Journal articles on the topic 'Figurative art 20th century'
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1
Rycroft, Simon. "Art and micro-cosmos: kinetic art and mid-20th-century cosmology." cultural geographies 19, no. 4 (August 16, 2012): 447–67. http://dx.doi.org/10.1177/1474474012447538.
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Recent work by cultural geographers on visual art has emphasized performative and participatory aspects focusing upon the embodied and multi-sensory experience of encountering and being part of a work of art. Research on non-figurative art has much to offer in elucidating the relationships and distinctions between representation, non-representation and abstraction. Non figurative artists were representing or enacting a new kind of materiality, one that was putative, in process and ever changing. That materiality was based upon the adoption of a mid-20th-century cosmology and inspired by recent advances in the understanding of matter and the universe. Kinetic art, which is characterized by a set of abstract aesthetics that represent or reproduce real or illusory movement, was, especially in the post-war period, inspired by this new cosmology. Mid-century kinetic artists created non-figurative abstract models of the latest understandings to bring their associated energies, forces and motions to the senses of the viewer-participant. The models that kinetic artists produced in a variety of media were designed to be experienced in an embodied manner rather than simply viewed. These and other models of a mid-century cosmology signify a period in which the practices of representation were shifting significantly and consequently demand our attention.
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Portnova, Irina V. "Russian Animalistic Art of the 20th Century as a Special Kind of Fine Art." Observatory of Culture 18, no. 5 (October 29, 2021): 486–95. http://dx.doi.org/10.25281/2072-3156-2021-18-5-486-495.
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This article aims at analyzing the genre features of the 20th century animalistic art as a special, original phenomenon of Russian artistic culture. There are highlighted the aspects that make up its content basis. The author considers the issues of human perception of an animal, attitude to it, the system of views on the world of flora and fauna, the methods of interpretation of animals and birds. Together, they form the specific characteristics of animalistic art, which appeared in their organized and integral form in the 20th century. The article is relevant because the relationship between human and nature is being more and more re-evaluated, which is why the ideological features and the system of views of the 20th century artists are getting increasingly important (in particular, in the historical and artistic aspect).Animalistic art, having become noticeable as a genre already in the 18th century, passed through the entire 19th century, and crystallized in the 20th century in the most characteristic, typical features in various types of fine arts (graphics, painting, sculpture and their varieties). There is no doubt that among other genres of fine art, animalistic art is an original visual and plastic phenomenon that is fundamentally different from the art that depicts a person. The article notes that the complexity of animalistic art lies in the properties of human perception, which is prone to subjective evaluation and, accordingly, gives an animal human traits. The principle of “imitation” of nature, the study of nature, being constantly followed by artists, pointed to the overcoming of the subjective moment and became the leading one in composing the figurative concept of an animal.
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Abdokova, Marina B. "Portrait and landscape in Boris Zaitsev’s publicistic writings: style and ethos." RUDN Journal of Studies in Literature and Journalism 25, no. 1 (December 15, 2020): 17–32. http://dx.doi.org/10.22363/2312-9220-2020-25-1-17-32.
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The article represents genre-style etymology of Boris Konstantinovich Zaitsev (1881-1972) publicistic legacy (that includes essays, profiles and critical notes). Style-forming expressions of this outstanding representative of 20th century Russian literary abroad are analyzed within the context of his ethical and philosophical principles. Zaitsev’s portrait and landscape sketches are considered for the first time as figurative-poetic and genre-compositional components of the artist's “visual palette”. One of the effective methods of comprehending the style and ethos of the writer is the disclosure of multi-genre subtexts that reflects the creative worldview of B. Zaitsev, in which aesthetics is closely intertwined with metaphysics, and this, in turn, determines the adjacent disciplinary tools for the study of “literary painting”, actualizes parallels with non-verbal art forms (painting, music). The intertextual phenomenology of B. Zaitsev's publicistic texts is not limited to the artful, masterly and technical depiction. The nature of refined subject-figurative “painting”, as follows from the analysis, is based on the spiritual contemplation of the writer and reflects a rare for the art of the 20th century harmony of the artistic and transcendent.
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Braun, Ingmar. "The Swiss Magdalenian portable art and supra-regional parallels." Camera Praehistorica 5, no. 2 (December 24, 2020): 42–57. http://dx.doi.org/10.31250/2658-3828-2020-2-42-57.
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There are about fifty Magdalenian sites known in Switzerland. Most of these sites were discovered and excavated at the end of the 19th and in the first half of the 20th century. Consequently, it is not always possible today to establish clear research contexts and dating is often based on typo-chronological statements. The Swiss Magdalenian portable art can be divided into two main groups: engravings and figurative sculptures. Engravings mostly appear on reindeer antlers, bones, and rarely on stone or jet. They are more common than figurative sculptures. The majority of engravings are on everyday objects such as perforated batons and projectile points. They are mainly signs and other ornamental motifs. In addition, there are also figurative subjects such as animals and a animal-human representation. The term “figurative sculptures” refers to partially sculptured objects, such as decorated spear thrower ends and stylized female figurines. With the exception of a musk ox head no other evident animal sculptures have been found in Switzerland. Some of the Magdalenian portable art objects found in Switzerland show supra-regional parallels with finds from other parts of Europe. The aim of this article is to present the most important Swiss finds in a broader European geographical context.
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Bragina, Natalia, and Vladislav Stepanov. "PHILOSOPHICAL INTERPRETATION OF SYMBOLISM OF ČIURLIONIS’ PAINTINGS." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 4 (May 25, 2018): 360–71. http://dx.doi.org/10.17770/sie2018vol1.3196.
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The art of M.-K. Čiurlionis is unique and at the same time emblematic of the culture of the art nouveau period. A deep connection of his art to Lithuanian folklore was combined with his fascination with European philosophical trends of the turn of the 19th - 20th centuries. The aim of this article is to identify the cross-cutting themes (leitmotifs) in the artist’s works and, with the help of this, to reveal the philosophical basis of his works. The methods of research are the study and analysis of both individual Čiurlionis’ paintings and his artistic production in general, as well as the analysis of the literature devoted to his works. As the result, two groups of leitmotifs were identified in the Čiurlionis’ paintings: a) figurative themes; and b) non-figurative themes (up to complete abstraction). Analysis of the meanings of these themes and of their influence on the content of the paintings shows that concrete figurative images (themes of kings, bird, hand, and castle) are associated with Lithuanian folklore. Semi-abstract and abstract images (chaos, glance, gesture, and beauty) reveal the connection between the art of Čiurlionis and European philosophy, from Plato's ideas to Nietzscheism and mystic-visionary movements of the early 20th century. Revealing the philosophical basis of his paintings makes it possible to simultaneously review the artist’s entire work in the context of culture of art nouveau, understand this culture more deeply, and thus get a better understanding of some important phenomena of our time.
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Portnova, Tatiana V. "ARCHITECTURAL SPACE IN DANCE AS AN ARTISTIC AND FIGURATIVE SYSTEM." Scientific and analytical journal Burganov House. The space of culture 17, no. 4 (November 10, 2021): 79–90. http://dx.doi.org/10.36340/2071-6818-2021-17-4-79-90.
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The study examines the expressive means of dance and architecture, establishes common and specific areas in the nature of their artistic language, identifies the extent of interaction between architectural principles with dance dramaturgy and choreographic composition, and analyzes examples of interpretation of dance production solutions in the architectural space. Through a simultaneous review, the author examines the expressive means of dance and architecture, establishing the common and the specific in the expressive and pictorial nature of their artistic language. The focus is on identifying the degree of influence of architectural principles on the dance drama, choreographic composition, and the reverse impact. The analysis provides examples of the interpretation of dance staging solutions in the architectural space, including innovative modern practices of the 20th‑21st centuries. The artistic and imaginative metamorphoses of staged choreographic solutions occurring in different kinds of architectural spaces are considered. Starting with the perspectivism of the scenery on the stage and the light architecture of the 18th century, the author moves on to the monumental construction of the large stage performance of the 19th century and concludes with the choreographic experiments of the early 20th century. The article points out that modern times offer the most curious design solutions. There are examples of bold, original methods of interaction between choreography and architecture: dances are staged directly in the interiors of buildings, bypassing the traditional stage platform. The implied idea of human movement in space, encompassing the viewer, appears here because of successively changing impressions. Finally, the author explores the directorial approach, where the choreography itself masters and constructs the architecture, helping the viewer to perceive themselves as if within its own spatial structure. This peculiar artistic and visual synthesis appears in the dynamics of genre and style of the author’s stage context. The study of the specifics of ballet as a dramatic phenomenon seems to be a fundamental research task, because, more than any other theatrics genre, it is the ballet that provided extremely diversified artistic samples of space and stage creativity in the heritage of the 20th century, and probably, will continue to do so in the 21st. The question of dance interpretation in the architectural space is a significant independent subject of research in connection with the structure and evolution of the artistic image in contemporary choreographic art. Against the background of postmodernist modern style trends as a global creative principle of post-culture, this topic includes broad general aesthetic associations. It is vital to the understanding of the artistic process in contemporary art in general.
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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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Zotkina, L. V., B. S. Bobomulloev, A. K. Solodeynikov, I. V. Abolonkova, S. V. Shnayder, and N. N. Sayfuloev. "New Data on the Rock Paintings of Eastern Pamir." Vestnik NSU. Series: History and Philology 21, no. 3 (March 21, 2022): 60–72. http://dx.doi.org/10.25205/1818-7919-2022-21-3-60-72.
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Purpose. Until recently, it was thought that colonization of the highlands of Pamir by humans had started in the early Holocene. But some recent investigations, especially dating of well-stratified archeological sites such as Istyk cave, demonstrate that humans appeared in the region in the late Pleistocene period. One of the important pieces of evidence of humankind's presence in an area all around the world is the rock art. Despite that there are no direct comparisons to rock art of East Pamir, V. A. Ranov considered rock art sites of Shakhty, Kurteke and Nayzatash belonging to the Stone Age.Results. We started redocumenting known rock art sites, using our experience and new technological approaches, which was beyond reach for V. A. Ranov and other investigators of 20th century. Also, some new rock art locations were found in the same area, and they gave us quite different graphical representations than those that were discovered in the middle of 20th century. One of the most urgent problems to solve for us is finding parallels to zoomorphic depictions and to the non-figurative ones in nearby regions and in other areas of rock art distribution. And still, we obviously know just a few samples of rock art varieties that existed in the East Pamir. Some of them were ruined due to natural factors, some of them could still be waiting to be discovered.Conclusion. So far, we are just in the beginning of the next stage of investigation of the East Pamir rock art and archeological remains as evidence of human presence in the region.
