Articles de revues : « Art criticism – history – 20th century »

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Babunych, Yulia. « Ukrainian art studies of the 20th century : ways of development and main problems of research. » Bulletin of Lviv National Academy of Arts, n^o 51 (10 octobre 2023) : 4–13. http://dx.doi.org/10.37131/2524-0943-2023-51-1.

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It has been investigated that Ukrainian art history in its historical development has followed a path characteristic of European artistic thought. The tasks faced by Ukrainian art history at the beginning of the 20th century are considered. During 1905–1917, art history in Ukraine acquired signs of structure, the directions of research were quite clearly defined. Based on the analysis of art studies of the 1920s, it was determined that they are characterized by a combination of clear retrospective vision, methodically correct handling of iconographic sources. The fact that the problem of national peculiarities of Ukrainian art history, its origins, driving factors, and priorities is of fundamental importance has been revealed. The article states that the Soviet totalitarian regime initiated a new stage of the «state» approach to the development of national inversions of science, literature and, in particular, art history. It was found out that specific conclusions regarding the national style were removed from many works of domestic art researchers by censorship. The need to organize and harmonize with the national historical concept of chronology and periodization of Ukrainian art history remains an equally urgent task. In this regard, the publication is supplemented with tables with a chronology of cultural events and publications of art-historical publications. It was found that Ukrainian art history actively developed in the context of the general national revival. With the beginning of totalitarian repressions and the liquidation of literary and artistic associations in the Ukrainian SSR (1932), the development process moved to western Ukrainian lands, primarily to Lviv. It was noted that in the post-war period, after well-known socio-political and socio-cultural changes, art history, art criticism, as well as artistic creativity throughout the territory of Ukraine, were united under one ideological slogan of socialist realism. It is emphasized that an important role in this difficult period was played by Ukrainian figures of culture, science and art of the diaspora. It is revealed that Ukrainian art history of the second half of the 20th century developed in difficult socio-political and cultural conditions. It has been found that the second half of the 20th century, marked by the repeated "revival" of the socialist realist method, nevertheless proved the continuity of the development of the national concept in the field of art history. A new stage logically began during the years of independent Ukraine. It is highlighted that the national concept of the historical development of Ukrainian culture and art has become the leading one in the domestic humanitarian field. It is important that the revival of Ukrainian art criticism has begun.

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Alberro, Alexander, Homi Bhabha, Alejandra Castillo, Keti Chukhrov, T. J. Demos, Keyna Eleison, Irmgard Emmelhainz et al. « What is Radical ? » ARTMargins 10, n^o 3 (octobre 2021) : 8–96. http://dx.doi.org/10.1162/artm_a_00301.

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Abstract What does it mean to think and act radically, and how does this relate to forms of radicalism connected to earlier moments, for example, in the 20th century? What can be the role of radical art and scholarship under the conditions of late capitalism? More generally, how can art and artists serve the ongoing struggle for social justice and the agendas of emancipatory social change? Finally, what kinds of art criticism and art historical scholarship are necessary to address the great challenges of our uncertain future?

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TSYHANYK, Мyroslava. « THE THEATRICAL AND CRITICAL JOURNALISM OF “YOUNG MUSE” THROUGH THE PRISM OF MODERNIST VISIONS IN THE FIRST DECADE OF THE 20TH CENTURY ». Bulletin of the Lviv University. Series of Arts Studies 199, n^o 23 (2022) : 75–81. http://dx.doi.org/10.30970/vas.23.2022.12196.

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The early 20th century in world art was a vibrant period as it inspired enthusiasm for everything from eStablished traditions, and relinquished widely accepted norms of artiStic interpretation. Modernism and the avant-garde gradually transformed all artiStic fields, shaping a new rhetoric for Stage art and, consequently, theatrical criticism. It was during this period that Ukrainian theatrical criticism emerged, one of the branches of theater Studies. As an active participant in the process, it formulated the terminological dictionary and phraseology of theatrical criticism. The key theater Studies processes of the firSt decade of the 20th century took place within the “Young Muse” group, which included well-known Ukrainian theater theoriSts such as S. Charnetsky, M. Rudnytsky, V. Birchak, P. Karmansky, B. Lepy, O. Lutsky, and S. Tverdokhlib. They advanced theatrical criticism in Galicia, developed concepts for representing Stage art in Ukraine, and viewed it through the prism of the pan-European theater Studies paradigm from the late 19th to the early 20th century. The text suggeSts that through the textual analysis of reviews by the “young generation” literary movement, the focus was typically on the play’s title and its author. The discussions revolved around the dramaturgy, mentioning directors, actors, Stage decorations, and occasionally the audience’s reactions. The themes of these reviews were aimed at describing the theatrical consciousness of the era, and the StyliStic expression captured new theatrical terminology and phraseology. The semantic interpretation of these elements always requires a broader context of Study. The publications by the “young generation” are intereSting not only in terms of the Structure of theatrical-critical texts but also in the information that shapes the model of theater in Galicia in the firSt half of the 20th century. This model can be further explored in accordance with its evolution. The “Young Muse” generation of theater critics has taken a significant place in the formation and development of theater Studies as a science. They hold a prominent position in the sourcebased content of the hiStory of Ukrainian theater in Galicia.

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Kuhutiak, Mykola, Ihor Raikivskyi et Oleh Yehreshii. « Halychyna. Journal of Regional Studies : Science, Culture, and Education. Twenty Years of Publishing Activity ». Journal of Vasyl Stefanyk Precarpathian National University 4, n^o 2 (30 octobre 2017) : 134–38. http://dx.doi.org/10.15330/jpnu.4.2.134-138.

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This is a review of the twenty-year-long publishing activity of Halychyna. Journal of Regional Studies: Science, Culture and Education, one of the first Ukrainian journals for historians, philologists, art critics that appeared in the independent Ukraine. In Halychyna, there has been published the works by well-known scholars of Vasyl Stefanyk Precarpathian National University and many other higher educational establishments of Ukraine. The Journal can boast an array of sections – archaeology, history, ethnology, political science, historiography, source studies, documents and materials, culturology, art criticism, historical biography studies, and others. Most of the studies published in Halychyna focus on the issues of the modern and contemporary history of Ukraine, ethnology. A special attention is given to the issues of the Ukrainian national liberation movement in the 20th century, the Ukrainian national revival in the 19th–20th century, the activity of the political parties in Galicia in the late 19th–early 20th century, source studies and historiography in Ukraine, historical regional studies, the problems of modern state formation in Ukraine, and others

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Glinternik, Eleonora M. « Russian Design Graphics in Art Studies of the 19th–21st Centuries ». Vestnik of Saint Petersburg University. Arts 13, n^o 1 (2023) : 166–87. http://dx.doi.org/10.21638/spbu15.2023.108.

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The article is devoted to the historiographic problem of domestic design graphics in the history of Russian art. The analysing sources are structured in accordance with the main stages of the development of graphic design in Russia. This approach allows to visually trace the evolution of art history in the context of the corresponding cultural and historical era. In chronological order, the article examines the following periods: 18th — early 20th century, an era that can be called the protodesign period; 1920s–1930s, a period of active development of a new professional model, interrupted for the next twenty years; 1960s–1990s, a period of professional self-determination; the first decades of the 21st century, when the digital age begins and new horizons of research open up. The characteristics of each period are given from the point of view of the development of graphic design as a phenomenon of artistic creativity. The paper’s novelty is determined by the topic itself: the specifics of design in general and graphic design in particular have not yet been studied. It takes into account, basically, the range of problems studied in the Russian conventional history of art. The main tasks of the work: to show the path of development of art criticism in the work of Russian researchers; to systematize the volume and problems of the latest studies of art history over the past decades; to contribute to the formation of a more complete picture of the authors and the amount of accumulated research material. The article shows the path of development of art criticism in the work of Russian researchers — from artistic-critical to historical-theoretical comprehension throughout the 19th and 21st centuries. The foundations of fundamental research of the late 20th — early 21st century are revealed are systematized for the first time.

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Khrenov, Nicolai A. « Modern art history as a human science in a situation of cultural turn ». Journal of Flm Arts and Film Studies 11, n^o 1 (15 mars 2019) : 82–98. http://dx.doi.org/10.17816/vgik11182-98.

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Intensive development of knowledge in the 20th century, including the emergence of new sciences and humanities, constantly creates a problematic situation in the sphere of art, shifting arts designation to what in the philosophy of science is known as normal science. This is associated with the idea of art as a science that has reached a stage of maturity and consistency and, therefore, complies with its norms. The concept of art as normal science is characterized by a certain degree of conservatism, as it presupposes arts self-protection against deviations from the established methodology. However, sometimes the artistic processes of modernity require different approaches. In addition, the emergence of new humanities shifts the already established methodology of art. This happened in the first decades of the 20th century, in the era of a linguistic turn in the humanities, indicating the invasion of natural sciences in the humanities; and this is happening today, at the turn of the 21st century, in a situation of a cultural turn, the emergence and intensive development of the science of culture. The current turn requires a deeper understanding of the structure and components of art history, i.e., its sub-disciplines: art history, art theory and art criticism. The essay argues that in the situation of cultural turn the theory of art can carry out functions which the other two sub-disciplines cannot. It propounds that art theory is able to make a decisive contribution to the elucidation of two problems: the relationship between art and cultural studies and the problem of historical time, which is important both for contemporary art and for art history.

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Khrenov, Nicolai A. « Modern art history as a human science in a situation of cultural turn ». Journal of Flm Arts and Film Studies 11, n^o 2 (15 juin 2019) : 102–15. http://dx.doi.org/10.17816/vgik112102-115.

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Intensive development of knowledge in the 20th century, including the emergence of new sciences and humanities, constantly creates a problematic situation in the sphere of art, shifting arts designation to what in the philosophy of science is known as normal science. This is associated with the idea of art as a science that has reached a stage of maturity and consistency and, therefore, complies with its norms. The concept of art as normal science is characterized by a certain degree of conservatism, as it presupposes arts self-protection against deviations from the established methodology. However, sometimes the artistic processes of modernity require different approaches. In addition, the emergence of new humanities shifts the already established methodology of art. This happened in the first decades of the 20th century, in the era of a linguistic turn in the humanities, indicating the invasion of natural sciences in the humanities; and this is happening today, at the turn of the 21st century, in a situation of a cultural turn, the emergence and intensive development of the science of culture. The current turn requires a deeper understanding of the structure and components of art history, i.e., its sub-disciplines: art history, art theory and art criticism. The essay argues that in the situation of cultural turn the theory of art can carry out functions which the other two sub-disciplines cannot. It propounds that art theory is able to make a decisive contribution to the elucidation of two problems: the relationship between art and cultural studies and the problem of historical time, which is important both for contemporary art and for art history.

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Khrenov, Nikolai A. « Modern art history as a human science in a situation of cultural turn ». Journal of Flm Arts and Film Studies 11, n^o 3 (13 novembre 2019) : 94–106. http://dx.doi.org/10.17816/vgik11394-106.

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Intensive development of knowledge in the 20th century, including the emergence of new sciences and humanities, constantly creates a problematic situation in the sphere of art, shifting arts designation to what in the philosophy of science is known as normal science. This is associated with the idea of art as a science that has reached a stage of maturity and consistency and, therefore, complies with its norms. The concept of art as normal science is characterized by a certain degree of conservatism, as it presupposes arts self-protection against deviations from the established methodology. However, sometimes the artistic processes of modernity require different approaches. In addition, the emergence of new humanities shifts the already established methodology of art. This happened in the first decades of the 20th century, in the era of a linguistic turn in the humanities, indicating the invasion of natural sciences in the humanities; and this is happening today, at the turn of the 21st century, in a situation of a cultural turn, the emergence and intensive development of the science of culture. The current turn requires a deeper understanding of the structure and components of art history, i.e., its sub-disciplines: art history, art theory and art criticism. The essay argues that in the situation of cultural turn the theory of art can carry out functions which the other two sub-disciplines cannot. It propounds that art theory is able to make a decisive contribution to the elucidation of two problems: the relationship between art and cultural studies and the problem of historical time, which is important both for contemporary art and for art history.

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Khrenov, Nikolay. « Modern Art History As a Human Science in a Situation of Cultural Turn ». Journal of Flm Arts and Film Studies 11, n^o 4 (30 décembre 2019) : 98–113. http://dx.doi.org/10.17816/vgik11498-113.

