Culture and Art - rubric Culture of art and the process of creation

Abstract: This article is devoted to peculiarities of artist profession in China during the era of Northern Song (960 - 1127). The subject of the research is the biographies of artists who worked in Kaifeing, the capital of the Northern Song, in the late X - first half of the XIst century. The aim of the research is to outline a portrait of a professional artist in China of the aforesaid period. The author of the article analyzes such sides of artist's life as professional training, specialization in a particular style of painting, professional unions of artists and means of making a living. The results of the analysis demonstrate that the era of Northern Song had a favorable environment for professional artists in Kaifeing. Artists who did not serve for the Imperial Court could make their living by decorating city temples, selling their artwork at urban markets, and making private orders. High demand for paintings in Kaifeng created plenty of opportunities for artists to sell their artwork.

Keywords: interior decoration, private patron, specialization, craft, professional artist, Chinese painting, Kaifeng, Northern Song, scroll painting, sale of paintings

DOI: 10.7256/2454-0625.2020.6.33012

Abstract: The “Hamlet 1990” directed by Lin Zhaohua represents a variant of the Shakespeare’s “Hamlet”. The title of the play hints to the spirit of creative search and novelty, characteristic for the theater era of the 1990s. It was a specific socially transformative period, when “various Soviet-style creative positions were sacrificed” and china moved towards independent thinking and development of social reforms. It is possible that “Hamlet” performed in 1990 reflected these trends in social transformations, which led to the director’s interpretation and restructuring of Shakespeare’s play based on new views and independent aesthetic perception. “Revenge is a scene, a story” and the director acts as the storyteller; it is up to him how this story will be told. In accordance with methodology of the formal school, the author conducts a reconstruction of this play and analyses the scenic texts from the perspective of modern Chinese theater, as well as from the position of director’s style. “Hamlet 1990” directed by Lin Zhaohua became a new word in theatrical arts. In an open scenic space, the connection between the actors and the viewers is not unidirectional, but is two-way; there is an effect of transfer of psychological payload and emotional interaction between them.

Keywords: directorial interpretation restructuring, restructuring, innovation, stage director's view, directed by Lin Zhaohua, Hamlet, Shakespeare, All people are Hamlets, minimalistic style, aesthetic perception

DOI: 10.7256/2454-0625.2020.11.34448

Abstract: The object of this research is the Russian visual art of the turn of the XIX – XX centuries. The subject of this research is the Crimean theme in visual art of that period. The goal consist in determination of artistic and stylistic uniqueness of the Crimean motifs in paintings and graphics of the late XIX – early XX centuries. Research methodology is comprised of the cultural and historical method, which allow analyzing the evolution of artistic and stylistic systems in the national landscape genre, as well as the development of Crimean theme in art. Based on the synthesis of culturological and art methods, the author reviews cultural and stylistic distinctness of the Crimean motifs of the late XIX – early XX centuries. The novelty of this work lies in the statement that Crimean motifs that enjoyed wide popularity in the artworks of this period are considered one of the style-forming and meaning-forming factors in development of the art and style modes of landscape genre in Crimea. Specificity of the image of nature is defined by the art and style modes that substantiate the authorial concept and system of pictorial means. It is established that the uniqueness of Crimean motifs in painting and graphic art at the turn of the XIX – XX centuries lies in application of vibrating color, fusion with rough strokes of colored shadows, rhythmic principle of creating gradation of colors, soft airy and lighting environment of Crimean landscapes.

Keywords: motive, landscape, nature, culture, art and style modus, art style, fine arts, plein air, Crimea, Crimean school of painting

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.

Keywords: prospect of development, compositional technique, Crimean Tatar, Crimea, modern Crimean Tatar costume, traditional Crimean Tatar costume, traditional ornament, interpretation, author's approach, ornament

DOI: 10.7256/2454-0625.2018.5.26321

Abstract: The object of the research is the artistic and empiric content of the Crimean mentality of culture. The subject of the research is the applied and decorative arts and monumental artwork of a modern artist Pavel Greyser. Mentality represented by his artwork influences the development of the aesthetical image of Crimea. In her research Zolotukhina defines Greyser's artwork as a representation of the basic beliefs of Crimea of the mid - late 20th century and may be of interest to those researchers who study the modern state of an artistic life of a region. The research is based on one of the applied methods of cultural research, philosophical art analysis allowing to objectively define features of the artist's creativity in general by studying particular pieces of his artwork. This method has demonstrated that hidden invariant images of the artist determined his typical concept of the fixation on natural landscapes and mixture of techniques. In addition, the researcher has used the semiotic method as well as the methods of artwork description and analysis. Pavel Greyser's creative works have never been studied before which makes the novelty of the present research. Zolotukhina analyzes stylistic peculiarities of Greyser's artwork as artistic texts that carry a semiotic meaning. Taking into account that in her article Zolotukhina describes only part of Greyser's creative legacy, there is a need in further researches of visual arts created by Pavel Greyser: fine arts, graphic arts and wall painting.

Keywords: artistic text, romanticism, creation, form, mindset, aesthetic concept, Pavel Greyser, analysis, the form, artist

DOI: 10.7256/2454-0625.2023.7.43416

Abstract: The subject of the study is, on the one hand, the artistic reality of Alexandra Marinina's novel "The Illusion of Sin", on the other hand, the analysis of the peculiarities of Russian life of the 90s, presented through the prism of this novel. The author doubts that this work can be fully summed up under the concept of the detective genre, since the background is a description and understanding of the life of Russia at that time. It is also unclear to him why Marinina's novel is so named, in connection with which it concerns four novels by Diana Soul, named in the same way. The comparison of Chekhov's "Cherry Orchard" and "The Illusion of Sin" allows us to formulate a hypothesis about the nature of Russian sociality. As before, two unrelated processes are impersonal, social (revolution, building socialism, war, the unexpected death of the USSR, reforms, etc., up to the present events) and unrelated and often meaningless, marginal actions and actions of people. From the point of view of this hypothesis, Marinina's work is considered: she, but naturally as an artist, represents for the reader the social reality of the 90s, which in many ways resembles the "bad sociality" that Vasily Zenkovsky wrote about back in the 20s of the last century. The author identifies four aspects of this sociality: the attitude of Russians to law stretching from the past centuries, the tradition of non-legal consciousness and behavior, a sense of social injustice, the lack of moral guidelines, the obsession of Russians with ideas, which M. Bakhtin wrote about.

Keywords: life, detective, right, socialism, history, ideas, sociality, reality, morality, obsession

DOI: 10.7256/2454-0625.2021.12.36988

Abstract: The traditions followed by people throughout history underlie the development of the culture of monumental art, forming the continuity of generations, memory and traditions of temple architecture of the Crimea. The topic of religious monumental painting draws interest of the researchers. The object of this article is the Crimean religious monumental and decorative art; while the subject is the peculiarities of modern religious painting in Alexander Nevsky Cathedral in Simferopol and Saint Vladimir Cathedral in Chersonesos. The goal is determine the modern artistic-aesthetic form of temple painting carried out by the experts of monumental and decorative art, as well as the command of the unique languages of creative reinterpretation of wholeness. Temple religious painting is explored on the works of the modern artists of monumental religious painting, using the analysis of the academic style of painting, use of classical canons in images of the figures, artistic-stylistic, thematic, unique systems in the ornamental painting. The author determines the characteristics of the image such as material texture and plastic modeling of artistic form, which allows combining the modern wall paintings of the Crimean Orthodox churches of into a holistic system of material and spiritual values. The crucial theoretical-methodological vector of research is interweavement of the methods of culturology and art history, which reveals the techniques and peculiarities of academic painting in temple architecture.

Keywords: church, church art, Crimea, figure, modern temple painting, image, temple architecture, Russian art, religious painting, composition

DOI: 10.7256/2454-0625.2022.2.37345

Abstract: The article presents a comment and reflections on the recently published book by the famous Russian cultural critic Ekaterina Nikolaevna Shapinskaya. Her fate was very unusual: having been educated in the USSR, she lived in India, where she mastered the traditional genre of Indian dance and achieved considerable success in this field, then returned to Russia, where, on the one hand, she introduced the audience to Indian dances, and on the other hand, gradually, having spent a lot of work, she moved from the sphere of art to philosophy and science (defended her dissertations, published scientific articles and books, became a professor, lectured at the university). В В The author, relying on the text of the published book, analyzes not only this life path, but also Shapinskaya's views on life and love, showing that they were largely conditioned by the family, the social reality of the end of the last century, the vicissitudes of life itself. At the same time, the author breeds sublime love-passion, with which romantic love often begins, and calm kindred love in the family. The features of the sociality of the modern world, which are more or less manifested in the actions of the heroine of the book, are discussed: duality, conventionality of what is happening, the distribution of reality. The book "Time and Fate. The Stories of My Life" is also interesting because it presents a different model of life, different from the model we are used to, where a person uniquely defines his life, clearly feels the social reality, understands what needs to be done.

