Journal articles on the topic 'Art – themes, motives – dictionaries'
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1
Borodina, Elena. "Patriotic education of children in sunday schools and the use of fine arts materials." St.Tikhons' University Review. Series IV. Pedagogy. Psychology 64 (March 31, 2022): 89–106. http://dx.doi.org/10.15382/sturiv202264.89-106.
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In the first part of the article, the author reveals the theoretical substantiation of the problem: aspects of the patriotism of an Orthodox Christian as a virtue, a spiritual and moral quality. The phenomenon of patriotism is presented in the context of the works of the Church Fathers of the 19th and 20th centuries and the main provisions of the social concept of the Russian Orthodox Church; the canon of the Orthodox view on the problem posed is adhered to in substantiation. For an objective understanding of the semantic essence of the concept of patriotism, the author turned to scientific literature, explanatory and encyclopedic dictionaries, philosophical and pedagogical works of compatriots. Having analyzed a number of scientific points of view, the author states about the spirituality and religiosity of patriotism, highlighting the semantic connection with morality. In the second part of the article, the author examines the effectiveness of the use of paintings of battle, historical, portrait and everyday life in the process of patriotic education in Sunday school. The article reveals the content and characteristics of problem-value communication, describes the stages of the methodology based on problem-value communication in the process of cognitive conversation based on the painting of patriotic themes: the first stage is cognitive (the contradictions between acceptance and rejection, admiration and indifference are resolved); the second stage is evaluative-semantic (evaluative-semantic activity is carried out - the correlation of new ideas, concepts, values, with already existing and previously acquired knowledge and value attitudes and beliefs); the third stage is motivational and activity (the child appropriates a personal spiritual and moral meaning, in which the basic national value - patriotism, becomes valuable and significant, a regulator of the patriotic mentality, a motive for action). The author reveals the potential of the methods of art pedagogy: “the method of unity of perception and creation in artistic action”, “the method of getting used to it” or “the method of revitalization”, describing the process of emotional and sensory empathy with the main characters of paintings.
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Romashkova, Olga Nikolaevna. "Ulterior spiritual motives and symbols in G. V. Sviridov’s “Oratorio Pathétique”." Pan-Art 3, no. 2 (March 30, 2023): 116–21. http://dx.doi.org/10.30853/pa20230025.
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The aim of the research is to identify the peculiarities of image structure in G. V. Sviridov’s “Oratorio Pathétique” taking into account the Christian ideas and symbols. The paper presents some images of “Oratorio Pathétique”; shows the ways of realizing the elements of Orthodox art in music; depicts the expression of hidden biblical images and symbols in the text of V. V. Mayakovsky. The scientific novelty lies in the study of “Oratorio Pathétique” in the aspect of the spiritual themes manifestation which expands and deepens the perception of the genre peculiarities of this monumental work of the XX century. This new approach consists in the comparison of the Oratorio text with biblical notions and meanings. The results of the research allow us to make the following conclusions: “Oratorio Pathétique” is the versatile work which comprises the themes of revolution triumph and sympathy with the «White Guard», the idea of creating “Eden city-garden” on the earth and love to devastated long-suffering homeland, the principles of socialist realism and Christian symbolism.
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Mašát, Milan. "Christian Motives in Selected Works with Homosexual Themes in Czech Literature." Journal of Language and Literature 23, no. 2 (October 9, 2023): 310–20. http://dx.doi.org/10.24071/joll.v23i2.6354.
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The main aim of the paper is to highlight the relationship between Christianity and homosexuality based on selected fiction texts by Czech writers and poets (Zeyer, Fuks, Kuběna, Georgiev). The selected authors represent different historical periods and different currents of opinion. We are convinced that the theoretical part provides a suitable methodological basis for the part of the paper in which we discuss homosexual motives in selected works of the mentioned authors. To sum up, we can state that the explicit expression of homoerotic and other motives is only relevant today; in artistic narratives dating back to the 19th and 20th centuries, these symbols are expressed in a hidden way, and it is up to each recipient to decide whether and to what extent they see them in these narratives. Zeyer could not fully express himself; he was forced to use hidden symbols to be who he felt he was, at least in his works. Kuběna, in the context of the 1970s, treats the topic of homosexuality very openly, he is not afraid of being condemned by society. Fuks´ works are characterized by a considerable degree of autobiography. Despite Georgiev´s clear rejection of faith, a believing homosexual appears more than once in his work. In this paper we try to fill a certain gap in the field of comparative research in works of art and poems by authors who in some way tended to homosexuality because within the Czech context, we have encountered this area of scholarly articles sporadically.
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Procop, Natalia. "Rustic and urban in the creation of Florentin Leancă." Akademos, no. 3(62) (January 2022): 146–50. http://dx.doi.org/10.52673/18570461.21.3-62.19.
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Florentin Leancă is part of the generation of visual artists, representatives of the national school of painting. The activity of the artist evolved from abstract compositions to urban landscapes with impressionistic shade and stylized decorative creations. Many of his works are made in the technique of hot handkerchief and oil painting Moreover. One of his relevant themes is the old Chisinau represented by shades of gray. Lately he has been making pieces with popular motives inspired by the art of carpeting.
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Fedorova, Irina. "“BELOBEREZHSKIY PATERIK”: COMPOSITION, SOURCES, GENRE." Проблемы исторической поэтики 20, no. 2 (March 2022): 280–303. http://dx.doi.org/10.15393/j9.art.2022.11062.
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“Beloberezhsky Paterik” is preserved in the manuscript of the Department of Manuscripts of the Russian National Library (P. N. Tikhanov collection, no. 214) and consists of materials related to the Beloberezhskaya hermitage, founded in the early 18th century in the White Shore tract near Bryansk. The main purpose of the article was to determine the conformity of the “Beloberezhsky Paterik” to the genre canon. The work analyzes the genre composition, configuration, principles of material organization, and establishes the sources and time of compiling the collection . The analysis was carried out with regard to the tradition of ancient Russian patericons and the development of late patericography. As the study demonstrated, the constant features of the genre organically manifested themselves in the “Beloberezhsky Paterik.” Thus, the complex composition of the collection allowed to consider it as an ensemble that includes traditional patericon forms: legends about icons, parochial chronicles, patericon Lives, the Life of the founder of the monastery and the hermit's Life, miracles and visions. The “memory of the genre” also manifested itself on other levels: unification of material by topographical feature, cyclization and the chronological principle of data organization, simplicity of the narrative style, themes and motives traditional for the patericon Life (the theme of hermitage, the motives of martyrdom and temptation) are realized. The ideological and thematic unity of the collection, as the analysis of the works that comprise it has revealed, is organized by two themes — the Beloberezhskaya hermitage as “the house of the Mother of God” and “the second Jordan.” The sources of the patericon were archival materials and publications in magazines of religious and moral content (“Kormchiy,” “Emotional Reading,” “Wanderer”). It was also established that the Paterik was compiled between 1894 and 1905, but it is not yet possible to name its compiler.
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Kupchenko, Tatiana А. "Sergey Yesenin in the screenplay of V. Mayakovsky “The Story of One Nagan”." Philological Sciences. Scientific Essays of Higher Education, no. 5 (September 2021): 89–100. http://dx.doi.org/10.20339/phs.5-21.089.
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For the first time, a complex of motives associated with the image of S. Yesenin in the script by V. Mayakovsky “The Story of a Nagant”, as well as “Forget about the Fireplace” and the play “The Bedbug” are considered. A connection is established between the biographical facts of Yesenin’s life and the motives of the script, and the features of the innovative poetics promoted by Mayakovsky, revealed by him in the article “How to Make Poems” and his speech at the debate “Depressive mood among youth (“Yeseninism”)”. The “Yesenin” theme of the script is considered together with the themes of “poet and poetry”, with the accompanying motives of hooliganism, drunkenness and love in poems that also contain the “Yesenin” theme, but are included in the range of works devoted to reflections on what true art is in the era of building a new socialist state: “My speech at the show trial on the occasion of a possible scandal with the lectures of Professor Shengelli”, “Sergei Yesenin”, “A Conversation with the Financial Inspector about Poetry”, “Beat the Whites and Greens”, “Marusia Was Poisoned”, “Letter to Comrade Kostrov from Paris about the Essence of Love”, “Letter to Tatiana Yakovleva”.
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Yahyabala qızı Bağıyeva, Nubar. "Carpet compositions by carpet artist Mammadhuseyn Huseynov." ANCIENT LAND 03, no. 04 (June 30, 2021): 15–18. http://dx.doi.org/10.36719/2706-6185/03/15-18.
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The artist has created valuable works of art that attract the attention of the most beautiful traditions of the pre-existing artistic heritage with a choice of different themes and styles. He created expressive images that characterize the environment in which any subject is reflected, and tried to make room for elements of national motives. This is an indication of his rich artistic imagination and delicate taste. The carpets created by the carpet artist are distinguished by the fact that the ornaments are very complex and very versatile. The ornament of these carpets will remain the object of research for a long time, because its artistic-schematic aesthetic, spiritual and emotional content is an inexhaustible treasure. The carpet patterns created by the carpet artist attract the audience's attention at first sight. The carpets he authored are always met with interest, love and appreciation. Keywords: Mammadhuseyn Huseynov, fine art, carpet art, composition, ornament
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Renner, Walter, Karl Peltzer, and Motlatso G. Phaswana. "The Structure of Values among Northern Sotho Speaking People in South Africa." South African Journal of Psychology 33, no. 2 (May 2003): 103–8. http://dx.doi.org/10.1177/008124630303300205.
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The aim of this study was to compile a culture specific taxonomy of human values in Northern Sotho. Two raters extracted a comprehensive list of value descriptive nouns from two Northern Sotho dictionaries. The list comprised a total of 210 terms. Four hundred individuals, 256 men and 144 women, from the Limpopo Province of the Republic of South Africa, participated. Their mean age was 24.6 years (SD = 7.9). The participants rated these concepts on an 11-point-scale with regard to their subjective importance as guiding motives in life. The principal components factor analysis with varimax rotation yielded five factors which explained 42.3% of total variance: (I) Religiosity and Support, (II) Solidarity (ukuzwdana, ubunye or ubudlelwane), (III) Conformity and Benevolence, (IV) Leadership and Achievement, and (V) Human Enhancement. With respect to cross-cultural comparisons the outcome of the study shows that in Northern Sotho, religious themes and social commitment play a more important role than in German, and that religious issues correlate with social concerns. The other dimensions share some aspects with the German factors but mainly reflect the religious and collective values of traditional African culture.
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van den Akker, Olga B. A., Nicola Payne, and Suzan Lewis. "Catch 22? Disclosing assisted conception treatment at work." International Journal of Workplace Health Management 10, no. 5 (October 2, 2017): 364–75. http://dx.doi.org/10.1108/ijwhm-03-2017-0022.
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Purpose The purpose of this paper is to explore factors influencing decision making about disclosure of assisted reproductive technology (ART) use in the workplace. Design/methodology/approach A qualitative study design was used. In total, 31 women and 6 men who were using or had recently used ART were recruited from British fertility networks and interviewed. Data were transcribed verbatim and thematically analysed. Findings Two main strands were identified each encompassing two themes: “Concerns about disclosure” covered the very personal nature of disclosing ART treatment and also career concerns and “Motives for disclosure” covered feeling which was necessary to disclose and also the influence of workplace relationships. Research limitations/implications The relatively small, self-selected sample of participants was recruited from fertility support networks, and lacked some diversity. Practical implications Clarity about entitlements to workplace support and formal protection against discrimination, along with management training and awareness raising about ART treatment is needed to help normalise requests for support and to make decisions about disclosure within the workplace easier. Originality/value The study has highlighted an understudied area of research in ART populations. The data provide insight into the challenging experiences of individuals combining ART with employment and, in particular, the complexity of decisions about whether or not to disclose.
