Pub Date : 2023-08-01DOI: 10.7256/2454-0625.2023.8.39409
N. Mankovskaya
The subject of the study is the fundamental philosophical and aesthetic problems in the romantic aesthetics of one of its leaders in France - Victor Hugo. The evolution of his aesthetic views is traced - from adherence to the aesthetics of classicism and royalist views to the established theory and artistic practice of romanticism, colored with democratic pathos. The core of Hugo's aesthetics is revealed - the original concept of the grotesque, which has found a convincing embodiment in his poetry, drama, historical novels. Such main themes as the correlation of the tragic and the comic, the beautiful and the ugly, the sublime and the base, content and form, freedom and order, historical truth and fiction in art, romantic symbolization in the context of the formation of the concept of the artistic essence of romanticism by Hugo are considered. The features of his artistic and aesthetic concept related to the national specifics of art, local color, the problems of artistic taste, inspiration, imagination, aesthetic pleasure, artistic style, genius, talent are analyzed. The main conclusion of the study is the conclusion that all these topics form the basis of Hugo's judgments about the nature of romantic drama as the pinnacle of 19th century poetry and its differences from classic tragedy. The multidimensional nature of this study predetermined the use of a number of methodological approaches: philosophical and aesthetic approach, art history analysis, comparative, interdisciplinary methods. The author's special contribution lies in the fact that the study of Hugo's aesthetic theory and artistic practice is based on original material. The article provides a comparative analysis of the embodiment of Hugo's aesthetic views in various types and genres of art. Such a study was undertaken for the first time in domestic science.
{"title":"The Man of Action of French Romanticism. Aesthetic Views of Victor Hugo and their Embodiment in Poetry and Dramaturgy","authors":"N. Mankovskaya","doi":"10.7256/2454-0625.2023.8.39409","DOIUrl":"https://doi.org/10.7256/2454-0625.2023.8.39409","url":null,"abstract":"\u0000 The subject of the study is the fundamental philosophical and aesthetic problems in the romantic aesthetics of one of its leaders in France - Victor Hugo. The evolution of his aesthetic views is traced - from adherence to the aesthetics of classicism and royalist views to the established theory and artistic practice of romanticism, colored with democratic pathos. The core of Hugo's aesthetics is revealed - the original concept of the grotesque, which has found a convincing embodiment in his poetry, drama, historical novels. Such main themes as the correlation of the tragic and the comic, the beautiful and the ugly, the sublime and the base, content and form, freedom and order, historical truth and fiction in art, romantic symbolization in the context of the formation of the concept of the artistic essence of romanticism by Hugo are considered. The features of his artistic and aesthetic concept related to the national specifics of art, local color, the problems of artistic taste, inspiration, imagination, aesthetic pleasure, artistic style, genius, talent are analyzed. The main conclusion of the study is the conclusion that all these topics form the basis of Hugo's judgments about the nature of romantic drama as the pinnacle of 19th century poetry and its differences from classic tragedy. The multidimensional nature of this study predetermined the use of a number of methodological approaches: philosophical and aesthetic approach, art history analysis, comparative, interdisciplinary methods. The author's special contribution lies in the fact that the study of Hugo's aesthetic theory and artistic practice is based on original material. The article provides a comparative analysis of the embodiment of Hugo's aesthetic views in various types and genres of art. Such a study was undertaken for the first time in domestic science.\u0000","PeriodicalId":184304,"journal":{"name":"Культура и искусство","volume":"210 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":"129978553","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: 10.7256/2454-0625.2023.8.43683
Thi Van Diem Cao, Hai Minh Le
The article highlights the history of the formation and the main stages of the activity of the Vietnamese Dance Academy, which has secured the reputation of the leading national choreographic school of Vietnam. In the context of the historical and cultural process, it is shown how the tasks of the school's activities and its status changed over time and in accordance with changes in the priorities of the state cultural policy. There are three stages in the development of an educational institution. In accordance with the spirit of the times, the school underwent changes, was transformed into the Vietnamese College of Dance, then into the Vietnamese Academy of Dance. The initial period of the school's activity is associated with the process of professionalization of choreographic art and the institutionalization of the national ballet. The transitional stage was the transformation of the school into a Vietnamese dance College, when the potential was being built up, which later ensured the transition to an Academy engaged in training highly professional personnel at the level of secondary and higher education. The importance of the Soviet system of integrative choreographic education at the initial stage is shown. For the first time, the question of the personal contribution of Soviet teachers Y.E. Brunak and H.F. Mustaev to the formation of the Vietnamese system of professional choreographic education is highlighted. On the basis of a combination of general scientific and special methods, including chronological, typological, historiographical methods, methods of comparative and source analysis, new facts on the history of the formation and development of the choreographic education system of Vietnam are established and introduced into scientific circulation. The educational, methodological, scientific and international directions of the Academy's activities at the present stage are highlighted. The author deals with the problems of modern development and prospects for development in the near future. It is concluded that the Vietnamese Dance School is the first educational institution in the history of Vietnam that provides professional training for a previously non-existent type of ballet performing art in Vietnam.
