Issue 56 (2024, 4) Summary

ARTICULT #56 (4-2024) October-December

SUMMARY

THEORY OF ART

NARRATOLOGICAL ALGORITHM IN EXHIBITION NARRATIVE ANALYSIS SCHEMES
Research article
UDC 7.01
DOI: 10.28995/2227-6165-2024-4-5-18
Received: November 05, 2024. Approved after reviewing: November 29, 2024. Date of publication: December 30, 2024.
Author: Lichagina Anastasia Pavlovna, MA in Art History, independent researcher, e-mail: li.ana.033@gmail.com
ORCID ID: 0009-0004-5356-4560
Summary: The existence of numerous interpretations of the term “narrative”, including in the context of exhibition activities, restricts the possibilities of understanding and comparing narrative aspects of various visual art exhibitions. One possible approach to the analysis of exhibition narratives is the use of narratological tools, originally developed for the study of literary works. The article examines a visual art exhibition as a conventional narrative text, forms an idea of narratological categories adapted to the exhibition context (such as minimal history, events and characters), and, taking into account the specifics of the form-content integrity of the exhibition, offers a general definition of the exhibition narrative. In conclusion, the narrative aspects of real exhibitions of classical and contemporary art are analyzed based on the algorithm obtained. Expanding the possibilities for analyzing exhibition narratives beyond narratological approaches will be an area for further research.
Keywords: visual art exhibition, exhibition study, exhibition narrative, narratology, storytelling, аrt perception

For citation:
Lichagina А.P. “Narratological algorithm in exhibition narrative analysis schemes.” Articult. 2024, no. 4(56), pp. 5-18. (in Russ.) DOI: 10.28995/2227-6165-2024-4-5-18

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DISCIPLINARY CINEMA STUDIES AND PROFESSIONAL CINEMA EDUCATION
Research article
UDC 378+791.43.01
DOI: 10.28995/2227-6165-2024-4-19-27
Received: October 29, 2024. Approved after reviewing: November 30, 2024. Date of publication: December 30, 2024.
Author: Schtein Sergey Yuryevich, PhD in Art Studies, assistant professor, Russian State University for the Humanities (Moscow, Russia), e-mail: sergey@schtein.ru
ORCID ID: 0000-0002-4419-1369
Summary: For the first time in disciplinary cinema studies, the issues of professional cinematographic education are raised in direct connection with the issues of the real and potential quality of cinema knowledge itself. As a result of the implemented construction, three fundamentally different types of institutions related to professional film education are derived. Taking into account the variable basis of the educational process, which may be currently absent, but hypothetically possible, disciplinary cinema knowledge or existing diverse conceptual concepts, six principal constant variants of a hypothetically possible deployment of professional film education are fixed. The results obtained have both theoretical and practical significance for film researchers and film educators.
Keywords: disciplinary cinema studies, cinema science, cinema theory, cinema education, cinema school, CILECT, cinematography, activity approach, reflexive methodological work, permanent reflexive methodological work, special reflexive methodological work

For citation:
Schtein S.Yu. “Disciplinary cinema studies and professional cinema education.” Articult. 2024, no. 4(56), pp. 19-27. (in Russ.) DOI: 10.28995/2227-6165-2024-4-19-27

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HISTORY OF ART

“MODERN STYLE” IN NINA SLAVINA’S ART
Research article
UDC 7.071.1+738.1
DOI: 10.28995/2227-6165-2024-4-28-38
Received: July 16, 2024. Approved after reviewing: August 24, 2024. Date of publication: December 30, 2024.
Author: Shik Ida Aleksandrovna, PhD in Art Studies, associate professor, Russian State University for the Humanities (Moscow, Russia), e-mail: ida.shik@bk.ru
ORCID ID: 0000-0002-7953-6283
Summary: In the article, the researcher analyzed the works of Leningrad porcelain artist Nina Slavina of the late 1950s – 1960s. This period was so important in her artistic biography. In her works, she developed aesthetic principles and themes relevant to the “modern style” in the decorative arts. Nina Slavina turned to abstract and ornamental compositions, as well as landscapes, still lifes, and flower paintings. The heritage of Russian folk art was especially significant for the young artist. She successfully used both overglaze and polychrome underglaze decoration and printing technic as well. During this period, Nina Slavina also began to work as a shape designer. She created vase and service set forms endowed with classical clarity and, at the same time, spirituality, and harmony. The principles of shape design and porcelain decorating mastered during this period would remain relevant for the further evolution of the author. Nina Slavina presented her works at many exhibitions and received favorable reviews in the press.
Keywords: modern style, arts and crafts, Soviet porcelain, the art of the “Thaw”, Nina Slavina, Leningrad Lomonosov Porcelain Factory