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Intensive development of knowledge in the 20th century, including the emergence of new sciences and humanities, constantly creates a problematic situation in the sphere of art, shifting arts designation to what in the philosophy of science is known as normal science. This is associated with the idea of art as a science that has reached a stage of maturity and consistency and, therefore, complies with its norms. The concept of art as normal science is characterized by a certain degree of conservatism, as it presupposes arts selfprotection against deviations from the established methodology. However, sometimes the artistic processes of modernity require different approaches. In addition, the emergence of new humanities shifts the already established methodology of art. This happened in the first decades of the 20th century, in the era of a linguistic turn in the humanities, indicating the invasion of natural sciences in the humanities; and this is happening today, at the turn of the 21st century, in a situation of a cultural turn, the emergence and intensive development of the science of culture. The current turn requiresa deeper understanding of the structure and components of art history, i.e., its sub-disciplines: art history, art theory and art criticism. The essay argues that in the situation of cultural turn the theory of art can carry out functions which the other two sub-disciplines cannot. It propounds that art theory is able to make a decisive contribution to the elucidation of two problems: the relationship between art and cultural studies and the problem of historical time, which is important both for contemporary art and for art history.

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Kozhukharov, Roman R. « “Miriskusniki” and the genesis of acmeistic searches (about the review of one exhibition) ». Philological Sciences. Scientific Essays of Higher Education 2, n^o 2 (mars 2024) : 94–100. http://dx.doi.org/10.20339/phs.2.2-24.094.

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The article presents the experience of comprehension V. Narbut’s publication “Mir Iskusstva” (“The World of Art”) in the St. Petersburg newspaper “Theater and Sport”. The article, dedicated to the exhibition of the same name, is written in the genre of art criticism, unique for the poet’s creative biography, and is perceived as a capacious manifestation of the author’s artistic preferences. The significance of comprehension this publication is due to its chronological correlation not only with the beginning of the poet’s creative path, but also with key events in the history of Russian literature at the beginning of the 20th century.

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Medovarov, Maksim V. « “Construction and Decorative Art” Magazine : A Forgotten Word in the Russian Artistic Criticism of the Early 20th Century ». Observatory of Culture 19, n^o 1 (3 mars 2022) : 88–99. http://dx.doi.org/10.25281/2072-3156-2022-19-1-88-99.

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The article is devoted to the history of the Moscow magazine “Construction and Decorative Art”, which played a significant role in Russian art criticism in 1903, despite its short (within six months) existence. This topic needs to be addressed due to the small number of comprehensive studies in the field of Russian art criticism of the early 20th century. On the basis of archival materials of censorship, the article reconstructs the creation circumstances of two homogeneous magazines (“Architecture and Decorative Art”, renamed “Free Art”, and “Construction and Decorative Art”) and their actual transformation into one press organ. There is examined the rapprochement of the architects Vasily Borin and Leonid Betelev with the scandalous journalist Alexey Filippov, their struggle for the permission to publish a new Moscow magazine about art in 1900—1902, the patronizing attitude of the Main Directorate for Press Affairs and the Moscow Governor-General to the new initiative of Filippov. The author introduces into scientific circulation important recorded sources related to the transfer of the rights to publish the magazine to Vasily Borin, and his attempt to pass off the former magazine of Filippov and Betelev as his own (hitherto non-existent) magazine “Free Art”. The article analyzes three issues of the illustrated magazine “Construction and Decorative Art” published in 1903. Basing on the data on the magazine’s format and prices, the author concludes that the publication turned out to be expensive and, therefore, unprofitable. The article pays particular attention to the views of Borin and Filippov on the development of contemporary art, Art Nouveau, and the activities of the artists of the group “Mir Iskusstva” (“World of Art”). In the context of a meaningful analysis of the magazine’s articles, there is discussed the honoring of the architect Nikolai Nikitin in connection with his anniversary. The author poses the question of how the issues of “Free Art” at the end of 1903 should be assessed. There are analyzed the causes for the mysterious closure of both the magazines in 1904—1905, which was not formalized in accordance with the law.

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Bunkevich, D. A. « Miserabilism in French Art of the 1940s-1960s. To the Origin of the Concept ». Art & ; Culture Studies, n^o 2 (juin 2023) : 382–405. http://dx.doi.org/10.51678/2226-0072-2023-2-382-405.

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The article discusses the emergence and evolution of the notion of miserabilism, analyses its current state, and based on the findings, gives its definition. The subject of the article is the notion of miserabilism in French art of the mid-20th century. The purpose of the article is to determine the conceptual boundaries and give a clear definition of the notion of miserabilism in relation to French art of the mid-20th century. The research was carried out based on textual materials: philosophical works, art criticism, interviews and manifestos of artists. The scientific novelty and relevance of the article lies in the analysis and development of the little-explored artistic phenomenon of miserabilism and in the author’s appeal to understudied texts on its comprehension. The analysis of the genesis of the notion of miserabilism and its current state shows that it goes beyond the existing definitions. In addition, as follows from the study, the concept of miserabilism is undergoing a significant transformation from the moment of its appearance to getting into the art history discourse. In the course of the analysis, it was possible to reveal that the notion of miserabilism stems from the philosophy of pessimism, and before being introduced into the artistic field, it takes on the meaning from existential philosophy as an interest in man and his being. Based on the study of art criticism and bringing in the statements of miserabilism artists themselves, such as F. Gruber, B. Buffet, and the “L’Homme-Témoin” group, it is established that the main thing in miserabilism is the realistic reflection of the world, as well as the image of the “little man” and their everyday life. At the end of the article, the author comes to the conclusion that miserabilism is an artistic tendency in French art of the 1940s-1960s.

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Liu, Ting. « Singing (vocal) as a component of ballet : the experience of interpreting the phenomenon in the context of artistic trends of the early 20th century ». Culture of Ukraine, n^o 75 (21 mars 2022) : 93–102. http://dx.doi.org/10.31516/2410-5325.075.12.

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The article is devoted to one of the forms of creative synthesis of types of art, which is being actualized in the modern space-time of musical and stage compositions, including through its own historical and genetic code. Singing in ballet appears in the context of art of the early 20th century as a common aesthetic phenomenon. However, music criticism and academic science have not yet provided the explanation of its mechanisms (image-aesthetic, psychological, form-creating, communicative), its overriding tasks in the concepts of modern musical theatre. The experience of problem statement in the field of interpretology provides the relevance of the topic of the article and determines the novelty of the obtained results. The purpose of the article is to reveal the preconditions and content of the functional unity of the art of singing and dance against the background of artistic trends of the early 20th century (starting with “Pulcinella” by I. Stravinsky). The creative tandem of dance and singing has its roots in ancient Greek culture, on which the creators of the French tradition of ballets du court (J.-B. Llully focused. In the realm of «mixed genres» of baroque music, the «golden age» of homo musicus began. The latest history of singing in ballet begins with I. Stravinsky, his «Pulchinelli». The obtained results of the research of the problem “What is singing in ballet — a tribute to history or an invention of modern culture”? First, the presence of the “genetic code” of this phenomenon in the art of Western Europe of the Modern times; secondly, the regularity of the tendency to synthesize singing in the art of ballet as a manifestation of neoclassicism, closely related to the historicism of compositional thinking of I. Stravinsky. The conclusions outline the preconditions and content of the functional unity of singing and dance in the format of artistic trends of the early 20th century: 1) the historical and cultural code of French art (singing — dramatic play — dance); 2) personal self-reflection of I. Stravinsky (his relations on the basis of creative cooperation in the early 20th century later formed a wide range of communication for artists: O. Rodin, A. Modigliani, K. Monet, P. Picasso, V. Kandinsky); 3) imitation of pre-classical, pre-baroque, and ancient folk traditions. In general, the revival of the function of singing in ballet of the 20th century took place on the basis of musical historicism and serves as a mental sign of the birth of neoclassicism.

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Dukić, Anđela. « Branko Popović as a contemporary and critic of Belgrade's architecture scene ». Nasledje, n^o 24 (2023) : 183–98. http://dx.doi.org/10.5937/nasledje2324183d.

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The activity of Branko Popović is primarily defined in historiography through valorizations of his artistic oeuvre and his role as an art critic, one that he continuously undertook during the first half of the 20th century. Given that Popović's contributions to architectural criticism and the interpretation of contemporary architectural phenomena and problems have often lain outside the main scope of particular research endeavours, instead often being presented in summarial form within monographs and anthologies, there is an acute need for elaboration of this area of his outputs. Popović primarily received his higher education at the Technical Faculty in Belgrade, where he later held the role of professor of history of art and architecture, and during the Second World War he held the position of Dean. The aim of this work is to present, through the review and analysis of articles published in pre-war and inter-war periodicals, another aspect of Popović's interpretations and criticisms, based on perceptions of and participations in contemporary events in the field of architecture, which would complete his contribution to the shaping of artistic thought.

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Perfilieva, I. Yu. « Architectural Motifs in Jewellery Art of the 20th — the First Quarter of the 21st Century ». Art & ; Culture Studies, n^o 4 (décembre 2023) : 310–43. http://dx.doi.org/10.51678/2226-0072-2023-4-310-343.

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Throughout the history of jewellery, craftspeople have appealed to architectural motifs in the composition of church utensils or jewellery. In different historical periods, this process developed in accordance with the aesthetic requirements of the time, the peculiarities of the artistic and stylistic development of art in general and jewellery in particular. As a result, a number of certain artistic techniques have been formed; they were used by masters in past eras and are used by modern artists and jewellers, as well as architects and designers working in this field of decorative art. This article is devoted to the analysis of the formation and development of these artistic and stylistic techniques at the present stage. This topic has not yet been adequately reflected in scientific literature. The research problem is only mentioned in general works of foreign and Russian researchers on various historical periods (to a greater or lesser extent). Most interest in the topic is shown by bloggers who popularize certain brands or master jewellers in various electronic resources. In the first quarter of the 21st century, the appeal to architectural motifs as a key element of artistic, figurative, and compositional solutions in jewellery became very widespread both in the luxury segment and in the author’s jewellery art. This article is the first experience of art criticism research on this artistic and stylistic phenomenon. The research uses descriptive, formal, stylistic, and comparative methods. As a result, the author of the article identifies and formulates the main methods of using architectural motifs in the compositional, artistic, and figurative solutions in works of modern author’s jewellery art.

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Hryhorov, V. « Monumental and decorative art of the second half of the 20th century in specialized literature ». Research and methodological works of the National Academy of Visual Arts and Architecture, n^o 27 (27 février 2019) : 99–104. http://dx.doi.org/10.33838/naoma.27.2018.99-104.

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The article deals with a number of issues highlighted in the research of monumental painting during the 1960–2000s, and follows the development of art studies literature during the specified period. Ukrainian monumental painting during the second half of the 20th century evolved rather unequally, which affecte the art criticism reflections. In the 1960's and 80's the active and dynamic development of monumental art took place. Research in this area also reached the peak of its popularity. For example, the article of I. Pronina contains a review of publications from 1973–1974, and the author brought the statistics indicating more than 200 works. (180) Since the mid-1960's, academics have been increasingly focusing on monumental art. The attitude to monumental painting in the art history literature of the 1960's is ambiguous. However, most researchers are still critical of post-war practice and consider monumental works of the late 1950`s and 1960`s as a step forward. The distinctive differences between the 1960's and 1970's – 1980's lie in various attitudes towards themes and scenes of the monumental painting. In the 1960's the monumentality was associated with the laconic content, using a set of all understandable associative attributes. The expansion of the range of themes in monumental painting in the professional literature occured in the 1970's. Since the research problem stands at the crossroads of various branches of art, important scientific advancements were reflected in such prominent professional publications as: "Architecture of the USSR", "Decorative art of the USSR" and "Fine Arts". In the 1970's the publishing house "Soviet artist" released a series of articles compilations called "Soviet monumental art." The state of monumentalism significantly changes in 1990's as there was a significant decline in the activity of this artistic direction. At this time the monumental painting fell into the field of wide-scale artistic studies. In the professional literature of the last decade the scope of art study themes has changed to a certain extent as the art historians more often address the issues previously tabooed in Soviet times, and some of them partially or fully relate to the monumental painting. To such themes belong the Sixties and Boichukizm. Today the problem of the preservation of Soviet monumental works sharply appears. Many authors turn to the theme of monumental art in order to attract the attention of society to the rapid destruction of mosaics and wall murals, and to prove their value for Ukrainian fine arts.

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Bystrov, Vladimir, et Vladimir Kamnev. « Vulgar Sociologism : The History of the Concept ». Sotsiologicheskoe Obozrenie / Russian Sociological Review 18, n^o 3 (2019) : 286–308. http://dx.doi.org/10.17323/1728-192x-2019-3-286-308.

