DOI: 10.7256/2454-0625.2020.12.34339

Abstract: This article analyzes the modern Crimean Tatar costume from the perspective of succession of the traditional elements. The author systematizes general approaches towards design of the traditional and modern costume, indicating the characteristic features. At the present stage, the elements of the traditional Crimean Tatar costume are growing in popularity. Interpretation and modern stylization of the traditional elements of national costume leads to the formation of the unique style. The leading phenomenon in the approach towards design of the modern national costume is the scientific basis, which helps to preserve the traditional elements. The object of this research is the modern Crimean Tatar costume, while the subject is decorative and graphic approaches towards design. The primary task consists in determination of the principles of creation of Crimean Tatar image and its implementation into Crimean modern culture. The novelty of this research is defined by insufficient examination of the modern Crimean Tatar costume on the scientific level, although actively implemented into modern youth culture. The creative direction in the works of modern Crimean Tatar designers is divided into three approaches: verbatim reproduction of ethnic costume (mostly used wedding gear and theater costumes), authorial interpretation, and avant-garde approach, using metaphors as the basics of style. It is noted that in the approach with allusive metaphors it enough to complement modern costume with headwear similar to the traditional to add national flavor to the image. The author underlines the importance of development of modern Crimean fashion in all three directions, as each approach has a particular function.

DOI: 10.7256/2454-0625.2020.12.34492

Abstract: The subject of this research is the phenomenon of conceptual metaphor in the works of Michel Houellebecq. Leaning on the cognitive theory of metaphor, the author traces the methods of conceptualization of “new identity” within cultural identity of a modern Frenchman. The article highlights the metaphor of “home”, and reveals the methods of conceptualization of “new identity” (“new” France as a “new home”) in its relation to the cultural tradition (“old” France as an “old home”). M. Houellebecq's criticism of the political myth of “pan-European identity” is followed on the basis of the metaphor of “home”; the reasons of Houellebecq's objections against the simplified division of the levels of such identity into local, national, and pan-European are determined. The goal of this research lies in identification of various aspects of cultural reality of the “new” France reflected in the works of M. Houellebecq using the metaphor of “home” (sorrows of the object of threat on disruption of cultural tradition, unification of lifestyle, and crisis of values). The relevance of culturological analysis is defined by the ability to observe the process of conceptualization of “European identity” in French artistic culture as a moment of cultural dynamics. Reference to the texts Of M. Houellebecq revealed the cognate concepts used for realization of the metaphor of “home” (“old France”/ “old home”, “castle”; “new France” / “hotel”, “high-rise building”, “tower”, ”poultry farm”); as well the predicates that disclose certain aspects of conceptualization (“empty”, “old”, “confined”, “rural”, “destroyed”, “awful”, “disgusting”). The novelty lies in substantiation of heuristic potential of consideration of the image created By M. Houellebecq as a cultural metaphor, which not only reflects social moods, but also designs cultural reality. “Home” manifests as the antithesis to the actual feeling of homelessness on the background of achievements of industrial civilization; it becomes a slogan that fills “emptiness” of everyday existence with cultural meaning. The main result is the substantiation of the writer's contribution to the development of conceptual model of identity of a modern Frenchman using the metaphor of home”.

DOI: 10.7256/2454-0625.2020.12.34368

Abstract: The goal of this research consists in comprehensive examination of all groups of gold, silver and diamond jewelers who were commissioned by the tsar in Moscow and Saint Petersburg in the late XVII – early XVIII centuries (their biographies, work organization, and artworks), as well as in analysis of stylistic evolution in the artistic image of items made of precious metals of that period. The research is based on the combination of art and historical-cultural approaches. The object this work the jewelry art of the time of Peter the Great. For achieving the set goal, the author refers to the unpublished archival documents and monument of decorative and applied art from the collections of Russian museums. Summary and analysis are conducted on the published material dedicated to the work of jewelers of that time; new records on the jewelers are introduced into the scientific discourse. The research demonstrates that that in the early XVIII century, tsar’s order was carried out by several teams of jewelers from Moscow and Saint Petersburg, who were simultaneously public servants and “free” artisans. The analysis of archival documents allowed specifying the nationality of foreign specialists, as well as the time of their arrival to Russia. The author suggests correlation between attitude of the monarch-commissioner towards court culture and the stylistics of works of decorative and applied art.