Keywords: culture, family, love, crisis, choice, fate, narrative, personality, reality, dance

DOI: 10.7256/2454-0625.2022.10.38929

Abstract: The article offers the author's reconstruction of two novels and partly the life of Alexander Bogdanov. In terms of methodology, the author relies on the studies of art and his works published by him, which include three main plans - an analysis of the sphere of art, artistic communication and the artistic reality of the work. The study opens with the formulation of problems: the genre of novels is called into question as a utopia (the author believes that it is rather a social projection in the form of a work of art), the actions of the characters are incomprehensible, it is not clear why Bogdanov builds the plot so paradoxically. To resolve these problems, the author turns to the personality of Bogdanov, shows its duality: on the one hand, the desire for power and leaderism, on the other hand, the denial of these values and switching to scientific and teaching activities. This approach allows building a plausible, from the point of view of the author, reconstruction of the artistic reality of the novels and its events. At the same time, the author distinguishes two types of events in artistic reality. The first type is events that line up in response to a completely conscious problem or task. The second type does not imply an awareness of the problem facing the artist (it can only be felt as a vague dissatisfaction or desire), and there is no clear understanding of the way to solve this problem. The proposed reconstruction also makes it possible to explain some features of the evolution of Bogdanov himself: a break with Lenin and the Bolshevik leadership, the rejection of leaderism, switching to the construction of the science of "Tectology".

Keywords: suicide, invasion, duality, problems, decision, understanding, novel, personality, socialism, evolution

DOI: 10.7256/2454-0625.2024.2.69920

Abstract: The subject of this article is the activities of Academician Alexander Konstantinovich Krylov - Academician of the Russian Academy of Arts, Honored Artist of the Russian Federation, painter, laureate of the International Prize named after N.K. Roerich, as a teacher and educator. This is a study of the contribution of Academician Alexander Konstantinovich Krylov to the development of education and science, his teaching methods, pedagogical and educational principles. The author examines in detail the scientific, teaching, social, and creative activities of A.K. Krylova and pays special attention to the educational activities of the academician. The author also presents a complete list of institutions that, according to the State Catalog of the Museum Fund of the Russian Federation and data provided by the artist himself, store his works. The research methodology is presented by the historical method, biographical method, and comparative method. Also, during the preparation of the article, a study was conducted on the basis of archival documents, publications, and pedagogical works of A.K. Krylov and his students. The main conclusions of the study are the creative portrait of the artist presented in this message, which has independent cultural and historical significance and expresses the deeply personal attitude of the author, who hopes that the information and characteristics he collected will be useful to future biographers of the outstanding Russian artist, academician of painting A. K. Krylov. The novelty of the research lies in the generalization of the creative materials of Academician A.K. Krylov, which can be in demand by aspiring artists, art historians, cultural experts, historians and everyone who cherishes the tragic and happy milestones of the steady spiritual growth of Russia - in the past, present and future.

Keywords: creative portrait of an artist, artist, work, premium, teacher, academician's educational activities, Alexander Konstantinovich Krylov, painting, portrait, image

DOI: 10.7256/2454-0625.2022.2.37552

Abstract: The article introduces a new interpretation of the concept of metaphor. The author examines the traditional concept of metaphor, which comes from Aristotle, the semiotic concept, which introduces metaphorical meaning along with the usual one, and the rather complex construction of metaphor proposed by K.I. Alekseev in the "Sketch of the Theory of Metaphor" (it is based on the methodology of L.S. Vygotsky, the concept of social relays by Mikhail Rozov, the theory of classification and the logical theory of definitions). The author suggests analyzing the metaphor, including it not in the psyche and relay races of Rozov, but in artistic reality; the latter is created in the space of artistic communication and creativity of the artist and the viewer. В Within the framework of this approach, a metaphor is characterized as a special scheme, a technique and an expressive means that allow, on the basis of two artistic contents (potential events), to create a new content (a new objectivity) in which they are fused ("removed") both of the original artistic contents and due to a kind of emergent effect, a fundamentally new content (objectivity) is for our consciousness. In order to make these general statements more understandable and to concretize them, the metaphor "centaur" in Meir Shalev's novel "Esav" is analyzed. In fact, this is a humanitarian reconstruction based on the author's theory of artistic reality. In the last part of the article, latent and revealed metaphors, metaphor and metaphorical discourse, metaphors and schemes are distinguished.

Keywords: discourse, transfer, subject matter, event, artistic reality, communication, the concept, scheme, metaphor, meaning

DOI: 10.7256/2454-0625.2023.2.39727

Abstract: The article offers a new, in fact, cultural and psychological version of Pushkin's famous story "The Peasant Lady". Various assessments of this work are given, including the author's, teenage. The author argues that the modern understanding of works of art involves an analysis of the culture in which it was created, as well as the author of this work. Realizing this installation, he discusses why Pushkin shifted to the reader the consideration of the consequences that followed from the last scene of the "Peasant Girl", when the deception-Lisa's game was revealed. According to the author, this would destroy the plot, since it would show that the behavior of Lisa and Alexey contradicted the ideas of marriage and the actions of young people accepted in Russian society at that time. It is hypothesized that Pushkin, composing "The Peasant Lady", solved his own existential problem, which P. Chaadaev pointed out to him, namely, his real life contradicted Pushkin's declared values and poems. Unable to rebuild his life in 1830, Alexander Sergeevich compromises, reconciling the real and desirable life in the field of art, this largely explains the peculiarities of the "Peasant Lady". In Marina Tsvetaeva's work, there was also the use of art (and other discourses) to bridge the gap between real and desired life, which to a certain extent allowed the artist to realize himself and preserve his mental health.

Keywords: mental health, life, art, composition, substitution, game, realization, personality, fairy tale, transformations

DOI: 10.7256/2454-0625.2023.4.40399

Abstract: The article describes and comments on the concept of the musical movement, the main ideas of which were formulated and substantiated by Aida Aylamazyan, psychologist and head of the Center for the Musical Movement "Heptahor". The author believes that in this case we are dealing with one of the new forms of experimental life, which in a peculiar way combines an unconventional art form (serious music and dance), a new way of life, partly opposing the established sociality, contributing to the formation of a new personality, as well as an organic symbiosis of alternative learning and self-education. The peculiarities of the practice of musical movement are characterized. The position is formulated that the musical movement demonstrates a new vital and artistic reality in which music is structured (articulated) by the dance movement, and dance is music. Two ideological turns (psychological and social) and the problem of a new anthropological synthesis, which contributed to new ideas and ideas, are considered. Aylamazyan needed an anthropological synthesis in order to comprehend the practice of the musical movement. It includes three areas of work: criticism of ballet as an example of the traditional understanding of dance and the person in it; characterization of the specifics of a new, free dance and its formation; the concept of a person who meets the practice of musical movement. The latter includes four conceptual ideas: 1) a new interpretation of the relationship between music and dance movements as two sides of one whole, 2) relates dance movements and the experience of music to the individual and partly to the dance community, 3) includes the practices of musical movement in a broader whole of culture, sociality, art, 4) interprets the practice of musical movement, including as learning and self-education processes.

Keywords: practice, concept, self-education, training, personality, musical movement, dance, music, life, creativity

DOI: 10.7256/2454-0625.2022.5.38079

Abstract: The article analyzes the features and meanings of the fantasy image of the Dragon in China and in European countries, their symbolism in historical traditions and in modern culture. In China, the Dragon is an example of the embodiment of a positive attitude of people, a symbol of goodness, well–being and universal worship, in Europe since ancient times it has been a symbol of evil and dangerous power, and the images of the legendary "dragon fighters" are recognized as heroes. The purpose of the article is to comprehend the resurgent interest in modern society in the peculiarities of the interpretation of this zoomorphic symbol in the cultures of the East and West. The concepts of the interpretations of the eastern and Western images were created in accordance with the spiritual needs that influenced their characteristics. A special contribution of the author to the study of this topic is the comprehension of the national influence of cultural traditions on the formation of artistic qualities in creating the image of a Dragon. It is concluded that the peculiarities of the evolution of images were manifested in the fact that in European art the images were oriented to realistic persuasiveness, and in Chinese art - to decorativeness. In addition, it was determined that the formation of this fantastic phenomenon occurred in accordance with the national mentality and the national picture of the world.

Keywords: decorative, national peculiarities, chinoiserie, interpretation, myths, symbols, the image of a Dragon, Long, spirituality, craft

DOI: 10.7256/2454-0625.2020.3.32397

Abstract: This article analyzes the relations between the Chinese writer Lu Xun and Soviet engravings. Lu Xun is attributed to one of the most prominent Chinese literary figures of the past century. His significant contribution to the development of culture also consists in the fact that in the 1930’s he collected, edited and published a substantial amount of Soviet engravings. This is why his is known in China as the “Founder of the collection of wood engravings”. The article represents an cross-disciplinary research in the field of art history, culturology and literature, particular in the area of history of Soviet art and Chinese literature. The research elucidates the key milestones of life path of Lu Xun, associated with the increase of cultural level of Chinese young students through familiarization of majority of the population with Soviet engraving. However, his relations with the Soviet art, and namely Soviet engraving, are insufficiently covered. The article talks about the forgotten achievements in the area of Soviet arts in China.

