Issue 59 (2025, 3) Summary

ARTICULT #59 (3-2025) July-September

SUMMARY

THEORY OF ART

AVANT-GARDE AND MODERNISM: STRATEGIES FOR REORGANIZING EVERYDAY LIFE IN THE USSR AND THE WEST (1900-1930)
Research article
UDC 316.728+7.036
DOI: 10.28995/2227-6165-2025-3-5-21
Received: July 14, 2025. Approved after reviewing: September 21, 2025. Date of publication: October 25, 2025.
Author: Artamonov Daniil Vadimovich, Master's student, National University of Science and Technology MISIS (Moscow, Russia), e-mail: R1Artamonov@gmail.com
ORCID ID: 0009-0008-1324-4748
Summary: This study focuses on a comparative analysis of the Soviet avant-garde and early Western modernism through the lens of discourse analysis. It centers on the ideological premises, cultural assumptions, and methods of shaping a new way of life in the modernizing societies of Europe and the USSR at the turn of the 19th and 20th centuries. The research examines how the cultural policy of War Communism influenced the formation of the Soviet avant-garde discourse, giving it a distinctly utopian and mobilizational character. This specificity distinguishes it fr om Western modernism, wh ere style is primarily understood as a tool for the rational organization of private space and everyday comfort. The analysis addresses not only the shared ambition of both movements to reshape the human environment but also their fundamental differences in tackling social problems and structuring the material world. Particular emphasis is placed on the role of ideology and artistic language as instruments in constructing a modernist vision of everyday life.
Keywords: modernism, soviet avant-garde, new way of life policy, war communism, NEP

For citation:
Artamonov D.V. “Avant-garde and modernism: strategies for reorganizing everyday life in the USSR and the West (1900-1930).” Articult. 2025, no. 3(59), pp. 5-21. (in Russian) DOI: 10.28995/2227-6165-2025-3-5-21

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HISTORY OF ART

I. BILIBIN AND “BILIBIN STYLE”: ARTISTIC MANNER OR STABLE WORD COMBINATION?
Research article
UDC 7.03+7.071.1
DOI: 10.28995/2227-6165-2025-3-22-43
Received: March 21, 202?. Approved after reviewing: August 06, 2025. Date of publication: October 25, 2025.
Author: Voytova Ramilya Danilovna, master’s student (in Art History), Faculty of Art History, Department of Art Theory and History, Russian State University for the Humanities (Moscow, Russia), e-mail: ramilya.voitova@yandex.ru
ORCID ID: 0000-0001-7818-3167
Summary: This article considers the concept of “Bilibin style” or “Russian Bilibin style”, used in relation to the analysis of I. Bilibin's artistic manner. Bilibin's work has been evaluated through the prism of a special style both in the articles of his contemporaries and in the recent studies of today. As a result of the use of the term “Russian Bilibin style”, and sometimes simply “Russian style”, in relation to Bilibin's graphics, his position between the artistic associations of the late 19th century is uncertain. This study proposes to address to the texts that formed the stable concept of “Bilibin style”; the conflict of artistic ideologies of the late 19th - early 20th centuries, which influenced the formation of the terminology that exists today; and also to analyze the artist's illustrations, created by him in 1900-1910. Such a complex analysis will allow to revise the established view on the definition of “Bilibin style”, its application within the discourse on the artist's manner and more specifically determine Bilibin's position among the associations of the turn of the 19th-20th centuries.
Keywords: Bilibin, Bilibin style, Russian style, World of Art, Diaghilev, Silver Age, Vasnetsov, book illustration

For citation:
Voytova R.D. “I. Bilibin and "Bilibin style": artistic manner or stable word combination?.” Articult. 2025, no. 3(59), pp. 22-43. (in Russian) DOI: 10.28995/2227-6165-2025-3-22-43

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CONTEMPORARY ART

THE DEVELOPMENT OF CHRISTIAN ICONOGRAPHY IN PALESTINIAN ART: TRANSITIONING FROM RELIGIOUS IMAGERY TO SECULAR REPRESENTATIONS OF LOSS AND MEMORY AFTER THE NAKBA
Research article
UDC 7.036+75.045
DOI: 10.28995/2227-6165-2025-3-44-52
Received: May 20, 2025. Approved after reviewing: September 13, 202?. Date of publication: October 25, 2025.
Author: Madlen Mahameed, 2nd year PhD student, St. Petersburg State University of Culture, Department of Art History (Saint Petersburg, Russia), e-mail: madlen.m31@gmail.com
ORCID ID: 0009-0002-3925-0771
Summary: This article explores the development of icon and religious painting in early 20th-century Palestine, focusing on how local artists adapted Christian iconography through a hybrid approach that blended Arab cultural expression with Western artistic influences. It traces the shift from traditional religious imagery to secular interpretations, especially after the Nakba, when artists repurposed Christian symbols – such as the crucifixion and resurrection – to address themes of national identity, memory, loss, and resistance. The article highlights how this visual language persisted among later generations, including female artists who use Christian imagery to explore personal and feminist narratives. By examining the continuity and transformation of iconographic language, the article offers insight into the evolving role of Christian symbols in Palestinian visual culture.
Keywords: Palestinian art, Christian iconography, 20th century art, Nakba, Hybridity