DOI: 10.7256/2454-0625.2020.12.34589

Abstract: The article is devoted to the role of research in the field of biology, behaviorism and cognitive science of plants in changing not only scientific, but also cultural discourses. A brief overview of the cultural plant heritage is given, mentioning the reasons for the objectification of plants with the adoption of a mechanistic picture of the world and the debunking of the mystery of nature. The author examines modern changes in the understanding of plant life on the basis of new research in the field of electrophysiology and plant behaviorism, while providing a small historical digression of how the attitude to plants in biology and semiotics developed and changed. In particular, the emergence of phytosemiotics as part of the semiotic system of humans and animals, and its transformation into phytosemiotics per se under the influence of new research results in the field of neurobiology of plants and their behavior was considered. The novelty of the research lies in the analysis of new data in the field of plant behavior and signaling from the standpoint of biosemiotics, rethinking the semiotic reality of plants: despite the fact that plants have a different way of life from animals, functionality and radically different morphology, they are nevertheless comparable, which allows plants to stand on the same level with animal organisms in semiotic reality, to gain agency. This opens up a wide field for further research not only in plant biology, behaviorism, but also the further development of phytosemiotics, ecosemiotics, ethics and aesthetics. A special contribution of the author is the rethinking of the plant semiotic niche: the transition of plants from the iconic semiosis to the index one.

DOI: 10.7256/2454-0625.2020.12.34467

Abstract: This article is dedicated to the question of interpretation of modernity. The author uses the groundwork of postmodern philosophy as a new optics and method that touch upon underpinnings of the approach towards analysis. It is also essential to examine the impact of distribution of the ideas of “French post-structuralism” upon future theories. It is demonstrated that through the prism of virologic approach, modernity is characterized by irreducible multiplicity of views contesting with each other for being distributed. At the same time, various concepts of modernity can be viewed as actualization of deconstructivist project, which defines the key vector of this research. Moreover, modernity itself is such research. The novelty consists in the fact that the question on the form of interpretation of modernity has not been previously raised within the framework of the Russian academic philosophical community. Although relevance of this question stems from such methodological and ideological transformations that took place in the late XX century. The conclusion is made that the philosophies united under “postmodern” have heuristic value, allowing to see that in fact postmodernism was related to “superficial” point of view and represented articulation of the problem – deconstructions of andro-logo-theo-teleo-anthropo-onto-phono-centrism. Post-poistmodernism, in turn, is the actualization of postmodernism as a multivariate comparative analysis, conducted by different research programs that exist as viral methods and contest with each other for being distributed.

DOI: 10.7256/2454-0625.2020.12.34466

Abstract: This research reveals the basic principles of the mourning decorations created for the burial of Peter the Great, and traces their fate in the Russian imperial sorrowful processions throughout the XVIII century. Decorative arrangement of state ceremonies is viewed in the context of the panegyric culture of that time. Ceremonial decoration was of temporary (occasional) nature and have been scarcely preserved; other than certain artifacts. The research is based on examination of a wide variety of written and graphic sources that allow reconstructing the image of funeral processions of that time. It is demonstrated that that in preparation for the funerals of Peter the Great, were developed certain patterns of mourning decoration preserved throughout the entire XVIII century. The principles of decorative arrangement of Russian imperial sorrowful processions were based on the European examples, and in many ways by inviting the foreign inventors and masters. The system of creation of mourning ensembles (as well as festive) obeyed the general laws inherent to the court ceremonial culture of Modern Age. The artistic solution of memorial halls and hearses corresponded to the stylistic evolution of art. The author introduces new materials and previously unknown facts into the scientific discourse, as well as clarifies the questions of terminology.

DOI: 10.7256/2454-0625.2020.12.34650

Abstract: This article conducts culturological analysis of the diversity of intercultural communications in Russian culture of the early XX century. Cultural space as the text of culture of that time is characterized by a transitional state, synthetic and dialogical focus. The phenomenon of Russian culture consist in the intelligentsia represented by the cultural figures of the Silver Age and avant-garde, who have creative way of thinking and propensity for new achievements in art. The object of this research is the “textuality"”of Russian cultural space of the early XX century, which is comprised of a range of texts and semiotic systems. The subject is the creative minds interpreting as the text of personality. The leading theme became the determination of interaction and mutual influence of the phenomena of culture, dialogue between creative minds, interested in the problems of synthesis of arts, within the cultural-textual space. The novelty of this work is defined by insufficient coverage in culturology of the problem of interrelation between creative personality and text in culture of the Silver Age and the avant-garde. It is established that the cultural space of Russian avant-garde can be viewed as a “meta-semiotic formation”, which includes texts and “metatext”. Personality of the cultural figure as the foundation for classification of texts is referred to as “metatext”. Classification of texts consists of the verbal text (theoretical and literary texts, literature, epistolary) and nonverbal text (texts of behavior, everyday life, era). Literary texts of the cultural figures of the Silver Age contain texts of the works of art: painting, musical, poetic, prosaic, as well as critical reviews on art, manifestos, and others. Nonverbal texts include theatricalization of behavior, creative life, and mythologization of personality, which form the identification code of creative personality of the Silver Age that gravitates towards the synthesis of arts. It is determined that the period of development of Russian cultural space of Russia of the early XX century is characterized by such peculiarities as:  synthetical nature, innovation of artistic language that consists of visual, verbal and audial texts on the basis of synthesis of painting, poetry and music.