Keywords: fine arts, graphic art, woodcuts, Soviet woodcuts, Alekseev, Favorsky, Cao Jinghua, Lu Xun, exhibition, China

DOI: 10.7256/2454-0625.2022.3.37588

Abstract: The subject of the study is the historical accidental font used in the works of members of the Jewish art organization. "Culture League".The object of the study is the accidental font as an instrument of semantic and stylistic definition of these works within the framework of Jewish culture. The research uses methods of analysis of visual symbols in the works of members of the art section of the "Culture League" and their semantics, methods of synthesis and historicism in the formulation of the definition of historical accidental font. On the basis of the studied works of A. G. Shitsgal, T. O. Ivanenko, V. I. Lesnyak, the definition of historical accidental font is formulated; on the basis of the works of A. Amishai-Maisels, G. Kazovsky, B. Khaimovich, the prerequisites for the emergence of the Jewish artistic avant-garde and the foundation of the association "Culture League" are determined; works on avant-garde stylistics and semiotics of Jewish art by I. A. Sergeeva, O. A. Lagutenko, E. Frenkel made it possible to carry out a semantic and stylistic analysis of the accidental font in the works of artists of the "Culture League". The main conclusions of the study are: 1. The historical accidental font is a marker of a certain epoch and ethno-national culture. Its application allows artists to convey at the semiotic level not only the verbal meaning of the text, but also to expand its meaning to a global, socio-cultural level. 2. The Jewish association "Kulturliga" was part of the global artistic avant-garde of the first third of the twentieth century. The main goal and program of the association was the development of Jewish culture using new stylistic methods in the spirit of the times, with the use of avant-garde styles. The accidental Jewish traditional font was a clear indication that the work belonged to the Jewish branch of the artistic avant-garde. A special contribution of the authors is the formulation of the definition of "historical accidental font". For the first time, the authors analyzed the use of accidental font in the works of artists of the "Culture League". Keywords: historical accidental font, "Culture League", avant-garde, cubo-futurism, expressionism, Jewish shtetl.

Keywords: Issachar-Ber Rybak, shtetl, a Jewish place, expressionism, cubofuturism, vanguard, Culture League, historical accidental font, El Lissitzky, Mark Epstein

DOI: 10.7256/2454-0625.2019.5.29839

Abstract: The subject of the study is a unity of textual and visual components in the book organization space of the novel The Gathering оf Brother Hilarius by Michael Fairless. The aim of the study is to determine a connection between artistic narrative and a visual image of book illustrations of the novel (ed. 1913). In the study, a literary text of the novel, which helped the writer to represent the image of the main character and show a way of spiritual formation from a novice to the prior of the medieval monastery, is analyzed. Book illustrations, conformance, and author's discrepancies with the literary text were also examined. The methodology consists of the principles of scientific objectivity and historicism. The article uses comparative-historical, retrospective, problem-chronological, diachronic scientific methods. The novel is not translated into Russian and is not familiar to domestic researchers, illustrator Eleanor Fortescue-Brickdale is little-known in Russia, so addressing to it in the context of the given problem and the author's conclusions represent the novelty of scientific research. The conclusions establish the undoubted fact of successful interaction between the work of the writer and the artist. Historical specifics were not important for the writer, but the emotional component of the text was emphasized. The artist had a more difficult task: book illustrations should be clear to the reader. Illustrations of space, clothing, household objects, everyday activities of the characters were historically accurate to the English Middle Ages everyday life. Despite the differences, coming from a specificity of visual and verbal image and author's manners, romanticized, emotionally bright book organization was created. Therefore, the original English illustrated edition of 1913 was repeatedly reprinted. The publication is a perfect example of the unity of the space of the book organization.

Keywords: Margaret Fairless Barber, Michael Fairless, Middle Ages everyday life, book illustration, christian novel, visual image, the culture of England, England, Eleanor Fortescue-Brickdale, The Gathering оf Brother Hilarius

DOI: 10.7256/2454-0625.2021.8.36126

Abstract: This article compares two approaches: scientific, which is oriented towards the ideals of natural science; and holistic, which is oriented towards humanities. The author attributes the work of L. S. Vygotsky “Psychology of Art” to the first approach, however notices that the founder of Soviet psychology implements humanistic approach in addition to natural scientific. The object of this research is the aesthetic response; Vygotsky shows that art is the so-called machine of human development. In contrast to this, within the framework of holistic approach, the author outlines the two basic patterns that should encompass the wholeness and essence of art. On the one hand, this is artistic communication, while on the other – artistic reality. Artistic communication has ambivalent characteristics: as a special non-utilitarian environment of human life and communication, as well as historically formed semiosis of art. Both characteristics are explained using a brief genesis of establishment of art, simultaneously demonstrating the role of philosophical reflection, which is the key in determination and description of the artistic reality of artworks. The author aims to show that although artistic reality represents an artifact created with the use of expressive means, it is perceived by the audience as the world of natural events. The latter allow the audience to live to the fullest and fulfill their personality. The article discusses the alternative concepts of the purpose of art, as well as the role creativity, and realization of the writer's worldview.

Keywords: experience, events, semiosis, realization, author, work, reality, art, form, reader

DOI: 10.7256/2454-0625.2023.1.39654

Abstract: The article describes the experience of reconstructing the logic and process of building an artistic image. Reconstruction includes two stages: analysis of the creation of a specific artistic image and theoretical generalization in order to reach constructions that can be extended to other cases of the construction of artistic images. At the same time, the author in the reconstruction relies on his research of art and his works. In the latter, he examines, on the one hand, the problems that the artist solves, on the other hand, the answer to these problems, which is the construction of events of artistic reality. It is in this context that artistic images are created. Their function is twofold: it is an expressive means, one of the tools for building artistic reality, and at the same time the "bricks" from which the world of artistic reality is created. The characteristics of the image of Sarah from Meir Shalev's novel "Esav", the schemes and expressive means used in its construction are analyzed. The mystery of the impact of an artistic image on the reader is discussed. In the last part of the article, the author compares the artistic image with ideal objects in philosophy and science. He argues that an ideal object does not need to be perceived as an event, it is used in reasoning and cognition, where the main thing is not the vision and experience of a phenomenon, but the constancy, consistency of its properties; and the problems that a philosopher or scientist solves are different.

Keywords: narrative, composition, answer, problems, events, Schemes, artistic reality, expressive means, metaphor, image

DOI: 10.7256/2454-0625.2022.1.37303

Abstract: This article offers solution to the traditional problem of correlation of the artistic form and expressive means of art with individual creativity of the artist and audience. Comparison is conducted on the views L. S. Vygotsky and Mikhail Bakhtin on art. The author formulates the hypothesis that art is a life that is constituted equally on the laws of “Self” and the laws of artistic language and form. The hypothesis is proven by the authorial interpretation of art as a system that includes three different dimensions. The works of the prominent Israeli writer Meir Shalev serve as the illustrations. The first dimension indicates the social conditions of art: "non-utilitarian " (non-production) life of individuals dealing with art, which suggests spare time, opportunity to observe, reflect, experience, and not be criticized. The second dimension is artistic communication, which suggests the so-called division of labor, processes of comprehension and miscomprehension, intermediaries (philosophers of art, critics, and art historians) who help to interpret art and artworks. The third dimension is artistic creativity, the intersection of the lifeworld of the artist (and audience), challenges and creative pursuits, knowledge of the techniques and expressive means of art. The peculiarities of artistic creativity are viewed on the two cases: the description of absolute beauty in the novel “Fontanella” by M. Shalev, and reconstruction of the musical action of “The Poem of Extasy” by A. Scriabin, which encompasses the groups of musical action and symphonic performance of the poem.

Keywords: musical movement, image, communication, concept, understanding, artwork, art, personality, form, aesthetics

DOI: 10.7256/2454-0625.2021.10.36476

Abstract: This article analyzes the artistic reality of the popular TV series “The Marvelous Mrs. Maisel”. There author discusses the feedback of the viewers, including negative. The question is raised on the reasons of its series, as in terms of rigorous analysis it seems mosaic and contradictory. The article explores the artistic techniques (split mind of the hero, bringing modern problems to the past, which create the artistic reality). It is demonstrated that the TV series enjoys popularity namely for representation of the modern problems and situations, despite the use of historical records. Following the logic of comedy-drama streaming TV series, its creators my Sherman-Palladino and Rachel Brosnahan readjusted all historical and non-historical themes and plotline so it would be entertaining for the audience, rather than give knowledge of history. The reality of the series is not a stand-up story based on the example of Mrs. Maisel, but the artistic reality in the comedy-drama genre. Detailed analysis is conducted on the techniques of depicting split personality of the hero, as well as presentation of the actor’s personal life and problems as a skillful acting. The author wonders whether the TV series “The Marvelous Mrs. Maisel” reflects rather the structure of the mosaic mentality of the modern viewer, oriented towards entertainment and aesthetic experiences than the knowledge of life. At the end of the research, the author discusses how the producers managed to create a holistic and organic artistic reality of the TV series.

Keywords: representation, understanding, work, artistic reality, entertainment, assessment, TV series, event, problem, situation

DOI: 10.7256/2454-0625.2022.6.38336

Abstract: The article presents two plans for the analysis of the famous production of Rimas Tuminas "Eugene Onegin". The first discusses the problems and difficulties of translating Pushkin's poetic work into the language of the theater. At the same time, the author uses the analysis of this production carried out by Alexander Minkin in the book "Mute Onegin". In particular, a number of techniques are considered (splitting the heroes, Onegin and Lensky, into two persons, giving historical events a modern form of existence, which implies rethinking them); they, according to Minkin, were used in his production by Tuminas. The author provides a voice to Alexander Sergeevich, who does not recognize his work in the production of Tuminas, assuming that he solved problems far from those that interested Pushkin. In the second part, a reconstruction of the logic is proposed, in accordance with which Tuminas most likely acted, creating his own statement. The author shows that, firstly, Tuminas is not trying to present Pushkin's brilliant work in a new, modern way, but creates a new work, his own; secondly, the artistic reality of this new work is made up of very different events, including reflexive ones. He raises the question of how these heterogeneous events create a whole. If in the traditional aesthetics the artist depicts the world and life existing outside of a person (or inside him), which are considered as universally significant for everyone, then in the new one the world and events of consciousness of the personality of the artist and the viewer are described and constituted.

