Pub Date : 2022-08-01DOI: 10.7256/2454-0625.2022.8.38426
A. Karabanov
The subject of the research is the features of the "picture of the world" of the subculture of childhood in the information space. In the age of accelerated development of network communication technologies, this research topic is extremely relevant. After all, the development of the subculture of childhood in the information space and the emergence of new features of the "picture of the world" formed by the younger generation lead to certain socio-cultural consequences. The purpose of the work is to analyze the transformation of the subculture of childhood in the information space and identify the main features of the "worldview" of its typical representative. The interdisciplinary nature of the research determines the methodology of philosophical-cultural, structural-functional and sociological approaches. The scientific novelty of the study is that it reflects the main functions of the subculture of childhood in the information environment, which differ from the series of functional features previously presented in research papers. In particular, two cardinally new functions have been identified and justified – linguomaking and symbolizing, previously not found in other scientific works. The study also revealed differences between subsets of "children's subculture" and "childhood subculture", considered by most researchers of these phenomena as synonymous. The author's special contribution to the research of the topic is the formulation of a verbal portrait of a typical representative of the modern subculture of childhood, forecasting the further development of the phenomenon in the information space and the level of influence of its sub-formations on the forms of dominant culture and its orthodox representatives.
{"title":"Subculture of Childhood in the Information Space: Features of the \"Picture of the World\"","authors":"A. Karabanov","doi":"10.7256/2454-0625.2022.8.38426","DOIUrl":"https://doi.org/10.7256/2454-0625.2022.8.38426","url":null,"abstract":"The subject of the research is the features of the \"picture of the world\" of the subculture of childhood in the information space. In the age of accelerated development of network communication technologies, this research topic is extremely relevant. After all, the development of the subculture of childhood in the information space and the emergence of new features of the \"picture of the world\" formed by the younger generation lead to certain socio-cultural consequences. The purpose of the work is to analyze the transformation of the subculture of childhood in the information space and identify the main features of the \"worldview\" of its typical representative. The interdisciplinary nature of the research determines the methodology of philosophical-cultural, structural-functional and sociological approaches. The scientific novelty of the study is that it reflects the main functions of the subculture of childhood in the information environment, which differ from the series of functional features previously presented in research papers. In particular, two cardinally new functions have been identified and justified – linguomaking and symbolizing, previously not found in other scientific works. The study also revealed differences between subsets of \"children's subculture\" and \"childhood subculture\", considered by most researchers of these phenomena as synonymous. The author's special contribution to the research of the topic is the formulation of a verbal portrait of a typical representative of the modern subculture of childhood, forecasting the further development of the phenomenon in the information space and the level of influence of its sub-formations on the forms of dominant culture and its orthodox representatives.","PeriodicalId":184304,"journal":{"name":"Культура и искусство","volume":"39 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115161450","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-08-01DOI: 10.7256/2454-0625.2022.8.37734
L. Popova
The subject of this article is the work of A. Hitchcock and I. Bergman, which are well studied both in Russia and abroad. The relevance of this study is due to the fact that so far no attempt has been made among researchers to investigate the influence of A. Hitchcock's work on I. Bergman. The purpose of this study is a comparative analysis of the work of A. Hitchcock and I. Bergman, identifying similarities and differences, including in matters of religious faith; studying such a little-known aspect as the influence of A. Hitchcock on the work of I. Bergman. The author also pays attention to the consideration of the religious views of A. Hitchcock, to which the researchers paid little attention. This study uses an integrated approach, including a comparative method for analyzing the connections between directors, a phenomenological method, as well as a method of psychoanalysis in their combination and complementarity. The novelty of this research consists in identifying the links between directors, in applying an integrated approach to the analysis of their works. The conclusion is made about the religious views of A. Hitchcock and I. Bergman, their similarities and differences. Bergman's religious views underwent a long transformation throughout his life. Hitchcock's religious views were more conservative and stable, which affects the rhythm of his paintings.
