Philosophy and Culture - rubric Philosophy and art

Abstract: The subject of this research is the theme of creativity and transformation of the screen image of the world as the paramount elements of development of the director’s style. The object of this research is the films of the prominent Soviet director Gleb Panfilov made in the 1960’s – 1980’s. The author examines the dramaturgical peripeteias of the plot, formation of a particular female image in the films, development of constructive component of the character. Special attention is given to cinematographic analysis of the director’s elements forming the realm of the screen picture of the world and comprising the holistic foundation of perception and suggestive component of the film. The main research method is the film analysis reel, which is based on aesthetic concepts of the general or cinematographic genesis, as well as includes the review of dramaturgy, characters and plastic means of screen expression. The main conclusion lies in the statement on the gradual development of the images of female characters in the films of Gleb Panfilov from individualizes creator to the creator adapted in society. Synthesis in the analysis of the characteristics of heroes and their impact on the screen picture of the world, allowed the author of the article to draw the conceptual conclusions concerning the changes in the original style of G. Panfilov within the specified timeframe.

Keywords: women character, film composition, chronotope, Soviet cinema, russian cinema, Gleb Panfilov, screen reality, canonical film language, film canon, misenscene

DOI: 10.7256/2454-0757.2019.9.30725

Abstract: The object of this research is the interdisciplinary concept of “canon”, interpreted by the author applicable to cinematographic experience of the prominent European film director Krzysztof Kieslowski. Attention is turned to the possibility of simultaneous analysis of his films with rhetoric about the structural peculiarities of lyrical oeuvre of the philosopher Martin Heidegger. Analyzing the film “Decalogue” and other films, the author comes to the conclusion on the formation of a special historical canon of screen reality in Kieslowski’s films, based on the long emotional experience of the shown events and the utmost emotional suggestion of films consciously created by the film director using the chronotropic elements. The main research method is the film study analysis of Krzysztof Kieslowski’s films based on interpretation of classical, interdisciplinary (art history, culturology) concepts: canon and chronotope. The scientific novelty consists in the synthesis and interpretation of the terms of classical art (canon, chronotope) with the lively, defined individually by the viewer, text of cinematographic work. Another conclusion lies in the statement on the longstanding nature of experiencing the storyline twists of Kieslowski’s films, created in accordance with the laws of historical canon and emotional content of the plot.

Keywords: suggestio, screen chronotope, chronotope, Krzysztof Kieslowski, Decalogue, screen reality, screen canon, canon, art expression, movie composition

DOI: 10.7256/2454-0757.2019.10.31005

Abstract: The subject of this research is the problems of painting, and particularly, drawing in the philosophy of Jacques Derrida. The starting point became the experience of co-creation of Jacques Derrida and the Italian artist Valerio Adami, which reflected in creation of five hundred screen printings, as well as an attempt to comprehend such of an artistic experience and countersignature in Derrida’s article “+R (par dessus le marché)”, released in 1975 as the first publication of the philosopher structured around the problem of drawing. The author attempts to depict how Derrida’s discourse is imposed upon the graphic practices of Adami, forming a mutual attraction of the line and writing. Despite the significance of the theme of art in Jacques Derrida’s philosophy, there is yet not a single work in the Russian language that would address this topic to any extent. The fundamental problem of art of the XX century, in Derrida’s understanding, is not the dilemma of abstract and figurative, but the discursive nature of figure, i.e. its special configuration in form of a written trace.

Keywords: discourse, art, painting, drawing, figure, writing, deconstruction, Adami, Derrida, signature

DOI: 10.7256/2454-0757.2020.7.33570

Abstract: The subject of the study is the problem of drawing in the philosophy of Jacques Derrida and, in particular, the so-called "blindness hypothesis", which Derrida expresses in the work "Memoirs of a blind man: self-portrait and other ruins": "drawing ... and the drawing operation must have some relation to blindness." Derrida explores this wellвЂ”established ontotheological tradition of classical metaphysics: blinding here becomes a necessary sacrificial act, a condition that makes possible the transition from the physical eye to the spiritual, so Derrida describes it as a "sacrificial" economy, which is inevitably followed by an artist, each drawing of which turns out to be a prophecy of a blind man, indicating the horizons of the future. В Explicating Derrida's hypothesis, we turn not only directly to the text of the "Memoirs of a Blind Man" and the documentary narrative film that accompanied it, but also strive to reconstruct the exhibition of the same name held at the Louvre in 1990, which was also curated by Derrida. The comparison of these three layers made it possible to more fully reveal the "blindness hypothesis" and fit it into a more general philosophical context of deconstruction, as well as to rethink the problems of figurative drawing, its mimetic and representative nature. We come to the conclusion that the essence of the drawing has nothing to do with the visible, and its source lies entirely at the level of memory.

Keywords: artist, truth, epiphany, blinding, blind, self - portrait, drawing, deconstruction, Derrida, sacrifice

DOI: 10.7256/2454-0757.2021.6.36354

Abstract: The problem of choreographic interpretation of the novel “Anna Karenina” by L. Tolstoy in the modern ballet theater is relevant: in the past twenty years, several outstanding choreographers have selected this theme for their performance. The subject of this article is the interpretation of the character of Levin by John Neumeier. The goal consists in revealing the expressive elements and peculiarities of choreographic language used by the ballet master in staging this role, as well as in juxtaposing them with the original literary text. The article employs comparative and analytical methods, overt observation (in the process of working with Neumeier on the role of Kitty), Neumeier's lectures prior to the Moscow premiere of “Anna Karenina” (from the author's archive), and materials from video archives of the theatre. Detailed semantic analysis of stage direction and choreographic language of the role of Levin became the basic instrument for determining the traits of Tolstoy’s hero, which Neumeier derived from the literary source. Tolstoy’s reasoning on the topics that require in-depth philosophical reflection, which were inscribed into the artistic fabric of the novel, are instilled in the role of Levin. Creating the choreographic interpretation of this character, Neumeier did not pursue the original verbatim. However, the choreographer strongly emphasizes the difference between Levin and other characters. Determination of the staging techniques used for this purpose define the novelty of the research results, which can be applied in the further study of Neumeier's works. This includes explicit monologue, Stevens' songs as musical background, bare feet of the dancer, series of symbolic leitmotivs of bodily movements, arbitrary bodily movements that resemble improvisation, usage of costume details. Levin's monologues represent a performance within a performance, philosophical-symbolic choreographic meditation that is not connected with the overall plotline. Such solution, despite all apparent differences, conceptually brings together the choreographed character of Levin and the original text. Interpretation of this role is one of the key components in interpretation of L. Tolstoy's novel by J. Neumeier, which encompasses the author’s innovative staging solutions.

Keywords: literature subject, choreographic interpretation, full-length ballet, Levin, Anna Karenina, John Neumeier, Leo Tolstoy, choreographic language analysis, monologue, Cat Stevens

DOI: 10.7256/2454-0757.2022.4.37808

Abstract: The subject of the study is the study of such a specific genre as dystopia, which is the dominant form of society in post-apocalyptic worlds. The object of the study is dystopia and post-apocalypse in cinema, as well as their features in modern realities. In the course of the research, special attention is paid to the study of the substantive essence of such definitions as "dystopia", "apocalypse" and "post-apocalypse". Special emphasis is placed on the fundamental difference and differences between apocalyptic and post-apocalyptic events. Special attention is also paid to the reasons and factors that cause the return of popularity of dystopian narratives to cinema. In addition, the social, political and philosophical orientation of the genre of dystopia is considered. В В В В The main conclusions of the study are the conclusion that cinema, thanks to its dynamic audiovisual nature, allows dystopia to reveal its potential as an exciting and entertaining genre, while provoking the viewer to critical reflections and actions. The author's special contribution lies in the fact that during the analysis it was possible to substantiate the statement that the vision of dystopian cinema and, accordingly, the content of films varies depending on events occurring in a certain historical period of time, which allows us to depict various characteristics of the post-apocalyptic world. The scientific novelty of the research consists in conducting a discussion about the historical background of the terms "apocalypse", "post-apocalypse" and "dystopia" within the framework of the new millennium and the events that occurred and influenced the whole world and its perception of a possible end.

Keywords: film, viewer, perception, society, the end of the world, post - apocalypse, cinema, dystopia, criticism, culture

DOI: 10.7256/2454-0757.2022.5.37881

Abstract: This article examines the history of the creation of game theory as a phenomenon of culture and art. Contribution of theorists and artists of the twentieth century in the formation of game theory, its place in modern art criticism and philosophy. The significance and influence of the personality of Marcel Duchamp, surrealist artists in creating a modern understanding of the game in art and in life. The subject of the research in this article is such concepts as the game and its place in art criticism in general, and the role and significance of the chess game in particular, using the example of the creativity and activity of Marcel Duchamp. The author's view on understanding the problem of the mutual influence of the chess game and artistic creativity is proposed. An attempt is made to explain the motivation for choosing a game as an artistic principle and method. How important is the use of the game in creating an artistic image, the creative image of the artist is also significant. The methodology of the study is based on the basic principles of the game theory of Roger Caillois and Johan Huising in relation to the chess strategy of Marcel Duchamp. The novelty of this work lies in drawing attention to the role and significance of the chess game on creativity, the influence on the aesthetic, artistic and philosophical views of the artist.

Keywords: ready-made, Dada, Tarot, surreal games, taxonomy, Johan Huizinga, Roger Caillois, Marcel Duchamp, chess game, Man Ray

DOI: 10.7256/2454-0757.2022.6.37978

Abstract: Chinese painting has always been a unique product of our ancient civilization, which has survived to the present day. During its 2000-year development, Chinese painting has gradually turned into a unique and non-reproducible art form capable of expressing the thoughts and feelings of the artist. Over time, Chinese painting also demonstrates a new trend of inheritance and innovative development. Changes in Chinese painting occur simultaneously with the processes of globalization. This gives rise to new research on the trends of diversification of artistic creativity. The focus of artistic expression has shifted from the depiction of direct natural objects towards the spiritual plane, which is a direct result of the creative activity of artists whose aspirations are manifested in the use of traditional Chinese ink painting in combination with new methods of figurative representation and deep understanding of spiritual content. Since ancient times, artists have actively sought to harmonize and balance the subjective and objective, as well as to achieve their organic combination. This article examines traditional Chinese painting as a source and driving force of the transformation of Chinese painting、prints of the era and integration in the content of paintings、attempts to introduce the Western concept of frontal composition, as well as updating the language of painting and artistic concepts. It is argued that the fundamental driving force and the main support for the development of Chinese painting in the context of globalization should be traditions integrated with new creative elements and techniques, thus it is possible to better promote Chinese culture and inherit the essence of traditional Chinese painting.

Keywords: Chinese culture, Painting, Traditional culture, Art, China, aesthetics, modernity, chinese painting, tradition, globalization

DOI: 10.7256/2454-0757.2022.8.38638

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

Keywords: ballet master, the role of a ballet dancer, choreographer, teacher-tutor, the rehearsal process, Mariinsky Theatre, ballet, theatre, classical dance, professional competence

DOI: 10.7256/2454-0757.2022.10.38893

Abstract: Throughout the 20th century, the theory and history of performing arts repeatedly attempted to systematize various phenomena in the field of interpretation of works of academic music. The number of performing styles and types in various researches has risen dramatically, until the beginning of this century when it was reduced to a single concept - to the category of an individual style. This topic was discussed mainly in research papers devoted to the theory of pianism. The results of their observations and conclusions can be applied to the performing arts in general. The article mentions the works of K.A. Martinsen, D.A. Rabinovich, V.P. Chinaeva, A.V. Malinkovskaya and others. The topic of musical perception is addressed both in musicology and in musical psychology. This research offers a new vector for studying of musical perception, linking the features of musical imagery created by the performer and the nature of perception. The following aspects are revelated: patterns that allow us to talk about the types of musical image, the principles of its construction and the types of perception. This is an affective image created on the principle of contrast. It corresponds to the psychophysical type of perception. The contextual image is guided by the principle of connections. It corresponds to the aesthetic type of perception. The integrative image is formed, focusing on the principle of the whole. It corresponds to the symbolic type of perception. A hermetic system of typology is considered to be impossible; artistic practice will largely oppose it. However, these tendencies are able to shed light on the nature of musical perception and allow to continue the scientific discussion of the current topic of musical performance.

Keywords: musical image, symbolic, aesthetic, affective, performing style, academic music, musical performance, musical perception, type of perception, performing type

DOI: 10.7256/2454-0757.2022.11.39115

Abstract: Although the piano is an instrument with more than three hundred years of history, it has not been in China for a long time. Therefore, in the process of learning to play the piano in China, many Western piano works are often played, but rarely come into contact with Chinese-style piano works. With the development of time, thanks to the relentless search for outstanding Chinese composers, more and more piano works based on ethnic culture and Chinese style appear. Some of these works are based on the music of national minorities, some are adaptations of Chinese folk songs, and some are borrowed from folk music. "Spring Dance" is a typical work reflecting the culture of the Uighurs living in Xinjiang. The work is melodic, rhythmic, expresses the beautiful nature of Xinjiang, the warm and energetic character of the Uighur people.This article analyzes the "Chinese style" of the "Spring Dance" in the hope that it will serve as a basis for studying piano works with Chinese national flavor. The "Chinese style" in rhythms is not only an imitation of the rhythms of traditional folk instruments, but also an imitation of the peculiarities of the language of Chinese national minorities. Thanks to the study of the "Chinese style" in this work, the author understood more deeply the unique charm of Chinese piano works which will also serve as a guide for the subsequent study of such piano works.

Keywords: Chinese culture, dance, Culture, mood expression, China, ethnic tone, traditional instruments, Chinese style, Traditional culture, Spring dance

DOI: 10.7256/2454-0757.2023.4.39779

Abstract: The culture of traditional clothing and jewelry is an integral part of the ancient Chinese civilization. Chinese traditional costume is distinguished by its rich content, relevance at any time, as well as its unique features. Traditional clothing was influenced by successive millennial dynasties that brought the chaos of war. Traditional Chinese clothing has not only become the embodiment of the Chinese concepts of "the unity of Heaven and man", "the ritual of respect for nature and harmonious coexistence with nature", but also a visual representation of the cultural characteristics of different dynasties and the level of development of production. Chinese traditional costume carries the thinking of many Chinese philosophical teachings and schools, reflects the clash and synthesis of agrarian and nomadic cultures of different regions of China. The value of culture carried by the Chinese traditional costume goes beyond the costume itself, it reflects both the social hierarchy, and the peculiarities of society management, and the national spirit. In this article, based on the objective and subjective conditions of the formation of the culture of Chinese costume and accessories, on the basis of ornaments, patterns, colors of garments, as well as on the example of the Shenyi robe that violated previous traditions, the features of the embodiment of Chinese traditional cultural values in clothing are considered.

Keywords: clothes, decorations, traditional clothing, Chinese cultures, ornaments, colors, cultural values, Chinese jewelry, China, culture

DOI: 10.7256/2454-0757.2023.5.40630

Abstract: After 1604, Chinese art through Chinese goods rapidly and widely penetrated into European society and had a profound impact on European art and aesthetics.During the century of the popularity of everything Chinese in Europe, it was Chinese goods represented by porcelain and flowing silk that were most directly related to people's lives. From the second half of the XVII century to the second half of the XVIII century, European culture and art experienced a boom in Oriental art. A number of innovative artists began to change their traditional interests and methods of painting, creating many masterpieces with a Chinese flavor. Thus, a new page was opened in the history of Eastern and Western painting. China and Europe, two advanced human civilizations.It took quite a long time before the fog of myths and legends that enveloped China and Europe, the two highest civilizations of mankind, dissipated, until the true nature of China was revealed in the XVIII century. This work is divided into the following three parts: The emergence of Chinoiserie; Rococo and Watteau painting; The decline of Chinoiserie. Documentary studies, comparative analysis and case studies are used to study the phenomenon of China's popularity, which has engulfed Europe as a direct consequence of the spread of Chinese culture in the West.

Keywords: China, Europe, culture, painting, Chinese art, Chinese culture, chinoiserie, Popularity, rococo, art

DOI: 10.7256/2454-0757.2023.9.43931

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.

Keywords: material, a sign of the game, plastic art, a man playing, a creative person, an artist, the play, art, creativity, cultura

DOI: 10.7256/2454-0757.2023.11.68835

Abstract: The subject of the study is the peculiarities of the formation of the canonical two-evening edition of S. S. Prokofiev's opera "War and Peace" and the influence on this process of the authors of the first production of the composition at the Maly Opera House in 1946 - the musical and stage version of conductor S. A. Samosud, director B. A. Pokrovsky and artist V. V. Dmitriev. The main purpose of the work is to identify the key aspects of the impact of the theater and the production process on the appearance of the legendary opera epic S. S. Prokofiev. The methodology of work is based on the principle of historicism in the study of musical drama and the stage fabric of the performance, developed by the domestic theater school. A study of the first edition of the 1943 opera, a detailed analysis of the rehearsal and staging process for preparing the premiere performance at the Maly Opera House, preserved letters and memoirs, periodicals, as well as a number of archival materials reveal a significant role for the authors of the production - conductor S. A. Samosud and director B. A. Pokrovsky - in a revision of the composer's originally created composition, explain the work of S. S. Prokofiev in order to create additional musical and dramatic episodes, which later became the climax of the canonical version of the opera. The author examines the little-known facts of the history of the creation of the opera "War and Peace" by S. S. Prokofiev - the influence of the theater on the appearance of the work formed as a result of work on the production of 1946-1947.

Keywords: Boris Aleksandrovich Pokrovsky, Samuel Abramovich Lynching, Maly Opera Theater, MALEGOT, the formation of the second edition, score, War and Peace, premiere, Sergei Sergeevich Prokofiev, Soviet Musical Theater

DOI: 10.7256/2454-0757.2022.3.37741

Abstract: This article continues the author's research devoted to the study of the problem of choreographic interpretations of literary works, in particular, John Neumeier's ballet "Anna Karenina". In this work, the identification of expressive staging means and choreographic elements used by Neumeier in the production of duets by Anna Karenina and Alexei Vronsky is carried out in order to determine the place of these choreographic fragments in the performance, as well as their significance for the author's interpretation of the images of the main characters of the novel by Leo Tolstoy. In the course of the research, the author applied comparative-historical, ideological-artistic and analytical methods, as well as the method of included observation (based on personal experience of working with Neumeier on Kitty's party). In the course of the source analysis, video materials from the archives of the Hamburg Ballettzentrum and the Moscow Bolshoi Theater were used, as well as lectures conducted by Neumeier before the Moscow premiere of Anna Karenina (recordings from the author's archive). A detailed analysis of the dance score of three duets by Anna and Vronsky revealed traditional and innovative author's solutions related to the new research results. So, Neumeier uses such staging means as the compilation of Tchaikovsky and Schnittke's music; the inclusion of symbolic images (a chair, a door, a bag) in the choreographic canvas; the appearance of other characters; the use of stage lighting to accentuate the transition from reality to the sphere of the subconscious; active choreographic development based on a technically saturated duet dance, replete with high supports in the neoclassical style, as well as acrobatic elements; semantic use of plastic quotations. It can be concluded that in order to develop the images and relationships of Anna Karenina and Alexey Vronsky, the choreographer chooses a duet as the dominant musical and choreographic form. Moreover, in his version of Anna Karenina, Neumeier makes three duets of the main characters a key component of the performance and the author's interpretation of the images of the main characters.

Keywords: Anna Karenina, literary plot, Pyotr Tchaikovsky, choreographic interpretation, Alexey Vronsky, Leo Tolstoy, multi - act ballet, John Neumeier, Alfred Schnittke, duet

DOI: 10.7256/2454-0757.2022.4.37840

Abstract: The subject of the study is the period of Russian symphonic music of the 1960s. A new generation of "sixties" composers has entered the Soviet music scene, imperiously declaring themselves with bright creative achievements, fresh and modern musical language. The epoch of the turning point dictated a new reality, required new artistic thinking, generated diverse creative ideas. The panorama of Russian music was quite colorful, many things in art appeared and disappeared very rapidly, stylistic pluralism, lost at the dawn of Soviet power, returned to the music scene. Special attention is paid to the works of composers of the Leningrad school вЂ” S. Slonimsky, Y. Falik, L. Prigozhin and V. Gavrilin. All of them opened new stylistic horizons and absorbed into their sound orbit the main trends of modern music, including the conquests of the Western avant-garde. В The scientific novelty of the work consists in the fact that the author examines the bright and original works of young Leningrad authors in the context of stylistic and linguistic innovations of the 1960s. The article analyzes the role and place of "Sixties" composers in the struggle for "new music". The main conclusion of the article is the idea that the period of musical renewal of the 1960s under consideration turned out to be extremely saturated with the most complex and diverse problems: ideological, general aesthetic, musical style. S. Slonimsky, Y. Falik, L. Prigozhin, V. Gavrilin became undisputed leaders in the renewal of Russian music of the second half of the twentieth century, and their works-"symbols" fully reflected the intense search of the post-war generation of Soviet composers.

Keywords: update, a new folklore wave, symphony orchestra, Soviet music, symphony, Leningrad composers, dramaturgy, music of the twentieth century, musical theatricality, Leningrad

DOI: 10.7256/2454-0757.2019.12.31892

Abstract: Mythologem of the Siberian exile and its role within the structure of national mentality for the past decades is a subject of meticulous research of culturologists, philosophers and literary historians. However, the problem of visual representations of such mythologem, which supposedly in the conditions of modern “visual turn” should attract greater attention of the humanities scholars, it still remains outside of scientific research. The author is firs to determine and align the chronological series of the landmark and prominent works of the national art capturing the sesquicentennial period of visual documentation of the Siberian servitude and exile, which allows tracing the pivotal transformations of the created visual images at various stages of national history. The study carries culturological character, as it is structured on determination and analysis of the common trends and patterns of the indicated process, claiming no detailed art review of separate compositions. The artworks that became the sources for this research are examined as visual demonstration of the existing within Russian society representations on Siberian exile, and simultaneously, as the way of their formation and establishment. The author outlines parallel between the “known from firsthand experience” – structured on the basis of the existing myths, and emotions – informative, which is related to temporal parameters and level of criticism of the works.

Keywords: artist, time, visualisation, fine art, myth, mythologeme, exile, Siberia, representation, the Stalin's era

DOI: 10.7256/2454-0757.2023.11.68977

Abstract: The object of this study is the speech style of artists of the Bolshoi Drama Theater in the 1950s and 1960s. The subject of the study is the evolution of the speech style from the first to the second edition of G. Tovstonogov's performance "The Fox and the Grapes" ("Aesop"). The author of the article studies in detail two versions of the famous performance, analyzes the acting speech of N. Korn, V. Polizeimako, O. Basilashvili and S. Yursky from aesthetic and technological positions. The author pays special attention to the fundamental changes in the intonation-melodical architectonics of sounding speech in less than one decade. A change in speech style in the Bolshoi Drama Theater is included by the author in the wider context of changes in the art of the "thaw" era. The methodology of this study includes measurement (auditory analysis of the pace of speech, auditory analysis of diction and orthoepia, instrumental analysis of the intonation-melodic score), comparative analysis, induction, historical method. The novelty of the present study lies in the combined use of auditory and instrumental analysis tools for acting speech. The author clearly proves the subjectively obvious difference between the sound of speech in the first and second editions of the performance "The Fox and The Grapes" by conducting a detailed comparative analysis of acting speech in all main parameters: tempo, diction, orthoepia, melodics. From the study of a specific performance and specific acting works, the author goes to generalization, concluding about the powerful influence of screen (cinematic) speech on theatrical speech in the 1950s and 1960s, about the formation of a new standard of audience perception and a new idea of the naturalness of acting speech.

