (potentially – cultural science, philosophies – any humanitarian discipline) to full-fledged theoretical level.
Keywords: automatic fixation phenomenon, ontology of photography, ontology of sound recording, ontology of frame, ontology of cinema, theory of art, theory of cinema, theory of photography, methodology of art studies, cinema studies

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HISTORY OF ART

ARTIFACTS OF JEWELRY ART OF ACHAEMENIAN IRAN IN THE NOMADIC WORLD: COMPOSITION AND THE СIRCUMSTANCES OF GETTING
UDC 745
Author: Yatsenko Sergey Aleksndrovich, 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: One area of concentration of golden Achaemenian jewelry V-IV centuries BCE identified in the steppes of SW Siberia (Siberian Collection of Peter I, bought from robbers for the tsar family). The second area of such artifacts concentration was the South Ural where they were founded in archaeological context for men and for women and their diversity was more fully documented. The composition of artifacts in both regions corresponds to the information of Greek and Roman authors on gifts of the “king of kings” for merits, on his diplomatic gifts and gifts in return. Both regions were far from the borders of the Empire, but were important areas of fur hunting (from the South Ural it was easier to deliver; therefore, it was also a key point of trade routes later). The jewelry wares demonstrates the costs incurred by the first “world Empire” to ensure a stable fur trade.
Keywords: jewelry wares of Achaemenian Iran, concentration in the SW Siberia and South Ural, king gifts, fur trade, 5th-4th cc.

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DESCRIPTION, ANALYSIS AND RECONSTRUCTION OF THE HISTORY OF CREATION OF THE THOMAS LAWRENCE’S PORTRAITS OF ALEXANDER I, M.I. PLATOV, F.P. UVAROV, A.I. CHERNYSHEV, K.V. NESSELRODE AND J. CAPO D'ISTRIA FOR WATERLOO CHAMBER
UDC 7.035(410)24+7.041.5+7.044
Author: Gryzunova Anna Alekseevna, PhD student of the Department of General History of Art at the Faculty of History of Lomonosov Moscow State University (119192, Moscow, Lomonosovsky Avenue, 27/4), e-mail: e-mail: korovkina.anna14@gmail.com
ORCID ID: 0000-0001-8592-4103
Summary: In 1814, as part of the order of Prince Regent George to create portraits of the heads of state, their retinues and military commanders of the victorious countries in the campaign against the Napoleon Bonaparte’s forces, English artist Sir Thomas Lawrence began work on a series of portraits of Russian Emperor Alexander I, Count M. Platov, General F. Uvarov and Prince A. Chernyshev, and representatives of the Russian Empire at the Congress of Vienna in 1815 Count K. Nesselrode and Count J. Capo d'Istria. The article compares the memoirs of contemporaries about the models presented with their visual embodiment by Lawrence. For the first time archival information concerning the transportation of a copy of the portrait of Alexander I from London to St. Petersburg and the author’s translations from English into Russian of some fragments from Lawrence’s letters and diary of his friend J. Farington are published.
Keywords: English art, ceremonial portrait, portrait, England, Russian-English relations, Regency, George IV, Thomas Lawrence

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TYPOLOGICAL FEATURES OF CHANDELIERS (SECOND HALF OF THE XVII CENTURY - THE FIRST HALF OF THE XIX CENTURY). PART 2. RUSSIA
UDC 72.04:748/749
Author: Mitnik Margarita Andreevna, postgraduate student, Faculty of Art History, Russian State University for the Humanities (6 Miusskaya sq., Moscow, Russia, GSP-3, 125993), e-mail: mitrit2299@mail.ru
ORCID ID: 0000-0001-6715-7764
Summary: The article examines the history and artistic features of ceiling lighting fixtures (chandeliers) in Russia, which went through the same stages as in Europe. Ancient Rus borrowed circle-shaped chandeliers from Byzantium. Since late XVI century Dutch-styled chandeliers has become characteristic of old Russian interiors. In XVIII-XIX Russia followed the European style and was influenced by French, English and German art. Domestic production of chandeliers with crystal pendants begins in the middle of the XVIII century. Despite the European influence, Russia has its own unique chandelier typology.
Keywords: arts and crafts, ceiling lamp, chandelier, design, glass, interior, lighting design, room decoration, artificial light, glass in art, metal in art, constructive typology, stylistic typology

