Pub Date : 2023-12-01DOI: 10.7256/2454-0625.2023.12.69465
Maksim Vasil'evich Ivanov
Forms of tourism associated with risk and danger are now dynamically developing cultural industries all over the world. The article is devoted to the development of tourism in the Republic of Sakha (Yakutia), first of all, to the problems of attracting foreign fans of extreme and adventure tourism, mainly from Southeast Asian countries. As drivers of the tourist flow, it is proposed to pay attention to tourists from the People's Republic of China. In order to implement a competent marketing policy to attract Chinese tourists, it is proposed to take into account the peculiarities of traditional and modern spiritual culture of China in the aspect of tourist motivation. To attract tourists from China, it is considered necessary to develop and offer short-term winter tours with extreme elements in central Yakutia. To study the tourist value and semantic orientations of tourists from Southeast Asia, using the example of Chinese citizens, the works of Chinese researchers in English were used. The author believes that in order to offer a competitive product in the market of extreme tourism, it is necessary to take into account the influence of cultural values and traditions on motivational attitudes, basic requirements and expectations from extreme tours, depending on region or country. Due to the change in the foreign policy situation in the 20s of the XXI century, as well as the increased flow of Chinese tourists on the international market, the policy of attracting tourists from Southeast Asia is becoming the main and decisive for the development of international tourism in the republic. For the development of mass tourism with extreme elements, it is proposed to use the tourist resources of central Yakutia, where winter, short-term tours can be offered that can meet the needs of foreign, primarily Chinese tourists.
{"title":"Development of inbound extreme tourism from Southeast Asian countries in the Republic of Sakha (Yakutia).","authors":"Maksim Vasil'evich Ivanov","doi":"10.7256/2454-0625.2023.12.69465","DOIUrl":"https://doi.org/10.7256/2454-0625.2023.12.69465","url":null,"abstract":"Forms of tourism associated with risk and danger are now dynamically developing cultural industries all over the world. The article is devoted to the development of tourism in the Republic of Sakha (Yakutia), first of all, to the problems of attracting foreign fans of extreme and adventure tourism, mainly from Southeast Asian countries. As drivers of the tourist flow, it is proposed to pay attention to tourists from the People's Republic of China. In order to implement a competent marketing policy to attract Chinese tourists, it is proposed to take into account the peculiarities of traditional and modern spiritual culture of China in the aspect of tourist motivation. To attract tourists from China, it is considered necessary to develop and offer short-term winter tours with extreme elements in central Yakutia. To study the tourist value and semantic orientations of tourists from Southeast Asia, using the example of Chinese citizens, the works of Chinese researchers in English were used. The author believes that in order to offer a competitive product in the market of extreme tourism, it is necessary to take into account the influence of cultural values and traditions on motivational attitudes, basic requirements and expectations from extreme tours, depending on region or country. Due to the change in the foreign policy situation in the 20s of the XXI century, as well as the increased flow of Chinese tourists on the international market, the policy of attracting tourists from Southeast Asia is becoming the main and decisive for the development of international tourism in the republic. For the development of mass tourism with extreme elements, it is proposed to use the tourist resources of central Yakutia, where winter, short-term tours can be offered that can meet the needs of foreign, primarily Chinese tourists.","PeriodicalId":184304,"journal":{"name":"Культура и искусство","volume":"59 6","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139193713","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 : 2023-12-01DOI: 10.7256/2454-0625.2023.12.69124
E. S. Korvatskaya
The topic of Soviet everyday life is quite popular in the scientific community. The children's publications themselves are still outside the scope of research practices in the field of studying the culture of everyday life. The article analyzes the subject world in the domestic book illustration of the late 1940s-1960s. The aim is to identify markers of the everyday culture of the Soviet city, in particular Leningrad. The boundaries of the study are publications issued during the specified time period and addressed to children and adolescents. The attention was given to books about the life of a Soviet child of the Leningrad branch of Detgiz publishing house. It is established that in the children's illustrated book of the 1940s-1960s, large objects that visually defined the boundaries of everyday life, as well as elementary things for