DOI: 10.7256/2454-0757.2018.2.25384

Abstract: This article identifies the factors that to one or another extent affected the establishment of the traditional paradigms in the West and the East, reveals the reasons of contraposition and nonoccurrence of these concepts, as well as the origin of discrepancies of the dissenting concepts. Currently, the generally accepted fact is the difference of the socioeconomic and cultural peculiarities of the West and the East that exists in a constant struggle, however implicating each other’s presence. And in order to understand this process, it is necessary to be able to differentiate the concepts of “West” and “East”. Depending on the goal, methodological approach, and certain perspective, the West and the East can be differentiated in a variety of ways: either civilizational approach towards the history of social development, or the naturalistic approach. The author underlines that the assessment of certain phenomenon or a large combination of facts and relation to them are significantly defined by the multiplicity of external circumstances, real state of the things, balance of forces of the adversaries, purposefulness, current and strategic goals, interests of people and the states; and much lesser the generous search for the scientific truth. On the contrary, the truth is often necessary for increasing the efficiency of implemented actions, due to which it can be demanded in defiance of the current goals and short-run interest, through which pierces the scientific analysis.

Keywords: context, phenomenon, culture, tradition, civilization, globalization, paradigm, approach, East, West

DOI: 10.7256/2454-0757.2018.5.26077

Abstract: The object of this research is the problem of establishment of civil consciousness and its comprehension in the XVII-XIX centuries. Modern era is paramount and breaking period in perception of civil consciousness and its main elements. The subject of this research is the key components of the quality of civil consciousness and actors of their formation. Special attention is given to interaction of the state and society in the process of citizens’ upbringing, change of roles of these actors in establishment of civil consciousness. The author analyzes the factors that increase the impact of state upon the formation of civil consciousness. The main conclusions are defined by the strategies of the formation of civil consciousness. Initially, the formation of civil consciousness was affected only by the society, and was considered as self-perpetuating within the society. However, since the beginning and middle of the XIX century, the key role in the processes of its establishment was played by the state and the government as the key actors. Author’s special contribution into the research lies in reconsideration of comprehension of civil consciousness, as well as focus on the citizens as the main actors of perpetuation of civil consciousness in future. The scientific novelty consists in substantiation of the need to understand civil consciousness in the discourse of views of the modern era philosophers for upbringing of the new generation of citizens.

Keywords: separation of powers, social contract, constitutional state, state, state of nature, civil status, civility, natural equality, justice, citizen

DOI: 10.7256/2454-0757.2019.1.28089

Abstract: The object of this research is the editing as an artistic phenomenon in the national scientific context. The subject is the scientific literature about editing within the system of artistic culture. The author examines the phenomenon of editing in musicology. Special attention is given to the analysis of Russian music of the XX century, namely the works of Sergei Prokofiev, Dmitri Shostakovich, Igor Stravinsky, and other composers. For the purpose of systematization of the material, the author conducted a branch-wise analysis of the existing literature: film studies, art history, musicology, and other humanitarian sciences. The selected methodology allowed determining the meaningfulness for one or another branch and the background of such interest. A conclusion is made that editing as an artistic phenomenon is widely covered in the works of the scholars. Each author attempts to describe editing from the perspective of philosophical, culturological and technological systems of the XX century. For the first time, based on the sequential analysis, the author traces the gradual process of mastering of this artistic phenomenon by the scientific thought. The scientific novelty also lies in raising the relevant questions that require a new scientific interpretation.

Keywords: literature, theater, cinema, article, research, analysis, artistic creation, editing, music, phenomenon

DOI: 10.7256/2454-0757.2019.2.28922

Abstract: This article analyzes the results of discussion on contemporary art, determines the place of aesthetic science in studying the specificity of the currently ongoing artistic processes, defines the difference in approaches towards aesthetic study of high art and the so-called actual art, traces the origins of representations that formed the idea of apparent antagonism of art in aesthetics. It is demonstrated that the answers to the questions raised by the researchers of the so-called contemporary art, perhaps, are somewhat important for anthropology or psychology; but from the perspective of aesthetics and philosophy of art are insipid. Therefore, it becomes clear why the analysts of the so-called contemporary visual art criticize namely the aesthetics. The main conclusion lies in the positions on the capabilities of aesthetic analytics of the so-called contemporary visual art that are rejected by the theoreticians of actual art. The author determines the aesthetic tools that allow examining the various structures of the field of contemporary artistic and creative reality. Special attention is given to the criticism of the attempts to invent a new analytical language for describing actual art that would differ from the aesthetic language. The author substantiates the new understanding of the subject matter of aesthetics, as well as the interpretation of certain vectors of the actual art (Actionism).

Keywords: techne, painting, creativity, meaning of art, modern fine art, philosophy of art, aesthetics, Êànt, Husserl, Mamardashvili

DOI: 10.7256/2454-0757.2019.7.30533

Abstract: The contemporary methods of analysis and creation of scenario structures in theory and practice of the European, American and Russian cinematography primarily refer to the Aristotelian pattern of the development of dramatic action, reconsidered by the screenwriting mentors Linda Seger, Syd Field, and others. The Eastern Region countries have their own development theories with regards to dramatic action, construction of characters, and symbolism of visual and verbal scripts, which greatly affect the creation and perception of films of these culture. The author applies the method of cultural anthropology, leaning on the works of the leading sinologists V. Sorokin and S. Serova. The analysis of the Chinese classic film of the mid XX century “Spring in a Small Town” (1948) directed by Fei Mu proves that the structure of narrative arc of this film complies with the laws of dramaturgical construct of the classic Yuan drama of the XIII-XIV centuries. The structure of script corresponds to the four-act canon; creation of the main character is based on the principle of leading vocal arias, which within the film fabric transform into the voiceover technique. The characters of the film have traditional “introductory monologue” mandatory for the Yuan drama. The basic visual and audio images closely related to the national Chinese culture. Clear understanding of interfusion of the classics of dramaturgical construct film material opens a potentially new approach towards analysis of the films created in China, and possibly, used in the creation and development of joint film projects in modern production.

Keywords: psychological drama, melodrama, genre, script structure, zaju, Yuan drama, Chinese cinema, dramatic structures, monologue, voiceover

DOI: 10.7256/2454-0757.2021.8.30898

Abstract: Abstract: The subject of research in this paper is a range of cross-disciplinary problems related to the concept of "cultural system". Examination is conducted on the existing culturological approaches towards the definition of cultural systems; the question is raised on the appropriateness of using this concept in analyzing the spheres of human activity that are not traditionally associated with the concept of “culture”. The author dwells on the mathematics, medicine and religion, proving the effectiveness of culturological research of these spheres of life as the cultural systems. The theoretical and methodological framework is based on the concept of systematicity of culture. This article employs the analytical, comparative, and semiotic methods. The following conclusions are made: 1) any cultural system, besides its specific components, includes the general cultural components that typical to all cultural systems that are part of the single complex  of “culture” and are not specific to its separate cultural systems; 2) the number of cultural systems determined within the culture largely depends on the research perspective, and is virtually limitless. The author’s special contribution, which also determines the scientific novelty of this article, lies in the proposed model of interaction of various cultural systems within a single culture.

Keywords: superorganic system, cultural consistency, cultural systems interaction, religion, medical anthropology, ethnomathematics, cultural system, multiple system, interpretable frame, ellipse

DOI: 10.7256/2454-0757.2020.10.32916

Abstract: The subject of this research is the peculiarities of transformation of anthropological boundaries in the context of development of technologies of modification of human genome. Analysis is conducted on the development of genetic technologies and the questions of ethics. The author examines modern technologies of modification of human genome and demonstrates that appearance of the method CRISPR/Cas 9 accelerated the already existing and widespread in transhumanistic circles request for biotechnological enhancement of a human. In future, in the context of loosening normative regulations it would only intensify. Amplified by the emergence of new technological instrument, this request instigated the occurrence of perfectionist horizon of expectations and broadening of representations on the limits of physical and mental abilities of a human. The article employs general theoretical philosophical approach, as well as methodology of fantastic modeling and case study. The conclusion is made that within the framework of development of biology of the objects of human genesis, which are acquired unnaturally and may become the material for unlimited manipulative intervention, is always associated with vagueness of ethical standards. The edges of life and death, wholeness and inferiority of existence in this case seem indefinite, formed exclusively upon request of certain medical and research tasks. The initial stage of human existence indicated ontological uncertainty and ethical ambivalence that does not guarantee the protection of human being. Therefore, the advancement of technologies of human genome modification puts human in a problem of limiting the manipulative procedures, creation of an essential normative framework that ensures anthropological security.