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Morozova, Ekaterina V., and Аnzhela V. Shcherbakova. "Evolution of folk art motifs in domestic printed textiles of the 40–60s of the 20th century." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 63 (2022): 332–47. http://dx.doi.org/10.37816/2073-9567-2022-63-332-347.
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The paper deals with design features of drawings using motifs of folk art at domestic enterprises producing printed textiles. Domestic textiles of the post-war years may be roughly divided into three periods. The patterns of the first post-war years and the beginning of the 1950s keep a stylistic unity with the pre-war period. Most of the drawings associated from our perspective with the image of the 60s were created in a rather short period of 1956–1965 and expressed themselves in bright rich ornaments. In the last four years, there has been a gradual evolution of textile patterns towards the organic plastics of Art Nouveau and “refinement” of forms, which create uniform filling of the fabric`s plane. The restoration of the textile industry began even before the end of the war. Since 1944, the unaffected enterprises resumed producing printed textiles for the population. In the first post-war years, drawings with the use of folk motifs most often represented an imitation of embroidery and weaving. The end of the 1950s and the beginning of the 1960s came to be a time of radical changes in a social and political life of the USSR. The artistic design of textiles comes under the influence of ideas of “international style”, the experimental search for unofficial art of the time, and international contacts. The motifs of folk art receive a figurative and emotional interpretation.
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Dyadyk, Natalia. "Art of the second half of XX — early XXI centuries as visual philosophy." Socium i vlast 4 (2021): 95–106. http://dx.doi.org/10.22394/1996-0522-2021-1-95-106.
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Introduction. The article is focused on studying the area of intersection of contemporary art and philosophy, it is a continuation of the research project on conceptual art and its intersection with philosophy, which we started earlier. By conceptual art, we mean art aimed at intellectual comprehension of what has been seen, art that appeals to thinking and generates philosophical meanings. But if earlier we explored conceptual cinema and mainly visual art of the early 20th century, then in this article we want to turn to the visual art of the second half of the 20th century — the beginning of the 21st century, which is also called contemporary art by art critics. The empirical material of the study was the works of such contemporary artists as E. Warhol, D. Koons, D. Hirst, J. Ono, F. Bacon, I. Kabakov, D. Kossuth, the movement of “new realists” and photorealists, the movement of Moscow conceptualists and etc. Contemporary art is one of the ways of understanding the world, visual philosophy, which is of interest for philosophical understanding. The purpose of the article is to conduct a philosophical analysis of visual art of the second half of the 20th — early 21st I centuries in order to identify its philosophical sources and content. Methods. The author uses the following general scientific methods: analysis and synthesis, induction, deduction, abstraction. When analyzing works of conceptual art, we use hermeneutic and phenomenological methods, a semiotic approach. We also use the symbolic-contextual method of analyzing exhibition concepts, which is based on identifying the philosophical meanings and ideas of exhibitions of contemporary art. Scientific novelty of the study. We regard contemporary art as a visual philosophy. Philosophizing, in our opinion, can exist in various forms and forms from everyday practical (the so-called naive philosophizing) to artistic-figurative, that is, visual. Philosophical ideas or concepts are born not only from professional thinkers, but also from artists. The artistic concepts of contemporary artists are similar to the concepts of philosophers, since the goal of both is to cognize the world and grasp being. We find and describe the area of intersection of modern philosophy and contemporary art, each of which is in a situation of crisis separately and continuous dialogue together. Results. In the course of our research, we identify and describe the philosophical origins of visual art in the second half of the twentieth century - early twenty-first century: postmodern philosophical consciousness, conceptualism, the idea of “death of the author” and “death of art”, simulacrum, kitsch and camp, the method of deconstruction and its application in modern art. Conclusions. Visual art of the second half of the 20th century — early 21st century is a visual form of philosophical questioning about the essence of art itself, about the existence of a person and being in general. The works of contemporary artists are based on philosophical problems: meaning, speech and meaning, the ratio of the rational and the irrational, the problem of abandonment and loneliness of a person, the problem of the “death of the author” and the alienation of the creator from his work, the idea of the impossibility of objective knowledge of reality.
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Gracheva, Svetlana M. "Portrait in Contemporary Russian Painting in the Context of World Art: A Typology of the Genre." Vestnik of Saint Petersburg University. Arts 11, no. 4 (2021): 636–48. http://dx.doi.org/10.21638/spbu15.2021.404.
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In Russian fine art, portrait painting has been traditionally distinguished by extraordinary variety and depth, reflecting the figurative and stylistic searches of artists of different periods. Russian art historians have comprehensively studied the portrait genre in the history of art. At the same time, the well-established classification of genres does not allow to take into account completely the variety of trends and approaches to the depiction of a person in contemporary art. The understanding of the portrait genre’s boundaries in contemporary art is extremely blurred. Sometimes it means either any image of a person, or even the absence of one at all. It appears essential and important to consider the work of Russian artists in the context of international visual art practices to compose a more holistic picture connected with general cultural development. The article proposes to expand the established typology of the portrait genre adopted in Russian art. The already well-known typology of portrait painting can be updated with other types of portrait based on the semantic and semiotic analysis of artistic works of the late 20th — 21st century. It is important to study contemporary Russian portrait painting from the perspective of a variety of typological models, and to use the new language of contemporary art history to understand the processes taking place in Russian painting of the late 20th — 21st century, in order to facilitate the entry of Russian art into the international cultural context. An idea has been matured to create a National Portrait Gallery in Russia which would collect portraits and self-portraits of the greatest personalities of our era in a real and virtual space.
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Mingalyov, Pavlo. "Evolution of piano miniature in the early 20th century (exemplified by V. Rebikov's piano work)." Ukrainian musicology 46 (October 27, 2020): 152–65. http://dx.doi.org/10.31318/0130-5298.2020.46.234614.
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Relevance of the study. One of the features of the piano music of the early 20th century is traditions overcoming of the romantic style and search for opportunities to go beyond it. Numerous composers of a new generation have experimented with musical language, form and phonic visualization. At the same time, the genre of musical miniature did not lose its relevance, on the contrary, it became one of those piano genres where many musical innovations were tested. The study of piano miniature allows us to consider the evolution of small forms in piano music, the process of style and genre transformation, a gradual transition from the established romantic tradition (including the national one) to a new era, marked by the search for contemporary expressive means. The work study of V. Rebikov, an innovative composer who wrote more than 30 cycles of piano pieces and who made a significant contribution to the development of small forms of piano music, is an important stage on the way to a comprehensive understanding of the musical art evolution of the 20th century. Numerous ideas that were tested in his works found their development in the music of next generations of composers and still remain instant and modern. The study of some of V. Rebikov's miniatures key-cycles, which were important stages in the formation of the unique image of the composer, in the context of the figurative and stylistic genesis trends in the art of the first third of the 20th century, allows, with some assumptions, talk about his work as an example of stylistic and harmonic transformations of their time. Main objective of the study is to identify the fundamental elements of V. Rebikov composer's style, which are manifested in his piano works of small forms, in the context of the patterns development of piano miniature at the beginning of the 20th century. The methodological baseline is the methods of historical, systemic, harmonic, style and performance analysis. Results and Conclusions. Analysis of V. Rebikov's musical heritage, as well as of other composers who did not gain great popularity at their time, proved that there are no composers, whose work can be dispensed with, setting the task of identifying the historical stages in the deve-lopment of musical art, since the value of a particular contribution is determined and will be determined by future generations. Therefore, the study of the work of all composers of the early 20th century is necessary for understanding historical formation of musical art, including piano, as well as for identifying the origins and principles that fed the music of the 20th and early 21st centuries.
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Kolisnyk, Oleksandra, and Solomiia Ohanesian. "ICONIC AND SYMBOLIC ASPECT IN TRADEMARKS OF THE LATE 19th AND EARLY 20th CENTURIES." CULTURE AND ARTS IN THE MODERN WORLD, no. 22 (June 30, 2021): 212–22. http://dx.doi.org/10.31866/2410-1915.22.2021.235916.
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The purpose of the study is to identify the possibilities of visual symbolism in the creation of a company image using a logo in the late 19th and early 20th centuries. Research Methodology. The historical, historical-comparative, analytical methods were used to conduct the research; art history methods — formal, figurative-stylistic, semantic analysis — were used to identify the figurative and symbolic language of the company’s logos late 19th – early 20th centuries. Conclusions. Based on the analysis of the works of foreign and national scientists of the 20th century, the symbol and mark are characterised as means of expressing the phenomenon essence, and the existing classifications of symbols are considered. The logos used in the late 19th – early 20th centuries in the world practice and on the Ukraine territory are analysed. The example of the Prudential Financial insurance company (the USA) shows that the use of a symbolic element remained unchanged in the process of its changes during 1860–1996. On the example of the trademarks of Ukrainian enterprises — the Ernst Mehlhose Agricultural Machinery Plant (1874–1923), the F. V. Alsop in Kharkiv enterprise, Luhansk Textile Mill (1904–2001), Kyiv Contract Fair (1797–1930) — the methods of visual identification are considered, the artistic means are determined; the comparative analysis is carried out. It is established that the image of the rock in the structure of the American company logo is a symbol of strength and security and appeals to its main characteristics. It is determined that in the means of visual identification of Ukrainian enterprises of the late 19th – early 20th centuries, there is a tendency to express clearly the company specialisation through realistic images of architectural buildings that belonged to them or produced products, as well as ordinary names with moderate artistic design.
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Rosado-García, María Jesús, Renata Kubus, and María Jesús García-García. "The Artistic Vanguards and the Bridges: Innovation and Transversality of Engineering and Other Arts." Pertanika Journal of Social Sciences and Humanities 30, no. 4 (December 15, 2022): 2037–58. http://dx.doi.org/10.47836/pjssh.30.4.29.
