DOI: 10.7256/2454-0625.2020.8.33621

Abstract: This article is dedicated to examination of the phenomenon of contemporary Chinese art, its essential specificity within the framework of tradition and in the conditions of globalization. For achieving the set goal, the author applies the method of historical-cultural analysis in combination with the elements of structural-semiotic analysis of contemporary art in China of the late XX century. For historical and social reasons, contemporary art became a substantial part of the works of Chinese artists only after the “Reform and Opening-Up” in the 1980s. China was able to preserve tremendous artistic heritage, thus the contemporary art resembles a fusion of the tradition and postmodernism. The scientific novelty of this work consists in shifting away from art discourse in studying artistic material and concentrating on philosophical perspective. The conclusion is drawn that since the 1980s until the present China undergoes a drastic period of transformation of art from traditional to contemporary. The works of that time reflect such themes as the alienation of a modern person from tradition, change in experience of world perception, conflict between modern politics and society.

DOI: 10.7256/2454-0625.2020.8.33692

Abstract: The works of F. A. Stepun are an important phenomenon in the early 1930s émigré discussion on personal freedom. Despite a relatively low interest towards his legacy and persona, many of the ideas and thoughts are currently gaining social significance. Using the method of textological analysis and comparative analysis, the author demonstrates that the formulated by F. A. Stepun idea of the trinity of personality, truth and life can be interpreted as the development of anthropological views upon the question of personality in the context of Russian liberalism. The succession of Russian liberal thought is evident in fact that he understands freedom from a creative perspective, as well as in  the indissoluble connection with truth. F. A. Stepun sees freedom as an essential condition for personal growth, realization of the creative beginning, and declares the trinity of freedom, truth and personality, which are tightly intertwined and transmit ontological saturation to one another.  Personality is not viewed outside of creative pursuit, as there is no freedom other than creative freedom. The creative beginning in a human is perceived as divine and cosmic beginning, attributed as the absolute values and meanings. At the same time, the philosopher has always believed that personality is something greater that just individuality. However, in the ultimate creative sense, it manifests in fate, which reveals the dynamism of personal becoming, depicts it in motion and development.

DOI: 10.7256/2454-0625.2020.8.32947

Abstract: The subject of this research is the several government institutions of Venice during the Late Renaissance Era that dealt with questions of matrimonial relations. Marriage played not only a crucial social role, but was also considered a church, which contributed to salvation of the faithful. Therefore, the questions of the validity of marriage or claims for separation of the spouses were considered by the Church court alone. The government institutions dealt with for offences against marriage, observed the execution of laws regarding the property of spouses, resolved custody issues of the minors, and prevented inappropriate behavior between the spouses. Special attention is given to the judicial institutions of Venice in from the perspective of their activity on matrimony. The article employs descriptive method, complemented by comparative historical analysis of the political and religious institutions of that time. The author's special contribution consists in the analysis of cases, such as the abduction of women or a breach of promise, which were interpreted differently by the religious and secular courts. As a result, in the late XVI – early XVII century, the secular administration gained prevalence in these questions.

DOI: 10.7256/2454-0625.2020.8.33488

Abstract:   This article examines the concept of technogenic civilization outlined by the academician V. S. Stepin. The factors of its ponderability and disadvantages are subjected to analysis: F. Vacon's historical project of mastering natural processes, focus of social institutions on implementation of this project, negative consequences thereof. The author discusses the methods for overcoming such consequences. According to Stepin, the way out consists not in rejection of the scientific and technological progress, but in attribution of humanistic dimension to it; another opinion (expressed by the biologist Timofeev-Resovsky) ‒ maximum usage of modern sciences and engineering, as well as reasonable and rational management. The author formulates the original concept: from his perspective, modern culture is being replaced by a new culture, which he names “post-culture”, forming a culture-congruent technology necessary for solving problems and tasks of the post-culture. A brief description is given to the idea of post-culture and the alternatives that may have to be addressed in the course of its establishment, for example, to problem of life preservation on the Earth. The author articulates and discusses the problem, as well as constructs the pattern of transition from the concept of technogenic civilization to the concepts of post-culture and culture-congruent technology.  

DOI: 10.7256/2454-0625.2020.8.32542

Abstract: The subject of this research is the impact of structuralism as a scientific direction upon mass art. Stable invariant structures discovered by the structuralists in multiple artworks can be observed in mass art. Structuring, which initially was a method of research, turned into one of the practical recommendations on reating new works in mass art. The goal consists in the analysis of susceptibility factors of mass culture to the ideas of structuralism and results of using methodology of structuralism in mass artistic production. The initial methodological focus of this work lied in the concept of juxtaposition of craft and art, which goes back to I. Kant and is applied in modern aesthetics. The author leans on the methods of structuring and comparative structural analysis, as well as the elements of functional analysis. The main conclusion of consists in the statement that susceptibility of mass culture to the ideas of structuralism is substantiated by its economic goals, need to possess reliable and scientifically proven tools that would ensure commercial success of the artworks. However, the patterned application of structuring methods in mass art is capable of creating only craft products, rather than actual art.