Keywords: intonation, speech style, Aesop, instrumental analysis, auditory analysis, theatre, Khrushchev thaw, scenic speech, Tovstonogov, naturalness

DOI: 10.7256/2454-0757.2023.1.39584

Abstract: The article is devoted to illustrations by V. Yankilevsky for the popular science publication "Knowledge is Power" during its special heyday in the 1960s. The research aims to discover the conceptual and artistic specifics of these works and at the same time to fit them into the broader context of the artist's work, while solving the task of determining their place within the author's world of images. The author paid special attention to the consideration of the main topics with which V. Yankilevsky worked, and the ways of their implementation. In particular, these are such author's conceptual codes as: energy tension, the antithesis of "living-dead", images of breakthrough and infinity. This problem has not yet been covered in the scientific literature, since the focus of attention in it is mainly focused on the painting and easel graphics of the master, while V. Yankilevsky's illustrations remain a marginal phenomenon for discourse. This article will serve as a beginning to fill the gap that has formed. The main result of the conducted research is the discovery of the consonance of the images of the artist's main creative work and the commissioned illustration in the popular science publication "Knowledge is Power", which was possible thanks to the topics raised there that go beyond everyday experience and are weakly amenable to the laws of established censorship. At the same time, significant differences were found: in particular, the absence in the illustrations of the most important problem for easel painting and graphics by V. Yankilevsky of the interaction of male and female archetypes.

Keywords: Yuri Sobolev, popular science periodicals, Soviet underground, unofficial artists, artistic and philosophical system, 1960s art, magazine graphics, Vladimir Yankilevsky, knowledge is power magazine, magazine illustration

DOI: 10.7256/2454-0757.2023.8.43752

Abstract: The subject of the research in the article is the crisis of art, which is considered both exogenous (its occurrence is associated with various external factors) and endogenous, identified as a state of self-sufficiency in the existence of art. The emphasis is placed on the analysis of the experience of the sociology of art in understanding the crisis and crisis as a factor in the development of time and man. An assessment of the theorizing about the crisis of art at the interdisciplinary level is given, and the main emphasis is placed on the potential of sociological knowledge in stating the state of art under study. In addition, the main directions of conceptualization of the crisis of art in science are revealed. The main conclusions of the study are the following key provisions: 1) conceptualization of the crisis of art within the framework of the relevant branch of sociology is carried out both in terms of understanding art as a form of public consciousness, and from the point of view of the correlation of form and content, as well as ideological and artistic potential; 2) conceptualization of the crisis of art is an independent perspective of scientific research that sets the task of objectifying the crisis of art, understanding the basic laws of its occurrence 3) the sociology of art identifies the crisis of art as a state in which the role of art in the socialization and inculturation of the individual decreases.

Keywords: spiritual culture, conceptualization, the system of norms, value system, civilizational development, sociology of art, the crisis of art, art, culture, values

DOI: 10.7256/2454-0757.2018.8.27155

Abstract: The subject of this research is the consideration of specificity of conceptualization of creativity as a phenomenon in rationalistic philosophical tradition. Such conceptualization implies the transition from comprehension of creativity as an attribute of existence towards the most significant attribute of human existence, the activity of omnipotent, in other words “pure mind”. It is noted that the novelty as a result of rational activity of a creative subject is predetermined by the universal, substantial nature of the world manifested in the uniform consistencies, which in turn, must be open. The scientific novelty lies in discovering the analogues of “pure mind” and its determinant role in understanding of the phenomenon of creativity within the discourse of rationalistic philosophy. The author reveals a definitive concept – a human is creative, encapsulating the characteristics of utter certainty in omnipotence of mind as a source of all creative intentions and absolutization of the possibility of creative inquiries in the area of scientific knowledge, as well as conquering and transformation of the surrounding world. A conclusion is made that the rationalistic philosophy sets the logical and gnoseological objectives in the context of the philosophical conceptualization of creativity.

Keywords: conceptualization, artistic creativity, mind, rationalism, man, culture, science, creativity, context, sociocultural reality

DOI: 10.7256/2454-0757.2024.2.69975

Abstract: The object of this paper is creativity as a cultural philosophical and historical-philosophical phenomenon. The subject of the research is the substantiation of the essence of creativity by Russian religious philosophy on the example of the doctrine of V.S. Solovyov and N.A. Berdyaev. The aim of this research is to identify and articulate the key semantic constructs of creativity from the positions of the above-mentioned thinkers. The article also explores ideas about the nature of creativity and the specific features of a creative subject through the prism of relevant concepts of a socio-humanitarian orientation. A brief historical and philosophical excursion into the understanding of the ontological essence of creativity is carried out, modern ontological concepts of creativity are revealed and an existentially oriented concept of creativity is proposed. The theoretical basis of the research is the original works of V.S. Solovyov and N.A. Berdyaev, as well as various commenting scientific sources. The methodological foundation of the research is a comparative analysis and a method of contextual vision of creativity. The main result of the conducted research is the articulation of key aspects of the understanding of creativity by V.S. Solovyov and N.A. Berdyaev. It is shown that for the first philosopher, the central task of creativity is the spiritualization of the material world through the realization of the unity of Goodness, Truth and Beauty, while the second thinker considers the main mission of creativity to be the establishment of a fundamentally different spiritual being by the subject. The scientific novelty of the research also lies in the comparative characterization of the concepts of creativity of these thinkers in terms of essence, tasks, meaning, material, sources, functions, result and other structural aspects.

Keywords: theurgy, Berdyaev, Solovyov, Russian religious philosophy, creative subject, creative process, creativity, transcendence, anthropodicy, freedom

DOI: 10.7256/2454-0757.2017.12.25123

Abstract: The subject of this research is the analysis of correlation between Soviet design, including industrial design, textile, architecture, and the idea of projection of a new individual in the context of his perception through the figurative world. The author reveals this topic trough referring to the analysis of evolution of the figurative world. Specificity of this research consists in the examination of design traits in USSR not only in the context of peculiarities of the country’s political and economic development, but also the ideas that affected their emergence. The object of this work is the avant-garde art, which generates the industrial design. Methodology is based on the on the historical-philosophical analysis on one hand, and comparative analysis on the other. Author’s special contribution into this research lies in conduction of cross-disciplinary analysis regarding the formation of the Soviet design, which proves that unlike the foreign design that has emerged with the industrial development, the appearance of design in Russia is directly associated with the avant-garde art. The main conclusion is the consideration of question of why the project of a “new individual” did not see practical implementation, as well as the progressive ideas of Soviet design had not been realized in industrial sector.

Keywords: light industry, Tatlin, Rodchenko, constructivism, industrial design, new individual, avant-garde, industrial design, Soviet design, Soviet trend

DOI: 10.7256/2454-0757.2021.12.37219

Abstract: The subject of this research is the theoretical works of Bernard Tschumi. The goal is to determine the place of the problem of corporeal experience in the theory of architecture of developed by the Swiss architect. For achieving the set goal, the author examines the key themes of his works – the question of boundaries and limits of architecture, architecture as the place of occurrence of the event; as well as a number of concepts – “pleasure”, “limits”, “violence”. The texts created by Bernard Tschumi over the period from 1977 to 1981: “The Pleasure of Architecture” (1977), the article “Violence of Architecture” (1981), and a series of essays “Architecture and Limits” (1980–1981) served as the sources for this analysis. B. Tschumi did not dedicate works to the problem of corporeal experience alone; however, addresses this problem in the context of interaction between the audience and the building. His attention is focused on the viewer’s sensory experiences emerging in direct contact with the architectural object. On the one hand, this apposes B. Tschumi with the representatives of the phenomenology of architecture – S. Hall and J. Pallasmaa; all of them emphasizes the kinesthetic, nonverbal nature of corporeal experience in the perception of structures, their internal space and materials. On the other hand, B. Tschumi describes the relations between the body and the building as violent. Violence in the relations between man and architecture is ubiquitous: it is the interference of of a person into the architectural space, as well as feeling of discomfort provoked by the architectural space.

Keywords: perception, poststructuralism, intertextuality, Bernard Tschumi, corporeality, postdernism, theory of architecture, bodily experience, deconstructivism, contemporary architecture

DOI: 10.7256/2454-0757.2023.8.43818

Abstract: This work is an attempt to decipher the therapeutic essence of the Hellenic theater through the prism of "catharsis", starting with the Athenian orgy, when theatrical performances turned into a tool for collective healing. The article deals with the theoretical views of Aristotle, in whose aesthetics catharsis has become the main concept that testifies to the healing abilities of the Greek theater to purify and harmonize the personality. The author shows how these ideas can be used in modern theatrical art, helping to identify and eliminate the mental problems of today's audience. Dramatic "catharsis", named and analyzed in the theoretical system of Aristotle, in turn, became a theoretical generalization of the healing abilities of the Greek theater. The scientific novelty of this work lies in the fact that the study of the essence and form of healing in the Greek theater can be used as a theoretical basis for the development of modern drama therapy. The work uses an interdisciplinary approach, a cultural-historical method and the principle of comparative analysis in the 70-80s. In the twentieth century, drama therapy began to be explored as a separate discipline that awakened creativity and imagination, contributed to the reunification of people with their inner world, removed the burden of difficult experiences, changed behavior and life circumstances, thus revealing the healing abilities of theatrical "catharsis". The rise of modern theater therapy reflects a new direction in the development of psychotherapy and theater, as well as a return to the ancient traditions of healing and artistic creativity and the development of fresh ideas and new creative ideas based on them.

Keywords: tragedy, cleansing, tragic, Aristotle, catharsis, drama therapy, theater, Ancient Greece, religion, Personality harmonization

DOI: 10.7256/2454-0757.2019.4.29383

Abstract: This article examines such aspects of the topic as the integration of innovative technologies of the augmented and virtual reality into art. Transgression is viewed from the two perspectives – the convergence of art and its reconstruction. The approach towards to teaching young talents in the fields of cinematography, theatre, design, choreography, and others undergoes critical changes. This poses a pressing issue for the Russian system of education and pedagogues, which implies the use of new technologies in educational process. The creative projects of the students demonstrate that the key directions contain the use of VR and AR technologies for creating design; VR technologies for filmmaking; VR and AR technologies for inventing virtual museums; AR technologies as the elements for choreographing. The article is based on the experiment in form of questionnaire and the analysis of student works, conducted among 550 fourth-year students of art disciplines (Interior Design, Film and TV Direction, History of Art, Choreography) in three different universities. The author concludes that the analyzed projects set the trend for the development of the new direction in terms of student dramaturgy – design with the use of AR technologies, which suggests the replacement of classical decorations with graphics. The realization of such project is currently impossible on the basis of educational establishment of the respondents due to insufficient funding and technical capabilities.

Keywords: Theater education, Art reconstruction, Convergent art, Cross-border art, New technologies, Vr-Cinematography, Virtual reality, Augmented reality, Innovative technologies, Students

DOI: 10.7256/2454-0757.2021.10.36875

Abstract: The subject of this research is the works of Kazimir Malevich of the period 1913–1914. Despite numerous scientific works and articles dedicated to the works of K. Malevich, the period of his becoming requires clarification. The object of this research is the Russian avant-garde art of 1913 – 1914. The author dwells on the compositional principles in the painter’s works of this period. Special attention is given to the colorful shapes and geometric elements underlying the compositions of his paintings. Analysis is conducted on the the path of Kazimir Severinovich, the transition from Futurism and Cubo-Futurism through Fevralism to the original style – suprematism. The philosophical and art history analysis in combination with the general scientific methods of research allowed developing a representation on the transformation the artistic pursuits of Kazimir Malevich towards the dominant of the black geometric colorful shape, which subsequently led to the creation of the “Black Square” and the formation of suprematism. The article examines and compares the paintings of the period 1913–1914, when Malevich had moved from being a mentee to creating his own artistic language. The study of the paintings by Kazimir Malevich and determination of large group of works similar in the techniques and colors used allows broadening and complementing the knowledge on the period prior to suprematism.

Keywords: futurism, cubism, avant-garde, compositional features, educanto, cubo-futurism, suprematism, Malevich, composition, paintings

DOI: 10.7256/2454-0757.2019.12.31564

Abstract: The goal of this article consists in the analysis of the most representative anime movies of Hayao Miyazaki for determining a row of worldview matrixes that may clarify the role of Shinto semiotic concepts in his artistic practice. Relevance of studying Shinto motifs in Miyazaki’s works as one of the prominent and most popular filmmakers within the European cultural space is justified by the fact that the broadest semantic level formed by semiotic concepts of Shintoism slides by the European audience that assesses the works of film director only from the visual and narrative perspective and comprehend only the “surface” meanings, while the Japanese audience is able to read the semiotics of Shintoism along with ideas expressed through it at the level of worldview automaticity due to a tremendous role of Shintoism in the world outlook and everyday use. The article articulates the problem of ambivalence of the modern Japanese society formed after the World War II; analyzes the filmography of Hayao Miyazak and fundamental principles of his worldview, which allowed not only explaining the role of Shinto in his works, but also defining the three functional level of Shinto semiotic concepts applied by him: didactical-worldview, national-historical and social-instrumental. Examination of Shintoism and oriental religions within the national human science allows connecting with the foreign perception of the world, grasp the mentality that drastically differs from the European, and see new semantic meanings in the works of oriental culture. Such expansion of horizons is exactly what needs the modern culture and society within the framework of globalization and constantly changing world.

Keywords: cultural ambivalence, ecology, Eastern philosophy, semiotic concept, Japanese animation, Hayao Miyazaki, Shinto, Japan, semantic, social prognosis

DOI: 10.7256/2454-0757.2019.3.29291

Abstract: This article is dedicated to the improvisational dance performance “Frozen Laugh”, created by the Austrian choreographer Chris Haring together with the performers of contemporary troop from the theatre “Ballet Moscow”. It is a rare example of work with improvisation within the framework of repertoire dance theatre in Russia. The laboratory, conducted by the choreographer” represents great practical interest. The author describes the peculiarities of show trial and tools used by the choreographer in the context of laboratory research, as well as analyzes the phenomenon of improvisational performance in contemporary dance. Methodological part of the study contains the works of foreign theatrical and contemporary dance experts, such as S. Baines, H. G. Lehmann, E. Fischer-Lichte, alongside the publications of national experts in contemporary dance T. Kuznetsova and I. Sirotkina. Practical part of work is based on the author’s personal experience in theatrical laboratory of the performance “Frozen Laugh” and original interviews with the crewmembers. The scientific novelty consists in the detailed analysis of show trial of the improvisational performance “Frozen Laugh”, as well as the description of mechanism of dealing with improvisation applied by the choreographer. The presented materials can become the foundation for the Russian contemporary dance choreographers in their work, as well as reveal the entire uniqueness of the choreographer’s idea and his stagecraft.

Keywords: Chris Haring, Moscow Ballet, physicality, movement research, dance performance, improvisation, contemporary dance, improvisation laboratory, improvisation tools, dance

DOI: 10.7256/2454-0757.2023.2.39792

Abstract: The formation and development of any architectural form and system has its own historical and cultural background. The ancient Chinese architectural system has a long history and characteristics inseparable from the historical development of Chinese traditional philosophy. Chinese philosophy, as a theory of human self-consciousness, does not give knowledge, but mainly gives ideas and ways of thinking for the needs of human self-development; At the same time, ancient Chinese architecture became a physical object reflecting the idea of traditional Chinese philosophy. Therefore, in order to explore ancient Chinese architecture, it is necessary to analyze and study it from the point of view of traditional Chinese philosophy. Like Confucius' thoughts on etiquette, the idea of the "doctrine of the middle" and the concept of hierarchical division; These ideas had a profound influence on ancient Chinese architecture, including urban planning, traditional dwellings, the environment, Lao Tzu's desire for harmony and unity between man and nature, worship of the gods, etc., as well as the theory that emerged later "Feng Shui", etc. temple space and garden architecture in the south of the Yangtze River. This article is devoted to the analysis of the influence of Confucianism and Taoism on the general principle of designing spaces of ancient Chinese architecture. The article selects some typical examples of ancient Chinese architecture for analysis. The following principles are manifested in the design of spaces of Chinese architecture under the influence of Confucianism and Taoism: moderation of living space; the principle of symmetry, balance and coordination; architectural hierarchy formed on the basis of the needs of "rituals"; integration of architecture and the environment; design of spaces according to "Feng Shui".

Keywords: China, philosophy, space, Chinese ancient architecture, Taoism, Confucianism, Chinese traditional philosophy, cultures, traditional, chinese culture

Abstract: The article considers the three stages of social and cultural transformation of Russia: slow accumulation of cultural and educational potentials starting from book printing and lasting up to the beginning of the 20th century; Stalin’s ‘cultural revolution’ when the cultural space was reconstructed and became the field of agenda, indoctrination and Stalin’s ideology; and the hidden ‘Westernization’ when the elements of consumer society ripened during the so called ‘period of stagnation’. The end of the latter led the Russian society to the period of regeneration of social and cultural tissue which had been lost before (the so called ‘perestroika’) and to the Internet revolution at the beginning of the 21st century.

Keywords: modernization, social and cultural transformation, Westernization, culture, formation, ‘cultural revolution’, ‘period of stagnation’

DOI: 10.7256/2454-0757.2022.5.38182

Abstract: The metaphor of the labyrinth in the second half of the XX century becomes an iconic model of the postmodern world order. In musical culture, the phenomenon of the labyrinth has acquired the meaning of a symbol of intertextuality, a game with cultural codes and musical heritage of the past, multivariance, variability, uncertainty. The ballet "Labyrinths" by Alfred Schnittke is an example of the embodiment of the labyrinth paradigm and is the object of research. The subject of the study is the peculiarity of the implementation of the idea of the labyrinth at the compositional and dramatic level of the ballet cycle. In the light of the author's individual interpretation, the labyrinth model takes the form of a "macrolabirint" and a "microlabiint", where the macrostructure is the construction of the whole, and the microstructure is the last, fifth part. The novelty of the research lies in the consideration of the compositional and dramatic features of the ballet "Labyrinths" in the context of the metaphor of the labyrinth. The concept of the "macrolabyrint" contributed to the relief display of the principles of symmetry and centralization inherent in the labyrinth of the classical Cretan type. Symmetry in the ballet cycle found expression in the structure of the extreme parts, in their author's division into sections, the presence of a reprise in Maestoso and Meno mosso, a single tonal organization interspersed with modal episodes, the assertion of the third c–e in the intonation system of the parts. Centralization of the Cretan labyrinth was reflected in the endowment of the fourth part with the properties of the culmination point, characterized by an increase in sonorous qualities, an abundance of cluster verticals, and heterogeneous stratified tissue. The concept of "microlabirint" contributed to the depiction of the multivariance of the maze-confusion in the fifth part of the ballet. The nonlinear movement of the characters along the branched labyrinth model was carried out by the interaction of contrasting sections correlated with deviation into various emotional states. The conducted research allowed us to conclude about a new interpretation of the labyrinth paradigm in ballet in the light of Schnittke's individual author's handwriting.

Keywords: centralization, symmetry, maze-confusion, the Cretan labyrinth, microlabirint, macrolabirint, postmodern metaphor, ballet, Schnittke, dramaturgy

DOI: 10.7256/2454-0757.2023.6.40885

Abstract: This study is devoted to the artistic and stylistic analysis of traditional Chinese New Year's pictures called "puhui nianhua" on the example of historical and documentary material collected in the city of Gaomi in Shandong province. It traces the changes in its form and content, the means of expression used during the five-hundred-year history of its distribution in China. The subject of attention is the development of Chinese splint pictures from the Ming Dynasty to the present. As an object, we see the transformation of technological and visual features of the performance of such works within their individual varieties, which were popular in the creative activities of several generations of masters of the city of Gaomi. The purpose of the study is to get a general idea of how the main varieties of "puhui nianhua" were born and formed in the creative activity of Gaoming artisan artists. By means of artistic-stylistic, iconographic and comparative-historical analysis, the author identifies several stages in the process of formation of the tradition of making such pictures. Moreover, a typological series of Chinese New Year's splints is proposed, consisting of images of Lao and Buddhist saints, visualizations of homophonic metaphors, and a description of Chinese life. Each of the presented types differs not only in the originality of the content, but also in the set of compositional and visual means used by the authors.

Keywords: Gaomi, iconography, artistic features, typology, printed graphics, craft, the art of China, chinese painting, chinese splint, puhui nianhua

DOI: 10.7256/2454-0757.2021.4.36112

Abstract: This article describes the capabilities of methodology of studying art in the three interrelated scientific fields – sociology, culturology, and art history. Emphasis is placed on determination of the key criteria of comprehensive approach towards the analysis of art: each of the three scientific fields may have its own unique criteria for such analysis, but there also universal criteria that allow most fully assessing the essence and purpose of art, considering the general trends of its development in modern reality. The subject of this research is the methodology of comprehensive analysis of art using the instruments of sociology, culturology, and art history. The main conclusions are as follows: 1) disclosure of the content of the methodology of studying art; 2) determination of various criteria for comprehensive analysis of art within the framework of sociology, culturology, and art history; 3) demonstration of capabilities of using certain criteria in analyzing the essence of art and artworks; 4) focus on the social dimension of art, touching upon the heuristic value of the methods of applied sociological research; 5) characteristics of the capabilities of studying the symbolic nature of art in the context of culturology; 6) assessment of the development trends of the methodology of modern art history.

Keywords: anthroposocietal approach, knowledge system, methodology of science, knowledge, the role of art, social sciences, art, sociology and cultural studies, society, from global to regional

DOI: 10.7256/2454-0757.2023.1.37836

Abstract: Within the framework of this study, the transformation of anthropomorphic images in Medieval and Renaissance painting is analyzed. The visual art of this period is considered as a specific space of "conversation about man", which existed in parallel with discourses about God-man and Man-god. As a means of communication between man and God, the icon, using anthropomorphism in the image of the archetype, represented to the medieval man a certain path and a guide to his own salvation. Along with individual anthropomorphic and naturalistic features, areal ones were also used in iconography, for example, reverse perspective, halo, "twisting of figures" and a number of others that set the symbolic content of the religious image. В В According to the author, the transformation of the icon into a painting in the XIII-XIV centuries was associated not only with the technical development of fine art (the widespread use of direct perspective, the use of camera obscura and oil paints), but also with significant changes that occurred in the intellectual space of Europe. The narcissistic turn in Renaissance art, expressed in the dissolution of the boundaries between the human and the divine, the maximum naturalization of religious content, as well as in the development of self-portraits, is, first of all, a turn from the discourse about God-man to the discourse about Man-God. Relying on philosophical sources, two independent positions (Ficino and da Vinci) on the nature of metamorphosis and the place of pictorial images in the description and definition of man are considered.