For citation:
Shik I.A. “"Modern style" in Nina Slavina’s Art.” Articult. 2024, no. 4(56), pp. 28-38. (in Russ.) DOI: 10.28995/2227-6165-2024-4-28-38

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CONTEMPORARY ART

REIMAGINING FAITH: PALESTINIAN ARTISTS EMBRACING FEMINIST DISCOURSE THROUGH CHRISTIAN SYMBOLS
Research article
UDC 7.036+75.045
DOI: 10.28995/2227-6165-2024-4-39-50
Received: June 03, 2024. Approved after reviewing: September 18, 2024. Date of publication: December 30, 2024.
Author: Madlen Mahameed, PhD student, St. Petersburg State University of Culture (Saint Petersburg, Russia), e-mail: madlen.m31@gmail.com
ORCID ID: 0009-0002-3925-0771
Summary: This article explores the works of four Palestinian artists who incorporate Christian symbols, such as images of saints and religious symbols, into their artwork to critique the patriarchal system of their society. Their use of “quoting” imagery from the lexicon of Christian iconography is a postmodern tactic also seen in feminist art in the West. This approach offers a fresh perspective on how symbols traditionally viewed from a male standpoint can be reinterpreted in a new light. The four female artists analyzed in this study present various forms of critique through their art, utilizing Christian imagery to convey the female perspective, personal narratives, challenges related to sexuality, and themes of female empowerment.
Keywords: Christian symbols, Palestinian art, feminist art, patriarchy, quoting, painting, instillation

For citation:
Madlen M. “Reimagining Faith: Palestinian Artists Embracing Feminist Discourse through Christian Symbols.” Articult. 2024, no. 4(56), pp. 39-50. (in Russ.) DOI: 10.28995/2227-6165-2024-4-39-50

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VISUAL ARTS

INTERACTION WITH THE SPECTATOR/READER: THE INTERACTIVE PAPER BOOK IN THE CONTEMPORARY INTERMEDIAL ENVIRONMENT
Research article
UDC 7.01+7.038.51
DOI: 10.28995/2227-6165-2024-4-51-62
Received: September 14, 2024. Approved after reviewing: October 07, 2024. Date of publication: December 30, 2024.
Author: Kazeykina Ekaterina Vasilievna, PhD student, National Research University Higher School of Economics (Moscow, Russia), e-mail: ekaterina.kazeykina@gmail.com
ORCID ID: 0000-0002-6501-5049
Summary: The interactive paper, or pop-up, book engages the reader in physical interaction, allowing them to construct their reading experience. Over the past thirty years, it has gained popularity not only among children, their parents, and teachers, but also among museum curators and collectors. This reflects a broader trend of returning to tangible, physical experiences both in everyday life and in art. In the contemporary intermedial environment, artists turn to mass-produced interactive books in search of new formats for engaging with a wide audience. However, art theory does not consider this form within the framework of book art or in the study of participatory art – art that actively involves audience. This article aims to incorporate the paper interactive book into the field of research on interaction practices in contemporary art. This highlights the possibilities for dialogue between the artist, curator, and viewer/reader that the interactive paper book offers today.
Keywords: interactive book, pop-up, paper book, interactive art, viewer, reader, intermedial environment

For citation:
Kazeykina E.V. “Interaction with the Spectator/Reader: the Interactive Paper Book in the Contemporary Intermedial Environment.” Articult. 2024, no. 4(56), pp. 51-62. (in Russ.) DOI: 10.28995/2227-6165-2024-4-51-62