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POST-BLOCKADE MIMESIS. ON THE DEFORMATION OF CORPOREALITY IN THE WORKS OF ALEXANDER AREFIEV
UDC 7.036(47+57)1+7.041
Author: Sokolov Georii Alekseevich, adjunct at The Department of Russian Culture, The State Hermitage Museum (Dvortsovaya emb., Saint-Petersburg, Russia, 190000), e-mail: georg.sokolovv@gmail.com
ORCID ID: 0000-0003-1608-2250
Summary: The article deals with formal plastic solutions used by the artist Alexander Arefiev to create body images in his works. In addition, the construction of corporeality and changes in its interpretation by Arefiev are linked with the blockade and post-blockade realities within which Arefiev became an artist. The alignment and interpretation of corporeality in his art is considered chronologically, in accordance with different periods of the artist's work. This is the first attempt to chronologically-thematic systematization of Arefyev’s art.
Keywords: Arefiev, Corporeality, Modern Art, Blockade, Expressionism, Post-War Soviet Art, Soviet Nonconformist Art

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A PRINCIPLE OF DICHOTOMY IN THE CONCEPTUAL ART OF LATIN AMERICA
UDC 7.01+7.036(8)+7.038
Author: Rud Polina Dmitrievna, PhD student of Faculty of History (Department of History of Arts) of Lomonosov Moscow State University (119234, Moscow, Leninskie gory,1), e-mail: polinarud46@gmail.com
ORCID ID: 0000-0002-1507-1616
Summary: The article examines the convergence process of aesthetics and politics; it is based on the analysis of key works on the topic. The author enriches the research by implementing texts of Latin-American philosophers, critics, art historians and artists. This choice is a result of necessity to observe the development of intellectual framework on the subject within the researched context and to define the convergence point of art and politics on the Latin-American artistic scene of 1960-70s. The proof of the aforementioned convergence in LA conceptualism contributes to the hypothesis of a binary opposition between conceptual art and conceptualism. The author reveals all the details of this opposition, presenting crucial peculiarities of both conceptual models. Moreover, the article analyses opinions of Latin-American intellectuals as well as European and North American ones in order to create a holistic picture of thoughts on the subject.
Keywords: conceptual art, Latin-American conceptualism, contemporary art of Latin America

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CONTEMPORARY ART

NEW OPTICS OF THE EYE: “FREAKS” OF DIANA ARBUS
UDC 7.038.53:77
Author: Sakhno Irina Mikhailovna, Doctor in philology, full-time Professor of the department of the theory and history of culture the RUDN University (10/2 Miklukho-Maklaya str., Moscow, 117198), e-mail: irinasachno@mail.ru
ORCID ID: 0000-0002-5510-6684
Summary: This paper describes the photographic heritage of Diana Arbus in the context of visual overcoming and transformation of the norm. Interest in what most people would call outcasts, misfits and freaks as an accepted theme of the underground culture finds a new semiotic interpretation in the artist’s work. Inspired by Tod Browning's cult horror movie Freaks (1932), which featured an array of marginalized physical disabilities, Arbus creates her own freaks gallery, in which she tries to overcome the stereotypes and prejudices in perceiving the Otherness. By refusing classic voyeuristic position of the observer, the artist shortens the distance between the Author and the Character, transforming the visual notions and icons of traumatic experience, decomposing the concept of the norm. Strong personal relationships between the artist and her models remove any tension and moral disgust. The full-face photos of the freaks and strong narrative author’s statement indicate models’ autonomous normalcy. Arbus’ particular regard allows the viewer to rethink the very concept of flaw, which is fixed with the camera and the artist’s imperturbable common sense.
Keywords: Diane Arbus, freaks, anomaly, trauma, otherness, visual transformation, new optics