Keywords: Man-God, God-man, human, metamorphosis, animism, anthropomorphism, picture, icon, visual art, narcissism

DOI: 10.7256/2454-0757.2024.4.70458

Abstract: The subject of the study is color symbolism in F. Fitzgerald’s novel «The Great Gatsby» in the aspect of an ambivalent understanding of the conceptual solution in the use of a certain color in creating images of characters, in describing the setting and semantic content of the ideological content of the work and its screen interpretations. The object of study is color as a meaning-forming concept in literature and cinema, the symbolism of color. The work of Francis S. Fitzgerald «The Great Gatsby» is of interest in the study of the influence of color palette. The main research methods are analytical and comparative historical. The color concepts of F. S. Fitzgerald's book “The Great Gatsby” and film adaptations are comprehended. This work by F. S. Fitzgerald is of interest to the modern Russian reader and viewer due to the fact that the problems raised in the novel are still relevant today. The writer touches on the popular theme of the American dream in literature and cinema. The story of the main characters is a vivid example of the illusory nature of this dream, and the lifestyle of the characters and their worldview demonstrate spiritual emptiness and cold indifference to everything except money and wealth. The scientific novelty of the article lies in the study of the ambivalence of perception of the coloristic solution of the images of characters in the book in comparison with its screen interpretations. The author comes to the conclusion that F. S. Fitzgerald in the novel «The Great Gatsby» uses a color palette in creating images of characters and describing the scene in such a way that the ambiguity in the perception of color most unexpectedly and sharply emphasizes the problems raised and becomes the basis for rethinking the ideological content of the work.

Keywords: The Great Gatsby, Francis Fitzgerald, meaning-forming concept, visual imagery, visual solution, coloristic solution, artistic technique, ambivalence, symbolism of color, film adaptation

DOI: 10.7256/2454-0757.2021.11.37070

Abstract: This article explores the applicability of philosophical reception in terms of analysis of the phenomenon and the essence of art and artworks. The goal of this research lies in substantiation of the need for proliferation of the philosophical reception in art history for the holistic study of art in the aspect of its “ontologization”. Emphasis is placed on the fact that modern art history sets the tone in examination of the formal and substantive sides of art, its types and genres. Methodological and theoretical framework for art history is the philosophy of art, which recently however does not hold the leading position in the analysis of art, and even yields to aesthetics. The problem of comprehending the essence of art and the value role of artwork in life of a person and society remains open. It is rather not the subject of close attention of the art historians, but may become such. Thus, the art history analysis should be complemented with the philosophical reception. Namely this aspect is given special attention in this research. Philosophical reception is a peculiar algorithm for understanding the meanings and ideas of the artwork, as well as realization of the essence of this phenomenon. Art is often viewed as one of the forms of collective consciousness (along with science, mythology, etc.); however, the philosophical reception helps to establish the value-semantic nature of art that prevails over the social and aesthetic. Comprehension of any genre or type of art through the prism of art history is essentially refracted in the philosophical reception. In this case, the researcher is able not only assess the style and genre nature of the artwork, but also to trace its position in the turn of eras, personality concepts, ideologies, and worldviews. It is undoubtedly gives an apparent advantage to any modern researcher who aims to perceive the essence of art.

Keywords: methodology, philosophical reception, culture, knowledge, the role of art, аrt history, art, art research, values, the essence of art

DOI: 10.7256/2454-0757.2023.4.39995

Abstract: As a type of Chinese folk art, jianzhi paper carving expresses not only people's spiritual life, but also their aspirations for a better life. Chinese paper carving art is filled with simple life wisdom and good wishes, and the figurative symbols contain unique artistic value and national traits. However, in today's multifaceted development, the traditional art of paper carving with a thousand years of history is gradually fading away. Traditional folk art represented by paper cutting has also begun to be introduced into new fields, not only in graphic design, but also in installation design of public spaces, showing its rich expressiveness and deep artistic value. This paper will examine the characteristics of traditional national paper carving, highlight cultural differences between Eastern and Western paper carving art, combine traditional folk art of paper carving with modern artistic expressions, analyse symbolic and emotional imagery and explore new ideas for the development and innovation of Chinese national art.

Keywords: design, art, Tradition, culture, Traditional culture, China, national art, symbol, paper cut, artistic images

DOI: 10.7256/2454-0757.2021.9.34510

Abstract: The object of this research is the role of the comedy “Tieteybit” by N. D. Neustroev in cultural life of the Sakha Republic (Yakutia). The subject is the impact of modern creative industries upon cultural life of the region. On the example of Nikolay Denisovich Neustroev's comedy play “Tieteybit”, the authors examine the use of creative approaches towards preservation and popularization of cultural heritage of the Sakha people. It is noted that over the recent years, a major event in the development of spiritual culture and cultural life of the region overall has become the innovations introduced by the contemporaries in staging the Yakut comedies. Motifs of the comedy “Tieteybit” served as the prototype for staging the the first Yakut musical comedy, and even a film. A survey was conducted touching upon the following questions: are the innovations introduced in culture in form of a screen version of classical literature with the elements of innovation encourage the young generation to studying the Yakut cultural heritage?; what is the relevance of the work by N. D. Neustroev “Tieteybit”? The conclusions is made that in the XXI century, N. D. Neustroev's comedy “Tieteybit” has become one of the basics for the development of creative industry of the region. As an instrument for the development of regional culture, creative industry may play the strongest and highly effective role in the development of social life of the region.

Keywords: culture, cultural heritage, Yakut culture, comedy, theater, movie, creative industry, cluster, drama, cultural life

DOI: 10.7256/2454-0757.2019.1.28864

Abstract: The subject of this research is the analysis of the impact of ideas of the philosopher and writer Henri Bergson upon the worldview and creative path of Mikhail Prishvin. It is demonstrated that in order to reveal the ontological meanings of reality, M. Prishvin actively uses the most diverse historical, cultural, religious, philosophical, and political concepts, which is testified by the set of the relevant philosophical conclusions presents in the semantic field of his diary notes, publicist and literary texts. The author meticulously analyzes the impact of the ideas of national and foreign thinkers upon the artistic discourse of Mikhail Prishvin. The article applies the method of historical-philosophical reconstruction. The images, symbols and expressions of Prishvin in the artistic works are compared with metatext, which realizes the writer’s philosophemes reconstructed via their correlation with the philosophical texts of Bergson. The scientific novelty consists in the analysis of development of the artistic thought of the writer, who detects in Bolshevism not only the similarity between Marxism and Bergson’s philosophy, but also compares them with the ideas of Christianity, and then places the various images, symbols and concepts upon each other. Combining the opposite ideologemes, M. Prishvin determines the ontological changes of social existence, which were brought by the revolution and are difficult to describe from the worldview perspective alone.

Keywords: reconstruction, metatext, ape-man, human ape, evolution, revolution, Bolshevism, Marxism, Bergson’s, Prishvin

DOI: 10.7256/2454-0757.2023.5.40398

Abstract: According to Marxist philosophy, everything in the world is universally connected and in perpetual motion. Chinese society has gone through a long history of civilizational development. Since the modern era (1840-1919), great changes have taken place in the civilizational development of China. The transformation of social forms depends on the transformation of culture, and the approximation of culture to modernity is a prerequisite for the modernization of society. Thus, the development of society inevitably causes changes in art and culture; and vice versa, the progress of art and culture, in turn, contributes to the progress of society. A clear and complex line has been traced in the development of Chinese painting over the centuries: from a high degree of integration to gradual differentiation leading to conflict, and then to integration. The development of Chinese painting as a whole shows a transformational trend from tradition to modernity, developing in a tortuous way. In this paper, a combination of research methods is used for research, mainly documentary research, descriptive research, comparative research and case study. Considering the features and trends of Chinese painting at different stages of development, we can more accurately judge the direction of development of modern Chinese painting and find ways to integrate tradition and modernity.

Keywords: Traditional culture, arts, painting, china, synthesis, transformation, modernity, tradition, Chinese painting, culture

DOI: 10.7256/2454-0757.2022.4.37901

Abstract: This article examines the symbolism contained in the works of Jianzhi art. As a simple folk art, papercutting in Jinzhou has its own aesthetic and educational style that penetrates the hearts of people and raises them to a higher spiritual level. Jianzhi can represent the spiritual worldview of a certain era in the region. Among the symbolic images, images of animals, plants, figures, objects, hieroglyphs and patterns were studied. Jianzhi's works of art are combinations of various patterns, shapes and motifs that contain deep symbolism. The study of images and symbolic meanings will expand knowledge about the culture and customs of the region, as well as create opportunities for the preservation of this unique art form containing the intangible cultural heritage of China. The article concludes about the uniqueness of the stylistics and symbolism of this art direction in the described region. It is claimed that Jianzhi's works reflect the culture, customs and peculiarities of the Jinzhou district society. From the point of view of intangible cultural heritage, the art of paper cutting in Jinzhou is the artistic embodiment of the material and spiritual culture of the people. It is concluded that it is necessary to preserve this kind of art and the subsequent study of its symbolism in order to preserve the intangible national heritage of China.

Keywords: culture, traditional culture, China, traditional art, art, Chinese culture, Chinese symbolism, semiotics, symbolism in art, jianzhi

DOI: 10.7256/2454-0757.2018.8.26526

Abstract: The subject of this research is the group of picturesque oeuvres of Venetian Renaissance depicting young women, which can be attributed as the portraits of “beauties” popular in art of the XVI century. Such works signify the complicated semantics of its creative content, first and foremost, associated with the philosophical concept of the ideal beauty accepted in spiritual culture of the Renaissance. Their consideration in the context of Renaissance philosophy allows providing a fuller description of the metaphoric world of the paintings, as well as more precisely determining the context of the categories applied to the concept of female beauty in representations of the Renaissance era. The research method consists in search for the conceptual parallels between portraits of the “beauties” and positions of the philosophical teaching on beauty presented in treatise of Agnolo Firenzuola “On the Beauty of Women”. The found analogies allow spotting in portraits of the “beauties” a variety of “visual treatise” about the ideal essence of beauty. They were assigned with a role of so-called aesthetic mediators in the process of its perception, because the basic meaning of such oeuvres in spiritual parlance of the Renaissance lied in transformation of the desire to be beautiful towards strive for comprehending its true sublime nature and its admiration.

Keywords: Venice, Agnolo Firenzuola, Baldassare Castiglione, philosophical treatises, beauty, philosophy, Italy, Renaissance, Titian, Veronese

DOI: 10.7256/2454-0757.2023.3.39594

Abstract: The subject of the study is the Sonata for flute and piano "Pan's Flute" by J. Mouquet. The purpose of the study is to consider the traditional pastoral techniques that the composer uses in his composition. When writing the article, both general research methods (analytical, deductive, inductive, etc.) and musicological (holistic, intonation, harmonic, genre, structural and compositional) were used. Methodologically important in writing the article were the works of A. G. Korobova. Based on the works of the scientist in the Sonata of J. Muke analyzed the pastoral topic of the composition, and also determined its pastoral model. The culturological approach was carried out on the basis of the research of V. V. Azarova, O. A. Gagarina, V. A. Zakharova. With the help of him, certain French traditions were derived in the article, which influenced the work of J. Flour. In the scientific article, for the first time, an attempt is made to analyze one of the most famous compositions of J. Mouquet – the Sonata "Pan's Flute". In this work, two aspects are considered in detail – verbal and actually musical. In both aspects, there are connections with the French pastoral musical and theatrical tradition, as well as a commonality in the symbolic interpretation of neoanticism and neobucolics with the works of C. Debussy. During the analysis, it was found that J. Muke applied an anti-politicized pastoral model. Pastoral topics are found at different levels of composition – intonation, tonal-harmonic, textural, timbre, formative, dramatic. This article can be used in the field of art criticism for further study of the work of J. Mouquet, French music of the turn of the XIX – XX centuries and in the study of pastoral musical works. Analysis of the Sonata by J. Muke will also be useful in performing practice for a better understanding of the composer's idea and the dramaturgy of the composition.

Keywords: sonata, Pan, flute, pastoral, pastoral traditions, pastoral topos, neoanticality, Jules Mouquet, french art, neobukolika

DOI: 10.7256/2454-0757.2019.5.29755

Abstract: This article gives special attention to examination of the development trends of modern era based on the use of practical experience in environmental design. The result of detecting the characteristic features of modernity became the creation of the project “Sixteen Experiences”, which represents an interactive wall with movable details inscribed with the altered Chinese hieroglyphs. Studying the structure of Chinese language, as well as the differences between the Chinese and Russian languages, the author created the new hieroglyphs reflecting the peculiarities of online communication. In other words, the article describes the relations between the art and language, space and time, theory and practice, cultural and social role of the designers. Environmental design initially develops as a cross-disciplinary area of arts. Therefore, the research is based on the methods inherent not only for the field of design, but philology as well. In particular the author uses the graphic method in design along with the linguistic method. The scientific novelty consists in exploring the modern world via the description of the original designer project. Due to studying the structure of Chinese language, peculiar features of online communication, the author was able to create the new hieroglyphs, retaining the traditional methods of development of the Chinese language. Moreover, the author presents the theory on the potential changes of the established spatial structure, and validates it in practice. Thus, the sculpture “Sixteen Experiences” reflects the critical nature and social importance of art in the context of modern realities.

Keywords: Interactive wall, Russian language, Chinese language, Buddhism, Social isolation, Fragmentation of information, Multiculturalism, Environmental design, Interdisciplinarity, Internet

DOI: 10.7256/2454-0757.2021.9.36794

Abstract: The article covers the two main topics: the characteristics of three key stages of studying art by the author, and a brief summary of the original concept of art proposed as a result of this study. Leaning on the concept of art of L. S. Vygotsky, the author offers the own approach towards studying art. Firstly, art is viewed in comparison with dreams, communication and play, analyzing the role of these processes and semiotic means played in relation to ordinary life. The article introduces the idea of artistic reality, which manifests as a continuation of ordinary life, allowing to realize in a semiotic form the desires (psychic programs) that are blocked in ordinary life; and such realization suggest living through the events set by the specific semiosis of art and conditionality. Secondly, the author describes the results of the genesis of art. In the course of analysis, emphasis is place on the three central topics:: 1) establishment of the semiosis of art based on the semiosis formed in ordinary life; 2) formation of recreation sphere, within which art is being formed; 3) philosophical “conceptualization” of art in the antique culture, which characterizes art as an independent sphere of life, unlike other spheres. Thirdly, art and artistic reality are viewed as a peculiar type of communication. The author believes that both, the artist (writer, composer) and the viewer (reader, listener), on the one hand, create and reconstruct artistic reality (and there is not always a coincidence), while on the other hand, to one or another extent, they take into account each other's communicative abilities and competencies. The conclusion is made that art is determined by conceptual space, the coordinates of which indicate the representations of artistic reality, artistic communication, life patterns in art, conceptualization of art and its development.

Keywords: realization, events, interpretation, semiosis, communication, artistic reality, leisure, art, problems, images

DOI: 10.7256/2454-0757.2021.1.34984

Abstract: The development of opera genre in Europe and Russia in the XIX century is of particular interest for the Chinese and Russian art historians. The subject of this article is the history of European and Russian opera in the XIX century. The object of this research is the works of the leading opera composers and the novelties introduced by each of them into the opera genre. The goal consists in examination of the following aspects of the topic: specificity of emergence of opera in Russia in the XVIII century, establishment of the national opera schools – Italian, French, German and their prominent representatives, as well as peculiarities of the Russian opera tradition of the XIX century. The novelty lies in determination of similarities and differences between the European and Russian opera in the XIX century from the perspective of of Chinese art history. The author's special contribution consists in the attempt to discuss the subject matter in the context of Chinese art historians who take interest in the peculiarities of opera of the XIX century. The acquired results demonstrate that the development of opera within the framework of the vocal and musical performance in the XIX century is a unique sociocultural phenomenon, which manifested through the system of spiritual values and spiritual life of the Russian and European nations.

Keywords: composer, innovation, tradition, opera, XIX century, Europe, Russia, orchestra, repertoire, performer

DOI: 10.7256/2454-0757.2021.12.37226

Abstract: This article provides a brief systemic analysis of the key concepts of the so-called new science of art developed by the Austrian art historian Hans Sedlmayr. The result of Seldmayr’s pursuits are reflected in creation of his own philosophy of art and culture based on a particular worldview. The cognition of the whole, along with individual and unique, underlies this science. Understanding is the goal of scientific knowledge for Sedlmayr. It suggests not only abstract knowledge, but peculiar existential experience as well. Sedlmayr interprets the understanding of artwork as its contemplation, which in turn, is identical to its actualization or presence. In Seldlmayr’s art of science, epistemologies and ontologies merge into each other. He interprets artworks simultaneously as the event and as the social organism, which overcomes the linearity of time and fragmentation of plurality. This artificial complex system, built on the paradoxical identity of the single and plenty, is both finite and infinite. Sedlmayr’s views encompass classical and nonclassical approach towards cognition of the whole. He relies on the principles of monism, seeking to reduce all concepts to a single basis, single point of singularity that designates the synthesis of all the moments of the whole and can be expressed by a single category. The main category, which resembles the center of the opposites, is the “midpoint” (Mitte). The aforementioned ideas are consistent and logical only in such scientific worldview that identifies ontology and epistemology, which implies the unity of contemplation and phenomenon of the artwork. Therefore, in Sedlmayr's constructions, actualization or revival of the artwork is identical with its comprehension. The systemic approach towards the artwork reflected in the theoretical works of Sedlmayr extends the boundaries of art science and converges with philosophy.

Keywords: the understanding, the contemplation, the middle, the system, the whole, the science of art, The work of art, the event, interpretation, dasein

DOI: 10.7256/2454-0757.2022.10.39020

Abstract: The author analyzes the theme of painting in the philosophy of Jacques Derrida, referring to one of his defining works on this subject: "Truth in Painting". Consistently considering the four-part structure of this book, the author touches on such concepts of deconstruction as "parergon", "passepartout", "cartouche" and others. Of particular interest is the problem of truth in the structure of fine art – this topic is a cross-cutting theme throughout Derrida's work. At the same time, the philosopher rejects the classical ontological-epistemological aspect of truth in the context of art history. The picture does not limit itself to the representation of an object or the truth attached to it. She crosses the line, overflowing her boundaries. That is why the logic of a work of art is inevitably the logic of a Kantian parergon. In the book "Truth in Painting" Derrida rethinks all aspects of artistic creativity. For Derrida, painting is, first of all, an action and the most correct question is: "What does this painting do?". The picture in the produced action breaks away from the conditions of the image, moves away from the discourse, setting in motion the difference. The structure of a painting work consists not of presence or representation, but of a projection of movement. The painting is silent and remains outside the language, is unrepresentable and heterogeneous, is out of line with any discourse, is irreducible to any text and is not subject to archiving despite all the efforts of museum authorities.

Keywords: Cezanne, Heidegger, cartouche, passepartout, parergon, truth, painting, art, deconstruction, Derrida

DOI: 10.7256/2454-0757.2023.10.68698

Abstract: The article is devoted to the philosophy of industrial design as the most important area of aesthetic and engineering activity of people, shaping the appearance of modern society. The object of the study is industrial design, and its subject is the philosophical foundations of industrial design. The goal of the study is to identify the philosophical essence of industrial design in epistemological, ontological and anthropological dimensions. Attention is paid to the historical aspects of industrial design, which allows us to more accurately understand the essence of this phenomenon. The author’ also considered modern industrial design, which in its philosophy is characterized by a strong anti-globalist orientation. It is noted that the philosophical understanding of industrial design contributes to the understanding of the features of its historical development. The main conclusion of the study is that industrial design has a certain philosophical content associated not only with the aesthetic side of reality, but also with its axiological and ethical structure. The epistemological problems of industrial design are important: products act as carriers of certain knowledge and concepts and accumulate the cultural experience of mankind. Anthropological problems of design are associated with the model of a human creator and a human recipient of activity. The scientific novelty of the research lies in the understanding of industrial design, which is a systemic object, developing in space and time. In its existence, this object combines presence and “service”, independent givenness and significance for a person.

Keywords: meaning, form, subject, thing, anthropology of design, ontology of design, epistemology of design, industrial design, design, consumption

DOI: 10.7256/2454-0757.2019.9.30976

Abstract: This article examines the imagery systems created by the Russian animation film director Dmitry Geller on the example of his films of various years. An important feature of D. Geller is that each successive work differs from the previous in both, storyline and visual solutions. The subject of this research is the uniqueness and evolution of imagery systems of animation films of D. Geller, while the object is his animation films from the early to more recent. The author analyzes the conceptual layers, language of narration, visual and expressive means, as well as technological solution of the films. The following conclusions were made: inventing separate artistic worlds, D. Geller uses diverse methods for creation of his imagery systems – from distinguishing separate layer within the systems and various ways of their visual, color and technological realization with an unexpected effect, to the creation of the previously unseen characters and silver screen level of animation. The author’s contribution to the research of this topic consists in the detailed systematic analysis of Geller’s works. The scientific novelty is defined by an attempt of viewing D. Geller’s films from such perceptive.

Keywords: computer technology, animation technologies, art world, visual number, figurative system, Dmitry Geller, russian animation, animated film, aesthetics of the animated film, computer graphics

DOI: 10.7256/2454-0757.2022.8.37525

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

Keywords: vocal music, instrumental music, philosophy, musical composition, Middle East, paradigmatic structure, tone sequence, makam, improvisation, jeans

DOI: 10.7256/2454-0757.2024.1.69356

Abstract: The article examines the influence of ancient Chinese philosophical concepts on the formation of modern piano art in China. Ancient Chinese materialistic philosophy is based on such teachings as Wu-xing and Yin-Yang, the Great Limit (Tai Chi), the eight trigrams and others. With the passage of time and the rapid development of science, these philosophical concepts not only did not lose their significance, but also had a powerful influence on the formation of modern Chinese piano creativity, deeply influenced the form and cultural connotation of Chinese music, and also became the theoretical basis for the works of many modern composers. The philosophical and aesthetic Taiji system presented by composer Zhao Xiaosheng, integrated into the modern piano composition system, marked the beginning of a revolution in the field of piano art, combining the theoretical foundations of traditional Chinese philosophy and the principles of modern composition methods. The research methodology is based on philosophical and cultural analysis, musicological analysis, and semantic analysis. Of particular interest is the comparative analysis of the musical and philosophical "Tai chi composition system" by Zhao Xiaoshen, the dodecaphony of A. Schoenberg and the set theory of M. Babbitt and A. Fort, which the Chinese composer considers the sources of his creativity. The novelty of the research lies in the fact that a correlation is proposed between the key categories of ancient Chinese philosophy and modern experiments in the field of musical expression. The authors managed to demonstrate the high degree of influence of Chinese philosophy on music, to clearly show that the basic postulates of ancient Chinese philosophy have been encoded in the basis of traditional Chinese music since ancient times, and in the twentieth century they were the basis of modern Chinese theory of composition, while playing a colossal role in identifying the common foundations of modern composition of the West and East, while preservation of local features of the diverse sphere of these cultures. The emergence and formation of a philosophical and theoretical system of musical composition, based on the concepts of classical Chinese philosophy, organically refracted in the latest achievements of Western music composition, emphasizes the ontological significance of these concepts for both Eastern and Western culture. And the creation of appropriate musical works undoubtedly leads to positive trends in the development of modern Chinese music and classical Chinese philosophy.

