DOI: 10.7256/2454-0625.2022.7.36085

Abstract: Since the middle of the last century, there have been disputes around the classicist doctrine, which blur the seemingly clear picture of the art of the XVII century and show that along with the aesthetics of classicism, the aesthetics of rules and order, there was another gallant aesthetics. In this dispute about classicism and aesthetic theories of the XVII century, the concept of the "elusive" is given a special place, since it demonstrates the ambiguity and complexity of the art of this period. The concept of the "elusive" is at the heart of the eternal dilemma of the art of the XVII century, the choice between beauty and grace, rational and irrational. However, in modern research, with all the relevance of the theme of style and the style of the era, this aesthetic category is not given sufficient attention. This article shows how a broad discussion of this concept in the salon environment leads to the fact that the principle of "elusive" becomes a requirement and a sign of gallant behavior. Throughout the XVII century, in all discussions and disputes, two points of view on the nature of the "elusive" are affirmed - the rationalistic one, according to which, even if we do not know the laws and nature of the elusive, it does not mean that they do not exist, and the mystical one, which elevated this concept to something supernatural, divine. The article shows how the arguments about the elusive and the resulting ideas about beauty and grace blur the ideal theory of classicism and demonstrate a complex picture of the ideas and aesthetic tastes of the XVII century.

DOI: 10.7256/2454-0625.2022.7.38340

EDN: DJUFLR

Abstract: The object of the research is the culture of dialogue, its content and normative components, and metaphysical foundations of the culture of dialogue. Various approaches to understanding the nature of dialogue in the historical tradition, starting from antiquity and ending with modernity, are considered in detail. In the course of the analysis, special attention is paid to identifying ontological prerequisites and epistemological attitudes in the most significant theoretical approaches to understanding the nature of dialogue. Productive methodological ideas of phenomenology, "philosophy of dialogue", theory of communicative action are revealed. Special attention is paid to the analysis of the heuristic and analytical possibilities of the concept of the "Other" as the basis for recognizing the initial equality of the participants in the dialogue and the formation of a mindset for the "peaceful" resolution of differences. The role of the culture of dialogue (in the form of recognized norms and compliance with the rules of interaction) is shown as an important component of mutual understanding and tolerance. The peculiarity of the reception of the ancient approach to dialogue in the non-rhetorical project of the twentieth century is revealed. It is shown that the normativity of one of the most significant modern approaches to the construction of the theory of argumentation – pragma-dialectical, has roots in the ancient tradition of dialogue. As one of the important conclusions, it is substantiated that the ideal model of "critical discussion" developed at the Belgian school of pragma-dialectics can serve not only as a methodological basis for the modern theory of the culture of dialogue, but also as a guide in its organization and structuring, creating good opportunities for reaching a possible consensus. The novelty of the research lies in identifying the philosophical and ideological foundations of the concept of "critical discussion" and the methodological significance of the "moral code", the observance of the "commandments" of which leads to an increase in the culture of dialogue as a necessary condition in the search for common meanings, without which it is impossible to overcome the high conflictogenicity of modern society.

DOI: 10.7256/2454-0625.2022.7.38359

EDN: SHHGXU

Abstract: Under the influence of French avant-garde filmmakers who created the creative method of "montage film", at the beginning of the twentieth century, Soviet director Sergei Eisenstein developed a technique called "intelligent editing". Later, the famous film director Andrei Tarkovsky constructed the inner truth of the film with the help of poetic expression, thereby giving it a unique poetic aesthetic. This form of filmmaking has had a profound impact on Russian animated cinema. This article is devoted to the study of the specifics of Russian animation on the example of paintings by Yuri Norstein, in particular, the analysis of the humanistic spirit and poetic aesthetics. Special attention is paid in the article to the symbolism of the cinematic images of the works of Yu. Norstein and the peculiarities of the reflection of reality in animation. The main conclusion of this study : in contrast to Hollywood animation with the shocking creation of visual meanings, in Russian animated works, a calm narrative with symbolic meaning attached to details gradually rises to the level of philosophical comprehension. Yuri Norstein's paintings are full of symbols and metaphors that evoke various associations in the audience and give free rein to their imagination. The content of cartoon paintings is characterized by depth and a multilevel system of meanings embodying the Russian national culture and the picture of the world. The combination of realistic traditions with advanced techniques distinguishes the director's work from American animation.