{"title":"The Search for God in the works of A. Hitchcock and I. Bergman","authors":"L. Popova","doi":"10.7256/2454-0625.2022.8.37734","DOIUrl":"https://doi.org/10.7256/2454-0625.2022.8.37734","url":null,"abstract":"\u0000 The subject of this article is the work of A. Hitchcock and I. Bergman, which are well studied both in Russia and abroad. The relevance of this study is due to the fact that so far no attempt has been made among researchers to investigate the influence of A. Hitchcock's work on I. Bergman. The purpose of this study is a comparative analysis of the work of A. Hitchcock and I. Bergman, identifying similarities and differences, including in matters of religious faith; studying such a little-known aspect as the influence of A. Hitchcock on the work of I. Bergman. The author also pays attention to the consideration of the religious views of A. Hitchcock, to which the researchers paid little attention. This study uses an integrated approach, including a comparative method for analyzing the connections between directors, a phenomenological method, as well as a method of psychoanalysis in their combination and complementarity. The novelty of this research consists in identifying the links between directors, in applying an integrated approach to the analysis of their works. The conclusion is made about the religious views of A. Hitchcock and I. Bergman, their similarities and differences. Bergman's religious views underwent a long transformation throughout his life. Hitchcock's religious views were more conservative and stable, which affects the rhythm of his paintings.\u0000","PeriodicalId":184304,"journal":{"name":"Культура и искусство","volume":"53 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126486996","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-08-01DOI: 10.7256/2454-0625.2022.8.38564
V. Rozin
The article offers an analysis of the poetics of the collection of prose "Roman Deeds", which the author considers as an addition to the study of S.S. Neretina. First, the methodology of studying medieval texts, which is discussed in the "Preface" to the book, is briefly characterized, and two stories from the collection are given as cases. Neretina argues that the "Roman Acts" expresses the world of medieval culture and within it the reality of statements relating to philosophy and what we could call medieval art. The mechanism of creating short stories from the "Roman Acts" is analyzed, including, firstly, a statement beginning with a sound, opening the way to meaning and things, secondly, the disclosure of the hidden as a creation of an independent reality (science, art, etc.), thirdly, the use of tropes in the course of constructing a multi-valued medieval reality. The author shows that the picture drawn by Neretina well explains the ambiguity of reality, which is important for medieval thinking, however, the explanation of the features of the content of the stories of the "Roman Deeds" is not understood by her on the basis of the picture drawn in the "Preface"; they are interpreted from the point of view of the structure of medieval culture. Then the author discusses the concepts of reality and ambiguity that aroused his interest. At the same time, he already uses his own ideas obtained in the analysis of art. The author explains the differences in the interpretation of the "Roman Acts" by the discrepancy of discourses and views of researchers, which, in his opinion, is completely normal and serves for the benefit of thinking.
{"title":"Features of the poetics of the medieval collection of prose \"Roman Deeds\" (studying a new book by Svetlana Neretina \"No word is better than another\". Philosophy and Literature\")","authors":"V. Rozin","doi":"10.7256/2454-0625.2022.8.38564","DOIUrl":"https://doi.org/10.7256/2454-0625.2022.8.38564","url":null,"abstract":"\u0000 The article offers an analysis of the poetics of the collection of prose \"Roman Deeds\", which the author considers as an addition to the study of S.S. Neretina. First, the methodology of studying medieval texts, which is discussed in the \"Preface\" to the book, is briefly characterized, and two stories from the collection are given as cases. Neretina argues that the \"Roman Acts\" expresses the world of medieval culture and within it the reality of statements relating to philosophy and what we could call medieval art. The mechanism of creating short stories from the \"Roman Acts\" is analyzed, including, firstly, a statement beginning with a sound, opening the way to meaning and things, secondly, the disclosure of the hidden as a creation of an independent reality (science, art, etc.), thirdly, the use of tropes in the course of constructing a multi-valued medieval reality. The author shows that the picture drawn by Neretina well explains the ambiguity of reality, which is important for medieval thinking, however, the explanation of the features of the content of the stories of the \"Roman Deeds\" is not understood by her on the basis of the picture drawn in the \"Preface\"; they are interpreted from the point of view of the structure of medieval culture. Then the author discusses the concepts of reality and ambiguity that aroused his interest. At the same time, he already uses his own ideas obtained in the analysis of art. The author explains the differences in the interpretation of the \"Roman Acts\" by the discrepancy of discourses and views of researchers, which, in his opinion, is completely normal and serves for the benefit of thinking.\u0000","PeriodicalId":184304,"journal":{"name":"Культура и искусство","volume":"37 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121748097","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-08-01DOI: 10.7256/2454-0625.2022.8.36448