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CINEMA

SOUND TECHNIQUES AS THE BASIS OF EMOTIONAL EMPATHY IN D. MARDER'S FILM “THE SOUND OF METAL”
Research article
UDC 778.534.4+791.43-2
DOI: 10.28995/2227-6165-2024-4-63-68
Received: October 18, 2024. Approved after reviewing: November 21, 2024. Date of publication: December 30, 2024.
Author: Rusinova Elena Anatolyevna, Doctor of Art Studies, Professor, Head of the Department of Sound Directing, All-Russian State University of Cinematography named after S.A. Gerasimov (Moscow, Russia), e-mail: vgik.science@gmail.com
ORCID ID: 0000-0002-2270-7758
Summary: The article is devoted to the study of the relations between “subjective” and “objective” sound in a motion picture as an important condition for revealing the artistic image of the character and the development of the dramaturgy of the picture. The term “point of audition” is updated in the context of the concepts of “subjective camera” and “point of view” of the camera. Using the example of a sound-visual analysis of the film “The Sound of Metal” (directed by D. Marder, 2019), it is shown that the “subjective camera” in a modern motion picture assumes not only a “point of vision”, but also a “point of hearing” of the character. The sound solution in the film “The Sound of Metal” has a meaning-forming meaning and plays a decisive role in its impact on the emotional perception of the audience. In many ways, this is the result of the joint work of the director and the sound designer in the process of developing the technological and artistic-aesthetic concept of the film.
Keywords: sound solution of the film, “point of audition”, multi-channel sound formats, sound directing, sound design, emotional empathy, “The Sound of Metal”

For citation:
Rusinova E.A. “"The point of hearing" as a technique for creating emotional empathy in D. Marder's film "Sound of Metal".” Articult. 2024, no. 4(56), pp. 63-68. (in Russ.) DOI: 10.28995/2227-6165-2024-4-63-68

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“DEBUT THAT DID NOT EXIST”: STORY BEHIND THE CREATION AND DEBUT OF THE MOVIE “COLORFUL PEBBLES” BY S.G. MIKAELYAN
Research article
UDC 791.43-2+791.44+791.44.071.1
DOI: 10.28995/2227-6165-2024-4-69-83
Received: November 01, 2024. Approved after reviewing: December 05, 2024. Date of publication: December 30, 2024.
Author: Meister German Igorevich, master's student, Russian State University for the Humanities (Moscow, Russia), e-mail: german.meyster@gmail.com
ORCID ID: 0000-0001-9214-1879
Summary: In the present research, based on archival and memoir sources, the story of creation and launch on the screen of the full-length feature stereo movie “Colorful pebbles” (1960), the directional film debut of Sergey Mikaelyan, is studied. Reference to the movie, the literary and director’s script and other sources makes it possible to trace the stages of work on the picture – from the appearance of the idea to issuing the screening certificate. Research on existing materials helps to get closer to understanding some peculiarities of cinema production during the “thaw” period. Thus, referral to the transcripts of meetings to discuss the future movie allows to reveal the engagement strategies of studio’s Arts Council with its author when creating the “controversial” artwork, thereby defining the boundaries of author-developed and censorial parts in working on the movie.
Keywords: Sergey Mikaelyan, Sergey Antonov, Sergey Gerasimov, film production, history of work creation, film textology, soviet censorship, film censorship, socialist realism, cinema of the Thaw, authorial cinema

For citation:
Meister G.I. “"Debut That Did Not Exist": Story Behind the Creation and Debut of the Movie "Colorful Pebbles" by S.G. Mikaelyan.” Articult. 2024, no. 4(56), pp. 69-83. (in Russ.) DOI: 10.28995/2227-6165-2024-4-69-83

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HISTORY AND THEORY OF CULTURE

EMBRACE THE STAIN: EXPLORING THE POTENTIAL OF FAILURE IN TEXTILE DESIGN
Research article
UDC 74
DOI: 10.28995/2227-6165-2024-4-84-98
Received: September 09, 2024. Approved after reviewing: October 31, 2024. Date of publication: December 30, 2024.
Author: Veresova Nina Mikchailovna, Ph.D. student, Higher School of Economics University (Moscow, Russia), e-mail: veresova.n.m@gmail.com
ORCID ID: 0000-0002-9602-9478
Summary: This paper addresses the issue of accidental stains on textiles as opposed to intentional printing and dyeing practices. The subject of study is individual and collaborative craft design strategies which are centred around the stain and its treatment. The nature and types of stains as well as varied opinions and interpretations that reflect social constructions, norms, and values around it are observed. The creative potential of the stain for textile artists and designers who experiment with print and dye, delving into the possibilities of stain and questioning the borderlines between those are analysed. Those are compared to various amateur approaches that people employ to treat the stain, illustrated with the results of a series of workshops on mending stained kitchen textiles, led by MendIt Research Laboratory. The study reveals that despite stains being traditionally viewed as unwanted accidents, they possess the potential and provocation to inspire novel approaches in textile design, acting as a unique foundation for design decisions and fostering innovation within the field.
Keywords: textile, stain, imperfection, creativity, accident, community, textile art, narrative, kitchen cloth