{"title":"The Vietnamese Dance Academy and its role in the formation of the national choreographic education system","authors":"Thi Van Diem Cao, Hai Minh Le","doi":"10.7256/2454-0625.2023.8.43683","DOIUrl":"https://doi.org/10.7256/2454-0625.2023.8.43683","url":null,"abstract":"\u0000 The article highlights the history of the formation and the main stages of the activity of the Vietnamese Dance Academy, which has secured the reputation of the leading national choreographic school of Vietnam. In the context of the historical and cultural process, it is shown how the tasks of the school's activities and its status changed over time and in accordance with changes in the priorities of the state cultural policy. There are three stages in the development of an educational institution. In accordance with the spirit of the times, the school underwent changes, was transformed into the Vietnamese College of Dance, then into the Vietnamese Academy of Dance. The initial period of the school's activity is associated with the process of professionalization of choreographic art and the institutionalization of the national ballet. The transitional stage was the transformation of the school into a Vietnamese dance College, when the potential was being built up, which later ensured the transition to an Academy engaged in training highly professional personnel at the level of secondary and higher education. The importance of the Soviet system of integrative choreographic education at the initial stage is shown. For the first time, the question of the personal contribution of Soviet teachers Y.E. Brunak and H.F. Mustaev to the formation of the Vietnamese system of professional choreographic education is highlighted. On the basis of a combination of general scientific and special methods, including chronological, typological, historiographical methods, methods of comparative and source analysis, new facts on the history of the formation and development of the choreographic education system of Vietnam are established and introduced into scientific circulation. The educational, methodological, scientific and international directions of the Academy's activities at the present stage are highlighted. The author deals with the problems of modern development and prospects for development in the near future. It is concluded that the Vietnamese Dance School is the first educational institution in the history of Vietnam that provides professional training for a previously non-existent type of ballet performing art in Vietnam.\u0000","PeriodicalId":184304,"journal":{"name":"Культура и искусство","volume":"2 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":"123732376","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: 10.7256/2454-0625.2023.8.38773
Elena Aleksandrovna Shefova
The subject of the study is the structure of children's musical narrative on the example of a miniature by a Russian composer, pianist, representative of musical modernism, musical reformer and writer Vladimir Ivanovich Rebikov (1866-1920) "Preparing a lesson" from the cycle "Pictures for Children" Op. 37. Narrative means the presence of a musical narrative structure, assuming the narrator's voice, plot, main character hero, chronotope. The analysis of these components will enable a comprehensive understanding of the concept of the composition. The aim of the work is to analyze the structure of the children's musical narrative through the prism of the perception and interpretation of musical text characteristic of the child's skills and abilities. The methods used in the work are : source studies, musical and stylistic analysis. The scientific novelty of the work consists in determining the features of the children's narrative in the musical art, lexical preferences defined by the children's picture of the world, which can include the character, title, remarks, design and musical "children's mistakes" expressed using syncopation, dynamics, fermated pauses, fermata, pedals, harmony, register and pitch; construction models of their description by referring to topos (figures); characteristics of the originality of the children's narrative in relation to piano performance. The results of the study reveal the specifics of the syntactic features of the children's narratives of Vladimir Rebikov's miniature and the representation of the viability of this phenomenon in the musical art.
{"title":"The Structure of the Children's Musical Narrative on the Example of V. Rebikov's Miniature \"Lesson Preparation\" Op. 37 No. 2","authors":"Elena Aleksandrovna Shefova","doi":"10.7256/2454-0625.2023.8.38773","DOIUrl":"https://doi.org/10.7256/2454-0625.2023.8.38773","url":null,"abstract":"\u0000 The subject of the study is the structure of children's musical narrative on the example of a miniature by a Russian composer, pianist, representative of musical modernism, musical reformer and writer Vladimir Ivanovich Rebikov (1866-1920) \"Preparing a lesson\" from the cycle \"Pictures for Children\" Op. 37. Narrative means the presence of a musical narrative structure, assuming the narrator's voice, plot, main character hero, chronotope. The analysis of these components will enable a comprehensive understanding of the concept of the composition. The aim of the work is to analyze the structure of the children's musical narrative through the prism of the perception and interpretation of musical text characteristic of the child's skills and abilities. The methods used in the work are : source studies, musical and stylistic analysis. The scientific novelty of the work consists in determining the features of the children's narrative in the musical art, lexical preferences defined by the children's picture of the world, which can include the character, title, remarks, design and musical \"children's mistakes\" expressed using syncopation, dynamics, fermated pauses, fermata, pedals, harmony, register and pitch; construction models of their description by referring to topos (figures); characteristics of the originality of the children's narrative in relation to piano performance. The results of the study reveal the specifics of the syntactic features of the children's narratives of Vladimir Rebikov's miniature and the representation of the viability of this phenomenon in the musical art.\u0000","PeriodicalId":184304,"journal":{"name":"Культура и искусство","volume":"35 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":"125144217","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: 10.7256/2454-0625.2023.8.43723
Xingqian Wang