the organization of everyday life, became objects of everyday culture more often. Small interior items that have a decorative function will appear to a greater extent by the 1960s, that is, the conditions and priorities in the formation of the life of a Soviet citizen will change, and a tendency to detail the world of everyday life is formed in the book illustration. In the course of the study, a group of artists was identified who paid great attention to the depiction of everyday objects, but the illustrators did not separately show the belonging of the plot and the created space to a certain locality. They created a collective image of the everyday life of the Soviet country. Therefore, in the book illustration of the late 1940s-1960s in the subject world of Leningrad, it is not yet possible to clearly distinguish the features of the «Leningrad style», but it is possible to reconstruct the daily life of a Soviet citizen
{"title":"The objective world of Soviet everydaylife in illustrated books for children of the 1950s and 1960s","authors":"E. S. Korvatskaya","doi":"10.7256/2454-0625.2023.12.69124","DOIUrl":"https://doi.org/10.7256/2454-0625.2023.12.69124","url":null,"abstract":"\u0000 The topic of Soviet everyday life is quite popular in the scientific community. The children's publications themselves are still outside the scope of research practices in the field of studying the culture of everyday life. The article analyzes the subject world in the domestic book illustration of the late 1940s-1960s. The aim is to identify markers of the everyday culture of the Soviet city, in particular Leningrad. The boundaries of the study are publications issued during the specified time period and addressed to children and adolescents. The attention was given to books about the life of a Soviet child of the Leningrad branch of Detgiz publishing house. It is established that in the children's illustrated book of the 1940s-1960s, large objects that visually defined the boundaries of everyday life, as well as elementary things for the organization of everyday life, became objects of everyday culture more often. Small interior items that have a decorative function will appear to a greater extent by the 1960s, that is, the conditions and priorities in the formation of the life of a Soviet citizen will change, and a tendency to detail the world of everyday life is formed in the book illustration. In the course of the study, a group of artists was identified who paid great attention to the depiction of everyday objects, but the illustrators did not separately show the belonging of the plot and the created space to a certain locality. They created a collective image of the everyday life of the Soviet country. Therefore, in the book illustration of the late 1940s-1960s in the subject world of Leningrad, it is not yet possible to clearly distinguish the features of the «Leningrad style», but it is possible to reconstruct the daily life of a Soviet citizen\u0000","PeriodicalId":184304,"journal":{"name":"Культура и искусство","volume":" 22","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138613828","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 : 2023-12-01DOI: 10.7256/2454-0625.2023.12.40812
Dmitrii Vasilievich Kalinin, Elena Alexandrovna Nikitina
The object of research is the transformation of the social representations of the subject in the digital communication environment, the transformation of social representations in economic digital ecosystems is highlighted as the subject. The relevance of the topic is due to the growing convergence of digital, cognitive and social technologies in the emerging digital society, and, as a consequence, the inclusion of information and digital technologies in the system of social interactions. The study is aimed at identifying the ways and mechanisms of influence of economic digital ecosystems on the social perceptions and values of the subject. Accordingly, the article examines the features and goals of economic digital ecosystems emerging in the process of development of the digital economy. Particular attention is paid to the analysis of the features of digital communication in economic ecosystems, which create new opportunities and ways of influencing ecosystems on the formation and dissemination of social ideas. The methodological basis of the study is made up of structural-functional and systemic-communicative approaches to the study of the processes of transformation of social ideas and values of the subject. The main conclusion of the study is the following: in the information society, the influence of digital economic ecosystems, aimed at constructing the digital environment of society, on the formation and transmission of social ideas, is increasing. The growth in influence is largely due to the high adaptability of ecosystems to the individuality of the consumer and the digital capabilities of personalizing consumption. The novelty lies in the introduction of the concept of “collective digital transpersonal community,” which characterizes the features of the method of forming social ideas and values in the digital environment.
