DOI: 10.25136/2409-8744.2024.1.43411

EDN: QHUXVN

Abstract: The article is devoted to the study of the etude genre, which in the work of domestic composers-pianists of the second half of the twentieth – early twenty-first centuries became an experiment and capture of a personal artistic picture of the world. The focus of the article is two opuses by contemporary pianist composers Ì. Kollontai and E. Chernov. As a result of the cycle of analysis of etudes op. 55 Kollontai, the author comes to the conclusion that this work continues the line of Liszt’s transcendentalism. Particular attention in this cycle is aimed at considering religious and spiritual themes expressed at the verbal level. The composer’s artistic comments on the etudes, the epigraph from the poems of the poet and Catholic priest Geselle, the afterword to the plays, explain and explore the conceptual field of the program composition, which embodied New Testament stories related to the way of the cross of Jesus Christ on earth. For the piano cycle – Nine etudes-pictures op. 11 by Chernov, nine etudes-pictures op. 39 Rachmaninoff. In the course of the analysis, it is noted that the cycle of etudes by Chernov is characterized by the following features: a concentric type of composition with an aspiration to the finale, the presence of a lyrical core, the development and interweaving of two psychological modes (lyrical and dramatic), which gives the cycle integrity and harmony, paired grouping of etudes according to the principle of contrast, the presence of leitmotifs, as well as leitgenres (nocturne and waltz) that permeate the piano cycle. The article emphasizes the idea that interest in such a genre of improvisational mix as «etude-fantasy» is found mainly in the legacy of virtuoso composers-pianists of the 19th-20th centuries, striving in their work to prolong romantic traditions.

DOI: 10.25136/2409-8744.2024.1.69639

EDN: MWJZBX

Abstract: The subject of research in this work is the so-called "funeral" documentaries, the creation of which was initiated before the revolution. At all times, they carried an important informational and semantic load. They fixed the authority of the deceased in the eyes of the mass public. There were public and private funerals. The ritual was canonical in nature, which was first resonantly violated during the funeral of Leo Nikolaevich Tolstoy, as evidenced by the preserved films. The article examines the features and modification of "funeral" films over time. They underwent a radical transformation with the advent of modern times after the February revolution of 1917 and the Bolsheviks came to power. A new funeral ritual with its own peculiarities and new meanings has been established on the cinema screen. The methodological basis of the research is a system analysis. The work used a cultural-historical method and an art historical analysis of preserved films and film materials. The novelty of this study is due to the fact that it has now become possible to use not only the most general impressions in the analysis, but to take a closer look and describe in sufficient detail the films and film documents being studied. This allows you to avoid annoying mistakes and inaccuracies in understanding and interpreting what you see. And it also reinforces the role of visual evidence in understanding history. This article is devoted to an overview of how the paradigm of the funeral ritual vision has changed since pre-revolutionary times during the transition to a new world after the 1917 revolution, as well as to the identification of meanings. Her conclusions are connected with a fundamental change in the main idea of the funeral ceremony – from saying goodbye to the deceased before sending him on a long journey, a transition was made to the idea of sacrifice and swearing an oath to continue the struggle for a bright future. The results of the research can be useful to professional documentary filmmakers, archivists and can be used in practical work and in training courses.

DOI: 10.25136/2409-8744.2024.1.69671

EDN: FGOWXY

Abstract: The subject of the research is the types of decorative and applied art, the connection of decorative and applied art with the interior design of residential and public spaces. Special attention is paid to the fact that in modern interior design, the tendency to transform interior space using decorative and applied art objects is widespread, which determine the overall style of the room, despite the particular academic design style used in the project. The author examines in detail such aspects of the topic as the influence of the author's thing on the exclusivity of the project, giving a typical interior individuality by including an object of decorative and applied art made specifically for this room, or competently selected by a specialist taking into account the specifics and purpose of the room, the transformation of the project from a typical to an individual one. The author analyzed and systematized modern methods and techniques of introducing the author's art into the interior design of premises for various purposes. Based on the results of the study, a general methodology was formed and proposed for integrating things into the interior of the proposed spaces, the concept of transforming rooms using objects and techniques of decorative and applied art. The main conclusion of the research is that the author's art object of decorative and applied art, created in a certain way and integrated into the interior design, allows to form a certain concept of a thing in the interior, a philosophy or even your own unique and recognizable author's style. The novelty of the research lies in determining the current trend of integrating handmade objects into the interiors and spaces of residential and commercial premises for various purposes in order to give uniqueness, which contributes to the development of the design industry and art in general.