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Venz, Oliver. "From enemy skulls to welfare, and the missing nexus - A review on Bidayuh headhunting." Sarawak Museum Journal LXXXI, no. 102 (December 1, 2019): 153–200. http://dx.doi.org/10.61507/smj22-2019-hzmt-04.
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Headhunting’ was practiced by many societies widely separated in space and time, including Europe (see Chacon and Dye ibid. 5−32 for a global survey). However, says Winzeler (2012: 99) in a summary of the matter: “Southeast Asia and especially Borneo, is the locus classicus of head-hunting as far as the more recent ethnographic and historical literature is concerned. Yet scholars disagree about the cultural motives underlying the practice or maintain that it is now difficult to find what the motives were at the time when head-hunting was in full practice. It is the specific religious or ritual motives that are disputed or unclear”. To avoid any misunderstanding, the anthropological literature on headhunting is vast and a host of different interpretive frameworks2 are being used by scholars in order to elucidate different ‘aspects’, ‘causes’ and ‘purposes’ as well as ‘building blocks’, ‘dimensions’ or ‘recurrent themes’ of what some authors consider a ‘universal grammar of head-taking’ (Armit 2012: 66). What has been found most remarkable about headhunting is, as Blust (1980: 231) once put it, “the matrix of ‘magico-religious’ concepts in which the practice is inextricably enmeshed”. However, it is exactly this area, as Winzeler insinuated above, where there is an extensive lack of reliable fundamental data. And, despite its prominent role as locus classicus in recent headhunting debates, this is also true for Borneo. My task as a Fellow of the Sarawak Museum Campus Project (2017−2018) was to focus my attention on Bidayuh (Land Dayak), and especially Bisingai, concepts related to headhunting. This choice turned out to be just as exciting as problematic. Headhunting already stands as a puzzling topic, and the Bidayuh are themselves, as Winzeler (1993: 223) put it, “something of a jigsaw puzzle” when it comes to the often considerable cultural and linguistic differences between individual communities. While the data corpus has grown in recent years, our knowledge of (early) Bidayuh religiosity, however, is still sketchy and detailed grammars and dictionaries are lacking for the majority of individual isolects.
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Van den Berg, Mariecke. "Zie de mens." Religie & Samenleving 11, no. 2 (September 1, 2016): 249–70. http://dx.doi.org/10.54195/rs.12214.
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This article analyzes the photo-exhibition Ecce Homo (1998) by Swedish artist Elisabeth Ohlson Wallin. In Ecce Homo, which depicts twelve moments from the life of Jesus Christ, traditional church art is mixed with the themes and symbols of contemporary LGBT-culture. In the article it is investigated, through a queer focus, whether Ecce Homo has the potential to destabilize the rather strict oppositional pairing of religion and homosexuality in contemporary debates in post-secular societies like Sweden. Based on a discussion of three works (The Annunciation, Palm Sunday and Calvary) it is argued that Ecce Homo connects traditional Christian motives such as the love for one’s neighbor, (self)sacrifice and charity to queer concepts such as the instability of gender and sexuality and the destabilizing potential of ‘darkness’ as an aesthetic theme. As queer and Christian concepts inform each other they are given meaning in relation to each other, thus indeed (for the most part) suggesting that queer and Christian themes are relevant to one another and sometimes overlap.
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Mamatov, Gleb M. "Motive of the music of the moon in the poetry by K. D. Balmont." Izvestiya of Saratov University. Philology. Journalism 22, no. 1 (February 21, 2022): 78–83. http://dx.doi.org/10.18500/1817-7115-2022-22-1-78-83.
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In the article the motive of the music of the moon in K. D. Balmont’s poetry is researched on the material of his poems, prose and aesthetic articles. Its symbolic value and evolution in books of the early, mature and late periods are explored. The following conclusions are drawn. In the early lyric poetry of Balmont the moon is associated with the oxymoronic motive of the ‘sounding silence’. This motive is determined by the principal role of psychologism in the early poems of the symbolist, the ‘sounding silence’ emphasizes the state of the inner world of the hero, who is always detached from reality and is reflecting on the essence of life and death. The connection of the motive of the ‘sounding silence’ with gothic symbolic range is considered, which is characteristic for the first books by Balmont. In his mature lyrical poetry, the moon is associated with the theme of music, which has a lot of connotations. Firstly, the music of the moon correlates with the traditional motives of poetry and art. In the book Let’s be Like the Sun the world is on the line between lunar silence and melody of strings, which the poet uses to play his odes to the orb of the night. But in mature poetry in the books Only Love. Seven-color Flower, Liturgy of the Beauty. Hymns of the Elements and Sonnets of Sun, Honey and Moon. The song of worlds lunar music is connected with themes of fairy tale, magic, love, dream and phantasy, but at the same time with motives of the illusion, unfeasible reveries, death, specularity and ghostliness. Particular attention is paid to the connection between the motive of lunar music and the philosophy of music of the senior symbolist and his spontaneous mythology. No less important is the functioning of this motive in the poem The Moon, dedicated to the cosmogonic myth of the creation of the world, where moon music is related to the themes of archaic mythology and the motives of initiation, death, rebirth and transformation into a deity.
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Sobkovych, Olha. "Folk poetics in creative work of Petro Kholodnyi Senior." Bulletin of Lviv National Academy of Arts, no. 42 (December 27, 2019): 66–78. http://dx.doi.org/10.37131/2524-0943-2019-42-10.
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Summary. The defined issue is the new angle to study Petro Kholodnyi Sr. heritage, that allows to research the thematic interest features and style synthesis specific to artist`s original language, where we can trace the modernist style, symbolism, byzantine style and impressionism echoes. It was observed an important group of artwork by Kholodnyi Sr. in the article. Together with the sacral heritage, they have played a significant role in the reviving of the Ukrainian national art in the first part of XX century - the compositions on the folk themes. The comprehensive review of the folk poetics in creative work by Petro Kholodnyi Sr., is lightened in context of the current historical and art-cultural realities of the defined period, that allowed to distinguish the characteristic, typical and novel features in creating, by Petro Kholodnyi Sr., the Ukrainian national art through appealing to the folk poetics. It was marked, that Petro Kholodnyi Sr. engagement in folklore was natural in context of two essential interdependent tendencies of that period: the idea of the “national reviving” in the Ukrainian culture in the first part of XX century, among the characteristic features of which – appealing to folklore as the field of the national spirit preserving and “tradition discovery”. It is defined the peculiarities of trendsetting technical performance and ideological-stylistic understanding and rendering of the folk poetics in the visual form, that expanded the idea of this source interpretation abilities in form and sense aspects of that period art searches context. Methods. For holistic analysis, author applied the following methods: form and style analysis to explore the art peculiarities of the artwork, on the Ukrainian folklore motives, by Petro Kholodnyi Sr.; comparative style analysis to detect the features of artist creation manner and its change according to certain one or other ideological-sensitive or emotional message, and to distinguish the differences, between comprehension and visual implementation of the folk poetics in Kholodnyi Sr. creative work in comparison with Russian artists, who, in their creative activities, appealed to the folk well-springs. Results. Through folk poetics, which he felt delicately, Kholodnyi Sr. propagates the most current messages of “national reviving” in early XX century. In particular, the Ukrainian national history pages he exposes via appealing to such source of its study as ballad (thought) (“The thought of the Black sea windstorm”), that added some folk-poetic colours to the theme; also he refers to one of the most famous ancient Rus literature memorials of the late XII century – “The Lay of Igor’s Campaign”, which is saturated with Slavic folk poetry motives. In compositions created by these sources, Kholodnyi Sr. not so much emphasized the ballad subject illustrations or historical annals context as the poetic highness. So there is in his artwork, even on historic themes, a strong, musical in its harmonic melody, rhythm of colourful spots and lines. That’s the important individuality of his creations. The same powerful national poetics we can also feel in his creative works on Ukrainian tales, corals and songs motives, where the emphasis is put on enlarging the emotional-sensitivity edge, but not on the external plot, that we can see in such works as “Oh, there is rye on a field”, “Ivasyk and witch” and “The tale of a girl and a peacock”. Poetry and subjective-emotional components of two last creations point out on the affinity to symbolic-modern worldview, where the reality and tale are mixed at the moment. In his works on folk themes, he combined the style trends early XX century with the national painting traditions. Particularly “The Tale of a girl and a Peacock” corresponds by style to plastic language of modern with its emphasized decorativeness, softness of lines and clear lineal drawing, but in composition “Oh, there is rye on a field” we can see the signs of late modern which includes into its art language the method of stylization one or other famous historical pattern, in this case - byzantinism. Both art work performed in discovered by artist tempera technique which allowed to get that colour tints that enchanted in the ancient Galician icons. So these paintings possess you by delicately harmonized tincture which together with folk motive, its subject and ethnographic details, like heroes’ cloths, creates the folk-national sound of composition.
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Fang, Jinxu. "Soviet Unofficial Art and the Chinese Juelan Art Society in the twentieth Century: Compositional and genre searches and creative parallels." Философия и культура, no. 6 (June 2023): 49–61. http://dx.doi.org/10.7256/2454-0757.2023.6.40883.
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The article is devoted to the exhibition and creative activities of representatives of the Juelan Society and figures of Soviet unofficial art – a comparative analysis allows us to see common points regarding the choice of artistic means and techniques, themes and motives, the fate of creative associations. The purpose of the article is to determine the similarities and differences of the process of the origin of unofficial art in China and Soviet Russia. The author's field of attention includes identifying similarities in the choice of genre, composition, artistic means, as well as the semantic content of the images revealed in the works of artists. It is important for the disclosure of the topic to determine the features and common features in the organization of creative activity and communication between members of artistic associations. The study concluded that Chinese and Soviet figures of unofficial art rallied around small associations, "circles", clubs, societies, offering an alternative to the official and, from their point of view, regressive art view of independent creativity. The artists of the Juelan Society sought to instill a modernist vision in Chinese culture, and Soviet conformists decades later developed their own understanding of contemporary art. Their attempts had a strong influence on the work of Chinese painters of subsequent generations and became a phenomenon in the art of their countries, still have an impact on its development. Their ideas and creative findings are the sources of the processes that take place in the artistic worlds that cooperate in the field of culture of Russia and China.
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Morozov, A. Y. "MORAL AND RELIGIOUS MOTIVES IN THE WORKS OF J.R.R. TOLKIEN: CULTURAL CONTEXT." UKRAINIAN CULTURAL STUDIES, no. 1 (2017): 60–65. http://dx.doi.org/10.17721/ucs.2017.1.13.
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The main moral and religious themes of J. Tolkien`s novels “The Lord of rings” and “The Silmarillion” are observed in the article. It is analyzed that Tolkien followed Christian tradition, sharing st. Augustine`s conception of evil as the absence of good. It is clarified Tolkien`s anti-Nietzschean position where evil is equal to the will to power, while the good is associated with humility and serving. It is shown an author`s interpretation of Socratic classic inquiry: would people live virtuous life if they achieve omnipotence and why moral life is preferable than immoral one. According to Tolkien, human moral obligations are closely connected with the awareness of freedom and mortality which are regarded as a giftto a man, enabling to escape from senseless “badinfinity” (Hegel) of material determinant existence. In its turn, a notion of “gift” refersto metaphysical model of world that assumes divine being and his providential intervention in the course of earthly history. One of this divine providence`s manifestation is so called “eucatastrophe”, unexpected salvation from tragedy, therapeutic consolation that returns to a man the feeling of meaningfulness and joy of being. It is suggested thatsalvation can be interpreted in romantic way as coincidence point of trajectories of art and nature, where fairy tale embodies in life, and life starts to be built according to the laws of fairy tale.