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This article critically reviews the development of painting art and the engineering of bridges in the first half of the 20th century. It shows that the expression of thought is directed towards innovation at a certain historical moment and non-imitation as a professional ethos. The vision is articulated through a multilevel perspective, including the social shaping of technology. The different milestones are chronologically compared following the Artistic Vanguards. It is shown that there was an accumulation of radical, disruptive innovation in the period between the World Wars. New tools to develop creativity were sought, and new figurative solutions and materials, such as concrete for bridge construction, began to be employed. The impressionist Monet and Eiffel and the cubist Picasso and Ribera deeply comprehended the previous techniques and dared to challenge them. The transversality of art and engineering is key to the innovation process.
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Linden, Diana L. "Modern? American? Jew? Museums and Exhibitions of Ben Shahn's Late Paintings." Prospects 30 (October 2005): 665–84. http://dx.doi.org/10.1017/s0361233300002222.
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The year 1998 marked the centennial of the birth of artist Ben Shahn (1898–1969). Coupled with the approach of the millennium, which many museums celebrated by surveying the cultural production of the 20th century, the centennial offered the perfect opportunity to mount a major exhibition of Shahn's work (the last comprehensive exhibition had taken place at the Jewish Museum in New York City in 1976). The moment was also propitious because a renewed interest in narrative, figurative art, and political art encouraged scholarly and popular appreciation of Ben Shahn, whose reputation within the history of American art had been eclipsed for many decades by the attention given to the abstract expressionists. The Jewish Museum responded in 1998 with Common Man, Mythic Vision: The Paintings of Ben Shahn, organized by the Museum's curator Susan Chevlowe, with abstract expressionism scholar Stephen Polcari (Figure 1). The exhibition traveled to the Allentown Art Museum in Pennsylvania and closed at the Detroit Institute of Arts in 1999.Smaller Shahn exhibitions then in the planning stages (although not scheduled to open during the centennial year) were to focus on selected aspects of Shahn's oeuvre: the Fogg Museum was to present his little-known New York City photographs of the 1930s in relationship to his paintings, and the Jersey City Museum intended to exhibit his career-launching series, The Passion of Sacco and Vanzetti (1931–32). Knowing this, Chevlowe smartly chose to focus on the later years of Shahn's career and on his lesser-known easel paintings of the post-World War II era. In so doing, Chevlowe challenged viewers to expand their understanding both of the artist and his place in 20th-century American art.
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Castagnaro, Alessandro. "Infrastructural Systems toward the Valorisation of the History of Architecture: The Case of the Metro-Art in Naples." Advanced Engineering Forum 11 (June 2014): 508–13. http://dx.doi.org/10.4028/www.scientific.net/aef.11.508.
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Since the Industrial Revolution, cities have changed their identity and the transport systems have produced a strong impact, rather than on their social-anthropological character, on the morphology of the urban pattern and on the development of the vertical dimension of the architectural volumes.This mutation leads, among other things, to a significant transformations in the transition between the 19th and 20th centuries, according to the transition between the historicist eclecticism of previous centuries and the new deal of the belle époque. Paradigmatic and representative of the century are the underground stations built in Vienna and Paris.The case, related to the contemporary, is Naples where the metro-art stations, unlike what happened before, have the dual characteristic of being different from one another- so to provide an extensive collection of contemporary architecture being part of a culture that includes the evolution of taste and the same behaviour of doing and enjoying art.A system born as transport engineering becomes today “Transit Museum” with the study of urban history from archeology to architecture and figurative art.
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Klymenko, M. "Alexander Archipenko: Artistic and Aesthetic Principles of the European Avant-garde Epoch." Vìsnik Harkìvsʹkoi deržavnoi akademìi dizajnu ì mistectv 2021, no. 1 (February 2021): 69–76. http://dx.doi.org/10.33625/visnik2021.01.069.
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The paradigm formation of Alexander Archipenko’s art (1887–1964) in the context of the European avant-garde was analyzed in the article. The study examined the historiography of the 20th century artistic movement from Cubism, Futurism to Expressionism. The author analyzed the sculptor’s conceptual connection with innovations of the period and underlined the main philo-sophical principles of the epoch, and their impact on the formation of the artist’s figurative plastic concepts. The focus was made on the accumulation of the universal cultural experience of the European avant-garde in the process of Alexander Archipenko’s personality formation. The social and cultural factors of the sculptor’s personality formation were traced. The sculptor’s phenomenon is inseparable from the conglomeration of the European avant-garde thoughts. The sublimity of the intellectual resource development of the period was the driving force in the formation of Alexander Archipenko’s innovation. The author of the present study analyzed the main cultural and artistic groups of the epoch, and revealed Archipenko’s direct participation in them. Archipenko, the inventor of the experimental space, showed the way to sculptors of the 20th century. The sculptor’s philosophic line was projected into multicultural and anthropological dimension. The consolidation of general experience of the existence is embodied in the sculptor’s seeking strategies. Archipenko’s methodology development passed through the multicultural synthesis of the world’s ancient experience. There was a certain inspiration by mythological, ritual and historical prototypes as well. The artist’s semantic field had the only basis where new variations of the form and content arose from. The synthesis of artistic, aesthetic and philosophical principles of European avant-garde in Alexander Archipenko’s art contributed to the formation of the ethno-national basis of his art.
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Gvantseladze, Anna. "Comparisons in works of fiction of Turkish writers of the XX century." Vìsnik Marìupolʹsʹkogo deržavnogo unìversitetu. Serìâ: Fìlologìâ 13, no. 22 (2020): 122–30. http://dx.doi.org/10.34079/2226-3055-2020-13-22-122-130.
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The paper deals with comparison constructions of the Turkish language on the base of works of fiction of Turkish writers of the 20th century. Reflecting figurative (simile) and non-figurative (correlation between qualitative and quantitative characteristics of two objects) collation of two or more objects comparisons in the Turkish language are examined from the lexico-semantic point of view and though their syntactic role in the sentence. Comparison remains a relevant and interesting topic of research despite the large number of works. It is a mean, a way of investigation and knowing of reality when unknown object is collated with the well-known one. Comparison may be represented as an act and a result at once. As the act of knowing reality comparison, represents such stages of exploration of the real world as identification of an object, its correlation with already known categories and groups of objects, definition of common features and juxtaposition of their intensity for further classification of the object explored. While resembling the result of act of cognition comparison demonstrates the degree of manifestation of a particular feature on a scale from complete identity to absolute difference. As an act of logical operation comparison consists of four elements, having different nominations in research works, they resemble object that is compared, object to which something is compared with, ground of comparison (some common feature for both objects) and result of comparison that describes identity, resemblance or distinctions between objects. Since logical operations of world’s investigation find reflection in language as a linguistic category comparison also has four elements in its structure. According to the lexico-semantic group of object and subject of comparison, Turkish comparisons may be divided on such groups as human-human, human-animal, nature-human. Comparisons are mostly used to express nature, human’s appearance or character, size of items, to make some estimation, to describe the way something is happening like or to resemble someone’s condition. Turkish works of fiction use both figurative comparison (simile) and non-figurative comparison. The syntactic role of comparison in a sentence depends on which member of the sentence the comparative part of the comparative construction belongs to. Mostly, comparisons act as attribute or adverbial modifier of manner, but also may act as predicate or grammatical object.
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Radaeva, E. A. "Traditions of German Expressionism in the Cinematography of the Second Half of the 20th – Early 21st Centuries." Concept: philosophy, religion, culture 6, no. 3 (September 27, 2022): 156–70. http://dx.doi.org/10.24833/2541-8831-2022-3-23-156-170.
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The subject of this study is the influence of the traditions of German expressionism on modern cinema, primarily the horror genre. The relevance of this work is due to the need to study the genesis of modern trends in one of the most popular types of art and its popular genres in the context of cultural history in terms of allusions and reminiscences, traditions and innovation. In order to prove that the traditions of expressionism are clearly traced to this day and promise to be quite productive in the long run, as well as to trace the nature of their presence in the history of the film industry, in line with the culturological approach, the method of comparative historical and historical situational analysis, as well as content analysis was mainly used regarding cinematography of the period under consideration. The scientific novelty of the work lies in the very prism of the study and its object — the films of 2021–2022 were considered in terms of traditions of expressionist aesthetics; in addition, the article presents a slightly different view on the masterpieces that have become classics of the cinema of the 20th century. As a result, it was revealed that the expressionist concept of man and the world is strong in the artistic world of cinema art of this period. The methods of German filmmakers of the beginning of the previous century were continued in a somewhat modified form at the level of the play of light and shadow, framing, the figurative system itself (vampires, homunculi, ghosts), mechanistic acting, sinister paraphernalia, and deceitful details. The common denominator of foreign and domestic films of all the genres and subgenres considered in the article was the use of a special musical setting — music that originates from the new Viennese school (in other words, musical expressionism), which also confirms the theory put forward.
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Zharkova, Valeriya, Tymur Ivannikov, Tetiana Filatova, Oleksandr Zharkov, and Olena Antonova. "Choral Music by Samuel Barber: Genre and Style Aspects." Studia Universitatis Babeş-Bolyai Musica 67, Special Issue 1 (July 8, 2022): 63–77. http://dx.doi.org/10.24193/subbmusica.2022.spiss1.05.
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"The article is devoted to the research of choral music by Samuel Barber who was a 20th-century American composer. The research is carried out in terms of its genre and style diversity. It represents the historical stages of turning to choral art. The compositions are differentiated by voice composition into a cappella choirs and choirs with instrumental accompaniment. The orchestral scores are analyzed through the interaction of the poetic text and musical intonation taken into consideration. The figurative and semantic shades of religious and secular origin poems are discovered, the relationship between the music and ancient genres is revealed: Gregorian monodies, antiphons, plain chants, motets, madrigals, Easter hymns. The substantive music aspects are researched as projected on the historical genesis and synthesis of stylistic phenomena of different nature. It is researched how much the elements of medieval, renaissance, baroque, romantic and modern musical vocabulary influence the integral system of choral composition artistic means. Keywords: choral music, Samuel Barber, genre traditions, style aspects, chants, motets, madrigals. "
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Davydova, Kateryna Oleksandrivna. "Thematic analysis of scientific publications dedicated to the development of a greeting card in the context of its historical and socio-cultural." Theory and practice of design, no. 25 (June 28, 2022): 202–9. http://dx.doi.org/10.18372/2415-8151.25.16797.