Keywords: event, action, conscience, communication, reality, interpretation, performance, theatre, art, understanding

DOI: 10.7256/2454-0625.2024.3.69774

Abstract: The material of this article is the life and work of a representative of St. Petersburg culture, combining different areas of personal manifestation in art, science and social activities. The author analyzes the features of the author's work; pedagogical and cultural and educational activities of O. L. Nekrasova-Karateeva; her experience in practical pedagogy: in the artistic development of children, in the professional education of students, in the scientific orientation of graduate students, in the support and additional qualifications of practicing teachers. The relevance of this work lies in the need to generalize the unique pedagogical experience for a modern understanding of the role and importance of art education in the humanitarian education of children, youth and adults. The purpose of the study is to determine the personal merits and contribution of O. L. Nekrasova-Karateeva to the scientific study of the psychological characteristics of aesthetic perception, understanding of art and the development of creative abilities for artistic activity at different age stages of maturation of a creative personality. The research methodology consists of a factual and systematic analysis of Olga Leonidovna's creative and pedagogical life. The analysis of the cultural and historical context allows us to understand more deeply not only the personality of Olga Leonidovna herself, but also her significant contribution to the development of Russian culture, science and art. The novelty of the research lies in a comprehensive approach to the analysis and study of her personal creative and pedagogical experience. The importance of scientific publications by O. L. Nekrasova-Karateeva in the field of psychology of children's drawing, principles and methods of teaching the basics of composition in DPI, methodology of art criticism, organization and participation in scientific conferences is noted. The article presents for the first time the early creative works of Olga Leonidovna, describes the artistic and cultural features of her multifaceted activities, notes the theoretical, methodological and pedagogical aspects of art education conducted by her in St. Petersburg.The importance of the publication is necessary as an example for modern young art teachers in personal participation and in maintaining a high level and developing culture and art in our country. In conclusion, it is noted that in various aspects of personality-oriented activities, the importance of her contribution is great.

Keywords: DPI Plant, Hermitage, Nekrasova-Karateeva, pedagogy, children's creativity, methodology of postgraduate research, decorative and applied arts, ceramics, psychology of children's drawing, art education

DOI: 10.7256/2454-0625.2021.9.36439

Abstract: Using the examples of displayed works of art, painting and music, this article discusses the ability of visual representation of ideas and verbal contents. The author compares two stages in the development of art: the early XX century with the popular were popular ideas of cosmism and the advent of the new world; and the present time characterized by pessimism due to the crisis of modernism. Analysis is conducted on the examples of artworks characteristic of each stage. The author dwells on why in the beginning of the XX century the artists were able visually create a complex verbal content and ideas, while at the present day it is quite challenging. The article determines two techniques of visualization of verbal contents ‒ works with the conceptual verbal explanations, which still do not allow to organically synthesize visual and verbal-conceptual planes; and complex work on conceptualization of verbal narratives. As the case for clarification of the second method, the author chooses the theatrical-musical-dance action projected and implemented by the psychologist Aida Aylamazyan, and offers the analysis of this technique as promising for solution of the problem of visual representation of ideas and verbal contents. The author believes that solution of such tasks requires creating the concept of artistic reality of the intended work, taking into account available visual means, potential audience, and personal aesthetic attitudes.

Keywords: concept, embodiment, verbal, visual, aesthetics, interpretation, understanding, work, content, art

Abstract: The article is devoted to the interaction between two opinions on naïve and primitive in culture and art. This interaction is very well shown in A. N. Ryleva’s and O.D. Baldin’s work ‘The Two Opinions on the Naive Art’. The ‘double’ opinion which is shown in the book is described as a picture of spontaneous metamorphoses and understanding of their nature. The author of the article also touches upon some argumentative issues.

Keywords: cultural studies, the naive art, primitive, avant-garde, symbolism, interpretation, culture, civilization, sociality, spontaneity.

DOI: 10.7256/2454-0625.2022.7.38317

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.

Keywords: Blessing of loaves, Wonderful fishing, pagan traditions, christian motives, plastic language, Slavic culture, religious painting, religion and culture, Slavic symbols, religion

DOI: 10.7256/2454-0625.2022.9.38590

Abstract: The article does not discuss Neretina's reconstruction of "Faust", but mainly her ideas about artistic creativity and art. At the same time, the author first briefly summarizes Svetlana Sergeevna's views on these issues. The author's poems are used as empirical material for presenting his own concept of art. The author separates the artistic reality in which events are set, and the means (words, sentences) that allow to pass into this reality. It is proposed to reconstruct the process of composing the presented poem by the author, including the adjustment to creativity, the formation of the idea and concept of the work, the implementation of the planned scenario, coordination and strengthening of all poetic constructions. The representations that were used in the construction of this poem can be divided into two classes: some (expressive means and script) belonged to culture, and others (artistic images, themes, words and sentences) are the result of the author's creativity. The question of how a person can fully live in an artistic reality, what kind of form of existence it is, is considered. The main thing here is the formation of the reality of art, its events and objectivity. In the process of this formation, awareness and rationing of art plays an important role. It is discussed why in previous cultures it was possible to attribute stable characteristics to the reality of art (imitation, expression, the beautiful, the sublime, classicism, romanticism, etc.), but in our culture it no longer works and postmodernism rules the ball. In conclusion, the author touches on the communicative and social aspects of art.

Keywords: understanding, poetics, composition, expressive means, artistic reality, word, creativity, art, reconstruction, shape

DOI: 10.7256/2454-0625.2022.5.37747

Abstract: During the period of the Republic of China, China was in the complex context of the fusion of Eastern and Western cultures. Under the influence of Western women's educational thought, the artists of the Republic of China entered the modern context of the Republic of China as participants. In this article, the object of research is the "new women's painting" from 1912 to 1949. The study includes an analysis of painting practices and artistic concepts of new women artists in the Republic of China. Under the influence of internal and external factors, their participation in the modern transformation of traditional Chinese fine art and contribution to the development of new women's painting. The paper examines the formation of a new women's painting in the Republic of China from the standpoint of culture, sociology and education. Studying the background of the appearance of new women's paintings in the Republic of China, the artistic value and historical significance of new women's paintings in the Republic of China were discovered. It is demonstrated how new masters were born and developed in the clash of Chinese and Western art, new and traditional ideas and concepts. They freed themselves from the shackles of feudal female ideas and pursued an independent personality, rights and freedom. In art, he promotes the modern transformation of traditional painting with its unique emotional expression and fusion of Chinese and Western styles.

Keywords: social change, feudalism, educational thought, cultural fusion, western culture, artistic concept, feminist thought, Republic of china, independence of the individual, women's painting

Abstract: The article is devoted to the analysis of the main philosophical concepts lying in the basis of artwork by a famous Russian artist Nicholas Roerich. The article contains a comparative analysis of Roerich art and teachings of Agni Yoga or so called Living Ethics created by Roerich family in cooperation with an Indian philosopher Morya in 1924–1938. Based on that comparison, the author makes a conclusion that the topics of the artist’s works are very close to Agna Yoga philosophical concepts and philosophical symbolism of his fiction is closely connected with the main provisions of this teaching. As a method of research, the author used the method of methodological reß ection. The results of the research can be used in further researches in the sphere of history of art and cultural studies of Roerich art and literature as well as in the sphere of Agni Yoga’s philosophy.

Keywords: history of art, artwork, Nikolas Roerich, symbolism, philosophy, teaching, the East, apocalypse, spiritual, evolution.

DOI: 10.7256/2454-0625.2021.11.36854

Abstract: This article explores the works of the famous Kabardian fashion designer Madina Alisagovna Hatsukova, whose costumes are worn by the guards of the King of Jordan, artists of Kabardino-Balkaria and Karachay-Cherkessia, prominent statesmen of the Chechen Republic, popular singers and musicians, and numerous ladies for their wedding ceremonies. The article represents a panoramic overview of the works of Madina Hatsukova, taking into account all aspects of interest of the designer. Description is given to various types of activity of the fashion designer – from hand embroidery and lace weaving to creating sewing patterns and scientific research on decoding of the ornaments in the museum samples of ancient costumes. This publication is inspired by the Madina Hatsukova’s personal exhibition “Princess of the Sun”, held in the North Caucasus branch of the State Museum of Oriental Art in Maykop in September-October 2021. The novelty of this article consists in comprehensive analysis of the works of Madina Hatsukova, which are widely known in North Caucasus and not so much to the Russians audience interested in modern ethnic costume. Although Madina’s works are intentionally limited to the traditional patterns and configuration, she experiments with different types of fabrics, their combinations and color solutions. National costume for a symbol of cultural revival, rather than a symbol of the past; it is the symbol of ethnic identification. Madina Hatsukova contributes to high symbolic load of the traditional costume, forms empathy of not only Circassians, but the entire multicultural population of the Russian Federation.

Keywords: symbols, signs, ornament, ethnic identity, exhibition, Circassians, national costume, Madina Alisagovna Khatsukova, swing robe, accessories

Abstract: The article is devoted to the member of the Russian Academy of Education and Russian Academy of Fine Arts, national artist of the Russian Soviet-Federated Socialist Republic, Dmitry Zhilinsky who turned 85 in 2012. The article describes his work and signifi cant events in his life before and after he became an artist. The article is based on published memories and expressions of the artist as well as personal impressions of the author.