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Arifa, Zakiyah, and Umar Al Faruq. "Mapping the Research Theme and Method: A Corpus Based to Abstract of Arabic Education Undergraduate Program." Arabiyatuna : Jurnal Bahasa Arab 5, no. 1 (May 7, 2021): 81. http://dx.doi.org/10.29240/jba.v5i1.2073.
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This research aims to describe the research themes and methods most in-demand and explain the representation of research mapping in the Arabic Education undergraduate program in Universitas Islam Negeri Maulana Malik Ibrahim Malang through linguistic corpus analysis. This study is essential to provide a real portrait of the reality of research trends among students. A quantitative approach is used to describe the frequency of words based on the Antconc application's linguistic corpus. Meanwhile, a qualitative approach is used to represent the meaning of corpus-based findings. The data are taken from Arabic abstracts on digital library. The results showed that the research theme most interested chosen by students in the last 5 years was the learning cluster, namely materials and textbooks, the language skills cluster, namely speaking skills, and the language element cluster, namely vocabulary. This shows that students tend to research vocabulary-based speaking skills material. The research method most widely used by students is Research and Development (R&D). Students tend to develop teaching materials or dictionaries, which are a trend of research methods. These mapping results are expected to be material for evaluation to determine the Arabic language research policies for lecturers and departments. For students and further researchers, it can be used as a basis and consideration for the description of the state of the art in choosing themes and research methods.
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Karmakar, Goutam. "A Theological Study of Nissim Ezekiel’s Religious Outlook." Asian Journal of Humanity, Art and Literature 2, no. 2 (December 31, 2015): 71–76. http://dx.doi.org/10.18034/ajhal.v2i2.296.
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As the centuries passed by, the galaxy of Indian English Poetry become increasingly crowded. But the scenario was not like this during the early years. It is because only a few stars shine there, and Nissim Ezekiel is the pole star. His poetry contains so many aspects, themes, motives and symbols that sharpen and shape his poetic world. His poetry often shows irony, emotion, love, man-woman relationship, self- consciousness, a sense of discipline and self – criticism. He shows his concern for both modern and urban art and culture with the touch of Indian ethos and local colour. But as an Indian poet, he shows his thinking about God and religion in a vivid way. He also shows his changing view towards God and Indian theology in his poems. In this paper, I have tried to show Ezekiel’s religious outlook and aspects through some of his verses.
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LAMBERT, PHILIP. "Brian Wilson’s Pet Sounds." Twentieth-Century Music 5, no. 1 (March 2008): 109–33. http://dx.doi.org/10.1017/s1478572208000625.
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AbstractPet Sounds, the landmark Beach Boys album of 1966, has received wide acclaim as one of rock’s first ‘concept albums’. It also represents a milestone in the artistic evolution of the group’s primary creative force, Brian Wilson. A thorough examination of the texts and music of the songs of Pet Sounds reveals a unified art work projecting a coherent textual narrative. Songs are associated and interrelated via recurrent motives and harmonic patterns, expressing extremely personal themes of romance and heartbreak. The musical ideas are mostly culminations of Brian Wilson’s earlier work – they are the ‘pet sounds’ that he had been raising and nurturing since the early 1960s – but they appear here in an unprecedented artistic context. Despite Wilson’s continued, if sporadic, productivity in the decades that followed, including the ill-fated Smile project, Pet Sounds stands as his crowning artistic achievement, an album with vast appeal and broad influence.
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Svetlov, Igor. "Hungarian Sculpture of the Late Twentieth Century. At the Intersection of Romanticism and Pop Art." Scientific and analytical journal Burganov House. The space of culture 15, no. 4 (December 10, 2019): 108–35. http://dx.doi.org/10.36340/2071-6818-2019-15-4-108-135.
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Developing intensively and in its own way throughout the 20th century, Hungarian sculpture has gained recognition as one of the leading European schools. Much in its creative image was determined between the two world wars when romantic tonality, combining dynamic activity and plastic flexibility, became a high priority. Romantic pantheism made itself felt in the artistic works of the Hungarians, successfullyshown at the All-Union Art Exhibition in Moscow in 1957-1958. The appeal to the motives and forms of nature enriched the human modulus of Hungarian sculpture.The period between 1960-1970 is its most fruitful time. The combination of romantic concepts and themes with object textures and aesthetics of simplicity, inherent in pop art, among the masters of the older generation, Imre Varga and Erzsébet Schaár who were recognized in Europe, was the biggest event among the variants of its creative movement. Imre Varga’s evolution in this direction, from grotesque-naturalistic publicism to the use of pop art techniques as a means of the dramatic theatricalization of human life and history, is illustrated in the article. Varga developed a synthesis of the pop art-inspired landscape and romantic portrait in the best monuments of these decades. In Erzsébet Schaár’s art, the objective world more than once turned into an artistic metaphor of independent significance. However, for her, the most important meeting of romanticism and pop art happened, the same as for Varga, in the search for synthesis and the creation of an ensemble. Her Street, which is exhibited in the city of Pecs, is perceived as a combination of symbolic figures and environmental objects, imbued with the idea of infinity of the world.
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Zhambaeva, Tuyana I. "Tapestry Art in Buryatia: Experience and Perspectives." Vestnik of Saint Petersburg University. Arts 13, no. 2 (2023): 344–60. http://dx.doi.org/10.21638/spbu15.2023.208.
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The article presents the main stages in the development of tapestry in Buryatia, from the establishment of this form of art based on weaving of nap-free Buryat taara carpets in the 19th–20th centuries, to the formation of the tapestry school in this region. The consideration of the art of tapestry in Buryatia in the context of events and trends in the decorative applied art of Buryatia in the 20th–21st centuries is connected with such issues as the entry of folk artistic traditions into the system of socialist realism, the process of revival of national identity, the author’s creativity in the field of tapestry weaving. The consideration of the stated topic of the article made it possible to summarize the available information and present a more integral picture of the development and current state of this form of decorative applied art of Buryatia as tapestry, as well as to introduce new material about the work of tapestry masters at the turn of the 20th–21st centuries, to consider the significance of the tapestry art in Buryatia in the synthesis of tradition and innovation. The characteristic features of the regional school of tapestry are determined by the specificity of themes and plots, the semantics of the motives of the Buryat ornament, the original author’s style of weaving and the transfer of weaving experience from generation to generation. Furthermore, the originality of the tapestry of Buryatia is connected with the use of horsehair, sarlik hair in the technique of classical weaving. At the same time, in the process of weaving, the natural shades of the hair are preserved, which endow the woven product with a subtle color palette. The attention is paid to transfer of the experience of horsehair weaving to the younger generation. For illustrative purposes, the educational institutions in the Republic of Buryatia, in which the “Tapestry” discipline is taught. In general, the role of educational institutions in the popularization of this form of art is highlighted.
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Vinokurov, Sergey Yevgenievich, and Ludmila Alexeevna Budrina. "The myth of space: Interpretation in the Ural stone-cutting art of the 1950s –1980s." Studia Slavica et Balcanica Petropolitana, no. 2(34) (2023): 187–99. http://dx.doi.org/10.21638/spbu19.2023.210.
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The article is devoted to the study of one of the key topics of the Soviet art industry — the space program of the USSR. This topic is considered on the example of the activities of the Sverdlovsk factory «Russkiye Samotsvety». In the 1950s – 1980s, the factory was the leading stone-cutting enterprise of the state, which allows us to consider the formation and development of the space theme in the stone-cutting art and, more broadly, the art industry of the Soviet Union using its example. For the study, archival data published for the first time, graphic materials previously unknown to researchers from the collection of the Sverdlovsk Regional Museum of Local Lore, as well as works from the collection of Russian museums were involved. The material of the article is divided into two parts, revealing the areas of activity of the stone-cutters of the factory «Russkiye Samotsvety». The first part deals with models of souvenirs and functional items approved for production from the late 1950s to the 1970s. The main constructive motives of these works are noted, as well as materials (stone raw materials) and techniques chosen by the masters for the implementation of projects. Stable motives and techniques are singled out, which remained relevant in the framework of the embodiment of space themes in products of the circulation circle. The second part is devoted to the consideration of the so-called author’s works of the plant’s stone-cutting masters. On the basis of recently discovered sheets of design graphics, as well as rare objects presented in museum collections, the main types of works are distinguished, as well as the characteristic techniques used by masters in creating objects. Great detail is noted, the use of materials uncharacteristic for the space theme in the 1970s, as well as attempts by craftsmen to use their specific properties within the framework of a given topic (transparency-translucency, color, texture, stone pattern, etc.). Consideration of two areas of creativity of stone-cutting masters makes it possible to single out the topic of space exploration as one of the most important in line with the selfpresentation of the successes and capabilities of the USSR.
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Графова, Е. О. "Influence of Botanical Research on the Development of the Art Nouveau Style in Western Europe and Russia (The Late 19th – Early 20th Centuries)." Nasledie Vekov, no. 4(28) (December 31, 2020): 103–15. http://dx.doi.org/10.36343/sb.2021.28.4.007.
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Автор определяет значение ботанических исследований и связанного с ними жанра ботанической иллюстрации для эволюции отечественного и зарубежного декоративно-прикладного искусства (ДПИ) эпохи модерна. Материалами выступают мемуарная литература, альбомы ботанической иллюстрации, ряд научных разработок, отраженных в обзорных монографиях по истории и стилистике ар-нуво, а также результаты прикладных исследований. Изучены зарубежные выставки садоводства рубежа XIX–XX вв., охарактеризованы своды произведений ботанической иллюстрации и издания по дизайну, относящиеся к этому периоду. Выявлены флоральные мотивы в творчестве отечественных и зарубежных мастеров ДПИ. Установлено, что флоральные сюжеты ар-нуво возникли во многом на фундаменте открытий ученых-ботаников и ботаническая иллюстрация явилась основой для соответствующих художественных мотивов. Использование в произведениях ДПИ эпохи модерна растений служило своеобразным средством популяризации и сохранения природного наследия. The author reveals the importance of scientific research in the field of botany and plant acclimatization, as well as related works of botanical illustration, for the development of certain branches of arts and crafts of the Art Nouveau Era in Russia and abroad. A wide range of materials is used: memoirs, albums of botanical illustration, a number of scientific developments reflected in overview monographs on the history and style of Art Nouveau, the results of applied research by art historians, philosophers and specialists in the history of architecture and arts and crafts. The author proceeds from the thesis about the synergy of science and art, which presupposes the consideration of these two forms of understanding objective reality (and the corresponding methods and types of activity) as closely related objects. The author employs diachronic, systemic-historical and historical-genetic methods, as well as iconographic techniques and methods of researching the symbolic content of works. The main idea of the research is to trace and reconstruct the links between developments in the field of scientific gardening at the turn of the 20th century and the development of floral themes in the arts and crafts of the Art Nouveau Era. An exhibition of horticulture, which took place during this period in Western Europe, is considered; and plant species that were popular among specialists engaged in their acclimatization and cultivation are established. Collections of works of botanical illustration and publications on design, published during the period under study, were analyzed to identify the sources of creative searches of European Art Nouveau artists. Attention is paid to the Paris World Exhibition of 1900, which took place at the dawn of the Art Nouveau Era and was a platform for demonstrating the main trends in the development of European art. Floral motives in the works of Russian and foreign jewelers, ceramists, glassblowers and architects are revealed; the degree of their realism is determined, which serves as an indicator of the connection between artistic embodiment and natural prototype. It has been established that the floral plots of Art Nouveau arose largely on the foundation of the discoveries of botanists, and botanical illustration was the basis for the corresponding artistic motives. Knowledge in the field of plant morphology opened new contexts in the iconography of the artistic heritage of Europe and Russia. The use of plants in the works of decorative and applied art in the Art Nouveau Era served as a kind of means for popularizing and preserving natural heritage.