Keywords: set theory, dodecaphony, Zhao Xiaosheng, Taiji Gamma, Taiji chord, hexagrams, Taiji compositional system, Wu-hsing and Yin-Yang, modern piano art, Ancient Chinese philosophy

DOI: 10.7256/2454-0757.2020.3.32135

Abstract: The subject of this research is the main dramaturgical techniques of creation of the image of antihero in modern cinematography. Similar type of personality is characterized by destructive behavior, controversy and unresolved inner conflict. An antihero tilted towards external and internal destruction suffers from injured pride, and his main goal becomes an attempt of self-affirmation. Despite his negative characteristics, the image of antihero is always complemented with personal philosophy or story preceding its creation, which makes the hero ambiguous and attractive for the audience. The method of research consists in the theoretical analysis of dramaturgical film material. In the context of film dramaturgy, the reflection of human nature allows expressing the multifacetedness and ambiguity of the hero, since behind the negative manifestations of his personality lies the distorted by negative experience axiological system that allows violating the social norm and leads to chaos and destruction. However, despite the negative manifestations, the antihero retains the panhuman qualities, reflected in the need for achieving a certain social status.

Keywords: attraction, character, axiology, conflict, violence, dramaturgy, plot, antihero, cinema, desire

DOI: 10.7256/2454-0757.2022.8.38490

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

Keywords: character arc, cartoon character, artistic image, chinese art, design in animation, chinese painting, the cartoonist, cartoon image, chinese animation, cartoon

DOI: 10.7256/2454-0757.2020.2.31905

Abstract: Based on the views of the Doctor of Art History A. A. Artyukh on the shift of paradigms in development of the contemporary cinematic art and methodology of science of P. Feyerabend (the concept of epistemological anarchism), backed by the thesis of N. A. Osminskaya on the outlook of G. Leibniz upon combinatorial art, this article on the example of the Newest Hollywood “art-blockbuster” meticulously analyzes the impact of a universal formula of “pseudo-catharsis” upon the audience, which turns it into a consumer of cinematographic product. It is demonstrated how an “art-blockbuster” each time is able to bring the audience into a cathartic condition that constantly keep it in a captivated sensible tension and excitement during watching a movie, and in a permanent anticipation of the sequel afterwards. Within the framework of interdisciplinary approach, the author correlates the scientific-theoretical. Culturological and aesthetic views on the development of Newest Hollywood cinematography, determines a universal formula of “pseudo-catharsis” and its impact upon the audience. The author’s main contribution to this research consists in revealing a universal formula of “pseudo-catharsis” on the example of the Newest Hollywood “art-blockbusters” of Wachowski-Nolan generation that turn the audience into a consumer of cinematographic product; and in the culture overall, within the framework of postmodern aesthetics, develops a sense of combinatorial, rather than eclectic capabilities.

Keywords: New Hollywood, form of art and content, combinatorial art, eclectic art, postmodern, Newest Hollywood, art-blockbuster, high concept, culture, humanitarian knowledge

DOI: 10.7256/2454-0757.2018.2.24322

Abstract: Based on examination of the design activity, this article analyzes the creative act and approaches towards morphogenesis, determines the fundamental principles of creation marked as “order” and “fortuity” that have ontological foundation. The work provides ahistorical review of the role of such principles in formation of the antique philosophical concepts and related aesthetic representations, ias well as reveals the impact upon the human creative activity of the principles of “order” and “fortuity”. Drawing a parallel between the morphogenesis in nature and such in culture, the author explores the evolution of mathematical-geometrical concept of world structure of the antique thought as an expression of the principle of “order”, as well as demonstrates the development of this concept in subsequent views on morphogenesis in works of the theorists of art and design. The understanding by the Hellenic mythological consciousness of the principles of “order” and “fortuity” in presented in the work as a favorable background for successful divergence of the fundamental beginnings of the creative act. The methodology consists in combination of aesthetic and sociocultural approaches, which allow emphasizing the dialectic nature of the phenomenon of cultural morphogenesis. The author concludes that a creative act of a person not only assimilates with the natural morphogenesis, but also is limited by it: cultural transformation is realized through the absolute pair of the ontological principles of “order” and “fortuity” that the human creativity fails to overcome. It is also noted that the modern design, as a type of spiritual-practical activity, aimed exceptionally at the pure cultural and aesthetic morphogenesis most vividly demonstrates the dependence from the “order” and “fortuity”; however, the specified principles, being the basis of wonderful, manifest themselves in the historical development of art overall as the universal aesthetic paradigms.

Keywords: Tyche, fortuity, Apollo, space, geometrism, order, abstract form, morphogenesis, design, aesthetic paradigm

DOI: 10.7256/2454-0757.2018.7.26706

Abstract: This article analyzes the views of the Austrian historian of arts Hans Sedlmayr on the science about art, which main problem he believed was that it turns into science about art without art and is reduced to the external description. The reason lies in the fact that such science about art studies the universal and singular uncoupled from each other. The foundation of the second science about art in Seldmayr’s opinion must become the studying of separate works of art, under which, following the traditions of German classical philosophy, he understands not the external objects, but the phenomena that represent the unity between the subject and object. The scientific novelty consists in actualization of the views of Hans Sedlmayr upon the work of art. A holistic work of art, in his opinion, must be reconstructed according to certain orientation of a subject towards an object that forms the perception of such object. The attitude, defined by the cultural context, touches upon not only the conscious, but also unconscious scope of activity of a subject.

Keywords: concrete, individual, art history, universal, science of art, symbol, whole, work of art, attitude, Sedlmayr

DOI: 10.7256/2454-0757.2017.12.24932

Abstract: The subject of this research is the logic of creative process. The author analyzes the logics of correlation of micro and macro levels of the creative process: 1) logics of formation of the creative image (or poetization) of global events; 2) logic of structuring (composition) of creative work. Having established in a definitive way, although in a shape of “certain haziness”, the creative image in all its essence dictates or subconsciously pushes towards choosing one or another creative methods. In the course of structuring creative process, the author was guided by the idea of dialectical correlation between the content and form. The elements of complex approach, principle of historicism, methods of analysis and synthesis, generalization, system and sociocultural approaches comprised the methodology of this research. The scientific novelty consists in introduction of the concept of “aesthetic logics” – as the logics of aesthetic activity of an artist, expressed in the interrelation of form and content of his oeuvre that reveals itself through the factor of time. Such logics vary depending on the variation of the creative process itself.

Keywords: conscious, surrealism, realistic art, creative image, macro level, micro level, fantasy, unconscious, logics, aesthetic logics

DOI: 10.7256/2454-0757.2022.3.37609

Abstract: The subject of the study is the process of many aspects of audiovisual creativity that must be taken into account when creating a video. The object of the work is to create a movie trailer through the use of design elements and graphics in the video sequence. The study examines the trailer of a post-apocalyptic fantasy genre called "Genesis", in which the two main characters are depicted as opposites. The work examines and describes in detail all the stages of creating a video trailer for the film, including visual representation (rendering the texture of the central objects, choosing a font to display the title of the film, controlling the movement of actors and moving frames), audio accompaniment of the video sequence (music, voiceover, sound effects). The paper notes that the main goal of all the stages of trailer development considered in the article is to create an audiovisual project of professional quality. The main methods used in the study are visual effects modeling and 3D modeling in Houdini, creating realistic matte paintings in Photoshop and video compositing in Nuke. The main conclusions of the study are those specialized programs that allow you to create a high-quality author's product. This software will become the core of the project, since it is in it that all the elements will be combined into one final clip due to the high-quality integration of various objects of the scene. The novelty of the research lies in the fact that within the framework of the work, the characteristics of the possibilities of working with various video editors and graphic programs were carried out, which together help the creators of movie trailers and other similar products to realize the tasks of entertainment and quality of the projects produced.

Keywords: artistic language, manipulation, editing, documentary film, graphics, graphic screensaver, design, expressiveness, 3D modeling, graphic editors

DOI: 10.7256/2454-0757.2023.7.39283

Abstract: The subject of the study is one of the main lines in the work of choreographer John Neumeier - the interpretation of literary works on the ballet stage. This article discusses his productions based on literature such as "The Lady with Camellias" (1978), "Peer Gynt" (1989/2015), "The Seagull" (2002), "Death in Venice" (2003), "Anna Karenina" (2017), "The Glass Menagerie" (2019). Neumeier's ballets reveal a special relationship between literature and choreography. The performances created by him are not just a fact of illustrating the plot of the original source, but an attempt to penetrate into the essence of the author's idea, reflect and emphasize the details found in the text in the language of choreography. The novelty of the research lies in the fact that when analyzing several key performances from the choreographer's creative biography, the prospect of considering the literary line of his ballets as a separate phenomenon opened up. As a result of the study, the following conclusions were made. Firstly, an important feature of Neumeier's ballets, based on literary works, is a clearly structured dramaturgy of all components of the performance: action, music, choreography, set design. Secondly, when working with a literary source, most often the choreographer transfers the action to the modern world, while not going against the author's intention, but on the contrary, enhances the relevance of the themes embedded in the works, declaring the timeless existence of the meanings of the text. Thirdly, the interrelation of literature and choreography in Neumeier's work takes the choreographer's work with the text to an absolutely new level, which allows us to talk about the great possibilities of non-verbal interpretation in the ballet theater as a whole.

Keywords: Hamburg Ballet, foreign choreographers, John Neumeier, ballet theatre, choreographic interpretation, synthesis of the arts, literature, choreography, literary plot, ballet

DOI: 10.7256/2454-0757.2023.5.40814

Abstract: The subject of the study is the color meaning in the film of the famous Chinese director Zhang Yimou "Hero", the conceptual understanding of color as the main semantic element of the artistic solution. The object of research is the techniques of visual solutions in cinema. The perception of color in the culture of different peoples differs in certain nuances and depends on many factors, including national traditions and historically established stereotypes. Films by Chinese, Korean, and Japanese filmmakers are interesting from the point of view of color solutions, as they differ in artistic originality and often offer the Russian audience an extraordinary semantic solution of the idea not only at the level of comprehension of the content, but also at the level of a specific color palette. The author similarly examines the color symbolism of Zhang Yimou's film "Hero". The conceptual content of the visual-figurative series, the originality of the coloristic solution of the film is comprehended. The scientific novelty of the article lies in the study of the color symbolism of Zhang Yimou's film "Hero" in the aspect of the correlation between the perception of the coloristic solution of the visual series and the conceptual content of the film. The author comes to the conclusion that despite the ambivalence of perception of a particular color in visual art, the coloristic solution is predetermined by the conceptual content of each episode, so color becomes the leading semantic concept of Zhang Yimou's film "Hero".

Keywords: the meaning - forming concept, parable, Zhang Yimou, Chinese cinema, visual-figurative series, pictorial solution, coloristic solution, artistic technique, symbolism of color, the art of cinema

Abstract: The article is devoted to the little-known period of A. P. Chekhov’s life – his staying at Luka Sumsky district of the Kharkovskaya province in 1888-1889. Nevertheless, Chekhov’s visit to Sumschina and his trip around Gogolev’s places of life made an unforgettable impression on the writer and left a significant trace in his creative work

Keywords: art, literature, philosophy, culture, A. P. Chekhov

DOI: 10.7256/2454-0757.2022.8.38549

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

Keywords: diversity, emotional content, creative interpretations, cultural and historical factors, watercolour artist, image, urban landscape, watercolor painting, Saint-Petersburg, artistic vision

Abstract: The article considers the relationship between philosophy as a systematic knowledge about the world based on logic, and literature as a form of imaginary contemplation. Based on the author, conceptual thinking and image sensitivity are the two attributes of a spiritual life. From this point of view the author considers social and cultural factors defining the peculiarities of the relationship between philosophy and literature during the 19th century in Russia.

Keywords: philosophy, conceptual ground of culture, world view, state of mind, comprehension of the world, philosophy, conscious mind, conception thinking, believing mind, imaginary contemplation, image sensitivity, literature, intelligent mind

Abstract: The article is devoted to the interaction of visual and emotional perceptions and the role these forms of perceptions play when work of visual art is being created. The article has a theoretical and practical importance for artists and will be interesting for a wide audience of philosophy and art fans.

Keywords: philosophy, subject matter, object, intentionality, perception, the eye, the mind, art, image, fi ne arts

DOI: 10.7256/2454-0757.2018.9.27640

Abstract: Following the eras of virtual realities of the myths (Prehistory); virtual realities of the myths and religions (Ancient World); virtual realities of the religions (Middle Ages); virtual realities of the art, literature and ideologies (Modern History), and finally, the era of virtual realities of the ideologies, cinema, television, and psychoanalysis, hails the new wave: the era of virtual realities of the Internet – the actual “ninth wave”, which it its scale supersedes all of the preceding types of virtualities. This article is dedicated to the examination of virtual realities of the XX century: those that were particularly produced by psychoanalysis and cinematic art. The ideological virtual components serves in the article as a shading background that helps to deeper understand the psychoanalytical and cinematographic realities. The scientific novelty lies in comparison of the most diverse “virtual worlds” created by human, using various means and methods: this refers to the virtual reality produces by the novels and ideology, psychoanalysis and cinematography. The author attempts to prove that both, cinematic art and psychoanalysis, are the colossal “unbearable observers” – unlike the historians, they create such virtual worlds that become an intrinsic part of the ubiquitous virtual-real reality of a human. Therefore, the author speaks of the special observer, whose act of contemplation is capable of changing human life.

Keywords: an unbearable observer, illusion, novel, ideology, television, cinema, psychoanalysis, virtual reality, a self-fulfilling vicious circle, conditions of human existence

DOI: 10.7256/2454-0757.2024.2.39664

Abstract: The study of opera art at the turn of the 18th–19th centuries is currently a topical research. At the beginning of the 19th century, many cardinal changes took place in the field of vocal performance: new types of singing voices and dramatic roles were formed, the manner of ornamentation of parts underwent changes. Many works of domestic and foreign musicologists are mainly devoted to the study of the operatic performance of tenors, basses, contraltos and sopranos. Occasionally, they mention the baritones of the Verdi period, and the period of the birth of the baritone role, unfortunately, remains unexplored. The subject of this study is the operatic and vocal work of the Italian baritone Antonio Tamburini. The object of the study is the baritone roles created for the singer. The theoretical and methodological basis of the study was the works of modern domestic and foreign musicologists devoted to the art of vocal masters of the early 19th century, reviews of Tamburini's contemporary music critics and his creative biography. The novelty of the study lies in the identification of causal relationships between the performance of the singer and the evolutionary processes that occurred in the opera art of the early 19th century. The main conclusion of the study is to identify the role of Tamburini in the formation of the role of the baritone.

Keywords: 19th century, hero-lover, ruler, military leader, role, ally, Antonio Tamburini, basso cantante, baritone, bass buffo

Abstract: The author considered the problem of ontological meaning of modern Russian writings from the point of view of the two conceptions of existence: Antique and East-Christian. The author explicated the artistic and esthetic principles of the energy conception of existence as well as demonstrated how those conceptions could be used in the analysis of literary works

Keywords: cultural sciences, East-Christian, ontological, esthetic, analysis, literature, poetics, esthetization

DOI: 10.7256/2454-0757.2023.7.43669

Abstract: In the process of interpreting works of pictorial art, it is easier to understand not the "style", but the "theme", that is, not how to write, but what to write. In the history of modern art, which attaches more importance to "style", the problem of "theme" is not fundamental and is among the primitive issues worthy of the attention of amateurs who do not understand art. However, sometimes it is in simplicity that the essence lies. The simplest questions that interest almost everyone are the link between works of art and society. When analyzing the "topic", the subject under study is not confined to one work of art, since an integrated approach to the consideration of the problem should be used. The author's main contribution to the study of the history of the development of Chinese painting is a new perspective – the analysis of works based on the "theme". The results of the study revealed the main themes of Chinese pictorial art, identified the main reasons for referring to them, and also established their symbolic meaning, connection with philosophical and literary traditions. The important role of literary scientists in determining the directions of thematic development of Chinese landscape painting is revealed, the significance of the images of the fisherman and the traveler as carriers of the spiritual content of the landscape is determined. The conclusion is made about the prominence of certain themes in the pictorial art, depending on the processes of social development of China.

Keywords: public culture, the image of a traveler, philosophical content, the image of a fisherman, scientist-writer, landscape, the art of China, calligraphy, topic, painting

Abstract: The article is devoted to the 150th anniversary of A. P. Chekhov and represents a case of literary g oriented at judicial and philosopho-legal problems. Based on the example of a famous story ‘Malefactor’ the author shows how the great writer Chekhov introduced the deep antitetics to the society of post-reform Russia. The author also touches upon the topic of narrative literature as a discourse.

Keywords: philosophy of law, education, criminal science, evil will, conditional sentence, antinomy, liberalism, neoliberalism.

DOI: 10.7256/2454-0757.2022.3.37699

Abstract: The subject of the study is the changes in the theatrical space and artistic features of the two early court masks during the transition from the Renaissance theater system to the Baroque. The object of the study were two early court spectacles of the Stuart period in the context of Baroque aesthetics – "Hymen" and "Mask of Queens", the authors of which were the playwright Ben Johnson and the artist Inigo Jones. Special attention is paid to the scenic design of both masks and the transformations of the theater space, in which the main role is played by the stage device – the turning circle. Its use in spectacles not only allowed the artist to change the whole design and express one of the main themes of the performance through the transformations themselves, but also combined stage transformations with the plot action of the mask. The research material is presented by the surviving texts of Ben Johnson's mask plays, letters from courtiers and ambassadors who were direct witnesses of court spectacles, as well as published sketches of costumes and scenery by Inigo Jones. The methodology of the work includes a cultural-historical approach, a descriptive method, a method of comparative analysis, as well as a reconstruction of a theatrical performance that has not yet been carried out in relation to both masks. The novelty of the research lies in the fact that for the first time in Russian theater studies, an attempt has been made to consider the aesthetic features of Inigo Jones' theatrical and decorative art in the context of Baroque aesthetics based on the material of two court spectacles. The main conclusion is the identification in the two early Stuart masks of the features of Baroque art and the transition to the formation of the English Baroque theater with its scenic metamorphoses, striking the viewer dynamics, the coverage of the universal expanses on stage and the synthesis of all the arts.

Keywords: english mask, Anna of Denmark, Inigo Jones, Ben Johnson, court spectacles, court theater, English baroque, english theater, theatre, synthesis of the arts

DOI: 10.7256/2454-0757.2023.4.40521

Abstract: The article is devoted to the study of the history of theatrical therapy in the no-si ritual drama. It is shown that, in general, the ritual elements of the no-si drama can be used in modern drama therapy. In addition, dramatic therapy, which is implied by the author in this article, is somewhat different from the modern concept of psychodrama, since it covers large areas of the human psyche. The author believes that it is not necessary to completely ignore this complex area of human culture, because regardless of function or form, dramatic therapy is closely related to the shamanic ritual of healing. The formation of the Chinese national drama took place in the context of the historical development of China. Having originated in the most ancient forms of shamanic rituals, the theatrical performance has evolved into a unique stage genre. Along with other earliest theatrical forms such as ancient Greek theater and ancient Indian drama, Chinese opera originated several centuries before our era, but unlike them it has survived to this day almost unchanged. Now Chinese traditional opera occupies an important place in the list of intangible heritage not only of China itself, but also of the whole world. One of the most important milestones in the development of theatrical art in China was the ritual drama "no-si", which today the ritual drama no-si in China is called a real "living fossil", because it is the oldest cultural form that has come down to us through the centuries. Archaic religious rituals, reflected in modern theatrical performances, testify to the mixing and syncretization of various religious traditions, including no-rituals and no-si drama, and modernity. The current generation is successfully modernizing the tradition of its ancestors in accordance with the times, preserving it in the centuries-old cultural memory of its people.

Keywords: ritual, No-si, China, theater therapy, chinese theater, chinese traditional opera, psychodrama, history, Moreno, theatre

DOI: 10.7256/2454-0757.2018.1.23545

Abstract: This article develops a thesis that with the emergence of photography and cinematography, the philosophy became possible through not only words, but also visual image and movie image. Cinematographic works can contain one or another, as a rule, implicitly expressed philosophy. As an example, the author examines the works that arouse interest because of the contained implicit philosophy of pain (algosophy) – five film adaptations of the novel by Leopold von Sacher-Masoch “Venus in Furs” and selection from the best artistically important films of the famous film directors, such as Michael Haneke, Roman Polanski, and others. The author substantiates the possibility of transmodal interpretation of implicit philosophy, expressed in the language of visual images, nonverbal language of the traditional philosophical discourse. It is demonstrated that the analyzed compositions visually develop and substantiate a number of specific philosophical theses, essential in diagnosing the relevant issued and profound philosophical analysis of modern culture, as well as existential problematic of modern civilization. The aforementioned works concern and formulate in a new sense most of the key problems and sections of the traditional philosophy of pain: ontological, gnoseological, social, psychological, and ethical.

Keywords: suffering, cinema art, movie, hedonism, pain, visual image, BDSM, algosophy, phenomenon of pain, philosophy of pain

DOI: 10.7256/2454-0757.2023.6.43442

Abstract: The subject of the study is Bernardo Bertolucci's film "The Last Emperor", in particular, the coloristic of the film and the psychology of the image of the main character, which is largely revealed through the color palette and individual artistic details. The object of research is the language of cinematography, cinematographic artistic techniques. Despite the sometimes shocking images and plots, Bertolucci's films were highly appreciated by the international community and domestic film critics due to their artistic solution and topical issues affecting the problems of class struggle and anti-fascist themes. The author of the article examines the image of the main character of the film, Aisingero Pu Yi, the last emperor of China and Manchukuo. The film is based on real historical events taking place in the first half of the 20th century, so the dramatic collisions of the character are not perceived by the viewer as some kind of abstract problem. Against the backdrop of the complex historical changes that China has faced, many questions of the formation and self-determination of the individual are being raised. The image of Emperor Pu Yi is revealed gradually through a comparison of two storylines and the color scheme of the film, since it is the color palette that helps to subtly and meaningfully convey the psychological content of the character. The main research methods are analytical and comparative-historical. The composition of the film and the dynamics of the change in the color palette of individual episodes are analyzed, which makes it possible to trace the evolution of the image. The author comes to the conclusion that it was the coloristic solution of the film that allowed the creators to convey the national color and historical atmosphere of China of a certain historical period and show a vivid image of the protagonist on the screen.