A. Stavitskiy
The subject of the article is the problem of the functioning of myth in the context of a dialectically constructed functional asymmetry of culture, language and thinking, where myth and science actively interact complementing each other. The purpose of the article is to consider the causes, nature and mechanism of this interaction, to identify the features of its manifestation and to show its positive sides. As a methodological support for the research, approaches and principles of non-classical science were used, allowing to move away from the classical attitudes of mythology and look at it more broadly, considering the myth not as a legend about gods and heroes, but as a cultural universal and a property of consciousness. The main conclusions of the article are reduced to understanding the importance of the perception of myth in the mode of non-classical mythology developed in the twentieth century, where myth is understood as a semantic matrix of culture responsible for the formation of a field of value meanings. This makes it possible to better understand the role of myth and myth-making in the structure of culture and consciousness, as well as to consider the epistemological resource of myth in scientific creativity, which is clearly underestimated in science, creating a complex system of cognitive dependencies resembling the interaction of the left and right hemispheres of the brain, which form the necessary variety of functional capabilities of human intelligence, working on the principle of mutual complementarity.
{"title":"Myth as a manifestation of the functional asymmetry of the human","authors":"A. Stavitskiy","doi":"10.7256/2454-0625.2022.8.36448","DOIUrl":"https://doi.org/10.7256/2454-0625.2022.8.36448","url":null,"abstract":"\u0000 The subject of the article is the problem of the functioning of myth in the context of a dialectically constructed functional asymmetry of culture, language and thinking, where myth and science actively interact complementing each other. The purpose of the article is to consider the causes, nature and mechanism of this interaction, to identify the features of its manifestation and to show its positive sides. As a methodological support for the research, approaches and principles of non-classical science were used, allowing to move away from the classical attitudes of mythology and look at it more broadly, considering the myth not as a legend about gods and heroes, but as a cultural universal and a property of consciousness. The main conclusions of the article are reduced to understanding the importance of the perception of myth in the mode of non-classical mythology developed in the twentieth century, where myth is understood as a semantic matrix of culture responsible for the formation of a field of value meanings. This makes it possible to better understand the role of myth and myth-making in the structure of culture and consciousness, as well as to consider the epistemological resource of myth in scientific creativity, which is clearly underestimated in science, creating a complex system of cognitive dependencies resembling the interaction of the left and right hemispheres of the brain, which form the necessary variety of functional capabilities of human intelligence, working on the principle of mutual complementarity. \u0000","PeriodicalId":184304,"journal":{"name":"Культура и искусство","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130894501","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-08-01DOI: 10.7256/2454-0625.2022.8.38561
Guan Zhiyuan
The article is devoted to the study of various aspects of the activities and influence of Soviet musicians on the musical culture and education of Shanghai. The author comes to the conclusion that Russian musicians played an important role in the formation of the musical life of Shanghai and in general of the whole of China. Russian and European cultural and performing traditions were promoted by them, works of Russian and European authors were distributed, and their students were introduced to the masterpieces of world musical art. The traditions laid down by Russian musical figures at the beginning of the twentieth century were continued and strengthened by Soviet specialists who brought up a whole galaxy of outstanding musicians in China. The strengthening of Russian-Chinese relations after 1949 played a special role. Many Soviet musicians were sent to China by agreement of the countries. Among them were outstanding teachers and musicians: D. M. Serov, K.N. Dmitrevskaya, S. G. Delitsiev, N. N. Delitsieva, F. G. Arzamanov, I. G. Beridze, etc. They helped to develop curricula and programs, gave lectures, reports, held consultations and conducted teaching and organizational activities. The novelty of the article lies in the fact that for the first time it provides information about the work of the listed Soviet musicians and analyzes their influence on education at the Shanghai Conservatory.
