Issue 55 (2024, 3) Summary

ARTICULT #55 (3-2024) July-September

SUMMARY

THEORY OF ART

THE INFLUENCE OF GEORG SIMMEL`S PHILOSOPHY ON WILHELM WORRINGER`S ART THEORY
Research article
UDC 7.01+7.072.2
DOI: 10.28995/2227-6165-2024-3-5-14
Received: July 20, 2024. Approved after reviewing: September 07, 2024. Date of publication: September 30, 2024.
Author: Gumerova Roksana Faritovna, PhD student, Lomonosow Moscow State University (Moscow, Russia), e-mail: pictorialart.grf@gmail.com
ORCID ID: 0009-0006-5283-2724
Summary: This article critically analyses the main theses of Wilhelm Worringer's paper “Abstraction and Empathy” to show that they correspond to the neo-Kantian views of Georg Simmel and the philosophy of life presented in his later works. Simmel's texts do not provide detailed explanations of the transcendental method or categories. To ensure an accurate interpretation of Simmel's ideas, his works are examined in the context of the methodology of Hermann Cohen of the Marburg School of Neo-Kantianism, under whose direct influence he was. Only then are they compared with Worringer's text. To avoid any misunderstanding regarding Worringer's application of neo-Kantianism, the article clearly outlines Kant's original teachings, which the art historian used as a foundation for his own terminology.
Keywords: Wilhelm Worringer, Georg Simmel, Marburg School, abstraction and feeling, philosophy of life, neo-Kantianism, psychology of perception, psychology of art, sociology of art

For citation:
GumerovaR.F. “The Influence of Georg Simmel's Philosophy on Wilhelm Worringer's Art Theory.” Articult. 2024, no. 3(55), pp. 5-14. (in Russ.) DOI: 10.28995/2227-6165-2024-3-5-14

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HISTORY OF ART

FOREIGNERS ABOUT THEATRICAL CEREMONIES AND RITUALS OF MUSCOVY
Research article
UDC 348.411+791.6
DOI: 10.28995/2227-6165-2024-3-15-23
Received: June 18, 2024. Approved after reviewing: August 10, 2024. Date of publication: September 30, 2024.
Author: Chernyy Valentin Dmitrievich, Dr.Habil. in cultural studies, full professor, Russian State University for the Humanities (Moscow, Russia), e-mail: tchernie@rambler.ru
ORCID ID: 0000-0002-0363-1313
Summary: The peculiarities of foreigners' perception of theatrical ceremonies and rituals in Muscovy are considered. Observing the solemn meetings of embassies and religious ceremonies, the authors note the characteristic features of the theatricalization of spectacles and express their attitude to them. They evaluate the stages of preparation and holding of ceremonies, the role of participants and the artistic organization of the holidays. The center of attention of foreigners was the solemn meetings of embassies and honored guests and two religious ceremonies – the “Procession on a donkey” on the last Sunday before Easter and the “Water Consecration” on the day of the Baptism of Jesus Christ. The travelers' notes clearly indicate the boundaries of the “stage space”, the direction of the action, the design of the main scenes and the “props” of the main characters of the spectacles. The question of the connection of theatrical ceremonies with the audience does not remain unnoticed.
Keywords: theatricalization, foreigners, ceremony, spectacle, perception

For citation:
Chernyy V.D. “Foreigners about theatrical ceremonies and rituals of Muscovy.” Articult. 2024, no. 3(55), pp. 15-23. (in Russ.) DOI: 10.28995/2227-6165-2024-3-15-23

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CONTEMPORARY ART

ESCHATOLOGICAL AND APOCALYPTIC MOTIVES IN RUSSIAN CONTEMPORARY ART
Research article
UDC 7.036
DOI: 10.28995/2227-6165-2024-3-24-33
Received: March 28, 2024. Approved after reviewing: August 05, 2024. Date of publication: September 30, 2024.
Author: Suvorova Anna Alexandrovna, Dr.Habil. in Art Studies, full professor, Herzen University (Saint Petersburg, Russia), e-mail: suvorova_anna@mail.ru
ORCID ID: 0000-0002-6421-8514
Summary: The relevance of the study is due to the appeal in contemporary Russian Art of eschatological and apocalyptic issues, themes of catastrophism, the finality of being and the world without a person, etc. The purpose of the study is to identify key strategies and concepts that embody the experience of the end of time, the feeling of a catastrophe, extinction and the ways of the existence of future humanity in Russian contemporary art. The study based on the analysis art projects of the early 21st century by Russian artists (Peter Belyi, Dmitry Kawarga, art-groupe «Where Dogs Run»). The results ot the study showed tendencies of reflection of the apocalyptic and post-apocalyptic themes: 1) a world without a person, experiencing the end of time as a space of emptiness and ruins; 2) Chthulucene as a new future, “human composting” and tentacular thinking; 3) symbiosis of figures and creatures, avoidance of man; 4) digital apocalypse and digital immortality.
Keywords: eschatology, apocalypse, posthumanism, transhumanism, extinction, Anthropocene, Chthulucene, catastrophe, immortality, digital immortality, contemporary art, installation

