Issue 36 (2019, 4) Summary

ARTICULT #36 (4-2019) October-December

SUMMARY

THEORY OF ART

SUBDISCIPLINARITY IN SCIENCE OF ART AND SCIENCE OF CINEMA BY EXAMPLE OF ANIMATOLOGY
UDC 168.5+168.522+7.01+791.43-252.5+791.43.01
Author: Schtein Sergey Yuryevich, PhD in Science of Art, 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: In a situation of overproduction of representations expressed in the form of knowledge, perhaps the most important of the conditions for understanding the nature of one knowledge in relation to another, it is to carry out a clear demarcation between disciplinary and discursive knowledge. One of the specific aspects of disciplinarity is the possibility of scalability of disciplinary knowledge and the identification in the disciplinary community of a subdisciplinary group of researchers just and realizing their cognitive activity in relation to the subobjectivity area of “parental” discipline. However, in the realities of humanitarian knowledge, and in particular science of art and science of cinema, where the identity of a particular discipline is sometimes highly conditional, what would seem to be seen as a subdiscipline begins to claim separate disciplinary status, or to be problematic and reduced to a specific discourse or even a subdiscource. An illustrative example of this is animatology (knowledge about animation), which under different conditions can be seen as both a subdisciplinary objectivity of science of art and/or science of cinema, and as a specific discourse/subdiscource, and as a separate disciplinary objectivity.
Keywords: science of art, art studies, science of cinema, cinema studies, animatology, animation, cartoon, disciplinarity, subdisciplinarity, discourse, subdiscourse, disciplinary identity, science about art, art science methodology

read online / download pdf

HISTORY OF ART

ICONOGRAPHY OF THE REWARDING SCENE OF AMENEMOPE FROM THE TEMPLE OF BEIT EL-WALI
UDC 7.032(32)+726.852
Author: Ershova Elena Sergeevna, lecturer, Department of theory and history of art, School of Art History, Russian State University for the Humanities (6 Miusskaya sq., Moscow, Russia, GSP-3, 125993), e-mail: lena.s.ershova@gmail.com
ORCID ID: 0000-0002-1345-7056
Summary: The phenomenon of the king’s rewarding the court officials and warriors for loyal service dates back to the New Kingdom, which is confirmed by lots of historical sources, as well as the scenes depicting the king’s rewarding the noble people which first were created in private tombs during the reign of Tutmos IV and went on appearing during the whole New kingdom epoch. This article is about the scene of the rewarding of Amenemope from the temple in Beit el-Wali, which dates the reign of Ramses II. An interesting fact is the appearance of the image of rewarding a private person not in his own tomb, but in the temple complex. The award scene is part of a large scene dedicated to the campaign of Ramesses II in Nubia, consisting of a battle scene and gifts. The scenes of bringing gifts by foreign ambassadors were quite common in a private tombs of the XVIII dynasty, quite often the royal audience also ended with the awarding of an official who accepted gifts or foreign ambassadors. The article is devoted to the compositional features of the scene from the temple in Beit el-Wali and the comparative characteristics of this scene with earlier rewarding scenes from private tombs of the XVIII dynasty.
Keywords: Ancient Egypt, New Kingdom, rewarding scenes, gold of honour, rewards, temple of Beit el-Wali, nubian gifts

read online / download pdf

COLOR IN THE STONE ARCHITECTURE OF ANCIENT RUSSIA
UDC 72.04+7.033.12
Author: Chernyy Valentin Dmitrievich, doctor of cultural studies, Professor of the Department of history of Russian art, Russian state University for the Humanities (6 Miusskaya sq., Moscow, Russia, GSP-3, 125993), e-mail: tchernie@rambler.ru
ORCID ID: 0000-0002-0363-1313
Summary: The article deals with the issue of external color design of old Russian temples based on the data of field surveys, written and visual sources. The attitude to the temple as a sacred object explains its multicolored decoration, which can be traced from the beginning of stone construction in Russia. For this purpose, the decorative qualities of the basic building materials, color inserts made of specially selected and processed stone and polychrome ceramics were used, which were distributed in a free, “carpeted” manner, or laid out in the form of symmetrical patterns, as well as gilding of individual parts and external painting. Increased attention to color in the architecture of medieval Russia was noted not only from the XVII century, but also in the previous period, as evidenced by full-scale surveys of preserved monuments and their fragments and various historical sources.
Keywords: architecture, color, decorative techniques, materials, paints, painting, color accents