Keywords: cultural studies, history of art, culture, creativity, fi ne arts, artist, talent, artist’s life, personality, spiritual values.

DOI: 10.7256/2454-0625.2022.5.37996

Abstract: The article is devoted to the discussion of the essence and nature of dance. At the beginning of the work, the author states his approach: consideration of dance within the framework of a broader whole (the reality of culture and communication), as well as development, analysis of new anthropological images and ideals, description of the reboot of physicality. Based on Aida Aylamazyan's research, the author characterizes two stages of dance development: the formation of classical ballet in the XIV century and the formation of free dance. In both cases, a new anthropological ideal was initially formed, the realization of which then entailed the formation of a new way of life, the transformation of physicality and a new synthesis of physicality in music. This pattern is confirmed by another anthropopractic, karate. In general, dance is considered from the point of view of three approaches: socio-cultural (analysis of new anthropological images and ideals), semiotic (the role in the formation of the reality of dance schemes and other semiotic cresdtv) and psychotechnical (the formation of a new physicality and reality). It is indicated that there is a need for another plan of study - psychological. Here, for example, "modes of the psyche" can be considered. The author assumes that living in dance and experiencing dance events is a person's life in a certain mode, conditioned by the dance narrative and the reality of dance. Without referring to the psychological plan, it is also difficult to talk about the formation of a dancer's personality.

Keywords: ideal, image, forming, development, becoming, personality, mentality, karate, dance, event

DOI: 10.7256/2454-0625.2013.1.62087

Abstract: The article is devoted to the artistic life of Leningrad (St. Petersburg) during the transitional 20 years (mid 1980 – mid 2000). The author of the article analyzes the development of art market, exhibition and gallery business and describes activities performed by unions of artists. It is concluded that new tendencies became evident in St. Petersburg only by mid 2000 when the ‘Western’ type of galleries were founded. These galleries have managed to combine business practice with promotion of modern art and certainly gave tone to this sphere.

Keywords: cultural research, art history, perestroika, art market, artist, exhibition, gallery, union, auction, festival.

DOI: 10.7256/2454-0625.2018.9.26836

Abstract: The article is devoted to the main ideas and themes of the new book written by E. Shapinskaya. Rozin explains why Shapinskaya brings together three forms of love, ordinary love, love in art and love of knowledge. There are two main methods that E. Shapinskaya uses in her work. It is a discursive analysis which features are analyzed by Rozin in his researech. The other method is the method that implies fitting discourses fit into the space of history and modernity. At the same time, the specified space is set by the opposition “modern - postmodern”, its elements are endowed with fixed but correlative characteristics. The ethical issues raised in the new book by the author of “The Faces of Love” are discussed. In his research Rozin has used the following research and commentary methodology: problem statement, situational analysis, text reconstruction, parallel analysis of creativity and personality, and comparative analysis. As a result of the research, Rozin identifies interesting ideas and features of the author’s work on a new book about love as well as artistic and scientific work to characterize the notion of discourse and discourse analysis, to consider the use of the modern-postmodern opposition, and to discuss the ethical problems posed by E. Shapinsky.

Keywords: interpretation, text, feminism, representation, science, art, sex, love, discourse, work

Abstract: The article is devoted to the issues of modern development of a traditional folk culture. The author of the article touches upon the two particular issues: language of the ‘objective folklore’ and its interaction with other layers of modern arts, in particular, with art crafts.

Keywords: cultural studies, art studies, traditions and novations, folk art, archaic cogitation, projection forms, post-Modernism, craft, occupation, legacy.

DOI: 10.7256/2454-0625.2020.5.32950

Abstract: The subject of this article is the role of mas in art culture of the Silver Age as a peculiar era of the “Russian Renaissance”. The term was introduced by N. A. Berdyaev and is present in a number of hisp philosophical writings. The object of this research is the Silber Age, perceived by the author as a somewhat mythological concept. Within the history of Russian culture “Golden Age” is attributed to the time of Pushkin, while “Silver Age” is a period of the bloom of modernism at the turn of XIX-XX centuries, when creative revival coincided in the visual and scenic arts, literature, music, science, and social life. The goal of this work consists in the analysis of dynamics and interconnection between artistic pursuits of the era of Russian modernism and the role of mask in this process The research results testify to the fact that in the Silver Age art prevails the cult of mask as a so-called challenge, protest against reality, which defined its special role in the works of painters, theatrical designers, symbolist poets, avant-garde filmmakers, whose experiments were aimed at determination of the new forms of relationships between art and the public. The relevance of study is substantiated by “interchange” of eras: new trends in development of sociocultural sphere of turn of XX-XXI centuries, when mask came into the people’s everyday life, and the image (persona) becomes an intrinsic part of communication process.

Keywords: world of Art, comedy del arte, cult mask, modernism, Russian Renaissance, silver Age, art culture, symbolism, theater vanguard, Conditional Theater

Abstract: The article is devoted to Moscow International Festival of naïve art and outsiders’ art work which has been taking place once in three years since 2004. The author describes the questions of formation and functioning of the so-called festnaive and analyzes exhibitions of artwork and the topics discussed during scientiÞ c conferences held within the framework of the festival.

Keywords: cultural studies, culture, naïve art, festival, museum, fringe, creative work, archetype, topics, genres.

DOI: 10.7256/2454-0625.2015.1.13691

DOI: 10.7256/2454-0625.2015.1.65883

Abstract: The article is devoted to the theatrical interpretation of Eugene Ionesco’s play ‘Exit the King’ that was first staged at Taganka Theatre in Moscow in 2012. The play was directed by a famous Polish film director Krzysztof Zanussi and the major part in the play was played by Valeri Zolotukhin, the People’s Artist of Russia, who played his last role in that play. Later the play was removed from the repertory but the question about the mutual understanding with the audience was left unanswered. The author of the present article focuses on how the theatre, based on a wide range of theatrical communication tools that had been accumulated for centuries, tried to help the audience to stand above the ‘isolated situation’ and get closer to universal human values. The author draws attention to the contemporary search for the universal language of art as a method of involving the audience into the dialogue built upon the principle of using such cultural universals as time, space, faith, home, love and etc., i.e. eternal existential constants of human existence and, which is equally important, upon the principle of shifting the emphasis from the word to the visual image in the play. The stage director Krzysztof Zanussi rethought the concept of ‘absurdity’ as a genre and overcame the atmosphere of despair which was typical for plays back in the 1960th. The tragic ending symbolized the release of spirit and therefore gave hope. The main theme of the play was the study of an ability of an individual to orient himself in the world when ‘culture does not provide a meaningful history and emotional experience and events cannot be included in the organic relationship between cultural generations’ (P. Kozlowsky). The play of Eugene Ionesco as a neo-classicist and avant-gardist showed the path to such interpretation as well.

Keywords: Theatre of the Absurd, culture, cultural universals, interpretation, communication, myth, hero, visual imaginary, spectator, dialogue.

DOI: 10.7256/2454-0625.2019.1.28557

Abstract: Performance of socially important orders through the monumental art has had a direct influence on the development of Crimea regional culture of the late Soviet period. For this reason, the object of this research is the monumental art of Crimea in the period of 1970 - 80s. The creativity of Crimean masters whose works are significant for a number of Crimean cities (Sevastopol, Alushta, Kerch, etc.) is the object of this research. In particular, Zolotukhina analyzes works of Greiser, Kramarenko, V. Atlantov and E. Volobuva. The methodology of this research includes philosophical, artistic and semiotic analysis of the aforesaid works and their influence on the city life. Monumental art of Crimea in the period of 1970-1980s has never been a matter of individual research which causes the novelty of the research. The author has analyzed monumental art that is not used by modern artists, for example, mosaic and encaustic painting.

Keywords: plastic form, culture, form, Soviet period, mosaic, Crimea, monumental art, urban space, composition, creation

Abstract: After the revolution Odeassa avantgarde was supported by Mikhail Boychuk, Ukranian follower of Diego Rivera and David Siqueiros. In 1923 the Polytechnic University of Fine Arts of the Odessa Art School was created where he and his students G. Komar, I. Gurvin and M. Gronets created the Faculty of Monumental Decorative Fine Arts. The main purpose of the new movement in arts was to go beyond the borders of salons and workshops and create monumental pieces of art addressed to common people. These ideas were supported by the Literary Fair almanac which editors, publicist N. Khvylevsky and writer K. Bureviy were attracted to Pablo Picasso’s works. After the war followers of classical avant-garde T. Fraerman, M. Zhuk and N. Shelutto continued to work in the South Ukranian school of arts despite the idealogical pressure. Early avant-garde traditions were later reviewed by their followers – leaders of nonconformism during 1950– 1960, O. Sokolov and Yu. Egorov, who created new fine art systems and anticipated nonconformistic findings in 1970th.

Keywords: art history, monumentalism, fine arts, nonconformism, trans avant-garde, boychukism, Mikhail Boychuk, Ruvim Fraerman, O. Sokolov, Yu.Egorov, L. Yastreb.

DOI: 10.7256/2454-0625.2018.6.26343

Abstract: The article is devoted to the problem that has been raised lately by Internet discussions, memory posts, and studies of famous writers' and poets' biographies. Based on the analysis of biographies and creative works of Marina Tsvetaeva and Anton Chekhov, Rozin considers two hypotheses of the relationship between the author and his or her everyday life. Vadim Rozin tries to prove that special reconstruction of both would allow to understand essential features of the author's creative life. In his research Vadim Rozin has applied his own methodology that implies problem statement, comparative and situation analysis, schematization and interpretation of literary texts, and generalisation. As a result of his research, Rozin has managed to compare two opposite interpretations of the relationship between the author's creative life and his or her everyday life as well as to demonstrate that the analysis of the author's personality and his or her creative life casts the light on peculiar features of his or her creative life and allows to understand essential moments thereof.

