DOI: 10.25136/2409-8744.2021.1.34811

Abstract: The object of the study was the evolution of the Soviet historical paradigm. The subject is the achievements of post–war Soviet historical science in the field of studying collectivization in the western regions of the BSSR. The article will present the results of the study of collectivization in the western regions of Belarus. The author pays special attention to the political factors of the development of historical science, the most important of which are the Stalinist course, the "thaw", Brezhnev's Restalinization of the 1970s and 1980s, as well as perestroika. The author of the article traces in detail the evolution of topics and assessments in the works of Soviet scientists who studied post-war collectivization in the western regions and republics of the USSR under the influence of political factors. To study the topic, first of all, general scientific methods of analysis, synthesis, induction, typologization and idealization were used. Historiographical research methods were also used, in particular, comparative-historical, historical-genetic, historical-systemic, periodization method. When systematizing the material, the principle of historicism and the problem-chronological method of presentation were observed.        As a result of the research, the author concludes that the agrarian historiography of collectivization in the western regions of the BSSR is often subjective and interprets published archival documents and statistical information in the spirit of official ideological attitudes. Topics related to violations during collectivization, "dekulakization" remained taboo until perestroika, when a change in the political situation made it possible for historians to begin studying previously forbidden topics. This was the beginning of the destruction of the Soviet historical paradigm. The author managed to establish that there is a discrepancy between the published official statistics and conclusions about the nature of collectivization and "dekulakization" in the western regions of the BSSR. The novelty of the presented research is due to the fact that the analysis of Soviet historical research is based on the modern historical paradigm and the concept of the scientific school of V. P. Danilov, which developed in post-Soviet historical science in the study of collectivization and "dispossession" of the 1930s.

DOI: 10.25136/2409-8744.2021.1.34999

Abstract: The subject of this research is the peculiarities of the psychological approaches of European experts of the late XIX – early XX centuries (psychiatrists of the so-called “historical psychiatry”), art historians and painters of the XX century, specializing in collection of the works of mentally ill people (or art brut). The historical-comparative method is applied for determination of the specifics of the naive art of Western Europe in the XIX – XX centuries and its comparison with other areas of amateur art of this period. The psychological approach is essential for studying the works of mentally ill people (or art brut) and its key peculiarities. The comparative method allows analyzing the modern forms of art brut and naive art. The novelty consists in outlining the principal psychological approaches of foreign experts with the art brut, the interpretation of which contributes to decoding of all amateur art. Evolution of views stems from determination of similarities between genius and mental disorders, tracing patterns in creative process of the patients, assessment of the ability of a person with mental disorder to creative thinking and invent the object of art prior to learning the artistic beginning. In this regard, the psychological approach revealed the key trends in studying amateur art: from the perspective of Marseille Rege (with his “embryonic” view) to the point of view of Morgenthaller (with his realization of creativity of the patients), and artistic views of Prinzhorn and Dubuffet, who focus on the art criteria: vision of form, color, composition and other formal attributes of an artwork. Thus, the interpretation of art brut becomes a certain “bridge” for understanding the sphere of the naive art.

DOI: 10.25136/2409-8744.2021.1.35045

Abstract: The subject of this research is Marina Symphony No.2 by the prominent Russian composer of the late XX century Boris Ivanovich Tishchenko. It was completed in 1964, and for a long time remained unreleased. Special attention is given to the symphonic dramaturgy of the piece, interrelation between the music and the poetic text, as well as modernization of the language of composing. Specific trait of Tishchenko's symphonic style — the aspiration and ability to expose the surrounding conflicts and contradictions – is amplified in the symphony. Tishchenko masterfully reconstructs any desirable emotional and psychological atmosphere, which manifests in the variety of techniques and technical solutions. Symphony No.2 by Boris Tishchenko is a remarkable phenomenon in the national music, as well as an important step towards formation of the composer's unique symphonic style. In “Marina”, Tishchenko addresses the pivotal question of not only his creative path, but perhaps of the entire musical art of the XX century: the level of adherence of the author's imagination to the musical form. His imagination is irrepressible; the language is highly modern; the form is classically clear and closely related to the good Russian and Soviet symphonic style. The novelty of this research consists in consideration of the remarkable symphonic piece of Boris Tishchenko from the present-day perspective and in the context of revival of the entire national symphonic style of the 1960s.