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This article can be considered as the history of the concept of vulgar sociologism, including both the moment of the emergence of this concept and its subsequent history. In the 20th century, new approaches were formed in the natural sciences about society and man which assumed to consider all of the ideas from the point of view of class psycho-ideology. This approach manifested itself somewhat in the history of philosophical and scientific knowledge, but chiefly in literary criticism (Friche, Pereverzev). As a result, any work of art turns into a ciphered message behind which the interest of a certain class or group hides. The critic has to solve this code and define its sociological equivalent. In the discussions against vulgar sociology, M. Lifshitz and his adherents insisted on a limitation of the vulgar-sociological approach, qualifying it as a bourgeois perversion of Marxism. They saw the principle of the criticism of vulgar sociology in the well-known statement by K. Marx about the aesthetic value of the Ancient Greek epos. The task of the critic does not only reduce to the establishment of social genetics of the work of art because he also needs to explain why this work causes aesthetic pleasure during other historical eras. In the article, it is shown that later attempts to reduce the complete spectrum of modern western philosophy and aesthetics into a paradigm of vulgar sociology of the 1920s is an unreasonable exaggeration. At the same time, in discussions in the 1930s, the question of the need of the differentiation of the vulgar-sociological approach and a sociological method in general was raised. As for sociology, this question remains relevant even today.

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Demchuck, Stefaniia. « Gombrich, Ukraine and another Science of Art ». Text and Image : Essential Problems in Art History, n^o 2 (2022) : 45–51. http://dx.doi.org/10.17721/2519-4801.2022.2.05.

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The essay discusses the state and the prospects of Ukrainian art history and its relationship with the so-called ‘Art studies’. It offers insights into the origins of the notion of art studies imposed by the Soviet authorities to replace the ‘bourgeois’ theory and history of art which flourished at the beginning of the 20th century in Ukrainian universities. The introduction of art studies meant the growth of the rift between Soviet scholarship and the rest of the world. This first shift was followed by acts aimed at provincializing Ukrainian scholars through censorship and limited access to publications and fellowships. The long-awaited independence of Ukraine has changed much neither in approaches to teaching the history of art at art schools and academies nor in the methodology of scholars. The science of art in Ukraine remains to a large extent outdated, rooted in connoisseurship and formal analysis and sometimes even confused with art criticism. Ernst Gombrich’s lecture of 1966 pointed to the importance of tackling political, social and economic circumstances that impacted artistic development while teaching art history. His conclusions despite seeming obvious are still to be taken into account in Ukrainian realities as the attitude towards history in art academies remains rather superficial and condescending as to a ‘science of facts’, which completely ignores the last decades of methodological pursuits of historians and art historians. Going back to the notion of theory and history of art as a discipline that should be taught and researched as well as tackling linguistic obstacles and re-inventing methodology might help to overcome the divide between Ukrainian scholarship and their foreign peers and make research conducted in Ukraine and/or by Ukrainian art historians visible to the European and global art community. It, too, will mean the beginning of another science of art in Ukraine.

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ÇİL, Hande, Mustafa Hikmet AYDINGÜLER et Burak BOYRAZ. « Yves Klein : An Actual Review of His Anthropometries & ; Monochromes Abstract ». İnsan ve Toplum Bilimleri Araştırmaları Dergisi 12, n^o 3 (29 septembre 2023) : 2258–78. http://dx.doi.org/10.15869/itobiad.1294099.

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The European-based population growth, which has manifested itself since the 16th century, first initiates a wave of migration from the countryside to the city. It then creates a ready workforce. Production centers, which benefited from the ready workforce for the first time, return to steam energy as time progresses. This situation becomes widespread rapidly and paves the way for the industrial revolution. It is now the machine that is concerned. It is hoped that in the future, mechanization and the technologies that provide it will be transferred to everyday life and facilitate human life. However, only a century later, between 1914 and 1945, two major wars appear in the continental geography. There is a devastating effect on Western societies that leaves difficult traces to be erased behind, which is encountered by the occasion of these wars. Despite this, intellectual thought and criticism from the mid-20th century experience the brightest period after the Enlightenment. If we look at the criticism of art, they are ready objects discussed. References from the First World War years, texts based on contemporary philosophy and statements expressed loudly lead to a review of traditional attitudes. New perspectives are constantly derived. These perspectives, which center the forms of expression that contain traces from the inner worlds, absorb the stage, that is, performance. The artist is now a person who has awareness of the social agenda and can think interdisciplinary. His first concern when acting is originality. During the production stages, it tests both the audience's and their own limits. New Realism (Neorealism) is a movement that is referred to by names that adopt this situation and has a wide place in the history of art. Many artistic initiatives included in the article, are associated with this movement in its short life; Yves Klein, which fits performance and artwork (1928 - 1962). It is anthropometries and monochromes, which are repeated with a method specific to today's art criticism and evaluated from a close-time perspective.

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Kirillova, Natalia B. « Metamorphoses of Russian Mass Culture ». Observatory of Culture 16, n^o 5 (4 décembre 2019) : 536–41. http://dx.doi.org/10.25281/2072-3156-2019-16-5-536-541.

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The article is a review of the monograph “Russian Mass Culture: From Baroque to Post-Modernism” by Doctor of Philosophy, Professor of the Russian State University for the Humanities, Academician of the Russian Academy of Natural Sciences I.V. Kondakov. The book, which consists of seven chapters, is devoted to the history of the emergence and development of mass culture in Russia from ancient times to the beginning of the 20th century. Studying its origins dating back to antiquity, the author proves that Russian mass culture received an “impulse of independence” in the 17th century, as the culture was becoming personified, which means a personal principle was coming forward in it. It was during that period, associated with the emergence of Russian Baroque, that two paradigms appeared — Pre-Renaissance and Pre-Enlightenment, which led to the subsequent juxtaposition of “mass” and “elite” cultures in Russia first before Peter the Great and then after his period. The author gives an interesting assessment to the period of the Russian Enlightenment of the 18th century, when there happened a demarcation of the noble culture into liberal-democratic and conservative directions. Moreover, the former contributes to “massification”, and the latter – to “individualization” of Russian culture. The crisis of the classical paradigm in the 19th century, including the “literature-centrism” and “critical-centrism” of Russian culture, ultimately led to the formation of new artistic movements, new genres and styles, that is, to the modernization of Russian culture at the turn of the 19th—20th centuries. In this regard, the Silver Age turned out to be an “exquisite and ephemeral construction of the Russian Renaissance” in paradoxical forms of symbolism and modernism.The review reflected the structural and substantive aspects of I.V. Kondakov’s monograph, the features of his theoretical analysis, the specifics of style and language. The article evaluates the publication, reveals its uniqueness and scientific significance for modern humanitarian science, including history and cultural studies, literary criticism and philosophy, art criticism and aesthetics.

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Qinyan, An. « The Fate of the Russian inTelligentsia in the XX Century. Re-Reading Milestones ». Voprosy Filosofii, n^o 3 (2021) : 113–27. http://dx.doi.org/10.21146/0042-8744-2021-3-113-127.

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The article provides an analysis of historical events in Russia in the 20th century from the point of view of the influence of the Russian intelligentsia on them, its theoretical and practical activities. The starting point for the author is the collection Milestones (1909) and the criticism of the intelligentsia, which is the main meaning of the articles in this collection. The author shows that, despite the great influence of the intellectuals on the fate of Russia, they was not able to fully realize its ideals, and the fate of many of them was tragic. Their ideals were in contradiction with the real life of Russia, and later of the Soviet Union, they did not take into account the peculiarities of the development of the Russian and then the Soviet state and society. Their attempts to go against social practice inevitably ended in failure, while the desire to act in accordance with social practice often led to results that were contrary to their ideals. According to the author, the fate of the Russian intelligentsia in the 20th century confirmed the correctness of the materialist understanding of history, according to which, in the absence of ideals, movement forward has neither a driving force nor a direction, and without reliance on practice, all ideals turn into utopia. Therefore, the correct solution to the problem of connecting excellent ideals and objective practice is a matter of high political art. In the process of modernizing a backward state, the intelligentsia has a special mission.

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Expósito de Vicente, Cristina. « Visual Exegesis of Herodias and Salome from Feminist Rhetorical Criticism : The Construction of a Myth ». Religions 15, n^o 3 (8 mars 2024) : 328. http://dx.doi.org/10.3390/rel15030328.

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The biblical account of Salome has been marked throughout history by two main themes: on the one hand, the princess’s dance in front of the main rulers of Galilee, and on the other hand, the request for the head of John the Baptist to King Herod, instigated by his mother Herodias. The reading of this passage has been strongly marked by the different patriarchal exegetical approaches, which have modulated the reception of both female characters being traceable through the visual and literary arts, to the point of taking on the concept of femme fatale. Really, in both moments Salome is the executor of the actions, not as a result of her capacity for agency, but due to her influenceable character. Through a critical–historical analysis of the biblical passage, Herodias and Salome emerge with characteristics quite different from what 19th-century Art History inherited. The methodology of feminist rhetorical criticism allows for an approach to the visual re-imaginings of this biblical passage that have shaped the iconography of these two figures. The field of visual arts, particularly the production of the late 19th and early 20th centuries, will be the great receptacle for the genesis of the fatality and assimilation of these female biblical figures.

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Loos, Helmut. « Beethoven — the Zeus of Modernity ». Culturology Ideas, n^o 18 (2'2020) (2020) : 66–84. http://dx.doi.org/10.37627/2311-9489-18-2020-2.66-84.

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A large part of German musicology sees itself as a science of art in the emphatic sense and is committed to quite different principles than historical-critical approaches in the discipline. The latter seek to gain a realistic picture of the history of music, including contemporary ways of thinking, and allow for historical actors to make meaningful, free will decisions within anthropologically determined circumstances. The emphatic science of art, on the other hand, claims to be able to prove and scientifically determine the objects of great art music and their nature. It originated during the Enlightenment, when philosophy took the place of religion and created ever new theoretical constructs of thought presented as scientifically proven and binding. In music, Beethoven rose to the ideal of the ingenious creator, who embodied the progress and achievements of mankind on the path toward perfection. Thus, in the course of the 19th century, a Beethoven cult developed using philosophy as its guide in selecting and evaluating historical sources, gladly accepting literary testimonies as historical fact. Historical criticism, which revealed this construction of a romantic image of Beethoven, was suppressed for a long time. Society’s broad acceptance of the notion of the evolutionary progress of mankind, one to which modernity adhered, proved too powerful, and belief in it took the form of an art religion. Beethoven as Zeus of the Third Reich, as the god of modernity, was the program and message of the 14th Secession Exhibition in Vienna in 1902. This image was destructed in the late 20th century.

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Perry, Robert L., et Melvin T. Peters. « The African-American Intellectual of the 1920s : Some Sociological Implications of the Harlem Renaissance ». Ethnic Studies Review 19, n^o 2-3 (1 juin 1996) : 155–72. http://dx.doi.org/10.1525/esr.1996.19.2-3.155.

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This paper deals with some of the sociological implications of a major cultural high-water point in the African American experience, the New Negro/Harlem Renaissance. The paper concentrates on the cultural transformations brought about through the intellectual activity of political activists, a multi-genre group of artists, cultural brokers, and businesspersons. The driving-wheel thrust of this era was the reclamation and the invigoration of the traditions of the culture with an emphasis on both the, African and the American aspects, which significantly impacted American and international culture then and throughout the 20th century. This study examines the pre-1920s background, the forms of Black activism during the Renaissance, the modern content of the writers' work, and the enthusiasm of whites for the African American art forms of the era. This essay utilizes research from a multi-disciplinary body of sources, which includes sociology, cultural history, creative literature and literary criticism, autobiography, biography, and journalism.

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Oliveira, Pedro Rocha de. « FETICHISMO E ORNAMENTO NA TEORIA DA CULTURA DE SIEGFRIED KRACAUER ». Síntese : Revista de Filosofia 39, n^o 124 (17 septembre 2012) : 237. http://dx.doi.org/10.20911/21769389v39n124p237-258/2012.

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Buscando os aspectos da crítica da cultura de Siegfried Kracauer que apontam para uma crítica radical da sociedade, o presente texto analisa a caracterização feita por aquele autor da arte industrializada do início do século XX nas obras O ornamento da massa: ensaios, de 1963 e De Caligari a Hitler: uma história psicológica do cinema alemão, de 1947. Atenta-se para a maneira como tal caracterização mapeia a determinação das formas dessa arte pelo ideário e contexto político-econômicos da sociedade onde ela emerge, especialmente no que tange às relações entre avanço técnico e projeto de modernização social na sociedade burguesa.Abstract: The present work analyses Siegfried Kracauer’s characterization of the early 20th century industrialized art, by seeking in the author’sThe mass ornament (1963) and From Caligari to Hitler: a psychological history of the German film (1947), aspects of his cultural criticism that point towards a radical critique of society. This paper will highlight the way in which such a characterization explores how the forms of that art are determined by the ideology and the political-economic context in which it has emerged, focusing on the relationships between technical advancement and social modernization in the bourgeois society.

