DOI: 10.25136/2409-8744.2022.1.37480

Abstract: "A characteristic feature of the Eastern model of comprehensive thinking is a common concept and universal connection /…/ The statement about "Heaven and man are one" is the highest and most complete embodiment of the Eastern comprehensive model of thinking " [2, p.149]. The idea of "Heaven and man are one" is one of the main spirits of traditional Chinese culture. This main idea influenced ancient Chinese politics, ethics, life art, and also penetrated into ancient Chinese aesthetic thought and works of art.The idea of "Heaven and man are one" is the traditional wisdom of the ancient Chinese people.This idea was widely promoted by Chinese society in the 21st century. Comprehensive promotion of the idea of ”the unity of heaven and man" can improve the artist's understanding of the dimension and form of beauty, help break the old paradigm and promote cultural development and progress. This is embodied in artistic creativity, especially in the artistic creativity of Chinese painting, which focuses on the “artistic concept”, which allows artists to pay attention to understanding the general spirit of works of art without destroying the overall beauty because of a certain part. From this it can be seen that the idea of ”the unity of heaven and man" has strong guidance and significance in the field of aesthetic practice, such as artistic creativity. The purpose of this article is to correctly interpret the idea of “the unity of heaven and man” through the analysis of ancient Chinese literature and records in combination with philosophy, aesthetics and other fields. And thanks to the analysis of representative Chinese paintings that adhered to this idea in ancient China, it provides an example of how this idea can be applied to aesthetic practice. In conclusion, we will combine the experience of that time in order to see the positive meanings of this idea in the future.

DOI: 10.7256/2306-1618.2014.3.12113

Abstract: In article the analysis of works of the Belgian artist surrealist René Magritte from the point of view of researches of an origin of art in a paleoanthropology and magic thinking in psychology is given. These researches show that at sources of art the belief of the ancient person that near the usual, terrestrial world there is a magic, supernatural world in which souls of people and animals live lies. For communication with this supernatural world of people creates special means – drawings, a sculpture, architecture, abstract signs and symbols. During long historical process, the belief in the magic world gives way to official religion, and at many modern people – belief in science. The feeling of the magic turns into feeling esthetic, and means of communication with the supernatural – into the modern art. However researches of magic thinking in psychology showed that the modern city inhabitant has a belief in the magic didn't disappear, and left on the level of the unconscious. Though our consciousness can deny the fact existence supernatural, our unconscious "believes" that outside the familiar world of science the world of the supernatural is covered. In this invisible world not laws of the nature, but laws of magic work. Magritte's cloths force the modern person to feel existence in it of residual belief in existence of the supernatural world denied by modern science. Novelty: For the first time Magritte's painting is considered in the context of modern pilot studies of magic thinking in psychology. Also the communication of works of Magritte with rock painting of a late paleolith analyzed in article is new.Conclusions: (1) Magritte's cloths are quintessence of the historical memory of art which is taking away us on tens tysyacheleniye in the past to art of a late paleolith. These cloths are turned to subconscious belief of the modern person in the supernatural; (2) The belief hidden deeply in unconscious in supernatural, resounding with Magritte's cloths, generates in the modern viewer of feeling of a riddle and alarm, and also feeling "already seen", forcing it to recognize emotionally the belief in existence of supernatural reality denied by rational thinking.

DOI: 10.25136/2409-8744.2022.2.36031

Abstract: The study of language as a carrier of a new aesthetic ideal in the first half of the XVII century in France and language reforms as a consequence of the emergence of a new ethos are at the intersection of sociolinguistics, history and cultural studies. For almost three centuries, French has been not only the language of international communication, like Latin. He carried a new aesthetic, introduced new literature, gave an opportunity to join a new manner of behavior and lifestyle in general. French became not so much the language of educated people, like Latin, as the language of secular educated people, it expressed the ideals of gallantry, good manners and upbringing, which foreigners came to Paris to study. To explain the phenomenon of the spread of the French language and the influence of French culture not only on Russia, but also on other European countries, it is necessary to return to the language reforms of the XVII century, when the language becomes a reflection of a new aesthetic. This study aims to show why the discussion around language flows into a discussion about style, and it, in turn, about the superiority of the new aesthetics. The reforms of the French language, on the one hand, were the result of the establishment of new aesthetic principles in the consciousness, on the other hand, they influenced the aesthetic principles of their time. Simplicity, naturalness and purity of style, clarity of expressions that convey exactly the thoughts come to French literature and later transferred to art as a whole. The successes of linguistic and literary reforms for contemporaries are associated with the political successes of France, because "the greatness of the empire and the elegance of the language always go hand in hand."

Abstract: The purpose of the article is to show the difference between the two thinking strategies in art and culture. Chromatic methodology was used to perform the semantic marking of color and picture based on well known patterns of bilateral cogitation. The research allowed semiotic characteristics that described peculiarities of everyday, logical and creative thinking. The results of the research can be used in the theory of culture, creativity, fashion and art history practice. 

DOI: 10.25136/2409-8744.2023.4.43674

EDN: WFRJNV

Abstract: The object of research in this article is the actor speech in the cinema of the "Khrushchev Thaw" period. The subject of the research is the artistic specifics of the recorded speech in the film "I am Twenty." The article analyzes the use of "subjective microphone" technique in the sound landscape of the film "I Am Twenty" by Marlen Khutsiev. The aesthetic and technical aspects of the use of the above technique have been analyzed in detail. "Subjective microphone" is considered by the author as part of the updated speech style that appeared in Soviet cinema in the era of the " Khrushchev Thaw." The author pays special attention to the influence of the updated speech aesthetics of cinema of the 1950s and 1960s on theatrical art and acting. The novelty of this research lies in the study of the phenomenon of acting speech in the cinema of the "thaw" from an aesthetic and technical standpoint. The term "subjective microphone" was first introduced into scientific circulation in application to sounding speech in screen arts. The term "cross-diegesis" is proposed for inclusion in scientific circulation to determine a special sound space formed in screen arts when using the technique of a "subjective microphone." The article scientifically substantiates a special place that is occupied by the "subjective microphone" technique in the concept of dividing the sound space of the film into diegetic, non-diegetic and methadiegetic layers. Separately, the author dwells on the inclusion of the reception of the "subjective microphone" in the general documentary-poetic artistic style of Marlen Khutsiev. In conclusion, the author says that the appearance of magnetic sound recording in the 1950s had a powerful effect on the aesthetics of film monography and, in particular, the sound of acting speech.