For citation:
Madlen M. “The development of Christian iconography in Palestinian art: transitioning from religious imagery to secular representations of loss and memory after the Nakba.” Articult. 2025, no. 3(59), pp. 44-52. (in Russian) DOI: 10.28995/2227-6165-2025-3-44-52

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VISUAL ARTS

ICONOGRAPHY OF THE CHARACTER SU ANASI IN THE ART OF TATARSTAN OF THE XX–XXI CENTURIES
Research article
UDC 7.046
DOI: 10.28995/2227-6165-2025-3-53-77
Received: September 05, 2025. Approved after reviewing: September 25, 2025. Date of publication: October 25, 2025.
Author: Minnebaeva Adelina Albertovna, postgraduate student, Russian Institute of Art History (St. Petersburg, Russia), e-mail: adelina.mineb@mail.ru
ORCID ID: 0009-0009-2234-1731
Summary: The article examines the iconography of the image of Su anasi (literal translation from Tatar – mother of water), the anthropomorphic spirit of water, in the art of Tatarstan in the XX–XXI centuries. The character's origins are linked to pagan folk beliefs, which were successfully entrenched in the worldview of Tatar peasants. Village legends inspired the Tatar poet G. Tukai to create the verse fairy tale “Su anasi” in 1908. In the illustrations to it, the spirit of water received its first visual embodiment, which marked the beginning of the widespread use of the image in Tatar culture throughout the XX–XXI centuries. Using the example of works of different types of art (graphics, painting, sculpture, ballet, animation, cinema), the characteristic features of the visual appearance of the character are revealed, aspects of the Great Mother archetype are defined. Conclusions are made about the duality motives accompanying it: anthropomorphism and zoomorphism, everyday life and the supernatural, youth and old age, beauty and ugliness, emotionality and equanimity. The iconography of the image of Su anasi allows us to identify the general pattern of its development and similarities in the art of various artists, and also defines the prospects of gender art studies.
Keywords: Su anasi, Vodyanaya, water spirit, Tatar folklore, mythology, archetype, Tukay's poem, book graphics, cinema, ballet, decorative and applied arts, painting

For citation:
Minnebaeva A.A. “Iconography of the character Su Anasi in the art of Tatarstan of the XX–XXI centuries.” Articult. 2025, no. 3(59), pp. 53-77. (in Russian) DOI: 10.28995/2227-6165-2025-3-53-77

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CINEMA

THE ROLE OF ALCOHOL IN RUSSIAN SOCIETY (BASED ON COMEDY FILMS OF THE 1990s)
Research article
UDC 791.43.04+791.43-2
DOI: 10.28995/2227-6165-2025-3-78-93
Received: August 13, 2025. Approved after reviewing: September 21, 2025. Date of publication: October 25, 2025.
Author: Moskvin Artem Sergeevich, PhD in Cultural Studies, Associate Professor of the Department of Cultural Studies, Sociology and Philosophy, Vyatka State University (Kirov, Russia), e-mail: as_moskvin@vyatsu.ru
ORCID ID: 0000-0002-9971-7292
Summary: The study is devoted to the role of alcohol as an element of gastronomic culture in Russian society in the 1990s, reflected in national comedy cinema. Despite the availability of extensive statistical and sociological data on alcohol consumption, the analysis of cinema as a source of “quality” social information, as well as one of the most popular and popular forms of art, can significantly enrich scientific ideas about the place of alcohol in culture. The aim of the work is to identify the features of the inclusion of alcoholic beverages in social practices of the historical period under study. The material is based on 167 Russian comedy films released between 1992 and 1999, which were analyzed using the quantitative content analysis method. The frequency and duration of alcohol display, the variety of drinks, the ratio of low-alcohol and strong drinks, as well as genre and cultural contexts were considered. The results revealed statistically significant relationships between the depiction of alcohol and genre, film type, cultural interactions and temporal characteristics. The conclusion is made about the important role of alcohol in the cultural life of the 1990s and the specificity of its representation depending on the target audience. The potential for further research, including other genres and historical periods, is noted.
Keywords: sociology of art, sociology of cinema, alcohol, cinema, film comedy, representation, nineties, content analysis

For citation:
Moskvin A.S. “The Role of Alcohol in Russian Society (Based on Comedy Films of the 1990s).” Articult. 2025, no. 3(59), pp. 78-93. (in Russian) DOI: 10.28995/2227-6165-2025-3-78-93