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Richards, Simon. "Demolition traditions: Isozaki and Sakaguchi." Architectural Research Quarterly 25, no. 1 (March 2021): 31–42. http://dx.doi.org/10.1017/s1359135521000154.
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If ever an architect bit the hand that fed, it was the young Arata Isozaki, a mercurial and uncompromising architectural talent who would go on to secure establishment respectability with the Pritzker Prize of 2019. But he made his renown with designs and exhibitions exploring themes of death and destruction, not least his ‘Fractures’ pavilion for the 1996 Venice Biennale, which sought to stage the aftermath of the Kobe earthquake from a year earlier, while also being a leading proponent of a playful, almost saccharine postmodernism, with projects including the Team Disney HQ of 1991. Immersed in the leading currents of Japanese architecture from the 1960s onwards, his tendency to snipe at the motives of his collaborators was legendary. Commentators have tried to account for these professional shifts and antagonisms, his dour and contrarian thematic obsessions, as well as his critiques of architectural traditionalism and technological progressivism. Why did he conduct his professional life and art this way? The conclusion seems to be that he was a nihilistic maverick pushing at the outer limits of architectural culture and even taste.
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Shik, I. A. "“Moscow Surrealism” by Mikhail Dashevsky." Art & Culture Studies, no. 4 (December 2023): 152–81. http://dx.doi.org/10.51678/2226-0072-2023-4-152-181.
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In the article, the researcher analyzed the photographic heritage of the Moscow photographer M.A. Dashevsky presented in the book Native Retro. 1962–2002. Photo Saga (2020) through the prism of surrealist aesthetics, and draws parallels between his works and the works of foreign photographers connected with this art movement. Despite the fact that in Russia, surrealism as a separate trend was not fully represented, it is possible to reveal the elements close to its conceptual program in various types of Russian art of the 20th century. In his photographs, M.A. Dashevsky offered the author’s version of “surrealism” or, more precisely, a particular “Moscow surrealism”. It was formed in the context of both the photographer’s own poetics and the specifics of the development of Russian photography in general. Like many works by surrealist photographers, Dashevsky’s photographs can be read both as an authentic story about his era and as its subjective interpretation. The researcher reveals parallels between historical photographic surrealism and the works of Dashevsky at the levels of the choice of motives, conceptions and artistic techniques. Their common motives and themes include interest in monuments, mannequins, shop windows, cafes, antique shops, flea markets, images of picturesque destruction, and absurd situations. Among their general strategies it is important to mention the search for “paradoxical juxtapositions” generated by reality itself, the choice of an unusual angle of shooting, the work with inscriptions in the urban space, and the involvement of the viewer’s associative thinking. Dialectics of the real and the phantom, internal and external, public and private, which is close to surrealist aesthetics, endows the works of M.A. Dashevsky with semantic versatility. The photographer also actively uses the strategy of one reality penetrating into another, generating surreality, which is developed in his photographs of “glass life” and “overlays”. An integral part of the works by M.A. Dashevsky is the author’s humor — kind and lyrical or close to surrealistic black humor.
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Bogumil, Tatiana. "Biblical Plots in the Siberian Text." Проблемы исторической поэтики 18, no. 4 (November 2020): 331–47. http://dx.doi.org/10.15393/j9.art.2020.8742.
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The article describes and systematizes biblical plots characteristic of the Siberian text in Russian culture. The colonization of Siberia was accompanied by the Christianization of its autochthons. The influence of the church on the formation of the local literary tradition was very strong. The regional specifics of Siberia (nature, history, ethnos) influenced the selection of biblical motifs and plots in the works about this space. The comparative approach made it possible to identify and chronologically organize the following biblical themes paradigmatic for the Siberian text: apostolic / missionary. Christological initiation, exodus, the prodigal son. Biblical stories related to Siberia were inverted over time, and religious semantics were supplanted by other topics. The single core that allows to amalgamate these plots and motives is the idea of transformation (of oneself, another person, space). Hypothetically, each plot has its own period of maximum productivity, followed by a recession. The missionary plot and the plot of Christological initiation were revised in the 17th century and remained productive until the end of the 19th century. The narrative of the search for Belovodye, isomorphic to the exodus of Jews from Egypt, arose at the end of the 18th century. It was active until the end of the 20th century. The motive of the prodigal son was relevant in the middle of the 19th century in the work of the regionalists and, later, their heirs. Globalization and informatization processes and the blurring of spatial and cultural boundaries gradually make this plot irrelevant. It is possible to expand the “canonical” spectrum of biblical images, motifs, and plots for the Siberian text by engaging new material.
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Abdullatif, Noor Isa, and Isra Hashim Taher. "The Old Vs. New Indian Culture in Anita Desai's In Custody." Al-Adab Journal 3, no. 142 (September 15, 2022): 47–58. http://dx.doi.org/10.31973/aj.v3i142.3829.
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Anita Desai (1937- ) is a contemporary Indian novelist, short story, and children's books writer. She introduces psychological novels to India. Her works are highly symbolic. In her novels, she discusses cultural themes like the clashes of Eastern and Western cultures and the conflicts between Indian cultures and religions. In In Custody (1984), she discusses many cultural themes focusing on the death of the old valuable culture of India after Partition and the birth of a new culture.
In In Custody (1984), Desai depicts the changes that India has witnessed in post-colonial period. She focuses on the ruined ancient Indian culture which has been replaced by a new materialistic one at the hands of the British colonization. She concentrates on the death of art and poetry specially the death of Urdu poetry and language which are associated with the glorious culture once India had in the past. Deven, the protagonist, whose ambition is to be a great poet in Urdu is forced to teach Hindi instead of Urdu which is rarely used. The novelist narrates the journey of Deven who struggles to revive Urdu poetry by interviewing the famous Urdu poet, Nur. Deven faces many obstacles during his journey. These obstacles are represented in the change India has witnessed and in the change of people's motives and mentality. The paper discusses the influence of the Partition and the British colonialism on the Indian culture and the change India witnessed due to the Partition between Muslims and the Hindus.
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Vinogradov, Igor. "THE “ARABESQUES” CYCLE BY N. V. GOGOL: UNITY OF COMPOSITION AND PROBLEMS." Проблемы исторической поэтики 19, no. 4 (December 2021): 234–304. http://dx.doi.org/10.15393/j9.art.2021.10262.
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The unity of the problematics and the author’s principles of composition of the collection of N. V. Gogol “Arabesques” (1835) are investigated. The unobvious unity and integrity of the writer’s poetic encyclopedia — “Arabesque” — become apparent through the coverage of the cross-cutting themes and motives of the cycle, the numerous interconnections and overlaps between the articles, essays and stories included in the collection. It is established that the organizing beginning of the cycle is the writer’s reflections of a religious and political nature. From the point of view of this main component, all eighteen works of the collection are analyzed in detail. For the first time, the influence of spiritual literature — the lives of saints, patristic works, the significance of the articles of “Philokalia” — a well-known collection of works on the prayer-contemplative experience of monastic life — is highlighted in the early works of Gogol. The spiritual aspect of the writer’s reflections on history, arts, folk art, world literature, poetry of A. S. Pushkin is noted. Gogol’s polemic with the positions of one of the founders of German romanticism, V. G. Wackenroder, is touched upon. The problems posed in the collection of the opposition of old age and youth, “sensual” life and the poetry of spirituality are analyzed, the image of the “fragmentation” of life as a distinctive feature of modernity is traced. The organic correlation of “Arabesques” with the previous and subsequent works of the writer is revealed — with the youthful poem “Ganz Kuchelgarten,” with the cycle “Mirgorod,” with “Dead Souls,” “Theatrical tour after the presentation of a new comedy,” “Selected passages from correspondence with friends” and etc. The author emphasizes the consistency of the writer’s creative path and the integral spiritual and moral character of his legacy.
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Teslya, Andrei. "“The Only Pictures in Memory of the Great War”: The Heroic Spirit, Orientalism, and the Problems of Representational Depictions of the Russo-Turkish War of 1877–1878." Sotsiologicheskoe Obozrenie / Russian Sociological Review 17, no. 3 (2018): 240–55. http://dx.doi.org/10.17323/1728-192x-2018-3-240-255.
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The Russo-Turkish War of 1877–1878 spawned a request from both the government and the public for an appropriate pictorial representation to be evaluated in the categories of ‘high art’, a request which revealed the inability of the predominant aesthetics to be satisfied. The paintings on the subjects of the preceding Balkan Crisis of 1875–1876 easily appealed to the existing reserve of descriptive means in primarily appealing to Orientalist motives by using the international Oriental-artistic language. In this case, painters such as K. Makovsky or V. Polenov did not need to resort to some inversions in the “Turkestan Series” by V. Vereshchagin: the developed artistic language allowed the conveying of the desired content without loss. On the contrary, attempts to present pictorial representations of the Russo-Turkish War found that the old military art was no longer perceived as genuine “art”. Thus, in not being regarded as a proper fixation of “memorable events”, the prevailing new aesthetics was unable to convey the pathos and heroics desired by the authorities. At the same time, it was found that a strong aesthetic effect in military plots was achieved through “seriality”, the interpretation of similar plots as isolated and independent. However, this did not produce a significant effect, that is to say, painting as such was not self-sufficient since it required the assistance of the text, the sequence of images, etc. The problem was reduced significantly with the new aesthetics of the 20th century, and in the last decades of the 19th century, in connection with mentioned above difficulties of painting, historical plots acquired new value, providing new opportunities for the representation of heroic themes while simultaneously giving greater aesthetic freedom.
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Shik, Ida A. "Jerry Uelsmann and Contemporary Digital Photography: Jungian Images of ‘Photoshop’s Godfather’." Vestnik of Saint Petersburg University. Arts 13, no. 2 (2023): 326–43. http://dx.doi.org/10.21638/spbu15.2023.207.
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In the article, the researcher made a comprehensive study the American photographer Jerry Uelsmann art as a kind of contemporary digital photo-surrealism “prehistory”. The author revealed connections of Jerry Uelsmann works with American modernist photography and historical surrealist photography. The researcher analyzed the structure of Jerry Uelsmann’s hybrid images in the context of the ideas of analytical psychology, and also outlined the themes and concepts proposed in the works of the photographer that would be relevant in contemporary digital photography. The study showed that Jerry Uelsmann art continued the traditions of American modernist photography and started a new, post-modernist period in the development of photographic art in the United States characterized by the use of photography as a tool of self-knowledge and philosophical expression. Jerry Uelsmann applied such important for the historical Surrealist photography conceptions as convulsive beauty, the principle of “encounter of images”, surreality. He used experimental techniques (negative print, solarization, photomontage) and aimed to demonstrate the limitless creative possibilities of photography as well as the Surrealists. Uelsmann appealed to archetypal images which provided his works by intellectual simplicity and external showiness that contributed to the popularity of his photomontages and their strong influence on the development of contemporary manipulative photography. Uelsmann set a kind of “standard” for photo-Surrealism of the late 20th–21st centuries: these are technically perfect photomontages that require a high level of professional skills and time expenditure. Many of Jerry Uelsmann’s motives and ideas found parallels in contemporary digital photography. Among their common features it’s possible to single out concentration on the inner world of the person, interest in archetypes and symbols, the desire to poeticize nature, and the introduction of elements of mass culture into hybrid images.