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VISUAL ARTS

“THE SPECTACLE OF THE SCAFFOLD” IN THE “THE SOCIETY OF THE SPECTACLE”: GENESIS OF TRUE CRIME GENRE IN LITERATURE AND SCREEN ARTS
UDC 791.43-2+791.43.03
Author: Labuznaya Valeriya Yurievna, graduate student, Department of Screen Arts, Academy of Media Industry (105-2 Oktyabr'skaya Street, Moscow, Russia, 127521), e-mail: labuznaiavaleria@gmail.com
ORCID ID: 0000-0003-3603-1389
Summary: The article is devoted to the problem of genesis of true crime genre, in which stories of actual crimes are examined by the means of non-fiction and screen arts. The definition, essential features and specifics of this genre are revealed by complex analysis of the main formation stages of criminal narrative. Development of the crime storytelling is highlighted by the consideration of such important works, as Truman Capote’s In Cold Blood, Errol Morris’s The Thin Blue Line, Jean-Xavier de Lestrade’s The Staircase. The resume explains the ambivalence of the true crime genre in the 21st century, appearing between Michel Foucault's idea of «The Spectacle of the Scaffold» and Guy Debord's concept of “The Society of the Spectacle”.
Keywords: spectacle, spectacularity, the spectacle of the scaffold, the society of the spectacle, true crime, narrative, non-fiction, docuseries, documentary, screen art, media, crime-fiction, series, genre, detective

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CINEMA

COGNITIVE CHARACTERS’ CONSCIOUSNESS CONVERSION WITHIN THE FILM CONSTRUCT OF “THE COLD SUMMER OF 1953”
UDC 791.43-2+791.43.01
Author: Ivanov Dmitry Igorevich, Ph.D. in Philology, associate professor, professor of the Guangdong University of Foreign Studies (2 Baiyun Avenue North, Guangzhou, P.R. China, 510420), e-mail: Ivan610@yandex.ru
ORCID ID: 0000-0002-1492-0049
Summary: This article considers the cognitive conversion of characters’ consciousness of the film “The Cold Summer of 1953” construct based on the author’s original theory of cognitive-pragmatic programs (CPPs). The dominant CPP recodes the personality in such a way that it becomes its main support both in self-preservation and self-justification, “building” its own defense mechanism into the consciousness of the individual. The source system (the basic CPP of the totalitarian regime) and its alternative (criminal projection of the basic CPP) are similar: both, formally confronting each other, use destructive strategies of violence, suppression, subordination, manipulation, etc. The CPP transforms the processes of natural functioning of the individual’s consciousness, replacing them with the process of their own development, which, in turn, is perceived by the program carrier as the work of its individual / collective “essential self”. The human mechanism, that has “lost” its “essential self”, identifies itself with the “other”, but not “with the other within itself”, but with the “other-program”, turning into an impersonal “we”.
Keywords: film construct, cognitive pragmatic program (CPP), mythologization, manipulation, self-identification, conversion

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ACOUSMETRE AS A MODE OF FEMALE SUBJECTIVITY IN SPIKE JONZE’ HER
UDC 791.43-2
Author: Tsyrkun Nina Aleksandrovna, Dr.Habil. in art studies, researcher at the Central State Cinema Museum (Pavilion Nr.36, 119 Prospekt Mira, Moscow, Russia, 129223), e-mail: tsyrkun@mail.ru
ORCID ID: 0000-0002-6723-5870
Summary: The author considers the specimen of the screen female subjectification through the agency of acousmetre, employed by the noted American screenwriter and director Spike Jonze. In his futuristic HER (2013) the filmmaker instrumentally invokes the female voice as constituting authoritativeness of the invisible source, ad hoc representing expansion of relevancy of a virtual identity in the process of digital evolution. Due to communication with the invisible voice the protagonist symbolically experienced the oedipal complex as the pinnacle of the individual's maturational phase, which ushered him into solution of his personal problem as well as a new partnership with a real woman. Likewise the bearer of the invisible voice in question passed quasi-oedipal phase promoting her self-actualization as a subject. The author assumes, that the director’s message is remarkably distinguished with the parity of the protagonists both on the gender level and in the disposition of a human and artificial intellect.
Keywords: Spike Jonze, HER, repressive hierarchy, subjectivity, oedipal mother, acousmetre, invisible source, digital evolution