Keywords: reality, choice, life, poetry, art, interpretation, personality, work, creativity, author

DOI: 10.7256/2454-0625.2014.1.11930

DOI: 10.7256/2454-0625.2014.1.64240

Abstract: The problem of interpretation of a classical work of art with the help of modern artistic language has been examined in the paper. Opera “The Tempest” by the contemporary British composer Thomas Ades based on the play by Shakespeare and its stage representation have been analysed. The author shows the importance of fantasy element in Shakespeare’s work which helps the composer to show a number of problems of human existence, morals, power, love in a fairy-tale form, which accents the universality of these problems. The article also poses the problem of translating the meanings of the work in a different cultural context and in another cultural form. Methods of textual analysis of materials concerning the work of Th.Ades and its stage representation have been used as well as semantic analysis of cultural texts (the literary source and the operatic text). Elements of comparative study are also present in the paper. The novelty of the research work is in posing the problem of interpretation of a classical work not only by the language of a different period, but by another cultural form, which creates a complicated interpretative matrix. The author introduces into the field of Shakespearean studies the work of Thomas Ades, one of the most interesting composers of our time, who created an original and talented version of “The tempest” by Shakespeare for contemporary opera scene.

Keywords: classic, cultural form, interpretation, music, art culture, image, fantasy, translation, meaning, work problems.

DOI: 10.7256/2454-0625.2022.4.37835

Abstract: The theatrical performances that appeared in the country after the revolution of 1917 with an audience of tens of thousands of spectators were a landmark phenomenon of social and artistic life. The art of mass spectacles burst into the streets and squares, subordinating the historical architectural ensembles of Petrograd to an artistic design. These searches began in the Theater and Drama Workshop of the Red Army, which existed in Petrograd from 1919 to 1920. The article is devoted to the second theatrical performance of the Workshop вЂ“ "The Third International" (1919). The subject of this article is the reconstruction of the revolutionary theatrical performance "The Third International". The purpose of the study is to establish the director's method of creating a performance and to establish the origins of the activation of the viewer as a method of directing theatrical performances. The methodology of the research is of a historical and theoretical nature and is based on the classical methods of the Leningrad (Gvozdev) school of theater studies, the formal school of literary studies, the method of historical reconstruction of the performance developed by the German philologist and theater historian Max Herman. В A detailed reconstruction of the theatrical performance of the "Third International" of the Theater and Drama Workshop is given for the first time on the pages of a scientific publication. In the same view, N. G. Vinogradov-Mammoth for the first time introduces the activation of the viewer as a directorial technique. The results and conclusions of the study can be used in courses of lectures and seminars in the following disciplines: "History of the Russian theater of the XX century", "History of theatrical performances and holidays", "Theory of directing", "Directing of theatrical performances and holidays", "Fundamentals of dramaturgy of theatrical performances and holidays", "Screenwriting" and "Screenwriting composition", "Scenography of a mass holiday" and "Stage technique", "Methodology of studying mass performances".

Keywords: artistic method, Petrograd, Revolutionary Art, Alexander Park, The Third International, Vinogradov-Mammoth, reconstruction, directing theatrical performances, Theater and drama workshop, theatrical performance

DOI: 10.7256/2454-0625.2016.1.16793

Abstract: The article is devoted to the practice of dance improvisation based on the feeling of music expressed in an active motion. The researcher discusses how an action appears in response to music. He also raises questions regarding the difference between 'dancing to music' and 'dancing feeling music', the phenomenon of the latter, what triggers the phenomenon, the definition of a musical action and what features an action acquires when performed by a person experiencing music. The main subject under research is a special kind of personal attitude that involves the entire personality and makes personality to be responsive to music. In the course of his research the author of the article carries out a theoretical analysis and describes his own experience. Thus, the research presents some kind of philosophy of dancing improvisation, in particular, practice of a musical movement. The research provides the phenomenological description of living phenomena and depicts music as a special 'existential world' expressed in movements as well as the psychological description of particular factors that make a person be ready to perceive music. Culture-historical and activity approaches create the theoretical basis for the present research. The novelty of the research is caused by the fact that the author studies psychological conditions that contribute to the creation of a dancing or, more generally, expressive movement. The relationship between movement and music discovered by the author allows to take another look at the processes of form creation in art as well as the situation of teaching dancing and moving. The main conclusion of the research refers to feeling music as a continuous flow of time and existence. Expression of everyday emotions that can be found in music is esentially transformed according to the laws of musical form, musical existence and, therefore, musical time. Being ready to perceive music means being ready to perceive the form of existence that can be found in music.

DOI: 10.7256/2454-0625.2016.1.67332

Keywords: music, movement, personality, existential aspect of music, attitude, freestyle dance, time, center of motion, fluidity, form and meaning

DOI: 10.7256/2454-0625.2017.12.24768

Abstract: The article is devoted to the concept of the synthesis of arts as the aesthetic education program aimed at harmonious development of personality. One of the way to achieve this goal is free dance and plastic dance practice that is based on the connection between music and movement, group and individual improvisation. The author of the article analyzes the history of the origin of plastic dance in Russia as an original movement of free dance and focuses on the principles and goals of plastic dance. Musical plastic (or vocal plastic) action becomes a special artistic (scenic) genre. By analysing particular practices and events that express the idea of the synthesis of arts, the author demonstrates the problem in a new light and highlights the basic phenomena related to it. The psychological aspect of the problem is that the idea of the synthesis of arts being expressed gives us a new unique and intense experience. In the course of the musical and movement improvisation two mental aspects are combined, the conscious and the unconcscious, and an individual who was once split apart becomes one whole again and, as a consequence, physically and mentally healthy. Only the combinatino of developing and artistic expressive means makes it possible. The dance becomes a method of personal development that allows to develop free personality with harmonous body and soul who strives for high ideals and goals.

Keywords: aesthetic education, improvisation, musical-plastic action, musical movement, free dance, plastic dance, synthesis of arts, psychology of art, creativity, Isadora Duncan

DOI: 10.7256/2454-0625.2020.5.32555

Abstract: Based on the materials of the family of architects Zimonenko-Feierstein, this article examines the peculiarities of avant-garde and constructivism. Roman Feierstein and Lyubov Zimonenko graduated the Moscow University of Arctitecture and were taught by pedagogues – the representative of avant-garde and constructivism. To understand the nature of avant-garde and constructivism, the author characterizes the goals and tasks solved by these trends and concepts, as well as analyzes the works of Roman Feierstein and Lyubov Zimonenko. It is demonstrated that constructivists create artistic reality, juxtaposing and simultaneously combining various processes and contents, sending over consciousness of a spectator to a particular reality. This pattern is inherent not only to figurative art, but also literature. The article employs situational and comparative analysis, methods of reconstruction of the works of applied arts and generalization. As a result, the author was able to reveal certain peculiarities of avant-garde and constructivism as an approach and activity, as well as underline that avant-garde and constructivism as approaches also suggest conceptualism. The role of conceptualism consists in outlining and explaining of reality, created by an artist for their audience.

Keywords: architecture, piece, creativity, art, building, constructivism, avantgarde, design, space, environment

DOI: 10.7256/2454-0625.2024.4.70227

Abstract: The article separates the concept of art synthesis and a new intellectual practice, which the author called "creativistics". The motive for this distinction was the research of works of art and dance by Aida Aylamazian and the author. Based on the work of Guzel Yakhina and Meir Shalev, the turn from art to life and creativity is analyzed. It is within the framework of such a turn that the phenomenological discourse is realized, among other things. The article considers Shalev's 1985 work "The Bible Today", which is read with enthusiasm, but it is almost impossible to understand what kind of creativity you are dealing with. A number of parts of this work are written as fiction novels, others refer to commentaries on the Bible and scientific research; to the author's reflections on life; to the history of Israel; to modern life; refer to different types of creativity and knowledge. Nevertheless, this work is perceived holistically and organically. All this is typical for creativistics. The question is posed: how does creativistics manage to create a complete work, a real new world, from completely different discourses and constructions (artistic, scientific, psychological, historical, etc.)? At the end of the article, the features of creativistics are discussed. First, the creative artist does not hide the different discourses and grounds he uses, moreover, he often points them out to the user either in the form of preliminary explanations or by characterizing the concept of the work. A necessary condition for such an approach is a more or less deep reflection of one's own creativity. The second feature is due to the difficulty for the user to understand the reality of the work of creativistics: he easily recognizes individual discourses, but since they are different, and often outwardly opposite, the user cannot grasp and assemble the whole, understand what events he encounters, how they are interconnected.