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Kachorovskaya, A. E. « On the Reception of the Myth of Prometheus in Austrian Literature of 19th-20th Centuries ». Nauchnyi dialog, n^o 3 (30 mars 2020) : 221–35. http://dx.doi.org/10.24224/2227-1295-2020-3-221-235.

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This article focuses its attention on the motive of resistance characteristic of Austrian literature of the 19th - 20th centuries, which is considered from the point of view of the historical and literary relationship with the myth of Prometheus. The history of the issue is reviewed. A selective analysis of the versions of the Promethean myth in the Austrian historical and literary context of the 19th-20th centuries, which is part of the pan-European literary and philosophical heritage, is given. The stylistic and genre originality of Austrian interpretations of the myth of Prometheus is proved on the basis of a study of a number of works. The artistic reception of the image of Prometheus in the poem by Z. Lipiner "Liberated Prometheus", little studied in Russian literary criticism is considered in the article. Attention is paid to the version of the Promethean myth in the literature of Austrian Art Nouveau (on the example of F. Kafka's little prose). The issue of conflicting trends in the development of Austrian literature of the 20th century, affecting the interaction of the motive of resistance with the Promethean myth, is investigated by the example of M. Gruber's essay. The correlation of the Austrian versions of the motive of resistance with the myth of Prometheus is proved. The results of the study confirm the significance of the Promethean myth in the Austrian reception of the 19th-20th centuries, which has more pronounced features of drama and theatricality in relation to the European context.

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Antropova, Nataliya D. « HISTORICAL AND PHILOSOPHICAL ASPECTS IN THE RENEWAL OF THE LANGUAGE OF CHURCH MONUMENTAL PAINTING IN FRANCE AT THE TURN OF THE 20th CENTURY ON THE EXAMPLE OF PAINTINGS BY MAURICE DENIS ». Architecton : Proceedings of Higher Education, n^o 3(71) (29 septembre 2020) : 21. http://dx.doi.org/10.47055/1990-4126-2020-3(71)-21.

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The study analyzes the historical and philosophical origins of the renewal in church monumental art in French culture at the turn of the 20th century. The crisis that broke out in the second half of the 19th century within the philosophical knowledge and classical religion and an attempt to rethink the evolution of Christianity entailed significant changes in artistic creativity devoted to the sacred theme. The author explores the topic based on the church mural paintings of the French painter Maurice Denis, who stood at the origins of the transformation of the language of religious painting and whose role is significant for the further history of European art. The relevance of the work lies in the fact that all previous studies on this topic were primarily art criticisms. They paid special attention to the analysis of the artistic language and pictorial and expressive means. At the same time, questions of historical and philosophical nature and their role in the formation of new European religious painting were analyzed to a much lesser extent.

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CHENG, FANGYI. « The Evolution of “Sinicisation” ». Journal of the Royal Asiatic Society 31, n^o 2 (26 janvier 2021) : 321–42. http://dx.doi.org/10.1017/s1356186320000681.

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AbstractThis paper traces the history and usage of the theory of Sinicisation in western and Chinese scholarship, and discusses the intellectual trends underlying the different discourses in which the theory has been adopted. Since early 20th Century, the theory of “Sinicisation” has evolved and was adopted into three distinct historiographical discourses to construct different arguments. The first discourse is about the historical acculturation of border peoples and assimilation of domestic peoples to Chinese language, culture and economic life; the second one argues an inherent superiority in Chinese culture specifically produced cultural change across eastern Eurasia to promote nationalism; the third discourse emphasizes the diversity and mixture of the people living inside historical and contemporary China to construct and stabilise the polity. Every discourse rooted in its own intellectual trend, and also faces different criticism. Followed with examining criticisms of Sinicisation since the 1950s, this paper concludes by discussing the relationships of the three discourses of Sinicisation.

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Shalygina, O. V. « Time and space in the motor aesthetics of A. Volynsky ». Solov’evskie issledovaniya, n^o 4 (15 décembre 2019) : 100–113. http://dx.doi.org/10.17588/2076-9210.2019.4.100-113.

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The article describes the original aesthetic and philosophical concept – the motor aesthetics of Akim Volynsky. Volynsky uses the concept of «motor aesthetics» in the Kniga likovanii, describing the value of circular lines for the «all aesthetics, visual, sound and motor», and particularly pirouette for motor aesthetics. The term «motor aesthetics of Akim Volynsky» is used in this article for the first time and is studied by the author from an interdisciplinary perspective. Motor aesthetics is developed by Volynsky for plastic art as a language of description of classical ballet, he introduces the basic concepts, formulates the laws, defines the basic philosophical categories that underlie it. The importance of Volynsky's work on the formation of the language of classical ballet description is recognized in the professional environment and theater criticism. The study of the motor aesthetics of Akim Volynsky is relevant in connection with the study of the philosophical foundations of intermedial analysis. The article deals with the problem of time and space in the motor aesthetics of Akim Volynsky for the first time. The direct connection of Volynsky's later works on ballet with his early article on Kant is revealed, the conclusion about the originality of Volynsky's philosophical position in relation to the categories of time and space is made. Using the thesaurus of Kant's transcendental aesthetics, Volynsky defines the two-act structural relationship of time and space according to the «par coupe» (fr) principle, which he regards as universal. It was concluded of Volynsky's motorial aesthetics value not only in the history of classical ballet and theatre criticism, the history of of the Russian literature and philosophy of the late 19th - early 20th century, but also in the modern philosophical anthropology and ontology.

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Makarova, E. A. « The Book Publishing in the Pre-revolutionary Irkutsk : On the “Cultural Nest” Problem ». Studies in Theory of Literary Plot and Narratology, n^o 1 (2019) : 50–62. http://dx.doi.org/10.25205/2410-7883-2019-1-50-62.

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The paper focuses on the literary and publishing situation in Irkutsk in the second half of the 19th – early 20th centuries viewed as the combination of factors that gave grounds for N. K. Piksanov to introduce the concept of “cultural nest” into the academic parlance. The concept conjugates three stable elements: “a certain group of actors, constant activity and disciples.” The Irkutsk literary and art collections are analyzed from an interdisciplinary perspective that allows direct transfer of research methods from one academic field to another. In this case, historical and literary criticism aims at identifying sociocultural “era slices” in historical, cultural, and publishing context, which makes it possible to relate the development paradigm of almanac literature to the dynamics of social development and processes in related areas of book culture. The literary history of Irkutsk, as well as of the entire Siberian region, begins with the publication of N. S. Shchukin’s Siberian Tales, compiled and published by in 1862. In the mid-1870s, the controversy around the local press, closely monitored in the metropolitan media, resulted in the scholarly and literary collection of the “Sibir’” newspaper published in St. Petersburg in 1876. In fact, the first Siberian literary anthology was the collection of poems Siberian Motifs, published by a famous Irkutsk activist and philanthropist I. M. Sibiryakov. The most successful and longlasting publishing project of the last decades of the 19th century was Siberian Collections, published as a scholarly and literary supplements to Yadrintsev’s newspaper “Vostochnoe Obozrenie” in 1885 in St. Petersburg, and later, from 1888 to 1906 in Irkutsk. In the early 20th century, the first purely commercial book publishing enterprise in Irkutsk was “Irisy” Publishing House founded by the Stozhs. The most successful literary projects were the collections Baikal in Poetry and Prose. Part 1 and Siberian Poets and Their Works, edited by a well-known journalist, literary critic, Marxist and publisher N. Chuzhak-Nasimovich. Among other Irkutsk editions of the first decades of the 20th century the most typical were the student collections The First Snowdrop and Northern Dawns, as well as the anthology Irkutsk Evenings, published by a group of poets led by Konstantin Zhuravsky, who also edited the collection. As a result, the proposed interdisciplinary approach made it possible to correlate the development paradigm of almanac literature with the dynamics of social development and the processes occurring in related areas of the book culture in the pre-revolutionary Irkutsk.

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Männiste, Kerttu. « Tension. Expressionist Artistic Style in Stage Design and Original Artworks of the First Half of the 20th Century ». Baltic Journal of Art History 21 (20 août 2021) : 107–27. http://dx.doi.org/10.12697/bjah.2021.21.06.

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Despite turning professional in the first decade of the 20th century,the material and practical capabilities of Estonian theatres initiallyremained modest. This hindered the development of stage design– a field dependent on the creative ideas of artists as well as ontechnical resources. The stage designs that used stock scenery, werestylistically uneven and often not suitable for a play’s material,received criticism from viewers-critics who were familiar with themodern developments in European and Russian theatre, especiallyfrom the members of the group Young Estonia.While Estonian artists were already familiar with the avantgardetrends in the European, and specifically German culturallife prior to WWI, in Estonian theatres expressionism appearedin the 1920s, both in terms of ideas, ideals and stylistic methods.Larger theatres were able to refresh their theatrical language withthe expressionist, stylised acting methods and new visual andscenographical solutions. The stage designer for Estonia Theatre’sinnovative productions was Peet Aren, who had already establishedhimself as an expressionist artist by the 1920s. On the stage, he alsorealised his unique artistic style: by luxated perspectives, deformedshapes, excessive colourfulness and playfulness.The ideological plane of expressionism was central in MorningTheatre (Hommikteater), active in Tallinn in 1921–1924. MorningTheatre’s troupe of amateurs under the direction of the visionaryAugust Bachmann brought out three plays which were expressionistin their message and style. Although in theatre history the stagedesigns of Morning Theatre have been associated with Peet Aren,the study of original sketches in the archive of the Estonian Theatreand Music Museum confirms that the author of Morning Theatre’sstage designs was artist Aleksander Möldroo, a representative ofthe more powerful and robust style of expressionism. With MorningTheatre’s laconic, stylised scenography, Estonian stage design madean important developmental leap from commonplace stage designtowards a theatrically conditional and artistic stage décor.

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Pylypchuk, Oleh, Oleh Strelko et Yuliia Berdnychenko. « PREFACE ». History of science and technology 11, n^o 2 (12 décembre 2021) : 271–73. http://dx.doi.org/10.32703/2415-7422-2021-11-2-271-273.