For citation:
Veresova N.M. “Embrace the Stain: Exploring the Potential of Failure in Textile Design.” Articult. 2024, no. 4(56), pp. 84-98. (in Russ.) DOI: 10.28995/2227-6165-2024-4-84-98

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“PSYCHOANALYTIC THEORY OF FASHION” BY EDMUND BERGLER: EXPERIENCE OF CONTEXTUAL READING
Research article
UDC 159.964.2+391:316
DOI: 10.28995/2227-6165-2024-4-99-111
Received: September 10, 2024. Approved after reviewing: October 07, 2024. Date of publication: December 30, 2024.
Author: Lebedeva Olga Mikhailovna, PhD student, National Research University Higher School of Economics (Moscow, Russia), e-mail: onika1969@mail.ru
ORCID ID: 0000-0002-4918-0511
Summary: The article is devoted to one of the early attempts to conceptualize fashion made in the field of psychoanalysis, which was presented in the book of the American psychoanalyst Edmund Bergler “Fashion and the Unconscious” (1953). Attained high professional prestige in the mid-twentieth century, Bergler subsequently has become one of the marginalized figures in the history of the psychoanalytic movement, and his research on fashion has undergone several criticisms. The article deals with introducing Bergler’s work into the up-to-date scientific discourse via the contextual reading, which suggests establishing connections between the ideas running through his book and the psychoanalytic theories contemporary to him. The article also aims, having estimated psychoanalysis as a methodological tool for Fashion Studies, to introduce Bergler's investigation into the interdisciplinary dialogue between Fashion Theory and psychoanalysis.
Keywords: fashion, fashion theory, psychoanalysis, psychoanalytic theory, Edmund Bergler

For citation:
Lebedeva O.M. “"Psychoanalytic theory of fashion" by Edmund Bergler: experience of contextual reading.” Articult. 2024, no. 4(56), pp. 99-111. (in Russ.) DOI: 10.28995/2227-6165-2024-4-99-111

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METHODOLOGY

MODERN TRENDS IN MOSQUE ARCHITECTURE: THE PROBLEM OF PRESERVING OF CULTURAL IDENTITY
Research article
UDC 726.2
DOI: 10.28995/2227-6165-2024-4-112-133
Received: August 11, 2024. Approved after reviewing: September 11, 2024. Date of publication: December 30, 2024.
Author-1: Al-Tamimi Sakher Mohammad Mahmoud, postgraduate student, Ural Federal University (Yekaterinburg, Russia), e-mail: sakher.tameme@yahoo.com
ORCID ID: 0000-0002-8428-7824
Author-2: Pankina Marina Vladimirovna, Doctor of Cultural Studies, professor, Ural Federal University (Yekaterinburg, Russia), e-mail: m.v.pankina@urfu.ru
ORCID ID: 0000-0001-6971-7497
Summary: The article analyzes the main architectural features of traditional mosques and the specific features of modern mosques in different countries. The absence of strict canons defined by religious texts allows architects to freely interpret the plasticity and image of the building. New social challenges, the possibilities of modern structures and technologies inspired architects to abandon the historical and neoclassical models that dominated the national religious architecture. Architects rethink not only the form of the mosque, but also its functions, planning solutions, decor and ornaments. Trends of globalization of mosque architecture have been identified. The objects built in the 21st century are characterized by visual and social openness, they serve as a public center, for which the adjacent space is also used. The plasticity of the building resembles sculpture; the composition has vertical development; facades and plans are dynamic and asymmetrical. Ornaments and fonts on the facade and in the interior become the main means indicating the building's belonging to Islamic culture.
Keywords: mosque architecture, islamic architecture, contemporary architecture, contemporary styles, modernism, postmodernism

For citation:
Al-Tamimi S.M.M., Pankina M.V. “Modern trends in mosque architecture: the problem of preserving of cultural identity.” Articult. 2024, no. 4(56), pp. 112-133. (in Russ.) DOI: 10.28995/2227-6165-2024-4-112-133

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