Issue 42 (2021, 2) Summary

ARTICULT #42 (2-2021) June-July

SUMMARY

THEORY OF ART

STRATEGIES AND METHODOLOGICAL SCHEME OF CINEMA RESEARCH. THING AND MATERIAL
Research article
UDC 7.01+791.43.01
DOI: 10.28995/2227-6165-2021-2-6-23
Author: Schtein Sergey Yuryevich, PhD in Art Studies, assistant professor, Chair of the Cinema and Contemporary Art Studies, Russian State University for the Humanities (Moscow, Russia), e-mail: sergey@schtein.ru
ORCID ID: 0000-0002-4419-1369
Summary: In the first article in a series of works devoted to the analysis of existing and potentially possible algorithms for the research of cinematography, we are talking about the need to understand the fundamental division of the researched into thing and material. This is due to the fact that if for cinema studies and various discourses about cinematography, it is directly that in relation to which cognitive activity is realized, that is, the thing of research (in a methodological sense), then for disciplines with their own thing area (philosophy, cultural studies, psychology, etc.), this or that aspect of cinematography acts only as a material on which their particular disciplinary thing is investigated. In the absence of a full-fledged academic cinematography, this understanding is necessary for the fundamental dilution of existing ideas about cinematography by the nature of the initial cognitive attitudes that are the basis of research activity.
Keywords: cinema studies, cinema science, methodology of cinema studies, thing of cinema studies, material of cinema studies, cinematography, cinema education, film, disciplinarity, discursivity

For citation:
Schtein S.Yu. “Strategies and methodological scheme of cinema research. Thing and material.” Articult. 2021, no. 2(42), pp. 6-23. (in Russ.) DOI: 10.28995/2227-6165-2021-2-6-23

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REALISTIC STRATEGY OF POP-ART VIA STRUCTURAL PSYCHOANALYSIS OF JACQUES LACAN
Research article
UDC 7.038.51
DOI: 10.28995/2227-6165-2021-2-24-35
Author: Chernova Ekaterina Vladislavovna, MA student, Art Studies, Russian State University for the Humanities (Moscow, Russia), e-mail: chernovieusse@gmail.com
ORCID ID: 0000-0002-2985-5921
Summary: Pop-art challenges the boundaries of art, polemicize with the traditional idea of a valuable piece of art, not only operating its inner, objective substance, but also transforming the external cultural context – art-object becomes a subject of the art-discourse, and its utterances built in a frame of the consumer paradigm. An open integration of a piece of art into the discourses, which are conterminous to the art, permits to speak about a specific realistic quality of the artistic strategies of pop-art. The investigations of American pop-art rely heavily on the aesthetic tradition of postfreidism, foregrounding the methods of the structural psychoanalysis developed by Jacques Lacan. The present article is devoted to the research of the American pop-art realistic strategy in a dialogue with the psychical structure of a perceiving subject. The problematization of the pop-art phenomenon in focus of Lacanian theory, the main concept of which is a subject/person of language, reveals the paradoxical nature of a piece of art as a sign, which in a same time locks the circuit of signifiers and refers something beyond its limits.
Keywords: pop-art, realism, ready-made, psychoanalysis, language subject, witness, signifier and signified, mass culture, simulacre, consumer society

For citation:
Chernova E.V. “The realistic strategy of pop-art through the optics of structural psychoanalysis of Jacques Lacan.” Articult. 2021, no. 2(42), pp. 24-35. (in Russ.) DOI: 10.28995/2227-6165-2021-2-24-35