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The purpose. To carry out a thematic review of scientific works published in recent years and devoted to the emergence and historical development of the postcard greeting card of the late nineteenth — early twentieth century in the context of its historical and socio-cultural development.The research methodology. The article uses well-known art methods: historical-cultural, historical-attribute, which cover the process of formation of a greeting card from the standpoint of socio-cultural and historical heritage, and not only from the standpoint of information, contribute to the evolution and figurative transformation of the greeting card. chronological order. Along with this, general scientific methods are used: comparative, analysis, synthesis, monitoring, systematization, statistical, historical and chronological, which allows scientists to analyze the communicative, philological component, to reveal the collection and classification of postcards. Based on this, we gain additional knowledge about the object of study.The results. A thematic review of scientific works published in recent years and devoted to the emergence and historical development of the postal greeting card of the end of the 19th — beginning of the 20th century in the context of its historical and socio-cultural development was conducted. The problems, content and main ideas of scientific publications are considered, in which scientists conduct an analysis of the communicative and philological component, reveal the issue of collecting and classifying postcards, highlight the process of creating a postal greeting card from the standpoint of socio-cultural and historical heritage, and not only from the standpoint of a means of transmission information.An overview of the directions of scientific research on postcards of the end of the 19th and the beginning of the 20th centuries was carried out. The authors of scientific works, for the most part, consider the history of the origin and formation of the greeting card (historical component), consider the postcard as one of the currents of fine art, in the context of studying the socio-cultural development of the corresponding historical period of time, propose methods of classification and attribution of postcards, considering the postcard from the point of view collecting, offering their approaches to exhibiting collectible collections of postcards by thematic areas. The article also includes scientific publications by authors who researched not only the front side of the postcard, which contains an artistic (graphic) image, but also the reverse side, which contains the text, postmarks, country of origin, dates of dispatch (production), etc. Attention is focused on the work, where the author for the first time carried out an analysis of the main directions of using the texts of open letters and developed methodical recommendations for their study.As a result of research, it was established that the majority of modern scientific works, articles and other publications on a certain topic belong to Russian scientists. The Ukrainian greeting card as an object of study of the phenomenon of graphic art remains out of the attention of domestic researchers, especially in the context of design. This requires further art studies of the peculiarities of the design of the domestic postal greeting card of the end of the 19th and the beginning of the 20th centuries from the standpoint of figurative, stylistic and cultural potential.Scientific novelty. Is to consider the issues, content and main ideas of scientific publications, in which scientists analyze the communicative, philological component, reveal the collection and classification of postcards, highlight the process of creating a greeting card from the standpoint of socio-cultural and historical heritage, not just means of transmitting information.Practical significance. Dissertation research can serve as a basis for practical work with postcard funds in departments of libraries, archives and museums; for the development of methodological recommendations aimed at improving the modern practice of publishing art postcards; while reading courses on the history of Ukrainian art of the end of the 11th and beginning of the 20th centuries, as well as preparing a general monographic study on the Ukrainian art postcard.
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Ivannikova, Irina. "The Revival of Tajik Jewellery or The Birth of a Myth?" Oriental Courier, no. 1 (2022): 70. http://dx.doi.org/10.18254/s268684310021367-1.
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The paper focuses on the attempt made in the last decades of the Soviet government to revive the traditional jewelry art in Tajikistan. The state of traditional jewelry art in the republic during the years of Soviet power and, in particular, at the end of the third quarter of the 20th century, is assessed. The creative path of the artists who have become folk craftsmen is described as well as the philosophical concept of the ‘Three weddings’ created by them. It is, on the one hand, an experience of comprehending their artistic creativity, explaining the symbolism of a work of jewelry art, and, on the other hand, the application of this experience to various stages of a person’s life path. The connection between different groups of Tajik jewelry and age gradations that existed in the traditional Tajik society is explained. An interpretation of some symbols that are figurative, color, and numerological, which are used in the works of traditional jewelry art, is given. An essay written in the mid-1990s is incorporated in the paper, being the first exposition of the concept of the ‘Three Weddings’. It gives a description of different groups of traditional Tajik women’s jewelry — amulets, bracelets, necklaces, etc., described in parallel in their traditional and modern forms. It compares how traditional and modern jewelry created within the same jewelry tradition can be perceived.
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Zavyalova, Anna E. "Alexandre Dumas’s Works in the Art of Alexandre Benois." Observatory of Culture 16, no. 2 (July 5, 2019): 184–95. http://dx.doi.org/10.25281/2072-3156-2019-16-2-184-195.
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The article studies the problem of interpretation of literary source in visual creative work of A.N. Benois. There are identified and analyzed new sources of his works — historical novels by A. Dumas, père. The question about the role of the novels by Alexandre Dumas devoted to the history of France of the 17th and 18th centuries in creative work of Alexandre Benois has never become the object of research. The relevance of this article is determined by this fact. The scientific novelty of this article lies in revealing new literary sources of creative work of A. Benois — Dumas’s novels “Joseph Balsamo (Doctor’s Notes)” (1846—1848), “Louis XIV and his Century” (1844), “Louis XV and his Epoch” (1849) — and determining parallels between them and art practice of the artist: painting, graphics and art of book. The author analyses content of the artist’s memories, his literary works, diaries, as well as diaries by E. Lanceray, and complements these information details by a comparative textological analysis of Benois’s memoirs and Dumas’s novels in Russian translations. This method allows to deepen the formal analysis of A. Benois’s works (primarily the two Versailles series) and partially reveal the mechanism of complex figurative synthesis in the artistic consciousness at the turn of the 19th—20th centuries, on the basis of which they were created, to expand the existing perceptions about the literary sources of the artist’s creative work. The author concludes that the novels by Dumas “Joseph Balsamo”, “Louis XIV and his Century” had an influence on the artist’s perception of the theme of court culture and Versailles in the historical, cultural and natural aspects. It was reflected in the appeal to the plot of “fish feeding” in the late 1890s, in the formation of the images of Versailles and King Louis XIV in old age. The article also finds that the novel “Joseph Balsamo” had an influence on Benois’s creation of Trianon’s everyday image in the past. At the same time, the artist turned to the interpretation of the image of Marquise de Pompadour as “sultana” under the influence of Dumas’s novel “Louis XV and his Epoch”. In addition, the three musketeers — characters of Dumas’s novel with the same name — are placed in the drawing of the title page of Benois’s “Versailles” album. It is important that it does not come about direct illustration of the novels, but about an artistic process of creating a figurative system of images and forming the artist’s stylistics.
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Oktaviana, Adhi Agus, Peter Van Lape, and Marlon NR Ririmasse. "Recent Rock Art Research on East Seram, Maluku: A key site in the rock art of West Papua and South East Maluku." Kapata Arkeologi 14, no. 2 (December 31, 2018): 135. http://dx.doi.org/10.24832/kapata.v14i2.534.
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Gambar cadas di Indonesia mulai diteliti sejak sebelum abad 20. Sejumlah publikasi ilmiah sebelumnya mencatat keberadaan situs gambar cadas di Pulau Seram, Provinsi Maluku yaitu di tebing Sawai dan Sungai Tala. Survei arkeologi terkini di kawasan Seram Timur dan Seram Laut yang dilakukan oleh gabungan Tim Peneliti Indonesian-American berhasil menemukan Situs gambar cadas baru di pesisir Seram Timur. gambar cadas ini terlukiskan di permukaan dinding tebing bernama lokal tebing Watu Sika. Gambar cadas di Situs Watu Sika tampak mirip dengan sejumlah situs gambar cadas lainnya di Indonesia Timur yang sebagian besar terlukis di dinding tebing karst sepanjang wilayah pesisir. Penelitian ini menggunakan metode perekaman verbal dan piktorial dibantu aplikasi Dstretch untuk memperjelas gambar-gambar agar mudah diidentifikasi. Penelitian ini menganalisis sejumlah pola figuratif dan non figuratif pada motif-motif gambar cadas di Situs Watu Sika. Hasil identifikasi terhadap sejumlah motif gambar cadas di situs ini diketahui terdapat motif gambar cadas berbentuk figur manusia, hewan, ikan, perahu, hand stencils negatif, dan pola geometris. Penelitian ini juga membahas analisis latar belakang konteks sosial terhadap tradisi gambar cadas di wilayah sekitarnya, yaitu wilayah Laut Banda. Berdasarkan jaringan persebaran temuan gambar cadas di Indonesia Timur, maka menghasilkan pengetahuan baru bahwa analisis data sementara ini menunjukkan Situs Watu Sika merupakan kunci penghubung jalur persebaran gambar cadas yang berasal dari wilayah barat ke dua jalur, pertama jalur ke arah Timur Laut, yaitu wilayah Papua dan Jalur ke Selatan, yaitu ke arah Kepulauan di sekitar Laut Banda.Rock art in Indonesia has been investigated before the 20th century. A number of previous scientific publications noted the existence of rock art sites on Seram Island, Maluku Province, which was on the cliff of Sawai and Tala River. Recent archaeological surveys in the area of East Seram and Seram Laut conducted by a joint Indonesian-American Research Team discovered a new rock art site in the coast of East Seram. The rock art is painted on the cliff wall which is called by the locals as Watu Sika. Rock art on the Watu Sika Site is similar to a number of rock art at other sites in Eastern Indonesia which were mostly painted on karstic cliffs along the coast. This study used verbal and pictorial recording methods using the Dstretch application to clarify images to support identification. This study analyzed a number of figurative and non-figurative patterns of rock art motifs at Watu Sika Site. The results of the identification of a number of rock art motifs on this site show that there are several patterns including figures of human, animal, fish, boats, negative hand stencils, and geometric patterns. This study also discussed an analysis of the social context background of rock art tradition in the surrounding region, particularly at the Banda Sea region. Based on the distribution network of rock art findings in eastern Indonesia, new insights are generated that this interim data analysis show that Watu Sika Site is the key to connecting the distribution path of rock art originating from the western region into two lanes. The first lane to the Northeast, which is the Papua region and South Lane, expanding towards the Islands around the Banda Sea.
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Yuzmukhametova, L. N., V. R. Amineva, and R. R. Nurmieva. "Genre and Stylistic Search of Vanguard Lyrics." Journal of Educational and Social Research 9, no. 3 (September 1, 2019): 139–44. http://dx.doi.org/10.2478/jesr-2019-0031.