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The issue of the journal opens with an article dedicated to the formation of metrology as government regulated activity in France. The article has discussed the historical process of development of metrological activity in France. It was revealed that the history of metrology is considered as an auxiliary historical and ethnographic discipline from a social and philosophical point of view as the evolution of scientific approaches to the definition of individual units of physical quantities and branches of metrology. However, in the scientific literature, the little attention is paid to the process of a development of a centralized institutional metrology system that is the organizational basis for ensuring the uniformity of measurements. The article by Irena Grebtsova and Maryna Kovalska is devoted to the of the development of the source criticism’s knowledge in the Imperial Novorossiya University which was founded in the second half of the XIX century in Odesa. Grounding on a large complex of general scientific methods, and a historical method and source criticism, the authors identified the stages of the formation of source criticism in the process of teaching historical disciplines at the university, what they based on an analysis of the teaching activities of professors and associate professors of the Faculty of History and Philology. In the article, the development of the foundations of source criticism is considered as a complex process, which in Western European and Russian science was the result of the development of the theory and practice of everyday dialogue between scientists and historical sources. This process had a great influence on the advancement of a historical education in university, which was one of the important factors in the formation of source studies as a scientific discipline. The article by Tetiana Malovichko is devoted to the study of what changes the course of the probability theory has undergone from the end of the 19th century to our time based on the analysis of The Theory of Probabilities textbook by Vasyl P. Ermakov published in 1878. The paper contains a comparative analysis of The Probability Theory textbook and modern educational literature. The birth of children after infertility treatment of married couples with the help of assisted reproductive technologies has become a reality after many years of basic research on the physiology of reproductive system, development of oocyte’s in vitro fertilization methods and cultivation of embryos at pre-implantation stages. Given the widespread use of assisted reproductive technologies in modern medical practice and the great interest of society to this problem, the aim of the study authors from the Institute for Problems of Cryobiology and Cryomedicine of the National Academy of Sciences of Ukraine was to trace the main stages and key events of assisted reproductive technologies in the world and in Ukraine, as well as to highlight the activities of outstanding scientists of domestic and world science who were at the origins of the development of this area. As a result of the work, it has been shown that despite certain ethical and social biases, the discovery of individual predecessor scientists became the basis for the efforts of Robert Edwards and Patrick Steptoe to ensure birth of the world's first child, whose conception occurred outside the mother's body. There are also historical facts and unique photos from our own archive, which confirm the fact of the first successful oocyte in vitro fertilization and the birth of a child after the use of assisted reproductive technologies in Ukraine. In the next article, the authors tried to consider and structure the stages of development and creation of the “Yermak”, the world's first Arctic icebreaker, and analyzed the stages of preparation and the results of its first expeditions to explore the Arctic. Systematic analysis of historical sources and biographical material allowed to separate and comprehensively consider the conditions and prehistory for the development and creation of “Yermak” icebreaker. Also, the authors gave an assessment to the role of Vice Admiral Stepan Osypovych Makarov in those events, and analyzed the role of Sergei Yulyevich Witte, Dmitri Ivanovich Mendeleev and Pyotr Petrovich Semenov-Tian-Shansky in the preparation and implementation of the first Arctic expeditions of the “Yermak”icebreaker. The authors of the following article considered the historical aspects of construction and operation of train ferry routes. The article deals with the analysis and systematization of the data on the historical development of train ferry routes and describes the background for the construction of train ferry routes and their advantages over other combined transport types. It also deals with the basic features of the train ferries operating on the main international train ferry routes. The study is concerned with both sea routes and routes across rivers and lakes. The article shows the role of train ferry routes in the improvement of a national economy, and in the provision of the military defense. An analysis of numerous artefacts of the first third of the 20th century suggests that the production of many varieties of art-and-industrial ceramics developed in Halychyna, in particular architectural ceramic plastics, a variety of functional ceramics, decorative tiles, ceramic tiles, facing tiles, etc. The artistic features of Halychyna art ceramics, the richness of methods for decorating and shaping it, stylistic features, as well as numerous art societies, scientific and professional associations, groups, plants and factories specializing in the production of ceramics reflect the general development of this industry in the first half of the century and represent the prerequisites the emergence of the school of professional ceramics in Halychyna at the beginning of the 20th century. The purpose of the next paper is to analyze the formation and development of scientific and professional schools of art-and-industrial ceramics of Halychyna in the late 19th – early 20th centuries. During the environmental crisis, electric transport (e-transport) is becoming a matter for scientific inquiry, a subject of discussion in politics and among public figures. In the program for developing the municipal services of Ukraine, priorities are given to the development of the infrastructure of ecological transport: trolleybuses, electric buses, electric cars. The increased attention to e-transport on the part of the scientific community, politicians, and the public actualizes the study of its history, development, features of operation, etc. The aim of the next study is to highlight little-known facts of the history of production and operation of MAN trolleybuses in Ukrainian cities, as well as to introduce their technical characteristics into scientific circulation. The types, specific design solutions of the first MAN trolleybus generation and the prerequisites for their appearance in Chernivtsi have been determined. Particular attention has been paid to trolleybuses that were in operation in Germany and other Western European countries from the first half of the 1930s to the early 1950s. The paper traces the stages of operation of the MAN trolleybuses in Chernivtsi, where they worked during 1939–1944 and after the end of the Second World War, they were transferred to Kyiv. After two years of operation in the Ukrainian capital, the trolleybuses entered the routes in Dnipropetrovsk during 1947–1951. The purpose of the article by authors from the State University of Infrastructure and Technologies of Ukraine is to thoroughly analyze unpaved roads of the late 18th – early 19th century, as well as the project of the first wooden trackway as the forerunner of the Bukovyna railways. To achieve this purpose, the authors first reviewed how railways were constructed in the Austrian Empire during 1830s – 1850s. Then, in contrast with the first railway networks that emerged and developed in the Austrian Empire, the authors made an analysis of the condition and characteristics of unpaved roads in Bukovyna. In addition, the authors considered the first attempt to create a wooden trackway as a prototype and predecessor of the Bukovyna railway.

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Vasic, Aleksandar. « The beginnings of Serbian music historiography : Serbian music periodicals between the world wars ». Muzikologija, n^o 12 (2012) : 143–64. http://dx.doi.org/10.2298/muz120227007v.

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The transition of the 19th into the 20th century in Serbian music history was a period of music criticism, journalism and essay writing. At that time, Serbian musicology had not yet been developed as an academic discipline. After WWI there were many more academic writings on this subject; therefore, the interwar period represents the beginning of Serbian music historiography. This paper analyses Serbian interwar music magazines as source material for the history of Serbian musicology. The following music magazines were published in Belgrade at the time: Muzicki glasnik (Music Herald, 1922), Muzika (Music, 1928-1929), Glasnik Muzickog drustva ?Stankovic? (Stankovic Music Society Herald, 1928-1934, 1938-1941; from January 1931. known as Muzicki glasnik /Music Herald/), Zvuk ( Sound, 1932-1936), Vesnik Juznoslovesnkog pevackog saveza (The South Slav Singing Union Courier, 1935-1936, 1938), Slavenska muzika ( Slavonic Music, 1939-1941), and Revija muzike (The Music Review, 1940). A great number of historical studies and writings on Serbian music were published in the interwar periodicals. A significant contribution was made above all to the study of Serbian musicians? biographies and bibliographies of the 19th century. Vladimir R. Djordjevic published several short biographies in Muzicki glasnik (1922) in an article called Ogled biografskog recnika srpskih muzicara (An Introduction to Serbian Musicians? Biographies). Writers on music obviously understood that the starting point in the study of Serbian music history had to be the composers? biographical data. Other magazines (such as Muzicki glasnik in 1928 and 1931, Zvuk, Vesnik Juznoslovenskog pevackog saveza, and Slavenska muzika) published a number of essays on distinguished Serbian and Yugoslav musicians of the 19th and 20th centuries, most of which deal with both composers? biographical data and analysis of their compositions. Their narrative style reflects the habits of 19th-century romanticism and positivism: in some of these writings the language also has an aesthetic function. Serbian interwar music magazines also published some archival documents contributing to the future research of Serbian music history. Interwar period in the then Yugoslavia was a time of rapid development and modernization in various fields of culture. There was a great demand for music writings of general interest. Therefore, Revija muzike (January - June 1940) was totally oriented towards the popularization of music and the arts (such as drama and film). This magazine also published some popular articles on music history. Serbian interwar music periodicals were least active in the field of musicological analysis. However, in 1934, Branko M. Dragutinovic published a detailed analytic study of Josip Slavenski?s composition Religiofonija (Religiophonics) in Zvuk. There were also some interdisciplinary history articles in Serbian interwar music magazines. Being well aware of the fact that music history comprises not only music itself, but also music writing, schools, institutions and music life, our music writers used ?indirect? sources, such as literature and art, as well as music. Serbian interwar music periodicals opened many fields of research, thus blazing a trail in postwar Serbian musicology.

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Maslov, Konstantin I. « About Alexey Khomyakov’s Views on Church Painting ». Observatory of Culture 21, n^o 2 (19 avril 2024) : 170–76. http://dx.doi.org/10.25281/2072-3156-2024-21-2-170-176.

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The article is devoted to the views on church painting of one of the Slavophile leaders A.S. Khomyakov. In 1845, Alexander Ivanov, an artist working in Rome, influenced by the “Slavophile” atmosphere of meetings with F.V. Chizhov, N.M. Yazykov and N.V. Gogol, attempted to use an icon as a model for the image of the Resurrection of Christ for the Moscow Cathedral of Christ the Saviour (for the first time in the history of the Russian academic school). It is doubtful that Khomyakov could have unreservedly welcomed this endeavor by Ivanov. Although he believed that for Russia’s return to nationality it would be sufficient only to revive the old in consciousness and life, he did not at all understand this return as a revival of the authentic forms of Old Russian art or as a stylization of these forms. Khomyakov’s negative attitude to stylizations is evidenced by his sharp criticism of the eclecticism of Bavarian art. In Russia, he believed, the link with tradition had long been severed and therefore Old Russian art could not serve as a basis for a modern art school. Not in Ivanov’s traditional icon-oriented sketch of the Resurrection of Christ, but in his painting The Appearance of the Messiah, Khomyakov recognized, even before he saw it with his own eyes, evidence of the beginning of the revival of truly Russian life and Russian thought. In his opinion, the artist sought in the painting to eliminate personal artistic manner, to become a kind of transparent medium through which the holy image would be imprinted on the canvas. The German Nazarene artists tried to capture the Christian phenomenon in the artistic contemplation of the spirit, but they could only teach it, they themselves were incapable of it. Ivanov, a graduate of the Imperial Academy of Arts, who had perfectly mastered the craft of an artist, was at the same time, according to Khomyakov, a pupil of icon painters, who created a great work of church wall painting. The history of the Russian art school of the second half of the 19th — early 20th century fully confirmed the validity of this assessment of the painting The Apparition of the Messiah. It laid the foundation for the God-seeking direction of Russian painting, on which Russian art blossomed in the work of I.N. Kramskoi, V.M. Vasnetsov, M.V. Nesterov, N.N. Ge, as well as atheists — V.D. Polenov and V.V. Vereshchagin. Although not all the works of this trend were honored to be accepted into the bosom of the Orthodox Church, most of them allow us to be deservedly proud of the Russian art school.

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Wrzesińska, Katarzyna. « Megalomania narodowa w ujęciu twórców polskich początku XX wieku ». Sprawy Narodowościowe, n^o 42 (16 juin 2015) : 85–100. http://dx.doi.org/10.11649/sn.2013.005.

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National megalomania in Polish reflection in the early 20th centuryIn the early 20th century, a number of Polish thinkers betrayed a mentality in which was deeply rooted the notion of the Polish nation’s unique character. These thinkers also expressed a conviction that Poles had a special mission both in Europe in general and towards other European nations. The signs of the intellectual elite’s national megalomania were reflected in Polish journalistic writings in the final period of World War I and the initial period of regained independence shortly after it.The article analyzes the views of selected thinkers: the philosopher W. Lutosławski, the journalist and literary critic A. Górski, the publicist A. Chołoniewski, and the historian J.K. Kochanowski. All of them believed in an optimistic picture of Polish history and emphasized the significance of the Polish mission in an ethical dimension understood as a desire to establish European order based both on respect towards the individual and at the same time on national diversity. This attitude was clearly based on Romantic thought – a historiosophy tinted with mesianism. All these authors dealt with the same themes from Polish history, treating them as a justification of their attitudes (such as: the Republic of Nobility as an embodiment of the ideal of freedom, Poland as an intermediary between the East and the West, as well as the propagator of Christian civilization in the East; the prominent role of Poles among the Slavic peoples, the importance of Catholicism). All in all, they created a mythologized vision of the Polish Republic in order to integrate the Polish society and mobilize it to act. This stream of glorification of the Polish statehood met with severe criticism after Poland regained its independence. S. Zakrzewski, F. Bujak, J.S. Bystroń, Bocheński brothers and others protested against falsifying the history of Poland.

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Tkachuk, Olena. « MULTICULTURALISM BY CONRAD-EMIGRANT ». Polish Studies of Kyiv, n^o 35 (2019) : 376–80. http://dx.doi.org/10.17721/psk.2019.35.376-380.

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The article is devoted to the problem of the multiculturalism by Joseph Conrad, the English writer and the world classic of the 20th century, who, due to the preservation of his Polish national-cultural identity, and by estrangement from this identity in his artistic consciousness, was able to influence the intellectual and artistic atmosphere in England of his times. In this way, the Polish identity became a background for Conrad’s artistic creativity, and at the same time, universal values and criteria were the key to the successful acculturation in English society in its one of the most effective strategies – the integration strategy. In this case Conrad acquired another national-cultural identity, English, – while retaining his native, Polish. Undoubtedly, one of the most important issues touched by almost all researchers is his arrival in English literature, a Pole in origin, who only arrived in England in the twenty-first year, actually emigrating, and for a very short time becaming a venerable writer. It should be noted that, taking into account the peculiarities of English mentality, the task was rather uneasy. All this undoubtedly led to the development of a variety of approaches to understanding the creative personality and rich heritage of Joseph Conrad. Foreign literary and critical academic circles, which introduced the concept of «new English literature» (meaning the post-colonial period), do not take into account such figures of the English literary process as Joseph Conrad, whose work falls out of its chronological framework, and indicates that multicultural literature appeared on the approaches to the twentieth century. However, only nowadays it was possible that such an approach was based on the principles of multiculturalism, that is, the phenomenon justified in the 90s of the XX century, although, as the majority of scholars testify, it existed for a long time in cultural studies, literary criticism, art history and philosophy. We have chosen this approach. The research is devoted to the study of the problems of national-cultural identity by Joseph Conrad, as well as the mechanism of his acculturation in the conditions of emigration.

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Ilyasova, Razilya I. « TRENDS IN THE FINE ARTS OF TATARSTAN IN THE 1970-1990S ON THE EXAMPLE OF NARKIS PONOMAREV’S CREATIVITY ». Scientific and analytical journal Burganov House. The space of culture 19, n^o 5 (10 octobre 2023) : 64–73. http://dx.doi.org/10.36340/20716818-2023-19-5-64-73.

