Issue 38 (2020, 2) Summary

ARTICULT #38 (2-2020) April-June

SUMMARY

THEORY OF ART

SOCIAL DESIGN AS A TOOL OF LIFE-CONSTRUCTION PRACTICE
UDC 7.01
Author-1: Staruseva-Persheeva Alexandra Dmitrievna, PhD in Arts, assistant professor at the Faculty of Communications, Media, and Design, National Research University Higher School of Economics (12, Ulitsa Malaya Pionerskaya, Moscow, Russia 115054), e-mail: apersheeva@hse.ru
ORCID ID: 0000-0002-2969-2720
Author-2: Shevtsova Olga Vladimirovna, Master of Psychology, Public affairs specialist, LLC Brunel Rus (31, Novinsky blvd, Moscow, Russia 123242), e-mail: olshevzova@gmail.com
ORCID ID: 0000-0003-0804-7818
Summary: Social design today brings together a variety of practices aimed at implementing strategies of “responsible” design with the ultimate goal to improve the quality of life of people, rather than at an increase of profits or symbolic capital. Nowadays, society is faced with various so-called “wicked problems”, in other words complex systemic socio-technical problems (growing inequality, environmental problems, lack of inclusive technologies in the service sector and so on), which require more than a direct application of certain traditional top-to-bottom solutions, but an innovative way to develop and implement projects within the framework of “horizontal” connections between the designer and the target audience. Thus, socially-oriented design practice, as the authors of the article show, becomes a n extension of the practice of “life-construction”, rooted in the Russian avant-garde.
Keywords: social design, socially responsible design, contemporary art, consumer society, wicked problems, avant-garde, life-construction

read online / download pdf

HISTORY OF ART

ICONOGRAPHY OF THE REWARDING SCENE FROM TEMPLE COMPLEXES OF THE XX DYNASTY
UDC 7.032(32)+726.85
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 rewarding scenes from temple complexes, which dates the time of the XX dynasty. 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 article is devoted to the compositional features of the rewarding scenes of the Mayor Paser from the Mortuary temple of Ramses III at Medinet Habu and the high priest of Amun-Ra Amenhotep from the Karnak temple, as well as a 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, mortuary temple of Ramses III in Medinet Habu, The Karnak Temple Complex

read online / download pdf

SPATIO-TEMPORAL ASPECT OF THE TEMPLE IMAGERY IN THE JEWISH APOCALYPTIC LATE I – EARLY II CENTURIES AD
UDC 26+726.3
Author: Davidoglu Sergey Nikolaevich, postgraduate student (PhD student), Center for the Study of Religions, Russian State University for the Humanities (6 Miusskaya sq., Moscow, Russia, 125993), e-mail: mail@davidoglu.ru
ORCID ID: 0000-0003-1484-0425
Summary: Jewish apocalyptic texts that were written between the destruction of the Second Temple in Jerusalem (70 AD) and the end of the Bar Kochba rebellion (135 AD) comprehended the idea of the temple, which was very important for Judaism at that time. The problem in all these texts is the spatio-temporal aspect of the temple imagery, in which the present, past, and future, earthly and heavenly realities are mixed. The article provides an analysis of the image of the temple in each of the apocalypses, shows its spatio-temporal aspects, as well as the significance of the understanding of the idea of the temple in these texts for Jewish culture. It was shown as a result of the analysis, that the idea of the temple remains vital for religious consciousness even after its destruction, but is completely transferred to the dimension of divine reality in which space and time are shown from the point of view of God. These texts show the dynamics of eschatological expectations in Judaism of the 1st-2nd centuries AD and a shift in emphasis from temple ministry to the Torah, they also demonstrate the immutability of the idea of the sacred in Jewish culture.
Keywords: Jewish Apocalyptic, Apocalypse of Abraham, 4 Ezra, 2 Baruch, 3 Baruch, Judaism of the 1st century AD, Temple Idea, Sacred Space, Restoration of the Temple, Eschatology, Heavenly Temple, Divine Reality

