DOI: 10.7256/2454-0757.2023.9.43931

EDN: WAACGX

Abstract: The article is devoted to the analysis of the concept of the game and its presence in creative activity. The gameplay is presented as an important part of human life. The presence of both elements in a person's work shapes him as a "creative" and "creating" entity. The introduced characteristics are analyzed from the point of view of the historical context, where the concepts of a creative person and a person playing are equated to each other. Their similarity is established on the basis of the description of the signs of the game revealed at the beginning of the XX century. Game and art are considered abstractly from a specific cultural background, as functions that organize a person and preserve an abstract character. The features of the game highlighted in the article are given as evidence that plastic art stores it at its core as well as musical art. Their division within the cult and myth has led to the question of whether there is a game in art. The solution to this question lies in the field of the role of the participant in the game. Analysis from the point of view of the roles of the "creator" and "observer" allows us to uncover misconceptions about applied art and its game function.The findings showed that the position of the "observer" does not always allow you to see a complete picture of the process of plastic creativity. Due to the secrecy of most of the activity in the inner world of the artist, the observer cannot see the mechanical work of the gameplay. On this basis, he concludes about the insufficiency of plastic art. Analysis from the position of a creative person, on the contrary, indicates the full compliance of applied arts with the gameplay. On this basis, it is indicated that the game is not only an abstract concept that characterizes a person's life, but also the main component of any creative process.

DOI: 10.7256/2454-0757.2023.9.43689

EDN: VIEAXB

Abstract: The objective of this study is to identify inimitable examples of the introduction of aesthetic content into the Western European metaphysical tradition, as it was embodied in Kant's understanding of the world concept of philosophy, which has certain aesthetic connotations. In the article, the author analyzes new stages of the movement towards the world concept of philosophy, on which the aesthetic meaning of the basic structures of transcendentalism is explicitly or implicitly realized: the art of schematism as a world concept of epistemology; the world concept of art as an organ of understanding artistic works. In addition, this discussion becomes particularly relevant when they seek to reveal how much the concept of schematism allows us to advance to the explanation of the world concept of philosophy. The work reveals how Kant reproduces the definition of the world concept of philosophy according to a certain model, while posing the problem of the typical embodiment of the idea, the ideal of the philosopher as a model. In this connection, a new complication of aesthetic analysis is being carried out in order to show how the world concept of philosophy was personified and presented as if in the ideal of the philosopher as a model. Therefore, the paradox of the world concept of philosophy lies in the fact that we have to talk about a sample of what does not yet exist. The author reproduces a transcendental language that will reveal the movement of aesthetic thought into the center of the world concept of philosophy, where the traditional artistic technique of personification of the philosopher's ideal as a model is performed, where the contemplation of meaning is transferred into the universality of the concept, into the contours of metaphysics.

DOI: 10.7256/2454-0757.2023.9.44078

EDN: XVQNDK

Abstract: Our approach bases on the explication of Rosanov’s creativity as the special intention, that implements the unspeakable Self-Selfness of Vasiliy Rosanov. The ineffability of Self-Selfness can be dialectical expressed by Rosanov through phenomena, of that consists the Rosanov’s world. This ineffability actualizes by Rosanov by means of understanding as a filled emptiness, that determinates the specialties and the structure of the understood objects. The exposition of this emptiness conditions the antinomies of Rosanov’s creativity: one sides is understanding by Rosanov the closed world, other sides it corresponds with the world of things. Rosanov mythically fills the void, using the intimate personal contact with the things. We consider the creativity of Rosanov as the synthesis of both this global directions of Rosanov’s theory: the vision of understanding through things, this vision causes the special perception of things by Rosanov. The things are by Rosanov neither material objects, nor the ideal essences. This are by Rosanov the givens, inherent to the understanding. At the same time Rosanov examines the things through understanding, including it with help of the carnivalisation in his own special world. This method defines in our opinion style and content of Rosanov’s works. The thinker realizes by means of the carnivalisation the understanding, according to the concrete things, creating the special world of life (reality). For Rosanov this world is the second world.