DOI: 10.25136/2409-8744.2021.1.33303

Abstract: The object of this research is the city viewed as a multilayered semantic phenomenon. The needs of transdisciplinary nature determine the vector of its analysis in light of the possibility of application of diagnostic approach, which incorporates the theoretical and practical aspects, cognitive and transformative sides. The goal consists in the development of diagnostic model of the city as a cultural phenomenon. The position is defended on the limitation of classical diagnostic search applicable to the so-called city. The prospects of its research correlate with the nonclassical interpretation of diagnostics, which views it as methodology of cognition. The basic method of this research is modelling. The development of diagnostic model of the city is founded on M. M. Bakhtin’s concept of chronotope. Namely chronotope is determines as the basic parameter underlying its construct. Incorporating the spatiotemporal parameters of the city and their cultural meanings, it allows recording the temporal-topos configurations in city motion, which reflect various qualitative states of its existence, set by the past, present and future. The author offers a ternary model of the city, consisting of historical-cultural, eventful, and innovative chronotopes. The formulated conclusions indicate that the proposed chronotopes can be viewed separately or following the principle of complementarity, which allows assessing the city from the perspective effective arrangement of urban space, as well as the presence of problematic fields therein.

DOI: 10.25136/2409-8744.2021.1.35212

Abstract: The subject of the study is the stylistic features and means of artistic expression of architectural majolica by Pyotr Kuzmich Vaulin. The object of the study is the actual architectural and artistic ceramics of P.K. Vaulin on the facades of buildings in Moscow at the turn of the XIX-XX centuries, as an object of cultural heritage. The author examines in detail the Moscow period of the master's activity, designates the circle of artists who worked with the ceramist, analyzes the phenomenon of the Abramtsevo art circle and its influence on the formation of P.K. Vaulin. Special attention is paid to the workshop in Abramtsevo, as a real art center and a source of the formation of a national romantic trend in fine and decorative arts, as well as the most significant architectural monuments of Moscow using majolica decor performed by P.K. Vaulin.The theoretical and methodological basis of the article was scientific works on the theory and history of art, aesthetics, psychology of art and philosophy. The method of compositional-artistic analysis, the comparative-descriptive method and the method of figurative-stylistic analysis were applied to consider the means of artistic expressiveness of architectural ceramics, the compositional interaction of materials and space, the study of style-forming and form-forming features of ceramics. As a result of the research, the author concludes that the direct participation of professional artists in the practice of Russian decorative and applied art at the end of the XIX century seriously influenced the development of applied art and attracted the attention of the world community, thus contributing to the progress and high importance of this art direction in the system of fine arts. The analysis of the architectural works given in the article allows us to call P.K. Vaulin a co-author of ceramic works created by artists of the Mamontov circle. The scientific novelty of the research consists in a comprehensive study of P.K. Vaulin's creativity of the Moscow period of activity in the field of facade ceramics, as well as figurative, stylistic and artistic analysis of the master's works.

DOI: 10.25136/2409-8744.2021.1.34188

Abstract: In the history of Iran, the institution of temporary marriage is old-established. However, in different historical periods this institution had different forms and functions. Although temporary marriage did not receive public recognition among the Iranian people, this institution continues to exist in the Iranian society. The author attempts to determine the reasons for its perpetuation in the Iranian culture. Analysis is conducted on the dynamics of transformations of the institution of temporary marriage in the Iranian culture in different historical periods. The conclusions are acquired using the method of comparative-historical analysis of historical manuscripts and written testimonies. The author classifies and describes the three historical periods “Ancient Iran”, “The Initial Period of Islam prior to the Islamic Republic”, and “The Islamic Republic”. The results demonstrate that the institution of temporary marriage, which emerged on the basis of patriarchal culture of Iranian society, legitimately met individual needs, such as sexual desire, childbearing, livelihood; and social needs, such as inheritance, strengthening of social ties. In each historical period, this institution also performed special cultural functions revealed in the course of this research. There is yet no comprehensive and documented historical research, which would compare all historical periods in a single work.