read online / download pdf

GERMIGNY DE PRÉS: ON THE QUESTION OF THE STYLE AND PROTOTYPES OF THE APSE MOSAIC OF THE ORATORY OF ABBOT THEODULF
UDC 72.04:738.5
Author: Khripkova Elena Avenirovna, Ph.D. in Art Studies, associate professor, Chair of the theory and history of art, Russian State University for the Humanities (6, Miusskaya Square, Moscow, Russia, GSP-3, 125993), e-mail: elenasamary@gmail.com
ORCID ID: 0000-0002-8101-680X
Summary: The research object is the mosaic in the apse of the oratory at Germigny-des-Prés, the research subject is the style and possible prototypes for the images of this monumental composition. Using the method of formal-stylistic analysis, the mosaic images in the apse of the oratory of abbot Theodulf were compared with miniatures of the famous Carolingian manuscript of the Godescalc Evangelistary, as well as with images of 8th-century frescoes preserved in the Lombard Temple (Tempietto Longobardo) of the monastery of Santa Maria in Valle in Cividale del Friuli. In these examples, fragments were found that could well serve as a model and a source of inspiration for the mosaic master at creation key images for the decoration of the apse of the oratory at Germigny-des-Prés – images of large angels.
Keywords: Theodulf, Germigny-des-Pres, mosaic, oratory, Godescalc, angel, analysis, miniature, sample, Tempietto Longobardo

read online / download pdf

APPELLATION TO THE TRADITION AND ORIGIN OF AN ARTISTIC “IMAGE” STEREOTYPE IN SOVIET UNION PROSE DURING 1920S-1970S. THE QUESTION OF THE CREATIVE WORK
UDC 7.04+821.161.1
Author: Salienko Aleksandra Petrovna, candidate of Art History, Associate Professor, Section of History of Russian Art, History Department, Lomonosov Moscow State University (korp. 4, 27, Lomonosovsky prospect, Moscow,Russia, 119192), e-mail: alsalienko@mail.ru
ORCID ID: 0000-0002-9421-475X
Summary: The article is devoted to a less developed topic in criticism, as the “image” of an artist in Soviet prose of the 1920s and 1970s. The point of the approach in this case lies in the fact that literary interpretations of texts will not be presented here, we will speak on behalf of an art historian, for whom literature serves as an additional source for reflection in a desire to understand the epoch, so the word “image” in the title of the article we conclude in quotation marks. The main attention is paid in this article to the problem of tradition and stereotype in the artist’s portrayal by writers whose heroes not only resemble real people “from life”, but also themselves imitate literary examples from the past. One of these works is the story by N. Gogol “Portrait”. In the artist’s image, writers use traditional methods for creating a character, some of which we will call by definitions from the art historian’s terminological apparatus, in particular: a portrait in an interior, where special attention is paid to describing the artist’s life, a portrait with his wife and a creative portrait of the artist, which usually includes observation of the master's work process, a description of his “creation” and reflections on art and creativity.
Keywords: a portrait of an artist, an image of an artist, an image of an artist, an artist in literature, Soviet prose, Soviet literature, tradition, stereotype, artist and time, the problem of creation

read online / download pdf

GENIUS OF THE PLACE: REPRESENTATION OF THE IMAGE OF THE NATURAL REGION IN PAINTING (BY THE EXAMPLE OF THE CREATIVITY OF A.M. ZNAK, A.V. KAZANSKY AND A.N. OSIPOV)
UDC 7.04
Author-1: Simanzhenkova Tatyana Karlovna, Candidate of Philosophy, Associate Professor, Head of the Department of Design, Institute of Architecture and Design, Siberian Federal University (79, Svobodny Ave., Krasnoyarsk, Russia, 660041), e-mail: sima4164@mail.ru
ORCID ID: 0000-0001-5549-7868
Author-2: Serikova Tatyana Yuryevna, Candidate of Art Criticism, Associate Professor, Department of Design, Institute of Architecture and Design, Siberian Federal University (79, Svobodny Ave., Krasnoyarsk, Russia, 660041), e-mail: serikova_72@mail.ru
ORCID ID: 0000-0002-4852-487X
Summary: Creative and human fate of A.M. Sign, A.V. Kazan and A.N. Osipova was inextricably linked with the place where they grew up and where they returned, having received education in the capital's universities. The paintings of the masters presented, dedicated to the most significant events, residents and natural features of Siberia, Buryatia and Yakutia, are representations of the image of the native land. Artists made a significant contribution to the development of the fine arts of their region and proved to be teachers. In addition, each of them was awarded the highest professional awards and titles. The focus of this study is on the formation of the artistic-figurative content of a work dedicated to the land dear to painters and its people. Interest has also been shown in the communication process. It should be noted that the work of A.M. Sign, A.V. Kazanky and A.N. Osipov was studied in the context of strengthening the regional component in culture in the second half of the 20th century. The article used research methods of art history and cultural studies aimed at analyzing painting as a cultural phenomenon.
Keywords: Siberia, Buryatia, Republic of Sakha (Yakutia), painting, artistic image, representation