{"title":"The Influence of Economic Digital Ecosystems on the Formation of Social Representations of the Subject","authors":"Dmitrii Vasilievich Kalinin, Elena Alexandrovna Nikitina","doi":"10.7256/2454-0625.2023.12.40812","DOIUrl":"https://doi.org/10.7256/2454-0625.2023.12.40812","url":null,"abstract":"\u0000 The object of research is the transformation of the social representations of the subject in the digital communication environment, the transformation of social representations in economic digital ecosystems is highlighted as the subject. The relevance of the topic is due to the growing convergence of digital, cognitive and social technologies in the emerging digital society, and, as a consequence, the inclusion of information and digital technologies in the system of social interactions. The study is aimed at identifying the ways and mechanisms of influence of economic digital ecosystems on the social perceptions and values of the subject. Accordingly, the article examines the features and goals of economic digital ecosystems emerging in the process of development of the digital economy. Particular attention is paid to the analysis of the features of digital communication in economic ecosystems, which create new opportunities and ways of influencing ecosystems on the formation and dissemination of social ideas. The methodological basis of the study is made up of structural-functional and systemic-communicative approaches to the study of the processes of transformation of social ideas and values of the subject. The main conclusion of the study is the following: in the information society, the influence of digital economic ecosystems, aimed at constructing the digital environment of society, on the formation and transmission of social ideas, is increasing. The growth in influence is largely due to the high adaptability of ecosystems to the individuality of the consumer and the digital capabilities of personalizing consumption. The novelty lies in the introduction of the concept of “collective digital transpersonal community,” which characterizes the features of the method of forming social ideas and values in the digital environment.\u0000","PeriodicalId":184304,"journal":{"name":"Культура и искусство","volume":" 4","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138621108","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 : 2023-12-01DOI: 10.7256/2454-0625.2023.12.69363
N. Krokhina, Lyudmila Viktorovna Ershova, Oleg Yur'evich Astakhov, Karine Evgen'evna Romanova, Zhanna Leonidovna Okeanskaya, Viktor Georgievich Maslov, Svetlana Ivanovna Val'kevich
The purpose of the article is to reveal the cultural meanings that for the poet were associated with the concept of "will". To achieve this goal, we trace the evolution of the poet's work, in which the cultural meaning of the concept of "will" is revealed through a chain of interrelated and complementary meanings: the boundless desire of the symbolist poet, a rush into the distance and upward, gaining freedom, admiration for the free world and the discovery of the supreme Divine - creative principle in nature. It is shown that the concept of "will" embodies in Balmont's poetry the essence of God's world, turns to the foundations of the Russian cultural mentality, reveals the convergence of Divine and human, free and creative principles as the dominant cultural worldview of the poet of the Silver Age. It is necessary to reveal the many cultural meanings that for the poet were associated with the concept of "will". The methodology of the research is based on synchronic, structural-functional, biographical, historical and cultural methods. Thus, the concept of "will" in Balmont's poetry combines the aspiration to space, breadth and height – to infinity, freedom, the poet's kinship with the Divinely free and eternally changeable elements of God's world and the creative principle as comprehension of the soul of the world and his own "free-spirited" soul. The cultural meaning of the concept "will" embodies the essence of God's world and the poet's soul. The concept of "will" in its versatility is one of the key ones in Balmont's poetry and turns to the basics of the Russian mentality, as well as reveals the convergence of the Divine and human, free and creative principles as the dominant worldview of the poet of the Silver Age. The thirst for will and freedom is inseparable from the formation of the Balmont symbolist with his aspiration from external reality to internal realities and is also connected with the rush into the distance "thirst for will and space".