Keywords: ethics of species, human boundaries, human moral enhancement, ethics of genetics, human bioenhancement, human enhancement technologies, genome editing, human construction, human editing, childhood design

DOI: 10.7256/2454-0757.2020.8.33452

Abstract: The object of this article is the comedy cinematography. The subject is the comedy cinematography as a manifestation of the culture of laughter. The author examines such aspects of the topic as the culture of laughter and the history of its conceptualization in the humanities knowledge, historical manifestations of the culture of laughter in different eras. Special attention is given to the idea that comedy film is a significant embodiment of the culture of laughter in modern art. The author analyzes comedy as genre of cinematography; substantiates the impact of comedy film upon society through the means of cinematography as an audiovisual art. The main conclusions of the conducted research consist in the determined functions of comedy film as a manifestation of the culture of laughter in the modern era;  an idea that comedy cinematography along with manifestations of the culture of laughter of the previous historical eras, forms a specific anti-cultural world that demonstrates an underside of the surrounding world , and mostly of the society. The author’s special contribution into this work lies in consideration of the comedy genre of cinematography within the concept of the culture of laughter, which allowed highlighting the new aspects of this phenomenon and substantiating its significance in the spiritual life of modern society. The novelty consists in application of the conceptual framework of the culture of laughter with regards to the analysis of comedy film, which views the phenomenon at hand from the universal worldview perspective.

Keywords: movie Comedy features, genre of cinema, entertainment, audio-visual image, comedy, cinema, laughter culture, Mainstream movies, social integration, screen culture

DOI: 10.7256/2454-0757.2020.9.33801

Abstract: The object of this research is the popular within modern academic environment, but yet hypothetical without a precise definition, concept of “post-truth”. The subject of this research is the correlation between routine thinking and post-truth as a mode of functionality of the meaning. An attempt is made to clarify the interdependence of “post-truth” with the daily background practices. The concept of “post-truth” is based on the problematization of veracity in relation to dynamic development and expansion of communicative environment. This concept is attributed not only to political reality, but also influences the cultural, artistic and everyday life. The article indicates the key characteristics of post-truth: pluralism, fragmentation, consumer nature of truth, instrumentality, contextuality, post-publicity as an environment for people’s communication using technical means. A hypothesis is substantiated, according to which the “background expectations” as an important element of daily routine are one of the crucial conditions for functionality of meaning in the mode of post-truth. The goal of thus article consists in problematization of the concept of “post-truth” through correlation of its characteristics with the logic of routine thinking, as well as in indication of certain trends in the culture of post-truth. The relevance is justified by the need to clarify the meaning of the concept of “post-truth" for modern culture as a whole. The conclusion is made that the culture of post-truth is a more complex and multifaceted phenomenon, which is not limited by manipulations of public opinion and deception in mass media. Post-truth manifests as a condition for overcoming truth/falsehood dichotomy in the everyday life. In the culture of post-truth, emerges complete distrust in media (especially those that are considered reliable, such as documentaries). This contributes to the formation of “new truth” that rehabilitates the routine subjective experience, artistic language (post-documentary films), resulting in a so-called unveiling of total simulation through construction of individual, subjective perception in the media reality.

Keywords: representation, new authenticity, social phenomenology, authenticity, everyday, post-truth, cinema, post-documentary, media, media space

DOI: 10.7256/2454-0757.2020.12.34736

Abstract: The article is devoted to the life and work of the first Even composer P.M. Starostin (1944-2013) in the context of the development of national composition schools of the East. The purpose of the study is to review the life and work of the Even composer P.M. Starostin. The object of the study is the professional musical art of the Even people, the subject of the study is the creative heritage of the first Even composer. The research is based on comparative and typological methods, taking into account the theoretical developments of Russian musicologists in the field of studying the patterns of development of young national composer schools (M.N. Drozhzhina, M.Y. Dubrovskaya, L.L. Pylneva, etc.). The main conclusions include the following. The formation of the first Even composer P.M. Starostin took place within the framework of the Yakut national School of composition. The main source of P.M. Starostin's creativity was the rich Even folklore: epic tales, ritual genres, song lyrics. The creative heritage of P.M. Starostin is distinguished by originality and genre originality: from large forms – operas and cantatas to chamber-vocal works and compositions for children. The geography of the spread of young national composer schools has advanced to the north-east of Russia, where the Yakut National Composer School is currently functioning quite actively. The Yakut National School of Composition is already becoming a new center itself, on the periphery of which the prerequisites for the formation of national composition schools of the small peoples of the North living in the Arctic zone are being formed. The experience of reviewing the work of the first Even composer P.M. Starostin, considered by us in the article, marks this process. The novelty of the research lies in the fact that for the first time data on the life and work of the Even composer P.M. Starostin are introduced into scientific circulation. Until now, his name has remained virtually unknown to musicology. Such a review is being conducted for the first time.

Keywords: influence, becoming, even, review, genres, creativity, Starostin, composer 's school, composer, heritage

DOI: 10.7256/2454-0757.2021.1.34982

Abstract: The subject of this research is youth oeuvre of the prominent Russian composer of the second half of the XX century Boris Tishchenko. The symphony “Crainquebille” was composed in 1958 based on the eponymous acute social story by Anatole France on misadventures of a Parisian greengrocer, a “little man” who was caught up in the wheel of justice. In 1993, the composer renamed the symphony “Crainquebille” into “French”. Special attention is given to symphonic dramaturgy, programmability in music, and interrelation between music and literature. Tishchenko creates a virtuosic concerto for the orchestra within the framework of the classical symphonic cycle, imbues it with the novel compositional techniques, experiments with orchestral colors and timbres, gradually carries the main theme through the entire work, and is apparently fascinated by speech intonation and the word conveyed through the instrumental motif. It is concluded that Tishchenko decided to make virtually no changes to his early symphonic composition; the quality of the material created during his second year at Leningrad Conservatory contributed to emergence of a remarkable and novel symphonic opus written in a modern relevant, orchestrally imbued, rich and bright language. The novelty of this research consists in the fact that this article is the first reference in Russian musicology to the “French” symphony of B. Tishchenko, as well as a comprehensive review. The author reveals its content, analyzes difficulties of performing, and cross-cutting dramaturgy.

Keywords: grotesque, dramaturgy, French, Anatole France, programm music, literature, symphony, Boris Tishchenko, musical theatricality, Leningrad

DOI: 10.7256/2454-0757.2021.2.35209

Abstract: The subject of this study is the transformation of modern culture associated with the visual turn. Using the dialectical method and systemic analysis, the author determines the trends in transformation of modern culture. The goal of article is to demonstrate the essence such changes, their vector and impact upon individual and society. The factors of transformation, its manifestations, and consequences are revealed. The works of the representatives of philosophy, culturology, sociology, history, etc. comprise the theoretical framework for this research. The empirical base contains the results of sociological survey conducted 2020 on the premises of two universities in the Altai Krai. The novelty consists in identification of the trends of cultural transformation under the influence of visual turn, their positive and negative consequences for individual and society, as well as generalization of numerous manifestations of these trends. The main conclusion of this study is the author's position about serious and contradictory transformations in society under the influence of visual rotation. The impact of visual rotation has both positive and negative development trends and their consequences. Among the positive effects of the visual turn, the author highlights stimulation of the development of visual thinking, which depends on functioning of the right brain. The author also indicates negative consequences of the visual transformation of culture. Perception through images weans people from thinking. Receiving information through images, rather than through speech, increases the clipping nature of consciousness. This entails the possibility of formation of an individual subject to manipulation. The presentation of images on the Internet and arrangement of visual series develops the habit of expecting “the solution of your problems by someone else” in the situation of choice. Another consequence of the transition from logos to image is the formation of prerequisites for “easy” submersion into virtual situations.