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Malykh, Viacheslav. "“How terrible everything is!” The idea of reincarnation in N. Gumilyov’s and A. Blok’s literary interpretation." St. Tikhons' University Review. Series III. Philology 75 (June 30, 2023): 29–42. http://dx.doi.org/10.15382/sturiii202375.29-42.
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The idea of Reincarnation is analyzed as a core motive, by the example of which the similarities and differences of poetic universes of Blok and Gumilyov are interpreted. Gumilyov’s opposition to Blok can be characterized as “fear of influence”, since a lot of Gumilyov’s themes, externally opposed to Blok, turn out to be internally connected with the work of the latter, and even in Gumilyov’s later works reminiscences from Blok’s poetry could be found. These reminiscences are placed in a new context and thus they acquired a different meaning. Blok represents the idea of reincarnation in a pessimistic vein, intertwining with elements of Christian eschatology, Platonism and the teaching of Vl. Solovyov. Blok’s heroes are immersed in the “elements” of time and space, they experience influences from multiple worlds and do not have the ability and desire to escape from the infinity of rebirths. Blok’s and Gumilyov’s initial understanding of metempsychosis and anamnesis reveals striking similarities. Like Blok’s hero, Gumilyov’s hero “wanders” “in the blind transitions of spaces and times”. Even Gumilyov’s understanding of the metaphysics of history is close to Blok. The difference between two poets is the hero’s attitude to the tragedy of eternal repetitions. In accordance with “manly” attitude, Gumilyov’s hero promotes an active attitude to his own destiny and hopes for a final “awakening”, which is a way out of the circle of reincarnations. Combining themes of metempsychosis and anamnesis with Christian motives, Gumilev, unlike Blok, gradually strengthens the latter, introducing into his texts the Christian concept of the Resurrection from the dead, which contradicts with the doctrine of reincarnation. Gumilyov’s reflections on metempsychosis and Resurrection lead to the religious and philosophical dialogism of his later works such as “The Lost Tram” and “The Memory”. In both texts, the apocalyptic image of Christ is encrypted, and this image is opposed to “Isus” from Blok’s poem “The Twelve”. The strengthening of Christian motives in Gumilyov’s work also leads to a disagreement with Blok in understanding of the Platonic dual world, which was transformed by Blok into the concept of multiple “worlds of art”; Gumilyov, on the other hand, reinterprets the dual world in the context of the doctrine of “two cities”, so at the end of his career Gumilyov gives preference to the Christian mystical tradition.
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Abramova, Ksenia V. "Sergey Alymov’s Poetry Book “The Kiosk of Tenderness” and Its Art Design." Studies in Theory of Literary Plot and Narratology 19, no. 2 (2022): 153–74. http://dx.doi.org/10.25205/2410-7883-2022-2-153-174.
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The research is devoted to the book of poems by Sergei Alymov “Kiosk of Tenderness”, which was published in Harbin in 1920 and was of high quality. We focus on the structure and decoration of the poems’ book “Kiosk of Tenderness”. We also consider in detail individual texts in order to identify features that are characteristic of Sergei Alymov’s poetics. The analysis of the composition of the poetic book showed that such features of avant-garde poetics as a tendency to internal rhymes, the use of occasionalisms, rich sound writing, and paronymic attraction can be traced already in the titles of the book’s sections. We trace the influence of futurism, symbolism, acmeism (in particular, V. Mayakovsky, I. Severyanin, N. Gumilyov, A. Blok) on the poetics of Sergey Alymov. Exploring Alymov’s individual texts, we also talk about their rhythmic features, in particular, we dwell on the appearance of caesura and peonic rhythm in the poems of the Harbin poet. All this allows us to say that Alymov’s poetry was not only imitative, since he mastered the subtle nuances of poetic technique, but also reveals Sergei Alymov as an outstanding poet. “Kiosk of Tenderness” has a complex compositional structure, poems included in various cycles are closely interconnected both thematically and similar techniques that the poet uses. Poems that remain separate are also associated with other texts with common motives, a constant repetition of erotic themes and associations, the appearance of references to various cultural phenomena, authors and their works, and the saturation of texts with colors. The coloristry of the book is complemented by the artistic design – the cover by Nikolai Gushchin, an artist who left a big mark on the art of Russian emigration. Part of the work we devoted to the study of the meaning of the figure of the artist, whose painting has become a kind of addition to the poetic world of Sergei Alymov. Here we largely rely on the memories of N. Gushchin of our teacher, Yury Nikolaevich Chumakov. We also attract other studies and memories of Gushchin, who left a big mark on the art of Russian emigration, but was almost forgotten after returning to the USSR.
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Portnova, Tatiana. "Dance in Sculpture of the Early 20th Century." Sculpture Review 68, no. 4 (December 2019): 22–34. http://dx.doi.org/10.1177/0747528420901915.
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This article is concerned with the ratio of plastic arts as exemplified by sculptural works depicting dances of the early 20th century. Special attention is paid to the Greek motives in the Russian art of this period, which became the subject of inexhaustible aesthetic and artistic interest. The representation of ancient dance motifs, their figurative image and the nature of antiquity in sculptural plastics, various approaches to the interpretation of ancient plots and themes, the role and significance of the “antique” component in their artistic structure are considered in the article. The study of multi-level interactions between sculpture and dance in the context of antiquity calls for a comprehensive approach, including historical-cultural, theoretical-analytical and comparative-typological methods. Relating to ancient Greek images, ballet images of S. Konenkov, M. Ryndzyunskaya, N. Andreev, V. Vatagin, V. Beklimishev and S. Erzya provide a purely individual, unique and peculiar vision of dance corresponding to the ancient era. The categories and expressive means of dance were simultaneously analyzed close to the sculptural style of the masters because they are difficult to be divided methodologically and exist as an established artistic system. The concepts of “plastic expressiveness” in relation to the dancers imprinted in sculptures were interpreted. Analyzing the museum materials and sculptures depicting the dancing process, it was concluded that the ancient influence of plastic images on structural and genre determinants may vary.
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Šoškić, Radoje V. "STEVE TESICH’S ON THE OPEN ROAD AND NAOMI WALLACE’S THINGS OF DRY HOURS AS DISCOURSES ON ART AND FREEDOM." SCIENCE International Journal 3, no. 1 (March 14, 2024): 75–81. http://dx.doi.org/10.35120/sciencej0301075s.
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Through the analysis of Steve Tesich’s and Naomi Wallace’s dramatic masterpieces On the Open Road (1992) and Things of Dry Hours (2007), respectively, the paper strives to examine the dramatists’ insights into the role of art and theatre within the context of the contemporary artistic landscape and the societal ethos. Tesich and Wallace, both acclaimed as engaged and dissenting writers, envision theatre as a hallowed space for social and imaginative metamorphosis. They challenge the prevailing cultural norms and values, serving as beacons of resistance against dehumanizing practices that have taken root in modern society, often perpetuated by capitalist regimes. In this light, the paper underscores the seminal importance of their artistic contributions, which delve into the disintegration of art’s societal significance, the pervasiveness of societal apathy, the absurdity of warfare, and the overarching influence of organized religion. Within the framework of On the Open Road, Steve Tesich poignantly underscores the dwindling influence of art in a dystopian world where it has been commodified. The characters Al and Angel grapple with a post-apocalyptic society fragmented into distinct factions under the dominion of potent entities. Art, once the source of profound inspiration, is relegated to the status of a mere bargaining chip. Tesich contemplates the devaluation of art appreciation, underscoring the dire need to fathom art, rather than merely rationalize it. He cogently argues that this transformative paradigm poses an existential threat to humanity and its moral underpinnings. However, amid the bleak future depicted, the play offers a glimmer of hope - the restoration of human nature through acts of love devoid of ulterior motives. In a parallel vein, Naomi Wallace’s Things of Dry Hours is distinctly situated in the early 1930s Alabama, a locale that encapsulates myriad sociopolitical nuances. The play unfolds as an intricate tapestry of themes encompassing race, class, and political turmoil. The characters, notably Tice Hogan, his daughter Cali, and the enigmatic Corbin Teel, confront the divisive aspects of racial privilege and economic disparities. The dramatic narrative adroitly negotiates the interplay between Christian religiosity and the tenets of Communism. Concurrently, Wallace delves into the ineffable dimensions of spiritual desolation, perceptibly etched into the characters’ existential identities. The characters undergo a transformative journey, awakening dormant desires and rekindling hope for social transformation and a more meaningful existence.
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Aristova, Ekaterina P. "TO DEFINE SOVIET EXISTENCE: SOVIET, RUSSIAN AND WORLD RESEARCHES OF THE SECOND HALF OF THE XX CENTURY AND THE BEGINNING OF THE XXI CENTURY." Yaroslavl Pedagogical Bulletin 116, no. 5 (2020): 184–92. http://dx.doi.org/10.20323/1813-145x-2020-5-116-184-192.
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Thе article explores works about soviet life by soviet, russian, european and american researchers, written in the second half of the 20th century and at the beginning of the 21st century. The understanding of soviet life by european and american authors was determined by studying the nature of totalitarianism. The authors analyzed the features of classical european metaphysics that determined the formation of ideologies (the concept of the ideal state of Plato, the concept of rational laws of historical development of K. Marx), the psychology of the «man of the masses», the influence of propaganda and alternative ways of controlling the masses, the importance of the image of a Superpowerful Empire for modern Russia. The key authors are K. Popper, H. Arendt, Z. Brzezinski and K. Friedrich, J. Nye, W. Laqueur. Soviet authors analyzed the themes of protecting humanistic values and civil rights and freedoms, transforming culture under state control and formation of the aesthetics of totalitarian art, the existence of an individual in collectivist environment, the formation and destruction of the special communication environment of the soviet world: a system of signs and myths. The most interesting authors are G. S. Pomerants, I. N. Golomstock, B. E. Groys, P. Weil and A. Genis, G. L. Smirnova, A. A. Zinoviev, M. K. Mamardashvii, M. P. Kapustina, Yu. A. Levada. Some studies are concentrated on the legacy of the USSR as a kind of lost civilization – the analysis of everyday life, creating dictionaries and encyclopedias of soviet life, the studying of memories and diaries. The works by L. V. Belovinsky, I. B. Orlova, N. B. Lebina, N. N. Kozlova are notable.
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Mironska-Hristovska, Valentina. "MACEDONIAN CHILDREN′S LITERATURE IN THE XIX CENTURY." Philological Studies 19, no. 1 (2021): 21–42. http://dx.doi.org/10.17072/1857-6060-2021-19-1-21-42.
