Issue 51 (2023, 3) Summary

ARTICULT #51 (3-2023) July-September

SUMMARY

THEORY OF ART

TEMPORALITY AS A FUNCTION OF CONTEMPORARY ARTWORK IN NON-DYNAMIC FORM
Research article
UDC 7.01
DOI: 10.28995/2227-6165-2023-3-6-19
Received: July 14, 2023. Approved after reviewing: September 01, 2023. Date of publication: September 30, 2023.
Author: Chernova Ekaterina Vladislavovna, Master in Art Studies (Moscow, Russia), e-mail: chernovieusse@gmail.com
ORCID ID: 0000-0002-2985-5921
Summary: The temporality issue within contemporary theory and practice is held under one persistent convention: time is a matter of dynamic species of art, such as theatre, cinema, and music. However, contemporary theoretical discourses in the expanded field of art-theory reveal a fundamentally different view on temporality’s function in a piece of art. In virtue of art's conceptual dematerialisation and the theoretical context of nonlinearity of time, the temporality, as a kind of correlation with time durality, may be concerned as feature for any piece of art – not excluding those which are expressed in static forms. We assume that temporality is not only conditional in case of art pieces expressed in static forms, but also functional as the matter and an potential instrument which can be used to create an expanded concept. In current article we take this hypothesis as a starting point to explore the way for temporality to be considerated as a constructive component of an artistic utterance expressed in a static form of art. It's necessary to notice that the current article contains only an outline of subsequent research, which still demands to be elaborated.
Keywords: theory of art, non-linear temporality, neo-avantgarde, museological time, historical time, dematerialization of art

For citation:
Chernova E.V. “Temporality as a function of contemporary artwork in non-dynamic form.” Articult. 2023, no. 3(51), pp. 6-19. (in Russ.) DOI: 10.28995/2227-6165-2023-3-6-19

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HISTORY OF ART

POST-AVANT-GARDE PORCELAIN OF THE LATE 1920S – THE FIRST HALF OF THE 1930S AND POLITICAL PROPAGANDA ISSUES
Research article
UDC 7.038+738.1
DOI: 10.28995/2227-6165-2023-3-20-33
Received: May 24, 2023. Approved after reviewing: August 18, 2023. Date of publication: September 30, 2023.
Author: Shik Ida Aleksandrovna, PhD in Art Studies, assosiate professor, Chair of the Theory and History of Art, Russian State University for the Humanities (Moscow, Russia), e-mail: ida.shik@bk.ru
ORCID ID: 0000-0002-7953-6283
Summary: Soviet porcelain of the late 1920s – the first half of the 1930s was an integral part of Stalin’s “propaganda for happiness” by means of artistic culture. Porcelain artists interpreted the themes of industrialization, the development of agriculture, the army and navy, “great construction projects”, northern expeditions and the industrial development of the Arctic, the Soviet East, the cultural revolution, sports in optimist manner typical for official aesthetic and propaganda discourses. Nevertheless, the porcelain of the late 1920s and the first half of the 1930s appropriated the ideas of Suprematism, Constructivism, Cubo-Futurism and Art Deco, the pictorial imitation of collage, as well as the combination of visual and verbal principles through the addition of inscriptions, inherited from propaganda porcelain. Artists often preferred generalized forms, used bright, contrasting colors, aimed to concise color (only several paints), graphic and some conventionality. Works of the late 1920s and early 1930s often corresponded with the porcelain of the first post-revolutionary years, reproducing its visual codes. It’s important to note the integration of images of modern, in particular, constructivist architecture, into thematic porcelain compositions.
Keywords: Soviet porcelain, political propaganda, post-avant-garde, art of the 1920s-1930s, Lomonosov State Porcelain Factory

For citation:
Shik I.A. “Post-Avant-Garde Porcelain of the Late 1920s – the First Half of the 1930s and Political Propaganda Issues.” Articult. 2023, no. 3(51), pp. 20-33. (in Russ.) DOI: 10.28995/2227-6165-2023-3-20-33

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SOCIALIST WAY OF LIFE IN THE O.A. WUTKE’S MANUSCRIPT
Research article
UDC 72.007+72.036
DOI: 10.28995/2227-6165-2023-3-34-50
Received: August 23, 2023. Approved after reviewing: September 11, 2023. Date of publication: September 30, 2023.
Author: Dzhalilova Elena Vladimirovna, aspirant, Faculty of Art History, Russian State University for the Humanities (Moscow, Russia), e-mail: selenasch95@gmail.com
ORCID ID: 0000-0001-5960-1386
Summary: The architecture of the Soviet avant-garde was one of the main tools of the social engineering. By the end of 1929, several points of view had formed on the problem of organizing a new socialist way of life in a young revolutionary state. This question had been widely discussed by the government representatives, by the society and, first of all, by the specialists, destined to realize in practice the concepts of a new way of life. Among them, the architects played one of the leading roles. The article expands the research understanding of how Soviet specialists of the 1920s understood the idea of a new everyday life and what did they think about the possibility of its implementation. The article also introduces for the first time the manuscript of O.A. Wutke, one of the representatives of the Soviet architectural avant-garde.
Keywords: social engineering, architecture, Soviet avant-gard, socialist way of life, commune

