Issue 41 (2021, 1) Summary

ARTICULT #41 (1-2021) January-May

SUMMARY

THEORY OF ART

VARIATIONS OF MULTIMODALITY IN DESIGN
UDC 7.01+7.012
Author: Kalaikova Yuliya Vladimirovna, senior lecturer, Department of Cultural Studies and Design, Ural Federal University (19, Mira str., Yekaterinburg, Russia, 620002), e-mail: pictaplasma@gmail.com
ORCID ID: 0000-0002-2789-306X
Summary: The article is devoted to variations of design multimodality within the framework of social semiotics and discourse theory, describing the simultaneity and holism of multimodal design texts in a socio-cultural context. The article gives a detailed analysis of multimodality in three directions: deep into the semiotic structure of the design product and the mental processes of its perception; in breadth – in numerous forms of organizing the interaction of communication participants; in time – in aspects of cultural citation. The author identifies and describes structural, citation, a priori multimodality and multimodal interaction. The a priori nature of multimodal perception and conventionality of multimodal design texts is considered as tools for achieving the goals of design communication.
Keywords: design text, social semiotics, design discourse, holistic, simultaneous, intermediality, structural multimodality, quotation multimodality, a priori multimodality, multimodal interaction

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THE BODY IN THE HISTORY OF WESTERN EUROPEAN AND RUSSIAN THEATRE: CULTURAL VARIABILITY OF SHAME
UDC 7.01+792.2
Author: Salimova Leila Farhadovna, Ph.D. Student of the Russian State University for the Humanities (6 Miusskaya sq., Moscow, Russia, GSP-3, 125993), lecture of Yaroslavl State Theatrical Institute (43, Pervomaiskaya Street, Yaroslavl, 150000), e-mail: leila.salimova@mail.ru
ORCID ID: 0000-0001-6359-2857
Summary: Modern scientific knowledge approaches the study of the physical and aesthetic bodies with a considerable body of texts. However, on the territory of the theater, the body is still considered exclusively from the point of view of the actor's artistic tools. Theatrical physicality and the character of physical empathy in the theater are not limited to the boundaries of the performing arts, but exist in close relationship with the visual and empirical experience of the spectator, performer, and director. The aesthetic and ethical aspect of the attitude to the body in the history of theatrical art has repeatedly changed, including under the influence of changing cultural criteria of "shameful". The culmination of the demarcation of theatrical shame, it would seem, should be an act of pure art, independent of the moral restrictions of society. However, the experiments of modern theater continue to face archaic ethical views. The article attempts to understand the cultural variability of such a phenomenon as shame in its historical and cultural extent using examples from theater art from antiquity to the present day.
Keywords: body, theater, physicality, shame, contemporary art, actor, theatrical physicality, theater anthropology

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HISTORY OF ART

THE ORNAMENT CONCEPT IN THE MANIFESTOS OF THE ARCHITECT B. TSCHUMI
UDC 72.036+72.04
Author: Sharapov Ivan Alexandrovich, member of Union of Artists of Russia, AIAP UNESCO, assistant professor, Chair of the Composition and Art, Ural State University of Architecture and Arts (USAAA) (23, Karl Liebkneht St., Ekaterinburg, Russia, 620075), e-mail: isharapov4@gmail.com
ORCID ID: 0000-0002-1761-7176
Summary: The article elevates the problem of studying ornamental forms in architecture. Ornament in the context of deconstructivism seems to be a paradoxical phenomenon, but, nevertheless, its presence is marked by the conceptual texts of deconstructivist architects. The ornament is studied as a formal aspect, the structure of which is able to involve, link and produce a number of essential characteristics that determine architectural shaping. Ornament is interconnected with form, semantic, communicative, and formal aspects that are integrated and localized in the concepts, form, and space of architecture. The research is based on the concepts, manifestations and theoretical research of the deconstructivist architect Bernard Tschumi. The research is aimed at expanding the subject field of ornamental form in the direction of conceptual and structural aspects. The phenomenon of the ornamental form is revealed as a multiplicity of abstract structural equivalents, where the connections between the subject and abstract aspects of the structure of the ornamental form are paradoxically actualized.
Keywords: architecture, binary opposition, concept, deconstruction, manifest, ornament, paradox

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CONTEMPORARY ART

TOPOLOGY OF CONTEMPORARY ART PRODUCTION: NEW APPROACHES
UDC 7.01+7.067+7.072.3
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: The article examines the applicability of new interdisciplinary methods to the artistic process in Russia using the example of three new books exploring the problems of contemporary art. These books prove the applicability of the achievements of intellectual magazine criticism (Kira Dolinina), institutional criticism (Stanislav Savitsky), and gender criticism (Olesya Avramenko) to the local artistic life of recent decades. What unites these books is criticism of criticism: an articulated metaposition to the critical strategies that have developed in the art community. Each of the three books is written by a professional and addresses several audiences at once: artists, art researchers, and the general public. Although all three books differ in genre and way of presentation, they have a lot in common: way from works or examples of artistic activity familiar to the public to problematization of the institutional side of contemporary Russian art. We consider in detail the context of the origin of these books, presentation features, correlation with academic research. We made a general conclusion about the importance of institutional research for the further development of Russian art criticism.
Keywords: contemporary art, art criticism, history of curatorship, gender studies, Russian art of the 1990s, institutional criticism, feminist art