DOI: 10.7256/2454-0625.2022.7.38527

EDN: BBGJWX

Abstract: The object of the research is the representation of the phenomenon of "choice" through the optics of modern scientific works in various fields. The subject is a culturological approach to the formation of modern knowledge about choice. Modern researchers, although they do not exclude cultural determinants in the formation of choice, however, relatively little attention is paid to culturally conditioned practices of making a choice regarding the interpretation of individual aspects of choice, principles and laws of rational and irrational choice, problems of consciousness and freedom of choice. The purpose of the work is to reconstruct current interpretations of choice and methods of choice research, as well as to determine the place of culture in the structure of modern knowledge about choice through a theoretical analysis of the corpus of modern scientific works (primarily foreign articles), the subject of which is "choice" in its many manifestations: psychological and socio-cultural aspects of choice, the share and the value of rationality in choice research, the possibility of making a "free choice", the agency of choice, etc. It is shown that the choice as a process and result is based on cultural, social and psychological factors, which are based on knowledge internalized by the subject, externally distributed among a variety of social and material agents. Studies of choice in various disciplines do not completely ignore the potential influence of socio-cultural factors on choice and the process of its formation. It is possible to determine the nature and extent of this impact in a comprehensive and interdisciplinary manner within the framework of cultural research. The study of choice as a set of cultural practices should take place under the auspices of various sciences, whose approaches will allow multidimensional construction of cultural practices taking into account technical, material, epistemological, semiotic and normative dimensions.

DOI: 10.7256/2454-0625.2022.7.36060

EDN: ANDVYM

Abstract: The subject of the study is the formation of fashion trends of physical recreation of residents of Primorsky Krai. Based on the theories developed by philosophers and culturologists, the phenomenon of fashion was analyzed from the standpoint of its conceptual understanding as imitation of someone, which appeared as a reflection of the flaws of the elite. As a result, the fashion has its own functions: 1) contributed to some kind of social alignment between the elite and the masses; 2) contributed to the development of individuality.It was found that the fashion phenomenon is present not only in clothing, style, is an element of everyday life, but also has an impact on lifestyle and physical activity. Among the factors influencing the formation of fashionable trends of physical recreation, the author identified: 1) the appearance of modernized types of sports equipment, which are based on engineering and design ideas; 2) the development of new sports training techniques, acquaintance with which occurs through visual means of communication and the Internet; 3) the factor of business development, focused either on the provision of services or the sale of sporting goods; 4) state policy on popularization of mass sports and physical recreation through investment in the construction of sports infrastructure facilities. The article reveals the role of factors that influenced the formation of fashion trends for the physical recreation of the population of Primorsky Krai in 1970 – 2021. Tasks: to reveal the mutual influence of fashion trends and progress on the formation of fashionable trends in physical education of Primorye residents. The source base of the article consists of regulatory documents of the Government of the Russian Federation and Primorsky Krai, interviews (strategies, programs). The methodological basis of the article is the concept of everyday life, supplemented by economic and cultural-gender approaches that have had the greatest impact on the formation of fashion trends of physical recreation of residents of Primorsky Krai, reflected in the works of cultural scientists, philosophers.

DOI: 10.7256/2454-0625.2022.7.38317

EDN: ACYEOH

Abstract: The author of this article aims to reveal the features of Alexander Smirnov's religious painting in the context of the general culture of the Slavic peoples. This analysis is based on the diptych of the specified author, consisting of two samples of fine art – "Wonderful fishing" and "Blessing of loaves", whose creation history dates back to 1991-1993. The structure of the article is conditionally divided into two parts, the first of which is devoted to the analysis of the plastic language of the diptych in line with the traditions of Slavic culture. The organizational structure of the diptych is analyzed through the prism of traditional Russian symbols. The continuity of some forms of expression and their transformation in the key of religious contemporary art is considered. In the second section, from the point of view of compositional integrity, Alexander Smirnov's diptych "Wonderful Fishing" and "The Blessing of Loaves" is analyzed. The semantic and aesthetic component of this diptych is also considered through the analysis of rhythmic and compositional constructions. Comparison, analysis and synthesis are used as research methods. As a result of the conducted research, it was found that the use of artistic plastic language turns out to be necessary for the master, since it allows him to conduct a dialogue with the recipient, revealing to him the full depth of the essence of the gospel tragedy. It is no coincidence that the basis of the diptych is the Christian teaching, which most fully reflects the phenomenon of human existence, echoing with modernity.