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CONTEMPORARY ART

TECHNO-SYMPHONY “RETHINKING PROGRESS” BY VICTOR ARGONOV: CULTURAL CONTEXT AND FACETS OF POLYSTYLISTICS
Research article
UDC 78.06+785.11+789.983
DOI: 10.28995/2227-6165-2021-2-36-48
Author: Martynenko Elena Petrovna, independent researcher, e-mail: olena_marta@mail.ru
ORCID ID: 0000-0002-7659-2140
Summary: The symphony “Rethinking Progress” by V. Argonov is considered to be the first techno-symphony in Russian musical culture. The origin of techno-symphony is connected to the process of convergence of academic and electronic music at the turn of the 20–21st centuries and the emergence of new techno-art forms. The conditionality is revealed between the style specifics of the symphony “Rethinking Progress”, the cultural context of the epoch and the influence of polystylistic trends. The musical text of the techno-symphony contains features of an academic symphonism, including the preservation of the cyclic structure and the dramaturgical functions of parts, the existence of the conflict between the main thematic areas, the elements of programme music and the system of leitmotifs. The composer follows the style of electronic music in general, however, in each of the five movements of the techno-symphony, different styles are found: “pixel music”, techno-trance and other styles. Also the polystylistics appears in the using of typical techniques – quote, auto-quote, allusions.
Keywords: symphony, techno-symphony, electronic music, polystylistics, quote, allusion

For citation:
Martynenko E.P. “Techno-symphony “Rethinking Progress” by Victor Argonov: cultural context and facets of polystylistics.” Articult. 2021, no. 2(42), pp. 36-48. (in Russ.) DOI: 10.28995/2227-6165-2021-2-36-48

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VISUAL ARTS

VISUAL REPRESENTATIONS OF PSYCHOPATHOLOGIES: EXAMPLES AND PROBLEMS OF STUDY
Research article
UDC 159.97+7.041
DOI: 10.28995/2227-6165-2021-2-49-56
Author: Martynova Daria Olegovna, Lecturer at the Center of Social and Humanities Knowledge of ITMO University (Saint-Petersburg, Russia), PhD student in Art Studies, Repin Saint-Petersburg Academy of Arts (Saint-Petersburg, Russia), e-mail: d.o.martynova@gmail.com
ORCID ID: 0000-0003-0426-6458
Summary: The article is devoted to a retrospective analysis of the causes of the appearance of representations of mental diseases in the visual field and the problems of visualization of pathologies on the example of cases and artworks of the XVIIIth and XIXth centuries. The problems and points of interaction between art and psychiatry are touched upon, the reasons for the appearance of psychiatric illustration, the commonwealth of psychiatry and photography, and the genre of medical portraits are analyzed. As a result, it can be concluded that psychiatric photography, medical portraits and psychiatric illustrations inherited previously existing aesthetic and representative traditions, as well as cultural and historical ideas about mental diseases, which in turn gave rise to symptoms. Such a visual “dead end” has created a problem of representation, which also exists in contemporary art. Thus, the “objective” representation of psychopathologies in art is still problematic and requires analysis and search for solutions.
Keywords: representation of psychopathologies in art, mental pathologies in art, psychiatry and art, medical portraits, psychiatric illustration

For citation:
Martynova D.O. “Visual representations of psychopathologies: examples and problems of study.” Articult. 2021, no. 2(42), pp. 49-56. (in Russ.) DOI: 10.28995/2227-6165-2021-2-49-56

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CINEMA

THE POETICS OF THE CITY IN THE FILM “VIBRATIONS OF GRANADA” (1935) BY J. VAL DEL OMAR
Research article
UDC 791.43.04+791.44.071.1
DOI: 10.28995/2227-6165-2021-2-57-68
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 article reviewed the main cinematic techniques, themes and motives used by J. Val del Omar for the lyrical conceptualization of the image of the city in the film “Vibrations of Granada” (1935) and analyzed their semantics. It demonstrates how the documentary narrative splits into pure representation and an area of allegorical tension, supported by key metaphors as sources of expanded motives. The metaphor of the Garden of Eden represents Granada as an image of Paradise; the use of the motive of water as the main element of drama contributes to the actualization of philosophical semantics and in combination with the green filter through which the film is projected, forms the fabulous-onyric character of the narrative; the visual motive of verticality created by camera angles, editing, etc, acquires the axiological meaning of the city's spiritual aspiration upward. It is revealed that the film’s style was influenced by the optics of cinematic impressionism, the R. Flaherty’s documental aesthetics and the poetic images of F. Garcia Lorca. This artistic program permits consideration of the film as an ethnographically and existentially accentuated version of the films of the “city symphony” of the 1920s and 1930s.
Keywords: J. Val del Omar, city symphony, Granada, Alhambra, Spanish cinema, F. García Lorca