{"title":"The cultural meaning of the concept of \"will\" in the poetry of K.D. Balmont","authors":"N. Krokhina, Lyudmila Viktorovna Ershova, Oleg Yur'evich Astakhov, Karine Evgen'evna Romanova, Zhanna Leonidovna Okeanskaya, Viktor Georgievich Maslov, Svetlana Ivanovna Val'kevich","doi":"10.7256/2454-0625.2023.12.69363","DOIUrl":"https://doi.org/10.7256/2454-0625.2023.12.69363","url":null,"abstract":"The purpose of the article is to reveal the cultural meanings that for the poet were associated with the concept of \"will\". To achieve this goal, we trace the evolution of the poet's work, in which the cultural meaning of the concept of \"will\" is revealed through a chain of interrelated and complementary meanings: the boundless desire of the symbolist poet, a rush into the distance and upward, gaining freedom, admiration for the free world and the discovery of the supreme Divine - creative principle in nature. It is shown that the concept of \"will\" embodies in Balmont's poetry the essence of God's world, turns to the foundations of the Russian cultural mentality, reveals the convergence of Divine and human, free and creative principles as the dominant cultural worldview of the poet of the Silver Age. It is necessary to reveal the many cultural meanings that for the poet were associated with the concept of \"will\". The methodology of the research is based on synchronic, structural-functional, biographical, historical and cultural methods. Thus, the concept of \"will\" in Balmont's poetry combines the aspiration to space, breadth and height – to infinity, freedom, the poet's kinship with the Divinely free and eternally changeable elements of God's world and the creative principle as comprehension of the soul of the world and his own \"free-spirited\" soul. The cultural meaning of the concept \"will\" embodies the essence of God's world and the poet's soul. The concept of \"will\" in its versatility is one of the key ones in Balmont's poetry and turns to the basics of the Russian mentality, as well as reveals the convergence of the Divine and human, free and creative principles as the dominant worldview of the poet of the Silver Age. The thirst for will and freedom is inseparable from the formation of the Balmont symbolist with his aspiration from external reality to internal realities and is also connected with the rush into the distance \"thirst for will and space\".","PeriodicalId":184304,"journal":{"name":"Культура и искусство","volume":"22 12","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139195228","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 : 2023-11-01DOI: 10.7256/2454-0625.2023.11.68976
O. Sapanzha
During the last decade scientific interest of the Soviet period consumer goods has been increasing in the context of global political processes, on the one hand, and from the point of view of the organization of the living environment, on the other. The post-war and the late Soviet period consumer goods are interesting for analysis, since they are connected with the state policy of the everyday life of a Soviet citizen. Since the late 1940s, the formation of the consumer goods has been taking place on three levels of everyday culture: the space of the body, the space of the house, the space of the city. The article examines the problem of transition from an environment filled with private objects (1950s) to a single concept of the organization of the environment - design (1960s), using the example of the products of Leningrad art industry enterprises and archival materials (enterprise reports). The study of the material filling of the everyday space of the Soviet are citizen within the framework of the culturological approach assumed the use of a structural and functional method. As part of archival research, a source–based assessment of materials was carried out - annual reports of enterprises. When analyzing the works - products of the art industry enterprises, a set of art criticism methods was used. The materials of the Leningrad Enamel artel/plant are presented for the first time, some samples of the company's products are selected and analyzed in the context of changing stylistic coordinates and the formation of technical aesthetics. Based on the analysis of the degree of study of the porcelain and textile industry of Leningrad in the post-war and late Soviet periods, the conclusion is made about the importance of studying the problem of transition from a stylistic marker of the subject component of the living environment to a design one. This transition is demonstrated by the example of the history and some works from the assortment of the Leningrad Enamel company. Archival materials made it possible to expand the understanding of the history of the enterprise, the circumstances of the transfer of the artel to state administration and the making of products in accordance with the requirements of decorative minimalism. The analysis of artistically designed household goods (cigarette cases, compact boxes) confirms the theses not only about the formal change of artistic language, but also about the formation of ideas about a new living environment.