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The text will follow the appearance of the first children's works in the Macedonian literary XIX century. Their significance, despite the fact that they do not have high aesthetic values, is neverthelessgreat, because they respondedto theneeds of the time. Furthermore,they give us the opportunity to determine the continuity ofdevelopment of Macedonian children's literature, which has primary importance for the mental, emotional and educational developmentof children. We note,especially inthe last few years,thatthe interest forchildren's literatureis great, both by authors and bypublishers, who have started republishing works. Thisconfirms the universality of children's literature, with its timeless themes and motives which are interesting, intriguing, attractive, fun, fulfilling their ultimatepedagogicalfunction, directing the child towardsbetter life principles.Up until the Enlightenment, there was no interest in the child, except for thesolitary manifestations by John Locke, Jan Amas Komensky and Jean-Jacques Rousseau. A real interest in the child was shown in the time of Romanticism. Withinthe Macedonian cultural development there is an interest shown in children during the Enlightenment, at the beginning of the XIX century.Thefirst books published in the vernacular were intended for adults, but at the same time provided directionsfor better upbringing of children. The first authors of children's works,among the series of their activities, were collectors of folk art whowerealso engaged in education. Authors of the so far discovered works for children are Partenija Zografski, Jordan Hadzi Konstantinov Dzinot, Grigor Prlichev, Evtim Sprostranov, Tomo Sminjanic Bradina, and we will also acknowledgeMarko Cepenkov
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Rozenberg, Natalia. "A NON-CLASSICAL CLASSIC, A LOOK AT THE ART OF S. ERZYA (1876-1959) FROM THE 21 ST CENTURY." Herald of Culturology, no. 3 (2021): 71–82. http://dx.doi.org/10.31249/hoc/2021.03.05.
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For the first time in Russian art history, the article attempts to show the integrity of the art of the Russian-Argentine sculptor S. Erzya on the basis of an art history analysis of his most famous works created in Italy, Russia and Argentina. The features of his personal and creative development are revealed in the context of socio-cultural events, which were distinguished by a stormy, sometimes catastrophic nature. The youthful ideals of Tolstoyism in the mind of a mature master acquire the features of a worldview that asserts the priority of the ideals of moral and spiritual perfection, the devotion to which was almost invariably paid with the price of life. A documentary confirmation of Erziʼs words is given in the entry of his secretary, L. Orsetti. People who knew Erza intimately in Italy, Russia, and Argentina also wrote about their commitment to these ideals. The theme of sacrifice, the suffering path unites both his biblical works and things of revolutionary themes. Their success is described in the article not only on the basis of periodicals, but also for the first time with the involvement of exhibition catalogues. In Argentina, Erzya created monumental portraits of the spiritual leaders of mankind - these portraits by the sculptor himself were collected in a special exhibition in his house: Moses, Beethoven, Tolstoy, N. Gogol. The motives of beauty and birth, the continuation of the human race are embodied by Erzya in the famous female images «Nude», «Eve», «Motherhood», «Dance». The plastic beauty and the mystery of the transformation of the female body fascinated the audience at the exhibitions of the sculptor's works and were evidence of the change in his somatic perception in Argentina. Thus, in the art of Erzi in Argentina, the intuition and emotional supernormality inherent in the cultural consciousness of Latin Americans are manifested. The sculptor's attitude to the material he chose for a particular work was dictated by the concept. His rare ability to work in any material - cement, marble, bronze, wood-makes him stand out among modern sculptors. He followed the Michelangelo tradition in the processing of the marble block and became the only master to conquer the hard species of tropical trees. Today it is obvious that the legacy of the sculptor-thinker Erzya is not fully appreciated.
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Milanovic, Biljana. "Musical shaping of the nation: Ethno-symbolism of Mokranjac’s garlands." Muzikologija, no. 16 (2014): 211–26. http://dx.doi.org/10.2298/muz1416211m.
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This article deals with Stevan Mokranjac?s fifthteen garlands (rukoveti), which are commonly regarded as the national project in Serbian art music that was accomplished through the producing of the tradition of the Serbian folk song. The garlands are examined by employing the concept of ethno-symbolism, theoretically associated with Anthony Smith. The elements of ethno-symbolism, and especially those aspects of this theory through which the articulation of a national identity activates connections with pre-modern myths, recollections and collective symbols, have proven useful in contextualization of folk material and its ethnological environment, with which the art work establishes intertextual connections. With his project Mokranjac created a rich network of ethno-symbols associated with the themes and motives of both rural and semi-urban communities that were characterized by their preservation of the model of patriarchal culture. Their strong attachment to ?ethno-history? as well as ?symbolic geography? produced various ?ethno-scapes?, which established an increasingly symbiotic context of a ?naturalized? community and ?historicized? nature and territory. Mokranjac presented them as a representative sample in the process of legitimizing national consolidation and homogenization through the folk song. These aspects are observed in both textual and musical dimensions of Mokranjac?s garlands. The connection between his fieldwork and his compositions is also problematized. Mokranjac?s garlands are distinguished by their inclusiveness and a constant blending of older and newer ethno-historical elements, with an aim of constructing a unique tradition of national song, as an integral time-and-space image of the nation. Through this dimension of collectivism we can observe Mokranjac?s close connection to the patriarchal culture, as it remained an important ethno-symbolist element in both the politics and the poetics of his artistic project. At the same time, it provided a platform for free invention when it came to the more advanced stages of composition, when the patriarchal culture would be subjected to transfiguration by his individual creative imperatives. Mokranjac?s Garlands were the first works in Serbian music to emerge as results of an aesthetically rounded and ideologically grounded compositional project, which facilitated their canonization within the framework of Serbian art music.
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Woźniak, Kamila. "Rozkosze czeskiej awangardy. O fuzjach literatury, sztuki i filozofii na przykładach z twórczości Jindřicha Štyrskiego, Toyen, Vítězslava Nezvalai Františka Drtikola." Slavica Wratislaviensia 164 (November 20, 2017): 33–41. http://dx.doi.org/10.19195/0137-1150.164.3.
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The joys of the Czech avant-garde.On the amalgamation of literature, art and philosophy based on the examples from the works of Jindřich Štyrský, Toyen,Vítězslav Nezval and František DrtikolThe article points out some recurrent themes in the literary and artistic works by the repre- sentatives of the Czech avant-garde of the first half of the twentieth century. It is primarily about the motives of sleep, life, death and eroticism recognized most often in iconoclastic conventions, often on the borders of pornographic description and violating the taboo of eroticism, pleasures of the flesh and religion. In the case of Štyrský, among other topics, the theory of artificialism for- mulated by him and Toyen is discussed. The theory had a close relationship with the poetry, prose and art by this author. On the other hand, based on the example of Nezval, an image of literary pleasures is presented, associated with the often actuated by the author issues of first love and erot- ic sensations. In the end, the figure of František Drtikol is outlined — the creator of photographs, which often depict threads of femme fatale and scandalous nude crucified women.Rozkoše české avantgardy. O fúzi literatury, umění a filozofie na příkladu tvorby Jindřicha Štyrského, Toyen, Vítězslava Nezvala a Františka DrtikolaČlánek poukazuje na stálé motivy v literární a umělecké tvorbě představitelů české avant- gardy první poloviny 20. století. Jde především o motivy snu, života, smrti a erotiky, chápané nejčastěji jako obrazoborecké a nacházející se často na hranici tělesné rozkoše, náboženství a por-nografického obrazu, jenž prolamuje erotická tabu. V případě Štyrského půjde mj. o teorii artifi- cialismu, kterou zformuloval spolu s Toyen. Na příkladu Nezvala bude nastíněn literární obraz rozkoše související s problematikou prvních milostných a erotických zkušeností, které se autor často dotýkal. Závěr příspěvku přiblíží osobu Františka Drtikola — tvůrce fotografií, na kterých jsou často vyobrazena témata osudových žen a skandalizujících aktů ukřižovaných žen.
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Kulikova, Elena Yu. "Vitaly Ryabinin’s “Japanese watercolors”: genre and stanza experiments." Sibirskiy filologicheskiy zhurnal, no. 3 (2021): 100–112. http://dx.doi.org/10.17223/18137083/76/8.
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“Exotic” themes, extremely popular in art at the turn of the 19th-20th centuries, craving for “foreign,” for extraordinary travels to Africa, India, the East, determined not only the properties of plot-motive complexes in literature, painting, and music but also the features of genre structure of the Silver Age works. In his microcycle “Japanese watercolors” from the poetic book “Melody-trill chords,” the poet V. Ryabinin operates with lyric genres (sonnet, romance) and stanza forms (sextins, hexameters). Stylized genres and stanzas reveal the author’s technique and show classic solid forms in a new aspect. The poet uses Japanese names (“Niavari,” “Nipu,” “Kitamura”), immerses the reader into the world of Japanese words and images (“Harakiri,” “Arigato,” “Geisha,” “Sayonara,” “hasivar”), mentions geographical names (“Fujiyama,” “Sumidagawa,” “Kurisan”), and even composes the poems in the hokku (haiku) genre. These are exactly “watercolors” - the poems combining the richness of tone, dense and bright construction of space, and “black and white” graphicality of images and motives. To emphasize this protuberant solidity, “sketches” are placed in strict forms. Thus, from “drawing” to “drawing”, from text to text, the reader moves in the world of Japanese shadows created by Ryabinin. “Watercolors” are an attempt to comprehend the colors and shades of the Japanese soul by a European - sometimes in a European manner, using “Western tools.” From the oriental genres, the poet chooses only the hokku, and the rest of the poems are created in terms of European classical forms, the Japanese theme entirely penetrating the cycle of “Watercolours.”.
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Bezrukov, Andrii. "Origins of a New Poesy in Late Medieval Europe: Proto-Renaissance Rhymes by Giacomo da Lentini and the Dolce Stil Nuovo." LITERARY PROCESS: methodology, names, trends, no. 21 (2023): 6–13. http://dx.doi.org/10.28925/2412-2475.2023.21.1.
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The article reviews the historical and literary background of a new poesy that appeared to be an outcome of the accumulation and release of the new poets’ creative energy in late medieval Europe. We primarily deal with the poesy of the Sicilian school and the Dolce Stil Nuovo (‘sweet new style’). The interest of literary criticism in the historical and cultural background of influential literary phenomena, which have not lost their relevance, is defined by the need for reinterpreting them in new paradigms. The methods of cultural, historical, biographical, hermeneutic, and comparative analyses as well as the method of generalisation have been exploited for this research. The European poetic tradition has passed a long way in searching for new forms and means of the artistic representation of reality. The emergence of the Sicilian School on the Apennine Peninsula in the 13th century became the initial stage of the literary and linguistic history of the Old World. It marked the beginning of Italian poesy the development of the Dolce Stil Nuovo and was largely the forerunner of Dante’s and Petrarch’s poems, laying the foundations of the philosophy of lyric poetry. The Sicilians gave a powerful impetus to the further development of poetic theory, images, and themes, which would be pivotal in stilnovismo, as well as to the assimilation of many authors of the Renaissance in Europe. The appeal to certain themes and motives as well as their transformation highlighted the idea of Sicilian authors about poetry as a specific kind of philosophy. We emphasise that the time of origination and a highly cultured environment have caused the refinement of art forms and stylistic devices for revealing the conceptual content of such verses. Giacomo da Lentini reconceptualised the approaches to rhyming and poetising, and most importantly — to the psychological perception of reality and understanding of love in the metaphysical dimension. The ideological and aesthetic unity of the poets of the Dolce Stil Nuovo, who developed the innovations of da Lentini, made it possible to relate them with the writers of the early Renaissance. The article also focuses on the specifics of literary activity during the expansion of new European poetry leading to the invention of a sonnet as the poetic form that follows a particular rhyming pattern.
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Bannikov, Konstantin V. "Paul Claudel, an interpreter of the Song of Songs." Izvestiya of Saratov University. Philology. Journalism 22, no. 4 (November 23, 2022): 415–20. http://dx.doi.org/10.18500/1817-7115-2022-22-4-415-420.