For citation:
Kolotvina O.V. “The poetics of the city in the film "Vibrations of Granada" (1935) by J. Val del Omar.” Articult. 2021, no. 2(42), pp. 57-68. (in Russ.) DOI: 10.28995/2227-6165-2021-2-57-68

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THE IMAGE OF THE SOVIET UNION IN AMERICAN CINEMA OF THE FIRST STAGE OF THE COLD WAR OF 1946-1953
Research article
UDC 791.43-2+791.43.04
DOI: 10.28995/2227-6165-2021-2-69-75
Author: Kloos Emilia Valerevna, undergraduate of the Faculty of Archival Science and Documentation, Historical and Archival Institute of Russian State University for Humanities (Moscow, Russia), e-mail: milka.mm752@gmail.com
ORCID ID: 0000-0001-6688-3844
Summary: The article is devoted to the initial stage of the Cold War, when the ideological confrontation between the two powers was still in its infancy and was only looking for forms of its embodiment. The author examines the image of the Soviet Union in the American cinema of 1946-1953. The author analyzes what elements formed this image, in what it was expressed and by what means it was created. The USSR was represented as bloody, and the Soviet people were fanatical and unprincipled. An important place in the article is occupied by the construction of the image of the enemy. It is created artificially as a product of propaganda and has the following features: the division of the world into “friends” and “strangers”, the exaltation of “friends” and the humiliation of “strangers” and the exaggeration of virtues and vices. An attempt is made to explain the mass character of films of such subjects and the emphasized demonization of the image of the country of the Soviets.
Keywords: American cinema, the Cold War, the image of the USSR, the image of the enemy, ideological confrontation

For citation:
Kloos E.V. “The image of the Soviet Union in American cinema of the first stage of the Cold War of 1946-1953.” Articult. 2021, no. 2(42), pp. 69-75. (in Russ.) DOI: 10.28995/2227-6165-2021-2-69-75

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“LUCIFER” AND DEMONIC FIGURES IN THE WORKS OF PUSHKIN AND LERMONTOV
Research article
UDC 791.43-2+791.43.04
DOI: 10.28995/2227-6165-2021-2-76-82
Author: Molnar Angelika, PhD, dr. habil, Associate Professor, Institute of Slavistics, University of Debrecen (Debrecen, Hungary), e-mail: manja@t-online.hu
ORCID ID: 0000-0002-7896-1480
Summary: The article is devoted to the comparative analysis of demonic images and plots in the works of Pushkin and Lermontov about the Demon and in the series “Lucifer” by Netflix. Perhaps this topic goes beyond the scope of scientific discourse, but now the series enjoys such popularity that it has become perhaps the most binged show. This explains the decision of the author of the article to draw parallels between literary masterpieces and not their film adaptations, but a product of popular culture. Of course, the creators of the series did not read Russian literature, but typological similarities are obvious and can be revealed. As a result of the analysis, the series “Lucifer” can be understood as a completely human story of “the most dysfunctional family in the universe”. Our interpretation throws light on it in the aspects of rethinking biblical motives, the provisions of the Christian faith and literary tradition.
Keywords: Demon images, Pushkin, Lermontov, Lucifer, Netflix, redemption

For citation:
Molnar A. “"Lucifer" and Demonic figures in the works of Pushkin and Lermontov.” Articult. 2021, no. 2(42), pp. 76-82. (in Russ.) DOI: 10.28995/2227-6165-2021-2-76-82

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HISTORY AND THEORY OF CULTURE