read online / download pdf

SIGNORE CORTIGIANE: LITERARY TOUCHES TO THE PAINTED PORTRAIT
UDC 7.034(450)+7.041.5
Author: Yaylenko Evgeny Valerievich, PhD in Art Studies, Associate Professor, Department of Semiotics and Theory of Art, Faculty of Art, Lomonosov Moscow State University (3, str.1, Bolshaya Nikitskaya street, Moscow, Russia, 125009 ), e-mail: eiailenko@rambler.ru
ORCID ID: 0000-0002-4497-2413
Summary: This article deals with the group of Venetian Renaissance paintings usually labelled as “bella” pictures and interpreted as depictions of courtesans. We try to reconstruct the cultural background against which such works would have been viewed. The methodological foundation is to be found in the searching of semantic parallels between this kind of painting and literary works treating such subject, which enables us to find characteristic features, common to them both and associated with the world of the courtesans. Among them is the emphasis on the affluence and richness of their world as well as the depictions of pets and musical instruments. On such a basis, we try to interpret famous picture by Paris Bordone from the National Gallery of Scotland in Edinburgh as the depiction of Mary Magdalen and her sister Marta, according to the parallels with “De la Umanità di Cristo” by Pietro Aretino (1534-1535).
Keywords: Renaissance, Venice, painting, interpretation, courtesan, Titian, Paris Bordon

read online / download pdf

TO THE QUESTION ABOUT THE PROTOTYPES AND COPIES–VARIATIONS IN SMALL SCULPTURES OF THE SECOND HALF OF THE XIX CENTURY. SCULPTOR V. YA. GRACHEV
UDC 73.04+730
Author: Doronina Tatiana Vladimirovna, candidate applicant (the scientific supervisor of studies – doctor of arts O.V. Kalugina), Member of the Association of art historians, gallery-workshop of sculptor A.V. Doronin, keeper (11, Marshal Novikov str., Moscow, Russia, 123098), e-mail: tat.art@mail.ru
ORCID ID: 0000-0002-1833-555X
Summary: The article deals with the work of the sculptor of the second half of the XIX century V.Ya. Grachev as a virtuoso master of variable copying. Known processing V.Ya. Grachev of the works of E.A. Lanceray, including the famous composition “Farewell of the Cossack with Cossack” (bronze, 1878. State Tretyakov Gallery) The question of possible authorship Lanceray sculptural composition with the opposite theme of farewell meaning – “the Return of the Cossack” (bronze, unsigned, private collection) and a copy of her Grachev. Grachev also translated into plastic drawings of contemporary artists. The composition–prototype of the sculpture of V.Ya. Grachev “Bashi-buzuk returning from robbery” (bronze, private collection) – drawing of the artist N.N. Karazin, published in the journal “Niva”. The time of creation of the sculpture is specified. The question of the need to mention the name of the author of the prototype in attribution is raised.
Keywords: small plastic, attribution, sculptors V.Ya. Grachev, E.A. Lanceray, E. Naps, artists N.N. Karazin, V.G. Schwartz, copying, prototype, bronzer

read online / download pdf

CINEMA

WHEN DID THE CINEMA GO COLOR?
UDC 791.43.01+791.44
Author: Filippov Sergei Alexandrovich, Ph.D. in Art Studies, researcher at the Faculty of Journalism, Lomonosov Moscow State University (9 Mokhovaya street, Moscow, Russia, 125009), e-mail: s_a_filippov@mail.ru
ORCID ID: 0000-0001-6032-6641
Summary: In the second paper of a series of articles on the dating of technical transitions in cinema, the transition to color is discussed. In accordance with the methodology adopted in the series, such a date is the transition through the middle, that is, in this case, the situation when most films are shot in color. According to statistics collected at IMDB, this happened in the world in 1967, but some countries had their own dynamics. The Soviet cinema turned to color twice – in 1951 and in the early 1970s. The American cinema also went color twice – in 1954 and 1963. Yet if the Soviet dynamics were entirely determined by the directives of the government, then in the rest of the world the reasons were different. The coincidences up to the year of the first transition of American cinema to color and the transition of European and world cinema to color with the introduction of color television in the respective territories, give every reason to believe that we have statistical evidence of the causal dependence of the transition of cinema to color under the competitive pressure of television.
Keywords: film studies, film history, cinemetrics, color cinema, history of color in film, color transition, historical film production statistics