{"title":"The Influence of Soviet Musicians on Education at the Shanghai Conservatory","authors":"Guan Zhiyuan","doi":"10.7256/2454-0625.2022.8.38561","DOIUrl":"https://doi.org/10.7256/2454-0625.2022.8.38561","url":null,"abstract":"\u0000 The article is devoted to the study of various aspects of the activities and influence of Soviet musicians on the musical culture and education of Shanghai. The author comes to the conclusion that Russian musicians played an important role in the formation of the musical life of Shanghai and in general of the whole of China. Russian and European cultural and performing traditions were promoted by them, works of Russian and European authors were distributed, and their students were introduced to the masterpieces of world musical art. The traditions laid down by Russian musical figures at the beginning of the twentieth century were continued and strengthened by Soviet specialists who brought up a whole galaxy of outstanding musicians in China. The strengthening of Russian-Chinese relations after 1949 played a special role. Many Soviet musicians were sent to China by agreement of the countries. Among them were outstanding teachers and musicians: D. M. Serov, K.N. Dmitrevskaya, S. G. Delitsiev, N. N. Delitsieva, F. G. Arzamanov, I. G. Beridze, etc. They helped to develop curricula and programs, gave lectures, reports, held consultations and conducted teaching and organizational activities. The novelty of the article lies in the fact that for the first time it provides information about the work of the listed Soviet musicians and analyzes their influence on education at the Shanghai Conservatory.\u0000","PeriodicalId":184304,"journal":{"name":"Культура и искусство","volume":"40 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127768160","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-08-01DOI: 10.7256/2454-0625.2022.8.38089
Kseniya Sergeevna Kopunova
This article is devoted to continuity in choreographic education. The novelty of the research is due to the fact that an attempt has been made to show the continuity of the choreographic tradition of the Mariinsky Theater and the Vaganova Academy of Russian Ballet in a comparative aspect. The author also examines the term "continuity" in an educational perspective, explaining the importance of this aspect in the formation of the personality of a ballet dancer. The historical moments concerning the preservation of pedagogical traditions, as well as modern issues of an educational nature are considered. The author focuses on the connection between the learning process and stage practice on the example of choreography by M. I. Petipa. The importance of this research is expressed in the uniqueness of this choreographic direction in a comparative aspect and the emergence of a new paradigm, which includes the development of new mechanisms to ensure the educational process. This article is devoted to continuity in choreographic education. The novelty of the research is due to the fact that an attempt has been made to show the continuity of the choreographic tradition of the Mariinsky Theater and the Vaganova Academy of Russian Ballet in a comparative aspect. The author also considers the term "continuity" in an educational perspective, with an explanation of the importance of this aspect in the formation of the personality of a ballet dancer. The historical moments concerning the preservation of pedagogical traditions, as well as modern issues of an educational nature are considered. The author focuses on the connection between the learning process and stage practice on the example of choreography by M. I. Petipa. The importance of this research is expressed in the uniqueness of this choreographic direction in a comparative aspect and the emergence of a new paradigm, which includes the development of new mechanisms to ensure the educational process.