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VAMPIRES IN WESTERN CINEMA: THE VISUAL ASPECT OF (ANTI)HUMANISM
Research article
UDC 791.43.04+791.43-2
DOI: 10.28995/2227-6165-2025-3-94-103
Received: March 19, 2025. Approved after reviewing: August 06, 2025. Date of publication: October 25, 2025.
Author-1: Gusarova Elizaveta Evgenievna, master’s student, Russian State University for the Humanities (Moscow, Russia3), e-mail: ms.elisa02@mail.ru
ORCID ID: 0009-0004-5311-0788
Author-2: Samarkina Mariya Dmitrievna, lecturer, Russian State University for the Humanities (Moscow, Russia), e-mail: enkelinaiivius@gmail.com
ORCID ID: 0000-0001-9489-8509
Summary: The article is devoted to the issue of the “humanization” of vampires in the latest cinema. The study provides an analysis of the following films: “Twilight” (2008–2012), “Only Lovers Left Alive” (2013), “What We Do in the Shadows” (2014), “Central Russia’s Vampires” (2021; first season), “Humanist Vampire Seeking Consenting Suicidal Person” (2023), “Nosferatu” (2024). The main focus of the study is on new forms of representation of vampirism: marital cohabitation, publicity of life, changes in the way blood is consumed, and a general transformation of views on suffering and death. Along with the new tradition, the features of the old one associated with folklore, epidemic and eroticism remain. The question is raised about the prospects for the development of the vampire image on the cinema screen. Conclusions are drawn about the nature of humanism and anti-humanism in vampire films: while vampirism serves to prolong human life, it elevates a person and becomes humanistic in the highest sense. If vampirism is aimed at the transition of a person into the afterlife, transforms and disfigures the body, thereby “humiliating” the individual with death, it is anti-humanistic.
Keywords: vampires, Nosferatu, humanism, anti-humanism, euthanasia, horror studies, genre, death studies

For citation:
Gusarova E.E., Samarkina M.D. “Vampires in Western Cinema: The Visual Aspect of (Anti)Humanism.” Articult. 2025, no. 3(59), pp. 94-103. (in Russian) DOI: 10.28995/2227-6165-2025-3-94-103

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TRANSFIGURATION OF CHEKHOV’S MOTIVES IN WOODY ALLEN’S FILMS
Research article
UDC 791.43-2+821.161.1
DOI: 10.28995/2227-6165-2025-3-104-115
Received: May 28, 2025. Approved after reviewing: July 10, 2025. Date of publication: October 25, 2025.
Author: Tsyrkun Nina Aleksandrovna, doctor in arts, Principal researcher, Russian State University for the Humanities (Moscow, Russia), e-mail: tsyrkun@mail.ru
ORCID ID: 0000-0002-6723-5870
Summary: The author considers representation of some motives of Anton Chekhov’s theater plays in the films of contemporary American filmmaker and writer Woody Allen in the semantic space, designated by Yury Lotman as semiosphere. It’s marked that the province of intercrossing mostly manifests itself in treatment’s constructive moments as well as in characters’s familiarity between representatives of American middle class and Chekhov’s personages. Comparing such movies as Hannah and Her Sisters, Interiors, September and Manhattan with the primary source the author distinguishes differences in moral and spiritual characterization of the identities as divergence in worldview positions of Chekhov and Allen which resolve the systematic process of motives’ transfiguration into chekhovian pastiche adapted to its American grasping.
Keywords: Anton Chekhov, Woody Allen, thematic content, characters’s familiarity, transfiguration, chekhovian pastiche

For citation:
Tsyrkun N.A. “Transfiguration of Chekhov’s motives in Woody Allen’s films.” Articult. 2025, no. 3(59), pp. 104-115. (in Russian) DOI: 10.28995/2227-6165-2025-3-104-115

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PSYCHOLOGY OF CULTURE AND ART

ON THE MATERIALIST THEORY OF APART: CONSCIOUSNESS, THE “THIRD,” AND THE IMPOSSIBILITY OF THE FINAL WORD
Research article
UDC 7.01+7.036
DOI: 10.28995/2227-6165-2025-3-116-127
Received: August 10, 2025. Approved after reviewing: September 10, 2025. Date of publication: October 25, 2025.
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: This article develops a materialist theory of apart, extending it beyond theatrical convention to a fundamental property of consciousness. Drawing on a synthesis of Bakhtin's ideas about the “incompleteness of consciousness” and Soviet psychology, apart is interpreted as a gesture in which consciousness, unable to complete itself from within, projects outward in search of the Other. It is demonstrated for the first time that Bakhtin's attempt to incorporate the idea of polyphony into the discussions of Soviet science is not a concession but a productive elaboration of a method for researching the structures of the metanovel, which allows for a better understanding of hybrid genres and forms of artistic consciousness. This thesis is tested through the analysis of Bakhtinian polyphony in Chernyshevsky (discovered for the first time in this work), strophic disruptions in Sedakova, and narrative strategies in Petrushevskaya and Salnikov, demonstrating the universality of apart as a structure revealing the existential dependence of utterance on the “third” listener.
Keywords: apart, consciousness, dialogism, Bakhtin, Soviet psychology, materialism, addressivity, superaddressee, poetics, incompleteness

For citation:
Markov A.V. “On the Materialist Theory of Apart: Consciousness, the “Third,” and the Impossibility of the Final Word.” Articult. 2025, no. 3(59), pp. 116-127. (in Russian) DOI: 10.28995/2227-6165-2025-3-116-127

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