Keywords: globalization, youth, consumer society, society, visual culture, visual turn, image, logos, thinking, information

DOI: 10.7256/2454-0757.2022.3.35325

Abstract: The article examines the cultural and philosophical and socio-philosophical significance of polycentric urban planning strategies in the framework of the historical process of urbanization. Network and polycentric urban planning began to develop in the 19th century, was associated with a new course for the conscious and planned development of cities and assumed an even distribution of public facilities and communications, the unification of urban space with connecting axes, the integration of transport and engineering infrastructure. These trends in urban planning were caused by interrelated technological, economic, social and political factors, such as scientific and technological progress, the industrial revolution, rapid urbanization. The purpose of the article is to determine the social and cultural significance of urban planning strategies implemented in some European capitals of the XIX century in the context of the general process of urbanization. The scientific novelty of the article is determined by the correlation of the topic under consideration with the problems of modern urban structures. The article is based on an interdisciplinary, complex and systematic theoretical approach. A theoretical analysis of urban planning strategies and urban space development was carried out in order to identify the most promising and progressive trends in urban planning that anticipated the modern principles of urban space formation. The conclusions of the article include the characterization of the influence of polycentric urban development on the formation of a psychosocial environment and typical characteristics of the spiritual life of citizens. A review of studies on socio-cultural and philosophical problems of urbanism helps to identify the impact of polycentric urban planning, including on modern society, residents of modern cities.

Keywords: Lewis Mumford, philosophy of urban planning, sector model of the city, multicore urban structure, Homer Hoyt, Edward Ullman, Chauncey Harris, Polycentrism, Urbanization, Barcelona

DOI: 10.7256/2454-0757.2021.4.35905

Abstract: The scale of persona of Rene Descartes, who was the founder of several trends of philosophical thought, often overshadows the intellectual life of the era and the environment that gave rise to Cartesianism. At the same time, we observe a unique situation, when the philosophical doctrine being seized by the secular educated society, rather than the intellectual elite. The key condition for such impact of the philosophical system consists in the fact that the philosophy should meet the demands the era and the environment it is proliferated within. Therefore, the author places Rene Descartes and some aspects of his philosophy in a specific historical context, pursuing correlation with the thoughts and ideas of his contemporaries. This method indicates how the philosophy of Descartes completes and structures the mental transformation that have already taken place or were taking place in French society. Descartes’ perception of his mission, his appeal to future generations, should not deceive or allow to forget that Descartes is not just philosopher with whom the finest minds of the next centuries are engaged into a dialogue or debate , but also a nobleman of the XVII, who responded to the demands of his time. It were not the complicated philosophical tasks that he tried to solve, but the particular answers that influenced and formed the European mentality of the Modern Age without the fact that the perception of his philosophy by the contemporaries would of fully correspond to its essence, and the impact correspond to the letter. Affected by the philosophy of Descartes, the society develops new behavioral norms that underlie the subconscious of modern culture; and from this space of the unsconsious affect the life of modern society.

Keywords: philosophy of XVII Century, royal court Louis XIV, salons, beau monde, gallant ethos, hisory of France, moralistic literature, gallant aesthetics, philosophy of Descartes, literature of XVII Century

DOI: 10.7256/2454-0757.2021.7.36478

Abstract: The subject of this research is the period of Russian symphonic music of the 1960s – a new generation of composers, the “Sixtiers”, who brought remarkable artistic achievements and modern musical language. The author dwells on several key symphonic works by R. Shchedrin, S. Slonimsky, E. Denisov, Y. Falik, A. Schnittke, N. Karetnikov, and L. Prigozhin, who made an immense contribution to the revival of the Russian music culture. Special attention is given to Boris Tishchenko’s Symphony No.3, which encompasses the key trends of modern music into its stylistic orbit and opened new musical horizons. The scientific novelty lies in the fact that this article is first to examine the outstanding composition Symphony No.3 by B. Tishchenko in the context of stylistic and linguistic novelties of the 1960s. Detailed analysis is conducted on the role and place of the youngest out of the “Sixtiers” – the prominent Russian symphonist of the XX century Boris Ivanovich Tishchenko (1939–2010) – in the struggle for “new music”. The conclusion is made that Tishchenko became one of the leaders in the revival of the Russian symphonic style of the late XX century, and his Symphony No.3 fully reflected the rigorous pursuits of the entire generation of Soviet composers.

Keywords: Music of the XX century, The Sixties, renewal, ballet, symphony orchestra, Soviet composers, symphony, Boris Tishchenko, dodecaphony music, Musical Avant-garde

DOI: 10.7256/2454-0757.2021.10.36786

Abstract: The subject of this research is the period of Russian symphonic music of the 1960s. A new generation of composers – the “Sixtiers” – introduced a fresh modern musical language and remarkable artistic achievements. In first part of the article, the author dwell on several fundamental symphonic works by R. Shchedrin, S. Slonimsky, E. Denisov, Y. Falik, N. Karetnikov, as well gives general characteristics to this period. The second part of the article examines the compositions by A. Schnittke and L. Prigozhin. Special attention is turned to the Symphony No.3 by Boris Tishchenko, who opens new stylistic horizons and encompasses the key trends of modern music, including the avant-garde, into his stylistic orbit. This article is first to consider B. Tishchenko's outstanding Symphony No.3 in the context of stylistic and linguistic innovations of the 1960s, which defines the scientific novelty. Analysis is conducted on the role and place of the youngest composer of the “Sixtiers” B. Tishchenko in the struggle for the “new music”. The conclusion is made that Tishchenko was one of the leaders in revival of the Russian music of the late XX century, and his Symphony No.3 reflects the pursuits of the postwar generation of Soviet composers to the fullest.

Keywords: Music of the XX century, dramaturgy, renewal, Leningrad, symphony orchestra, Dmitry Shostakovich, symphony, Boris Tishchenko, Musical theatricality, musical Avant-garde

DOI: 10.7256/2454-0757.2022.1.37191

Abstract: The main subject of this research is the specificity of I. E. Repin's perception of the dynamics of artistic-aesthetic tasks formed under the influence of changing modernity. In view of this, one of the compositional centers of the research is the history of relationship that developed between I. E. Repin and the artists of the “first wave of symbolism” – members of the association “The World of Art” (primarily, the editor-in-chief of the eponymous journal S. P. Diaghilev, A. N. Benois, K. A. Somov, Y. Y. Lanceray). Special attention is given to the question of perception of I. E. Repin by certain representatives of the avant-garde in 1910s. Developing in the range “attraction – negation”, full of dramatic and comic moments, the dialogue between Repin and younger generation indicates the hastiness of univocal view of realism and Art Nouveau as opposing imagery systems. For the first time, on the current level of scientific comprehension of the aesthetics of symbolism and neo-romanticism, the article analyzes the attitude of I. E. Repin towards the innovative imagery pursuits of the Art Nouveau artists. At the same time, the very concept of Art Nouveau is interpreted in two dimensions: as a certain milestone in the context of the development of the history of art of the late XIX – early XX century; and as an inner dynamic potential embedded by I. E. Repin in his works since the beginning of his creative path. Based on systematization of the artistic and documentary sources and  the method of complex reconstruction of the views of Peredvizhniki and symbolist artists upon the objectives and nature of art, the author concludes that the poetics of art of Ilya Repin, synthesizing the ideas of time, tends to reflect a complicated and distinctive artistic image formed by realistic and idealistic principles.

Keywords: Innovation in Art, Peredvizhniki, Modernism, Art Nouveau, Symbolism, Realism, Russian Fine Art, History of Àrt, Ilya Repin, Mir Iskusstva (The World of Art)

DOI: 10.7256/2454-0757.2022.2.37229

Abstract: This article is first within the Russian and Western art history to examine the concept of visual poetics as a separate subject of research. Based on the analysis of iconographic and theoretical searches of the masters of symbolism, which found reflection within the boundaries of expressive means of visual art, the author comes concludes on the poetic principles of symbolist artists as the fundamental sources of the formation of the style of Art Nouveau – a new sculptural language of the XIX – early XX centuries. Detail characteristic of the philosophical-aesthetic content that underlies optical forms of the visual symbolist image, in its scientific origins leans on the capabilities of the art comparative-formal analysis, as well as iconological method adapted to the period under review. The innovative conceptual approach towards studying the art of symbolism lies in the fact that poetry as the concept is depicted beyond the literary sphere, as a specific type of artistic worldview that influenced the development of the visual language of art in the era of Art Nouveau. At the same time, visual poetics is compared to the complex system of internal images, which shape in with the works of the master throughout the entire path of his self-expression, and are directly related to profoundness of the poetic principle of the soul, lyrical and metaphorical intuition of the artist. This approach allows us broadening the representation on the aesthetic benchmarks of the symbolist artists, as well as designating the new methodological coordinates in the field of studying the art of symbolism in both national and international contexts.