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Abstract In works of the Tatar poet R. Gatash the leading trends of national historical-literary process of the 1960-1980th were shown. The poet uses within one work mythopoetic language, tracks and an esthetics of “simple” [not stylistic] word which enter among themselves the dialogical relations. In this regard there is a need to consider various options of mutual illumination of different stage languages and the related ways of art completeness on the example of concrete works. The topicality of the conducted research is defined by need of theoretical judgment of the art and esthetic nature of nonclassical type of an art ensemble in relation to the Tatar literature of the 2nd half of the 20th century. In the solution of objectives using of a system and structural method is supposed. The works of domestic and foreign scientists devoted to problems of postmodernism and nonclassical type of an art ensemble had an impact on the concept of the conducted research. On the basis of the carried-out analysis different options of mutual illumination of different stage languages are allocated: mythological, conditional and poetic and “simple” word. It is established that the mythopoetic language and language of ladders which are going back to national poetry are exposed to internal transformations, becoming more difficult, individual and unpredictable. The conclusion is drawn on compliance to different figurative languages of various genre and semantic orientations and on formation in the poet’s works of a subject situation characteristic of nonclassical poetics.
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Reyf, I. E. "Reflections on the Magic of Artistic Discourse." Cultural-Historical Psychology 17, no. 1 (2021): 124–31. http://dx.doi.org/10.17759/chp.2021170116.
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The discovery of the functional asymmetry of the brain's hemispheres is one of the greatest achievements in the field of psychology in late 20th century. In this context, artistic perception is considered in "Reflections on the Magic of Artistic Discourse". This essay accords particular attention to the interrelationship and antinomy of logical (left hemisphere) and figurative (right hemisphere) thinking. Thus, while the former posits a simplified, schematic model of reality, the latter perceives reality in all its complex polysemy and contradictoriness. It must be noted that these contradictions coexist without canceling each other out. This is the foundation of almost all literary fiction with its ambivalence, metaphoric language, implicitness, levels of connotation and play of meaning. It is well known that a thought uttered directly destroys the esthetic effect of a work of art whereas «a complicated artistic structure, created from the material of language, allows us to transmit a volume of information too great to be transmitted by an elementary, strictly linguistic structure» (Yu. Lotman). However, this kind of information is special and cannot be broken down into categories or reduced to a binary logical or black-and-white outline. It would, therefore, not be an exaggeration to say that all the devices used in a work of art undermine left hemisphere thought, loosening intellectual control over the text's metaphoric constituents. By using a series of examples to demonstrate the manner in which an artistic text functions and takes possession of the reader's attention, feelings and will, the author draws a parallel between artistic and hypnotic impact.The discovery of the functional asymmetry of the brain's hemispheres is one of the greatest achievements in the field of psychology in late 20th century. In this context, artistic perception is considered in "Reflections on the Magic of Artistic Discourse". This essay accords particular attention to the interrelationship and antinomy of logical (left hemisphere) and figurative (right hemisphere) thinking. Thus, while the former posits a simplified, schematic model of reality, the latter perceives reality in all its complex polysemy and contradictoriness. It must be noted that these contradictions coexist without canceling each other out. This is the foundation of almost all literary fiction with its ambivalence, metaphoric language, implicitness, levels of connotation and play of meaning. It is well known that a thought uttered directly destroys the esthetic effect of a work of art whereas «a complicated artistic structure, created from the material of language, allows us to transmit a volume of information too great to be transmitted by an elementary, strictly linguistic structure» (Yu. Lotman). However, this kind of information is special and cannot be broken down into categories or reduced to a binary logical or black-and-white outline. It would, therefore, not be an exaggeration to say that all the devices used in a work of art undermine left hemisphere thought, loosening intellectual control over the text's metaphoric constituents. By using a series of examples to demonstrate the manner in which an artistic text functions and takes possession of the reader's attention, feelings and will, the author draws a parallel between artistic and hypnotic impact.
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Enina, Ivetta A. "ARTISTIC FEATURES OF THE NORTHERN “WHITE NIGHT” MOTIF IN THE LANDSCAPES OF ALEXANDER BORISOV AND LOUIS APOL." Scientific and analytical journal Burganov House. The space of culture 17, no. 5 (December 10, 2021): 77–87. http://dx.doi.org/10.36340/2071-6818-2021-17-5-77-87.
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The article examines the peculiarities of the color and light atmosphere of the phenomenon of white night in the Far North in the seascapes of the Russian and Northern European art. Attention is drawn to the period from the second third of the 19th century to the first quarter of the 20th century, when scientific and artistic exploration of the Arctic begins to take place on a regular basis. The article shows that the motive of the luminous night at the turn of the century appeared in connection with the appeal of artists to the study of natural contrasts of the Far North. Owing to the comprehending of the monotonous northern landscape, the palette of paintings was enriched with cold light shades of a lightair environment, the artists caught its special glow in the reflections in the water, ice floes and on the snow cover. The article mentions works of art by K. A. Korovin, V. A. Serov, V. V. Perepletchikov, N. V. Pinegin, A. A. Rylov and A. N. Benois, created during their participation in polar expeditions in late XIX and early XX centuries. Attention is drawn to the fact that the painters are branching out from marine pictorial art towards the study of special natural phenomena, such as images of light and dark polar nights, the northern lights, floating ice, fogs and snowy shores. It is carried out an art analysis and comparison of the works of the Russian “artist of eternal ice” Alexander Borisov and the Dutch “winter artist” Louis Apol, who were the first to depict such a phenomenon as a white night in the Far North. But their artistic interpretation of this phenomenon differs. A. Borisov perceives the North as a kind of “living” space in his own experience of figurative-symbolic comprehension of the world order, but at the same time does not lose touch with his realistic painting manner. And L. Apol impartially captures the surrounding nature, remaining in the principles of the features of compositional construction, which are characteristic of late romanticism. The European painter prefers muffled coloring, while on the canvas of the Russian artist, the paints literally ring and glow.
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Cooley, Kevin. "Past the End of the Catbus Line: Mushishi’s Apparitional Actants." Animation 14, no. 3 (November 2019): 178–90. http://dx.doi.org/10.1177/1746847719875034.
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After evaluating some of the limitations in the reception of Hayao Miyazaki’s films as advocacy for climate change reform, the author suggests the need for a new path in animation toward animating the nonhuman. He nominates the anime series Mushishi as the ideal trailblazer for a more ecologically sound and posthumanistically inclined future. Mushishi envisions a fairly realistic turn-of-the-20th-century Japan in which beings called ‘ mushi’, simple organisms that are neither plant nor animal nor Miyazaki-esque fantastic spirit, exist alongside small agrarian communities. Using Mushishi and its barely animated titular beings as a test case, he argues that animation’s allusory–illusory nature and depiction of nature can combat the central tenets of anthropocentrism, generating a visually figurative ontology in which humans and nonhuman animals, subjects and objects, and characters and landscapes are democratically leveled down to symbolic totems, all rendered unreal through the filter of cartooning.
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Villegas-Broncano, Maria A., and J. Alberto Durán-Suárez. "Historical and technical insight into the human motifs in the glass sculpture." Arte, Individuo y Sociedad 33, no. 2 (February 4, 2021): 589–604. http://dx.doi.org/10.5209/aris.69159.
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Although glass proto-sculptures were made with deep artistic value since the most remote times, in the late 19th century the glass sculpture was developed, and during the 20th century the Studio Glass Movement reached the maximum level of technical perfection and aesthetic variety. The scientific and technical glass knowledge contributed to achieve appropriate hot and cold working procedures, and the artists improved their designs and creations. This paper focuses on the binomial glass sculpture and human motifs. The historic evolution of the glass sculpture with human motifs is analyzed, taking into account the production techniques and the relationships between the glass work and the expression of the finished artwork. A set of sculptures and sculptors are shown as representative examples of the main historical periods in which the glass plays an important role in the sculpture scene. The human representation in the glass sculpture can be considered as a constant throughout centuries, even though it is not the most frequent creative or ornamental motif. Either figurative or abstract human references can be found, although the former are the majority. This tendency is also present in the contemporary Studio Glass Movement sculptures.
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Matijiv, Nikolay D. "Dialect lexicography of the Russian language at the beginning of the 21st century." Neophilology, no. 1 (2022): 30–42. http://dx.doi.org/10.20310/2587-6953-2022-8-1-30-42.
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We analyze the dialect lexicographic situation in Russia at the beginning of the 21st century: dictionaries of different genres are highlighted, publications of specific regions and districts are grouped, – both collective and individual works. In general, a brief systematic review of 87 (very large, large, medium and small) dialect lexicographic works is given. We note that the di-alectography of recent decades is represented mainly by traditional differential dictionaries, which differ from the literary standard, and less often by non-differential, full-type dictionaries; it has been supplemented with 9 thematic dictionaries; 5 – idiolect dictionaries; 2 dictionaries of dialect vernacular; motivational dictionary of subdialect; figurative units of dialect; emotional-evaluative vocabulary of dialects; 7 phraseological dictionaries of dialects. Of the 87 dictionaries, 4 are ongoing (unfinished) issues, volumes of works published since the second half of the 20th century; 11 are completed (published) dictionaries, work on which was started in the late 90s of the twentieth century; 65 are published editions from 2001 to 2021 (4 dictionaries of which were published decades after compilation, 2 are additions to previously published works, 10 dictionaries are corrected and supplemented; 7 continue to be published). New lexicographic works almost completely cover the map of Russian dialects.
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Bilyk, Nataliia L. "PARATEXTUALITY OF M. PRODANOVYCH`S NOVEL “COLLECTION”: AUTHOR`S CONCEPT, HISTORICAL AND CULTURAL CONTEXT." Alfred Nobel University Journal of Philology 1, no. 23 (June 2022): 24–35. http://dx.doi.org/10.32342/2523-4463-2022-1-23-2.