read online / download pdf

VARIETY OF PROBLEMATIZING CINEMA IDENTITY IN INTERDISCIPLINARY RUSSIAN FILM STUDIES AND FILM CRITICISM
UDC 791.43.01
Author-1: Kolotaev Vladimir Alekseevich, Dr.Habil. in philology, full professor, dean of the Faculty of the History of Art, Russian State University for the Humanities (6 Miusskaya sq., Moscow, Russia, GSP-3, 125993), e-mail: vakolotaev@gmail.com
ORCID ID: 0000-0002-7190-5726
Author-2: 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: Studies of film identity in Russian interdisciplinary studies do not reduce the influence of cinema to either ideological influence or reflection of reality, the methodological presumptions of the authors themselves require a deeper analysis of the relationship between the director's intention, the nature of screen media and the perception of cinema. A comparative analysis of a large number of interdisciplinary works on the identity of recent years has shown that in these works, identity is treated as a certain moment of self-determination and as the basis for further self-identification, when the nature of the screen medium produces a gap in the narrative of the representative experience. This gap problematizes the relationship between camera vision and screen gestures, so identifying the viewer with the characters is only one of the moments of movement towards new affects and new forms of cognitive activity. Interdisciplinary methods make it possible to clarify the parameters of this movement and the nodes of the formation of individual identity, as well as the projections of the experience experienced, specifying the boundaries of the ethnic and national identity of the modern viewer.
Keywords: psychology of cinema, identity, history of Russian cinema, film analysis, cinema identity

read online / download pdf

NIGHT ACTION IN A. HITCHCOK FILMS
UDC 791.43-2+791.43.03+791.44.071.1
Author: Popova Liana Vladimirovna, PhD of Culturology, lecturer of chair of advertising of the International academy of business and management (15а, 5th st. of Maryina Roshcha, Moscow, 111539) e-mail: pliana@mail.ru
ORCID ID: 0000-0002-9766-7535
Summary: Alfred Hitchcock 's creativity is rather well studied as in Russia, and abroad. A research objective is studying of transformation of art language of Alfred Hitchcock. Much attention is paid to connection of Alfred Hitchcock`s creativity with works of the Soviet directors (S. Eisenstein, V. Pudovkin, L. Kuleshov) and the German`s expressionists (F. Lang, F.V Murnau). Makes related interest in image of night with the German expressionists of Hitchcock. The author of a research confirms this continuity, analyzing various sources: scientific, publicistic, cinema. In this article various methods of a research are applied: comparative, psychoanalytic, semiotics. The main conclusion of this research is that formation of art language of Alfred Hitchcock`s films is in many respects obliged to his director's style, special assembly construction. The scientific novelty of this research consists in application of an integrated approach to the analysis of Alfred Hitchcock`s films, identification of communications with his predecessors.
Keywords: Alfred Hitchcock, Alexander Mitta, Sergey Eisenstein, Francois Truffaut, Vsevolod Pudovkin, Christian Metz, Federico Fellini, Mikhail Yampolsky, Gilles Deles, sign

read online / download pdf

HISTORY AND THEORY OF CULTURE

“MY FAVORITE CITY”: STORYTELLING IN RUSSIAN-LANGUAGE AMATEUR VIDEOS ON YOUTUBE
UDC 168.522
Author: Zvereva Galina Ivanovna, Dr.Habil., full professor, head of the Department for History and Theory of Culture, Russian State University for the Humanities (6 Miusskaya sq., Moscow, Russia, GSP-3, 125993), e-mail: galazver@mail.ru
ORCID ID: 0000-0001-5153-4246
Summary: The YouTube platform has a huge array of videos of ordinary users from different regions of Russia with stories about their hometown. The purpose of the article is to consider how such digital stories are constructed, focusing on their narrative structure and language of audiovisual storytelling. The research is based on amateur videos about provincial Russian cities. The selection criteria are the authorship of the video (the creators of the video call themselves residents of these cities) and their popularity. The main methods of studying these texts are multimodal narrative and discursive analysis. The focus is on the specifics of the visual representation of urban space, significant places and symbols of the city. Amateur video stories about the hometown, as a rule, are built on common grounds using standard language tools. The article discusses the signs of the formularity of such multimodal stories and their discursive features. An important place is given to the discussion of the reasons for the popularity of video stories about a native (beloved) city in Russian-speaking YouTube audiences.
Keywords: digital video story, narrative structure, language of storytelling, visual representation of urban space, audience perception