Keywords: reality, approach, creativity, discourse, understanding, reconstruction, creativistics, composition, art, content

DOI: 10.7256/2454-0625.2017.6.23451

Abstract: The aim of this research is to find out universal foundations of the archetypal plot interpreted in different cultural contexts and in different cultural forms. Having appealed to the medieval plot, the author of the article views modifications of the plot at different epochs, how it was conditioned by the environment and how the semantic core of the texs stayed unchanged. Based on the legend about Tristan and Isolde the author has traced changes in semantics of different cultural contexts. The author also analyzes interpretation strategies typical for different artistic presentations of the legend (opera, drama and artwork). In her research Shapinskaya uses the method of textual analysis, descriptive and comparative methods as well as elements of the semantic analysis. As a result of the research, Shapinaskaya demonstrates that the semantic core of the legend contains universal human values relevant for each historic cultural formation. The essence of this meaning has been shown in symbolism, with its negation of attachment to a time or a place. Comparing the Tristan and Isolde legend to the symbolist drama “Pelleas and Melisande” by Meterlinck and opera by Debussy allows to better understand human values contained in the legend which explains why interpretations of the legend have been so frequent in art.

Keywords: drama, symbolism, romanticism, legend, midaeval literature, corteous love, archetypal plot, opera, interpretation, semantics

DOI: 10.7256/2454-0625.2023.12.69480

Abstract: The article is devoted to the embodiment of the image of the Yakut opera singer, People's Artist of the USSR Anegina Ilyina in the Yakuts visual arts and literature. For the first time, this article discusses issues related to the disclosure of the theme of an outstanding contemporary woman - famous figure of musical art as a carrier of creativity. The subject of the study is the image of a talented Yakut vocalist captured in the best works of fine art (L.M. Neofitoff, V.R. Vasilyeff, A.N. Ossipoff, L.D. Sleptsova) and literature (Semen Daniloff, E. Neimokhoff, I. Gogoleff, L. Popoff P. Kharitonoff). The object of the study is the work of Yakut artists and writers of the second half of the 20 - 21 centuries. For the first time, the article explores a previously unexplored aspect of their work. The descriptive, comparative, iconographic, historical-biographical methods are applied, which allow us to reveal the topic most effectively. This image presents the ideas of female beauty and natural talent inherent in the national consciousness of the people, which indicates that in the 1960-1980 in the perception of the Yakut society traditional ideas based on the mythology and folklore of Sakha were quite strong and stable. Thanks to her natural talent, studying in the class of the People's Artist of the USSR, professor of the Moscow State Tchaikovsky Conservatory N.L Dorliak A.E. Ilyina was able to take place as an outstanding master of Russian academic vocal performance and herself as a creative personality had a great influence on the creative inspiration of many writers, artists and the development of Yakut art in the Sakha Republic (Yakutia) in the second half of 20 centuries. This article is the first experience in studying of this scientific problem.

Keywords: embodiment, image, graphics, poetry, painting, opera singer, fine arts, Yakut literature, Yakut art, Anegina Ilyina

DOI: 10.7256/2454-0625.2024.3.70032

Abstract: The article discusses the principles of the artistic organization of advertising and information support for international periodical exhibition projects of contemporary art of the XX-XXI centuries, the development of which is due to a wide range of artistic practices and the search for effective and dynamic means of communication with the audience. The object of research is the media of information about the exhibition project - printed materials, outdoor advertising, digital media, information content of the exhibition environment. The purpose of this article is a comprehensive analysis of conceptual approaches to the design of advertising and information support for modern Russian and foreign periodic exhibition projects. The periodicity allows us to trace the dynamics of the transformation of individual elements of the exhibition design, their relationship with the ideological content of exhibitions, to identify expressive means and artistic and imaginative solutions for the design of advertising and information support, to identify general cultural factors influencing its formation. In order to reproduce the holistic development of the advertising and information support of the biennale, the article uses a systematic approach, formal stylistic and comparative methods. The analysis of the elements of the graphic design of the international exhibition systems and the Ural Industrial Biennale of Modern Art made it possible to identify the specifics of the exhibition identity, the connection with the conceptual content and organizational structure of the projects. The author of the article comes to the conclusion that the development of the design of advertising and information support, as a synthetic activity, is due to the constant creative search for new conceptual content of the exhibition and the rethinking of compositional means of graphic design of media about the project, experiments with new materials that involve visitors in a discussion about the nature of modern art.

Keywords: poster, logo, advertising, identity, visual identification, graphic design, contemporary art, biennale, exhibition, exhibition catalog

DOI: 10.7256/2454-0625.2017.3.22995

Abstract: The author is interested in the connection between science and art. To discuss this issue, he used his own work having adopted only one narrative line from it, the story and the vicissitudes of cosmoguals. According to one of the heroes of the novel, Black tells the story of the invasion of the earth by extraterrestrial beings - cosmoguals, who enslaved people and feed on their psycho-radiation, but at the same time, contribute to their development and creativity. In the first part of the article "How did the author learn about cosmoguals?" Rozin tells us how the main character of the novel, Mark Vadimov, got acquainted with Cherniy and his theory. Later Viktor Zun appears from the parallel reality, Vadim's friend who tragically died. In the second part of the article "Cosmoguals guide the evolution of the mankind" the reader was able to look at the development of the Earth and humanity as a thoughtful although soulless and very strange project. This is the last part of the article. It is clear that the way the author constructed his discourse was not quite ordinary. It included rational (philosophical and scientific) considerations and artistic, both scientific facts and fantasies. All these heterogeneous elements are connected on the basis of methodological considerations and creativity. As a result, Rosin succeeded in posing several problems: the synthesis of scientific and artistic thinking, the reality and the existence of fictional phenomena (after all, all phenomena, even very real, were at first imagined or invented by someone), and explanations of the evolution of mankind. In addition, he really built a scientific and artistic discourse that allows to discuss the listed problems.

Keywords: discourse, art, science, novel, psychic energy, reality, evolution, Cosmoguals, transition, music

DOI: 10.7256/2454-0625.2023.12.69274

Abstract: The article examines the symbolism of "snow painting" in the context of the development of a range of motifs and means of artistic expression, techniques of execution, which artists have chosen since the inception of this type of landscape genre to the modern situation. This analysis is implemented in the context of changes in the reception and reflection of elements of winter species caused by transformations in the worldview of people of a particular era occurring in the socio-cultural sphere. The object of research is the winter landscape in Chinese painting of the III – late XX century. The subject of the study is the symbolic system in the construction of artistic space in the winter landscape in Chinese painting of the specified period. The purpose of the study is to determine the features of spatial worldview in the "snow painting" of China in the context of national aesthetic and philosophical ideas. The research methodology is interdisciplinary and includes the study of the organization of space and the interpretation of its symbolic content in the paintings of Chinese landscape painters who turned to the image of winter and the motif of snow at different historical stages. When considering and analyzing works of Chinese painting, the iconographic method and stylistic analysis are used. The novelty of the study lies in the fact that it clarifies the concept of "snow painting" in the context of the development of Chinese fine art, identifies the circle of authors who addressed it, establishes a certain continuity in the artistic, stylistic and compositional techniques used by them, as well as the philosophical and aesthetic concepts behind them. The latter are directly related to the specifics of creating such works, as well as the means of modeling space by artists, which is revealed in the conclusions of the study. Within the framework of the analysis, the range of frequently used motifs and images is determined, their interpretation of the symbolic meanings associated with them are proposed. Snow in such painting is considered as a symbol of beauty, loyalty, nobility, as well as part of the "emptiness" in the artistic space of the painting.

Keywords: landscape painting, snow, the image of winter, snowy landscape, snow painting, Chinese painting, Chinese art, religious and philosophical ideas, aesthetics, reception and reflection

DOI: 10.7256/2454-0625.2014.2.12161

DOI: 10.7256/2454-0625.2014.2.65010

Abstract: The subject under review of the present article is the phenomenon of musical movement being viewed in respect of the three aspects: as the method of esthetic education, as a practice of cultural-historical psychology and a new type of art. The researcher makes an attempt to cast light on the ‘biography’ of the method of musical movement and the studio Heptachoir in terms of cultural psychology. Musical movement was first created by inspiration and intuitively but later it acquired a coherent system and turned into a method that strives for generation of an emotional response to music in a form of a movement. Musical movement discovers the face of human and revives the phenomenon of choir as the unity of personalities and individualities. The present research was carried out in terms of the humanities and the research methodology was based on the dialogism principle offered by Mikhail Bakhtin and developed by Lev Vygotsky in his cultural-historical psychology. Musical movement is a unique and one-of-a-kind practice that has its own targets, place in culture and pat of development. Polyphony of human culture is very well expressed in the phenomenon of musical movement. Peculiarities of musical movement come out literally in all aspects of musical movement practice. However, the most amazing and crucial aspect is the attitude to spiritual, or ‘classical’ values in musical movement. Aiming for the rise of the human soul trough music is the essence and meaning of musical movement.

Keywords: culture, dialogue, psychology of art, image of human, plastic canon, musical experience, improvisation, musical movement, musical (vocal) plastic action, choir, face, Heptachoir.

DOI: 10.7256/2454-0625.2013.2.62494

Abstract: The article is devoted to the meaning of images and art of the Russian North continued by national cultural traditions of Russia (based on the world perception and creative work of M. Vasnetsov, V. Vasnetsov, Ap. Vasnetsova, Ar. Vasnetsova, N. Vasnetsova and Al. Vasnetsova. Images of the Russian North often appeared in their natural landscapes, genre paintings, literary writings, fairy tale ad religious paintings and decorative patterns. Those images helped artists to continue Russian cultural traditions. It is especially shown in creative work of V. Vasnetsov. The author of the article focuses on his childhood, young and mature years, analyzes images of the North in his art work and graphic, architecture projects and decorative art (furniture first of all). Images of the North helped the artist to understand the nature of folk life and traditions and had a significant influence on V. Vasnetsov’s style and artwork.