For citation:
Dzhalilova E.V. “Socialist way of life in the O.A. Wutke’s manuscript.” Articult. 2023, no. 3(51), pp. 34-50. (in Russ.) DOI: 10.28995/2227-6165-2023-3-34-50

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CONTEMPORARY ART

THE FUNCTION OF EKPHRASIS AND METAEKPHRASIS IN PODCASTS ABOUT PLASTIC ARTS
Research article
UDC 7.01
DOI: 10.28995/2227-6165-2023-3-51-61
Received: May 15, 2023. Approved after reviewing: July 19, 2023. Date of publication: September 30, 2023.
Author: Slobodian Elvira Yurevna, Bachelor of Journalism, Faculty of Creative Industries, HSE University (Moscow, Russia), e-mail: elvirasl.2021@gmail.com
ORCID ID: 0009-0003-4367-4195
Summary: The article for the first time distinguishes between the functions of ekphrasis, narrative ekphrasis and metaekphrasis in Russian podcasts about plastic arts on the example of eight episodes dedicated to painters and architects. Episodes of podcasts “Art for Guys”, “Talk About Art”, “About History and Art. Project YaAndArt”, “Walls have ears”, “Art and Facts” have become the empirical material of the research. By reviewing the content of episodes, it is proved that polyfunctionality is inherent in both ekphrasis, including its narrative version, and metaekphrasis. In particular, the examples given in the text of the article illustrate how the problem of limited visuality of audio narratives is solved due to ekphrastic descriptions. It also analyzes the construction of narrative ekphrasis in relation to artifacts with a plot and non-plot basis and indicates the contradiction between the elements of fiction in the speech of the presenters and the verifiability of art history knowledge. Finally, the manifestation of meta-ekphrasis is considered from the point of view of comparing works of art within the same type and between different types, critical interpretation of the author and description of ideological, political-critical, social-constructive contexts.
Keywords: art, painting, architecture, ekphrasis, metaekphrasis, podcast, narrative, visuality

For citation:
Slobodian E.Yu. “The function of ekphrasis and metaekphrasis in podcasts about plastic arts .” Articult. 2023, no. 3(51), pp. 51-61. (in Russ.) DOI: 10.28995/2227-6165-2023-3-51-61

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VISUAL ARTS

THE IMAGE OF SARAH BERNHARDT IN THE FRENCH ILLUSTRATED PRESS OF 1870-1920
Research article
UDC 7.041+741.5+792.071
DOI: 10.28995/2227-6165-2023-3-62-96
Received: June 20, 2023. Approved after reviewing: July 18, 2023. Date of publication: September 30, 2023.
Author: Kem Tatiana Evgenievna, master's student, Russian State University for the Humanities (Moscow, Russia), e-mail: kemtatianaevg@gmail.com
ORCID ID: 0009-0000-4337-2830
Summary: This study is devoted to the reflection of the image of Sarah Bernhardt, the greatest French actress of the second half of the 19th - early 20th centuries. Her pictorial, photographic and sculptural portraits are widely known and very well studied. However, the iconography of her image on the pages of the satirical illustrated press in France remains little known. The purpose of the article is to identify and analyze the stable images of Sarah Bernhardt, developed by cartoonists of the Third Republic, viewed through the prism of the anti-Semitic discourse that took place in France at that time, and the use by artists of the principles of zoomorphism in cartoons. Careful selection of the most significant masterpieces of magazine illustration made it possible to identify the main approaches to the image of the great actress, as well as to demonstrate the features of the public and artistic reception of Sarah Bernhardt. This allowed to underline such stable methods in constructing the caricatural image of the actress, as: ridiculing the Jewish origin of Sarah Bernhardt, focusing the viewer's attention on her excessive thinness, zoomorphizing her image, mockering the private, public, theatrical and creative life of the actress.
Keywords: Sarah Bernhardt, caricature, French press, fin de siècle, Alfred Le Petit, illustrated magazines, theater

For citation:
Kem T.E. “The image of Sarah Bernhardt in the French illustrated press of 1870-1920.” Articult. 2023, no. 3(51), pp. 62-96. (in Russ.) DOI: 10.28995/2227-6165-2023-3-62-96