DOI: 10.7256/2454-0625.2020.8.32902

Abstract: The subject of this research is the conditions, under which in the transitional periods that are defined by the author as “sociocultural transformation”, is carried out the selection of cultural-dominant characteristics forming the essence of the next gradual stage in the dynamics of culture. These conditions are determined based on the analysis of the dynamics of culture of the European (Euro-Atlantic) civilization. The author considered such transitional periods as Late Hellenism, Renaissance and Reformation, avant-garde and postmodernism, which represent the sociocultural transformation between Antiquity, Middle Ages and Modern Age respectively. The method of philosophical interpretation of the cultural phenomena of European (Euro-Atlantic) civilization became the key method for this research. The main conclusion of this work consists in description of  such semantic vectors of sociocultural transformation as relativization of meanings, paralyzation of meanings, principle of doubt and uncertainty, and separation with the preceding cultural tradition. These semantic vectors orient towards upward tendency of cultural development.

DOI: 10.7256/2454-0625.2020.8.33441

Abstract: This article discusses the problem of culture-congruent social action in the conditions of cultural crisis. Attention is turned to the fact that the principles of conformity to natural laws and cultural congruency were originally formulated in the pedagogy (Pestalozzi, Froebel, Diesterweg); however, since the comprehension of culture has changes significantly, these principles require reconsideration.  In this context, it is suggested to differentiate the modern culture, national cultures, and post-culture. Analysis is conducted on the crisis phenomena of modernity and national cultures. The article lists the current development trends that comprise post-culture, the processes and structure of which are being formed, but yet not clear. Therefore, the future is characterized with complexity and uncertainty. Based on the proposed differentiation and concepts, the author examines two ways of culture-congruent actions. One suggests the revision of usual coherent (i.e. common to the entire culture) ideas, while the other – setting the whole and essence of the phenomena of modernity and post-culture. In the author’s opinion, the need to re-establish in the usual concepts and setting the whole is not the study of culture, but a methodological criticism and structuring of patterns and hypothetical scenarios. For better understanding of this approach, the two extended examples are presented: S. Benhabib's discussion of migration policy and the author's project of a new cultural meaning of post-culture.

DOI: 10.7256/2454-0625.2020.8.33608

Abstract: The subject of this research is the origins of Russian Opera and its evolution. The grounds of Russian Opera can be observed in folk and Church rites of the Ancient Rus’. The origins of Russian Opera stem from the Middle Ages, when the cantatory tradition formed under the impact of Byzantine and Russian folk traditions. The folk-Church events of the XVI – XVII centuries contained the theatrical elements, which later on were incorporated by the professional musical theater. Until the XVIII century, theatrical performances were open only to royalty and upper class society. The first theatre in Russia was built in 1672 for the Tsar and received a name “The Comedy Mansion”. It staged operas on the Biblical themes. The first secular operas appeared in the second half of the XVIII century. In 1756, the Empress Elizabeth of Russia turned the theater into a state and public institution. Russian operas of that time mirrored the Western models to a large extent. The emergence of truly national operas is related to the name of M. I. Glinka (1804-1857). The conclusion is made that modern Opera borrowed the principles of nationalism and humanism from its precursors. The author draws parallels between the first operas, classical Russian Opera on the one hand, and modern Russian Opera on the other. Analysis is carried out on the origin of the plots and libretto of the operas. P. I. Tchaikovsky, M. P. Mussorgsky, A. P. Borodin, N. A. Rimsky-Korsakov, S. V. S. V. Rachmaninoff, S. S. Prokofiev, D. D. Shostakovich and others, same as the inventors of the opera, wrote their operas based on literary and historical storylines.

DOI: 10.7256/2454-0625.2020.8.33532

Abstract: The object of this research is the piano compositions of Alban Berg – the String Quartet, Op. 3, and the vocal cycle Altenberglieder, Op. 4. The subject of this research is the artistic transformation of Berg from amateur composer of romantic music to the author of the complex atonal composition. The article reviews the aspects of Berg's apprenticeship that impacted his professional becoming. The peculiarities of the pedagogical method the composer's mentor and friend. Arnold Schoenberg are described. The author systematizes Berg's musical impressions acquired in his earlier period, which revealed the world of “new tones”. Special attention is given to the personal qualities of Alban Berg, his desire to cognize the new musical world. Analysis is conducted on the piano pieces composed at the time of his study with Schoenberg is. Opuses 3 and 4 are examined for the similar authorial techniques and their gradual complication. The conclusion is made that the phenomenon of rapid changes in the composer's artistic path is substantiated by a combination of factors. Berg was able to overcome the initially romantic melodious nature in his composing due to the opportunity to be in Vienna, which was the center of musical life at that time and the pedagogical talent of A. Schoenberg. The key character traits of the composer were commitment, capacity to work, and strive for creative truth. His natural enthusiasm and sensitivity were balanced by mathematical meticulousness and propensity for systematization. This served as the foundation for the remarkable changes that can be traces from his apprentice sketches to the first independent composition – the vocal cycle Altenberglieder, Op. 4. The scientific novelty of this research consists in posing the question of how Berg was able to develop such complex modern language in a very short period of time that elevated him to the forefront of leading composers.