{"title":"Continuity of the choreographic tradition of the Mariinsky Theatre and the Vaganova Academy of Russian Ballet","authors":"Kseniya Sergeevna Kopunova","doi":"10.7256/2454-0625.2022.8.38089","DOIUrl":"https://doi.org/10.7256/2454-0625.2022.8.38089","url":null,"abstract":"\u0000 This article is devoted to continuity in choreographic education. The novelty of the research is due to the fact that an attempt has been made to show the continuity of the choreographic tradition of the Mariinsky Theater and the Vaganova Academy of Russian Ballet in a comparative aspect. The author also examines the term \"continuity\" in an educational perspective, explaining the importance of this aspect in the formation of the personality of a ballet dancer. The historical moments concerning the preservation of pedagogical traditions, as well as modern issues of an educational nature are considered. The author focuses on the connection between the learning process and stage practice on the example of choreography by M. I. Petipa. The importance of this research is expressed in the uniqueness of this choreographic direction in a comparative aspect and the emergence of a new paradigm, which includes the development of new mechanisms to ensure the educational process. This article is devoted to continuity in choreographic education. The novelty of the research is due to the fact that an attempt has been made to show the continuity of the choreographic tradition of the Mariinsky Theater and the Vaganova Academy of Russian Ballet in a comparative aspect. The author also considers the term \"continuity\" in an educational perspective, with an explanation of the importance of this aspect in the formation of the personality of a ballet dancer. The historical moments concerning the preservation of pedagogical traditions, as well as modern issues of an educational nature are considered. The author focuses on the connection between the learning process and stage practice on the example of choreography by M. I. Petipa. The importance of this research is expressed in the uniqueness of this choreographic direction in a comparative aspect and the emergence of a new paradigm, which includes the development of new mechanisms to ensure the educational process.\u0000","PeriodicalId":184304,"journal":{"name":"Культура и искусство","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130659059","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-08-01DOI: 10.7256/2454-0625.2022.8.36414
Paúl Marcelo Velásquez Sabogal
The subject of the study is the thematic and iconographic directions of the negative interpretation of the image of an anarchist in the printed culture of the turn of the XIX-XX centuries. The object of the study is graphic works published in periodicals of various ideological trends and devoted to the representation of the image of an anarchist. Three main directions of such interpretation are identified and described, namely, the criminal-terrorist, the mentally ill and the immigrant, whose iconographic features are analyzed in the light of socio-political and historical-cultural conditions of each specific context. Among the reviewed publications should be mentioned: L'Assiette au beurre, Le Petit Journal (France), Freie Jugend (Germany), Het Volk (Netherlands), La Obra, El Peludo (Argentina), Star (New Zealand) and The Washington Post (USA). The scientific novelty of the work consists in the fact that for the first time in modern art criticism, the process of forming the negative archetype of an anarchist is considered and analyzed on the basis of its graphic representation. Thus, a methodological basis is being created for studying the types of classification of the anarchist image. The methods used in the work are as follows: source studies, iconographic, artistic and stylistic analysis. The results of the study reveal the specifics of one of the interpretations of the image of an anarchist of the turn of the XIX-XX centuries, which has its roots in both right and left political trends, whose approaches to anarchism are based on socio-legal and medical sciences, among which criminology stands out. The latter, led by Cesare Lombroso, played a primary place in the mythologization, which is still active today, of the image of an anarchist as a carrier of chaos.