Keywords: art history, art, culture, traditions, art language, Russian North, the Vasnetsovs, fine arts, architecture, furniture.

DOI: 10.7256/2454-0625.2016.2.16834

Abstract: One of the themes discussed by Rozin in his article is the possibility for the synthesis of art and science. Discussing this topic, the author creates the discourse that combines scientific and art genres. Relying on modern philosophical, semiotic, psychological and biological researches, Rozin establishes the concept of 'cosmogual' in a form of a novel. In his novel cosmoguals are aliens who feed on mental energy of humans and have long been guiding human development and evolution. The first part describes how the author of the novel Mark Vadimov has learnt about cosmoguals from the Black Communicant and what comogualies are. Victor Zun, Vadimov's friend who died tragically, also appears in the story. The first part of the article is ended with the commentary of Rozin regarding the reality and existence of cosmoguals. Quite obviously, the discourse made by Rozin is quite unusual. It involved both rational (philosophical and scientific) considerations and fictional methods such as scientific facts and fantasy. The author's methodology and creative work are what brings together all these diversified elements. As a result, Rozin has managed to touch upon a few important issues such as the synthesis of scientific and artistic thinking, reality and existence of fictional phenomena (in fact all phenomena, even very real, were originally thought up by someoine), explanations of human evolution. In addition, Rozin has actually created a scientific and artistic discourse that allows to discuss these problems.

Keywords: cosmoguals, evolution, reality, mental energy, novel, science, art, discourse, transfer, universe

DOI: 10.7256/2454-0625.2016.2.67609

Keywords: cosmoguals, evolution, reality, mental energy, novel, science, art, discourse, transfer, universe

DOI: 10.7256/2454-0625.2016.2.18118

Abstract: The subject of the research is the scenic painting of Martiros Saryan. Saryan's theatrical art is viewed by the researcher in terms of cultural and artistic events of the 1920s when Saryan worked in Rostov-on-Don. The documents that are left from those times demonstrate the active social activity of the artist and his work for the Theatre Workshop which performances were seen by Nikolay Gumilev, Viktor Khlebnikov, Vsevolod Meyerhold and others. During the Yerevan period of Saryan's creative work (after 1921) the emphasis is made on his creating the curtains for the First Yerevan State Theatre. During Paris period Saryan's works demonstrate the beginning of changes in his style of easel painting. Later those changes would be reflected in his late scenic painting. In the course of studying the creative work of Martiros Saryan the author fo the article has used the art history methods, mostly plastic and comparative analysis of his works. Special attention is paid top the analysis of the curtains created for the First Yerevan State Theatre. Special contribution made by the author fo the article to the studies of Saryan's artwork is his thorough research of documentaries on artistic life of Russia and Armenia of the 1920s. Asaturov provides a broad description of the cultural environment in which the first Saryan's works were created including the life of intelligentsia, art community, literary and theatrical environment where Saryan's style of scenic painting was developed. The novelty of the research is, first of all, caused by the fact that the researcher studies the life of the art community in Rostov-on-Don in the 1920s and the role of Martiros Saryan in that community. Special focus is made on the interaction between Russian intelligentsia and Armenian community living in Nakhichevan-on-Don which has been scarcely studied before.

Keywords: portrait, Armenia, Paris, Martiros Saryan, theatrical scenery, theatre workshop, landscape, Armenian artists, Tbilisi, Yerevan

DOI: 10.7256/2454-0625.2016.2.67610

Keywords: portrait, Armenia, Paris, Martiros Saryan, theatrical scenery, theatre workshop, landscape, Armenian artists, Tbilisi, Yerevan

DOI: 10.7256/2454-0625.2015.3.14635

Abstract: Problem of authorship in art is a modern problem which had not existed in traditional culture. An author often hides behind own characters. This happens due to the motivation reasons of creativity (which can be understood on a psychological level of analysis) when an emotional move or event in the author's fate becomes the turning point for revealing own Self or some internal divine spirit. Therefore, this problem can be regarded on the metaphysical level as well. Metaphysical perspective on the works by Alexander Pushkin, Nikolai Gogol, William Shakespeare takes us to some new meanings of art and authorship. The examples from other fields of art: cinema, music – provide additional arguments in the article. The suggested method of research – quasi artistic construction of the study itself. In this case an interconnection between semantic turning points occurs in the course of the text.The main conclusions of the paper are: that the authorship of a work of art has a complex structure, which creates a certain amount, which requires constant change of view, referring to topics indirectly related to the main topic of research. This particular aspect of the consideration of authorship is a new philosophy and aesthetics. The problem of authorship is a specifically modern problem of culture

Keywords: a work of art, duality, factuality, genius, public space, stage, characters,, Author, Russian culture, language passion

DOI: 10.7256/2454-0625.2015.3.66374

Keywords: a work of art, duality, factuality, genius, public space, stage, characters, , Author, Russian culture, language passion

DOI: 10.7256/2454-0625.2013.5.9560

DOI: 10.7256/2454-0625.2013.5.63370

Abstract: The phenomenon of lyric poetry is described in the article as a special, internally necessary form of self-realization of the person in culture and, moreover, as a special form of self-realization of culture as it is. At the heart of this phenomenon there are the principles of spontaneous self-discovery of human personality in a rhythmic speech flow and at the same time – spontaneous integration of the personality into elements and meanings of language and culture. Both of these principles assume, first, expansion of a search field of human memory and associations, and, secondly, a search field of communication between people. Thus, the lyric poetry appears to be a necessary ingredient of historical development in human culture. Supporting our need in implicit but deep and heart-felt conversation with people who are different from us, the lyric poetry also appears to be an essential ingredient of sociality and civil relations, accustoming us to self-knowledge and aspiration to find contacts with the other person and, therefore, to wisdom and tolerance.

Keywords: cultural research, lyric poetry, creativity, culture, language, existential, sudden, spontaneous integration, interlocutor, reference.

DOI: 10.7256/2454-0625.2013.6.9795

DOI: 10.7256/2454-0625.2013.6.64023

Abstract: The subject under review is Aubrey Bersley’s paintings and extracts from his erotic novel ‘Under the Hill’ published in The Savoy Journal in 1896. The purpose of the present research article is to show that the academic interpretations of Bersley’s works showing the Victorian audience as being homogenous and unified aren’t quite right. For this purpose, the author of the article studies rhetoric and techniques used by Bersley in his works and describes the target audience Bersley could have addressed his works to. Contextualization of Bersley’s writings proves that his writings were nothing else but structured exclusive subcultural codes that could not have been read by most of Bersley’s contemporaries. Implicit addressees of Bersley’s works were experts in the backstreet pornography, homosexual men and members of the closed society of decadents of the 1890th whose icon was Oscar Wilde even before he was arrested for homosexual relations. The approach used by the author of the article shows how inconsistent and different Bersley’s audience was. The author also questions the academic point of view on the common perception of Bersley by Victorians.

Keywords: contextualization, researches of sexuality, Oscar Wilde, Victorian Decadence, Aubrey Beardsley, cultural research, semiotics, Savoy, Under the Hill, Aubrey Beardsley.

DOI: 10.7256/2454-0625.2015.6.16467

Abstract: In his article Spektor analyzes the historical and genetic aspects of the tragic action traced back from the times when the tradic action was first performed as part of rituals (in comparison to the comedy which has common historical sources with the tragedy). In addition, the author of the article compares the referencial subbase to developing views on the essence of the tragic action performing the functin of mimesis in narrative. Special attention is paid to the relationship between syntagma and paradigm in the tragedy as well as ontology of the tragic action due to its influence on the phenomenological and existential philosophy of the XXth century. The method of the research chosen by the author refers to a successive reduction of the tragic to its historical bases; the structural components of the tragedy revealed in the course of the research are studied further from the point of view of their genesis. The scientific novelty of the research is caused by the fact that the author establishes the structure of the tragic action that includes the initiating mystery play, dialogic agon and integral fiction. The author of the article demonstrates that the tragedy constructs the concept of death in ontology and ideology of reality (physical bodies) through describing the path to death (one's own death or death of the other). The absence of alternatives to death represents the irreversible presence.

Keywords: Tragic, patrimonial, substantive, laughter, paradigm, syntagma, lives-to-death, genesis, sacrifice, initiation

DOI: 10.7256/2454-0625.2015.6.67061

Keywords: sacrifice, tragic, patrimonial, substantive, laughter, paradigm, syntagma, lives-to-death, genesis, initiation

DOI: 10.7256/2454-0625.2017.3.18152

Abstract: The subject of the research is the specific artistic practices of Moscow conceptualism, in particular, such typical genres as painting, graphics (album and catalogue cards), actions and installations. The researcher focuses on such issues of the problems of the artistic language, the loss of autonomy and demateralization of art objects, and procedurality in conceptual works. The author relates the change in the formation to the search for new forms of communication and expression. In a conceptual work the perception is focused on the context where the work is created and exhibited integrating discussion and communication into the structure of the work. The methodological approach involves historical analysis of the artistic practices of Moscow conceptualism. Typical genres and individual works are analyzed from the point of view of changes in the perception process as well as the relation to socio-political and ideological environment. The main conclusion of the article is the idea about merging artistic and life practices in Moscow conceptualism. Working with the principle of indirect expression, artists create new situations for communication. Defining ideological standards for expressoin and behavior, conceptualists search for new ways to overcome them and to give a new form of expression to one's mind. Creativity is thus integrated into the real life of artists and their friends (audience) as the mean of everyday communication.