Keywords: Visual Image, Iconology, Poetry, Poetics, Art Nouveau, Symbolism, Fine Art, History of Art, Artistic Meaning, Worldview

DOI: 10.7256/2454-0757.2019.10.30831

Abstract: This article determines the approaches towards metaphysical substantiation of aesthetic reasoning, particularly those formulated in Aristotle’s “Metaphysics” and “Nicomachean Ethics”, as well as Kant’s “Critique of Pure Reason”. An attempt to find metaphysical keys to aesthetic knowledge leads to the question: does it relate to the teaching on the first beginnings; can aesthetical be spoken of as the point, which in a contracted form contains an aesthetic fabric of thought and artistic transcendence. If it does exists, then what is the specificity of the act that allows the aesthetic intuition to cherish the idea of the first beginning, a sort of the principle of parliamentarism for aesthetic subjects and get through sufferings associated with approaching the horizon of the beginning. The main conclusions consist in the theses on aesthetic capability of reasoning as the highest manifestation of subjectivity on the fact that the understood metaphysically aesthetical par excellence is immanent to the worldview (may be accepted as aestheticism and its criticism, but only its individual forms) creating the artistic meaning, a profound image of human beauty, and all of these oeuvres are involved in artistic transformation of the world.  This article is first within the Russian literature to consider the prerequisites for metaphysical substantiation of aesthetical in the “Critique of Pure Reason” by E. Kant.

Keywords: transcendental philosophy, Êànt, Aristotle, painting, meaning of art, creativity, consciousness, philosophy of art, aesthetics, Mamardashvili

DOI: 10.7256/2454-0757.2020.9.33776

Abstract: The aim of the study is to clarify the aesthetic concept of color perception from the phenomenological reasoning of Edmund Husserl. Today, the orientation diagram of the field of phenomenological research is formed in various zones: from theological to naturalistic. In which of these zones the structures of the phenomenological analysis of color are located is not an easy question. The coloristic region is constituted according to the degree of consciousness, including aesthetic consciousness. It is extremely difficult to meet with the phenomenon of color, if only because its obviousness is fulfilled only by the fervor of the contemplative consciousness with its aesthetic pathos, a consciousness that distinguishes between, as it were, the reality of transcendent color and the aesthetic "continent of givens". We are talking, as Husserl would say, about the halo of consciousness, referring to the essence of perception performed in the mode of turning to the beauty of color. For the first time, approaches to the study of such a complex phenomenological topic as the description of a coloristic attitude, the eidetics of color experiences in Husserl's philosophy are outlined, the significance of its development for the comprehension of aesthetic and artistic consciousness is revealed. The main conclusions of the study are related to the philosophical interpretation of the idea of color as included in phenomenology in the experience of philosophical surprise, which turns into the acquisition of the essence of "phenomenological color" in general, and in aesthetics it is directly correlated with the appearance of its structures on the horizon of the harmonic synthesis of acts of perceptual performance in the imagination, "primordial giving visions" of color, with the creation of a picture coloristic impressions as cognitive emotions, reduced pure color perception, with an understanding of how art makes the very conditions of color visibility obvious, how its artistic synthesis is made, in the structure of which correlation analysis can see an analogue of a priori empiricism – this fundamental characteristic of purely Husserl synthesis and method revealed in domestic studies.

Keywords: Kant, Husserl, aesthetics, phenomenology, postphenomenology, perception, conscience, painting, creativity, colour

DOI: 10.7256/2454-0757.2020.7.33485

Abstract: The subject of this research is the actor and the sense of speech “freedom” on stage and on the screen – the culture of speechification on stage and on the screen. The article raised a number of interesting questions – theatrical character, development of acting abilities depending on the type of cinematography. The author’s observations regarding speech differences in speech in movies and on stage and remarkable. Giving close attention to the use of speech elements in cinematography, the author claims that speech “impulsivities” must merge with the fixed frame. The questions of using silence in cinematography and theatre, as well as differences in its application in other spheres of art are reviewed. The conclusion is made that unlike stage actors, the diversity of voice, elocution, pace and rhythm skills of live action actors manifests functions by different laws of internal process. It is stated that speech score of stage actors is a conditionally fixed phenomenon, since stage performance is a living organism, while in cinematography, speech is more static, namely because of the do-overs and adaptation to the result desired by film director. It is underline that speech of the stage actor is strongly subordinated to rhythmic score set by text of the author, stage director, and even scenic and biological rhythms of the partner. Unlike cinematography, onstage speech is not a constant.

Keywords: Theater education, vitality, sense of speech, Actor, on the screen, on the stage, freedom, Chinese philosophy, inner beauty, A sense of faith

DOI: 10.7256/2454-0757.2021.5.36162

Abstract: The subject of this research is the symphonic works of the prominent Russian composer of the late XX century Boris Ivanovich Tishchenko (1939 – 2010). His symphonic pieces synthesize different images, ideas, genres, and forms. This article explores various stylistic and linguistic effects upon his works, reveals the origins of fresh and unique artistic thinking. Emphasis is placed on the innovative role of B. Tishchenko in the revival of Russian symphonic style of the 1960s. Special attention is given to Tishchenko's succession of the great Russian symphonic tradition. The main conclusion lies in the thought that B. Tishchenko is one of the few among his contemporaries to remain faithful to the genre of great, “pure” symphony, as well as is the successor of the symphonic line of his brilliant teacher D. Shostakovich. The novelty consists in proving the thesis that symphonic style of B. Tishchenko is a holistic, meaningful, and truly modern phenomenon. Tishchenko amusedly delved into the new composing techniques, highlighting dodecaphony, aleatoric music, sonorism, pointillist music; however he did no remain faithful to these genres to the end; he constantly “refined” his musical language, introduced novelties for creating an artistic image.

Keywords: musical thinking, style in music, renewal, sonoristics, symphony orchestra, dodecaphony, symphony, Boris Tishchenko, tradition in the art, musical Avant-garde

DOI: 10.7256/2454-0757.2021.12.37180

Abstract: The subject of this article is the works of the Russian artists of the late XIX – early XX centuries in the context of problematic of symbolism and Art Nouveau, as well as the scientific foundation that has developed as yet in studying this topic. Research methodology is based on the conceptual synthesis of classical art history approaches towards the analysis of artistic material with the theoretical interdisciplinary methods of humanities, such as iconology and hermeneutics, as well as the contextual-associative method developed by the author. The goal of this article consists in determination of the peculiarities of symbolism in Russia due to the transformation of the attitude towards the spiritual problematic of art of the turn of the XIX – XX centuries, which is relevant for the modern art history. The author is firs in the Russian art history to conduct a comprehensive analytical overview of the development stages of symbolism in the Russian visual art based on the years-long work with the archival materials, scientific publications (that cover over a century), and works of the Art Nouveau authors stored in the museum funds, many of which after 1917  appeared to be on the periphery of attention of art historians due to ideological reasons. The revealed individual characteristics of symbolism as a holistic artistic phenomenon, created on the level of modern humanistic knowledge, determine the novelty of this work and can valuable in further study of symbolism and Art Nouveau. Broadening of representations on the Russian art of the late XIX – early XX centuries, allow returning the heritage of the symbolist artists into the context of art, which is of undeniable importance from the perspective of restoration of natural logic of the development of the history of art in Russia, making this publication valuable in various fields of study of art and culture.

Keywords: Image, Poetics, Artistic Movement, Artistic Outlook, Silver Age, Symbolism, Art Nouveau, Russian Fine Art, Art Studies, Style

DOI: 10.7256/2454-0757.2021.8.31486

Abstract: The subject of this research is the doctrine of the representative of Kiev Theological Academy, prominent “Orthodox rationalist” Peter Ivanovich Linitsky on the matter of philosophy. Based on the analysis of his separate work, the conclusions are made on the essence of philosophy, its matter, tasks and role in life of the society. Attention is given to determination by the Russian scholars of universality of the nature of philosophy, its special place among other sciences. The philosopher sees the central objective of science in the development of general worldview, believing that this essential task stems from the nature of human mind, which seeks uniformity in cognition, as well as incorporation of the particular with the general. The article employs the spiritual-culturological approach in combination with dialectical approach, as well as  methods of analysis, synthesis, comparison and generalization. This article is first to describe and analyze the philosophical-theistic views of the Professor of Kiev Theological Academy Peter Ivanovich Linitsky on the matter of philosophy and its specificity as a science. The author determines the attempt of incorporating the philosophy and religion into a close union, which ensures the integrity and completeness of human cognition.