DOI: 10.7256/2454-0757.2023.9.44027

EDN: ZYHHOU

Abstract: The article examines some aspects of Brentano's ontology, starting with his 1862 dissertation "On the ambiguity of Being according to Aristotle", as well as its influence on the philosophy of M. Heidegger. The author shows that the ontology of the early Brentano is not limited to ousiology, since it includes a discussion of the field of mental being (ens rationis, ὂν ὡς ἀληθές) and it is in this aspect that he influences the young Heidegger. Following Aristotle, Brentano assigns a central role to the ontology of essence, which in the late period leads him to the position of reism, but in the lectures of the middle period Brentano discusses the problems of intentional inexistence, thanks to which projects of "new types of ontology" by Husserl and Mainong appear. The author believes that Heidegger was also influenced by these ideas. Of course, there are fundamental differences between the positions of Brentano and Heidegger, but the similarities are quite large. In particular, if Brentano, highlighting the real and true areas, gives preference in favor of the former, then Heidegger's ontology is built on the second member of this opposition. In particular, everything that can be given is called being by Heidegger, because we are talking about intentional being, about ens rationis, or ὂν ὡς ἀληθές

DOI: 10.7256/2454-0757.2023.9.43781

EDN: ZYSRQB

Abstract: The subject of the analysis of this paper is the Andean civilization view by the Peruvian author of the XVI century Felipe Guaman Poma de Ayala, a Quechua Indian by origin, who became a Catholic monk, as well as a translator and mediator between two civilizations: European, personalized by Spanish administration and Catholic Church present in the conquered lands, and Andean civilization, represented by local population speaking native Quechua and other Native American languages. The collision of two worlds is clearly visible in the Chronicle «El primer nueva corónica y buen gobierno», which belongs to this author. This literary monument is an invaluable document because it describes in Medieval Spanish a disappearing world left behind, due to the lack of writing, having only artifacts of material culture and proto-hieroglyphic recording tools. The main methods of this research – analysis, synthesis, generalization. Analyzing the statements of the author of the Chronicle, who is trying to reconcile the two worlds, it is possible to recreate the panorama of the life of Andean society of that era and the sociolinguistic situation developed in it. The novelty of the study can be considered the combination of cultural and sociolinguistic approaches in the analysis of the material. The conclusion reached by the authors of the article is that the death of the Andean civilization was inevitable under the onslaught of the European one. But the Andean world, native languages and culture have not disappeared, and today are being revived, since the Peruvian society has formed a request to restore the social functions of native languages in full.

DOI: 10.7256/2454-0757.2023.9.43500

EDN: ZYTZEN

Abstract: The subject of the study is the epistemological specificity of art through the «prism» of the Paleolithic and modern eras. The focus of the research is aimed at analyzing the phenomenon of «eidetism», which is a link between modern and primitive art. The purpose of the article is to comprehend the epistemological specifics of art, which began with the «psychophysiology» of the primitive world and developed into forms of «practical philosophizing» of the modern era. The research methodology includes a review of literary sources, a dialectical approach to historical and art historical reconstruction, analysis of paleopsychological data, comparative analysis, elements of systems psychology and sociology. An element of novelty is the author's position that already in the lower, early layers of its evolution, the status of art «as one of the most ancient forms of human activity» is enriched by the status of «a form of practical philosophizing». The generalization is made that the art of the XX-XXI centuries, on the one hand, abandoned both mimesis and humanism, on the other – it continued the path of «practical philosophizing» begun in ancient times, based on the perceptual-empirical method of cognition of reality. The evolution of art from its primitive origins through archaic, classical to its modern state is, at the same time, the transformation of human consciousness, and the comprehension through artistic and creative activity of one's being and place in the universe, etc. - the development of its «depth» (the content of art). This is the development of art «in breadth» (the development of artistic form): the proliferation of its types and genres, the growth of stylistic and technological polyphony, etc. As a result, «art has come a long way from its purely psychophysiological hypostasis to «practical philosophizing». Artistic and creative activity itself as a whole continues to be the most important component of the global «mechanism» of mastering reality.

DOI: 10.7256/2454-0757.2023.9.43845

EDN: YKHRSS

Abstract: The problem of social equality and social inequality is investigated in the light of the concept of justice, the concept of just inequality and unfair equality. The author substantiates the interrelation of justice and equality as concepts and phenomena that are presented in an indissoluble unity and are actually a two-pronged problem. Justice is interpreted by the author as a measure of social equality and social inequality. The author explores the problem of social inequality from the point of view of a materialistic understanding of history, the principle of development and an axiological approach. The concept of natural justice is investigated as the basis of justice established by people, that is, social justice. The legitimacy of the conditional use of the concept of natural justice as a natural right of an individual to use his natural gifts, which under certain conditions of social life activity can be decisive in human life, can give him fair advantages over other members of the society. The natural personal potential of an individual can cause significant differences in the intellectual and spiritual abilities of people, which, in the presence of diligence, determination and appropriate social norms, necessarily generate social inequality in society. Fair inequality does not contradict natural justice. Natural justice is contradicted by unfair inequality. A person by nature has the right to life, freedom and property in compliance with the mandatory norms established in this society. Justice established by people should not contradict natural justice. The validity of the use of the concept of legitimate elite as the most outstanding personalities in various respects, having high achievements and services to society in various spheres of human activity, is substantiated.