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CINEMA

STAGES OF AN ADULT HERO’S JOURNEY AS A REPRESENTATION OF ANIMA INTEGRATION: ON THE EXAMPLE OF “THE MATRIX RESURRECTIONS”
Research article
UDC 791.43-2
DOI: 10.28995/2227-6165-2023-3-97-103
Received: April 19, 2023. Approved after reviewing: 12 August, 2023. Date of publication: September 30, 2023.
Author: Efimova Irina Anatolyevna, PhD in Art Studies, associate professor, Chair of Drama and Film Studies, St. Petersburg State Institute of Cinema and Television (St. Petersburg, Russia), e-mail: iraefimova83@gmail.com
ORCID ID: 0000-0003-3739-7593
Summary: The article analyzes the features of the passage of the stages of the Monomyth by a Hero with a midlife crisis. The author compares the classical stages of J. Campbell's Monomyth and the needs of the psyche of a mature man, derived by C.G. Jung in the study Archetypes and the Collective unconscious. The material for the analysis is the last film of the film franchise “The Matrix” (1999-2021), the main character of which has already realized the stages of the Monomyth in the previous parts and in “The Matrix Resurrections” (directed by L. Wachowski, 2021) found himself in a midlife crisis. When analyzing the film, the basic component for this structure was determined – the integration of the Anima archetype, which is the most important for the psychology of this age group. Significant differences from the classic Monomyth are also the increased timing of the first Act, due to several refusals of the hero from the “call” and the fear of leaving his “ordinary world”, non-classical images of the Goddess, the Woman as a temptress, a decrease in the function of the Father archetype and a specific way of interacting with the Shadow.
Keywords: Anima, Adult Hero, “The Matrix”, C. G. Jung, Archetype, Monomyth, cinema, psychology

For citation:
Efimova I.A. “Stages of an Adult Hero's Journey as a Representation of Anima Integration: on the example of “The Matrix Resurrection”.” Articult. 2023, no. 3(51), pp. 97-103. (in Russ.) DOI: 10.28995/2227-6165-2023-3-97-103

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HISTORY AND THEORY OF CULTURE

THE “OWN CLOTHES” PHENOMENON: PRACTICES FOR CREATION ATTACHMENTS TO CLOTHING
Research article
UDC 159.922.28+165.62
DOI: 10.28995/2227-6165-2023-3-104-114
Received: June 26, 2023. Approved after reviewing: August 23, 2023. Date of publication: September 30, 2023.
Author: Salnikova Svetlana Olegovna, phd student, School of Art and Design, HSE University (Moscow, Russia), e-mail: ssalnikova@hse.ru
ORCID ID: 0000-0003-3116-7543
Summary: The article explores the experience of interacting with newly purchased clothes to describe the practices by which relationships are formed with our everyday clothes, the ones that we later consider part of our wardrobe. The process of constituting a phenomenon of “our own” clothing is based on the phenomenology of perception, the affect theory, and the responses of fifteen focus group participants who recalled stories about newly acquired garments. The formation of attachment relationships can be divided into two stages: pre-wearing interaction, which may include choosing the right place in the wardrobe, washing, fitting or even alteration, trying on and searching for combinations with other clothes in the wardrobe; and the wearing process itself, in which the formation of relationships with clothing is influenced both by its material qualities – length, width, density and details, and our impression of the process, mediated not only by bodily sensations, but by the image of the body and comments about it.
Keywords: new clothing, vestimentary practices, affect theory, phenomenology, wardrobe methods

For citation:
Salnikova S.O. “The "Own Clothes" Phenomenon: Practices for Creation Attachments to Clothing .” Articult. 2023, no. 3(51), pp. 104-114. (in Russ.) DOI: 10.28995/2227-6165-2023-3-104-114

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ПСИХОЛОГИЯ КУЛЬТУРЫ И ИСКУССТВА

THE INVESTIGATION IS BEING CONDUCTED BY (NON-)PROFESSIONALS. EXAMPLES FOR CREATING ANXIETY AND FEAR IN A DETECTIVE SERIES
Research article
UDC 159.942.5+791.43-2
DOI: 10.28995/2227-6165-2023-3-115-123
Received: June 18, 2023. Approved after reviewing: July 25, 2023. Date of publication: September 30, 2023.
Author: Molnar Angelika, PhD, dr. habil., assistant professor, Institute of Slavistics, University of Debrecen (Debrecen, Hungary), e-mail: mandzsi@gmail.com
ORCID ID: 0000-0002-7896-1480
Summary: This paper briefly discusses the psychological and philosophical issue of anxiety and fear in a non-canonical piece of pop culture – detective series “Lucifer”. On the stated topic, this show attracts attention, firstly, because it contains the problematization of various spiritual experiences, and secondly, it raises deep questions related to the search for the meaning of existence and being in terms of rethinking biblical allusions and images. In addition, the series can be analyzed from the point of view of the “psychology of art” (Lev Vygotsky), both because of the feeling of catharsis caused and the “affects of expectation” (see Ernst Bloch), especially in the season 5. Therefore, in it is possible to study the manifestation forms of anxiety and fear. These direct and indirect signs of the expression of open and hidden human experiences are verbalized and visualized by cinema in various ways: words, gestures, actions, behavior of heroes, etc. The author of the paper refers to them not on the example of thrillers (anxiety) and horror films (fear), but a series consisting of many series, because this can reveal a longer anxiety state and show the difference between fear and anxiety at the levels of thematization and realization.
Keywords: TV series, Lucifer, detective, investigation, anxiety, fear, actions

For citation:
Molnar A. “The Investigation is being conducted by (Non-)Professionals. Examples for creating Anxiety and Fear in a Detective Series.” Articult. 2023, no. 3(51), pp. 115-123. (in Russ.) DOI: 10.28995/2227-6165-2023-3-115-123

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