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«Paul Claudel interroge le Cantique des Cantiques» («Paul Claudel questions the Song of Songs») is a landmark work in the oeuvre of Paul Claudel (1868-1955), it is one of the largest artistic and exegetic commentaries in the collection of prose «Le Poëte et la Bible» («The Poet and the Bible») (1998, 2004). The writer creates a new «Claudelian novel» in Bakhtin’s understanding of the novelistic word, based on the centuries-old tradition of multiple interpretations, on the one hand, but built into a work of art, on the other. Claudel draws on his experience of reading the Vulgate, working with concordances and the works of the Fathers of the Church, updating the text of the Holy Scripture through the prism of his work. The artistic world of prose allows us to trace themes, motives, images, as well as the style of working with the text in Latin. Upon finishing his work on the commentary, Claudel makes his own translation of the Bible. It reveals the principles that Lemaistre de Sacy and Fillon adhered to, as well as the typical Claudelian methods of translation, which the writer stated in his discussions about language, French verse and orthography. The translation becomes part of the work: the interpreter places it at the beginning of each chapter. Claudel makes a new translation, pursuing other goals: he does not translate the Bible from the sacred language into the profane language, he translates it into the «Claudelian», adding the meanings that he puts into the text himself, which develops in the second part of each chapter – a poetic commentary.
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Шарагіна, Ольга. "Поетичний переклад у творах «Тихих Ліриків» В. Підпалого та Д. Чередниченка." Pomiędzy. Polonistyczno-Ukrainoznawcze Studia Naukowe 7, no. 4 (2022): 23–29. http://dx.doi.org/10.15804/ppusn.2022.04.02.
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The article reviewed the themes and leading images of the Russian (O. Pushkin, M. Lermontov, I. Bunin, A. Akhmatova, V. Khlebnikov, V. Berestov), of the Lithuanian (M. Vainilaitis, Y. Nyakroshius), of the Jewish (R. Balyasna, J. Gruber, P. Kyrychansky, M. Mohylevych), of the Gypsy (L. Manusha, O. Germano) poets, of the Czech (J. Neruda), of the Avar (R. Gamzatov), of the Armenian (G. Davtyan), of the Balkar (K. Kuliev) poets, as well as features of Slovak folklore translated by V. Pidpaly and D. Cherednychenko. The article reviewed the dominant motives of foreign writers, in the works of which were depicted love and devotion to the native people, admiration for the world of art and national identity, the beauty of natural landscapes and children’s world of fairy tales. The scientific article represented the appeal to the inner world of the lyrical hero of poets of both nations, his national self-identification, historiosophical understanding of existence in society. The focus is on the translation literary concept that evoke not only negative emotions, but also balance the inner state of the lyrical narrator, promotes his spiritual harmony. In “silent poetry”, in contrast to the literary work of the foreign writers, the literary concept of loneliness also describes the balanced inner state of the lyrical hero, his spiritual harmony. “Silent poets” were appealed to an aesthetically valuable poetic word, which reflected the ideological neutrality in the intertextual plane of the poem and focused on the inner intentions of the foreign poets, which were based primarily on his moral qualities. Given the translations of the foreign poets, the lyrics focused on primarily on the moral qualities of man, his inner development.
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Karlina, Oksana. "THE ATTEMPT TO RECONSTRUCT THE LIBRARY OF THE KREMENETS BASILIAN MONASTERY OF THE FIRST DECADES OF THE XIX CENTURY." Scientific Herald of Uzhhorod University. Series: History, no. 1 (46) (June 27, 2022): 119–27. http://dx.doi.org/10.24144/2523-4498.1(46).2022.257543.
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The article attempts to reconstruct the genre and thematic composition of the library of the Kremenets Basilian Monastery, which was formed in the early 1820s, based on an analysis of the visitation protocol, in which a significant part is a description of the monastery library. At the beginning of the XIX century, the library had 2,156 volumes (1,241 works) published in the XVI–XVIII centuries and until 1821. Of these, 508 works (41%) date from the second half of the XVIII century. The presence in the library of 283 works (23%) published in 1801–1821 indicates that the library continued to be regularly replenished with new books. The geography of the publications covered the cities of the former Polish-Lithuanian Commonwealth, Germany, Austria, Italy, France, the Netherlands, Kyiv, Moscow, and Saint Petersburg. The basis of the library were works in Polish and Latin, numbered 640 and 440, respectively (52% and 35%). There were only 54 (4%) Cyrillic editions. The entire book collection is divided into thematic sections: Holy Scripture, divinity, law (civil and canonical), "books of ascetics," homiletics, philosophy, physics and mathematics, chemistry, geography, economics, history, rhetoric and poetics, "letters," grammar, medicine. In terms of the number of works, the largest is the section "History," which includes periodicals published in Warsaw and Vilnius in the early nineteenth century and fiction of instructive content. It is noted that many works by ancient authors, textbooks in many mathematical disciplines, dictionaries, phrasebooks, and grammars in Latin, Greek, Hebrew, Polish, German, French, and Russian were kept in the monastery library. The conclusion is that the themes of the monastery library in Kremenets in the early XIXth century reflected the state of the rich spiritual life of the Basilians, which closely combined the traditions of the Orthodox and Catholic Churches. The Basilians, through preaching and missionary activity, indeed spread and consolidated in society the spiritual and moral values that they nurtured within the walls of the monastery. The library in general, reflected the development of education, science, art, and contemporary socio-political thought in the Ukrainian lands.
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Glazkova, Marina Mikhailovna, and Svetlana Anatolevna Ilyina. "The specifics and functions of the concepts of LIFE and DEATH in V. Y. Bryusov's poetry." Филология: научные исследования, no. 2 (February 2024): 50–64. http://dx.doi.org/10.7256/2454-0749.2024.2.69977.
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The object of the study are poems representing such thematic layers as love lyrics; urban lyrics, including poems dedicated to Venice; the theme of death; the theme of Vikings; great figures of the past; apocalyptic themes. The paper actualizes the importance of studying Bryusov's poetry in the aspect of cognitive linguistics, examines the essence of the concepts. The place of the concepts of LIFE and DEATH in the hierarchical structure of the conceptual sphere is analyzed, their meanings are revealed based on the lexicographic material of dictionaries, representing, along with the primary meanings, various associative lexical units, including mythologems that arose on the basis of cognitive metaphorization, which, being representatives of concepts, fill slots, form a frame structure, while the frame qualifies as the core of the concept. The analysis of poems allowing to recreate the linguistic and artistic worldview of the poet, the keys to understanding which are the basic concepts of LIFE and DEATH, and to determine their specificity and role, is carried out. The following methods were used in the research process: the method of discursive analysis, which allowed us to study the interacting denotative and conceptual structures that organize the semantic space of each lyrical work under consideration in the context of Bryusov's poetry; the cultural and historical method, which contributed to the identification of connotative meanings representing the concepts of LIFE and DEATH; the hermeneutic method, which made it possible to analyze the poetics of poems. As a result of the study, the authors came to the following conclusions. Organizing a system of poetic creativity, vividly embodying the main motive, the motive of duality, the concepts of LIFE and DEATH undergo semantic contamination based on the intersection of their frame networks and form a single bipolar concept of LIFE/DEATH. An integral phenomenon, Bryusov's concept of LIFE/DEATH is multifunctional: as a figurative means, this structural unit creates the poet's idiosyncrasy; plays a text-forming role; organizes the main motives that allow Bryusov to carry out a discourse relevant to him and his contemporaries about the problem of the meaning of life and its eternity. The scientific novelty lies in the fact that the work of V. Y. Bryusov, from the point of view of the conceptual sphere and conceptualization, has not been sufficiently studied. For the first time, the comprehension of V.Y. Bryusov's linguistic picture of the world was realized through the concepts of LIFE and DEATH, which are fundamental in his work.
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Nikitin, Andrii. "Philosophical context in the work of Sergei Zoruk." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 29 (December 17, 2020): 46–53. http://dx.doi.org/10.33838/naoma.29.2020.46-53.
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S. Zoruk was a bright representative of the artistic circle with an original view and individual ap- proach to art. His innovative methodological theories on academic drawing are organically included in the concept of scientific and methodological base of the Department of Drawing NAOMA and drawing school in general. S. Zoruk constantly studied and improved the technique of drawing, built his personal style. It is in the pictorial compositions that his authorial style with an emphatically refined aesthetic and philosophical subtext is most vividly revealed. The line, the stroke, the spot are combined and intertwined, creating elegant images of his paintings. His style of drawing is characterized by a light, free line. It is extremely interesting to see the evolution of the Zoruk artist: "Game-4" (1991), "Breath of the Wind" (1993), diptychs "Farewell to the Hat" (1993) on carnival themes and "Time to scatter stones, time to collect stones" (1993) for biblical motives. They are made in the technique of drawing. Thanks to the compositional techniques of including large sizes of clean planes of paper and the clarity of the line, the artist achieves the effect when the viewer’s imagination continues to paint the plastic life of the image. S. Zoruk’s creative style is characterized by refinement and detail of the image, elegance and lightness of the line and, at the same time, there is a pause, a colon in the story, which gives space for plot fantasizing. An important place in the artist’s creative activity was occupied by his teaching work, which he began in 1989 at the Department of Drawing KDHI. He alternately taught drawing at the Faculty of Architecture, and later at the restoration, theater, and graphic departments. He took a direct part in the forma- tion of the scientific and theoretical basis for the methods of teaching drawing and introduced methodological development, namely "Double productions in the 5th year" in the working program of the drawing. The level of professional qualification of the artist was marked in 1986 by admission to the National Academy of Arts, the rank — Honored Artist of Ukraine (1996), in 2000 the academic rank of associate professor, and since 2003 S. Zoruk held the position of professor. He successfully combined pedagogical and exhibition activities, repeatedly visited and collaborated with art galleries in Suzhou, Wu Xi (PRC). He has about 40 exhibitions in Ukraine and abroad. His works are in the funds of the Ministry of Culture of Ukraine, the National Union of Artists of Ukraine, the museum "Kachanivka" and the Museum of Contemporary Art (Kaliningrad), in private collections in the Netherlands, Russia, Belgium, France, Germany, Austria, USA, China. S. Zoruk’s creative and pedagogical activity were awarded in 2002 by the award of the Ministry of Culture of Ukraine "For out- standing merits in the development of culture and art". Philosophical sound in combination with intellectual- ism, together with high professional skill gave S. Zoruk’s works of extraordinary artistic value, made them an important phenomenon of Ukrainian art of the last quarter of the XX — beginning of the XXI century. His works have a sense of the space of the theatrical stage: the images, which is raised up to generalization are united by a certain game moment, the artist slowly unfolds in front of the spectator the dramaturgy of the plot, leaving a field for his own interpretations.
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Snigovska, Oksana, and Andriy Malakhiti. "“RED” ODESSA IN THE EYES OF N. KAZANDZAKIS: DOCUMENTARY-ARTISTIC TWO of the AUTHOR’s worlds (based on the travelogue «Traveling: Russia»)." Studia Linguistica, no. 15 (2019): 235–49. http://dx.doi.org/10.17721/studling2019.15.235-249.