Keywords: subject, method, worldview, science, subject of philosophy, epistemology, philosophy, theism, synthesis, analysis

DOI: 10.7256/2454-0757.2021.11.37089

Abstract: The subject of this research is the typological groups of urban estates in Astrakhan of the late XVIII – early XX centuries. The object is the peculiarities of urban estates in Russia of that time. The goal lies in studying the urban estates in Astrakhan of the late XVIII – early XX centuries from the perspective of their classification. The article touches upon the question of phenomenology of the Russian estate, the architecture and typology of urban estates in the Russian province, as well as the architecture of urban estates in Astrakhan. The research employs the general scientific method (analysis of the historical and logical), historical-architectural approach, and art history techniques for studying estates in urban environment and photographic evidence. The author also attracts historical references, archival and other documents on the topic. The theoretical framework is comprised of the works of M. B. Mikhaylova and E. I. Kirichenko on the estate construction in Russian cities; T. V. Vavilonskaya and G. G. Nugmanova on the classification of urban estates. The scientific novelty lies in outlining the typological groups of urban estates of Astrakhan from the perspective of their architectural and artistic characteristics, as well as social rank of the lords. It is established that the urban estates of Astrakhan are divided into wealthy estates of the merchants that are an artistic phenomena in the architectural image of the city; prosperous and middle-class of the merchants and officials oriented towards eclectic architecture; wooden estates of modest merchants and philistines that carry certain artistic value. The practical importance of this research consists in contribution to the creation of the holistic picture of the development of Astrakhan architecture.

Keywords: typological group, social rank, architectural and artistic qualities, cultural heritage, estate of Astrakhan, estate of the province, phenomenology of the estate, composition of the estate, main house, urban development

DOI: 10.7256/2454-0757.2020.10.33079

Abstract: The object of this research is the modern digital society as a new civilizational level in development of humanity. The subject of this research is the evolution of ethical values and principles in the context of transition from postindustrial stage to information society, as well as ethical aspect of implementation of digital technologies and artificial intelligence systems into the realm of social management. The article familiarizes the audience with the Chinese system of social score – the largest social experiment on the basis of digital technologies, as well as with the trends and prospects of digitalization process in modern Russia. Having analyzed the national and foreign experience, the author demonstrates the risks of hurried implementation of digital solutions based on artificial intelligence without extensive ethical examination, point out the contradiction between scientific-technological and economic freedom, and the need for limiting these freedoms for the sake of human welfare. The conclusion is made that despite all advantages, digital technologies bear the risks of unethical usage of personal data and violation of privacy. Turning data into the product as a means for gaining profit, difficulties of legal regulation and control thereof, makes a human extremely vulnerable in the new digital world. Therefore, in the process of collection and processing of data, as well as in creation of robotic systems based on artificial intelligence, it is essential to adequately assess the risks and formulate ethical restrictions, which should be taken into account in their design and exploitation.

Keywords: social rating, ethical restrictions, artificial intelligence, digital society, digitalization, morality, ethics, ethical review, digital ethics, transformation of moral values

DOI: 10.7256/2454-0757.2019.1.28736

Abstract: The object of this research is the modern graphic design. The author examines the potential of graphic design at the junction of current information technologies and customary context of methods, means and capabilities of graphic designer. The subject of this research is the impact of interactive media technologies and applied animation upon the modern image of graphic design, in the context of formation of the relevant model of graphic design. The article provides the examples of implementation of the capabilities of expanded and virtual reality into the various spheres of human activity. As most relating to the subject of research, the author reviews the capabilities of virtual environments in such areas ad game industry, museology, tourism and advertising, virtual communication and interactive media. The main conclusion consists in determination of the factors of mass culture and modern technologies that affect the transformation of graphic design. The conducted analysis of interaction of the virtual environments and the “new digital media” with the sphere of graphic design within the context of game design, museum practice, tourism and advertising, allows forecasting the prospects of further development and establishment of the image of graphic design.

Keywords: interfaces, modern technology, interactive media, methods and means, visual communications, graphic design, electronic media, media industry, virtual reality, augmented reality

DOI: 10.7256/2454-0757.2022.2.37517

Abstract: The subject of this research is the period of Soviet music in the 1960s. A new generation of the composers – the “Sixtiers” – came upon the stage, demonstrating remarkable artistic achievements, fresh and modern musical language. This article is dedicated to the symphonic work of the prominent Russian composer of the late XX century Boris Ivanovich Tishchenko. Particular attention is given to the Symphony No.1, which he created at the age of 22. Tishchenko burst into the Soviet musical space with creative fervor, and asserted himself as a tremendous and unique talent. His extemporaneous music pieces kept pace with the time, in unison with the global changes that took place in Russian symphonism. The scientific novelty lies in consideration of B. Tishchenko’s Symphony No.1 in context of stylistic and linguistic innovations of the 1960s. Detailed analysis is conducted on the role and place of Tishchenko — the youngest of the generation of “Sixtiers” – in the struggle for "new music". The main conclusion lies in the thought that Tishchenko was one of the leaders in the renewal of Russian music in the late XX century, and Symphony No.1 of his early period fully reflected the intense pursuits of the post-war generation of the Soviet composers and opened the path towards the "new shores" in symphonic music of that time.

Keywords: Music of the XX century, dramaturgy, renewal, timbre in music, symphony orchestra, Soviet music, symphony, Boris Tishchenko, Leningrad, musical Avant-garde

DOI: 10.7256/2454-0757.2020.11.32939

Abstract: The object of the research is the processing of Yakut folk songs stored in the fund of the first Yakut composer M.N. Zhirkov (1892-1951) in the National Library of the Republic of Sakha (Yakutia). The subject of the study is the manuscript "100 Yakut songs". Some of them were published in the collections "Sakha Yryalara" (1948) and "Yakut folk Songs" (1958). Special attention in the comparative aspect is paid to the already published samples, in particular, in the music collections of A.V. Scriabin and F.G. Kornilov. The article examines the internal content of the treatments of the songs included in the manuscript "100 Yakut songs", expert reviews, testimonies of contemporaries. The article for the first time raises the problem of co-authorship of tunes and completed treatments, some of which are folk tunes. Samples characterized by a developed melodic structure are considered as the result of the melodic creativity of amateur authors, as well as the impact of musical professionalism of the European type. As a result of the analysis of M.N. Zhirkov's handwritten heritage, it was found that many treatments of Yakut folk songs were performed by him in collaboration with Moscow composers G.I. Litinsky and G.G. Lobachev. Also, for the first time, a comparative analysis of the corpus of song treatments from M.N. Zhirkov's manuscript "100 Yakut songs", which is stored in the collections of the National Library of the RS (Ya), was carried out.

Keywords: collection, Zhirkov, yakut songs, processing, the problem of co-authorship, structure, musical folklore, handwritten legacy, genre, content

DOI: 10.7256/2454-0757.2022.7.38417

EDN: KIPUMV

Abstract: This article is a study of the compatibility of the theory and practice of Marxism-Leninism and Orthodox Christianity. The great importance of this topic is due to its direct connection with the improvement of society and the ongoing controversy on this issue with attempts to integrate communism with Christianity. The work provides a historical and theological analysis based on a critical study of the works of the founders of Marxism-Leninism, their associates, historical and theological works, as well as historical documents on this issue. The article examines the approaches of the teachings of Orthodox Christianity, as well as Marxism-Leninism to atheism, materialism, religion and the Church. For this purpose, the relevant texts of Holy Scripture, the opinions of the Church fathers and the views of the founders and followers of Marxism-Leninism are studied. The novelty of this study is that some documents are considered for the first time in the context of the problem under study. In addition, a more detailed and systematic historical and theological analysis of the comparison of the teachings of Marxism-Leninism and Orthodox Christianity on this topic is carried out in comparison with the available works. The purpose of the work is to study historical and theological works, as well as historical documents related to the problem under study. The article concludes that Marxism-Leninism in this matter is not compatible with Christianity and is directly opposed to it. Since the Second World War in the USSR, relations between the state and the Church have improved from time to time, but the official state course on Marxism-Leninism did not leave the possibility of their reconciliation. Currently, there are attempts to produce a symbiosis of these two teachings. Many Communists have a positive attitude towards the Church, so a dialogue between them is possible and necessary. But as long as the ideology of the Communists remains Marxism-Leninism, antagonistic to Christianity and any religion in general, in their ranks will always remain hostile to religion. Therefore, the synthesis of these teachings is impossible.