本研究的主题是19 - 20世纪之交印刷文化中对无政府主义者形象的负面解释的主题和图像方向。本研究的对象是发表在各种思潮期刊上的图形作品，这些作品致力于表现无政府主义者的形象。识别和描述了这种解释的三个主要方向，即犯罪-恐怖分子，精神病患者和移民，并根据每个特定背景的社会政治和历史文化条件分析了其图像特征。在审查过的出版物中应提到:L'Assiette au berurre、Le Petit Journal(法国)、Freie Jugend(德国)、Het Volk(荷兰)、La Obra、El Peludo(阿根廷)、Star(新西兰)和the Washington Post(美国)。该作品的科学新颖性在于，在现代艺术批评中，这是第一次在图形表现的基础上考虑和分析无政府主义者负面原型的形成过程。因此，为研究无政府主义形象的分类类型创造了一个方法论基础。在工作中使用的方法如下:来源研究，图像，艺术和风格分析。这项研究的结果揭示了对十九至二十世纪之交的无政府主义者形象的一种解释的具体特点，这种解释根源于右翼和左翼的政治趋势，其对无政府主义的态度以社会法学和医学为基础，其中犯罪学尤为突出。后者由切萨雷·隆布罗索(Cesare Lombroso)领导，在无政府主义者作为混乱载体的形象的神话化中发挥了主要作用，这种神话化至今仍很活跃。
{"title":"On the Typology of the Negative Image of an Anarchist in Graphic Art at the Turn of the XIX-XX centuries.","authors":"Paúl Marcelo Velásquez Sabogal","doi":"10.7256/2454-0625.2022.8.36414","DOIUrl":"https://doi.org/10.7256/2454-0625.2022.8.36414","url":null,"abstract":"\u0000 The subject of the study is the thematic and iconographic directions of the negative interpretation of the image of an anarchist in the printed culture of the turn of the XIX-XX centuries. The object of the study is graphic works published in periodicals of various ideological trends and devoted to the representation of the image of an anarchist. Three main directions of such interpretation are identified and described, namely, the criminal-terrorist, the mentally ill and the immigrant, whose iconographic features are analyzed in the light of socio-political and historical-cultural conditions of each specific context. Among the reviewed publications should be mentioned: L'Assiette au beurre, Le Petit Journal (France), Freie Jugend (Germany), Het Volk (Netherlands), La Obra, El Peludo (Argentina), Star (New Zealand) and The Washington Post (USA). The scientific novelty of the work consists in the fact that for the first time in modern art criticism, the process of forming the negative archetype of an anarchist is considered and analyzed on the basis of its graphic representation. Thus, a methodological basis is being created for studying the types of classification of the anarchist image. The methods used in the work are as follows: source studies, iconographic, artistic and stylistic analysis. The results of the study reveal the specifics of one of the interpretations of the image of an anarchist of the turn of the XIX-XX centuries, which has its roots in both right and left political trends, whose approaches to anarchism are based on socio-legal and medical sciences, among which criminology stands out. The latter, led by Cesare Lombroso, played a primary place in the mythologization, which is still active today, of the image of an anarchist as a carrier of chaos.\u0000","PeriodicalId":184304,"journal":{"name":"Культура и искусство","volume":"10 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131047836","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-08-01DOI: 10.7256/2454-0625.2022.8.36523
D. Lavrov
The subject of the study is the analysis of illustrations created by the Palekh artist Ivan Ivanovich Golikov for the "Words about Igor's Regiment" – the largest monument of book graphics of Palekh art. The background, the reasons for giving I. I. Golikov an order to illustrate the book by the publishing house "Academia", the progress of I. I. Golikov's work on its implementation, as well as the impression that this publication made on customers and Soviet society are revealed in detail. The purpose of the article is, in addition to showing the possibility of fruitful work of a miniature artist in the field of art that is not related to the traditional lacquer miniature for Palekh, to analyze the creative method of I. I. Golikov when working on the illustration of this publication. Using the method of comparative analysis, as well as historical-systemic and iconographic research methods, the author at the same time focuses on the qualities of I. I. Golikov as an innovator and experimenter in art, which predetermined both the order for the illustration of the "Word" to this particular Palekh master, and the grandiose success that fell to the share of this book edition. It is in the study of these innovative qualities of I. I. Golikov, who is trying to "get away" from the stylistics of the lacquer miniature in his work on the publication "Words", that the scientific novelty of the study consists. The main conclusion of the article is the statement about the universality of I. I. Golikov as an artist, which allowed him to illustrate the publication "Words about Igor's Regiment", which immediately after its release became a universally recognized masterpiece of the art of Soviet book graphics.