{"title":"The works of the Leningrad art industry enterprises of the second half of the twentieth century and their role in the organization of the living environment (on the example of the products of the Leningrad Enamel plant)","authors":"O. Sapanzha","doi":"10.7256/2454-0625.2023.11.68976","DOIUrl":"https://doi.org/10.7256/2454-0625.2023.11.68976","url":null,"abstract":"During the last decade scientific interest of the Soviet period consumer goods has been increasing in the context of global political processes, on the one hand, and from the point of view of the organization of the living environment, on the other. The post-war and the late Soviet period consumer goods are interesting for analysis, since they are connected with the state policy of the everyday life of a Soviet citizen. Since the late 1940s, the formation of the consumer goods has been taking place on three levels of everyday culture: the space of the body, the space of the house, the space of the city. The article examines the problem of transition from an environment filled with private objects (1950s) to a single concept of the organization of the environment - design (1960s), using the example of the products of Leningrad art industry enterprises and archival materials (enterprise reports). The study of the material filling of the everyday space of the Soviet are citizen within the framework of the culturological approach assumed the use of a structural and functional method. As part of archival research, a source–based assessment of materials was carried out - annual reports of enterprises. When analyzing the works - products of the art industry enterprises, a set of art criticism methods was used. The materials of the Leningrad Enamel artel/plant are presented for the first time, some samples of the company's products are selected and analyzed in the context of changing stylistic coordinates and the formation of technical aesthetics. Based on the analysis of the degree of study of the porcelain and textile industry of Leningrad in the post-war and late Soviet periods, the conclusion is made about the importance of studying the problem of transition from a stylistic marker of the subject component of the living environment to a design one. This transition is demonstrated by the example of the history and some works from the assortment of the Leningrad Enamel company. Archival materials made it possible to expand the understanding of the history of the enterprise, the circumstances of the transfer of the artel to state administration and the making of products in accordance with the requirements of decorative minimalism. The analysis of artistically designed household goods (cigarette cases, compact boxes) confirms the theses not only about the formal change of artistic language, but also about the formation of ideas about a new living environment.","PeriodicalId":184304,"journal":{"name":"Культура и искусство","volume":"16 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139301807","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 : 2023-11-01DOI: 10.7256/2454-0625.2023.11.69066
V. Rozin
The paper discusses an alternative: comprehension of the inner form of a musical work or the constitution of a new melos by means of musical movement. We are talking about a special genre of art, free dance, called "musical movement", and in its two important contexts - staging performances and teaching. The concept of internal form and the appeal to it by the teacher and the director of performances Aida Aylamazyan is analyzed. The author offers a different understanding of the inner form than Aylamazyan. The musical movement formally consists of two different beginnings of the perception of serious music and organized movement in a broad sense (poses, tensions, emotions, coordination of movements with other dancers); the first beginning was formed in recording and listening to music, the second is mastered in the classroom. Entry into a musical movement occurs if these two beginnings merge into one. The movements of the dancers should not contradict the music, not destroy its perception. In addition, they should set a new organization of music, namely one that meets the idea of the organizer of the dance. As a result, a new objectivity is formed - a musical intonation organized by the musical movement. The article offers a new look at the concept of the inner form of a musical work, as well as an understanding of the musical movement itself. The formulated alternative is allowed if we distinguish between two different types of work: teaching musical movement and staging new performances. As part of the training, an adequate understanding of music is important. An important role here is played by the interpretation of a piece of music, which is created on the basis of semiotic schemes. Equally important is the training of dancers of the musical movement, during which they form a new hearing and understanding of music. As a teacher, Aylamazyan relies on the concept of inner form, as a director, she must discover a new content of a musical work that can be revealed in a concert with the help of musical movement.