Keywords: Aisingero Pu I, The Last Emperor, Bernardo Bertolucci, symbolism of color, visual-figurative series, pictorial solution, coloristic solution, artistic technique, the art of cinema, Cinema of Italy

DOI: 10.7256/2454-0757.2023.11.44046

Abstract: The northern creative trips of the People's Artist of the USSR Vladimir Alexandrovich Igoshev (1921-2007) represent important and vivid pages in his creative biography. The object of this research is the creative heritage of the artist V.A. Igoshev. The subject of the study is the creative trips of the artist V.A. Igoshev to the North (Sverdlovsk and Tyumen regions) of the 1950s and 1960s. The purpose of this study is to reconstruct the overall picture of the northern creative trips of the artist V.A. Igoshev of the 1950s–1960s on the basis of paintings and graphic works of the early "northern cycle", archival materials, exhibition catalogues, Soviet periodicals, individual scientific articles and information from informants. The novelty of the research lies in the most complete and detailed consideration at the moment of the issue of the northern creative trips of the artist V.A. Igoshev in the 1950s and 1960s. Previously, this topic has not received special coverage. Modern researchers of the creative heritage of the artist V.A. Igoshev in their review articles practically did not touch on this problem, limiting themselves to mentioning individual episodes from the creative biography of the master. The author of the study provides historical facts related to specific dates of trips, introduces a list of paintings and graphic works, with all the circumstances of their creation and further exposure at major art exhibitions of the 1950s and 1960s.

Keywords: exhibition, etude, portrait, northern cycle, genre painting, North, creative trips, art criticism, Igoshev, socialist realism

Abstract: During the second half of the 20th century music had artistic and esthetic conceptions and methods in which chance became an invariable factor in creating and laying a music composition like in aleatory — writing technique allowing indeterminism of the music material and structure. Aletory composision may have a mobile material and stable form, stable material and mobile form or mobile material and form. One of the main disadvantages of such composition, especially since all the music elements are flexible, was the problem of formation. However, even if the music piece is based on the principle of absolutely random sequence of elements or combination of sounds, special structural factors make it whole and united. These factors are described by the author of the article based on the examples of music by American composers in 1950-1960.

Keywords: cultural studies, music, chance, aleatory, indeterminism, mobile, module, form, composition, structure.

DOI: 10.7256/2454-0757.2023.12.69136

Abstract: The subject of the study is the ontological ideas of ancient Chinese music in the context of the formation of philosophical schools of Ancient China, which make it possible to identify a number of philosophical categories that underlie traditional chinese music and outline different approaches to its understanding and interpretation. Most Chinese researchers in the field of musical aesthetics focus on the art of music, rare to pay attention to the philosophical origins of the categories of music that past thinkers wrote about when analyzing laws of existence of the universe. Restoring and rethinking these values in the context of the philosophical and cultural analysis of ancient Chinese music is key to this work, which allows us to gain an understanding of the specifics of ancient Chinese culture and its musical heritage. The novelty of the work lies in carrying out the correlation of genesis of the musical ontology of Ancient China with the dynamics of the formation of the philosophical schools of Confucianism, Taoism and Buddhism, their rise or fall depending on the historical and cultural situation. Musical philosophy in China has not yet become an independent discipline, so the presented work makes a significant contribution to the field of musical ontology. During the study, the authors revealed three main aspects which are basic for the ontology of ancient Chinese music: The nature of music has its source three categories: Tao, air and sound, existing both in a natural state in nature and embodied in musical structure and instruments; Sound and rhythm being the essence to any musical work, organize the sounding space in accordance with the cosmic order; The metaphysical nature of music is justified by the basic principles of Taoist philosophy and number theory.

Keywords: Confucianism, Tao, Wu-Xing, Yin-Yang, ancient Chinese aesthetics, Buddhism, ancient Chinese music, Taoism, musical ontology, Li

Abstract: The author of the article reveals the new term ‘composing’ and describes the process of creation of art image through the dialogue between the audience and the art work. The author underlines the process of composing has certain stages and leads to creation of unique compositions, - index and symbolic. The main function of those is to create conditions for a religiously virtual bond binding the ‘final’ with the ‘final’ and the ‘final’ with the ‘absolute’.

Keywords: philosophy, composition, composing, audience, creation-work, relation-dialogue, art image, education, dictate, enthusiasm

Abstract: this article is devoted to the concept of virtual theater as a new type of art, which the author has been working on for more than 20 years. As a basis of virtual theater, there will be used computer virtual technologies. The key idea of virtual theater is to support the spiritual culture of Russian society. For our country the virtual theater may become a medium for the Russian national idea, and for other countries it could become an example, characteristic feature of Russia.

Keywords: philosophy, virtual theater, international virtual theater, Russian spiritual culture, Russian national idea, computer virtual, new type of art, new construction of theater, computer virtual technologies, perception of thoughts before they were expressed, psychological virtual reality of an artist.

Abstract: Today scientists have come to conclusions that just like a stylistic revolution, serialism became a powerful outcome of the tonality crisis and have been the main force of organization of musical modernism throughout several decades. The article is devoted to the stdy of the two antagonistic movements of the avant-garde in music, - post-serial modernism and experimental postmodernism. The author shows that these conceptions can effectively interact but they become useless when they are disunited or only enter an antagonistic contradiction with each other.

Keywords: cultural studies, modernism, postmodernism, serialism, post-serialism, aleatory music, Boulez, integration, deconstruction

Abstract: The article describes the basic terms of modern theory of fine arts and the process o creation of an image in a dialogue between a recipient and a creation. The author of the article also discusses the role of an expert in arts who represents conceptual provisions of the theory. According to the author, an expert in arts combines such professional aspects as knowledge, research and maieutics.

Keywords: philosophy, creation, expert in arts, researcher in arts, maieutics in arts, affectation, trial, dialogue, image, style.

DOI: 10.7256/2454-0757.2017.1.18369

Abstract: This article present an interpretation of M. Heidegger’s thesis “The Origin of the Work of Art”. Being a part of the world and having originated from it, art was always a topic of interest for the philosophers, who try to find answers to the questions “Is there truth in art?” and “How to understand the works of visual art? The author finds the key to the mystery of art in polemics of the prominent art historian M. Shapiro and philosopher M. Heidegger. In this dispute, the notions of the truth and existence (ontological field) are counterpoised to the historical and biographical details of createdness of the painting. The subject of dispute lies in Van Gogh’s painting “A Pair of Shoes”. In interpretation of the painting, M. Heidegger analyzes how it reveals the nature of the shoes. And, thanks to the rich imagination, audience through the creation of an art work, reveals the truth. Trying on the country woman’s shoes, the audience pictures her being; and the artist attempt to attract attention and cognize the truth with help of the createdness. M. Shapiro focuses attention on the historical component of the paintings and biographical motives of the artist. It originates a question, which of the aspects, namely, visual documental information or art (associations, feelings, emotions, projections) are closer to the ontological understanding of the painting as a painting. The author concludes that if a creative component is present, it moves the biographical motives and historical details to the background. Ontological understanding of the painting is possible only in aesthetic field.

Keywords: historical context, createdness, world, earth, work of art, truth, being, hermeneutics, aesthetics, visual art

Abstract: The article considers the ethical views of Guo Xi, - famous Chinese landscape painter of the 11th century. Special attention is paid at Guo Xi’s theory of the ‘three spaces’, - the three types of composition of landscapes based on the ideas of Taoist natural philosophy, summary of the heritage by landscape masters (both predecessors and contemporaries) and thoughts of the author’s own experience in landscape painting. The study covers philosophy, esthetics and art work

Keywords: philosophy, cultural studies, Guo Xi, Song, esthetics, landscape, painting, space, nature, Tao, master, writing

DOI: 10.7256/2454-0757.2017.1.68581

Keywords: historical context, createdness, world, earth, work of art, truth, being, hermeneutics, aesthetics, visual art

DOI: 10.7256/2454-0757.2017.9.23620

Abstract: The subject of this research is so-called open form of Luciano Berio – one of the innovators of European avant-garde. He composed music in mobile forms that were changing in material and structure. The object of this research is the oeuvres of Luciano Berio in the open form of diversified genres. Berio applied the aleatoric technique of composing, as well as wrote a number of articles dedicate to the open form. He desired to materialize in music the philosophical-aesthetic principles of J. Joyce and U. Eco. The article reviews the concept of Berio's open musical form and few of his works, in which it found its reflection. Methodology of the research implies the aesthetic and theoretical analysis of the ideas and concepts of Berio, expressed by him in the article about open form, as well as music-theoretical analysis of composer’s oeuvres with application of the new terms. The scientific novelty consists in first Russian-language analysis of open form concept in the works of Luciano Berio, its specific materialization in music compositions, identification of the key features of the open form, examination of the score and its sound realization that demonstrates the mobility of composition at the level of text and structure, tracing the practical implementation of aleatoric technique of composing alongside its impact upon morphogenesis. The article also provides a translation from English into the Russian language of Berio’s article dedicated to the open form.

Keywords: Eco, Joyce, composition-in-motion, mobility, aleatory, open form, music, Berio, composition, technique

DOI: 10.7256/2454-0757.2017.7.19719

Abstract: The article is devoted to the analysis of the philosophical bases of artistic images of the film "Melancholy" of the Danish director Lars von Trier. Reception of Friedrich Nietzsche’s metaphysical categories of and some aspects of his philosophical style are proved in semiotics space of the film. Artistic images and a plot of "Melancholy" are considered through a prism of F. Nietzsche’s philosophical reflections about eternal return, "life" as a will to the power, Christian culture and the superman. Cultural polyphony of L. von Trier’s piece of screen, ambiguity of possible interpretations of his artistic images, an apocalypse as implicit understanding of rescue are investigated. In the process of the detailed analysis of the movie material F. Nietzsche’s value of ideas about original life and the person for judgment of the modern society state is shown. It is revealed that L. von Trier’s metaphorical designs not only immerse the recipient in Nietzschean attitude, but also generate new connotations of some categories of F. Nietzsche’s philosophy. So the will to live (power) proves as the will to death that corresponds to intensions of modern culture.

Keywords: salvation motif, Christianity-, will to death, will to live, apocalypse, superman, eternal return, F. Nietzsche, Melancholy, Lars von Trier

DOI: 10.7256/2454-0757.2022.2.37321

Abstract: Issues of style in art are fundamental issues of modern aesthetics, since style is put forward in a number of main categories of art, acting as a principle of the organization of aesthetic form. It is no coincidence that over the past century, the attention of numerous researchers has been drawn to the XVII century - the beginning of the history of aesthetics of modern times, in which, perhaps, the root of modern problems lies. In this respect, the XVII century seems to be the most grateful material for a discussion about style, since in the XVII century great styles arise that will develop and transform in the following centuries and will determine the development of art for many decades - classicism and Baroque. Since the 30s of the XX century, in studies devoted to the study of literature and art of the XVII century, a departure from the theory of classicism of the XIX century is planned. The first stage of this turn is the study of the creativity of the "pillars of classicism", which demonstrated that it has nothing to do with hierarchized academicism and reverence for norms. The desire to please the public, which was initially perceived as the main paradox in the theory of classicism, is further formulated by researchers as the presence of a different aesthetic. The next stage - the term "classicism" itself is criticized as late, evaluative, giving this era the meaning of the absolute. As a result, many researchers come to the conclusion that in France of the XVII century there was no literary and aesthetic doctrine as a single and "classical" one. Finally, the third stage of the study - the appeal to a single anthropo-socio-cultural concept of history, the use of sociological methods to highlight the gallant ethos allows us to conclude that classicism is a phenomenon in the field of art, gallantry is not only an artistic phenomenon, but also a social one.

Keywords: french royal court, court society, literature of the XVII century, history of France, philosophy of the XVII century, french literature, gallant aesthetics, style, classicism, secular society

Abstract: The article views Chechov’s work and world perception from the point of view of philosophy and esthetics. In this regard the author also raises a question whether it is rightful to assume that Checkov’s works refl ected his religious opinions. Most of the attention is paid at the analysis of a ‘duality’ of Chechov’s poetics and parallels with L. Tolstoy’s, F. Dostoevsky’s works and west-European romanticism of the 19th century.

Keywords: philosophy, creative work, world perception, humanism, realism, romanticism, irony, platitude, comedy, tragedy

DOI: 10.7256/2454-0757.2023.6.41033

Abstract: The image of Baba Yaga in the folk culture of the ancient Slavs is considered as an object of research in this work. As an important part of folk culture, Russian folk tales take upon themselves the responsibility to broadcast traditional moral qualities and form the basis of a person's evaluative and emotional attitude to the world. The subject of the study is the transformation and interpretation of the image of Baba Yaga performed by the People's Artist of the RSFSR Georgy Millar in the film tales directed by Alexander Rowe. The authors set a goal to identify specific features in the interpretations of the image of Baba Yaga by George Millar and to identify the typology of these images. The methodological basis of the article is content analysis, comparative, statistical, historical and cultural analysis of the films narrator Alexander Rowe. The authors, when considering the problem, achieve the following results: Georgy Millar starred in 16 Alexander Rowe's fairy tales, while performing 27 roles; he played Baba Yaga in 4 fairy tales; only the first is the canonical image, the other three images are the personal merit of Georgy Millar. In the process of developing the problem, the authors identify comparative criteria of Baba Yaga images: external features, behavioral characteristics, character traits. The novelty of the research consists in the unconventionality of the indicated approach, as well as in a comprehensive analysis of the palette of creative possibilities of actor Georgy Millar. As a result of the study, the authors come to the following conclusions: 1) the centuries-old image of Baba Yaga is very complex and often contradictory, so it can be transformed and interpreted; 2) Georgy Millar created 4 different images of the same character - Baba Yaga "Witch", Baba Yaga "Old Housewife", Baba Yaga "Mother" and Baba Yaga "The lady."

Keywords: image transformation, folklore traditions, slavic folklore, movie villains, the image of Baba Yaga, Alexander Rowe, movie fairy tales, George Millar, role, creative range

Abstract: This is the interview with a professor Konstantin Dolgov taken on his 80th birthday.

Keywords: philosophy, art, esthetics, jubilee, life style, Konstantin Dolgov. In his interview Konstantin Dolgov talks about his life and growth as a philosoph

Abstract: The article is devoted to the topical issue of the systematic study of fine arts. The author of the article describes the localized version of the system analysis of fine arts based on its matrix structuring. The article also shows the heuristic potential of the author’s approach.

Keywords: philosophy, structure, matrix, culture, system, analysis, potential, heuristics, approach, synergetics.

DOI: 10.7256/2454-0757.2023.11.68910

Abstract: The subject of the study is the Christian discourse of the English TV series «Robin of Sherwood» (1984–1986). As a methodological basis for the scientific work, a philosophical-hermeneutic approach is used, presented, in particular, in the works of W. Dilthey, H.-G. Gadamer and M.M. Bakhtin. The most important structure of understanding is the principle of the «hermeneutic circle», which assumes that the text as a whole is understood through each of its parts, and the part through the whole. In addition, understanding arises in the process of «dialogical cognition», a dialogue between the author, as well as the text as a subject, and the reader (viewer). The content of the series «Robin of Sherwood» is analyzed in the specific historical conditions of the 1980s. This is a period of growing social and cultural protest caused in Europe and the United States by the policy of neoconservatism and the reduction of social guarantees. Many phenomena previously classified as counterculture are becoming fashionable and becoming mainstream, including the legacy of paganism, pre-Christian mysticism and mythology. The article shows that the creators of the series intended to present Robin Hood not only as a leader of social or national resistance, but also as a defender of the ancient pagan religion against the new, Christian. An analysis is given of episodes from the first two seasons of the film, which trace criticism of the Christian church as an institution, as well as specific monks and clergy. In the third season, the critical pathos towards the church practically disappears. However, the author comes to the conclusion that it is the first two seasons that demonstrate the development of the moral consciousness of the characters from pagan to Christian, and Christian discourse is present in the film text, perhaps contrary to the original intention of its creators. There is also a reception of the Christian discourse of the series in the Russian and, more broadly, Russian-language literary Internet space, which is reflected in discussions on relevant literary and historical forums, as well as in works of fan literature

Keywords: aesthetics, ethics, hermeneutics, philosophy of culture, Christian discourse, Christian culture, Robin Hood, text, mythology, literary Internet space

DOI: 10.7256/2454-0757.2017.10.24103

Abstract: The subject of this research is the artistic and aesthetic principles of the American avant-gardist John Cage, based on the religious and philosophical principles and categories of Zen Buddhism applied in his musical compositions. Such principles as unintentionality, incident, indeterminism, inconstancy and variability, unity, simultaneous plurality, intefusion of art and life, have formed under the influence of the four noble truths of Buddhism, categories of inaction, Nothingness, emptiness, and also the essential foundations of Zen Buddhism, including the representations about the world (human and nature), spiritual practice, etc. All of the aforementioned principles will find application in the specific writing techniques, genres, forms and types of musical and creative activity of Cage. The scientific novelty of this research lies in the first attempt within Russian musicology to connect the religious and philosophical principles and categories of Zen Buddhism with the artistic and aesthetic principles of Cage, draw analogies between them, provide a concrete explanation to what they represent and how they affect the composer’s musical works.

Keywords: variability, inaction, philosophy, religion, principle, music, Zen Buddhism, John Cage, incident, indeterminism

DOI: 10.7256/2454-0757.2023.4.39922

Abstract: The stone lion played an important role in ancient Chinese architectural decoration and was often used in traditional Chinese architecture in different Chinese dynasties. China is not the natural habitat of the lion, but this animal has long been revered by the Chinese. The stone lion is a metaphor of the Chinese culture. The stone lions are one of the most important artistic expressions in various arts. As the stone lion culture emerged, developed and matured, its artistic image has become a unique spiritual and cultural symbol in China. This article consists of three parts: the historical status and symbolic significance of stone lions; the characteristics and evolution of the stone lion image in different dynasties of China; and the decorative characteristics of stone lions in different subject-spatial environments. The article is devoted to research and interpretation of the symbolic meaning of the Chinese stone lion, its decorative characteristics in different subject-spatial environments; analysis of its characteristics and evolution of its image in different historical epochs. Using various examples the article shows how culture and ideology have influenced the evolution of the characteristics of the image of the Chinese stone lion.

Keywords: traditional culture, China, decor, symbol, stone lion, characteristics, architecture, culture, stone carving, Chinese culture

DOI: 10.7256/2454-0757.2024.4.70219

Abstract: The subject of the study is the consideration of modern trends in the study of fine art, in particular Russian portrait and narrative painting of the beginning of the XXI century. The object is scientific works related to various fields of the humanities, namely: art history, aesthetics, anthropology, sociology, philosophy, psychology, etc. Using their material, it is possible to show not only the difference in approaches to understanding the essence and role of the image of a modern person in the art process, but also to demonstrate the specifics of the artistic interpretation of this figurative system in the context of art criticism, cultural and philosophical issues. Such a study allows us to systematize existing ideas about the peculiarities of the development of anthropological subjects in the mainstream of contemporary fine art in modern Russia, to identify the main directions. The main methodological basis of the study was a systematic approach that allowed us to consider contemporary Russian art as a single system. This helped to compare the approaches of modern researchers analyzing the place and role of the human image in it. Through the postmodern paradigm of perception and interpretation of anthropological topics, to identify the essential features of the ideas of Russian scientists. Methods of art historical analysis were also used. The starting point of the research is that at the moment in Russian science there is a body of art history and cultural studies devoted to the development of contemporary art in the country. However, there are no works summarizing the existing experience of scientists and defining the main directions of scientific thought. In light of this, the scientific novelty of the article lies in expanding the understanding of the methodological apparatus necessary for the analysis of the anthropological trend in the visual arts of our time, which is a promising path for future research in this area. The most demanded conceptual philosophical and historical-cultural foundations for the analysis and solution of practical problems in the field of contemporary art in relation to the representation of the human image are identified. Empirical research material has been collected and analyzed.

Keywords: XXI century, portrait, story painting, the image of a contemporary, Anthropology, Russian art, contemporary art, the image of a man, The art process, Art history

DOI: 10.7256/2454-0757.2022.7.38400

Abstract: Exhibitions dedicated to the theme of "Red China" occupy an important place in the dissemination of "red" culture, the continuity of the "red" gene and the intensification of "red" education. They reflect the political agenda, have a distinct content and the uniqueness of the text material. Being an important element of the spread of "red" culture, exhibitions on the theme of "Red China" integrate elements of this culture into people's daily lives and play an active role in preserving and multiplying the "red" gene. In this article, the systematization and generalization of knowledge in the field of narrative strategy of exhibitions on the theme of "Red China" is carried out from the point of view of ontology, structure and narrative carrier, which at the present stage is important for building a strong socialist ideology. Exhibitions on the theme of "Red China" are an important way of materialization, visualization and dissemination of "red" culture, as well as an effective means of its popularization. The study found that the "Red" exhibitions should have a "revolutionary content", have a "political character", be "mutually recognized by the authorities and the people", take on the main responsibility for providing people with common access to material and spiritual culture. From the point of view of the communication function of the "red" exhibitions, they are an important means of organizing ideological and political education by the Communist Party of China, strengthening social harmony and promoting basic values.

Keywords: promotion of basic values, ideological and political education, political character, revolutionary content, red culture, space, exhibition, narrative strategy, Red China, Communist Party of China

DOI: 10.7256/2454-0757.2023.11.69076

Abstract: The article presents an analysis and interpretation of the features of two animated works of French animation created at the turn of the XX-XXI centuries. "Kirikou and the Sorceress", a cartoon released in 1998, is one of the most interesting works of the famous French animated film director Michel Oselo. The "Trio from Belleville", a work that appeared on screens in 2003, gained popularity not only in France, but also glorified the name of its creator Sylvain Chaume in the world of animation. The aim of the study is to develop theoretical knowledge about the world's oldest animation school by analyzing these works as the most representative in French animated cinema at the turn of the XX-XXI centuries. The methodology of the research is based primarily on the use of formal stylistic, iconological and cultural-historical methods, which makes it possible to describe and analyze the artistic forms of works of artistic animation in France, to determine the meanings contained in them in the context of the culture that gave rise to them. The novelty of the research is primarily connected with the introduction into the circulation of Russian science of previously unexplored works of modern French animation and their interpretation in the context of the development of French animated cinema. The author analyzes the plot features, character systems, reveals the metaphors and meanings that fill the cartoons in question, as well as the means of artistic expression used by French directors. The analysis of these works shows that the animated works of the turn of the XX-XXI centuries reflect a significant stage in the development of modern French animated cinema. This development takes place not by referring to foreign experience, but by forming national specifics in the creation of animated works. French directors manage to successfully improve their own original handwriting, while transferring the meanings and values of national culture to the screen.