这项研究的主题是分析帕列赫艺术家Ivan Ivanovich Golikov为“关于伊戈尔团的文字”创作的插图，这是帕列赫艺术中最大的书籍图形纪念碑。详细地揭示了背景、“学术界”出版社命令I. I. Golikov为这本书插图的原因、I. I. Golikov在执行这本书方面的工作进展，以及这本书给顾客和苏联社会留下的印象。本文的目的是，除了展示微型艺术家在与Palekh传统漆器微型无关的艺术领域富有成效的工作的可能性外，还分析了I. I. Golikov在本出版物插图上的创作方法。作者使用比较分析的方法，以及历史系统和肖像研究方法，同时关注I. I. Golikov作为艺术创新者和实验者的品质，这些品质预先确定了这位特殊的Palekh大师的“文字”插图的顺序，以及这本书的巨大成功。正是在对I. I. Golikov的这些创新品质的研究中，他试图在他的出版物“Words”中“摆脱”漆微缩的文体学，这一研究的科学新颖性在于。文章的主要结论是关于I. I. Golikov作为艺术家的普遍性的陈述，这使他能够说明出版物“关于伊戈尔团的话语”，该出版物在发行后立即成为苏联图书图形艺术的普遍认可的杰作。
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Pub Date : 2022-07-01DOI: 10.7256/2454-0625.2022.7.38340
S. Kryuchkova
The object of the research is the culture of dialogue, its content and normative components, and metaphysical foundations of the culture of dialogue. Various approaches to understanding the nature of dialogue in the historical tradition, starting from antiquity and ending with modernity, are considered in detail. In the course of the analysis, special attention is paid to identifying ontological prerequisites and epistemological attitudes in the most significant theoretical approaches to understanding the nature of dialogue. Productive methodological ideas of phenomenology, "philosophy of dialogue", theory of communicative action are revealed. Special attention is paid to the analysis of the heuristic and analytical possibilities of the concept of the "Other" as the basis for recognizing the initial equality of the participants in the dialogue and the formation of a mindset for the "peaceful" resolution of differences. The role of the culture of dialogue (in the form of recognized norms and compliance with the rules of interaction) is shown as an important component of mutual understanding and tolerance. The peculiarity of the reception of the ancient approach to dialogue in the non-rhetorical project of the twentieth century is revealed. It is shown that the normativity of one of the most significant modern approaches to the construction of the theory of argumentation – pragma-dialectical, has roots in the ancient tradition of dialogue. As one of the important conclusions, it is substantiated that the ideal model of "critical discussion" developed at the Belgian school of pragma-dialectics can serve not only as a methodological basis for the modern theory of the culture of dialogue, but also as a guide in its organization and structuring, creating good opportunities for reaching a possible consensus. The novelty of the research lies in identifying the philosophical and ideological foundations of the concept of "critical discussion" and the methodological significance of the "moral code", the observance of the "commandments" of which leads to an increase in the culture of dialogue as a necessary condition in the search for common meanings, without which it is impossible to overcome the high conflictogenicity of modern society.
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Pub Date : 2022-07-01DOI: 10.7256/2454-0625.2022.7.38419
O. E. Sonina, M. Vilchinskaya-Butenko
The article presents the results of a systematic analysis of the visual identification of exhibition projects and identifies the specifics of designing an exhibition identity, which is an important means of communication that attracts visitors. Within the framework of this article, the authors set the task of generalizing the experience of identifying exhibition projects and identifying the specifics of designing an exhibition identity.The subject of the study is the identity of modern exhibition projects in Russia, Germany, Finland, Australia and China, in which all elements, from the logo, printing products, website to the design of the expositions space are interconnected and represent a single complex. The projects created in large museums with a recognizable brand and established reputation among visitors are analyzed, as well as small exhibition projects, the organizers of which can spend minimal funds on implementation. Based on the Finnish experience of designing museum identity, modern approaches to the creation of exhibition projects of various orientations are systematized, in which the exposition and media about it are designed as a single system in which shaping, typography and visual metaphors form a single imaginative solution, expanding the possibilities of advertising media about the exhibition project and using new channels of information transmission. The conclusion is made about the specifics of the exhibition identity and the factors determining it: the specificity of the exhibition as a special event determines an integrated approach to the development of identity to ensure the synergistic interaction of elements of the visual identification system.
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