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At the present stage of comparative research, a solid theoretical and methodological basis for the phenomenon of intertextual relations has been developed, which allows for a differentiated approach and maximum response to the diversity of intertextual phenomena. Special attention is paid to various forms and genres of intertextual relations, and in particular paratextuality. According to its definitive qualities, it is obviously prone to heterogeneous figurative combinations and modifications, in particular, with discourses for which the primary definitive criterion is semiotic-sign morphology. The modifications made possible by this format, of course, are relevant in highlighting the diverse experience of literary poetics. From the perspective of this combinatorial tendency, the work of Mileta Prodanovich ‒ a contemporary Serbian artist, art critic, writer, winner of national and international awards in the field of literature, attracts more and more research attention. One of the iconic works of the artist is the novel “Collection”. The work is a response to current events in the field of culture ‒ both its modern conceptualization and special phenomena that shape today`s national and world cultural paradigm. In the scientific discourse a significant experience of understanding the poetics of Serbian great prose has been formed, as evidenced by published during the 20th and early 21st century works of domestic and foreign scientists. Accordingly, the expression in the work of M. Prodanovich “Collection” of the modification of paratextuality, realized in interaction with other manifestations of intertextuality, is relevant. The aim of this article is to focus on the figurative content of the paratextual component of the work in relation to poetics in accordance with other strategies of comparative studies, to determine the priorities of formal, semantic and contextual dimensions, the historical and cultural fate of the reality. The research is based on the productivity of comparative-historical and genetic-typological methods in combination with structural analysis and cultural-semiotic approach. The figurative content of the paratextual components of M. Prodanovich`s novel “Collection”, realized in the format of the title and a number of epigraphs, testifies to the existing threshold function, diversified by the original author’s improvisation. In its formal implementation it is necessary to distinguish a kind of complementary combination with figurative solutions that meet the definitive requirements of intertextuality, in particular allusions, as well as ekphrasis. The figurative actualization of the phenomenon of the ancient silverware collection Sevso plays a decisive role in the pronounced configuration. There are two supplementary lines in the system of complementary combination at the level of meaningmaking. The historical and cultural dimension of the reality, whose allusive and referential power proved to be decisive for the poetics of the novel, reveals in the work semantic reflexes related to such a prospective line as the humanization of the aesthetic. At the same time, the allusive actualization of the real context of this reality highlights a powerful semantic and meaningful plan. It should highlight the situation in which, because of unworthy violations of civilizational conventions derived from ethical norms, beautiful works of art, as the top embodiment of beauty, full of good inspiration, can’t fulfill its noble mission, provided by the essence of art: to bring good and joy to people. In the general sense-making, the trajectory of the postulation of the idea of the aspiration of humanity is announced by the semantic projection from the paratextual position in the figurative world of the “Collection”. Thus, in accordance with the contextual prospectus and the author`s concept, a set of priorities essential for the meaning of the novel is consolidated. They define the contours of the need for responsiveness and justice, and it turns out that the desire for good and humanity is potentiated.
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Logunova, Anastasia A. "“Mir ist so wunderbar”: Considering Opera Traditions Interaction in “Fidelio” by Beethoven (Modern Musicologists on the Quartet’s Genesis)." Vestnik of Saint Petersburg University. Arts 12, no. 1 (2022): 205–23. http://dx.doi.org/10.21638/spbu15.2022.110.
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The canon in the first act of “Fidelio” was generally regarded as one of the best moments in the opera from the very beginning of its hard scenic life. While 19th century critics admired the quartet, scholars in the 20th century showed true scientific interest in this ensemble. This attention made Beethoven’s quartet one of the most famous canons in music. The article represents an attempt to summarize modern musicology’s views on the first act quartet of Beethoven’s “Fidelio”. On this basis in the paper are considered the reasons for including such composition in “Fidelio”, its stylistic background, and in general the origins of Viennese late 18th century’s practice of vocal and opera canons as the context for analysis of Beethoven’s quartet. The author lists operas of the Viennese repertoire 1780–1800 with canons (among them, operas by Martíny Soler, Salieri, Mozart, Paёr, and Cherubini) as hypothetical models for Beethoven and also traces the continuation of this tradition in Italian and Russian 19th century opera. Connection of the musical form of canon with ideas of the Enlightenment and figurative and meaningful interpretation of its pastoral tone is considered on the basis of works by Heinrich Schwab, Dorothea Link, and Larisa Kirillina. It is remarkable that the pastoral of the quartet allows a Christian interpretation that makes the “Benedictus” of “Fidelio” genuine. “Mir ist so wunderbar” is considered as an example of Beethoven’s contemplative lyric on the basis of experience of its philosophical-aesthetic comprehension, presented in Russian musicology. In the quartet, Leonore appears in the opera for the first time, and so this article accentuates the central role of this canon for understanding the main figure with all richness of her literary and mythological genealogy.
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Sbitnieva, N. "National Graphic Design of the 1960s in the Context of World Achievements in this Field." Vìsnik Harkìvsʹkoi deržavnoi akademìi dizajnu ì mistectv 2021, no. 02 (October 2021): 162–74. http://dx.doi.org/10.33625/visnik2021.02.162.
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Peculiarities of national graphic design formation in the 60s of the 20th century in comparison with achievements of the leaders of the world design movement are considered in the article. The aim of the article is to identify peculiarities of Soviet graphic design formation in the 1960s in the context of world achievements in this field. The research methodology combines the methods of comparative, figurative and stylistic analysis, which are based on historical and systematic approaches. The materials of the article proved that in the 1960s professional development of national design took place in conditions of significant economic and technological gap with the leading countries of Europe and the United States. At the same time, due to the tendency to stylistic inertia and imitation of forms and means of graphic art, including aesthetic evaluation criteria, there also was a stylistic gap with progressive trends represented by the Swiss Printing School, the Polish Poster School and American commercial design. The author concludes that the development of Soviet graphic design in the 1960s was in line with opposite trends. On the one hand an impact of world design achievements was obvious, along with significant progress in certain fields of science and technology, the creation of design universities; on the other hand, there were traditions of applied graphics and aesthetic criteria; ideologization of society and state control over all spheres of creative activity. These factors hindered the perception of graphic design as an independent and specific field of art and design activities. Nevertheless, the period of the 1960s was an important stage in the development of design profession in the USSR. The first design educational institutions were established, including the Kharkiv Institute of Arts and Industrial Design; the All-Union Research Scientific Institute of Technical Aesthetics appeared; the publication of the journal “Technical Aesthetics” began. All these changes were of great importance for the development of graphic design, as they marked the beginning of its professional history, formation of the basis, awareness of a fundamentally new type of activity with its own tools and professional tasks.
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Batyreva, S. G. "Буддийские мотивы в живописи Г. Рокчинского (1960–1990-е годы)." Iskusstvo Evrazii [The Art of Eurasia], no. 4(19) (December 30, 2020): 58–67. http://dx.doi.org/10.46748/arteuras.2020.04.005.
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The article analyzes the work of the artist Garry Rokchinsky, People's Artist of the RSFSR, in the context of the fine arts of Kalmykia in the 1960s – 1990s. It is noted that during this period, called the post-deportation period, the autonomy of the republic was restored, and many masters of art experienced a creative take-off. This was reflected in the appeal to the historical genre, as well as in the search for new artistic expression in Kalmyk art of the second half of the 20th century. The work of Garry Rokchinsky became a vivid expression of these tendencies. His works are marked by the desire to find and figuratively embody ethnic identity, which responded to the revival message of the post-deportation development of Kalmyk art. As one of the directions of its development, it is necessary to highlight the appeal to the philosophical and moral foundations of Buddhist teachings. The creative path of the artist from realism to the iconic symbolism of traditional art and pointless composition is shown. В статье анализируется творчество художника Гаря Рокчинского, народного художника РСФСР, в контексте изобразительного искусства Калмыкии 1960–1990-х годов. Отмечается, что в этот период, получивший название постдепортационного, была восстановлена автономия республики, и у многих мастеров искусства наблюдался творческий взлет. Это нашло отражение в обращении к историческому жанру, а также в поисках новой художественной выразительности в калмыцком искусстве второй половины XX века. Наглядным выражением этих тенденций стало творчество Гаря Рокчинского. Его произведения отмечены стремлением найти и образно воплотить этническую идентичность, что отвечало возрожденческому посылу постдепортационного развития калмыцкого изобразительного искусства. В качестве одного из направлений его развития необходимо выделить обращение к философским и нравственным основаниям буддийского учения. Показан творческий путь художника от реализма к знаковой символике традиционного искусства и беспредметной композиции.
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Agenosov, Vladimir V. "Chinese associates of Y. Zamyatin: Zhang Tianyi and Lao She." Neophilology, no. 4 (2022): 759–71. http://dx.doi.org/10.20310/2587-6953-2022-8-4-759-771.
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We explore the dystopian novels of the 1930s by Chinese novelists Zhang Tianyi “Ghostland Diary” (1931) and Lao She “Cat Country” (1932). We give brief information about the specifics of the work of Chinese writers who are not known to a wide range of modern domestic readers and literary critics. We reveal the typological proximity of these works to the dystopian novel by Y.I. Zamyatin “We”. We identify the literary predecessors of the analyzed novels, the connection with the works of Russian, Chinese, and world literature. We note the role of criticism in the fate of authors and their creations. We designate traditional and innovative genre and style features of books. We analyze in detail the plot-compositional structure, figurative system, and ideological content of the novels. We consider an ironic description of various spheres of life: the party system, elections, the education system, wars, and the creative activity of decadent poets. The features of narration associated with the artistic functions of narrators are studied in detail. The synthetic nature of the novels, combining elements of several literary genres, is noted. We reveal that the form of hyperbolic generalization of modern realities, elements of satire and irony in the depiction of society gave the works a timeless and extraspatial character, taking them beyond the limits of Chinese reality. We form an idea of the genre-typological community of Zhang Tianyi and Lao She’s warning novels, exposing myths about the ideal society of the 20th century.
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Burganova, Maria A. "Letter from the editor." Scientific and analytical journal Burganov House. The space of culture 18, no. 4 (September 10, 2022): 6–9. http://dx.doi.org/10.36340/2071-6818-2022-18-4-6-9.