read online / download pdf

CONTEMPORARY ART

METAMORPHOSES OF FINNISH URBAN ART
UDC 7.011.3=511.1
Author: Vilchinskaya-Butenko Marina Eduardovna, candidate of pedagogical Sciences, associate Professor, head Department of history and theory of design and media communications of St. Petersburg state University of industrial technologies and design (18, Bolshaya Morskaya str., St. Petersburg, Russia, 191186), e-mail: 2722306@gmail.com
ORCID ID: 0000-0002-8874-4527
Summary: The purpose of the article is to analyze the regularities of urban art development as a result of interactions between Finnish artists and the authorities. The steady dependence of artistic forms of urban art existence on historically developed approaches to the understanding of pluralism of urban culture is shown. The Genesis of Finnish urban art can be traced as a transition from borrowing American graffiti traditions and elements of subcultural communication (1980-1990) through a policy of zero tolerance and absolute denial of graffiti and street art (1998-2008) to the possibility of legitimizing urban art as public art (since 2008). Based on the analysis of a number of works of Finnish artists working in urban space, the author concludes that urban art in Finland mainly has signs of legality, consistency with the customer, monologue, conformity, decorativeness. There is a single presence of artistic interventions and protest street art. Despite the attempts of the Museum community to support Finnish urban art, the national art scene has not yet developed its own visual tradition and style preferences.
Keywords: urban art, street art, public art in the urban environment, public art, Finland, zero tolerance policy, pluralism of urban culture

read online / download pdf

CINEMA

FROM THE 1930S TO THE 1910S: FUNCTIONS OF COSTUMES IN CLASSICAL HOLLYWOOD FILMS SET IN THE RECENT PAST
UDC 791.43-2
Author: Bakina Tatiana Victorovna, MA in Cultural Studies, lecturer in HSE Art and Design School, Faculty of Communication, Media and Design, National Research University – Higher School of Economics (12, Malaya Pionerskaya st., 115054, Moscow, Russia), competitor for PhD degree, Department of Cinema Studies, Faculty of Screenwriting and Cinema Studies, All-Russian State Institute of Cinematography named after S.A. Gerasimov (3, Vilgelma Pika st., 129226, Moscow, Russia), e-mail: tbakina.hse@gmail.com
ORCID ID: 0000-0002-6821-9194
Summary: The article addresses certain ways of interpreting a fashionable silhouette of the early 20th century in costume design for period 1930s Hollywood films. Classical Hollywood films set in 1910s are the main focus of this research as they give an interesting perspective of analyzing the case of short historical distance in costume design. The fashion image of this decade was largely ignored by Hollywood costume designers for several reasons. First, the short historical distance between these two decades complicated the process of forming a certain image of the era that could be transmitted to the screen in such a way that the mass audience would easily recognize this particular era. Secondly, despite some radical differences in fashions of these two decades, the films set in 1910s usually didn’t seem historical enough for the audiences in 1930s – again, because of the short time distance. Finally, Hollywood costume designers of 1930s created memorable, sometimes way too extravagant, but nonetheless fashionable costumes, that functioned on screen in a similar way to a fashion show. Thus, the use of outdated clothes that made the impression of being vintage was largely avoided. Analyzing several American films of 1930s would help to explore how these strategies work in particular cases.
Keywords: film costume, classic Hollywood cinema, early 20th century fashion, historical costume, 1930s, 1910s, authenticity, historical distance, fashionable silhouette

read online / download pdf

THE FAKE CHALLENGE, IDENTITY AND DRAMATIC CONFLICT IN FRANK PERRY'S THE SWIMMER
UDC 159.923+791.43.01+791.43-2
Author: 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
Summary: The structural element of the dramaturgy of Frank Perry's film The Swimmer (1968) is the phenomenon of “fake challenge”, interpreted as the consequence of unresolved identity problems. The “fake challenge” is here analyzed with reference to the theory of ego-identity construction (E. Erickson), the staged identity model (V.A. Kolotaev, E.V. Ulybina), to the theory of constant functions of the he-hero of a fairy tale (V. Propp), to the Monomyth theory (J. Campbell) and its adaptation to the cinema dramaturgy by Cr. Vogler. The hero’s path introduces options for both a productive movement towards constructing an identity and destructing the self. The trajectory of the path depends not only on the successful completion of the tests, on the choice of the path itself, on readiness or not willingness to accept the challenge, but also on the ability to distinguish the nature of the challenge, which may be false. The ability to see, to evaluate adequately and to respond to a challenge is determined by what stage of the identity the hero is in, what regulatory crisis he is experiencing. According to E. Erickson, the formation of identity occurs as a result of a response to the requirements of culture presented to individuals at different stages of the life cycle. Understanding what society requires, what goals and values it proposes to identify with, depends on how successfully the regulatory crises in the early stages of the formation of ego identity have been passed. If they are passed with a negative result, then at the subsequent stages of life, for example, a mature hero is not able to overcome another crisis, and his chosen path leads him not to gaining a new identity, but to personal collapse.
Keywords: “Fake challenge”, identity, initiation, (masculine) hero’s journey, conflict, “missed insight”, reproductive identity, oedipism, “initiative is guilt”