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he article is devoted to the late Soviet period of fine arts in Tatarstan — a republic with rich avantgarde traditions, which was characterised by extraordinary intensity of artists’ creative life during the 1970–1990s. Today, this period of art, as a regional version of the second wave of the avant-garde, still remains insufficiently studied and requires more detailed and scrupulous study and understanding. The topic is considered on the example of one of the most original painters of Kazan of the second half of the 20th century — Narkis Ponomarev (1946–1996), who is considered by the author to be among the unofficial circle of artists. The study introduces the personality of Ponomarev as a self-taught artist and autodidact into the scientific context for the first time. It is argued that, despite the lack of the master’s professional art education and the resulting difficulties (lack of recognition in the artistic community, criticism from official art critics and officials, inability to exhibit, and so on), he managed to form and develop a self-sufficient and original art. Avant-garde tendencies in the artist’s work are identified and substantiated based on an analysis of more than 60 Ponomarev’s works mainly from private collections. Turning to the heritage of Matisse, Picasso, Chagall, German expressionists, etc., without copying, only focusing on them, Ponomarev developed his own artistic concept. Using a variety of bright colours, free volumetric strokes, turning to marginal subjects or lyrical landscapes and fantastic images, he imbued his works with simplicity and primitiveness, in the good sense of the word, of the image itself. It is noted that creativity, which gained its fame and recognition only in the post-Soviet period, was necessary for Ponomarev as a way of understanding the world around and oneself, as a therapeutic impulse for one’s own alienation. The purpose of this article is to trace the evolution of the artist, to reveal the role and significance of Ponomarev’s creative activity in the artistic life of Tatarstan in the 1970–1990s. The presentation of new trends and the introduction of new names into scientific circulation will help to identify paradoxes and facets in the history of the second wave of avant-garde in the era of the USSR.

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Sherlock, Thomas. « Russian politics and the Soviet past : Reassessing Stalin and Stalinism under Vladimir Putin ». Communist and Post-Communist Studies 49, n^o 1 (2 février 2016) : 45–59. http://dx.doi.org/10.1016/j.postcomstud.2016.01.001.

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Evidence drawn from the intersection of historical memory and politics in Russia underline not only on-going framing battles over the Soviet past. The evidence suggests that the Kremlin is unwilling to develop and impose on society historical narratives which promote chauvinism, hypernationalism, and re-Stalinization. Although such an agenda has some support among incumbent elites and in society, it remains subordinate in terms of political influence as of early 2016. Instead, the regime is now extending support to groups in society and the political establishment which favor a critical assessment of the Soviet era, including Stalinism. This emerging criticism of the Soviet past serves a number of important goals of the leadership, including re-engagement with the West. To this end, the Kremlin recently approved new history textbooks critical of the Soviet past as well as a significant program that memorializes the victims of Soviet repressions. Yet the regime is unlikely to usher in thorough de-Stalinization which would threaten its power. Instead, the Kremlin is attempting to assemble a grand narrative that approves, as well as criticizes – in different measures – each of the regimes that existed in the 20th century (tsarist, communist, and post-communist). This incipient narrative constitutes a form of bricolage, which involves the retrieval and reassembly of diverse, often conflicting, elements to solve a problem. Here the problem is the long-standing, divisive issue of how to evaluate the history of 20th century Russia and its different regimes. The Kremlin now seeks to knit together the diverse identities of these regimes through the unifying historical thread of the Russian state. This act of bricolage also seeks to reconcile the contradictions within each regime: elements of the new narrative can be expected to condemn the inhumanity of Stalin and Stalinism while other facets will extol industrialization and the Great Patriotic War as the achievements of Russian-led Soviet society. From this perspective, neither re-Stalinization nor de-Stalinization is likely to occur in Putin’s Russia. Nevertheless, if recent initiatives remain in place, critical assessments of Soviet foreign and domestic policies will become increasingly commonplace.

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Łubieniewska, Ewa. « Portret „teatrała”. Tadeusz Kudliński – krytyk... » Annales Universitatis Paedagogicae Cracoviensis | Studia Historicolitteraria 18 (12 décembre 2018) : 104–12. http://dx.doi.org/10.24917/20811853.18.8.

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Tadeusz Kudliński remained in the memory of Cracovians, above all, as a theatre critic and the author of books dedicated to this topic, which have been republished many times. Serving the function of an educational mission, they combined a harmonious perspective of a historian, researcher, critic, polemicist and apologist, who was also a great story-teller. The role of a ‘theatre man’, which he assumed, also included contacts with amateur theatre, discussions with audience and cooperation with the Theatre Lovers Club. Views on art which had clashed in the preceding century, were clearly reflected in the monographs and collections of reviews written by the author, for whom the history of the theatre was, in fact, the history of drama. For years, Kudliński consistently carried out his ‘theatre lesson’. It revolved around numerous issues – from the description of various theatrical aesthetics, through the search for ‘a Polish style’ of performance, to the characterisation of experimental groups (e.g. Grotowski’s or student theatre). The critic placed experiment on the side of cultural life, on no account in the popular theatre, therefore, he criticised all Polish directors from the second half of the 20th century who staged ‘experimentally’, especially classics. Being a traditionalist and a supporter of theatrical illusion, he attacked Brecht’s model of epic performance, glorifying ”the process of actor transformation”, although he emphasised that it doesn’t have to ”concern only reality.” He provoked, irritated – and taught, which can be confirmed by the fact that his books about theatre are still widely read nowadays.

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Romanchuk, Olha, Rostyslav Koval, Mariia Paska, Andrii Holod et Oksana Nykyha. « The history of the Michelin Red Guide ». Journal of Economics and International Relations, n^o 16 (30 décembre 2022) : 75–86. http://dx.doi.org/10.26565/2310-9513-2022-16-08.

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The article is based on a thorough analysis of the most relevant works of the world’s leading scientists engaged in research in the field of gastronomic tourism. It reveals the main aspects of the development of the famous French restaurant guide «Michelin», which is very important today in the world of haute cuisine, culinary tourism and the art of living. The subject of the article is the study of the main trends in the evolution of the red guide, which during the 20th century passed through three stages – at first it was a technical guide that offered information about goods and services for drivers, later it turned into a tourist guide, and, finally, it was transformed into a gastronomic guide. The purpose of the paper is to analyze the role and the significance of this guide for gastronomic tourism. The history of the French company for the production of car tires «Michelin», the activities of the founders brothers André Michelin and Édouard Michelin, the creation of its symbol Bibendum, the development of the guide itself, and the search for ways to form the optimal principles of cuisine quality classification are described. Attention is also paid to the professional activities of the most famous female chefs, who have been awarded Michelin stars. To achieve the goal, such research methods as historical, descriptive, comparative ones, systematization and generalization were used. Today, the Michelin red guide is published for many worldcountries and for the largest metropolises, the company started publishing the guide-magazine «Food & Travel», launched the «Michelin Green Star» award to recognize restaurants that particularly adhere to sustainable gastronomy, and also launched production of kitchen utensils. It has been established that the best chefs in the world strive to turn their business into business empires, not content with just receiving Michelin awards. They actively write culinary bestsellers, participate in the filming of reality shows, films and TV programs, found schools, and also work in the format of takeaway food and food trucks. At the same time, it was revealed that gastronomy business caused constant stress, consumption of alcohol and drugs by chefs, bullying, significant financial burden, ratings pressure, criticism of Michelin rating system approaches, fear of losing business and suicide. The obtained results make it possible to supplement and expand specialized training courses in higher education institutions of Ukraine, where personnel for tourism and hospitality industry are trained. So, in the course of its historical development, the red guide «Michelin» has become the most famous culinary guide in the world, aimed at ensuring that customers get maximum pleasure from visiting restaurants.

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Tychinina, Alyona. « Hryhoriy Skovoroda’s Idea of Related Work in the Poetry of the Modernist Association “Muzaget” ». Pitannâ lìteraturoznavstva, n^o 106 (30 décembre 2022) : 25–40. http://dx.doi.org/10.31861/pytlit2022.106.025.

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Hryhoriy Skovoroda’s idea of the immanent existence (1722–1794) about related work in Ukrainian modernists poetry, in particular representatives of the artistic group “Muzaget” (1919) is considered as the main methodological prism that conceptualize related work of Panna, outlined with the support of V. Gorsky, L. Ushkalov, and D. Chyzhevsky. The article describes the history of creation and specifics of Kyiv post-revolutionary group of symbolists “Muzaget” activities. The literary and artistic almanac with a similar name was analyzed, where each member of the collective presented his “related” art form: poetry, prose, criticism, painting and, at the same time, recorded the affinity of individual and social (national) principles. Based on the analysis of Mykhailo Zhuk, Dmytro Zahul, Volodymyr Kobylyansky, Klym Polishchuk, Oleksa Slisarenko, Mykola Tereshchenko, Pavlo Tychyna, Pavlo Fylypovych, and Volodymyr Yaroshenko poetry, conceptual dominants have been singled out, which in general realize the creative and collective affinity of “Muzaget poetry”. The symbolism of poetic images-archetypes is outlined: God, Christ, joy, star, flower, wind, path, poet’s soul, singing, music, and dream. The functioning of antitheses and parallelisms is emphasized: the flow of human life / the impermanence of nature, life / death, earth / hell / heaven, good / evil, day / night, asceticism / holiness / sinfulness, Christ / Satan, loneliness / crowd. The polyphonic musical imagery and musicality of the poem are analyzed by using tropes, phonetic and syntactic means. It is concluded that poetic innovation, truthful exhibition of creativity and individuality, accentuation of affinity between talent and character, productive interaction of friends in popular creative collectives in the conditions and under the influence of complex historical events and ideological dilemmas of the 20-30s of the 20th century, led some Musagetists to glorious recognition, and others to the tragic consequences of the Red Renaissance.

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Vereshchahina-Biliavska, Olena, Irina Mazur, Olesia Cherkashyna, Olena Burska et Tetiana Hrinchenko. « Semantic aspects of musical language ». Convergences - Journal of Research and Arts Education 16, n^o 32 (30 novembre 2023) : 139–51. http://dx.doi.org/10.53681/c1514225187514391s.32.231.

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Music is a multifaceted phenomenon: it carries the mission of aesthetic education and enlightenment, performs therapeutic functions and is not only a source of information, but also the subject of filling human consciousness with a sense of joy, drama, and a high spiritual beginning. All the above is provided due to the many components that constitute the whole picture of musical art. These include intonation and rhythm, tempo and dynamics, timbre and texture, and more voluminous components: genre and form. Each of its elements represents a certain category, which, in turn, carries a semantic load or semantic aspect belonging to it. Having a centuries-old history of existence, music and, accordingly, its components have undergone considerable evolution. The purpose of the study is to show the semantic aspects of musical language as an integral system in their continuous dynamics of development, updating, and complication of content. The history of sound creativity is a vivid picture of styles and techniques of writing, images, and themes inherent in a particular era. The above is inextricably linked with the deep evolution of semantic aspects that convey the content and importance of all the leading categories of music. They represent, regardless of the period, an integral system of elements, the transformation of which is discussed in this article. The definition of the boundaries of "evolution" in relation to music, the disclosure of its action at various levels (the evolution of musical thinking, the evolution of national style, artistic area, the evolution of individual compositional style), the development of the theory of evolution in the field of functioning of musical phenomena – these and other problems are priorities for modern scientific musicology and art criticism. Realising the complexity and globality of the problem posed, the basis of which is the consideration of musical phenomena in the aspect of the theory of evolution, this article includes one of the possible approaches to solving this issue, involving the "general theory of systems" created in the 20th century. For that reason, this publication is relevant. It combines the most important theses of researchers investigating the problem of the semantics of the musical language in the context of such disciplines as pedagogy, quantum physics, medicine, social science. The study searches for the materials on the studied subject, their systematisation, and provides a panoramic display of the analysis of the semantic aspects of musical art. The author also shares the prospects of analysis of the mentioned phenomenon. The need for this research is conditioned by the essence of the subject, since it constantly changes, gets enriched with new qualities, actively responding to what is happening in real-time.

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Riera, Catalina. « Plain English in Legal Language : A Comparative Study of Two UK Acts of Parliament ». Revista Alicantina de Estudios Ingleses, n^o 28 (15 novembre 2015) : 147. http://dx.doi.org/10.14198/raei.2015.28.08.