Keywords: apocatastasis, theodicy, partisanship in science, atheism, god - building, Church, materialism, Marxism-Leninism, Christianity, Orthodoxy

DOI: 10.7256/2454-0757.2019.12.31897

Abstract: The subject of this research is the phenomenon of art as an intrinsic element of the value-normative system of society. Emphasis is made on determination of the role of art in the symbolic struggle of generations for absolute understanding of the world, interpretation of human collective and individual existence, as well as ensuring spiritual security of a human and society. It is noted that if in various eras the relation to art of the bearers of culture may significantly change under the influence of diverse objective and subjective factors, then the status of art as an element of the value-normative system of society remains unchanged. The priority focus of research is the interdisciplinary approach based on axiological methodology for determining value priorities in the society. The following conclusions are made: 1) in the current conditions of social development, art becomes more obscure, difficult to interpret, possibly distorting the reality, henceforth is referred to as art; 2) despite the shift in accents in interpretation of the types and forms of art, it remains a powerful factor of consolidation of society, preserving the worldview experience of many generations of the bearers of culture.

Keywords: sociocultural aspect, interdisciplinary approach, philosophy, value system, inculturation, value-normative system, art, value, canons of art, symbol

DOI: 10.7256/2454-0757.2019.2.27108

Abstract:   This article analyzes the problem that may be considered scientific, sociocultural or institutional, namely looking for an opponent for dissertation on philosophical sciences. Such work allows beholding the evolution of philosophical world, as well establishing the range of questions that concern modern researchers. It is a known fact that currently, the philosophers are not as much interested the works of their colleagues, and thus, image of the empress of the sciences can change. Eventually, the philosophy becomes mosaic, but the search for opponent helps observing what is important for national philosophy and philosophers. Determination of certain development trends in philosophy is important for consolidation of the philosophical community, strengthening the influence of philosophical science upon other fields of knowledge. Search for opponent converts to area studies and analysis of multiple works of the compatriots. Overall, this article correlates such search with a positive moment – studying the insights of the philosophers and cognition of the philosophy itself, alongside its scientific resources and potential. For solution of the set tasks, the author applies the systemic methodology that allows viewing the world of modern philosophy in relation of certain trends and patterns. The article demonstrates the difficulties in looking for an opponent for dissertation on philosophical sciences associated with the extra-scientific and intra-scientific issues; analyzes the state of modern philosophy focused mostly in universities; establishes the features of development of the philosophy, and gives characteristics to the status of a philosopher in modern world.  

Keywords: philosophy of images, cognition, integration of Sciences, the philosophy of science, finding the opponent, the opponent, Philosophy, methodology, science, interdisciplinarity

DOI: 10.7256/2454-0757.2021.8.36651

Abstract: French Musical is “younger” than the Broadway, popular; however, there is yet no serious scientific approach towards its examination. The subject of this research is nationalization of the French Musical in historical and genre contexts. The goal is to disclose role of French Musical as a relatively young genre on the theoretical level. The article employs the interdisciplinary approach, which involves the scientific theories and concepts from other fields; historical-culturological approach, which reveals the factors contributing to assimilation of French culture with the traditions of other cultures; systemic approach aimed at examination of professional performance in French Musical as a result of development of the genre in late XX – early XXI centuries. The scientific novelty consists in introduction of the previously missing biographical materials and new information on the establishment and development of the genre of French Musical and its national specificity. The theoretical significance lies in characterization of the concepts of “French Musical”, “popular culture”, “interpretation of classical music”, “musical performance” in the context of art history knowledge, as well as methodology of science. The practical significance lies in broader understanding of the role of establishment and proliferation of French Musical, comparison of the use of chanson and jazz in the Musicals of France and the United States. The main result consists the statement that French Musical contains the key to understanding the French people, their thought pattern, and tastes. This genre allows them to express and defend their values and uniqueness.

Keywords: Luc Plamondon, Alain Boublil, Claude-Michel Schonberg, Gérard Presgurvic, Kamel Ouali, Pascal Obispo, musical, France, Michel Berger, chanson

DOI: 10.7256/2454-0757.2021.3.35612

Abstract: The subject of the study is the relationship between aesthetics and metaphysics, as it is drawn in Kant's transcendentalism. In the Critique of the Faculty of Judgment, Kant generally believes that the idea of perfection does not correlate with the idea of a sense of pleasure, and in the first introduction to the Critique of the Faculty of Judgment, he is far from considering the ways of solving the problems of the relationship between perfection and the aesthetic sense of pleasure convincing. But the attitude to perfection changes in Kant's later works, the analysis of which shows that the idea of perfection, in fact, is conceived as a way of founding the whole of aesthetics, its initial category – the beautiful, the meaning of which coincides with the expression of aesthetic perfection if it is genuine beauty. The metaphysics of perfection contained in the analyzed works of Kant encourages a new look at the categorical apparatus of Kant's aesthetics, formed in the "Critique of the Faculty of Judgment", to expand the idea of Kant's aesthetics as part of transcendental metaphysics. The concept of perfection expresses various aspects of metaphysical research, while preserving its immanent qualities in aesthetics. In predication as an act of modern aesthetic utterance, it is difficult to identify any stages and structures that can be specifically associated with perfectionism. The question of the field of such connections is quite controversial, including in modern Russian philosophy.

Keywords: Kant, logic, moral, cognition, conscience, beauty, art, metaphysics, aesthetics, Mamardashvili

DOI: 10.7256/2454-0757.2022.5.37810

Abstract: The paper hypothesizes the possibility of applying the mathematical construction of the Taylor series in the semantic space. Then symbolic forms, like some spiritual functions that display the immanent in semantic space and are explicated in the form of verbal constructions, can be tried to decompose into a Taylor series. The first terms of the Taylor series of thinking functions carry basic meanings that are conjectured by secondary forms, tertiary, etc., as in the case of the usual Taylor series, where the first term of the series is a constant, the second term is linear, determined by the first derivative of the function, the third is quadratic, otherwise acceleration. The paper shows that all of the above can be found in the paradigms of thinking called Foucault epistems. The world in ancient philosophy seemed unchangeable or cyclical, which refers us to the concept of a constant or the first term of the Taylor series of the function of thinking. With the advent of Christianity, the circle of time turned into a straight line, the concept of evolution appeared. This stage was completed by Galileo, who introduced the idea of speed into the paradigm of thinking, which completed the formation of the second, linear term of the Taylor series of the thinking function. The third term of the series appeared in Newton's theory and entered the next episteme with the idea of acceleration. Deductively, one can continue the decomposition of the thinking function into a Taylor series and imagine the appearance of a member of the series responsible for the third derivative.

Keywords: a priori, mind, epistems, Hegel, epistemology, spiritual function, apperception, symbolic forms, hierarchy, Taylor 's row

DOI: 10.7256/2454-0757.2019.2.29185

Abstract: The current interest of social philosophy towards the problems of daily routine is caused by the fact that on the background of global changes affecting all spheres of personal and social life, everyday life remains the most stable social phenomenon. However, the rate of changes in various social changes along with the globalization processes, also influence the human social practices. Transformations in the spheres of labor, leisure and daily routine of a modern human aroused scientific interest to the area that was previously considered secular and did not deserve specific scientific research, being just the background for the more significant historical events, rather than an independent subject for scientific study. The examination of daily routine carries interdisciplinary character due to the complexity and multidimensionality of the problem under consideration, which substantiates the use of different methods that comprise methodological arsenal of the modern social philosophy. The author demonstrates how the aspects of daily routine were viewed within the framework of historical, sociological, psychological science and culturology. The peculiarities daily routine are viewed as the object of scientific cognition. The everyday life is deemed as an attribute of social existence, the field of direct presence of the subject of daily routine. The conclusion is made that acquisition of the holistic representation on everyday life requires the application of methods for studying everyday life of an individual and society. The scientific cognition of daily routine allows apprehending the social reality in its all entirety.