{"title":"Comprehension of the inner form of a musical work or the constitution of a new melos by means of a musical movement?","authors":"V. Rozin","doi":"10.7256/2454-0625.2023.11.69066","DOIUrl":"https://doi.org/10.7256/2454-0625.2023.11.69066","url":null,"abstract":"The paper discusses an alternative: comprehension of the inner form of a musical work or the constitution of a new melos by means of musical movement. We are talking about a special genre of art, free dance, called \"musical movement\", and in its two important contexts - staging performances and teaching. The concept of internal form and the appeal to it by the teacher and the director of performances Aida Aylamazyan is analyzed. The author offers a different understanding of the inner form than Aylamazyan. The musical movement formally consists of two different beginnings of the perception of serious music and organized movement in a broad sense (poses, tensions, emotions, coordination of movements with other dancers); the first beginning was formed in recording and listening to music, the second is mastered in the classroom. Entry into a musical movement occurs if these two beginnings merge into one. The movements of the dancers should not contradict the music, not destroy its perception. In addition, they should set a new organization of music, namely one that meets the idea of the organizer of the dance. As a result, a new objectivity is formed - a musical intonation organized by the musical movement. The article offers a new look at the concept of the inner form of a musical work, as well as an understanding of the musical movement itself. The formulated alternative is allowed if we distinguish between two different types of work: teaching musical movement and staging new performances. As part of the training, an adequate understanding of music is important. An important role here is played by the interpretation of a piece of music, which is created on the basis of semiotic schemes. Equally important is the training of dancers of the musical movement, during which they form a new hearing and understanding of music. As a teacher, Aylamazyan relies on the concept of inner form, as a director, she must discover a new content of a musical work that can be revealed in a concert with the help of musical movement.","PeriodicalId":184304,"journal":{"name":"Культура и искусство","volume":"43 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139304152","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 : 2023-11-01DOI: 10.7256/2454-0625.2023.11.68866
O. L. Nekrasova-Karateeva
The article contains materials about the work of St. Petersburg artist Yulia Vasilievna Gusarova, a master who creates works in different materials and techniques and has her own theme, manner and style. The purpose of the article is to determine the foundations and nature of creativity, to track the dynamics of the personal development of a hereditary artist. She is multi-faceted and is successfully realized in the art of painting, in mosaics, in ceramics, in textiles, in scientific and pedagogical activities. The main themes of her work: stories from the history of culture and art, travel impressions, the world of the sea and marine life, the fantastic world of the medieval "bestiary" and modern technology. The article presents examples of her works, describes their semantic content and artistic merits, notes theoretical and methodological-pedagogical aspects of the problems of art and art education. The materials of the article have novelty, because they are offered for publication for the first time. There was no scientific study of Y. Gusarova's creativity in domestic and foreign art criticism. The results and research methods in this article can be useful in art criticism for use in writing monographic works about the work of other artists, as well as for creating a complete picture of the features of the work of domestic ceramic artists of the XX - XXI centuries.
{"title":"Art master Yulia Gusarova is an artist of multifaceted talent","authors":"O. L. Nekrasova-Karateeva","doi":"10.7256/2454-0625.2023.11.68866","DOIUrl":"https://doi.org/10.7256/2454-0625.2023.11.68866","url":null,"abstract":"The article contains materials about the work of St. Petersburg artist Yulia Vasilievna Gusarova, a master who creates works in different materials and techniques and has her own theme, manner and style. The purpose of the article is to determine the foundations and nature of creativity, to track the dynamics of the personal development of a hereditary artist. She is multi-faceted and is successfully realized in the art of painting, in mosaics, in ceramics, in textiles, in scientific and pedagogical activities. The main themes of her work: stories from the history of culture and art, travel impressions, the world of the sea and marine life, the fantastic world of the medieval \"bestiary\" and modern technology. The article presents examples of her works, describes their semantic content and artistic merits, notes theoretical and methodological-pedagogical aspects of the problems of art and art education. The materials of the article have novelty, because they are offered for publication for the first time. There was no scientific study of Y. Gusarova's creativity in domestic and foreign art criticism. The results and research methods in this article can be useful in art criticism for use in writing monographic works about the work of other artists, as well as for creating a complete picture of the features of the work of domestic ceramic artists of the XX - XXI centuries.","PeriodicalId":184304,"journal":{"name":"Культура и искусство","volume":"44 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139291428","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 : 2023-11-01DOI: 10.7256/2454-0625.2023.11.39075
Evgeniia Ovsiannikova
Ship models are the part of a significant number of collections of domestic and foreign museums. Such objects are the primary sources of knowledge and emotions, true monuments of history and culture, but often belong to the group of reproductions of museum objects, that is, reduced copies of original objects. The article analyzes the questions of the definition of ship models, correlates the definitions of these items in different sources. The author considers the model of the ship from the point of view of the functions and properties of a museum object, asserts their value as originals of significant historical and cultural significance, monuments of science and technology, objects of arts and crafts, ethnographic sources. The novelty of the research lies in the study by the author of the ship model from the point of view of the theory of the museum object. This allows us to consider ship models from other, not generally accepted positions, and consider them full-fledged museum objects, which, along with originals, have the same set of properties, qualities and features. The main conclusions of the study are, firstly, that the models of ships and vessels in the collections of museums are not secondary in relation to other material sources, and secondly, that such objects fully correspond to the concept of "cultural values", are source of knowledge and emotion.