Keywords: analysis, cinema, screen arts, contemporary art, french animation school, cartoon, animated films, animation, interpretation, history of development

DOI: 10.7256/2454-0757.2022.9.38692

Abstract: Still life as an independent painting genre in Chinese fine art was formed in the second half of the XX century under the strong influence, first of all, of Western European and Russian, and then American art. This relatively short period of time includes several periods at once, in which one or another influence dominated. However, it was the integration of the ideas and principles of foreign art schools that allowed Chinese masters to develop those features of the artistic and figurative language that determined the features of the genre of still life in the space of modern art. The object of the article is the process of development of Chinese still life in the second half of the twentieth century, the subject is a set of expressive and artistic means used by Chinese artists to create a still life under the influence of foreign artistic trends. This article aims to determine the place and features of the genre of still life in the works of Chinese painters of the second half of the XX century, as well as to characterize the conformity of this genre to the trends of Russian and Soviet, as well as European art. The study concluded that this genre received rapid development in the second half of the XX century, which occurred under continuous foreign artistic influence. The occupation of a strong position in the space of Chinese art by still life and the formation of its original character with national specifics occurred at the end of the twentieth century.

Keywords: soviet art, western painting, motif in still life, flowers and birds, floral still life, chinese art, chinese painting, still-life, realism, new wave

Abstract: Social concepts in art are often left beyond the framework of research. However, this is what sociology of art, a branch of social studies, is concentrated on. This article considers various aspects of participation of sociology of art in interpretation of the social and artistic.

Keywords: cultural studies, sociology (social studies), art, image, existential, enculturation, recognition, sign, culture, meaning

DOI: 10.7256/2454-0757.2017.4.18480

Abstract: The object of this research is the interconnection between theatricalization and game. The subject is the human creative factor that allows combining theatricalization and game in a single study. The goal of this work consists in possibility of application of the human creative approach towards the analysis of correlation between theatricalization and game. The author reviews the dual nature of such correlation: in its theatrical-artistic guise and as a gaming modelling of life by the virtue of theatre, as well as introduces and substantiates the concept of creative readiness that is interpreted as a human creative factor. The methodology is based on the works of most prominent foreign and Russian contemporary philosophers, who actively implemented the universal category of “readiness” as a way of understanding the human existence in the process of evolution and as a way of his creative being. In conclusion, the author identifies the for fundamental positions of theatricalization and game interconnection: readiness to create the illusion of reality, readiness to sacralization of the illusionary reality, readiness to group existence in theatricalized game, readiness to sacrificial realization of a role. Theatricalization is formed leaning on the creative readiness, as a new illusionary and gaming reality that strives to replace the actual reality.

Keywords: theatre, spirit, creative readiness, readiness, human creative approach, game, Theatricalization, art, art anthropology, illusion of authenticity

DOI: 10.7256/2454-0757.2022.7.38404

Abstract: Painted ceramics occupy an important place in ancient Chinese art and are the result of creative activity of people of primitive society. A large number of Neolithic patterns on ceramics are similar to those signs and symbols that were made on jade products of the same period. Such patterns resembled drawings made by hand and represented realistic and abstract ornaments, plant, zoomorphic patterns, etc. Thus, the subject of this study is the so-called "jade" patterns on painted ceramics of the Neolithic era. The object of the study are objects of painted ceramics of the Neolithic era in China. Special attention is paid to the consideration of the specifics of ceramic products, as well as the features of their decors. The semantics of images on objects of Chinese painted ceramics is complex and ambiguous. The study revealed that it is associated with the development of human thinking, people's understanding of natural phenomena, awareness of the changing seasons, as well as the emergence of animism and totemic culture. These patterns had different interpretations, while they were not only a way of expressing the feelings and experiences of primitive people, but also a way for them to record important events from life, similar to modern memoirs. Thus, the novelty of this article is its comparative nature, manifested in the comparison of ornaments of painted ceramics and ancient Chinese jade products.

Keywords: jade regalia, ornament, Miaodigou, Hongshan culture, jade, painted ceramics, neolithic art, decorative and applied art, China, religion

DOI: 10.7256/2454-0757.2023.8.43497

Abstract: The study of the artistic heritage of neo-academicians in the context of the study of mixed techniques is quite relevant. To date, the analysis of the creativity of artists, representatives of non-academism as an artistic trend of the late twentieth century in Russia, is based on the artistic criticism of art critics, art critics who were part of this trend and considered the work of non-academicians from the perspective of the artistic life of this period in the context of the socio-cultural processes of Russia during the Perestroika era. Also, the works of neo-academist artists are studied from the position of "creative rebellion" and the search for new forms in art. In this article, the works of T. Novikov, G. Guryanov, K. Goncharov, V. Mamyshev-Monroe and other representatives of NAII are studied from the position of "mixed techniques" in art objects. The main emphasis is placed on the analysis of art objects in mixed techniques in the context of overcoming formalism, embodying stylistic diversity, metamorphosis of forms and states, pictorial symbols and universal meanings. The realization of the principle of the infinity of choice and the infinity of meaning and diversity is associated with postmodernism in art, the introduction to which became decisive in Russian art of the late twentieth and early twenty-first centuries. The appeal to the study of art objects of neo-academicians made in mixed technique allows us to enrich and supplement the understanding of the term "mixed techniques" in modern art practices related to the search for new forms, compositional solutions, the formation of a unique author's language, the originality of the work.

Keywords: Russia, creative method, art object, neo-academism, creative heritage, sociocultural processes, creative revolt, modern art practices, contemporary art, mixed media

DOI: 10.7256/2454-0757.2024.4.70254

Abstract: The subject of the study is the works of contemporary St. Petersburg artists of different generations and creative trends, as well as the forms and features of their communication with each other and with the general as well as professional public. The trends of artistic communication in the city are determined by the activities of such institutions as art and non-art museums, art galleries and exhibition centers, which are a classic form of presentation of contemporary art; alternative venues such as creative spaces and art clusters. The field of attention also includes the attraction of St. Petersburg authors to the organization of small artistic associations, mainly art groups, for example, "Unconquered", "North-7", "Parasites", etc. In addition to works of art, theoretical works and reflections by researchers of contemporary art in St. Petersburg and the spaces of its public presentation are involved. The methodological basis is the analysis of the works of St. Petersburg masters of the beginning of the XXI century in the context of the development of urban institutions of artistic communication. The research is based on theoretical works devoted to the problem of artistic communication and trends in the current art process. Comparative-interpretative and typological methods are used to compare the works of artists and forms of artistic communication. The problem of artistic communication in the field of fine art in St. Petersburg is becoming the subject of a separate study. This area of city life is currently developing quite dynamically, as new art associations, curatorial practices and alternative classical platforms for the presentation of the work of authors belonging to different generations and art movements are emerging. Traditional museums and galleries, as well as creative spaces, art clusters and other often non-core institutions, such as libraries and cafes, are involved in this process. Against this background, the features of St. Petersburg artistic communication crystallize, which is characterized by a desire to organize communities, to fuse realistic traditions and current trends, to escapism and symbolism, as well as an interest in oriental themes and stylistics.

Keywords: institutions and forms, development trends, Chinese art, art group, exhibition, gallery, the museum, St. Petersburg art, contemporary art, artistic communication

Abstract: The author of the article views works of visual art as an image that is crystallized step-by-step in the process of relations between a human-observer and work-item. The author describes and analyzes the material, index, iconic and symbolic stages in creating an image. It is assumed that all diversity of special imagse is nothing else but a single work of visual art created out of human need to draw out the rligious connection between the ephemeral and immortal, between the human and the absolute.

Keywords: philosophy, work of visual art, artist, work — item, image, status, representant, visual concept, audience, religious connection.

DOI: 10.7256/2454-0757.2013.1.62044

Abstract: From the mid XIX’s onwards European society has undergone significant social and cultural changes which, in their turn, significantly changed the modern human’s views on art. The author of the article studies the nature of a photographic image as a special way of perceiving the world around. The author analyzes different approaches to the phenomenon of photography. On the one hand, photography is a new attitude to the reality formed through human’s subjective judgments, and on the other, it is an opportunity to adjust and survive, to obtain and keep knowledge about the world. By performing different functions, photography has an opportunity to combine achievements in the spheres of both art and science and be an object or a subject depending on goals of photography.

Keywords: philosophy, photography, culture, society, art, image, documentary, artistic, need, information.

DOI: 10.7256/2454-0757.2017.5.19657

Abstract: The topic of this article is the creative path of John M. Cage – a prominent American composer, philosopher, poet, musicologist, and artist, who one of the first in avant-garde music of the early XX century used aleatoric, “chance operations”, electronic music, and nontraditional use of musical and nonmusical instruments, as well as considered the factor of chance and uncertainty as substantial and seminal element of music production. The composer also drastically changed the perception of music, and his musical ideas in many ways defined the evolution of the new music trends alongside the visual culture of the post-war avant-garde. The work applies the cultural-historical method that provides grounds for substantiating the position that Cage was and continues to be not only one of the most influential composers of the early XX century, whose legacy spreads far beyond the boundaries of the kingdom of music, art, literature, cinema, and other conceptually expressed knowledge about the world, but also, a clearly underestimated artist in the modern history of music culture. Cage opened a new abundance of opportunities in modern art, the era of multiple experiments in various forms of art – music, painting, choreography, poetry, etc. He shifted the focus from the internal psyche of an artist towards the modern artistic environment, as well as created the foundation for a special form of perceiving music – silence, which boosted to the extensive definition of the music compositional practice and creation of the new form of acoustic spirituality. The sound becomes a chameleon, by adjusting in accordance with the changing sounding around it. This article attempts to fulfill the still existing theoretical gap in the Russian scientific literature on the history of experimental music with regards to the diversified personality and creativity of the composer. The author substantiates the thesis that Cage tried to see all types of sounds as potentially musical, appealing the audience towards accepting all of the sounding phenomena as equal. He revolutionized music in order to achieve the opportunity to compose and perform any type of music and expand the sounding space of music, by implementing the new nonmusical sounds.

Keywords: open form of music, principle of uncertainty, arrangement of sound, synthesis of arts, creative path of J. Cage, American musical experimentalism, history of music, aleatorical music, chance operations, expanded range of musical instruments

DOI: 10.7256/2454-0757.2022.9.38790

Abstract: The content of Chinese folk paintings by nongminhua is based on morality and national philosophy, which can inspire and raise the morale of citizens. This type of incentive differs from agitation and advertising in the usual sense of these concepts. This is a form of complex artistic expression combining symbolic lyrics and philosophical reflections, which has in its arsenal methods of active stimulation aimed at gaining the trust of the audience and expanding the coverage of propaganda activities. The object of this study is the Chinese folk paintings of nongminhua, and the subject is their educational and propaganda functions. The pictorial language of Chinese folk painting with a clearly defined theme, rich illustrative language, features of mass art, as well as its inherent tendency to widespread distribution distinguishes nongminhua from other art forms. All these differences inevitably become the reason for a completely different, unique force of social impact of folk paintings. The main conclusion of the study is that the simplicity of creating folk paintings, their inherent features of information dissemination and cultural functions have led to a wide range of their existence at different stages of China's social development. Brightness and visibility made the nongminhua understandable to the general population, determined their effectiveness in the implementation of educational and propaganda functions.

Keywords: rural painting, traditional culture, Chinese folk art, visual art, specific examples, epidemic, education, propaganda, nongminhua, folk painting

DOI: 10.7256/2454-0757.2022.7.38534

Abstract: The article analyzes the works of Chinese artists of various historical eras who used a stylistic and thematic direction with the image of a plum blossom. The artists' appeal to images of nature to convey feelings and experiences contributed to the emergence of this image and its formation as a symbol of steadfastness and inflexibility of character. Thus, the subject of the proposed study is Chinese painting, the object is the formation of such a common motif as a plum blossom. The purpose of this publication is to determine the main types of images of this image in Chinese traditional painting in the time interval from the VI century to the end of the XIV century — the most fruitful period of its formation and development. Plum blossom is of greater importance in the development of traditional landscape painting in China. For almost a millennium, the interpretation, compositional solution, as well as the technique of depicting this image have changed. The author's contribution to the development of the problem is a comprehensive analysis of images of plum blossoms in landscape paintings by Chinese artists of various historical eras, as well as the characteristics of the process of evolution and the features of the embodiment of this image. The paper traces the origins of this plot in the art works of Chinese artists, analyzes the processes of change and development of images, and characterizes the specifics of its external expression and internal content.

Keywords: specificity, culture, flowers and birds, art, philosophy, symbolism, plum blossom, chinese painting, landscape, semantics

DOI: 10.7256/2454-0757.2023.8.43702

Abstract: The art of traditional painting and ceramic painting in China has a long tradition, in particular in understanding the role of color in the compositional and semantic structure. The principles of creating a color image have long been associated with national peculiarities of perception of shades and their combinations, as well as philosophical ideas. Technological features and properties of glazes imposed certain restrictions on the use of expressive possibilities of color by Chinese ceramic artists. The object of this research is the works of Chinese painting and ceramics, the subject is the principles of color formation in these arts. Particular attention is paid to identifying similarities in approaches to color transfer in paintings and ceramics. The author's special contribution to the study of the problem is an attempt to characterize and compare the role of color in the art of Chinese painting and ceramic painting. The article defines a number of general principles of correlation and harmonization of colors in the two arts. The traditions of the color formation of works of various epochs are traced, the peculiarities of their evolution are established, the colors characteristic of painting and painting ceramics of different historical periods are revealed. The article examines the essence and symbolism of different colors, which are based on national philosophical and cultural ideas. The conclusion is made about the significance of the color image and color formation for the works of ceramics and painting in China.

Keywords: qinghua porcelain, glaze, celadon, color image, principles of color design, chinese art, painting, ceramics, the concept of five colors, cultural and philosophical ideas

DOI: 10.7256/2454-0757.2023.6.40967

Abstract: This study examines the specifics of the theme of the anti-Japanese war in Chinese art at various stages from the 1930s to the beginning of the XXI century. The key works of graphic artists and painters are selected as the material, which mark the key points of the evolution of the topic under consideration. Images in Chinese art associated with the events of the anti-Japanese War or the "War of Resistance" have been created by artists for more than seven decades, changing and transforming in accordance with political, ideological, socio-cultural and artistic-stylistic factors. This topic is extremely important for the people, since it was she who gave the art of the newly born New China in the XX century a historical dimension, determined the measure of responsibility of Chinese artists to society and partly the aesthetic paradigm of the evolution of the arts. Moreover, it has served and continues to serve as a source of inspiration for new generations of masters of historical painting, especially battle artists. As a result of the analysis and generalization, four stages are distinguished. The first one is connected with the work of wartime graphs, which recorded the most important moments of the confrontation between the two armies and peoples, determining the general realistic orientation in the development of the theme and its iconography. The middle of the century is the time of the establishment of images associated with the anti-Japanese war as the main line in Chinese painting, the appearance of multi-figure subject canvases, including in the battle genre. The last third of the XX century is defined as the period of transition from the glorification of events to the embodiment of the understanding of that war as a national tragedy, as well as the enrichment of romanticized realism with new artistic forms. At the beginning of the new century, artists tended to create large-scale canvases, saturating them with complex symbolic meanings and details. Such changes indicate the continuation of the evolution of the topic under study and its further transformations.

Keywords: historical painting, the theme of war, chinese art, batalistics, battle painting, The War of Resistance, anti-Japanese war, chinese painting, artistic life, realism

DOI: 10.7256/2454-0757.2024.3.70226

Abstract: Full-length and short independent feature films directed by Martin Scorsese are considered as the research material. The object of the study is the main elements of Martin Scorsese's directorial style. Throughout his creative career, the director under study, without fear, operates with numerous artistic techniques that today form the directorial style – broadcasting Christian motifs, cruelty combined with the beauty of the criminal world, eyes as an element of the hero's soul, using a mirror in the context of reflecting the other world of the character, narration through dreams and fantasies, as well as an abundance of editing solutions. The main attention is paid to the cast in the director's filmography, which correlates with the subject of this study. In this article, the author analyzed 33 films of the director that fall under the conditions of the study. The theoretical and methodological basis of the research was the works of domestic and foreign theorists and practitioners of cinematography, as well as film encyclopedias and film textbooks of the academic level. According to the results of the study, the author came to the conclusion that the director is committed to a permanent cast in his films. More than others, Martin Scorsese stars such actors as Robert De Niro, Catherine Scorsese, Charles Scorsese, Leonardo DiCaprio. The director puts himself at the top of this list. 430 actors took part in all the films studied, who appear in the director's filmography at least twice. In the films The Irishman (2019), The Wolf of Wall Street (2013), Goodfellas (1990), and Casino (1995) starred the largest number of recurring actors in the director's work. Also, in the course of our research, we found that the director in most of his films prefers to shoot not only himself, but also members of his family.

Keywords: acting, casting, actors, Leonardo DiCaprio, Robert De Niro, cast, directorial style, Martin Scorsese, filmography, creative range

DOI: 10.7256/2454-0757.2022.10.38818

Abstract: The article analyzes the ideological foundations of the emergence and evolution of landscape in Chinese painting as an independent genre from the III to the XVIII century, before the rapid integration of Western European artistic traditions. Landscape painting is considered as an expression of the state of mind of Chinese artists, the prevailing philosophical ideas, in particular Taoism, the embodiment of literary images associated with the natural origin. Despite the attention of the scientific community to the development of images of nature in the art of ancient and modern China, there are few studies devoted to the causes and justification of certain processes that influenced the formation of the genre. The purpose of the study is to analyze the reasons for the appearance of images and motifs in the landscapes of Chinese artists in connection with the philosophical ideas of that time, cultural connotations in poetry and the principles of landscape art. The tasks include determining the most typical range of scenes and images in landscapes created from the III to XVIII centuries. The material is the work of Chinese artists who lived since the reign of the Wei Dynasty, during the heyday of landscapes in the era of the Tang Dynasty and up to the XVIII century. Of interest is the study of the mechanism of influence on the formation of figurative systems in Chinese landscape painting that developed in parallel poetry and landscape art.

Keywords: the image of nature, gardening and park art, landscape, chinese philosophy, aesthetics, literary plots, motive, Taoism, chinese painting, medieval China

DOI: 10.7256/2454-0757.2016.1.17058

Abstract: This article is dedicated to the early years of the creative work of the Russian film director Vasily Grogorievich Sakhnovsky in the Komissarjevsky Theatre (1914-1919). The object is the process of formation of the creative method of Sakhnovsky. We should point out to the several subjects of research, which are usually understood as peculiarities of establishment of the creative method of the film director: influence of the theoretical concept of theatrical romanticism and stage of F. F. Komissarjevsky, influence of the cultural context of the early XX century upon the creative method of the film director (philosophy of symbolism, V. Ivanov), later self-reflection of the artist presented in the theoretical and stage works (spectacles “Requiem”, “Lulu”). Scientific novelty consists in the fact that based on the recently published and yet unpublished sources, for the first time an attempt is made to reconstruct the history of the Komissarjevsky Theatre. The author conducts a systemic analysis of the specifics of formation of the creative method of V. G. Sakhnovsky, who for a long time was out of sight within the Russian theatre historians. The author comes to the following conclusions: the theory of romantic theatre and mutual stage experience of F. F. Komissarjevsky and V. G. Sakhnovsky became the theoretic-philosophical and practical foundation of the directorial method of Sakhnovsky, as well as determined his further development; on the other hand, the analysis of independent works of Sakhnovsky and circumstances of his conflict with Komissarjevsky detected flaws in the forming directorial technique of Sakhnovsky.

DOI: 10.7256/2454-0757.2016.1.67440

Keywords: creative method, directing, Komissarzhevsky, Sakhnovsky, symbolism, romanticism, theater, philosophy, Komissarjevsky Theatre, studio theater

DOI: 10.7256/2454-0757.2023.6.41022

Abstract: The object of this study is acting speech in modern theater and cinema. The subject of the study is the influence of the aesthetics of screen speech on the theatrical word in the 21st century. The author explores in detail the phenomenon of "microphone speech" in modern drama theater, analyzes the reasons for the rapid expansion of microphone sound and, in particular, the influence on stage speech of the aesthetics of post-drama theater. With numerous examples, various options for using microphones in a drama theater are considered - from local to radical. The author pays special attention to the category of "naturalness" of the acting speech in the screen arts and on the theatrical stage. The novelty of the study lies in a comprehensive study of the phenomenon of "microphone speech" in drama theater and the category of naturalness in stage and screen speech. The author concludes about the overwhelming influence of cinema on modern theatrical speech. The article scientifically substantiates the impact on the speech art of a modern theater actor both the aesthetics of post-dramatism and the new standard of naturalness that has developed in the screen arts and has formed spectator perception. The opposite influence of stage speech on the aesthetics of speech in screen arts is mediated, realized almost exclusively through the theater school. In the final part of the study, the author concludes that changes are necessary in the speech education of future theater and film artists.

Keywords: naturalness, post-dramatic theatre, actor, sound, microphone, theatre, cinema, scenic speech, screen arts, spectator perception

DOI: 10.7256/2454-0757.2023.4.40598

Abstract: One of the iconographic trends that became especially articulated in the XII century is the strengthening of the role of typological logic in the selection and organization of subjects within the iconographic program of monuments of decorative and applied art, book illumination and stained glass. Interest in this kind of visual exegesis, based on the symbolic parallelism of the Old and New Testaments, generates experiments in the field of iconographic programs, which leads to the appearance in the late XII – early XIII centuries a number of monuments in which detailed typological cycles are used (the Klosterneuburg altar, typological stained glass windows of French and English cathedrals). The subject of the research in this article is the connection of the described iconographic trend with texts of a theological, theosophical and liturgical nature. Despite the fact that some of the mentioned texts have already been involved by researchers of Christian iconography for the interpretation of pictorial programs, a special study of the sources of "typological iconography" in the XII century has not been implemented yet. Based on the analysis of a number of texts and iconographic analysis of fine art monuments, an attempt is made to identify a group of sources that could be familiar to the compilers of iconographic programs. Among the monuments of fine art, works created in the Rheno-mosan region (as well as derivatives of this tradition) are of particular interest in the XII century. In this group of works of art (including processional and altar crosses, phylacteries, portable altars, works of stained glass and book illumination), searches in the field of typological iconography are consistently realized.

Keywords: Adam of Saint Victor, Honorius Augustodunensis, medieval book illumination, mosan art, exegesis, medieval art, christian iconography, typology, image and text, Harmony of Testaments

DOI: 10.7256/2454-0757.2022.10.38978

Abstract: The history of art in Russia and China is closely intertwined in the XX century, including thanks to the creative and pedagogical activities of Russian artists who found themselves in exile. Largely thanks to them, Harbin and Shanghai became major art centers in the 1920s–1930s. This period is characterized by fruitful processes in the country's art and culture, but also political upheavals at the same time. The problem of the study is to determine the peculiarities of the perception and interpretation by the emigrant masters of events from the life of the Chinese people, the atmosphere that prevailed in China. Thus, the subject of the study is the paintings and graphics of the largest emigrant artists of the specified period, and the object is the images of China of those years, conveyed in their works, and the means of implementing the idea. The main purpose of this article is to determine the range of themes and subjects that Russian emigrant artists addressed when creating images of contemporary China, as well as the specifics of their artistic embodiment. It is achieved by analyzing the historiography of this issue in Russian art criticism, as well as analyzing the creative works of such prominent representatives of the artistic intelligentsia in exile as M.A. Kichigin and his daughters, V.S. Podgursky, Ya.L. Likhonos, V.A. Asypkin. The study of the thematic component of their works shows that the masters were attracted by events from the life of ordinary people, as well as psychological portraits of residents of Chinese cities. Artistically, the artists remained committed to the Russian school, but allowed the influence of expressive features of Chinese painting.