DOI: 10.7256/2454-0757.2023.9.43978

EDN: YLIZII

Abstract: The object of the study is the industrial areas of Russian cities, the subject of the study is the communicative aspect of their functioning. The communicative approach to the city (and urban loci in particular) is based on semiotic, hermeneutic, phenomenological traditions. In this case, the city appears in its "middle" being as a multi-layered semantic phenomenon that is born as a result of reading and understanding it by a person. The communicativeness of the urban locus in the work is proposed to be assessed through cognitive, value-semantic and behavioral components. Using the example of the industrial district of Samara – Bezymyanka, the complexity and ambiguity of communication processes unfolding between the industrial district and the citizens is shown. Bezymyanka is considered in the work as a typical phenomenon characteristic of a number of Russian cities. Similar districts appeared in the 1930s as a result of industrialization processes, in attempts to implement the urban planning concept of the socialist city. Being, in fact, "points" of growth, they were initially rejected by the urban community, being evaluated in the context of a "non-city". The post-industrial reality has made significant changes in their existence, raising the question of the state and content of modern communicative experience. Based on the results of a survey of city residents conducted by the author (the number of respondents is 250 people, the sample is targeted), the work showed the selective nature of the "reading" of this area, which steadily reproduces its negative imagery. The revealed differentiation of communication practices depending on the place of residence does not remove, but on the contrary, dictates the need for the district to develop a new symbolic language that allows it to actualize its potential positive meanings and images that can form the necessary identification mechanisms.

DOI: 10.7256/2454-0757.2023.9.43947

EDN: YLLSOG

Abstract: This article mainly outlines and explores the art exhibitions held between China and the Soviet Union during the founding of the People's Republic of China. The author examines in detail such aspects of the topic as mutual exchanges of art exhibitions between China and the Soviet Union since the founding of the People's Republic of China. Particular attention is paid to the political background against which the evolution in Chinese art took place, as well as the legacy of Soviet realist art in China in the political context and the interaction of art with politics and state-building. The author emphasizes the positive influence of art exhibitions held by the Soviet Union in China on Chinese art education and the creativity of artists. The main conclusions of this study are that the various exhibitions of Soviet art held in China provided an effective opportunity for Chinese artists to study Soviet realist oil paintings. The emergence of Soviet realism in China also served as an important reference point for the development of Chinese oil painting in the 1950s. The novelty of the study lies in the fact that the author not only analyzed the process of the acceptance and dissemination of Soviet realist art in China, but also examined the beginning and end of artistic exchange between China and the Soviet Union in conjunction with the country's social environment and the political leadership of its leaders.

DOI: 10.7256/2454-0757.2023.9.43994

EDN: ZZTMZS

Abstract: The article is devoted to the theme of childhood – one of the main creative lines in the artistic heritage of Vladimir Alexandrovich Igoshev. The artistic development of the distant and previously little-known periphery began with the first graphic works and individual sketches in March 1954, dedicated to the little inhabitants of the harsh earth, and ended with heartfelt masterpieces created in the last years of the master's life, when all the strength was taken away by illness. Based on the art criticism analysis of V.A. Igoshev's works of art from the funds of the state museums of Ugra, the figurative and stylistic originality of the children's theme in the context of the "northern cycle" is revealed, the general evolution of portrait creativity is indicated. It is proved that as artistic tasks changed, as a result of deep creative immersion in the original and organic world of the North, the figurative interpretation of the children's theme, which acquires an aesthetically autonomous meaning, also changed.

DOI: 10.7256/2454-0757.2023.9.44082

EDN: ZZYRQZ

Abstract: The article presents an analysis of the activities of formal and informal art associations in the space of contemporary art in Russia and China. The two countries actively cooperate in the field of art, including at the institutional level, which actualizes the appeal to the work of existing creative unions. The object of attention in the framework of the study is the modern art associations of the two countries, and the subject is the relationship between the structure and activities of official and informal art associations of China and Russia. The aim is to analyze the features of the activity of art associations in the conditions of the modern art space of their countries. The analysis of the state and directions of development of both official structures and informal art groups is carried out. The former in both Russia and China, as a rule, are the continuers of the traditions of the former structures, but the original function of the guide of the political course of the leadership of the countries in them remained at different levels, mostly decreasing. The latter are communities of artists who unite by creative interests or around a common exhibition space for them, in particular galleries. Moreover, both forms successfully exist in both states, reflecting the trends of artistic life and at the same time influencing it.