FROM IDEALISM TO NEW MARXISM. PART 1. LEV PUMPYANSKY
Research article
UDC 316.74:82:7+7.01
DOI: 10.28995/2227-6165-2021-2-83-90
Author: Markov Alexander Viktorovich, Dr.Habil. in philology, full professor, Chair of the Cinema and Contemporary Art Studies, Russian State University for the Humanities (Moscow, Russia), e-mail: markovius@gmail.com
ORCID ID: 0000-0001-6874-1073
Summary: Lev Pumpyansky's turn at the end of the 1920s from criticism of Marxism to the full acceptance of Marxist sociology as the main working tool of the literary historian can be viewed as a capitulation, but it could also be a disclosure of the potential of previous criticism. I prove that the criticism of Marxism by Pumpyansky fully fit into the dispute of neo-Kantianism against Hegelianism, while his sociology of literature was based on neo-Kantian foundations and the acceptance of Hegel's dialectics, but not Hegelian philosophy. I reconstruct a common source for Pumpyansky and Bakhtin’s view from the outside to both the neo-Kantian and neo-Hegelian traditionsm, an episode from Plato's Phaedo. The difference in the understanding of the novel genre led Pumpyansky and Bakhtin to opposite conclusions. Pumpyansky's interpretation of the difference between the novel and the novella allowed him to accept Marxism as a metacritic of Neo-Hegelianism and Neo-Kantianism, preserving the position of the hero, which was unacceptable for Bakhtin. For Pumpyansky, Marxist sociology just realizes the intentions of neo-Kantianism as soon as it is applied not to the field of science, but to the field of literature and art. Disagreeing with the convergence of ethics and creativity, promoted by Bakhtin, Pumpyansky coined a consistent Marxist sociology of literature, claiming to be philosophical and relevant for today.
Keywords: Marxism, sociology of literature, sociology of art, Bakhtin, Pumpyansky, neo-Kantianism, Hegelianism

For citation:
Markov A.V. “From Idealism to new Marxism. Part 1. Lev Pumpyansky.” Articult. 2021, no. 2(42), pp. 83-90. (in Russ.) DOI: 10.28995/2227-6165-2021-2-83-90

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METHODOLOGY

THE QUESTION OF FEMALE BODY IN ARCHITECTURAL THEORY IN THE LATE 20TH CENTURY
Research article
UDC 7.01+72+72.036
DOI: 10.28995/2227-6165-2021-2-91-96
Author: Petrushikhina Svetlana Vladimirovna, senior research fellow of the Department of art theory in the State The Research Institute of Theory and History of Fine Arts of the Russian Academy of arts (Moscow, Russia), PhD student of the Department of General History of Art at the Faculty of History of Lomonosov Moscow State University (Moscow, Russia), e-mail: s.petrushikhina@gmail.com
ORCID ID: 0000-0002-1584-8616
Summary: This article is devoted to the phenomenon of female body in the foreign theory of architecture in the 1980‑s–90‑s. The works of D. Agrest, E. Grosz, D. Bloomer and D. Fausch are examined in the present paper. There are two perspectives on the problem of female corporeality: poststructuralist and phenomenological. Jennifer Bloomer and Diane Agrest adopt a poststructuralist critical strategy in which the notion of the feminine is considered as the “Other” of the logocentric architectural discourse. Elisabeth Gross notes that women have always been displaced from the realm of architecture. This is indicated not only by the absence of female architects, but also by the fact that the inherent attributes of female corporeality have been completely disregarded. Diane Agrest suggests that these attributes were appropriated by male architects. The phenomenological perspective on the female corporeality is reflected in Deborah Fausch's concept of “feminist architecture”. “Feminist architecture” brings back the value of concrete, sensual bodily experience in the perception of architecture. The subject's perceptual experience through the body allows the semantic dimension to unfold in the building.
Keywords: сorporeality, architecture, female body, architectural anthropomorphism, architecture theory of 20th century, Diane Agrest, Debora Fausch, Jennifer Bloomer

For citation:
Petrushikhina S.V. “The question of female body in architectural theory in the late 20th century.” Articult. 2021, no. 2(42), pp. 91-96. (in Russ.) DOI: 10.28995/2227-6165-2021-2-91-96

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