DOI: 10.7256/2454-0625.2020.12.34713

Abstract: This article examines the iconographic heritage of the Old Believer Lipovan Rogachevsky-Nikita family in the context of history of Romanian rural localities. Based on the expedition material, analysis is conducted on the peculiarities of folk icon and local traditions that established in the Old Believer center of Romania. The reviewed documentary sourced were acquired in the course of expeditions and further personal contact with the family. The collected material contains history of the family of iconographers, their lifestyle and customs, conditions for fulfilling the orders that are closely related to the history of this rural locality and way of life of the Nekrasov Cossacks. The research is of applied nature in the area of art history, as well as of interdisciplinary in nature. The article employs the methods of stylistic and historical-cultural analysis; biographical method for reconstruction of biography of the family members and their artistic heritage. New records on the dynasty of Romanian iconographers are introduced, which expands  the information on the Lipovan icon and indicate regional peculiarities of its creation. The author also introduces the new names and monuments of iconography into the scientific discourse that allows clarifying the attribution. The artistic heritage of iconographers of the late XIX – early XX centuries is also introduced into the scientific discourse: Rogachevsky-Nikita; in the XX century – Egor Nikitovich Nikita and Roman Egorovich Nikita.

DOI: 10.7256/2454-0625.2020.12.34760

Abstract: The article analyzes the peculiarities of problematization of transdisciplinary experience in solving interdisciplinary and existential issues of everyday life with the involvement of scientific and value-moral priorities of scientific research. Problematization is considered comprehensively, at the level of thematization of presuppositions of transdisciplinary experience, the formation of explanatory hypotheses (by the type of abduction), taking into account not only direct but indirect evidence, using the heuristics of the thesaurus corresponding to the topic. The formation of the thesaurus is based on a cultural transfer between interdisciplinary discourses with an appeal for mutual understanding to the language of everyday communication in the mode of actual dialogue. Cultural transfer is focused on the translation and understanding of the problems discussed, the removal of speech inconsistencies, contradictions.Problematization, as a mode of conducting transdisciplinary experience, due to its complexly organized nature, does not imply unambiguous solutions once and for all. The latter circumstance plays a positive role, taking into account the chosen methodology for the real presentation of the subject of research. This experience has the ability to challenge the proposed solutions, requiring completeness, evidence, expressiveness and openness, promotes updating depending on the place and time (chronotope) of the research being conducted. Transdisciplinary experience, accumulating skills, always rechecks its methodological approaches: thematization of prerequisites and the creation of an appropriate dictionary, the formation of ways to translate interdisciplinary languages to search for explanatory hypotheses, taking into account not only direct but also indirect evidence.

DOI: 10.7256/2454-0625.2020.12.34793

Abstract: The paper continues the topic of applications of the methodology of generalized physicality, which goes back to the concept of quantum synergetic anthropology, elaborated in detail in the previous parts of the triptych. Ontologies of states (functional bodies and subteles of generalized corporeality) and temporal ontologies are considered on the material of the theatrical play of actors. An isomorphism of a well-known musical notation and representation of a changing anthropological profile in the form of a chord of simultaneously activated "sounding" states of the actor is constructed. The relevance of such a musical metaphor, an analogy of the freedom of acting improvisation, as an anthropological jazz inherent in any performer, albeit to varying degrees, is discussed. The classical manner has less variability than, in fact, jazz improvisation.   Parallels of such performances are drawn with the works of classics of theater directing, philosophy of play and communication of musicologists: K. S. Stanislavsky, A. A. Vasiliev, B. Latour, J. Huizinga, I. E. Berendt.In fact, a certain language of interpretation of acting is proposed with the help of dynamic schemes for describing what is happening during the game. If these schemes are adequate to the stage reality, which we tried to prove, then they may well be used in the preparation of actors, staging performances, etc. In fact, a new psychotechnics is being created that allows changing the available capabilities of acting technique, replenishing its tools. In addition, this kind of notational representation of actors' parts allows you to archive and decipher the director's idea in a fairly universal way.

DOI: 10.7256/2454-0625.2020.12.32072

Abstract: The subject of this research is the work of the Austrian expressionist painter Egon Schiele “Levitation” (1915). Emphasis is placed on the phenomenological dimension of this work, for which was adapted and implemented the methodology of American phenomenologist Louis Lankford. This technique allows analyzing the work of visual art using the art criticism and phenomenological means simultaneously.  It includes five successive stages: receptiveness, vectoring, bracketing (phenomenological analysis), interpretive analysis, and synthesis of acquired information. The research is of interdisciplinary nature, combines the methods of art criticism and methods of philosophical science. The conclusion is made that Lankford’s methodology allows analyzing the works of visual art from phenomenological perspective, being adjusted to the composition under review. This case requires the increased role of audience in post-artistic communication. At the same time, special attention should be given to the body as a medium for the information contained in the painting, and to the information received and interpreted by the audience.