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Dear readers, We are pleased to present to you Issue 4, 2022, of the scientific and analytical journal Burganov House. The Space of Culture. Upon the recommendation of the Expert Council of the Higher Attestation Commission, the journal is included in the List of Leading Peer-reviewed Scientific Journals and Publications in which the main scientific results of theses for the academic degrees of doctor and candidate of science must be published. The journal publishes scientific articles by leading specialists in various humanitarian fields, doctoral students, and graduate students. Research areas concern topical problems in multiple areas of culture, art, philology, and linguistics. This versatility of the review reveals the main specificity of the journal, which represents the current state of the cultural space. The journal opens with articles by Chinese researchers devoted to the art of Ancient China. In the article "The Heaven-and-Man Oneness Concept and the Style of Funerary Plastic Art During the Han Dynasty", Xiang Wu analyses the idea of heaven-and-man oneness, which was important for the art of this period. It was based on the Confucian view, the rituals of a strict social hierarchy and Taoist metaphysics. Qiu Mubing’s scientific research topic is “Objects of the Funerary Cult in the Han Dynasty. Gold and Silver Items. Aesthetics of Gold and Silver in the Han Dynasty”. Examining archaeological sources, the author concludes the high achievements of Chinese artisans during the Han Dynasty on examples of works of arts and crafts made of precious metals. In the article “Aesthetics of the Song Dynasty. The Origins of the New Style of Furniture Design in China", N.Kazakova and Qiu Qi analyse the vector of development of the furniture industry through the prism of the industrial design evolution. The reasons for the emergence of the New style in furniture design in China are studied. They are analysed in detail against the background of changing economic, political and cultural realities. The issues of the influence of Ancient China aesthetics on the formation and development of a new language in furniture design are touched upon. In the article "Problems of Colour Harmonisation of Composition and Development of Associative and Imaginative Thinking in the Environmental Design", N.Bogatova reveals the potential of colouristic graphic two-dimensional modelling in artistic and imaginative thematic compositions. On the example of the compositional laws of colouristics, the author traces the path of ascent from the concrete to the abstract, pictorial to the expressive, and emotional to the figurative. P.Dobrolyubov presents the text “Sculptor Alexander Matveev’s School and His Students”, which includes many archival documents and photographs. The author describes the process of learning from teacher and sculptor A.Matveev, names the main dates in his creative work, reveals the details of the sculptural craft, talks about the variety of moves in the master’s plasticity, analyses the methods and principles of work in sculpture, shows the attitude of students to their teacher, and highlights the entire course of historical milestones in the sculptor’s creative biography. In the article "The Golden Age of PRC History Painting (1949–1966): Origins, Searches, Achievements”, K.Gavrilin and L.Xiaonan consider the issues of the formation of the modern Chinese art school. Its foundation was laid in the framework of the creative and educational dialogue between China and the Soviet Union at the beginning of the second half of the 20th century. The authors believe that the characteristic features of the golden age of Chinese historical painting were, on the one hand, the popularisation of painting as an art form and, on the other hand, the predominance of the dominant position of realism over the traditional styles of Chinese painting. It is noted that during this period, two main plots became widespread: scenes of socialist construction and historical events of the revolution. S.Zubarev considers theoretical and practical aspects of the activities of military musicians in the article "Academic Music in the Practice of Russian Military Bands of the 19th - early 21st Centuries". In the process of studying military bands, special attention is paid to the study of the features of military band service development in the 19th and 20th centuries. Factors revealing the role of Russian composers in the history of military musical culture are highlighted, and several works of academic music performed by military bands are analysed. In conclusion, the author notes that in the national culture, unique conditions for the development of military musicians’ arranging activity were created. They made it possible to preserve the traditions of the military band service and form the value principles of academic art. The publication is addressed to professionals specialising in the theory and practice of the fine arts and philology and all those interested in the arts and culture.
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Grytsun, Yuliia. "The reflection of fabulousness in Igor Kovach’s musical theatre (on the example of the fairy-tale ballet “Bambi”)." Aspects of Historical Musicology 23, no. 23 (March 26, 2021): 78–91. http://dx.doi.org/10.34064/khnum2-23.05.
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Problem statement. Among Kharkiv composers, one of the significant places is occupied by Igor Kovach (1924–2003), a representative of the Kharkiv School of composers and Ukrainian musical culture of the 20th century. His works include music and stage, orchestra, concert, song, choral and literary-musical compositions, music for theatre performances, music for films and TV films. The creative legacy of Igor Kostyantynovych Kovach has a close connection with the children’s audience; it includes both instrumental music for young performers and theatrical music, where children from performers become listener, among them the fairy-tale ballets “The Northern Tale” and “Bambi”. The children’s music by I. K. Kovach did not receive proper consideration except for short newspaper essays and magazine notes, M. Bevz’s (2007) article devoted to children’s piano music. Thus, the problem of holistic study of children’s stage music by Igor Kovach still remains open. Objectives. The present article is devoted to the identification of musicalthematic, timbre-texture, genre-stylistic features, with the help of which the multifaceted figurative world of the ballet “Bambi” is embodied. The aim and the tasks of this research – to reveal the specifics of the figurative world of the fairytale ballet “Bambi” and to identify the musical means by which it is embodied. The role of the orchestra is established, the means of thematic characteristics of the characters are traced, and the peculiarities of the musical language stipulated by the requirements of the chosen genre are noted. Methodology. To achieve the aim we have used special scientific methods: genre, stylistic, intonation-dramaturgical and compositional ones. The presentation of the main material. The music for the fairy-tale ballet “Bambi” belongs to two authors: Igor Kovach and his son Yuri. The new features inherent in the sound palette are manifested in the instrumentation, where along with the usual composition of a modern symphony orchestra there are saxophones, rhythm- and bass-guitars, drums, which due to their timbres bring a sharp taste of emotional and behavioural looseness. Introducing the qualities of non-academic tradition into the academic orchestra, the authors, on the one hand, use them according to their origin, on the other – turn them into an organic part of the symphonic score. By making a “concession” to pop music, simplifying harmonious language, freeing it from the extreme manifestations of expanded tonality, bringing it closer, on the one hand, to classical-romantic, on the other – to jazz, Igor Kovach showed his inherent sense of modernity, “address quality” of creativity. Conclusions. Thus, the fabulous multifaceted world of “Bambi” is revealed in the ballet owing to the bright thinking and language of the composer. The action of the ballet takes place against the background of bright genre sketches, which are as if immersed in the very density of life. This impression arises due to the dynamics of rhythms, colourful orchestration, and a variety of styles, addressed to the sound world of today. Generalized intonations of academic art organically coexist with the turns of song quality of different origins, dance quality, march quality, jazz improvisations, which was facilitated by the co-authorship with Yuri Kovach.
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Wang, Duangui. "Re-semantization of A. Pushkin’s poetry in the creative work of V. Kosenko (on the example of “The Five Romances”, op. 20)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 50, no. 50 (October 3, 2018): 89–102. http://dx.doi.org/10.34064/khnum1-50.07.
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Formulation of the problem. In the chamber-vocal genre, the composer exists in two images: he is both the interpreter of the poetic composition and the author of a new synthetic music and poetic composition. The experience of the style analysis of one of the best examples of Ukrainian vocal lyrics of the first third of the 20th century shows that the cycle op. 20 characterizes the mature style of the composer, which was formed, on the one hand, under the influence of European Romanticism. On the other hand, the essence of the Ukrainian “branch” of the Western European song-romance (“solo-singing”) is revealed by the prominent national song-romance intonation, filled with not only a romantic worldview, but also with some personal sincerity, chastity, intimate involvement with the great in depth and simplicity poetry line, read from the individual position of the musician. The paradox is as follows. Although Pushkin’s poetry is embodied in a “holistic adequacy” (A. Khutorskaya), and the composer found the fullest semantic analogue of the poetic source, however, in terms of translating the text into the Ukrainian language, the musical semantics changes its intonation immanence, which naturally leads to inconsistency of the listeners’ position and ideas about the style of Russian romance. We are dealing with inter-specific literary translation: Pushkin’s discourse creates the Ukrainian romance style and system of figurative thinking. The purpose of the article is to reveal the principle of re-semantization of the intonation-figurative concept of the vocal composition by V. Kosenko (in the context of translating Pushkin’s poetry into the Ukrainian language) in light of the theory of interspecific art translation. Analysis of recent publications on the topic. Among the most recent studies of Ukrainian musicology, one should point out the dissertation by G. Khafizova (Kyiv, 2017), in which the theory of modelling of the stylistic system of the vocal composition as an expression of Pushkin’s discourse is described. The basis for the further stylistic analysis of V. Kosenko’s compositions is the points from A. Hutorska’s candidate’s thesis; she develops the theory of interspecific art translation. The types of translation of poetry into music are classified according to two parameters. The exact translation creates integral adequacy, which involves the composer’s finding a maximally full semantic analogue of the poetic source. The free translation is characterized by compensatory, fragmentary, generalized-genre adequacy. Presenting the main material. The Zhitomir period for Viktor Kosenko was the time of the formation of his creative style. Alongside the lyrical imagery line, the composer acquired one more – dramatic, after his mother’s death. It is possible that the romances on the poems of A. Pushkin are more late reflection of this tragic experience (op. 20 was created in 1930). “I Loved You” opens the vocal cycle and has been dedicated by A. V. Kosenko. The short piano introduction contains the intonation emblem of the love-feeling wave. The form of the composition is a two part reprising (А А1) with the piano Introduction and Postlude. The semantic culmination is emphasized by the change of metro-rhythmic organization 5/4 (instead of 4) and the plastic phrase “as I wish, that the other will love you” sounding in the text. Due to these melodies (with national segments in melo-types, rhythm formulas and harmony) V. Kosenko should be considered as “Ukrainian Glinka”, the composer who introduced new forms and “figures” of the love language into the romantic “intonation dictionary”. In general, V. Kosenko’s solo-singing represents the Ukrainian analogue of Pushkin’s discourse – the theme of love. The melos of vocal piece “I Lived through My Desires” is remembered by the broad breath, bright expression of the syntactic deployment of emotion. On the background of bass ostinato, the song intonation acquires a noble courage. This solo-singing most intermediately appeal to the typical examples of the urban romance of Russian culture of the 19th century. “The Raven to the Raven” – a Scottish folk ballad in the translation by A. Pushkin. V. Kosenko as a profound psychologist, delicately transmits the techniques of versification, following each movement of a poetic phrase, builds stages of the musical drama by purely intonation means. The semantics of a death is embodied through the sound imaging of a black bird: a marching-like tempo and rhythm of the accompaniment, with a characteristic dotted pattern in a descending motion (like a raven is beating its wings). The middle section is dominated by a slow-motion perception of time space (Andante), meditative “freeze” (size 6/4). The melody contrasts with the previous section, its profile is built on the principle of descending move: from “h1” to “h” of the small octave (with a stop on S-harmony), which creates a psychologically immersed state, filled by premonition of an unexpected tragedy. In general, the Ukrainian melodic intonation intensified the tragic content of the ballad by Pushkin. The musical semantics of V. Kosenko’s romances is marked by the dependence on the romantic “musical vocabulary”, however, it is possible to indicate and national characteristics (ascending little-sixth and fifth intervals, which is filled with a gradual anti-movement; syllabic tonic versification, and other). Conclusion. The romances (“solo-singings”) by V. Kosenko belongs to the type of a free art translation with generalized-genre adequacy. There is a re-semantization of poetic images due to the national-mental intonation. Melos, rhythm, textural presentation (repetitions), stylization of different genre formulas testify to the rare beauty of Kosenko’s vocal style, spiritual strength and maturity of the master of Ukrainian vocal culture. Entering the “Slavic song area”, the style of Ukrainian romance, however, is differenced from the Russian and common European style system of figurative and intonation thinking (the picture of the world).