Keywords: psychological portrait, household genre, Shanghai, Harbin, guohua, the image of China, expat artists, russian art, white emigration, cultural contact

DOI: 10.7256/2454-0757.2024.3.70074

Abstract: The article is devoted to the analysis of the influence of the ancient Chinese philosophy of Taiji on artistic creativity and the development of the internal evolution of artistic culture. Taoist philosophy of nature and Confucian ethics synthesized the philosophical core of the traditional Chinese worldview with its emphasis on the simplicity and naturalness of the world order, and formed the fundamental principles of Taiji. Fundamental to Taiji, the concept of Yin and Yang emphasizes the dual nature of the existence of movement and variability as a balance of opposing forces of development. The Taiji philosophy of dialectical development is supplemented by the idea of the genesis of renewal energy - Qi. The main research method is the method of revitalizing traditional systems on a new intellectual basis. The method of diachronic analysis of the social situation that influenced the development of Chinese neorealism in art was used. As a result of the study, the functional significance of the influence of the principles and philosophical ideas of taiji on the evolution of neorealism is described. Using the example of the work of Chinese neorealist artists Xin Dongwan and Zheng Yi, the authors come to the conclusion that there are three driving factors of artistic motivation for creativity: internal, external and subjective. The basic principles of Taiji philosophy and ethics, such as: the naturalness of change without the use of force (Wu Wei), change as the only constant in the existence of the world and its stability, gentleness - help develop the creative power of renewal. The idea is shown that in the ancient Chinese philosophical heritage, Confucianism and Taoism became two full-fledged directions, functionally complementing each other in explaining differences in cultural, political, philosophical and social environments.

Keywords: Qi, migrant workers, neorealist artists, neorealism, contemporary art, Taiji, Chinese neorealist art, the concept of peasant culture, urbanization, Yin-Yang

DOI: 10.7256/2454-0757.2023.10.54687

Abstract: The subject of this study is the process of entering the art world of a new object – the art of the street wave. Based on the method of discursive analysis proposed by M. Foucault, an attempt is made to determine through which discursive utterances the subjects of the art world form the discourse of street wave art, as well as how the field of utterances is organized. The subject whose activity is being investigated is the St. Petersburg Inloco Foundation, which focuses in its work on artists whose creative career has a street background. The article describes the characteristics of what can be conceptualized as a statement in the activities of the Foundation, and also describes how the field of these statements is organized. In the course of the study, the forms of sequences, forms of coexistence and intervention procedures were considered. It was revealed that the experience of street creativity of representatives of the art of the street wave is being modified under the influence of discursive practices of the field of contemporary art. It is noted that the art of the street wave exists at the junction of two fields – the field of graffiti and the field of institutionalized art. It is concluded that the borderline position of street wave art allows it to expand the field of contemporary art due to the fact that it was once in the field of "non-art", was extracted by the subjects of the art world from the sphere of everyday life and endowed with the status of a candidate for evaluation.

Keywords: Inloco Foundation, street art, institution, statement, discourse, graffiti, art world, art of streets, street wave art, art market

Abstract: The main issue of the article is the question whether there is a rational ‘kernel’ in the process of creation of an art piece and the way this ‘kernel’ interacts with the sensual element of the process. Describing the structure of the art process starting from the sensual level, the author proves that there must be a rational element in art. At the end of the article the author concludes that these two levels form the basis of the third component of the art process, - an artist’s life experience.

Keywords: philosophy, art, cognition, artist, rational level, sensual level, objective cogitation, abstract cogitation, contemplation, experience.

DOI: 10.7256/2454-0757.2023.10.68769

Abstract: In contemporary Chinese art the national traditions and modern trends of the art world are especially relevant. Since the 1980s, in the works of a number of authors, interest began to manifest itself in the techniques of silk work, which was characteristic of ancient and medieval painting on scrolls, which was later replaced by more accessible drawings on paper. At the present stage, such painting has reached its heyday and is highly appreciated in the art market. The most famous masters engaged in silk painting are Mu Yilin and Dong Wenzheng. The analysis of their creations allows us to see how the artists discovered the expressive possibilities of this material, including its transparency, refraction, color and tone saturation. The object of attention is the Chinese tradition of painting on silk, and the subject is the features of its development at the beginning of the XXI century on the example of the work of famous artists and the options they take into account in the compositions of techniques, figurative structure and expressive means of the old masters. The purpose of the article is to identify the main themes and artistic means that modern artists use in their silk works, as well as the option of integrating an ethno-cultural component into their work.

Keywords: Mu Yilin, art market, color in art, art form, contemporary art, painting on a scroll, silk, chinese painting, Dong Wenzheng, traditions and innovations

DOI: 10.7256/2454-0757.2023.5.40697

Abstract: The authors designated speech culture as the object of this article. The subject of the study is the creative potential of the Honored Artist of the RSFSR Maria Vinogradova in the context of voicing Soviet cartoons. The authors set a goal to identify the range of the potential of speech capabilities in voicing cartoon characters. The methodological basis of the article is content analysis, comparative, statistical, historical and cultural analysis of Soviet animated works, as well as their characters voiced by Maria Vinogradova. The authors, when considering the problem, achieve the following results: from 1954 to 1995, Maria Sergeevna took part in the dubbing of 213 Soviet cartoons. The most fruitful years for the actress in terms of voice acting were 1976 – 15 works; 1975, 1984 - 12 works; 1973 – 11 works; 1974 – 10 works. For 40 years, the actress has voiced 109 animals, 87 boys, 22 girls, 14 indeterminate characters and 9 inanimate objects. In the process of developing the problem, the authors identify categories of voiced characters (boy characters, girl characters, animal characters, object characters, indeterminate characters) and analyze the actress' creativity for the characters she voices belonging to these categorical elements. The novelty of the research lies in the unconventionality of the indicated approach, as well as in the complex analysis of the palette of Maria Vinogradova's speech capabilities. As a result of the study , the authors come to the following conclusions: 1) The high creative rise of the actress was formed in the 1970s - 91 Soviet cartoons were voiced in this decade, which is 42% of the total number of voiced cartoons. 2) The acting role of Maria Sergeevna's travesty confirms the first place in the number of voiced male characters - children and animals. 3) In 15 cartoons, Maria voiced several characters, and in 2 – all the characters, which indicates a wide speech range of the actress.

Keywords: cartoon characters, speaker, speech technique, travesty, Maria Vinogradova, dubbing cartoons, Soviet cartoons, stage speech, culture of speech, actor's speech palette

DOI: 10.7256/2454-0757.2023.9.43947

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.

Keywords: arts policy, artistic development, oil painting, reception of art, national image, art communion, realist art, Art exhibition, oil painting language, art history

DOI: 10.7256/2454-0757.2023.9.43994

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.

Keywords: theme of childhood, northern cycle, museums of Ugra, sketch, portrait, genre painting, Igoshev, impressionism, modern, image

DOI: 10.7256/2454-0757.2013.2.62332

Abstract: Russian Modernism of XX century is a phenomenon with many layers. Traditional approach to studying Russian Modernism has created the point of view based on which Modernism is a completely new phenomenon for a Russian social situation. Resulting from changing the grounds and grounds of classical art and culture, it is completely alien to socio-cultural reality. At the same time, opposition to the classical culture and art is not the only feature of Modernism. Modernism created new cultural forms which could have become the fact of Russian culture of the first half of XX century. Creating its own meta-theory, Modernism appealed to contradictory social situation in Russia but at the same time it focused on different forms of culture. Therefore, Russian Modernism is viewed in the article not only as a system of philosophy, but also as a meta-theory combing the main features of culture in XX century.

Keywords: philosophy, Modernism, values, symbols, culture, life, creativity, art, form, Avant-Garde.

DOI: 10.7256/2454-0757.2023.9.44082

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.

Keywords: gallery of contemporary art, chinese art, russian art, contemporary art, art group, union of artists, professional art associations, curatorship, the artistic process, art space

DOI: 10.7256/2454-0757.2014.2.10219

DOI: 10.7256/2454-0757.2014.2.63929

Abstract: The article is devoted to the intellectual biography and creative work of a poet and existential philosopher Benjamin Fondane. Lev Shestov thought of him as his student and follower. The author of the article describes the milestones in Fondane’s creative development. The author analyzes the Rumanian period of his creative work, the stage when he got closer to surrealism and the stage when Shestov’s images had quite an impact on Fondane’s works and when Fondane truly admired Gaston Bachelard. The author studies the derivation of Fondane’s creativity (Jules de Gaultier’s bovarism, dadaism, surrealism, Lucien Lévy-Bruhl’s anthropology and Shestov’s philosophy) and provides an insight into the main works published by the author. The author analyzes literary, critical, philosophical, drama and poetic works written by Fondance as well as the main topics and themes discussing in his works such as motives towards persecution, refrences, loneliness and fear, anxiety and dispair, absurdity of human existence, rebellion against unjustice, opposition between faith and mind, Jerusalism and Aphines. In Addition, the purpose of the article is also to trace back the influence of Shestov’s ideas on Fondane’s world view and ideology as well as to evaluate the contribution of Fondane’s works about Shestov to the distribution of the ideas of Russian philosophy.

Keywords: existential philosophy, Lev Shestov, ‘poor consciousness’, surrealism, bovarism, existential poetry, migration, pure cinematograph, paralogical thinking, infinity.

DOI: 10.7256/2454-0757.2016.2.16692

Abstract: The subject of this research is the fundamental philosophical aesthetic ideas of Y. F. Samarin and N. V. Gogol. The author determines the characteristic to both scholars ways for solution of the problem of transcending the boundaries of art, which is most significant in Russian culture. From the thinkers’ perspective, the art has to express “national beginning” and serve it: encourage constructive powers, harmonize relationship within the society, and other. Samarin was a creatively gifted individual, while Gogol, especially in his later years, was leaning towards religious-philosophical reasoning of the world and human. Thus, the analysis of various texts (letters, articles, creative oeuvres) and correlation of the aesthetic views of the philosopher and writer are justified. According to Samarin, Gogol captured and expressed in his works main features of the Russian national character. Particularly, the remarkable Gogol’s laugh is the representation of Russian folk spirit. The author concludes that views of Samarin and Gogol on art and its role in life coincided in many aspects. They both believe that there is no that of human without that which is truly national, but the meaning of the Russian art is in its global calling.

DOI: 10.7256/2454-0757.2016.2.67512

Keywords: Samarin, iskusstvo, narodnoe nachalo, tvorchestvo, muzyka, smekh

DOI: 10.7256/2454-0757.2015.2.10732

Abstract: The art of the 20th century remarkably differs from the art life of the previous centuries. In her article Martynova discusses the most significant cultural phenomena that created the image of the century. Undoubtedly, surrealism was the prevailing genre in art in the first half of the 20th century. Firstly, despite its radical nature, surrealism has an extremely rich genealogy. Secondly, surrealists managed to develop a clear art concept. Thirdly, philosophy of post-modernism, the main movement of the second half of the 20th century, was based on the ideology of surrealism. In her article Martynova has made an attempt to analyze the main art movements of the early 20th century from the point of view of their influence on the development of surrealism. The article is devoted to the genesis of surrealism and provides a detailed description of this cultural phenomenon. There are parts of the article devoted to aesthetics of surrealism, literary and philosophical grounds of surrealism and there is also the part of the article that describes the particular influence of previous art concepts on the development of surrealism. Even though surrealism was a quite original art movement, methodology of surrealism reflected the new interpretation of previous art concepts and therefore was based on findings of these art concepts. Moreover, surrealist theoretical opinions were based on rather incompatible literary and philosophical sources which created versatility and paradoxes of surrealism.

Keywords: surrealism, symbolism, constructivism, futurism, expressionism, dadaism, aesthetics, phenomenology, existentialism, psychoanalysis

DOI: 10.7256/2454-0757.2015.2.66252

Keywords: surrealism, symbolism, constructivism, futurism, expressionism, dadaism, aesthetics, phenomenology, existentialism, psychoanalysis

DOI: 10.7256/2454-0757.2013.3.62430

Abstract: The genre of musical comedy tries to catch up with a popular vampire sub-culture, too. ‘Beautiful’ fear cultivated by modern art and fashion comes to musical comedy. Ball of Vampires by Jim Steinman, Sweeney Todd: The Demon Barber of Fleet Street by Stephen Sondheim, Cannibal! The Musical by Trey Parker, Frank Wildhorn’s, Christer Johansson’s and Simon Leclerc’s Draculas are great examples of that. Musical comedies about vampires have one feature in common: they all have numerological symbols and similar musical and rhetorical patterns.

Keywords: cultural research, musical comedy, vampires, Dracula, numerological symbols, musical and rhetoric figures, vampire sub-culture, new esthetical criteria of epoch, theme song, Stoker.

DOI: 10.7256/2454-0757.2016.3.17661

Abstract: The main subject of this research are taste judgments in the visual arts. Several centuries ago, German philosopher Immanuel Kant formulated his famous antinomy of taste. According to the author they remain relevant to this day. Contradictions between the public and professional and artistic (personal) preferences, the author examines how the struggle between two authoritarian systems: from the perspective of a viewer (customer) and from the perspective of the Author. The author of this study believes that it is absolutely free from any conditions the artist was at the dawn of the art in primitive society. Removing the taste of the contradictions in contemporary artistic practice, in the opinion of the author of the study, through an "action conventions". Methodological base of research is the method of the structurally functional analysis; dialectical method; a method of intellectual speculation, as well as General scientific (General logical) methods: analysis, synthesis, induction, deduction, analogy. The study's author comes to the following conclusions:1. The great assumption of I. Kant about the social background of the antinomies, remains relevant today.2. A century later, from early modernist experiments, in the synthesis of the aforementioned constructs, the modern visual art comes to the measure of conditionality. The concept of "measure of conditionality" is a a so-called aurea mediocritas (Latin) – the "Golden mean" and gives a key to the synthesis of these and other opposites.

Keywords: Reasoning, Contradiction, Thesis, Antithesis, Synthesis, Art, Authoritativeness , Measure of conditionality, Painter, Taste

DOI: 10.7256/2454-0757.2016.3.67735

Keywords: Reasoning, Contradiction, Thesis, Antithesis, Synthesis, Art, Authoritativeness, Measure of conditionality, Painter, Taste

DOI: 10.7256/2454-0757.2015.3.14375

Abstract: This article is focused on Roman Early Christian catacomb painting of the pre-Constantinian and early Constantinian period (III – 1st half of the IV century). It attempts to examine the impact of syntactic connections in the iconographic models of the Early Christian catacomb painting on the symbolic meaning of such models. The characteristics of the Early Christian catacomb painting make it an interesting subject for the semiotic approach. The limited amount of the visual citations of the Bible and other Early Christian texts in the pre-Constantine and early Constantine period allow to trace sustainable compositional patterns. Meanwhile, the relative flexibility of the compositional models (as compared to sarcophagi, e.g.), on the one hand, and a considerable amount of thematically isolated architectural areas (cubicula, arcosolia, loculi), on the other hand, predetermined the intense use of syntactic instruments for the development of semantic schemes. The specific characteristics of the Early Christian art stipulated the employment of the semiotic method as a principal research strategy. The semiotic method is not very popular among the Russian art historians. Meanwhile it offers wide opportunities for the study of art symbolic systems and the Early Christian art, in particular.

Keywords: semiotic analysis, semiotics of art, semiotic method, Roman catacombs, funerary art, late Antiquity, catacomb painting, Early Christian art, composite laws, symbolic images

DOI: 10.7256/2454-0757.2015.3.66391

Keywords: semiotic analysis, semiotics of art, semiotic method, Roman catacombs, funerary art, late Antiquity, catacomb painting, Early Christian art, composite laws, symbolic images

DOI: 10.7256/2454-0757.2013.4.62653

Abstract: The article is devoted to the creative process as some kind of a dialogue between an artist and art material when, combining ‘ingenuity’, ‘affectation’ and ‘temptation’, the artist can create being out of non-being. The author of the article analyzes qualitative characteristics of a master creating art work. It has been affirmed that a relationship between an artist and art material is based on play that provides certain environment for creating art work.

Keywords: philosophy, creative process, artist, art material, ingenuity, affectation temptation, art work, mastery, dialogue.

DOI: 10.7256/2454-0757.2016.4.14621

Abstract: Thus article represents the experience of philosophical heritage, the goal of which is the multilevel comprehensive research of the color harmony. The main question reviewed in this work is the logic of color in art of painting from the ontological, gnoseological, and axiological aspects. The author begins with the examination of the general notions, such as structure, hierarchy, and order; and later, shifts towards the narrow-profile questions associated with color harmony and logic of color in painting, as well as explains the necessity of presence of the three of its main aspects. During the course of this research, the author comes to the following results: The ontological aspect of the logic of color is predominantly observed in the triune system that includes the three-component theory, the emerging from the latter principle of color balance, which is in turn based on the three main colors: blue, red, and yellow; The gnoseological aspect of the logic of color consists mainly in the contextuality of the author’s concept, in the idea of its composition. The author concludes that in the creative process pertaining to the work with color, everything has importance: shape of a spot, its size and texture, intervals, background, etc., because the logic of structuring of the color harmony directly depends on the idea of composition, and the conceptual value of the substratum.

Keywords: structure, logic, axiological aspect, gnoseological aspect, ontological aspect, art, painting, color, order, harmony

DOI: 10.7256/2454-0757.2016.4.67809

Keywords: structure, logic, axiological aspect, gnoseological aspect, ontological aspect, art, painting, color, order, harmony

DOI: 10.7256/2454-0757.2014.4.10770

DOI: 10.7256/2454-0757.2014.4.64233

Abstract: The article is devoted to the visual thinking as an aspect of the synthetic thinking capable of changing and expressing actual relations through their visualization in art work. The author studies cognitive potentials and functions of the visual thinking allowing to understand the nature of the process of thinking in art. The author proves that in the process of creation of art work, an artist can change the art material that has the ‘primary’ sense into the art work that has the ‘secondary’ sense by using his visual thinking and skills. In order to describe the essence and nature of the visual thinking, the author of the article used empiric and theoretical methods of researching interrelated problems such as tendencies of evolution of art, nature of art creative process, artistic and expressive aspects of the art image. The author establishes that the visual thinking allows the artist to express his idea in an integrated image and the product of such creative work gains a cultural value. The author also underlines the importance and topicality of this research. According to the author, audo-visual culture is becoming an essential part of our being and the development of higher levels of visual thinking can create rich and full art images.

Keywords: visual thinking, art work, the process of creation of artwork, artist, rational, sensual, cognitive functions, visual expression, language.

DOI: 10.7256/2454-0757.2016.5.15049

Abstract: This article is dedicated to the examination of mythopoeia of Neoacmeism within the framework of its philosophical and creative platform. Mythology is being viewed as the ontological core of “semantic poetics” of the Renaissance Acmeism, which reconstructs the original philosophy of the adherers of Acmeism and Neoacmeism, oriented at existentialism of N. Berdyaev, dialogism of S. L. Frank, and representatives of the “philosophy of life” (F. Nietzsche, W. Dilthey, G. Simmel, H. Bergson), gnoseological, anthropological, and historiosophical ideas of V. Solovyov. The author gives definition of Neoacmeism as a philosophical-cultural phenomenon of the XX century and an integral paradigm in the context of its mythology and mythopoeia; as well as follows its genesis, historically oriented on Antiquity, dialogues of Socrates and Plato, creative evolution and boundaries, “synchronic-reminiscent chronotope, which in turn supposes the detailed analysis of the poetic texts of Acmeism and Neoacmeism by the virtue of philosophical hermeneutics. This article is an attempt to build a philosophical-cultural paradigm of Neoacmeism, as well as a certain universal methodology of hermeneutic analysis of poetry in the context of synergetic co-existence of philosophy and philology (literary studies) within the space of the unified ontological discourse. The fundamentally open nature of the worldview ideas of Neoacmeism significantly complicates the task of the integral reconstruction of the creative heritage and mythology of its adherers. The author concludes that in Acmeistic works there is an integral philosophical system which could be compared by its importance with the concepts of the great creators of philosophy. Such system, the core of which consists in the specific author’s mythology, becomes a value-conceptual constant of Neoacmeism, justifying the successiveness and uniqueness of its development as an integral research strategy, which again and again allows reconstructing Neoacmeism as a philosophical-cultural paradigm within the constantly changing historical context.

Keywords: Myth of Modern Times, “Antimyth” , “Myth of Akhmatova”, Cultural paradigm, “Semantic poetics”, Philosophical hermeneutics, Anthropocentrism, Ontological concept, Mythology, Neoacmeism

DOI: 10.7256/2454-0757.2016.5.67853

Keywords: Myth of Modern Times, “Antimyth”, “Myth of Akhmatova”, Cultural paradigm, “Semantic poetics”, Philosophical hermeneutics, Anthropocentrism, Ontological concept, Mythology, Neoacmeism

DOI: 10.7256/2454-0757.2014.5.11891

DOI: 10.7256/2454-0757.2014.5.64934

Abstract: The article is devoted to peculiarities of the development of architecture in Finland during the first third of the XXth century as illustrated by creative works of a famous architect and one of the founders of the Finnish school of architecture Lars Sonck (1870–1956). The purpose of the research is to study creative works created by Lars Sonck during the transition period from Art Nouveau to Modernism (Functionalism in architecture). The significance research of Lars Sonck is conditioned with the fact that the process of the development of Art Nouveau, Neo-Classicism and Modernism in the architecture of Finland is not studied enough. The object of research is the evolution of Lars Sonck’s creativity during the above mentioned period. The subject of research is the architectural concepts that had been presented in the architecture of Finland since the end of the XXth century to the first third of the XXth century and their practical implementation in Lars Sonck’s creativity. Research methods include methods that are usually used in historical architectural, art history and comparative stylistic analysis. As a result of research, the author concludes that the Finish architect combined axial symmetry and monochromatic facade finish with certain elements of National Romanticism of the turn of the century. Lars Sonck’s Neo-Classicism of the 1910th was an intermediate stage between National Romanticism and Modernism that was already dominating in the architecture of Finland at the beginning of the 1930th which is clearly illustrated by the three famous buildings designed by of Lars Sonck.

Keywords: Lars Sonck, Finnish architecture, Art Nouveau, Neo-Classicism, Modernism, culture, St. Michael’s Church, Kallio Church, Mikael Agricola Church, Church Council in Helsinki.

