DOI: 10.7256/2454-0757.2022.8.38638

EDN: UFBMMG

Abstract: The subject of this research is the rehearsal process in choreographic art. The object of the study is the comprehension of this process as a creative integration of an artist and a teacher-tutor. The author examines in detail such aspects of the topic as the role of an artist, the preparation of a ballet dancer for a performance, gives examples of works of art that contribute to honing the professional skills of dancers. The author focuses on the importance of participation in stage practice during the years of study, which allows you to feel more confident on stage as a professional ballet dancer, and also points out the main contradiction – the time limitation on the preparation of the artist for the part and the need to demonstrate impeccable performance. The importance of this research is expressed in the fact that in modern education and tutoring work in the theater, such a phenomenon as creative integration is an important factor in achieving the goals set, namely in obtaining and maintaining the professional level of academic theaters. The result of the conducted research is the design of a model of modern training of artists to participate in performances of the classical repertoire, with a focus on preserving the choreographic text and heritage as a whole. The novelty of the research lies in a comprehensive approach to the characterization of the creative integration of a ballet dancer and a teacher in the process of preparing for a performance, determining the leading professional traits of dancers, the presence of which allows us to realize the task of creating a high-quality product of joint activity of the performer and the teacher-tutor.

DOI: 10.7256/2454-0757.2022.8.38489

EDN: XAYJVX

Abstract: The current situation in the manufacture and positioning of clay toys in Russia — a country with rich traditions of the existence of large and small crafts of this kind — is ambiguous, but has positive dynamics. The appeal to the activities of individual toy makers, both amateur and professional artists, provides the basis for understanding the current state of the craft. Of interest is the analysis of the search by craftsmen from different parts of the country for new artistic solutions both in terms of the shape of products and their decoration, in conditions of following the principles of craftsmen of the past. Currently, there is a surge of interest in clay toys in the works of modern masters from Russian researchers. However, a comprehensive study of its existence in various villages and cities of Russia has not been conducted. This determines the need to establish "hotbeds" of craft development, identify the most prominent representatives, establish links between modern creative activity and the traditions of the past, as well as identify new things that artists offer in their activities. The study also includes those crafts that have emerged recently and are not the result of continuity, but have a rather distinctive form and use elements of the artistic language of other crafts.

DOI: 10.7256/2454-0757.2022.8.37533

EDN: YVPSFD

Abstract: The article is devoted to the philosophical views of Swami Vivekananda, reflected in his commentary on the Yoga Sutras of Patanjali. The text under study is one of the few Indian commentaries on the Yoga Sutras translated into Russian. The object of the study is a widespread translation of the commentary, made and published by Ya. K. Popov in 1906. The popularity of yoga as a health-improving practice increases interest in its spiritual component, therefore, the study of Vivekananda's commentary on the Yoga Sutras seems to be an urgent task. The purpose of this article is to analyze Vivekananda's commentary for the authenticity of the transmission of the content of the ancient text and the reflection of the teachings of the Bengali thinker. Since Vivekananda's commentary on the Yoga Sutras has not been studied by domestic orientalists, and has not received comprehensive coverage in foreign studies, the results of his analysis contain scientific novelty. Using the hermeneutical method, it is revealed that the philosopher forms a commentary on the ancient text mainly to demonstrate the basics of his teaching. Vivekananda's work expresses his Orient-centric position, as well as the author's beliefs in accordance with the provisions of yoga to his contemporary science. Since the philosopher's views are in line with Advaita Vedanta, the ontological foundations of yoga are interpreted by him according to this philosophical school. The commentary of the late XIX century anticipates modern ideas of the healing potential of yoga and the superiority of experienced knowledge of the Divine, and also demonstrates the predictive talent of the Bengali thinker.

DOI: 10.7256/2454-0757.2022.8.38681

EDN: VPYGIG

Abstract: The article discusses the meaning and content of the concept of nothingness introduced by S.S. Neretina in the book "The Earth Hums with a metaphor". Philosophy and Literature" (short story "Lermontov: the semantics of repetitions"). The author identifies five main characteristics in this view: nothing as freedom (where freedom is understood by Neretina "as peace, silence, silence, love and – as "I"); nothing as balancing on the verge of being and non-being; as an opportunity to express this reality in poetry, while philosophy makes it impossible to think of anything"; nothing as a denial of everything, including life; finally, nothing is set as a reality opposed to culture. In this interpretation, nothing is a rather complex semantic formation, but generally understandable, if we keep in mind the task that Neretina solves: on the one hand, she finds out the relationship between literature and philosophy, on the other, she thinks through Lermontov's dramas.   Neretina claims that Lermontov, like Goethe, was a special poet – poet-philosopher, he, as a thinking person, following such Russian thinkers and poets as, for example, Chaadaev and Pushkin, tried to understand why an honest, educated person "woe from wit", why he often ends up badly. The article discusses Lermontov's dual position as a poet and a latent thinker (philosopher), as well as the work of a modern writer who thinks through the existential problems of time in an artistic form. The author comes to the conclusion that the nothingness introduced by Neretina and attributed to Lermontov differs from the nothingness of St. Augustine, is given by the five listed characteristics, and represents a problem as an independent reality and whole.