For citation:
Suvorova A.А. “Eschatological and apocaliptic motives in russian contemporary art.” Articult. 2024, no. 3(55), pp. 24-33. (in Russ.) DOI: 10.28995/2227-6165-2024-3-24-33

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VISUAL ARTS

LUCHISM IN THE THEATER: CONCEPT OF STAGE LIGHT OF M. LARIONOV
Research article
UDC 7.037.3
DOI: 10.28995/2227-6165-2024-3-34-43
Received: May 19, 2023. Approved after reviewing: May 24, 2024. Date of publication: September 30, 2024.
Author: Spiridonova Anna Michailovna, senior lecturer, ITMO University (Saint Petersburg, Russia), e-mail: spiranna@list.ru
ORCID ID: 0000-0003-0724-0405
Summary: The subject of the research is the concept of stage light (“light space”) by M. Larionov, described in the text “On Luchism in the theater”. The goal of the research is revealing of the concept of stage light. The article represents M. Larionov's vision of the problem of stage light, insignificant for the history of the theater, but important for the history of fine arts, since the concept of “light space” traces the development of luchism outside of painting. The article analyses five elements of the theatrical light of luchism, reveals a complex light “score” in the projects of M. Larionov and N. Goncharova. The work determines the compliance of the provisions stated in the texts with the scenic practice of artists. Both realized and unrealized performances preserved in the form of documents are considered. The article compares the scenographic practices of Luchism and Constructivism. Scientific innovation of the research: the concept of “light space” is represented for the first time, the light scenography of M. Larionov's theatrical productions is proposed to be considered as one of the stages of luchism, namely plastic luchism.
Keywords: luchism, art of scenography, plastic luchism, constructivism, theatrical lighting, “Russian seasons”

For citation:
Spiridonova A.М. “Luchism in the Theater: Concept of Stage Light of M. Larionov.” Articult. 2024, no. 3(55), pp. 34-43. (in Russ.) DOI: 10.28995/2227-6165-2024-3-34-43

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CINEMA

“JUST KEN!” DRAMATIZING THE LIFE CYCLE OF THE BARBIE MOVIE CHARACTER: FROM EMOTIONAL DEPENDENCE TO THE ORIGIN OF IDENTITY
Research article
UDC 159.923.2+791.43-2
DOI: 10.28995/2227-6165-2024-3-44-52
Received: August 09, 2024. Approved after reviewing: September 15, 2024. Date of publication: September 30, 2024.
Author: Kolotaev Vladimir Alekseevich, Dr.Habil. in philology, Dr.Habil. in Art Studiesfull, professor, dean, Russian State University for the Humanities (Moscow, Russia), e-mail: vakolotaev@gmail.com
ORCID ID: 0000-0002-7190-5726
Summary: The article exposes the specifics of the construction of the path of the secondary character Ken from Greta Gerwig's film “Barbie”, which goes from complete fusion with the object of love, the state of emotional dependence as an inferior appendage of Barbie, to the realization of himself as an autonomous individual who is at the beginning of the construction of an independent identity. The hero's mental genesis follows the stages of child development described within Margaret Mahler's separation-individuation theory. Like an infant, Ken experiences phases of normal autism, symbiosis, and then separation-individuation. An essential stage on the road to adulthood is the scene of mistaken identity when he encounters the “giver” who tests the hero with a question about time. The failed test offers Ken a false picture of the world, lets him construct a wrong plan of action, and perform a carnivalesque inversion of the social organization of Barbieland. The dramaturgy of mistaken insight involves a dialectical movement from a state of absolute subordination and dependence to the possession of a transitive object, power. By engaging in a struggle for recognition, Ken moves from the position of slave to that of master, nothing becomes everything, and then is once again stripped of everything. Owing to such treatment the hero gets rid of illusions about his place, gains insight and acquires identity and the capability for further development.
Keywords: hero's journey, mistaken epiphany, wrong plan of action, individuation-separation, identity, emotional dependence

For citation:
Kolotaev V.A. “"Just Ken!" Dramatizing the life cycle of the Barbie movie character: from emotional dependence to the origin of identity.” Articult. 2024, no. 3(55), pp. 44-52. (in Russ.) DOI: 10.28995/2227-6165-2024-3-44-52