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NAUMENKO, TATIANA I., and ANASTASIA A. MOLOZYA. "NAMELESS STAR: EDISON DENISOV’S MUSIC IN THE DISCOURSES OF AN UNORDINARY STORY." ART AND SCIENCE OF TELEVISION 17, no. 2 (2021): 121–47. http://dx.doi.org/10.30628/1994-9529-2021-17.2-121-147.
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The article addresses the 1978 film Nameless Star (directed by Mikhail Kozakov, music by Edison Denisov) as one of the few examples of on-screen art in which music not only supports the story, but comes to the fore, becoming one of its characters. Naturally enough, in this article, Nameless Star is considered through the lens of its musical concept. The focus is on some of the composer’s individual features that characterize his film music. Among the main ones is Denisov’s fundamental idea about integrating music into a single canvas of a film work, which directly affects its figurative and stylistic characteristics and poetics in general. In this vein, the author analyzes various interpretations of the plot (or, rather, plotlines—the encounters of the main characters, the discovery of a new star, etc.), which have significant divergences in the texts of different authors and direct participants in the filming process; the main semantic points highlighted in the film by keywords (“station”, “diesel-electric locomotive”, etc.); and, finally, the film’s sound and musical design shaping a single line of storytelling. The special role of sound elements (train noise, station bell, etc.) accompanying the narration and endowing it with special thoroughness and authenticity is revealed. It is noted that the dramatic center of the film is an impromptu performance of the Symphony composed by one of the main characters—Mr. Udrea, music teacher. The significance of this artwork in the context of the narration is extremely high: decisive plot turns are associated with the Symphony; it combines intonations and leitmotifs that determine the overall emotional tone of the film. Edison Denisov manages to reproduce Udrea’s intention to the finest detail, creating a nuanced intonation-thematic profile of the Symphony, thanks to, among other things, skillful timbre-rhythmic differentiation. Over and above, he structures musical drama in such a way that during performance of the Symphony, the semantic dominants of the film, embodied in the system of its main sound images, get actualized (theme of the city, Mona’s theme, etc.). In a sense, the music here goes beyond being a mere soundtrack: it becomes an integral part of the plot, penetrating into the words of the heroes (recurring mentioning of the English horn or the story about the structure of the Symphony). Largely thanks to the music, which brings new implications to the film, the romantic comedy appears as a complex, multiplanar work, revealing an unordinary facet in the creative gift of one of the most convinced avant-garde composers of the 20th century.
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de Burgh, Jane. "Passionate about 20th-century art." Lancet 354, no. 9179 (August 1999): 688. http://dx.doi.org/10.1016/s0140-6736(05)77675-3.
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Wahlman, Maude S. "Africa Explores: 20th Century African Art:Africa Explores: 20th Century African Art." Museum Anthropology 15, no. 4 (November 1991): 30–31. http://dx.doi.org/10.1525/mua.1991.15.4.30.
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Asanuma, Keiji. "20th Century-End of Modern Art?" TRENDS IN THE SCIENCES 6, no. 2 (2001): 56–58. http://dx.doi.org/10.5363/tits.6.2_56.
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Flam, Jack. "Africa Explores: 20th Century African Art." African Arts 25, no. 2 (April 1992): 88. http://dx.doi.org/10.2307/3337064.
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Oguibe, Olu, and Susan Vogel. "Africa Explores: 20th Century African Art." African Arts 26, no. 1 (January 1993): 16. http://dx.doi.org/10.2307/3337105.
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Pellizzi, Francesco. "Africa Explores: 20th Century African Art." African Arts 26, no. 1 (January 1993): 22. http://dx.doi.org/10.2307/3337106.
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Küchler, Susanne. "The prototype in 20th-century art." Visual Communication 9, no. 3 (August 2010): 301–12. http://dx.doi.org/10.1177/1470357210372723.
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David W. Galenson. "Conceptual Revolutions in 20th-Century Art." Historically Speaking 10, no. 5 (2009): 20–22. http://dx.doi.org/10.1353/hsp.0.0078.
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Dudek, Stephanie. "Written in blood: 20th century art." Canadian Psychology/Psychologie canadienne 30, no. 2 (April 1989): 105–15. http://dx.doi.org/10.1037/h0079804.
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Покатилова, И. В., and А. Ф. Лукина. "THE IMAGE OF TATTA LAND AND YAKUTSK CITY IN THE FORMATION OF FIGURATIVE GEOGRAPHY IN THE EARLY 21 ST CENTURY." SCIENTIFIC REVIEW OF SAYANO-ALTAI, no. 2(30) (January 13, 2022): 70–73. http://dx.doi.org/10.52782/kril.2021.2.30.012.
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Актуальность темы связана с новыми методологическими подходами в исследовании современной культуры Якутии начала 21 века. Авторы попытались применить метод междисциплинарного подхода в исследовании образной географии Якутии начала 21 века на примере проекта «Образная карта - маршрут Таттинского улуса». Город и село в 20 веке являются разными средами обитания современного человека. В первой среде зарождается креативная культура, а во второй - дольше сохраняется традиционная культура. Трансформация традиционной культуры в начале 20 века в городе Якутске привело к зарождению нового креативного типа культуры, а в конце 20 века в постсоветском пространстве формируется образная география конкретного региона или улуса, стянув пространство ландшафта и памятников культурного наследия, что ярко прослеживается на материале Таттинского улуса. The relevance of the topic is related to new methodological approaches in the study of modern culture of Yakutia in the early 21st century. The authors tried to apply the method of an interdisciplinary approach in the study of the figurative geography of Yakutia of the early 20th century by the example of the project "Figurative map - the route of Tatta ulus". City and village in the 20th century are different environments of a modern man. In the first environment, creative culture is born, and in the second, traditional culture is preserved longer. Transformation of traditional culture at the beginning of the 20th century in Yakutsk city led to the birth of a new creative type of culture, and at the end of the 20th century, in the post-Soviet space, a figurative geography of a specific region is formed, pulling together the space of the landscape and cultural heritage monuments, which is clearly seen in the material of Tatta ulus.
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Czerni, Krystyna. "Malarska „dwujęzyczność” Jerzego Nowosielskiego. Związki między abstrakcją a ikoną w monumentalnych projektach sakralnych." Sacrum et Decorum 13 (2020): 48–80. http://dx.doi.org/10.15584/setde.2020.13.4.
Full textAbstract:
The sacred art of Jerzy Nowosielski, an outstanding Polish painter of the second half of the 20th century, is an example of the creative continuation of the Byzantine tradition in Poland, but also an embodiment of the debate with the painting tradition of the East and with the experience of the Church. Both in theory and in painting practice, the artist redefined the concept of the icon, attempting to expand its formula so that it not only spoke of the Kingdom, but also included the image of the earthly, imperfect reality of the pilgrim Church. In his designs of sacred interiors for churches of various Christian denominations, Nowosielski wanted to combine three theological disciplines and their respective ways of representation: Christology, sophiology and angelology. Beside a classical icon, called by the painter a “Christological- Chalcedonian” icon, Nowosielski demanded a “sophiological” icon, bringing into the space of a church an earthly, painful reality, traces of inner struggle and doubt – hence the presence of doloristic motifs in his icons. The “inspired geometry” also became a complement to the holy images; the artist noticed a huge spiritual potential in abstract painting, to which he eventually assigned the role of icon painting. The poetic concept of “subtle bodies” – abstract angels testifying to the reality of the spiritual world – drew from the early Christian theological thought, which argued about the corporeality of spiritual entities, from Byzantine angelology, the tradition of theosophy and occultism, but also from the art of the first avant-garde, especially that from Eastern Europe, which inherited the Orthodox cult of the image. Nowosielski’s bilingualism as a painter – practicing abstraction and figuration in tandem, including within the church – paralleled the liturgical practice of many religious communities using different languages to express different levels of reality: human affairs and divine affairs. The tradition of apophatic theology, proclaiming the truth about the “unrepresentability” of God, was also important in shaping Nowosielski’s ideas. For Nowosielski’s monumental art, the problem of the mutual relationship between painting and architecture proved crucial. The artist based his concept on the decisive domination of painting over architecture and the independence of monumental painting. His goal was the principle of creating a sacred interior as a holistic, comprehensive vision of space which leads the participants of liturgy “out of everyday life” and into a different, transcendent dimension, in which the painter saw the main purpose of sacred art. From his first projects from the 1950s till the end of his artistic practice Nowosielski tried to realize his own dream version of the “ideal church”. In many of his projects he introduced abstraction into the temple, covering the walls, vaults, presbyteries, sometimes even the floors with a network of triangular “subtle bodies”. Forced to compromise, he introduced sacred abstraction into murals, as accompanying geometries, or into stained glass windows. The interiors, comprehensively and meticulously planned, were supposed to create the effect of “passing through”, “rending the veil” – from behind which a new, heavenly reality dawned. In practice, it was not always possible to achieve this intention, but the artist’s aim was to create an impression of visual unity, a sense of “entering the painting”, of being immersed in the element of painting. Painting in space was supposed to unite a broken world, to combine physical and spiritual reality into an integral whole. When designing sacred interiors, Nowosielski used the sanctity of the icon, but also the pure qualities of painting which were to cause a “mystical feeling of God’s reality”. The aim of sacred art understood in such a way turned out to be initiation rather than teaching. In this shift of emphasis Nowosielski saw the only chance for the revival of sacred art, postulating even a shift of the burden of evangelization from verbal teaching to the work of charismatic art.