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HISTORY AND THEORY OF CULTURE

ARCHITECTURE IN THE MIRROR OF LITERATURE: THE “ESTATE TEXT” IN THE WORKS OF RUSSIAN WRITERS OF THE 1920s
UDC 728.8+82-3
Author: Bogdanova Olga Alimovna, Doctor of Philology, Leading researcher of the Gorky Institute of World Literature of the Russian Academy of Sciences (25A Povarskaja st., Moscow, Russia, 1210069), e-mail: olgabogda@yandex.ru
ORCID ID: 0000-0001-7004-498X
Summary: Based on the works of Russian writers of 1910-1920s, it is shown that each of the estates or interior details depicted by them has features of architectural and decorative styles of Baroque, Classicism, Empire, Modern. However, the point of view of the narrator or character, through the prism of which we distinguish these styles, put on them the seal of personal perception, due to the author's ideological and aesthetic task. Moreover, they can create single-style ensembles from single Baroque and Empire details only by their spiritual and emotional transformation, as it happens in the story of I. Bunin “Non-urgent spring” (1923).
Keywords: estate-museum, 1920s, architecture, literature, style, storyteller, character, point of view

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METHODOLOGY

STRUCTURE OF THE METAPHOR IN THE EMANUELE TESAURO’S TREATISE “ARISTOTELIAN TELESCOPE” AND GIOVANNI BATTISTA BRACELLI’S PRINT SUITE “BIZZARIE DI VARIE FIGURE”
UDC 7.01+762.2
Author: Chistova Liubava Dmitrievna, external doctorate student, Arts sector, Russian institute of art history (5 St. Isaac's Square, Saint-Petersburg, Russia, 90000); junior research assistant, the Department of Western European Fine art, State Hermitage Museum (38 Palace Embankment, Saint-Petersburg, Russia, 191186), e-mail: savraska4@gmail.com
ORCID ID: 0000-0003-4191-8822
Summary: The article deals with the similarity of the theory of the metaphor construction described in the treatise of E.Tesauro’s “Aristotelian telescope” and visually realized in the G. B. Bracelli’s print set “Bizzarie di varie figure”. Tesauro’s tractate presents a metaphor as the main artistic value of the work of art and a wit as self-contained category, specific creative ability, rather than as an instrument to reveal some latent preset similarity of the objects, which should be found by the author of a literary or pictorial object of art and shown to the viewer in a harmonious form. It is this conception of the role and the essence of the metaphor which make possible creation of fantastic and grotesque characters of “Bizzarie di varie figure”, based on comparison of different.
Keywords: rhetoric, theory of baroque wit, aesthetics of surprise, etching, metaphor, semiotics, G.B. Bracelli, “Bizzarie di varie figure”

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REVIEWS

NEARLY DETECTIVE OR MONOGRAPH BY ELENA PETRUSHANSKAYA “THE ADVENTURES OF RUSSIAN OPERA IN ITALY” (MOSCOW, “AGRAF”, 2018)
UDC 782+78.072
Author: Nikolskaya Irina Ilyinichna, Dr.Habil in Art Studies, senior research fellow in the Department of Art of Central Europe of the State Institute of Art Studies (5 Kozitsky pereulok, Moscow, Russia, 125000), e-mail: nikolsk-irina@yandex.ru
ORCID ID: 0000-0003-2261-3089
Summary: Review of the book by Elena Petrushanskaya “The Adventures of Russian Opera in Italy” (Moscow, “Agraf”, 2018). The history of productions of Russian operas in Italy from 1874 to the first decade of the 21st century was examined on previously unknown archival materials from the repositories of theaters in Italy. The facts cited in the book argue with the myth of the “wrong” interpretation of Russian operas outside of Russia.
Keywords: Russian operas, stage, theatre, national tradition, producer, performance, producer, conductor, singer

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