DOI: 10.25136/2409-8744.2024.1.39880

EDN: VZOJKX

Abstract: The subject of research is the poetic creativity of blockade children. The purpose of the work: setting the problem of studying the cultural code of a huge layer of the poetic heritage of children-blockades evacuated to the Omsk region. The methodology of research consists in the use of a problem-semantic approach to the analysis of poetic creativity. The results of the work: significant factors of perception, a system for encoding moral and patriotic meaning poetic images of war and rear through a figurative picture of historical memory, moral and patriotic meaning of images of war and rear. The field of application of the results: the field of patriotic education in extracurricular and extracurricular work of secondary and higher educational institutions. The novelty of the study lies in a new formulation of the problem of poetic reflection and reflection of war in children's and adult poetic perception. New is also the methodology for analyzing impressions and experiences concentrated in the totality of ideas of children-blockade, aimed at identifying moral and patriotic meanings and dichotomy of images of war and rear. An extraordinary methodology of a problem-semantic approach to the analysis of poetic creativity. Conclusions: 1. The figurative picture of the war, created by the children's blockade in adult and children's poetry, expresses the wartime cultural code, which is to strive to protect their homeland, to accomplish a feat in the name of life, in which the moral and patriotic features of genuine heroism are concentrated. 2. At the same time, the cultural code of the figurative picture of the rear and military childhood of blockade children was manifested in a number of noble qualities of Siberian saviors. 3. At the same time, the decoding of the moral and patriotic meaning of the figurative picture of historical memory created by the blockade children includes the transition from figurative signs of memory, a culture of love for the Motherland, enclosed in figurative clichés to symbols of struggle, images of selflessness, archetypes of heroism, exploits to universal human values, expressed in identical poetic means.

DOI: 10.25136/2409-8744.2024.1.40684

EDN: WXBGAS

Abstract: Scientific and technological progress has called into question the prevailing doctrines concerning the human condition. The author examines in detail the significance of the discussion about the need for a new understanding of what it means to be a human being in a society where the traditional differences between man and non-man, technology and biology, as well as nature and culture are becoming increasingly blurred. Particular attention is paid to the concepts of posthumanism and transhumanism, which, going beyond humanism, offer to reconsider and rethink what it means to be human. This article analyzes and compares modern approaches to defining the concept of posthumanism, where posthumanism is understood as a paradigm of thinking that replaces postmodernism, assimilating its basic attitudes. The object of the study is the idea of the posthuman as a biological species, a cybernetic organism and a digital disembodied entity. The subject of the study is the visual embodiment of the image of the posthuman in modern popular culture. The author's special contribution to the study of the topic is the analysis of many descriptive images of the posthuman, all of which find figurative embodiment in popular culture. The main conclusions of the conducted research are: cinema anticipated many transhumanistic and posthumanistic ideas, which later become the subject of study by philosophers and culturologists of ethical dilemmas and contradictions faced by humanity, discussions of the meaning of human existence, driven by the acceleration of scientific achievements and technological innovations. In a sense, it can be argued that mass culture is a tool that helps to realize the scale of social and cultural changes caused by the latest technological developments.

DOI: 10.25136/2409-8744.2024.1.68784

EDN: XBIGNE

Abstract: The article draws attention to the system of musical ornaments given in the didactic standard of the Italian teacher of the mid-XIX century Giusto Dacci. Created in the conditions of the changed practice of performance, where the importance of reading the musical text as close as possible to the composer's intentions, Maestro Dacci's ornamentation system not only offered teachers their unification in the form of abbreviated letter signs, but also set standards for their decoding. In relation to the content of the music theory, section related to the study of ornamentation, the Dacci system has become the organizing construct that has acquired a stable form of didactic generalization. The types of ornamentation highlighted by Giusto Dacci: appoggiatura – accaccatura – mordent – gruppetto – trill, these are the elements of musical theory that retain universality to this day. They were introduced into the didactic standard at a special historical moment of the active creation of methodological concepts that provide theoretical and technological foundations for pedagogical work in professional musical educational institutions in Italy. Such work not only enriched the musical culture of the XIX century. In the formation of basic coloring skills, it remains an important educational guideline today. 1. In music theory, it captures the experience of accurately encoding ornaments. This experience, in fact, is the key to the visualization of an unchanging sound. For musicology, it is of interest from the point of view of studying the history of the formation of the cycle of musical-theoretical disciplines and its content. 2. In educational practice, it expands the existing format of knowledge, opens up the opportunity for teachers to include this educational material in their practical work. 3. In performance, it allows to understand the facets of possible performing freedom in deciphering jewelry in works taken from a particular time chronotope.