DOI: 10.7256/2454-0757.2015.5.11302

Abstract: Ever since the earlist period of the development of cinematography as an art, music and motion picture have been very close both in expressive means and structure. However, as the numerious aesthetic techniques have been developing in cinema art, film continues to drift apart from its usual forms in the search for cinematographic particularities of the artistic language. When the auteur cinema appeared, it became even more evident for theorists that there was the need to take a closer look at the director's personal creative vision. The present article is devoted to the research of more profound levels of the relationship between a musical form and a film. In her research Mikheeva analyzes a drama film 'Autumn Sonata' of a Swedish director Ingmar Bergman in order to demonstrate the unity between sonata and film at the ontological level. In her article Mikheeva has used the method of the comparative analysis of the elements of a musical form and film text as well as has applied the hermeneutical approach to understanding and interpreting an artwork. For the first time in the academic literature Ingmar Bergman's 'Autumn Sonata' is being analyzed for the purpose of not only defining common features of a film and sonata as a musical structure but also to get a better insight into the director's creative plan. By comparing and analysing the structure and semantic musical and cinematographic components of an art text, the researcher shows their ontological similarity. The approach applied to the analysis of Bergman's drama film may be used to analyse a number of other films.

Keywords: musical form, form of cinema, music in cinema, artistic language of cinematography, aesthetics of cinema music, auteur cinema, Ingmar Bergman, film construct, film text, script writing, ontology of an artwork

DOI: 10.7256/2454-0757.2015.5.66525

DOI: 10.7256/2454-0757.2013.6.62766

Abstract: Perception of the Russian country after the October Revolution is well shown in Osip Mandelstam’s poems and very well completed with the memoirs written by his wife. What role did that October play for the country? What happened to people as a result of the civil war, ‘military communism’ and collectivization? How did the Bolsheviks power and Russian intelligentsia change over the twenty years after the Revolution? Answers to these questions can be found in Mandelstam’s works. The same questions are deeply and fairy addressed by his wife in her memoirs.

Keywords: philosophy, world perception, culture, power, nation, human, society, intelligentsia, life, death.

DOI: 10.7256/2454-0757.2016.6.18142

Abstract: The article investigates the basic provisions of the synthetic theory of the ideal, proposed by the Russian scientist D. Pivovarov, which became the methodological basis of the innovative concept of visual arts. D. Pivovarov analyzed and summarized the conceptual ideas of A. Losev, M. Lifshitz, E. Ilyenkov, E. Classen and D. Dubrovsky, and concluded that the main components of every ideal relationship are following: the fiducial object, the scheme of actions with it and the extrapolation of the knowledge about it in the supersensible reality. According to D. Pivovarov "ideal" is a balance of internal and external, where the "ideal" is externally (sensory) presented as "idol", and the content of the "ideal" is internally (supersensory) presented as "an idea." According to the statement of D. Pivovarov, culture is a human activity on cultivating ideals intended to facilitate the process of human being comfortable existence, comfortable communication with other people, first and second nature objects, and the universe. The comparative analyses of the sources related to the subject of the study, as well as the critical analysis of previously published works of the Russian scientists are given in the article. Methodological ideas of D. Pivovarov created the conditions for a theoretical explanation of the elite, inclusive and individual evolution aspects of the creation of an ideal; and also for studying the laws of the ideal creation process in visual arts. The author concludes that the synthetic theory of the ideal, developed by D. Pivovarov, helps to master the extremely complex mechanism of representative (through the idol) relationship of a viewer with his own soul and souls of other people, the Spirit of God and the perfection of the fullness of life by means of art-object as a complex of signs.

Keywords: Spectator, Creative work, Model, Concept, Visual art, Culture, Eidos , Ideal, Synthetic theory of idealism, D. V. Pivovarov

DOI: 10.7256/2454-0757.2016.6.67939

Keywords: Spectator, Creative work, Model, Concept, Visual art, Culture, Eidos, Ideal, Synthetic theory of idealism, D. V. Pivovarov

DOI: 10.7256/2454-0757.2014.6.12105

DOI: 10.7256/2454-0757.2014.6.65127

Abstract: As Hans-Georg Gadamer noted, certain interaction between poetry and philosophy has been existing since the moment of origin of the European philosophy. Noteworthy that not only the Classical Greek culture but also the culture of the Ancient Rome is of interest when analyzing the dialectic interaction between poery and philosophy. The Ancient Rome presented different forms of interaction between philosophy and poetry. These forms are the theoretical view on the interaction between philosophy and poetry as well as their practical interaction in the form of philosophy expressed in poetic forms and poetry enriched with philosophical ideas – this comes under review in the present article. By using the hermeneutic approach, the author shows how special features of the Ancient Roman culture influenced the peculiarities of understanding the interaction between philosophy and poetry by Ancient Roman philosophers. Noteworthy that the author conducts the comparative study of the philosophical teachings of Philodemus, Cicero and Seneca as well as the most important ideas in the poetry of Lucretius, Vergil, Horatius and PubliusOvidiusNaso. The author of the article proves the assumption that the practical attitude of Romans towards philosophy emphasized anthropological, ethical and social-political ideas in poetry. On the other hand, poetry was viewed as a method of up-bringing and education first of all. The combination of these tendencies caused the confluence of the philosophical idea and poetic form in the Ancient Rome.

Keywords: philosophy, poetry, Ancient Rome, interaction, morals, education, practicalism, eclecticism, stoicism, Epicureanism.

DOI: 10.7256/2454-0757.2015.6.11567

Abstract: The article is devoted to the Latin hymn Te Deum ('Ambrosian Hymn', the IVth century) that is still often used by composers as the source for creating concert adaptations (at the present time there are over thousand of versions of Te Deum). Despite the fact that each adaptation of Te Deum presents a composer's interpretation and has its own features that reflect the composer's style and epoch in general, genre archetypes and signs of Te Deum remain to be general features uniting similar compositions disregarding the time when they were created. In order to demonstrate genre archetypes and signs of Te Deum based on the analysis of its adaptations written at different historical periods, the author has applied the historical and comparative methods as well as the methods of analysis and synthesis, modelling, extrapolation and abstraction. In his article Trubenok has viewed the two genre archetypes of Te Deum, textual and melodic archetypes, and genre signs of 'icon', 'index' and 'symbol' acording to the theory of signs of Charles Pierce. Archetypes are often met in many leading genres of church music, however, Te Deum is unique because its textual archetypes combine themes from both the Old and New Testaments (unlike the Mass that appeals only to the New Testament). That feature is most likely to define the unique and original nature of the 'Ambrosian Hymn' and is the reason why composers have been creating new adaptations of Te Deum throughout seventeen centuries.

Keywords: Te Deum, hymn, 'Ambrosian Hymn', textual archetype, melodic archetype, Pierce's theory of signs, genre signs, 'icon' sign, 'index' sign, 'symbol' sign

DOI: 10.7256/2454-0757.2015.6.66623

Keywords: Te Deum, hymn, textual archetype, melodic archetype, genre signs

DOI: 10.7256/2454-0757.2014.7.12368

DOI: 10.7256/2454-0757.2014.7.65296

Abstract: The subject under research is the possibility of application of the term ‘metapoetics’ to music art. The purpose of the research is to define the most efficient approaches to developing metapoetics of music based on the analysis of modern concepts in literature, music theory and philosophy. The results of the research show that being oriented at corresponding opinions in the sphere of literary studies, metapoetics of music has its own specific features that are defined by the non-verbal, non-artistic but procedural nature of music. These specific features are based on the importance of a metatext. In music art the metatext is a flexible and open system of metaelements of the music composition. This shows the prevailing role of the implicit approach to metapoetics of music as a need to focus, first of all, on a musical form as the unfolding meaning associated with the considerable generalized and abstract nature of images and events represented in music. In this regard, the most correct, well-biased and promising approach to metapoetical developments in the sphere of music is the philosophy of poesis as the dialectics of formation and development comleted with the method of transflection or transference allowing to define the emergent and transparent nature of a musical composition. The aforesaid approach takes into account all specific features of music and at the same time does not contradict to any methods declared in metapoetical researches and therefore possesses the necessary heuristicity, ethics of the mutual need and openness for new knowledge. The author’s provisions and conclusions can be used in cultural-philosophical, esthetical, musical theoretical and cultural researches as well as in research activities and academic work performed by university students, Master’s Degree students, post-graduate students and young scientists. The main research method used by the author is the integrated discursive approach aimed at covering different opinions, demonstrating respect attitude to authors and researches and searching for the truth at the crossing points of different views. The novelty of the research is the following: 1) integration of different views and concepts within the framework of the metapoetic discourse has allows to describe special features of metapoetics of music and define the most promising ways of its development; 2) the author shows despite the significance influence of Western European theories including Martin Heidegger’s views, Russian researchers often overcome the anthropological orientation in their works and describe an important role of both ‘horizontal’ and ‘vertical’ chronotopos of music as the poesis of co-existence; 3) the author proves that there is also the need for explicit metapoetics, i.e. the literary heritage of a composer and his epoch, not so much to clarify a composing method but rather to define philosophical and artistic views of a composer; 4) the researcher applies both implicit and explicit approaches to metapoetics of music accompanied with the method of transference in his academic and research activity with university music students and young scientists and these methods prove to be efficient. Conclusions: methodological and technical aspects of metapoetics of music prove the novelty and theoretical and practical importance of the research. However, the topics covered by the article only outline he path for further development of this interesting and important branch of knowledge.

Keywords: metapoetics, implicit, explicit, music art, music poetics, poesis, formation, development, transflection, transference.

DOI: 10.7256/2454-0757.2016.7.19481

Abstract: The object of this research is the court painting during the reign of Qing dynasty. The subject of this research is the images of animals and plants in the court painting of Qing dynasty. The author conducts a reasonably detailed analysis of the most interesting in historical and creative aspects paintings from the perspective of art history. Special attention is given to the demonstration of how they combine the European and Chinese elements of graphic arts, form a Sino-European style of painting while preserving the ancient Chinese symbolism of imagery. The main conclusion consists in the statement that the reception of some techniques of the Western pictorial art was not just borrowing; it has established a specific Qing royal style in painting, which seamlessly combined Chinese tradition and Western techniques. The novelty of this study is lies in the thesis that the Sino-European style of court painting of Qing era has its own remarkable artistic merits and is an organic aesthetic phenomenon of the Tianxia (All-Under-Heaven) history of art.

Keywords: Sino-European style of painting, Giuseppe Castiglione, symbolism, images of animals, realism, Qing era, Court Painting, Chinese symbolism of imagery, arts of Tianxia, images of plants

DOI: 10.7256/2454-0757.2016.7.68069

Keywords: Sino-European style of painting, Giuseppe Castiglione, symbolism, images of animals, realism, Qing era, Court Painting, Chinese symbolism of imagery, arts of Tianxia, images of plants

DOI: 10.7256/2454-0757.2015.7.14692

Abstract: The process of creating an artwork as a playing interaction between an artist and art material is the subject of the current research. Appealing to this problem is an attempt to find effective methods of investigation of artistic ideas objectified in the work of fine arts. The author investigates the concepts of “interaction” and “playing”, defines the ontological status of playing and interaction as nonmaterial existence, and analyses the “artificiality”, “finesse” and “ordeal” of an artist and art material in the course of playing interaction. Animism as a ritual "attribution" of supernatural spiritual features to inanimate objects is claimed to reside in the creative dialogue (playing interaction) between an artist and a material of art. The chosen theme required the philosophical analysis of the range of connected problems which include: the problem of the ideal, language nature, visual thinking, and life meaning phases of an individual attitude to the world. The scientific novelty of the research is caused by the fact that the creative dialogue (playing interaction) is studied through the language communication process and the scheme of acting that is an operation determined by both the peculiarities of the material and the “finesse” of the artist being the master of the language of the subject. The author concludes that objectified work of art as a result of interaction between the artist and the material to be an integral of features of finite and infinite poles of interaction. Thus, the artist engaged in the process of creating of the ideal interaction with the material of art creates new world of feelings. He is able to bring a work of art out of nowhere.

Keywords: language, creative dialogue, interaction, play, art material, material of art, artist, artwork, work of art, operation, animism, the problem of the ideal

DOI: 10.7256/2454-0757.2015.7.66792

Keywords: language, creative dialogue, interaction, play, art material, material of art, artist, artwork, work of art, operation, animism, the problem of the ideal

DOI: 10.7256/2454-0757.2013.8.4873

DOI: 10.7256/2454-0757.2013.8.63108

Abstract: The article evaluates the elements of subjective idealism in the art of the anime — director Makoto Shinkai. The author analyzes a number of works of Makoto Shinkai in order to distinguish its subjective idealistic component. The author also gives analysis of the artistic value of certain works and art of Makoto Shinkai as a whole.

Keywords: philosophy, idealism, art, anime, individuality, subjectivism, worldview, reality, Makoto Shinkai, Berkley.

DOI: 10.7256/2454-0757.2015.8.12022

Abstract: The article is devoted to the analysis of Neo Byzantium art in relation to the philosophical-religious environment at the tun of the XIXth and the XXth centuries. The main purpose of the research is to describe parallels and contradictions that can be found in researches of the leading philosophers of those times (V. Soloviev, V. Ivanov, S. Bulgakov, P. Florensky and N. Berdyaev) and to compare their views with the religious-national themes in the art of their contemporaries such as V. Vasnetsov, M. Nesterov and M. Vrubel. The subject of the research is the causes of the decline of religiosity in the society against the background of the uprise of philosophy and religion and ideology of art. The method of the comparative analysis of researches by religious philosophers of the turn of the XIXth and the XXth centuries with reference to religious art is being viewed from the point of view of the teachings of the church and representatives of true historical Christianity. Having analyzed various views of religious philosophers on the nature and purpose of theurgic creativity, the author of the article concludes that from the point of view of terminology it would be more reasonable to look at theurgy from the point of view of the medieval theological-philosophical idea of synergy. When being applied to art, this concept has the two elements that are equally important, the element of human ascension and the element of God's descent. This approach allows to better understand the spiritual essence of icon-painting and gives an opportunity to better formulate a universal definition of free spiritual art for all the time.

Keywords: Neo Byzantism, religious-philosophical worldview, crisis in art, free theurgy, art of ascension, art of descent, antinomy, sophiurgy, theanthropism, synergism

DOI: 10.7256/2454-0757.2015.8.66938

Keywords: Neo Byzantism, religious-philosophical worldview, crisis in art, free theurgy, art of ascension, art of descent, antinomy, sophiurgy, theanthropism, synergism

DOI: 10.7256/2454-0757.2013.9.9046

DOI: 10.7256/2454-0757.2013.9.63156

Abstract: The article is devoted to the difference between the status of legal crime and disturbance of traditional ways of perceiving modern actual art. In order to distinguish between transgression and crime, the author of the article appeals to Nikolay Evreinov’s theory of theatricalization of life, Michel Foucault’s methodological approaches and the relationship between ‘desire’ and ‘law’ described by Gilles Deleuze and Félix Guattari. The main thesis of the article is that art must not imitate crime by crossing certain illusory borders established by the law because the law forbids much more than such ‘crime’ may violate (Gille Deleuze and Felix Guattari). The law imposes an idea that our desires aresomething forbidden and we can satisfy our desires only if we violate a law and commit a crime. At the same time, the law forbids us illegal actions. The article is devoted to the analysis of actions by modern Russian artists in the 90’s.

Keywords: philosophy, transgression, crime, desire, law, theatricalization of life, actual art, performance, actionism, illusion.

DOI: 10.7256/2454-0757.2014.9.12824

DOI: 10.7256/2454-0757.2014.9.65498

Abstract: Writers, scenarists, movie directors and computer game designers often appeal to the newest scientific concepts in search for fresh ideas. In this regard, the multiverse approach has been especially famous and reflected in the greatest number of products of popular culture. However, these works usually show multiverses (or meta-universes) of a different type compared to what is usually used by cosmologists and physicists. The present article touches upon the following issues: what types of multiverses are usually depicted in modern popular culture and for what purpose. At the first stage of the research the author defines the two logical types of multiverses out of general philosophical concepts – true multiverses and para-multiverses. After that the author applies the comparative-typological method. Based on the analysis of the structural similarities and differences, the author discovers the four types of true multiverses including a multiverse with dispersing universes, travelling back through time, parallel universes and phantom universes. The author offers to base the classification of paramultiverses on the classification of propositional attitudes. The author also describes the four types of paramultiverses: multiverses created by illusions, night dreams, delusions and imagination.

Keywords: virtual reality, possible worlds, popular culture, modal realism, multiverse or meta-universe, ontology, propositional attitude, travel through time, classification, screen arts.

DOI: 10.7256/2454-0757.2016.11.17831

Abstract: This scientific article represents a philosophical research of the notions of space and art. The author perform the explication of the phenomenon of space and its relation to art through the interpretation of a number of work by Martin Heidegger, namely one of his late essays “Art and Space”, in which attention is turned to the art of sculpture. A new method of interpretation of this Heidegger’s work is presented. In reconstruction of Heidegger’s ideas, the author determines a hermeneutic circle that is depicted with the references to the poetic expressions of Goethe. Thanks to the motion in this circle, the space of art is being comprehended as the space of creation (place), space of reception (area), and space of existence. For the clear understanding of the essence of space of art, Heidegger conducts a step-by-step destruction of the usual phenomenon to the initiate phenomenon. The authors followed the revealed path of Heidegger’s thought. The true essence of space is discovered in the “protolanguage” of poetry, considered by Heidegger as art as a whole. In the word, Heidegger contacts with the matter itself, or it comes through the word in its form. This research is of theoretical importance due to revelation of such crucial notions as art, space, creature, place, and truth.

Keywords: Poetry, Sculpture, Existence, Truth, Creation of art, Thing, Area, Place, Space, Art

DOI: 10.7256/2454-0757.2016.11.68367

Keywords: Poetry, Sculpture, Existence, Truth, Creation of art, Thing, Area, Place, Space, Art

DOI: 10.7256/2454-0757.2013.11.9845

DOI: 10.7256/2454-0757.2013.11.63556

Abstract: The article is devoted to the terms ‘culture’, ‘artistic culture’ and ‘art work’. Culture is defined as human activity aimed at cultivation of ideals. Ideal production is viewed as a process of preservation and change of samples of reproduction of public life esteemed for ideals and unique culture of the individual person. It is claimed that the art culture is a subsystem of the culture capable of generating equilibrium ideals. Models according to which basic ideals of culture are formed are allocated and analyzed. The author of the article describes art work as a central element of artistic culture and defines the concepts of art work and art image as part of researches of actual problems of art. Art work is studied as an artificial and skilfully made piece of work. The author also describes the creative process of the dialogue between the artist and art material or art work and the audience and formulates the operational approach to interaction between the audience and art work.

Keywords: culture, artistic culture, art work, art image, artist, art material, ideal, audience, model, finesse.

DOI: 10.7256/2454-0757.2014.11.10617

DOI: 10.7256/2454-0757.2014.11.65733

Abstract: The subject under research is the musical stylizations in cinematograph based on the example of iconic Russian movies of the 1960th – 1980th. The author of the article describes the process of evolution of ways, forms and meanings of musical stylizations throughout the history of cinematograph in the 20th century. Based on the hermeneutic definition of game, the author describes peculiar stylizations used by Dmitri Shostakovich, Alfred Schnittke, Sergey Kuryokhin and other composers. These stylizations do not only characterize the composer’s style and movie director’s conception but also reflect the ideological and artistic trends of those times. The author studies stylizations in terms of the audiovisual counterpoint, polysemantic structure of a cadre and esthetics of visual absurdity. The author has used the hermeneutic method of interpreting an artwork, historical-cultural approach, method of comparative analysis of genres and styles of musical art and cinematograph. This is the first research to study musical stylizations in cinematograph based on the hermeneutic definition of play as well as hermeneutic categories of esthetical empathy, feeling and understanding and creation of a theoretical model of a piece of art. The author provides grounds for understanding musical stylizations in cinematograph as a play in the player space and makes a conclusion about the beginning of the stage of globalization in the world artistic process which is reflected, particularly, in the polycultural nature of modern musical stylizations in cinematograph.

Keywords: cinematograph, screen music, musical stylization, audiovisual concept, sound track, player space, hermeneutics, esthetic mind, audiovisual counterpoint, polystylistics.

DOI: 10.7256/2454-0757.2014.12.65977

Abstract: The subject under review is the concept and definition of a visual art image. Art image is viewed as the image having particular conceptual characteristics that change depending on many conditions and cultural and historical factors. Bukreeva demonstrates the same art image can be perceived very differently by the representatives of different cultures and different nations. The researcher analyzes the traditional symbols and signs that were the most typical for ancient civilizations (hand and palm) and demonstrates how the perception of personality and addressee of a sign has been changing throughout history. One of the aspects of research is the relation between a symbol and a sign, image and meaning, and epistemological conditions of the above mentioned relation (Richardson’s Triangle). The research is based on the hermeneutic approach to the analysis of the meaning of an art image and at the same time involves both traditional cultural-historical analysis and epistemological views on particular cultural images that have been formed historically in different nations. In addition, the researcher also evaluates particular symbols from the point of view of a certain religious teaching and traces back between mythological and religious understanding of these or those images. For example, the researcher analyzes the old Russian icon, its parameters and what art school of icon-painting it belonged to (Novgorod school). Bukreeva also analyzes creativity in art and concludes that cultural facilities, especially those that have plural meanings, should be viewed from the point of view of the epistemological analysis of creative work. The researcher proves that there is a certain relation between a symbol and an image, between contents of a visual image and the meaning this image conveys. Analysis of art images also involves a hermeneutic approach that allows to find the true, hidden meaning beyond the visual image or a text. Bukreeva concludes that understanding of the meaning of particular images, signs and symbols relates to their interpretation which creates the integrated visual image of an art work. In this way or another, art work is connected with the creation of art images and therefore an art image has a particular meaning (historical, traditional-cultural, semantic, mystical, symbolic, etc.)

Keywords: image, symbol, sign, meaning, the ‘managing term’, visual art image, context, understanding, interpretation, creative work, perception, epistemology, philosophical hermeneutics, art.

DOI: 10.7256/2454-0757.2015.12.17293

Abstract: The subject of the research is the problem of art's conceptuality in the aesthetics of French symbolism and description of actual contradictions. This topic is discussed by using the methods of classification and analysis of the degree of scientific development of the problem in Russian and foreign scientific and practical researches which, on the one hand, complete one another and, on the other hand, allow to define specific features of each aspect. The author of the article analyzes different approaches to studying the art of symbolism as well as describes undeveloped aspects of the topic. The main research method used by the author is the retrospective analysis. The method is used in order to see and understand the logic of the development of French symblolism as well as why it had such a strong impact and was so intensively studied by different branches of science. In her research Maslova underlines the complexity of analyzing the problem and developing the single concept of art in French symbolism. This proves the importance of the present research and allows to combine different scientific approaches to the problem. Having described, classified and analyzed the main Russian and foreign scientific researches on the research topic, Maslova offers her own procedure for developing the methodological basis of the research concerning methodological, methodic and prognostic grounds. The novelty of the research is caused by the fact that the researcher describes the cause-and-effect relationship between actualization of some specific features and themes of French symbolism at the end of the XIXth and XXth centuries and emphasizes the complexity of the categorical framework in the aesthetics of French symbolism.

DOI: 10.7256/2454-0757.2015.12.67268