read online / download pdf

DISCOURSE AND GENIUS: BETWEEN THE DIVINE AND THE HUMAN
UDC 168.522
Author: Lisovich Inna Ivanovna, Doctor of Culturology, Candidate of Philology, Professor, Department of Humanities and Social Sciences, Faculty of Economic and Social Sciences, Russian Presidential Academy of National Economy and Public Administration (Bldg. 1, 84 Prospekt Vernadskogo, Moscow, Russia, 119571), e-mail: mag-inna@yandex.ru
ORCID ID: 0000-0003-4694-7737
Summary: The article examines conceptualization of the ideas “discourse” from the Plato and medieval Christian thought to the Early Modern period. Today discourse understood in the works devoted to the problems of deconstruction and continental criticism of language according to the concepts laid down in the works of E. Benveniste and M. Foucault. E. Benveniste considered the discourse as “the speech act” between subjects where the language implement through the speech, although there is always a gap between them. The discourse is the consistent deployment of the utterance between the subjects of the communication. M. Foucault described how the production of the discourse is at once controlled, selected, organized and redistributed by a certain number of procedures, since discourse acts as a censorship, asserting the privileges of the speaker. Nevertheless, one can see in the concepts of E. Benveniste and M. Foucault the ancient Greek roots of this term. Socrates, Plato and Aristotle established the tradition, according to which «διέξοδος» leads the interlocutors to the episteme. An important intermediary can be the genius, connecting the world of man and divine. In the middle Ages and early Modern period, the ancient concept of discourse was combined with the Christian and humanistic tradition. The discourse becomes important for the scientific knowledge and “new philosophy” of the early Modern period. It includes the verbal form, the order of the text, associated with the formation of the method, the new terminology, and the categories, the conceptual apparatus, the critical interaction between subjects of the cognition.
Keywords: discourse, speech, genius, divine, communication, cognition, ratio, order

read online / download pdf

POETRY ON THE SECOND HALF OF THE XIX–th CENTURY CONCERT ESTRADA. ARTISTS AND REPERTOIRE
UDC 792.7
Author: Sarieva Elena Anatol’evna, PhD in Art Studies, St. researcher of State Institute of Art Science (SIAS), (5, Kozitsky lane, Moscow, 125009), associate professor of department of Russian University of Theatre Arts – GITIS, (6, Maly Kislovsky lane, Moscow, 125009), e-mail: easarieva@mail.ru
ORCID ID: 0000-0002-2883-773X
Summary: The article is devoted to the first experiments in the performance of poetic works on a concert stage. In intermissions and divertissements of the imperial theaters in the first half of the XIX century, the poems were performed as solo performances using music, costume and makeup. In the second half of the XIX century with the beginning of the Lenten public readings, an independent position of the reader was established on the stage. The article analyzes the performance of civil poetry on the concert stage of the artist of the provincial theaters P.A. Nikitin and the actress of the Maly Theater M.N. Yermolova. Along with civic poetry on the stage, salon poetry was popular in the 1880s. This is due to the expansion of entertainment background and the emergence of a variety of entertainments.
Keywords: theater, estrada, colloquial, literary variety, poetry, performing arts, Nikitin, Yermolova, divertissement

read online / download pdf

PSYCHOLOGY OF CULTURE AND ART

LOSS OF AGENCY WHILE EXPERIENCING GRIEF: A WOMAN IN A MAN'S DRESS
UDC 116+159.964.21+159.974.5+168.522
Author-1: Litinskaya Jinna Grigoryevna, Ph.D. in philosophy, assistant professor, Russian Presidential Academy of National Economy and Public Administration (82, Prospect Vernadskogo, Moscow, 119571), e-mail: litinskaya@inbox.ru
ORCID ID: 0000-0002-8850-1728
Author-2: Kononova Anna Albertovna, master student, National Research University Higher School of Economics (20, Myasnitskaya st., Moscow, 101000), e-mail: annakononova1996@gmail.com
ORCID ID: 0000-0002-6712-0475
Author-3: Kupchinov Rodion Yuryevich, teacher in pre-university school of Moscow Pedagogocal State University (7, 3rd Vladimirskaya st., Moscow, 111123), clinical psychologist, e-mail: wellephantus@gmail.com
ORCID ID: 0000-0001-5777-5075
Summary: In this article, with the help of psychoanalytical tools, the process of transformation of mourning the dead is reviewed through the prism of relative narratives within the native culture. Cultural norms, relevant to the process of mourning, some “anomalies” within the scenario of mourning, in particular their connection with females’ loss of subjectivity while experiencing melancholy are reviewed. As a result of analysis of several relevant cultural plots from different historical periods, it is demonstrated, that the loss of subjectivity, females’ loss of “Ego” is linked to the inability to put up with bitterness of loss, without maintaining the integrity of mind. It is also shown, that in this process a unique transformational object, clothes of the lost one, does appear. Based on the aforementioned analysis, several ethical questions, relevant for psychotherapeutical process, regarding the sphere of death are raised.
Keywords: subjectivity, loss of subjectivity, agency, transformation of subjectivity, melancholy, grief work, widow strata, transformational object, mortality

read online / download pdf