{"title":"Ship Model as a Museum Object","authors":"Evgeniia Ovsiannikova","doi":"10.7256/2454-0625.2023.11.39075","DOIUrl":"https://doi.org/10.7256/2454-0625.2023.11.39075","url":null,"abstract":"Ship models are the part of a significant number of collections of domestic and foreign museums. Such objects are the primary sources of knowledge and emotions, true monuments of history and culture, but often belong to the group of reproductions of museum objects, that is, reduced copies of original objects. The article analyzes the questions of the definition of ship models, correlates the definitions of these items in different sources. The author considers the model of the ship from the point of view of the functions and properties of a museum object, asserts their value as originals of significant historical and cultural significance, monuments of science and technology, objects of arts and crafts, ethnographic sources. The novelty of the research lies in the study by the author of the ship model from the point of view of the theory of the museum object. This allows us to consider ship models from other, not generally accepted positions, and consider them full-fledged museum objects, which, along with originals, have the same set of properties, qualities and features. The main conclusions of the study are, firstly, that the models of ships and vessels in the collections of museums are not secondary in relation to other material sources, and secondly, that such objects fully correspond to the concept of \"cultural values\", are source of knowledge and emotion.","PeriodicalId":184304,"journal":{"name":"Культура и искусство","volume":"9 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139291252","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 : 2023-11-01DOI: 10.7256/2454-0625.2023.11.69023
Junfei Xi, Natalya A. Fedorovskaya
The aim of the work was to identify the role of holidays of the Sherpa ethnic group in the preservation and continuity of their traditions. The tasks were to analyze the characteristics of traditional holidays, such as the Sherpa New Year, religious holidays and agricultural holidays, and to find out their role in modern Tibet. The author comes to the conclusion that, despite the strong influence of external cultural factors, a significant layer of the traditional local holiday culture of Sherpas remains. Using comparative historical and typological approaches and the method of system analysis based on a large amount of information, the characteristics of Sherpa holidays are systematized. The novelty lies in the vastness of the collected information and its analysis and generalization, previously such research results have not been published. The author comes to the conclusion that, despite the strong influence of external cultural factors, a significant layer of the traditional local holiday culture of Sherpas remains. Thus, the study of the holidays and the festive culture of the Sherpas showed that, along with the influence of external cultural factors, the Sherpas still retain a significant traditional layer of their local culture. Thus, the New Year is more influenced by external factors and changes in time and customs, while agricultural and religious holidays preserve traditional customs. Among the agricultural and religious festivals, one can see the manifestation of the traditional folk beliefs of the Sherpas. Chinese Sherpas, being a very small ethnic group, are becoming an important subject of study, as is the protection of their cultural heritage, and holidays and festivals, as vivid indicators of their traditional culture, are even more valuable for research.