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CINEMA

THE KEY FEATURES OF THE AESTHETIC OF J. VAL DEL OMAR’S AUTHOR CINEMA (ON THE CASE STUDY OF THE FILM TRILOGY “ELEMENTARY TRIPTYCH OF SPAIN”)
UDC 791.44.071.1
Author: Kolotvina Olga Vasilevna, Ph.D. student of the Faculty of Art History, Russian State University for the Humanities (6, Miusskaya Square, Moscow, Russia, GSP-3, 125993), e-mail: kolotvina@mail.ru
ORCID ID: 0000-0003-2873-3604
Summary: The author analyzed the symbolic narrative of the films and the cinematic technologies, which were developed by J. Val del Omar for his film trilogy. This study revealed that the use of the suggestive metaphorics of Spanish poetry (St. John of the Cross, F. García Lorca, Rosalía de Castro) and the artistic heritage of Spanish mysticism dominates in his film aesthetics. As a result, the film director created an allegorical multidimensional narrative about the stages of the spiritual path of a person and as well as about the specifics of the national spirit of the Spain’s different regions. Such a multi-layered artistic image was modeled by the film director with support of creatively transformed transmedia techniques, as well as through the introduction of mystical-surreal strategies, which were implemented in the associative montage of metaphorical images and in the reactualization of the country's folklore heritage. To complete implementation of this artistic program, called by the film director “mecha-mystiс”, he developed immersive innovative cinematic technologies of multi-screen film projection, “tactile vision” and “diaphonic sound”.
Keywords: J. Val del Omar, author cinema, immersive, mystical imagery, Spanish cinema, transmedia techniques, tactile vision, F. García Lorca

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THE TYPOLOGY OF FEMALE IN THE REAR IMAGES IN “BEANPOLE” FILM BY KANTEMIR BALAGOV
UDC 791.43-2+791.43.04
Author-1: Kuhn Michael, Ph.D. student of the Faculty of Philology, Institute of Eastern Slavonic Studies, Jagiellonian University (30-060 Cracow, Ingardena 3 St., Poland), e-mail: michael.kuhn.slawistik@gmail.com
ORCID ID: 0000-0001-6258-4740
Author-2: Jawor Katarzyna, master’s degree student of the Faculty of Philology, Institute of Eastern Slavonic Studies, Jagiellonian University (30-060 Cracow, Ingardena 3 St., Poland), e-mail: k.m.jawor@gmail.com
ORCID ID: 0000-0002-9947-3718
Summary: In May 2019, the premiere of the film “Beanpole” by Russian director Kantemir Balagov, took place at the Cannes Film Festival and it became a notable event both on the French Riviera and in Russia. The drama tells the story of two young female front-line soldiers who defend their right to a decent peaceful life in post-blockade Leningrad. This movie also reveals the fate of the women in the rear who found themselves in a conflict with the returning female front-line soldiers. With the use of the descriptive-functional and comparative research methods, the authors of the article make the first attempt of scientific classification of the “women in the rear” images in “Beanpole” film from anthropological and psychological perspectives – a peasant woman Tatyana Belova and a highly-placed party worker Lyubov Petrovna. An analysis of secondary characters images helps to determine the severity of the consequences of the war, the parallel with the main heroines and adoption of the “military rules” in the post-war months, according to which, Soviet women were in the fiercest competition for men and family happiness.
Keywords: Kantemir Balagov, “Beanpole”, contemporary Russian cinema, female image in cinema, female in the rear image, The Eastern Front of World War II, post-war period, anthropology, psychology, psychic trauma, analysis of images

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HISTORY AND THEORY OF CULTURE

VOICE, TEXT, AND IMAGE IN LATE SOVIET DOCUMENTARY CINEMA: “AND STILL I BELIEVE...” BY MIKHAIL ROMM
UDC 791.43
Author: Pluzhnik Victoria Victorovna, M.A. in Cultural Studies, a specialist in educational and methodical work at Faculty of Cultural Studies, Russian State University for the Humanities (6 Miusskaya sq., Moscow, Russia, GSP-3, 125993), e-mail: pluviktoriya@yandex.ru
ORCID ID: 0000-0003-4778-9507
Summary: The subject of the article is the late Soviet cultural logics manifested through the medial specifics of the film. Based on the material of the documentary film "And Still I Believe..." by Mikhail Romm (1974), the question is raised about the relationship between voice, text and image, and cultural and anthropological modes they offer the viewer. One of the key concepts for analyzing the film and determining these modes is the concept of intermediality. In relation to Soviet culture, two main strategies of intermediality in Soviet art practices are identified, based on existing research, through which Romm's film is then analyzed. Of particular importance to the work is the category of the (mediatized) voice, its place in Soviet culture, and more specifically, Mikhail Romm's voice and the intermedial transformations that it undergoes in the film. The relationship between voice, text, and image in late Soviet documentary films demonstrates interesting artistic strategies and allows us to problematize the position of the Soviet subject.
Keywords: intermediality, voice, Late Soviet culture, documentary film, anthropological modes