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CONSTRUCTING THE IMAGE OF A WITCH IN THE MODERN HORROR FILM
Research article
UDC 791.43-2+791.43.04
DOI: 10.28995/2227-6165-2024-3-53-61
Received: August 04, 2023. Approved after reviewing: July 01, 2024. Date of publication: September 30, 2024.
Author: Bakhteeva Maria Sergeevna, PhD in Philosophy, Head of the Department, The State Museum of the History of Religion (Saint Petersburg, Russia), e-mail: mbakhteeva@gmail.com
ORCID ID: 0000-0002-5874-3777
Summary: The article examines the representation of the witch in two horror films: “The VVitch: A New-England Folktale” (2015) and “Hagazussa” (2017). The films are set during the historic period of the witch hunts. The article draws on the theoretical foundations of the “monstrous-feminine” theory by B. Creed and the concept of “disgust” by Yu. Kristeva as its methodological basis. B. Creed's theory seems to be very promising in the analysis of horror films, which are built around a female monster figure, such as a witch. Based on the theory of B. Creed, we can identify three main themes in the construction of monstrous images in these films: mother-child relationships, the concept of purity and dirt and images of disgust. The basis is the female body, which becomes the primary indicator of the monstrous. It is concluded that the images of the monstrous are based on religious prohibitions, and one of the functions of horror is to maintain boundaries and taboos in a post-secular society.
Keywords: horror, monster, witch, witch hunt, the monstrous-feminine, body, gender

For citation:
Bakhteeva M.S. “Constructing the image of a witch in the modern horror film.” Articult. 2024, no. 3(55), pp. 53-61. (in Russ.) DOI: 10.28995/2227-6165-2024-3-53-61

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HISTORY AND THEORY OF CULTURE

VINTAGE FASHION TIME: ISSUES OF TEMPORALITY AND MEMORY
Research article
UDC 391
DOI: 10.28995/2227-6165-2024-3-62-73
Received: December 26, 2024. Approved after reviewing: June 18, 2024. Date of publication: September 30, 2024.
Author: Razmakhnina Anastasia Alexandrovna, master of fashion theory, postgraduate student, HSE Univercity (Moscow, Russia), e-mail: asia.aladjalova@gmail.com
ORCID ID: 0000-0003-4267-8293
Summary: The concept of “fashion” implies constant renewal and a clear rhythm of changing trends, therefore, before starting to study vintage clothing in the context of fashion, one should first prove the involvement of vintage in fashion discourse. This paper attempts to incorporate vintage into fashion discourse through the introduction of the concepts of non-linear and uchronial time. This becomes possible through the theories developed by Walter Benjamin, Michel Serres, Jean Baudrillard and other researchers. The paper consists of three parts. The first is devoted to the issues of time contained in clothing. These may be frozen forms of the past, suddenly appearing in the present due to some kind of curvature of time. Or they could be vintage objects that contain memory and time in the form of tangible or intangible traces. The second part is devoted to issues of reconstruction of the past. The image of the past is formed in the present, which is why historical reconstructions of different years differ so much. The availability of historical sources plays a big role in this.The third part is devoted to wardrobe practices of vintage lovers and the analysis of these techniques based on the above theories of nonlinear and uchronial time.
Keywords: time, fashion, temporality, non-linear time, vintage clothing, vintage fashion, wardrobe practices, fashion history, fashion theory

For citation:
Razmakhnina A.A. “Vintage fashion time: issues of temporality and memory.” Articult. 2024, no. 3(55), pp. 62-73. (in Russ.) DOI: 10.28995/2227-6165-2024-3-62-73

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METHODOLOGY

CHILDREN'S PLAY SPACE IN THE STRUCTURE OF A MODERN MUSEUM
Research article
UDC 712.256
DOI: 10.28995/2227-6165-2024-3-74-83
Received: February 12, 2024. Approved after reviewing: June 18, 2024. Date of publication: September 30, 2024.
Author-1: Belova Marina Vasilievna, Ph.D. in Art History, junior researcher, Saint Petersburg State Academy or Art and Design named after A.L. Stieglitz (Saint Petersburg, Russia), e-mail: marinartis@ya.ru
ORCID ID: 0000-0002-1827-6721
Author-2: Barsukova Natalia Ivanovna, Doctor of Art History, professor, chief researcher, Saint Petersburg State Academy or Art and Design named after A.L. Stieglitz (Saint Petersburg, Russia), e-mail: bars_natali@mail.ru
ORCID ID: 0000-0001-9222-4885
Summary: The article identifies new trends in the design of play spaces in the structure of museums of various profiles, created for spending time and ensuring the cognitive process of children: acquaintance with history, regional characteristics and familiarization with culture. The emphasis in the study is on playgrounds aimed at developing children's sensory play activities, tactile sensations and skills. Play objects and areas for children designed in museum spaces and during exhibitions are analyzed. The following museum formats of game scenarios have been identified: archaeological, construction, sound, spatial, plot, adventure, solitary. Each of them differs in the types of activities taking place on the sites and the activity of the gameplay.
Keywords: museum, sensory play activities, museum format of play scenarios, playgrounds; tactile sensations, interactive

For citation:
Belova M.V., Barsukova N.I. “Children's play space in the structure of a modern museum.” Articult. 2024, no. 3(55), pp. 74-83. (in Russ.) DOI: 10.28995/2227-6165-2024-3-74-83

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