{"title":"The role of key Sherpa holidays in preserving and broadcasting their traditional culture in modern Tibet","authors":"Junfei Xi, Natalya A. Fedorovskaya","doi":"10.7256/2454-0625.2023.11.69023","DOIUrl":"https://doi.org/10.7256/2454-0625.2023.11.69023","url":null,"abstract":"The aim of the work was to identify the role of holidays of the Sherpa ethnic group in the preservation and continuity of their traditions. The tasks were to analyze the characteristics of traditional holidays, such as the Sherpa New Year, religious holidays and agricultural holidays, and to find out their role in modern Tibet. The author comes to the conclusion that, despite the strong influence of external cultural factors, a significant layer of the traditional local holiday culture of Sherpas remains. Using comparative historical and typological approaches and the method of system analysis based on a large amount of information, the characteristics of Sherpa holidays are systematized. The novelty lies in the vastness of the collected information and its analysis and generalization, previously such research results have not been published. The author comes to the conclusion that, despite the strong influence of external cultural factors, a significant layer of the traditional local holiday culture of Sherpas remains. Thus, the study of the holidays and the festive culture of the Sherpas showed that, along with the influence of external cultural factors, the Sherpas still retain a significant traditional layer of their local culture. Thus, the New Year is more influenced by external factors and changes in time and customs, while agricultural and religious holidays preserve traditional customs. Among the agricultural and religious festivals, one can see the manifestation of the traditional folk beliefs of the Sherpas. Chinese Sherpas, being a very small ethnic group, are becoming an important subject of study, as is the protection of their cultural heritage, and holidays and festivals, as vivid indicators of their traditional culture, are even more valuable for research.","PeriodicalId":184304,"journal":{"name":"Культура и искусство","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139297529","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 : 2023-08-01DOI: 10.7256/2454-0625.2023.8.43659
Alina Igorevna Matveeva
The article examines the activities of the Primorsky Musical Institute (1923-1924), which contributed to the development of academic music in the Far East in the post-revolutionary period, associated with the liquidation of the "buffer state" of the Far Eastern Republic (FER, 1920-1922) and its accession to the Russian Soviet Federative Socialist Republic (RSFSR). Through the prism of historical documents and archival materials, the factology of which did not fall into the analytics available today, corrective information is introduced into music science, which, on the one hand, forms an up-to-date view of the activities of the Primorsky Musical Institute, in terms of preserving traditions, paying attention to successive ties with the Imperial Russian Musical Society (RMO / IRMO), which played a special role in organizing the musical life of the country, and the Far East during the period of Imperial Russia. On the other hand, he names the reasons why the closure of the Institute led to the impossibility of the historical continuation of the forward line of development laid down by the IRMS in the Sovietized post-FER period. Contextual study allows the fact of the emergence of the Primorsky Musical Institute in Vladivostok to be comprehended as a consequence of the inertially preserved organizational work of the Vladivostok branch of the IRMO (1909-1917), which opened a music school at the Department, and then established a music school at the RMO (1917-1922).
{"title":"Primorsky Musical Institute in the history of the development of academic music in the Far East (1923-1924)","authors":"Alina Igorevna Matveeva","doi":"10.7256/2454-0625.2023.8.43659","DOIUrl":"https://doi.org/10.7256/2454-0625.2023.8.43659","url":null,"abstract":"\u0000 The article examines the activities of the Primorsky Musical Institute (1923-1924), which contributed to the development of academic music in the Far East in the post-revolutionary period, associated with the liquidation of the \"buffer state\" of the Far Eastern Republic (FER, 1920-1922) and its accession to the Russian Soviet Federative Socialist Republic (RSFSR). Through the prism of historical documents and archival materials, the factology of which did not fall into the analytics available today, corrective information is introduced into music science, which, on the one hand, forms an up-to-date view of the activities of the Primorsky Musical Institute, in terms of preserving traditions, paying attention to successive ties with the Imperial Russian Musical Society (RMO / IRMO), which played a special role in organizing the musical life of the country, and the Far East during the period of Imperial Russia. On the other hand, he names the reasons why the closure of the Institute led to the impossibility of the historical continuation of the forward line of development laid down by the IRMS in the Sovietized post-FER period. Contextual study allows the fact of the emergence of the Primorsky Musical Institute in Vladivostok to be comprehended as a consequence of the inertially preserved organizational work of the Vladivostok branch of the IRMO (1909-1917), which opened a music school at the Department, and then established a music school at the RMO (1917-1922).\u0000","PeriodicalId":184304,"journal":{"name":"Культура и искусство","volume":"313 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124446592","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}
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