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“SEMIOTICS OF DISTINCTION”: THE ANALYSIS OF FASHION DISCOURSE IN THE “KOMMERSANT” NEWSPAPER (CASE STUDY, TEXTS PUBLISHED IN 2009)
UDC 316.7+316.728
Author: Eltsova Ksenia Konstantinovna, PhD in Studies of Culture, Associate Professor of the Higher School for European Cultures, Department for Studies of Culture, Russian State University for the Humanities (6 Miusskaya sq., Moscow, Russia, GSP-3, 125993), e-mail: ksenia.eltsova@gmail.com
ORCID ID: 0000-0002-1285-9205
Summary: The article analyzes the reviews of female and male fashion collections published in the “Style” supplement of the “Kommersant” newspaper during the year 2009. The “Kommersant”, the leading quality publication in Russia in the 2000s, positioned itself as a media for the financial, political and cultural elite of the country, and thus presented a case extremely interesting for discourse analysis. Namely, the world financial crisis of 2008 turned out to be a threat situation to the status quo of the elites of the moment. The situation required articulation of the belonging to the group (elite), more intense than before the crisis. I examined how the system of status markers – the discursive “semiotics of distinction” proposed to the target audience as a strategy for group identification – was constructed in the “Kommersant. Style”: the “consumption of restraint” as a metaphor for “resilience” in the face of the crisis becomes the leading recommendation of the discourse. Putting the results into the context of the 2010s, it can be realized that the idea of “restraint” in consumer behavior transcends the elitist discourse and is popularized in the field of mainstream publications.
Keywords: discourse, fashion, fashion discourse, discourse on fashion, social status, media representations, social identity, financial crisis

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PSYCHOLOGY OF CULTURE AND ART

STUDY OF THE EVOLUTION OF REPRESENTATIONS IN THE 20 CENTURY ON THE DETERMINATION OF THE FEATURES OF ARCHITECTURAL OBJECTS BY THE PSYCHOLOGICAL CHARACTERISTICS OF THEIR CREATORS – ARCHITECTS
UDC 7.01+72
Author: Vinogradova Evgenia Igorevna, Senior Lecturer, Ural State University of Architecture and Art (23, Karl Liebknecht St., Ekaterinburg, 620075, Russia), applicant, e-mail: evgenia.vip@list.ru
ORCID ID: 0000-0001-8486-927X
Summary: This article considers architecture as a product of the architect's psychological activity, and therefore raises the question of the role of the architect's personality, his internal conscious and unconscious intentions to create certain compositional and figurative solutions of buildings. The article consistently examines how the development of theories, concepts and experimental data of the main psychological schools of the 20 century influenced the ideas about the features of the design process, possible relationships between the psychological characteristics of the master's personality and the specifics of his creations, as well as the theory and practice of architecture in General. It is concluded that, despite the fact that the features of creativity were studied in almost every psychological school, and most of them recognize and highlight the possibility of reflecting the psychological characteristics of the architect in the products of his work, each school understood these features in accordance with the theory of personality that exists in it. This determined the narrowness of approaches and the impossibility of conducting full-fledged research within a single psychological school.
Keywords: architecture and psychology, psychological characteristics of architects, creativity, architect, psychological school, school of architecture, design process, spectator, perception of architecture, concept of architecture

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METHODOLOGY

REALITY AND THE ONTOLOGICAL NORM OF ACTIVITY AS THING AND PRODUCT OF ART RESEARCH
УДК 16+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: The article discusses the essence of the functionality of the relation of abstract theorizing to material, presented as activity, in the context of art criticism research. I propose the ontological norm of a specific activity under investigation, produced in the form of a theoretical model of activity, constructed within the framework of the implementation of this methodological strategy, demanding representation of the same activity, obtained as a result of the implementation of empirical research. For convenience here the thing area of art studies is conventionally divided into five levels corresponding to different scales and specificity of activity in relation to the initial level on which the product of the activity appears as something that is then potentially defined as art. For full relevance of the described methodological toolkit, I declare the main functional limitations of abstract theorizing, as following the disciplinary identity of art studies.
Keywords: art studies, methodology of art studies, art theory, abstract theorizing, abstract theoretical approach, theoretical modeling, ontologization, activity, activity theory

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