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The article explores the features of documentary works of art, in particular letters, articles, travel notes, newspaper publications, photo and video materials, which formed the basis of the travelogue «Travelling: Russia» by the Greek writer Nikos Kazantzakis. It describes his trips to the Soviet Union in the 20s of the XX century. A complex of themes and motives typical of travelogue, topos is considered, topographic plots focused on the presentation of facts and situations are highlighted. The subject of the image in travel notes and feature articles by N. Kazantzakis is practically everything that he sees and realizes / perceives and, of course, describes: topographic environment, the beauty of nature, mode of life, social relations and the psychology of people. The wandering figure, breaking away from usual life, overcoming the barrier of existence, which forces the author and readers to experience borderline states, ask extreme questions, seek for the answers, fulfilling the mission of the travelogue. Getting into other, unfamiliar conditions, the traveller either gets used to them, or evaluates them, transforming them for himself and for the others. Travelogue N. Kazantzakis «Traveling: Russia» does not always adequately reflect the real space of travel. The repeating routes of Greece – Odesa – Kiev trips by sea and further by rail receive different irradiation depending on optimistic (at the beginning of his philosophical and religious journey) or catastrophic with a touch of disappointment (at the end of his ideological search) premonitions of the author. So, the construction of the travelogue of the Greek writer was greatly influenced by previous trips to the same places. Nikos Kazantzakis often refers reader to facts of history, to cultural codes, to ideological oppositions, to personal memory. Oppositions Europe/Greece – Russia, Vienna – Odesa, Greeks – Russians / Ukrainians – Jews are interpreted nominally in the article, the main task of the writer seems to be a way out to the existential principles of the structure and transformation of person.
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Babenko, Leonid, Andrew Babenko, and Larysa Haidai. "THEORY AND PRACTICE OF INTRODUCTION OF MUSICALS IN THE TRAINING SYSTEM OF FUTURE TEACHERS OF ARTS." Academic Notes Series Pedagogical Science 1, no. 195 (2021): 52–55. http://dx.doi.org/10.36550/2415-7988-2021-1-195-52-55.
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The article deals with the introduction of performances of theatrical musicals into the educational process of preparing future art teachers on the artistic faculty of the Centralukrainian State Volodymyr Vynnychenko Pedadogic State University. Illuminated positive impact of such an introduction on the quality of professional training of students. The motivational approach to the meaningful responsibility of students for training is revealed when they carry out self-control over the process of acquiring the necessary knowledge and skills and become fully responsible for the quality of learned material. All this greatly increases the creative activity of students, prompts them to self-studying and self-development, forms an active life position. The role of a teacher in this system of educational process is the role of the coordinator. He carries out a general leadership of the educational and creative process, acts as a consultant, an assistant, and most importantly – he is a professional-mentor, a senior mate who helps students to master the whole complex of knowledge, skills and abilities. In such motivated training, it is necessary to point out initial goals, determined by the teacher, which coincides with the educational motives of students. Only under such conditions, academic actions of the students will be transformed into conscious educational activities, the motivation of success will be created. That is why students study on the basis of partnership in the chorus studio. They make their proposals for project themes, develop the concept, choose the form of material presentation, create scenarios and are interested in preparatory and organizational work, as well as independently choose the direction of its own educational activity within the project – write or distribute musical solos and choral parties, make them choral. Arrangement or perform computer arrangement of musical accompaniment, etc. Execution of such a work not only reveals existing knowledge of students on the relevant educational subjects, but also requires mastering new knowledge and skills, assimilating the material of new educational subjects that are needed to implement the plan.
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Yerlanova, Ayaulym. "THE POETICS OF MASHHUR ZHUSUP'S POEMS OF THE EDUCATIONAL DIRECTION." Bulletin of the Eurasian Humanities Institute, Philology Series, no. 4 (December 15, 2022): 102–9. http://dx.doi.org/10.55808/1999-4214.2022-4.10.
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This article examines the poetics of the poems of the poet, philosopher, folklorist Mashkhur Zhusup Kopeev of the educational direction. The purpose of the article is to study the poetics of the poet's works of an educational direction in accordance with modern requirements, to popularize the educational aspect of the poet. Since the works of Mashkhur Zhusup, who made a significant contribution to Kazakh literature, were classified by genre, a number of scientific works were researched and written, the relevance of a separate consideration of works of educational orientation has not disappeared. The works of this direction were considered together with poems on religious themes, propaganda themes, and social motives. It can be noted that the works of the poet of the enlightenment direction have their own significance in literature. The research has a scientific, practical significance. It can be used in the courses «Mashkhurtanu», literature lessons, local history of the early twentieth century and in general on the theory of literature. Mashhur Zhusup is a poet who wrote in all areas of the genre of literature. Starting with poetry and focusing even on heavy epic works, he left behind major sagas. After all, the works of a scientist who left a twenty-volume legacy are not limited to prose. Although several scientific works on the poet's work have been written, I still cannot say that they have been fully studied. Since the subject matter of the left heritage is very extensive, the genre character is complex, rich in artistic features, deep consonance with Eastern Turkic literature, the activity of collecting samples of oral folk art, the main idea of his works, the study of his work require many years of painstaking work. The work of this rich heir, which is the basis of our current scientific work, is a drop of great work. The picture of the social situation of the early twentieth century formed the basis of the works of representatives of that era. Because literature is a mirror of life. The desire for freedom, liberation, the appeal of the population to reading, education, science, political and social problems have become an urgent problem for every nation. Immediately, as to rid the people of this idiocy, he adhered to the idea that reading is knowledge. I tried to «wake up"» the people. From this point of view, it should be recognized that the literature of the early twentieth century is the literature of the liberation aspiration, the «awakening» of the people. Mashkhur Zhusup did not refrain from these questions either.
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Корякина, А. Ф. "Comparative analysis of olonkho of Central, Viluy, Northern regions (based on the texts of the olonkho Elbet Bergen, Ker Buuray and Kyotor Mulgun)." Эпосоведение, no. 3(15) (September 27, 2019): 88–98. http://dx.doi.org/10.25587/svfu.2019.15.36602.
Full textAbstract:
В бытовавшем в устной форме якутском героическом эпосе издавна сохранялись и передавались утвердившиеся темы, традиционный состав героев, каноны сюжета, композиции в содержании, постоянные стилистические формулы в языке. Однако сколько было олонхо, столько они были разные, и тем они привлекали слушателей, знатоков устного народного творчества, исследователей. Каждый олонхосут мог обогатить установленное содержание олонхо разными приключениями богатырей, основной традиционный образный состав героями с новыми именами, украсить постоянные языковые формулы новыми художественновыразительными средствами или могли чтото пропустить, упростить. Изучая отличия текстов якутских олонхо, принадлежащих разным регионам, исследователи якутской фольклористики утверждают, что олонхо, в зависимости от территории бытования, имеет региональные особенности. Так фольклористами признано существование трёх территориальных традиций центральной, вилюйской и северной. Феномен устойчивости региональных особенностей якутского олонхо в науке до сих пор остается быть актуальным. В статье ведется сравнительный анализ олонхо трех регионов на примере олонхо центрального региона Ёлбёт Бэргэн , олонхо вилюйского региона Кёр Буурай , олонхо северного региона Кётёр Мюлгюн с целью выявления их отличий, особенностей, внесения дополнительных предположений в подтверждение ранее выявленных исследователями утверждений. Результаты анализа методом сравнения привели к выводу, что олонхосуты всех трех регионов следуют образцу сюжетнокомпозиционной структуры якутского эпоса олонхо, так в их олонхо присутствуют мотивы древних олонхо, как описаний героических походов богатырей айыы ради спасения девушек айыы, их сражений с богатырями абаасы, победы, сватовства на спасенной женщине, возвращения на родину со славой победителя, устройства праздика уруусвадьбы в честь победителей и др. Отсутствие мотивов образования трех миров, установления Среднего мира для жизни племени ураангхай саха, назначения богатыря айыы божествами защитником айыы аймага дает возможность предположить, что во всех регионах бытования олонхо постепенно идет упрощение некоторых древних мотивов олонхосутами более позднего периода. The orally existing Yakut heroic epic has long preserved and transmitted established themes, the traditional composition of heroes, plot canons, compositions in content, and constant stylistic formulas in the language. However, how many olonkhos were, they were so different, and so they attracted listeners, experts in oral folk art, and researchers. Each olonkhosut could enrich the established olonkho content with various adventures of the warriors, the main traditional figurative composition with heroes with new names, decorate permanent language formulas with new artistic expressive means, or they could miss or simplify something. Studying the differences between the texts of the Yakut olonkho belonging to different regions, researchers of the Yakut folklore argue that olonkho, depending on the territory of existence, has regional features. So folklore recognized the existence of three territorial traditions: central, Vilyui and northern. The phenomenon of stability of regional features of the Yakut olonkho in science still remains relevant. The article provides a comparative analysis of the olonkho of the three regions using the example of the olonkho of the central region Elbet Bergen, the olonkho of the Vilyuy region Ker Buuray, the olonkho of the northern region Kyotor Mulgun with the aim of identifying their differences, features, and introducing additional assumptions to confirm the allegations previously identified by the researchers. The results of the analysis by comparison led to the conclusion that the olonkhosuts of all three regions follow the pattern of the plot and compositional structure of the Yakut epic olonkho, since their olonkho contain motives of the ancient olonkho, as descriptions of the heroic campaigns of the aiyy heroes in order to save the aiyy girls, their battles with the abaasy heroes, victory, matchmaking to a rescued woman, returning home with the glory of a winner, arranging a Uruu wedding in honor of the winners, etc. The lack of motives for the formation of three worlds, the establishment of the Middle World for tribal life Uraanghay Sakha purpose athlete aiyy protector deities aiyy aimaga makes it possible to assume that in all regions of existence olonkho is gradually simplifying some ancient olonkhosut motives of a later period.
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Войтенко, Л. І., Т. Л. Караваєва, and Л. Д. Швелідзе. "STRATEGY OF THE NEW DRAMA IN LESYA UKRAINKA’S LITERARYAND- CRITICAL ARTICLES." Nova fìlologìâ, no. 89 (May 18, 2023): 59–65. http://dx.doi.org/10.26661/2414-1135-2023-89-8.
Full textAbstract:
The article examines the features of a new drama promoted by Lesya Ukrainka in her literary-and-critical articles, and further in her artistic work. In the new drama, Lesya Ukrainka focuses on the nature of the dramatic work, specifically, the text as a link connecting the addresser and the addressee. She sees H. Hauptman’s dramaturgy as an example of such text creation, namely, motives and types of characters in his plays. The word becomes the lead character in such texts and turns into a communicative strategy. The word becomes a structurally and figuratively robust means of developing the play’s plot and composition. Lesya Ukrainka associates new drama’s purpose not with modernism or with the programs of “art-for-art’s-sake” and aestheticism, but with the social drama development. The author believes that the concept of a new drama determines the nature of structural and compositional transformations, the drama’s figurative originality. Lesya Ukrainka considers the dramaturgy by H. Ibsen, H. Hauptman, and S. Przybyshevsky, whose works she analyses in her literary-and-critical articles, to be examples of the new drama. The factors providing for the emergence of the new drama in Ukrainian literature include the drama lyrisation as a communicative strategy, which is a manifestation of the play’s “literaturisation”. Lyrisation as the dramatic text’s feature contributes to the action subjectivisation, leads to a chronotope displacement, enables the combination of events happening in different times within one dramatic text, the polysemy of expression through a metaphor or symbol. The philosophy of the author’s strategy of transforming verbal subject of poetic existence correlates with the ability of a statement to create new multiple meanings and interpretations of the text that convey the emotionality of the author’s words. Drama lyrisation drives the creation of conventional images, while the character appears in the text not in one guise, but in several. The author distances themselves from the character, which enables the subject’s uncertainty and potential multiplicity. Dramatic text’s lyrisation becomes an incentive for the text’s generic and genre transformations, contributes to the creation of conventional images that establish explicit communication between the addresser and the addressee. The author as the text’s addresser is presented in the characters’ statements, which provides a plurality of interpretations and meanings of the dramatic text, allows for playing with words, that manifests “literaturisation”. “Literaturisation” as a communicative strategy integrates the texts of Ukrainian playwrights into the context of the world literary and theatrical tradition, expands their themes, genre diversity, and figurative system.