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The history of England has left its mark on legal English, a language for specific purposes well known for its complexity and conservatism throughout the world, thanks to the widespread reach of the British Empire. According to many scholars, today legal language is excessively entrenched in the past and has remained the same through years. As a consequence, criticism against traditional legal drafting started to arise in the second half of the 20th century introduced by the Plain English Movement, first in the UK and then, with more momentum, in the US. Its supporters fight for the simplification of the language used in legal documents and subsequently, all official documents and propose a series of writing techniques to achieve their purpose of making “legalese” more accessible to the lay public. The aim of this paper is to see whether the drafting of Acts of Parliament in the United Kingdom (UK) has evolved towards a more modern style of writing leaving behind the conservatism that characterises legal language. In order to carry out the study, two Acts of Parliament of the UK on the same topic, but with a time span of 41 years of difference since their enactment, have been selected for comparison in order to see whether the principles upheld by the Plain English defenders have been applied in the most recent Act.

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Petrošienė, Lina. « Singing Tradition of the Inhabitants of Lithuania Minor from the Second Half of the 20th Century to the Beginning of the 21st Century ». Tautosakos darbai 61 (1 juin 2021) : 97–121. http://dx.doi.org/10.51554/td.21.61.04.

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The article analyses how the folk singing tradition of the Lithuania Minor developed in the late 20th and in the early 21st centuries. It examines the activities of the folklore groups in the Klaipėda Region during the period of 1971–2020, focusing on those that assert fostering of the lietuvininkai singing tradition as their mission or one of their goals. The study employs the previously unused materials, which allow revising the former research results regarding the revival of the Lithuanian ethnic music and show the folklore ensembles working in the Klaipėda Region as a significant part of the Lithuanian folklore movement and the revival of the ethnic music, emerging from the 1960s. Special emphasis is placed on the early phase in adoption of the lietuvininkai singing tradition related to the activities of the folklore ensemble “Vorusnėˮ established in 1971 at the Klaipėda faculties of the State Conservatory of the former LSSR, and the role it had in prompting the creation of other folklore groups in Klaipėda, as well as its impact on the broader cultural and educational processes taking place in the Klaipėda Region.In the 20th century, the prevailing narrative regarding the Lithuanian inhabitants of the Lithuania Minor maintained that books, hymns, schools, church, social and cultural organizations, and choral or theatre activities were the most significant factors influencing the cultural expression of lietuvininkai, while the Lithuanian folklore was hardly practiced anymore or even considered an inappropriate thing. Judging from the folklore recordings, the folk singing tradition supported by the lietuvininkai themselves disappeared along with the singers born in the late 19th century. However, after the WWII, it was adopted and continued by the folklore groups appearing the Klaipėda Region. These groups included people from the other regions of Lithuania who had settled there. This is essentially the process of reviving the ethnic music, which began in Europe during the Enlightenment period and continues in many parts of the world.“Vorusnėˮ was founded in 1971 as the first institutional student folklore ensemble in Klaipėda Region. For 27 years, its leader was a young and talented professor of the Baltic languages Audronė Jakulienė (later Kaukienė). She became the founder of the linguistic school at the Klaipėda University (KU). In the intense and multifaceted activities of the “Vorusnėˮ ensemble, two different stages may be discerned, embracing the periods of 1971–1988 and 1989–2000.In 1971–1988, the ensemble mobilized and educated students in the consciously chosen direction of fostering the Lithuanian ethnic culture, sought contacts with the native lietuvininkai, collected and studied ethnographic and dialectal data, prepared concert programs based on the scholarly, written, and ethnographic sources, gave concerts in Lithuania and abroad, and cooperated with folklore groups from other institutions of higher education.In 1989–2000, the “Vorusnėˮ ensemble engaged in numerous other areas of activity. The children‘s folklore ensemble “Vorusnėlėˮ was established in 1989; both “Vorusnėˮ and “Vorusnėlėˮ became involved in the activities of the community of the Lithuania Minor founded in 1989. The leader of the ensemble and its members contributed to the establishment of the Klaipėda University, which became an important research center of the Prussian history and culture. The leader of the ensemble and her supporters created a new study program of the Lithuanian philology and ethnology at the KU, which during its heyday (2011–2014) had developed three levels of higher education, including bachelor’s, master’s and doctoral studies. The Folklore Laboratory and Archive was established at the Department of the Baltic Linguistics and Ethnology, headed by Kaukienė, and young researchers in philology, ethnology, and ethnomusicology were encouraged to carry out their research there. In the course of over two decades, Kaukienė initiated organizing numerous research conferences dealing with lietuvininkai language and culture.Until 1980, “Vorusnėˮ was the only folklore ensemble in the Klaipėda Region, but in 1985, there were already ten folklore ensembles. These ensembles developed different creative styles that perhaps most notably depended on the personal structure of these ensembles and their leaders’ ideas and professional musical skills. Generally, at the beginning of their activity, all these ensembles sang, played and danced the folklore repertoire comprising all the regions of Lithuania. The activities of “Vorusnėˮ and other folklore ensembles in Klaipėda until 1990 showed that revival of folklore there essentially followed the lines established in other cities and regions of Lithuania.During the first decade after the restoration of independence of Lithuania in 1990, folklore was in high demand. In Klaipėda, the existing ensembles were actively working, and the new ones kept appearing based on the previous ones. The folklore ensembles of the Klaipėda Region clearly declared their priorities, embracing all the contemporary contexts. Some of them associated their repertoire with the folklore of lietuvininkai, others with Samogitian folklore.The lietuvininkai singing tradition was adopted and developed in two main directions.The first one focused on authentic reconstruction, attempting recreation with maximumaccuracy of the song‘s dialect, melody, and manner of singing, as well as its relationship tocustoms, historical events or living environment. The second direction engaged in creativedevelopment, including free interpretations of the songs, combining them with other stylesand genres of music and literature, and using them for individual compositions. These twoways could be combined as well. Lietuvininkai are not directly involved in these activities, butthey tolerate them and participate in these processes in their own historically and culturallydetermined ways.The contemporary artistic expression of the promoters of the lietuvininkai singing tradition is no longer constrained by the religious and ideological dogmas that were previously maintained in the Lithuania Minor and in a way regulated performance of these songs. It is determined nowadays by consciousness, creativity, resourcefulness, and knowledge of its promoters. The dogmas of the Soviet era and modernity have created a certain publicly displayed (show type) folklore. The ensembles took part of the institutionalized amateur art, subsequently becoming subject to justified and unjustified criticism, which is usually levelled on them by the outsiders studying documents and analyzing processes. However, favorable appreciation and external evaluation by the participants of the activities and the local communities highlight the meaning of this activity.

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Denham, Bryan. « Magazine Journalism in the Golden Age of Muckraking : Patent-Medicine Exposures Before and After the Pure Food and Drug Act of 1906 ». Journalism & ; Communication Monographs 22, n^o 2 (20 mai 2020) : 100–159. http://dx.doi.org/10.1177/1522637920914979.

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Although studies in mass communication and investigative journalism have examined associations between newspaper reporting and policy formation, little research has focused on the policy influence of magazine coverage. In addition, given research questions that implicitly or explicitly conclude with policy implementation, studies have tended to analyze materials prior to the passage of legislation with little attention paid to subsequent reporting. This monograph examines magazine coverage of patent medicines before and after the Pure Food and Drug Act of 1906 became law. Patent medicines, which appeared in the form of cure-alls, headache remedies, and soothing syrups, emerged long before the federal government regulated substances such as morphine and cocaine, and nostrums often included these substances in addition to alcohol. Near the turn of the 20th century, magazine journalists began to draw attention to the hazards associated with patent medicines, building an agenda for policy reform. The Pure Food and Drug Act of 1906 required manufacturers to list habit-forming substances and the quantities of those substances on product labels, and sales showed an appreciable decline; however, companies continued to profit. An examination of magazine articles showed that, in addition to patent-medicine manufacturers, newspapers received significant criticism for advancing industry interests through advertising. As a partial result of outlandish claims made in advertisements, problems with patent medicines continued after implementation of the Pure Food and Drug Act. Government officials and the U.S. Supreme Court were among those who undermined the 1906 law. Implications for investigative journalism, history, and public policy are discussed.

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SHPYK, Igor. « Bulgarian-Ukrainian Relations in the Late Middle Ages in the Works of Ukrainian Scholars of the 19th–First Quarter of the 20th Century ». Problems of slavonic studies 70 (2021) : 22–30. http://dx.doi.org/10.30970/sls.2021.70.3754.

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Background: One of the least researched periods of Bulgarian-Ukrainian intercul-tural dialogue is late Middle Ages period. It is explained by the low number of sources and their fragmented character, and mainly by incomplete methodology of their pro-cessing, lack of respective conceptual approaches, which are still applied, despite seri-ous criticism. In the second part of the 20th century Ukrainian Slavic Studies, being under mo-nopoly influence of the Russian historiographic patterns, fully accepted the concept of the “second South Slavic influence”, artificially adapting it to the Ukrainian late Middle Ages history. Definitely it was not beneficial for it as self-sufficient processes of reli-gious and cultural relations of Ukraine-Rus with Bulgaria of the 14th–15th centuries were narrowed down only to one abstract phenomenon, which main recipient undoubt-edly was Moscow. Purpose: Modern Ukrainian researchers continue using the term “second South Slavic influence”, and this automatically makes their texts not only a bit terminologically vague, but often retranslates outdated historiographic patterns with clearly expressed myth-making elements. To finally neutralize the afore-mentioned tendency, one should refer back to the origins of our national historiography that includes alternative interpre-tations of cultural relations of Ukraine-Rus with Bulgaria and other South Slavic coun-tries in the late Middle Ages period. Their subsequent analysis is the man objective of this article. Results: Ukrainian scholars of the 19th – first quarter of the 20th century rigorous-ly studied all the aspects of Bulgarian-Ukrainian relations of the late Middle Ages peri-od known at that time. I. Franko and М. Hrushevsky contributed to these studies the most, and some of their opinions are based both on the in-depth knowledge of Ukraini-an and Bulgarian cultural and religious life, and the results of comparative analysis of the respective book and literary monuments, therefore they are still scientifically topical. At the same time, materials of all these studies, irrespective of their scientific value, is an inseparable part of Ukrainian Slavic researchers’ knowledge about the place of their cul-tural heritage within the system of interslavic relations of ancient times. Key words: Bulgaria, Ukraine-Rus, cultural relations, “second South Slavic influ-ence”, the late Middle Ages, Ukrainian Slavic Studies. Dashkevich, N., 1904. Several facts on Rus’ communication with South Slavs in Lith-uanian-Polish period of its history, including dumas. Kievan Anthology dedicated to Т. D. Florinsky. Kiev, pp.117–137. (In Russian) Franko, I. Ya., 1981. Collection of works. In 50 volumes, 30. Kyyiv: Naukova dumka. (In Ukrainian) Franko, I. Ya., 1984. Collection of works. In 50 volumes, 41. Kyyiv: Naukova dumka. (In Ukrainian) Franko, I., 1899. Apocrypha and legends from Ukrainian manuscripts. The Monu-ments of the Ukrainian-Russian Language and Literature, 2. L"viv. (In Ukrainian) Franko, I., 1913. Studies of the Ukrainian Folk Sngs, 1 L"viv. (In Ukrainian) Hnatyuk, V., 1906. Relations of Ukrainians with Serbs. Collection of scientific articles dedicated to Prof. Mykhailo Hrushevsky by his students and supporters to celebrate the 10th anniversary of His scientific activitiy in Halychyna (1894–1904). L"viv, pp.373–408. (In Ukrainian) Hojnackіj, A., 1873. Life and activity of the hierarch Cyprian, Metropolitan of Kiev and Moscow in Volyn region. Volyn Eparchial Journal. Unofficial Section, 14, с.497–503. (In Russian) Hrushevs"kyj, M. S., 1992. From the history of religious thought in Ukraine. Kyyiv: Osvita. (In Ukrainian) Hrushevs"kyj, M. S., 1994. History of Ukraine-Rus' : vols. 1–10 (in 12 books), 5–6. Kyyiv: Naukova dumka. (In Ukrainian) Hrushevs"kyj, M. S., 1995. History of Ukrainian literature, 5/1. Kyyiv: Lybid. (In Ukrainian) Hryhorash, N., 2007. Ukrainian Literary Bulgarian Studies of the 19th – middle of the 20th century: schools and personalities. Veliko T"rnovo: Universitetsko izdatelstvo “Sv. sv. Kiril i Metodij”. (Іn Bulgarian) Kaluzhnjackij, E. І., 1878. Overview of Slavic-Russian monuments of language and writing, kept in Lvov libraries and archives. Proceedings of the Third Archeological Congress in Russia, held in Kiev in August of 1874, 2, pp.213–321. (In Russian) Kryzhanovskіj, G., 1886. Kamianets-Strumilov tetro-Gospel of 1411 and Volyn dialect in the 14th–15th centuries. Volyn Eparchial Journal. Unofficial Section, 17, pp.502–509; 18, pp.531–543. (In Russian) Lihachev, D. S., 1958. Certain tasks of studying the second South Slavic influence in Russia. Moskva: Publishing house of the Academy of Sciences of the USSR. (In Russian) Myshanych, S. V., 1974. Comparative study of the epic literature of the Ukrainian and South Slavic peoples. Folklore and Ethnography, 4, pp.24–37. (In Ukrainian) Rybinskij, V., 1891. Kiev Metropolitan Cathedral from the half of the 13th to the end of the 16th century. Kіev": Tipografіja G. T. Korchak"-Novickago. (In Russian) Shchepkin, V. N., 1967. Russian paleography. Moskva: Nauka. (In Russian) Shhurat, V., 1895. The Monk’s Republic in the Mount Athos. L"viv: Publishing house of the Scientific Association Shevchenko. (In Ukrainian) Sobolevskij, A. I., 1894. South Slavic influence on the Russian language and writing in the 14th–15th centuries. Report, delivered at the annual event of the Archeological Insti-tute on March 8, 1894. Sankt-Peterburg: Tipografija M. Merkusheva. (In Russian) Sohan', P. S., 1976. Outline of history of Ukrainian-Bulgarian relations. Kiev: Naukova dumka. (In Russian) Stepovyk, D. V., 1975. Ukrainian-Bulgarian art relations. Kyyiv: Naukova dumka. (In Ukrainian) Svyencicz`ky`j, I., 1922. Decoration of Manuscripts of Galician Ukraine XVI-го віку, 1–3. Zhovkva: Ex officina Monasterii O. s. Basilii Magni. (In Ukrainian) Venelin, Ju., 1835. On Folk Songs of Transdanube Slavs. Moskva: Tipografija N. Stepanova. (In Russian) Worth, D., 1983. The so called “second South Slavic influence” in the history of Russian literary language. 9th International Congress of Slavis Studies Scholars (Kiev, September 1983). Abstracts of reports and articles. Moskva, рр.222–223. (In Russian) Wozniak, M., 1992. History of Ukrainian literature: In 2 books. L"viv: Svit. (In Ukrainian) Zhukovskaja, L. P., 1987. Greek influence and archiazation of the Russian language of the second half of the 15th – first half of the 16th centuries (On the falseness of the notion “second South Slavic influence”). Old Russian literary language in its relation to the Old Slavic language, pp.144–176. (In Russian)