Keywords: transformation of everyday life, daily history, Interdisciplinary nature of research, structure of everyday life, daily personality, scientific knowledge, daily life of society, everyday life, communication in everyday life, research methods of everyday life

DOI: 10.7256/2454-0757.2022.1.37299

Abstract: Art design is a visual form and spiritual bearer of culture that ensures universal language for communication between civilizations of the world. Competitiveness of the nation is not only a reflection of its economic power, but what is more important, recognition of its culture. Chinese patterns were used throughout the development of Chinese nation and imparted with spiritual connotations, forming a unique Chinese “culture of ornaments”, which is also an artistic sublimation of Chinese national culture. Lotus pattern is one of the earliest traditional ornaments that emerged in China. Throughout its entire history, it turned into a visual symbol that represents commemoration and aesthetic value of the Chinese traditional culture, having a distinct shape and meaning. This article analyzes the peculiarities of localization of the Ancient Chinese lotus pattern, as well as the question of “folk aesthetics” as the major driving force for the consistent development of the means of creating such images. The author examines the main determinants of the Chinese philosophy of design, highlighting such key factors as the artistic consciousness of the Chinese people, “botanical principle” in visual art, aesthetic perception of symmetry and balance in the image, as well as the peculiarities of historical milestones in the development of Chinese floral ornament. The author summarizes the considered aspects with regards to integration of the traditional and modern design.

Keywords: Traditional culture, lotus, China, Design philosophy, Philosophy, Design, Artistic design, Art, lotus ornament, Traditional ornaments

DOI: 10.7256/2454-0757.2022.2.37510

Abstract: This article aims to determine a close "polyphonic" connection between lyrics and music in choral music. The subject of this research is the synergism of literary-textual sources and polyphonic form. The object of this research is the consideration of polyphonic works for a cappella chorus by the contemporary Russian composers. Using the synthesis of research methods, which includes musicology, poetics and choral studies, the author reveals the parameters of a musical composition: literary-textual source and musical form. Detailed analysis is conducted on the dialectical interaction of constructive and destructive formants of the architectonics of musical form of polyphonic compositions for chorus. Special attention is given to differentiation of the structure of the literary-textual source and attribution of the polyphonic forms of motet, madrigal, fugue, and fugato. The main conclusion lies in the paradigm of artistic correlations between the literary and musical text as paralinguistic means that are the bearers of heterogeneous information and add additional colors to the content of the composition. Emphasis is placed on the need to explore the problematic associated with the architectonics of modern choral composition, substantiated not only by the general artistic-historical potential of choral culture, but its crucial importance for modern musical art as well. The novelty lies in the analysis of polyphonic forms of a cappella choral works as multimodal texts, synthesizing the scientific achievements of linguistics and musicology. The author’s special contribution consists in examination of the compositions for a cappella chorus of A. Koroleva and Y. Evgrafov that have not previously been the object of special research, and their introduction to modern scientific discourse.

Keywords: musical form, literary text, polyphony, Shchedrin, Evgrafov, Korolev, Korganov, Shostakovich, Shebalin, choral music

DOI: 10.7256/2454-0757.2021.5.36209

Abstract:   This article explores the philosophical system of the School of Chinese Buddhism San-Lun, as well as continuity of traditions of the Indian School Madhyamaka (one of the two schools of Mahayana along with Yogachara) in China. The teaching of San-Lun is based on the doctrines of Sunyavada and declaration of the principle of the middle way. The founder of San-Lun School in China monk Chi-tsang not only developed the concept of two truths, but also advanced the theories of three and four types of the two truths. The object of this research is the soteriological concept of the Middle Way through the prism of Buddha, which represents the peculiarity of the philosophical system of San-Lun in the context of Chinese Buddhism. San-Lun is the Chinese version of Madhyamaka School of Indian Buddhism. In the history of establishment of the trend Mahayana – Madhyamaka – in China it was of crucial importance to fill the gaps in translations from Sanskrit to Chinese language. The key role in this process played the prominent translator Kumārajīva, who translated the texts that have become fundamental for this school, and thus, created the theoretical framework for the Chinese scholars to study the teaching of Madhyamaka. The article examines the core philosophical concept of San-Lun: the doctrine of two truths and the concept of “eight negations”. Analysis is conducted on the concept of the nature of Buddha in San-Lun teaching, which demonstrates the introduction of the new understanding of Madhyamaka and determines the degree of scientific novelty.  

Keywords: soteriology, middle way, Buddha Nature, Shunya, Prajna, Sanlun, Chinese Buddhism, Madhyamika, Buddhism, Two Truths

DOI: 10.7256/2454-0757.2020.6.33167

Abstract: This article raises a question on the essence, types and role of competence approach to professional training of stage directors. The subject of this research is the competence approach to professional education of stage directors in creating a visual image in theatrical and concert in the conditions of innovative decisions. The goal consists in substantiation of the importance of competence approach to preparation of students in this field and their professional fulfillment, determination of acting and music competencies that could and should become the key results of professional education. The main research method is the analytical examination of sources, which allows clarifying the logic and content of the concept “competence approach to professional education of stage directors”. The methods of comparative analysis were used of identification of the quality of artistic education and its functions. The scientific novelty consists in the fact that this article is first within the framework of professional training of stage directors to consider comprehensive approach to realization of the modern ideas of stage direction. The key parameter is the ability to utilize modern innovative lightening of the audience halls. An example of advanced use of the modern technological capabilities is the events held in the State Kremlin Palace. The results of this work are reflected in the following statements: examination of any pedagogical phenomenon requires clarification of its components; many researchers pay attention to determination of the essence of competences, their elements and the need for their structurization; the questions of competence approach in the area of artistic education, and its functions in preparation of future stage directors have repeatedly become the subject of research. The analysis of scientific literature give grounds to state that professional competences of the students in this field are not sufficiently defined. Artistic education currently experiences a difficult period of modern transformations, when on the background of traditional classical methodology, advances the practice of implementation of innovative learning technologies.

Keywords: manufacturability, technology, innovative solutions, competency-based approach, concept, professional education, director, Kremlin Palace of Congresses, theatrical production, performance

DOI: 10.7256/2454-0757.2021.12.37234

Abstract: The subject of the study. The article analyzes a number of aspects of Brahms' intermezzo Op. 119 No. 3 in order to detect non-classical tendencies manifested in the structure of the musical fabric and the principles of shaping in this work. Research methodology. In the course of the study, the method of holistic analysis was used, which includes consideration of the features of harmony, textural originality, thematic processes and form-forming patterns in the Brahms intermezzo Op. 119 No. 3. Elements of comparative analysis were also applied (comparison of the principles of form formation in the composition under study and classical works, as well as comparison of the interpretation of the reprise of the three-part form in the Brahms intermezzo op 119 No. 3 and Chopin's nocturne Op. 48 No. 1). The scientific novelty of the work consists in the fact that as a result of the research it was possible to identify a number of non-classical qualities of Brahms' music, namely: the homogeneity of the sound fabric, a weak degree of differentiation of relief and background in texture, the absence of common forms of sound and passive fragments in musical form. The conceptual kinship of Brahms' principles of working with musical material with the technique of interpenetration of object and space, which became widespread in painting at the beginning of the XX century, was also discovered. Conclusions, the results obtained allow us to conclude that Brahms' intermezzo Op. 119 No. 3 implements a number of non-classical principles of working with musical material that anticipate the discoveries of composers of the Novovensky school (in particular, Webern). The results of the research can be used in the process of further study of Brahms' creativity and various theoretical aspects of music at the turn of the XIX–XX centuries, as well as in performing and pedagogical practice.

Keywords: the new Vienna school, game, non-classical worldview, musical shaping, homogeneous sound fabric, non-classical trends, spontaneity, late romanticism, intermezzo, brahms

DOI: 10.7256/2454-0757.2022.2.37508

Abstract: The article touches upon the problem of the influence of Anna Ioannovna's personal qualities on the formation of the Russian musical theater. Despite the fact that historians generally critically evaluate the results of the reign of this tsarina, her contribution to the development of Russian musical theater was significant and, according to the author, not fully appreciated. According to the researchers, it was thanks to the initiatives of Peter the Great's niece that opera seria came to Russia and reigned for many years. However, the question "was it Anna Ioannovna's merit that after her reign, in the last quarter of the XVIII century, the opera art in Russia experienced an upsurge?" was not raised. The scientific novelty of the study consists in establishing a causal relationship between the aesthetic preferences of the Empress and the musical and historical processes that led to the birth of Russian opera over several decades. The paper uses methods of analysis and synthesis of the found historical evidence, taking into account the works of domestic and foreign scientists. The main conclusions of the study are the reassessment of the historical role of Anna Ioannovna as the initiator of the development of the national musical theater. In fact, the Empress played one of the key roles in the preparation of the Russian Enlightenment. The information given in the article has practical significance and can be recommended for use in the educational process as an addition to lecture materials.