DOI: 10.7256/2454-0757.2022.8.38651

EDN: UJFQKL

Abstract: The article analyzes the problem of the correlation of morality and ideology. The author believes that the distinction between morality and ideology can be made only at the level of their genealogy: if ideology is a socio-cultural product, then morality is rooted in human nature, in "moral intuitions", which medieval scholastic philosophy called synderesis. In modern ethics, synderesis can be identified with the neurophysiological prerequisites of morality. Opponents of this approach argue that, firstly, it excludes free will, and secondly, it does not explain the content of moral values and norms in any way. The author of the article criticizes these statements and offers his original theory of synderesis. The article draws an analogy between ethics and intuitionistic mathematics, which considers mathematical objects as the results of intellectual construction based on initial intuitions. Ethical objects should also be considered as constructions based on innate intuitions. Moral intuitions do not exclude free will, since they rely on rationality inherent in our nature, the main property of which is the ability to make decisions regardless of external stimuli and internal states. In addition, these intuitions influence the content of our norms, as they are the "operators" of their construction and are included in the "final product".

DOI: 10.7256/2454-0757.2022.8.37525

EDN: YJKEIU

Abstract: The maqam, closely connected at first with the cult-ritual practice, absorbed and reflected philosophical and ethical ideas. These ideas, fixed in the system of maqams, despite their clear canonization, changed; they underwent a certain historical transformation due to changes in the social structure of society itself. However, the main aesthetic function of the maqam, the nature of its emotional and psychological impact on a person, a deep connection with the world around him, remained in the view of Eastern thinkers and musicians unshakable until the XX century. Today, macs should be understood on the one hand as a paradigmatic structure, on the other hand, as a compositional form. The subtlest gradation of human feelings, emotional and psychological states also determined a carefully developed (theoretically) mode, intonation, pitch system of images, symbols, signs, their connection with specific manifestations of spiritual experiences and emotional states. Certain universal principles of musical dramaturgy are observed in the makam, based on diverse contrast: fret, timbre-register, dynamic, vocal-instrumental, rhythmic. These internal contrasts are infinitely diverse, but they are outlined so subtly, barely perceptible. Instrumental and vocal-instrumental music in Islamic culture was mainly an environment of professional musicians who mastered the art of maqam thinking. Makam represented the unity of the theory of performing practice for musicians.

DOI: 10.7256/2454-0757.2022.8.38490

EDN: YJRIOQ

Abstract: Chinese animation of the beginning of the XXI century shows significant progress. A number of cartoons and animated series have been released. The hypothesis of the study is that their imagery, plots, and artistic features differ from foreign cartoons and gradually acquire a national identity. This process began in the 2000s, and its pace is only increasing, while it arouses interest from foreign studies, including Russian ones. The typological analysis of the images of the characters of famous Chinese cartoons created at the beginning of the XXI century, as well as the analysis of stylistic and artistic features used by the authors to convey the uniqueness of the character, as well as to emphasize its belonging to Chinese culture, is the main problem of the article. The purpose of this research is to study the specifics of modern Chinese cartoon characters, to identify the features of the development process and the formation of their individual traits in accordance with national characteristics. Chinese animators tend to use the language of traditional art, attributes and symbols characteristic of the national culture. An appeal to the analysis of modern cartoon pictures allows us to highlight the main features of animated characters "with Chinese specifics". In addition, it is of interest to compare the features of the formation of images associated with China in foreign animated films and the characteristic features of characters appearing in the works of modern Chinese animators.

DOI: 10.7256/2454-0757.2022.8.38549

EDN: YYAUHU

Abstract: The image of St. Petersburg is an integral part of Russian art, in particular, in watercolor painting. This article is devoted to the analysis of the work of Russian watercolor artists, identifying the specifics and characteristic features of the image of the city on the Neva in their work. The object of the study is watercolors by Russian artists, the subject is expressive means, techniques and methods through which the image of St. Petersburg is embodied. On the example of watercolor works by E.P. Gau, I.A. Vladimirova, A.S. Vedernikov, A.P. Ostroumova-Lebedeva, P.P. Grigoryants, G.P. Fitingof, A. Ermolaev, V.V. Proshkin, K. Kuzema, V. Kolbasov, O. Litvinenko, etc. the historical transformation of the artistic image of St. Petersburg, its conditionality by cultural and historical factors and the nature of the life of the inhabitants of the city is shown. The study concluded that the image of St. Petersburg is important for Russian artists, as well as a significant variety of its creative interpretations. Each watercolor work demonstrates the subjective attitude of artists to St. Petersburg, thanks to which real urban landscapes acquire spirituality and unique expressiveness. The complex historical fate of this cultural and artistic center of Russia, which was once a magnificent capital, experienced revolutionary events and went through military destruction, determined the versatility of creative approaches to the embodiment of the city, as a result of various turns of history, it lost, then regained its greatness, beauty and attractiveness. Petersburg in watercolors is invariably filled with vitality, lyrical feelings and the love of artists.