DOI: 10.7256/2454-0625.2022.7.36139

EDN: AEZRGC

Abstract: The subject of the research in the article is the work of the American composer John Milton Cage (1912-1992), who is considered one of the most famous and influential avant-garde musicians of the twentieth century. The composer's ideas about sound, the "open form of music", "random operations", "extended" musical instruments and many others were developed in the complex technical, discursive, institutional, cultural and political conditions of life in the United States, constantly changing in the course of his long and productive career. The article analyzes the "artistic and theoretical" legacy of composer John Cage in a philosophical and aesthetic way and shows how his work problematized artistic inventions in music, blurring the boundaries between artistic expressive forms, and his legacy became not only interdisciplinary, but also transdisciplinary, as a result of which the composer's musical experiments were reflected in the work of such American artists like Bill Childs, Fritz Reiner, David Tudor, Christian Wolf, Morton Feldman, Earl Brown, La Monte Young, Pauline Oliveros, Cornelius Cardew, etc. The scientific novelty of the article is that the author attempts to comprehend the creative path of the composer as one of the radical innovators in music, whose musical innovations during the 50s, 60s of the twentieth century led to paradigmatic changes in all areas of American art. Cage fundamentally rebuilt the ideas of what music was and what music could be, eventually becoming one of the most influential avant-garde composers of his time, largely predetermined the trends of the movement of American musical culture of the twentieth century. Cage's experimental innovation, the composer's ability to capture the spirit of the times and the anticipation of many creative ideas related to the nature of sound, made his works an integral part of world culture, an important milestone in the modern development of music

DOI: 10.7256/2454-0625.2022.7.38419

EDN: AHCKME

Abstract: The article presents the results of a systematic analysis of the visual identification of exhibition projects and identifies the specifics of designing an exhibition identity, which is an important means of communication that attracts visitors. Within the framework of this article, the authors set the task of generalizing the experience of identifying exhibition projects and identifying the specifics of designing an exhibition identity.The subject of the study is the identity of modern exhibition projects in Russia, Germany, Finland, Australia and China, in which all elements, from the logo, printing products, website to the design of the expositions space are interconnected and represent a single complex. The projects created in large museums with a recognizable brand and established reputation among visitors are analyzed, as well as small exhibition projects, the organizers of which can spend minimal funds on implementation. Based on the Finnish experience of designing museum identity, modern approaches to the creation of exhibition projects of various orientations are systematized, in which the exposition and media about it are designed as a single system in which shaping, typography and visual metaphors form a single imaginative solution, expanding the possibilities of advertising media about the exhibition project and using new channels of information transmission. The conclusion is made about the specifics of the exhibition identity and the factors determining it: the specificity of the exhibition as a special event determines an integrated approach to the development of identity to ensure the synergistic interaction of elements of the visual identification system.

DOI: 10.7256/2454-0625.2022.7.38420

EDN: AYIZOD

Abstract: The author connects the analysis of the formation of the ancient theater with the formation of art in ancient Greece, theatrical communication (including the positions of the author, artist and viewer), theater as a special space, awareness of the art and nature of ancient Greek drama in the "Poetics" of Aristotle. In the culture of modern times, the ancient canon of the theater is being established anew, since ancient Greek works are being reinterpreted from the point of view of the relationship to the medieval heritage and the social reality of the emerging new time. The new socio-cultural situation has predetermined three important consequences for the theater: firstly, the content of the stories written by playwrights is radically changing, secondly, the audience is changing, and thirdly, the rapid growth of theaters in emerging national states begins. These innovations are illustrated by the example of the French theater of the times of Louis XIV and Racine. In the second half of the XIX, the beginning of the XX century, the director's theater was formed. The director considers the artist as one of the "expressive means" along with others (music, scenery, theatrical clothing, symbols, etc.). The author suggests that the director's theater was influenced by the reflection of music. In the director's theater, the artist does not disappear, as Kugel claims, but on the contrary, he creates a tense field of meanings, communication and actions; while the artist on stage retains the original, coming from archaic times and religion, communication between the audience and the creators of works of art. The problems that arise in the director's theater are discussed on the example of the theatrical production "Eugene Onegin", which was carried out by Rimas Tuminas. In conclusion, the documentary theater and the theater of complicity are discussed. In both cases, the theater remains a theater: the performance is maintained by the actors' play, a second, full-fledged world of artistic reality is created, although the audience takes part in the constitution of what is happening, they, nevertheless, remain spectators at the same time, observing and experiencing events arising with their participation.