Keywords: Francesco Araya, Russian Enlightenment, interlude, baroque opera, opera house, italian opera seria, the formation of musical theater, the eighteenth century, Anna Ioannovna, The Italian Campaign

DOI: 10.7256/2454-0757.2022.3.37704

Abstract: The subject of the research is utopian discourse, which unites all the variety of concepts related in one way or another to utopia, utopian dimension of reality and understanding of the Future (utopian element, utopian impulse, utopian optics, utopianism, utopian consciousness, utopian thinking, dystopia, etc.). Special attention is paid to the study of the explanatory and predictive potential of utopian discourse, identifying its boundaries and analysis of the relationship with ideological discourse. The conceptualization of utopian discourse is based on an instrumental approach to utopia, which is complemented by the communicative approach and the interpretive concept of culture by K. Geertz, which justifies the possibility of considering utopian discourse as a semantic and symbolic matrix.   The novelty of the research is to identify and substantiate the exaggerated dichotomy of thinking and otherness as the structure-forming elements of utopian discourse. This contributed to the assessment of utopian discourse as a peculiar but viable form of reflection of political reality and the construction, consolidation and comprehension of values. The proposed algorithm of thinking with dichotomies made it possible to trace the process of constructing utopian discourse on the basis of a pyramid of dichotomies, consisting of system-forming, key and peripheral dichotomies. The article clarifies that the otherness of utopian discourse is manifested in the historicity, radicality and inextricable connection of utopian discourse with the Present. The indicated specificity of utopian discourse has led to the clarification of the reasons for the negative and/or skeptical attitude towards utopia and utopian discourse, as well as to the definition of its strengths and weaknesses. The authors conclude that despite the identified shortcomings, which often lead utopias to periodic displacement from the framework of actual political life, utopian discourse can have a significant impact on the change and development of society.

Keywords: dichotomy, dichotomous thinking, narrative, otherness, ideology, ideological discourse, utopia, utopian discourse, semantic matrix, legitimacy

DOI: 10.7256/2454-0757.2018.6.26571

Abstract: This article is dedicated to the examination of evolution of the theoretical-methodological approaches towards comprehension of the phenomenon of Other/Alien as an object of historical-culturological discourse. The authors hold the view that initially the phenomenon of otherness was a subject of philosophical comprehension, but with the development of scientific thought, technologies and mediatization of the modern society, the problem of Other/Alien acquires a qualitatively new characteristic. The interest to the phenomenon of Other/Alien is not coincidental, as its defined primarily due to the escalated attention from mass media, journalism, literature, politics and other spheres of social life. However the key problem at that level is the method of labeling of Other/Alien. This article represents a continuation of the studies on evolution of the theoretical-methodological approaches to the problem of Other/Alien. The previous worked has already dicussed the interest of the ancient authors, medieval theologians, and thinkers of the Age of Enlightenment of Modern History to this problem, as well as the philosophes of such disciplines as phenomenology (E. Husserl), ethical philosophy (E. Levinas), existentialism (J-P. Sartre). In the current article, the authors reveal the approaches to the problem of Other/Alien in the works of M. M. Bakhtin, B. Waldenfels, P. Ricœurl; postmodernists J. Derrida, G. Deleuze, F. Guattari; structural psychoanalyst J. Lacan; theoretician of orientalism E. Said; and other post-colonialists, supporters of small groups (SubAltern Studies), Russian culturologists and historians.

Keywords: Vision, Body without organs, SubAltern Studies, Structural psychoanalysis, Postcolonialism, Postmodernism, Alien, Other, Orientalism, Otherness

DOI: 10.7256/2454-0757.2021.3.35744

Abstract: The subject of this research is the period of the Russian symphonic music of the early 1960s. The scene saw the emergence of a new generation of composers – the so-called “Sixtiers”, making themselves known with remarkable artistic achievements, novel and modern musical language. Emphasis is place on such aspects of the topic, as the system of music education that established in the Soviet Union by the mid XX century, sustained material affluence of the Soviet composers, and ideological pressure of the government in return for such care. Special attention. Special attention is given to the new artistic opportunities for the young Russian composers that emerged as a result of the political “thaw”. The scientific consists in introduction into the scientific discourse of a wide range of memoir literature and critical articles of the representatives of the “new wave” movement, as therefore, a more comprehensive understanding of the complex processes that unfolded in the Soviet academic music. A detailed analysis is conducted on the role and place in the struggle for “new music” of the youngest musician out of the “Sixtiers” – a prominent Russian symphonist of the XX century Boris Ivanovich Tishchenko (1939 – 2010). The main conclusion is reflected in the thought on a certain triumph of the School of Soviet Composers and the system of music education, which is most clearly described by the last three decades of the existence of the Soviet Union.

Keywords: Music of the XX century, The Sixties, New music, Symphony orchestra, Dmitry Shostakovich, Rodion Shchedrin, Sergey Slonimsky, Boris Tishchenko, The Union of the Composers, Musical Avant-garde

DOI: 10.7256/2454-0757.2022.7.38451

EDN: DSXTHL

Abstract: The subject of the article is the role of M.A. Balakirev in the development of Russian musical culture. The purpose of the article is to analyze the multifaceted activities of M.A. Balakirev, whom history itself has put forward to accomplish great things for the benefit of musical culture and musical education in Russia. In accordance with the theme and purpose, the following methods were used: retrospective analysis of the musical life of Russia in the second half of the XIX – early XX centuries; analysis of memoir sources of M.A. Balakirev's contemporaries; generalization of modern scientific research on the topic stated in the article. The methodology of the research consists of : memoirs of students and associates of M.A. Balakirev – Ts.A. Kui, N.A. Rimsky-Korsakov, V.V. Stasov; memoirs of Russian researchers – P.D. Bobrykin, Yu.V. Vasiliev, E.M. Gordeeva, Yu.V. Keldysh, I.F. Kunin. The novelty of the research lies in the identification of aesthetic contradictions between the established approach not only in the creative association of composers, but also in the musical art of that era. The materials of the article can be included in the course of lectures and seminars on the history of Russian music, advanced training courses for music teachers, teachers of secondary specialized and higher educational institutions. The conclusions of the study are : the purpose and creative activity of the composers of the "Mighty Bunch" under the leadership of M.A. Balakirev is characterized as a reflection of the Russian democratic culture of the era of revolutionary populism; the activity of the creative community "Mighty Bunch" is presented as embodying the ideological platform of the new Russian direction in music of the XIX century; the main methods of "composer" training and education applied by M.A. Balakirev.

Keywords: Balakirev 's method, music training, Russian music pedagogy, pedagogical methods, composer 's school, musical culture, Russian culture, russian music, creative community, Mighty Bunch

DOI: 10.7256/2454-0757.2021.7.27062

Abstract: This article is dedicated to the analysis of Plato's work “The Republic” in the context of the genesis of project mentality  and project activity as the anthropological outcome that goes back to the early cultural states and primary personality-oriented ancient practices. The author shifts to the plane of historical-cultural retrospective of the origin of the phenomenon of project mentality with the objective vicissitudes of its genesis. An attempt is made to reflect on this process, examine and clarify certain moments associated with the prelude and dynamics of the development of project approach towards organizing modern reality. The author substantiates the original perspective on interpretation of Plato's “Republic” as the early typical example of proto-project mentality formed in the depths of ancient cultural practices. Project mentality is a promising vector of the existence of culture, the so-called matrix of personal fulfillment of a significant part of our contemporaries. The author believes that Plato's work “The Republic” should be recognized as one of the very first examples of proto-project due to the presence of a wide range of typological attributes of design. The conclusion is made that in accordance to most parameters, Plato's work “The Republic” falls under the concept of “project activity”, as it features majority of the aspects of sociocultural design.

Keywords: genesis, an object, subject, human, project thinking, project, design, antiquity, socium, Plato