read online / download pdf

HISTORY AND THEORY OF CULTURE

“A SUIT FOR GENTEEL BOYS”: ‘LITTLE LORD FAUNTLEROY’ AND CHILDREN’S FASHION OF THE LATE 19 – BEGINNING OF 20 CENTURIES
UDC 391.3+7.041.6+821.111(73)
Author: Vainshtein Olga Borisovna, Ph.D., leading researcher at the Institute for the Advanced Studies in the Humanities, Russian State University for the Humanities (6 Miusskaya sq., Moscow, Russia, GSP-3, 125993), e-mail: katermur@gmail.com
ORCID ID: 0000-0002-1753-4848
Summary: The article focuses on the impact of the outfit worn by Little Lord Fauntleroy in the 1886 eponymous novel by Frances Hodgson Burnett. The book was illustrated by Reginald Birch, and his illustrations had a decisive influence on late 19 and early 20 century children’s fashion. The episodes of the book illustrated by Reginald Birch became the key motives symbolically representing the novel in other genres of art, such as photography, political cartoons and films. The article examines the interaction of literature and fashion through book illustration, aiming to investigate how this style of boy’s clothes was received in society, what was its origin and what happened to this fashion trend later.
Keywords: Burnett, Birch, Fauntleroy, fashion, costume, suit, literature

read online / download pdf

PSYCHOLOGY OF CULTURE AND ART

HYBRID FEMALE GENDER IN THE “ORDINARY WOMAN” SERIES
UDC 159.923+791.43-2
Author-1: Vlasova Oksana Georgievna, PhD in Psychological sciences, educational-psychologist, E.M. Primakov Gymnasium (Utrennyaya street, Razdory village, Odintsovo District, Moscow Region, 143082), e-mail: oksana_vls@mail.ru
ORCID ID: 0000-0002-9472-2033
Author-2: Satskaia Mariia Andreevna, technical coordinator, Asociación Recursos d'Animació Intercultural (Carrer tiradors 3-5, 4-1, Barcelona, España, 08003), e-mail: sackaya@gmail.com
ORCID ID: 0000-0002-3979-670X
Summary: The article is devoted to the analysis of the reflection of gender transformation problems identities occurring in actual social reality, on the material of the director’s series B. Khlebnikov “Ordinary Woman” (2018). Gender transformation challenges identities are considered in the context of the theory of a staged identity model (Kolotaev, Ulybina) The work describes the phenomenon of hybrid gender identity, key features and conditions of its formation are highlighted, its differences from meta-productive identity. If building a meta-productive identity occurs due to the independent choice of the bases of identification with the group and awareness of the fundamental possibility of self-identity change, then hybrid identity is seen as the result of a forced going beyond established identity, which leads to the destruction of previous foundations building self-image and, at the same time, inability to accept a new self-image option.
Keywords: stadial identity model, gender, identity crisis, meta-productive identity, hybrid identity

read online / download pdf

METHODOLOGY

ON THE ISSUE OF BORDER OF THE CLASSICISM PAINTING IN RUSSIA (IN THE CASE OF THE ARTISTIC LEGASY BY P.I. SOKOLOV)
UDC 7.034(47+57)
Author: Zhelnova Elena Gennadyevna, Head of exhibitional department, Moscow State Art Gallery of the People's Artist of the USSR Ilya Glazunov, Volkhonka, 13, Moscow, Russia, 119019) e-mail: alena_zhelnova@mail.ru
ORCID ID: 0000-0001-6883-4552
Summary: This article focuses on the question of border and possibility of the historical paintings in Russian in the second part of the XVIII century in the case of the artistic legasy by the academic of historical painting, professor of Imperial Fine Arts Academy P.I. Sokolov (1753–1791). Analyse the archival documents and artistic legasy, author reaches the conclusion what create the perfect paintings on canon of classicism Petr Sokolov derived inspiration from Old Masters, especially Karracci brothers, Domenichino, Guido Reni, and to hone his colour feeling he copied paintings by Rubens and Rembrandt. This fact shows what as part of explicitly formulated classical composition Russian artists had broad spectrum and choice of works of the different periods and style for their education. It’s undoubtedly was reflected in Russian classicism.
Keywords: academic of historical painting P.I. Sokolov, Russian art of the XVIII century, classicism, Russian historical painting, canon of the classicism

read online / download pdf