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Montoya, Pablo. « Tomás Carrasquilla y los críticos colombianos del siglo XX ». Estudios de Literatura Colombiana, n^o 23 (16 août 2013) : 111–24. http://dx.doi.org/10.17533/udea.elc.16263.

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Resumen: El artículo hace un recorrido por las maneras en que los críticos colombianos más representativos del siglo XX han interpretado la obra de Carrasquilla. El cotejo de las diferentes lecturas permite, a su vez, aproximarse a los núcleos temáticos más polémicos que ha suscitado Carrasquilla a lo largo del tiempo en el seno de la crítica literaria nacional. Desde el asunto del lenguaje, pasando por la parodia y el humor, hasta las cuestiones del regionalismo y el cosmopolitismo son tratadas en este artículo. Se sopesan desde la actualidad las visiones que sobre Carrasquilla hicieron Baldomero Sanín Cano, Rafael Maya, Hernando Téllez, Rafael Gutiérrez Girardot y Rafael Humerto Moreno Durán, entre otro. Este itinerario culmina con una lectura de las posiciones que la Revista Mito y los nadaístas asumieron frente a la obra del escritor antioqueño. Descriptores: Crítica literaria colombiana del siglo XX; Regionalismo; Realismo; Lenguaje popular; Humor y parodia: Revista Mito; Dadaísmo; Valoraciones sobre la obra de Carrasquilla. Abstract: This is a survey on the ways 20th century Colombian literary critics have interpreted Tomás Carrasquilla's literary production. The confrontation of the different readings allows to approach the more polemical issues provoked by the author in the core of national literary criticism, such as: language, parody and humor, regionalism and cosmopolitanism. The points of view of Baldomero Sanín Cano, Rafael Maya, Hernando Téllez, Rafael Gutiérrez Girardot and Rafael Humerto Moreno Durán are weighed here from a contemporary perspective. This itinerary closes with a reading of the positions assumed about Carrasquilla's work by the editors of the journal Mito and the Nadaistas. Key Words: Colombian literary criticism; Regionalism; Realism; Popular language; Humor and parody; Mito journal; Nadaism.

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Batsak, K. Yu. « Italian opera stars of the Kharkiv stage : the 80s of the 19th – early 20th centuries ». Aspects of Historical Musicology 18, n^o 18 (28 décembre 2019) : 89–119. http://dx.doi.org/10.34064/khnum2-18.06.

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Introduction. The Italian opera in Kharkiv has a long history tradition. Its beginnings date back to the 1850s, when the city became a part of the tour routes of Odesa Italian opera troupes under F. Berger’s, V. Sermattei’s direction (1850s – early 1860s), those of Taganrog – under V. Sermattei’s, Corsi’s and Co (second half of 1860s – 1876). These little provincial troupes with unequal by quality the stuff of singers, with a little choir, usually without their own orchestra, within their possibilities, introduced the popular Italian opera repertoire to the Kharkiv audience. Technical and technological achievements – the development of the rail network, the shipping industry, the telegraph and telephone as the newest means of communication, etc., facilitated communication and, among other things, caused cultural achievements rapid exchange. Those times were marked by increasing of diffusive phenomena (in opera repertoire, in the troupe composition, etc.) in musical and theatrical arts, which, in particular, contributed to the scenic creativity activation of Italian artistes and the extension of the geography of their performances. Outstanding and average singers from the Apennines have travelled to different countries of the world with solo concert programs as part of wandering or stationary opera groups. Artistic tours to Eastern direction – to the European territories of the Russian Empire, along with touring trips to the North and South America countries, – became one of the most prevalent. Kharkiv, being one of the largest industrial and cultural centres in the Russian Empire, as a rule, was included by Italian theatre management in vocal-artistic tour programs. Theoretical background. The problem of the famous Italian opera singers’ activity on the Kharkiv stage in the 80s of the 19th – the beginning of the 20th is poorly investigated. Separate pages of M. Battistini’s, J. Bellinchoni’s, A. Mazini’s, T. Ruffo’s, and E. Tamberlik’s biographies related to Kharkiv were studied by M. Varvartsev (2000) in his historical and biographical work “Italians in the cultural space of Ukraine (the end of 18 – 20s years of the 20th century”, written in the form of a dictionary. The main source for the study of this subject were the local musicologists’ (V. Sokalsky, K. Bych-Lubensky, Yu. Babetsky, etc.) theatrical reviews, published in the Kharkiv regional and city press. Objectives. As the Italian opera art had undeniable influence on the Kharkiv musical culture development, the purpose of the article is to study the scenic activity of the famous Italian opera artistes, which acquainted the local theatrical audience with the assets of the world opera arts in the last decades of the 19th – early 20th century. For this purpose, the following tasks have been outlined: to find out the information potential of music-critical publications, dedicated to the Italian singers’ performances, which were printed in the local press; identify and systematize the facts describing the Italian opera performers’ participation in Kharkiv musical life during that period; to reveal the concert and opera repertoire, to study the evaluations of the Italian singers’ performances by professional criticism, the ways of artistes’ interaction with the audience; to determine the Kharkiv performances position in the famous vocalists’ creative biography, to reconstruct the geography of their tour routes, included performances in Kharkiv. The methodology involves the application of the semiotic-hermeneutic method in order to analyze the phenomena of musical-theatrical life (peculiarities of vocal-stylistic style, specificity of musical-critical thought, reactions and preferences of the audience) as a culture text and their hermeneutical understanding; bio-bibliographic method (to find out and combine facts of life and creative activity of Italian singers in Italy and abroad, in particular, in Kharkiv as well-known culture centre); cultural and historical method (allows to study the Italian singers’ scenic activities as a social phenomenon, to identify social factors contributed to the spread of the Italian opera achievements in the local music and theatre environment). Results and discussion. The study of famous Italian singers’ performances on the Kharkiv stage in the definite period allowed highlighting new facts of their biographies, to analyze the concert and opera repertoire, the features of vocal and performing style, acting specifics. The research revealed the place of Kharkiv concert and opera performances in Italian artistes’ touring programs, analyzed the directions and peculiarities of communicative interactions between performers and spectators, determined the Kharkiv performances place in creative biographies of vocalists who have gained European fame. Conclusions. Italian artistes’ performances had a great influence on local opera singers’ professional growth, the formation of musical tastes and preferences of the educated part of the city residents. The investigation of the repertoire of the Italian singers testifies to their desire to acquaint the listener with the best achievements of European opera art, as well as to present contemporary Russian composers’ operas, which, at the time, were getting popularity in the Western European countries, due, primarily, to Italian performers. Kharkiv performances were usually the part of Italian artistes’ tours, being organized in the largest cities of Ukraine and surrounding regions of former Russian Empire – in Odesa, Kyiv, Mykolayiv, Rostov on Don, which testified, in particular, that the city was transformed into one of the European music culture distribution centres then. The high valuation given by the musical critique of the famous singers artistic talents, the active support of their performances by the audience, attest to the utmost importance of the Italians’ touring activity in the Kharkiv musical culture development.

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Ashutosh Kumar Yadav et Prof. Sanjoy Saxena. « The Role of Women Characters in the Select Novels of Salman Rushdie ». Creative Launcher 8, n^o 3 (30 juin 2023) : 67–73. http://dx.doi.org/10.53032/tcl.2023.8.3.08.

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Salman Rushdie, a postmodernist immigrant, is considered as one the greatest novelist of the 20th century. His apt use of magical realism, incorporates mythology, religion, history, fantasy, and humor into the real world. He narrates his life story and relates it to the national history of India. Rushdie uses the magical realist technique to deal about the postcolonial people of India, and various postcolonial issues. His writing focuses on India’s history, politics, and identity as seen through his narrators. There is a blending of fantasy and reality with his fantastical fiction. Salman Rushdie presents women as strong characters to break free from their oppressive roles through his works. He develops strong female characters who face life with great fortitude and strength rather than meek personality. This research article critically investigates the role of women characters in selected novels by the acclaimed author, Salman Rushdie. A corpus of three major works—Midnight’s Children, The Satanic Verses, and Shame—has been selected for detailed analysis. The study aims to illuminate the varying dimensions of women’s representation, their influence, and the evolution of their roles in these narratives, serving as mirrors to the sociopolitical realities of their time. The article applies a combined theoretical framework of feminist literary criticism and postcolonial discourse to unpack the intricate characterizations and their wider implications. Findings reveal that Rushdie’s women characters are often depicted as multi-dimensional, complex individuals who actively influence the plot and resist conforming to traditional roles. They embody strength, resilience, and liberation in the face of cultural, political, and religious adversities, breaking the mold of passive feminine stereotypes. Despite being enmeshed within patriarchal societal structures, these characters often subvert normative constraints, highlighting the intersection of gender, power, and resistance in Rushdie’s novels. Through the use of magical realism, Rushdie juxtaposes reality with the fantastical, further challenging conventional expectations of women in literature. Rushdie’s depiction of women provides significant insights into the complexities of postcolonial feminist identities, societal norms, and cultural heritage. His novels, while being grounded in their specific contexts, resonate on a universal scale, enriching the discourse around the representation of women in literature.

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Inshakov, A. N. « Mikhail Vrubel’s Exhibition as a Subject of Art Criticism Reflection ». Art & ; Culture Studies, n^o 2 (juin 2024) : 250–85. http://dx.doi.org/10.51678/2226-0072-2024-2-250-285.

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In this article, written after visiting the exhibition of works by M.A. Vrubel at the State Tretyakov Gallery in Moscow in the winter of 2021–2022, the author shares some of his impressions of the event. Vrubel appears as an innovator who predicted and anticipated in his work many phenomena in the art of the coming 20th century. The author examines the influence of Vrubel’s creative work on the artists of the Russian avant‐garde and the perception of his works by the masters of new trends in art. The purpose of the study is to analyse various connections between the young Russian artists of the 1900s‐1910s and the art and searches of Vrubel. The novelty of the work lies in the fact that this topic has not been fully studied to date. The significant exposition of Vrubel’s works at the Tretyakov Gallery provided a lot of new material for studying the influence of the artist’s work on the masters of the Russian art of the 20th century. In the article special emphasis is placed on the consideration of the last period of the master’s work associated with his illness. From the point of view of a modern researcher this period is a significant and completely independent phenomenon that completed his work of the 19th century and opened up new opportunities for the art of the 20th century. Research material for this article is presented by the works of Vrubel shown at the exhibition in the Tretyakov Gallery in 2021–2022, the memoirs and testimonies of the artists of the early 20th century, and subsequent works of the art historians of the 20th century.

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