The object of this research is contemporary Chinese art in the context of the latest trends in the development of the global and national art market. The subject of the study is the problem of underestimation of modern ceramic art in China and its potential from the standpoint of the art market. The history of the issue is considered, the analysis of the main directions of research development in this subject area is carried out. In addition, the article clarifies the existing concept of "modern ceramic art" in China. Special attention is paid to the analysis of the most significant modern objects of Chinese ceramics presented in the domestic art market of the country. The features of the artistic originality of the masters Li Jiusheng, Wang Silyan, Zhang Songmao, Guo Aihe are revealed. The scientific novelty of the research is connected with the development of ideas about the modern ceramic art of China, its role in the modern art market, both at the national and international levels. For the first time, the criteria for the demand for modern porcelain are revealed; the idea is stated that the problem of collecting modern Chinese ceramics remains on the periphery of scientific discourse. A special contribution is the establishment and justification of the artistic value of a number of works carried out for the first time in science, which were sold at various auctions for fabulous money. The main conclusions of the study are the following. Currently, the development of the art market indicates that experts are beginning to realize the artistic value of modern Chinese ceramics art. The greatest interest among collectors is aroused by works in the spirit of "ceramic painting" with the use of modern technologies that allow expanding the expressive possibilities of painting on porcelain. The boom in collecting modern Chinese porcelain, observed since the beginning of the XXI century, testifies to the high level of artistic execution of objects of modern ceramic art in China, as well as such qualities as innovation and non-standardness in terms of choosing themes, visual effects, expression of the author's idea, rethinking academic traditions.
{"title":"Contemporary ceramic art of China: a look from the perspective of the art market","authors":"Xingqian Wang","doi":"10.7256/2454-0625.2023.8.43723","DOIUrl":"https://doi.org/10.7256/2454-0625.2023.8.43723","url":null,"abstract":"\u0000 The object of this research is contemporary Chinese art in the context of the latest trends in the development of the global and national art market. The subject of the study is the problem of underestimation of modern ceramic art in China and its potential from the standpoint of the art market. The history of the issue is considered, the analysis of the main directions of research development in this subject area is carried out. In addition, the article clarifies the existing concept of \"modern ceramic art\" in China. Special attention is paid to the analysis of the most significant modern objects of Chinese ceramics presented in the domestic art market of the country. The features of the artistic originality of the masters Li Jiusheng, Wang Silyan, Zhang Songmao, Guo Aihe are revealed. The scientific novelty of the research is connected with the development of ideas about the modern ceramic art of China, its role in the modern art market, both at the national and international levels. For the first time, the criteria for the demand for modern porcelain are revealed; the idea is stated that the problem of collecting modern Chinese ceramics remains on the periphery of scientific discourse. A special contribution is the establishment and justification of the artistic value of a number of works carried out for the first time in science, which were sold at various auctions for fabulous money. The main conclusions of the study are the following. Currently, the development of the art market indicates that experts are beginning to realize the artistic value of modern Chinese ceramics art. The greatest interest among collectors is aroused by works in the spirit of \"ceramic painting\" with the use of modern technologies that allow expanding the expressive possibilities of painting on porcelain. The boom in collecting modern Chinese porcelain, observed since the beginning of the XXI century, testifies to the high level of artistic execution of objects of modern ceramic art in China, as well as such qualities as innovation and non-standardness in terms of choosing themes, visual effects, expression of the author's idea, rethinking academic traditions.\u0000","PeriodicalId":184304,"journal":{"name":"Культура и искусство","volume":"2 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":"128553772","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: 10.7256/2454-0625.2023.8.43846
Pavel Gennadievich Bylevskiy
The purpose of the study is to study the potential of a culturological approach to the professional culture of information security in modern conditions. The subject of the study is the socio-cultural aspects of professional competencies in the context of the formation and development of the general civil culture of information security. The object of the study is the previous and ongoing evolution of the professional culture of information security in Russia. The materials used are scientific, research and scientific-practical publications on the research topic in the Russian journals of the list of the Higher Attestation Commission and in the international database Scopus (categories Q1 and Q2) for 2021-2023. The evolutionary and structural-functional methods are applied, the subject of the study is considered from the point of view of the cultural paradigm − the dynamic system model. The novelty of the research lies in the application of the conceptual apparatus and methods of cultural studies to study the professional culture of information security. Previously, the formation and development of an information security culture was considered within the framework of technical scientific disciplines, and then law, management, pedagogy, psychology and linguistics. The result of the study is the identification of socio-cultural factors as components inherent in the professional culture of information security at the present stage. These include traditional values, identity, resistance to manipulation of consciousness, as well as psychological and pedagogical competencies of training non-professionals in information security of employees of organizations and citizens, customers and users of services. The conclusion is made: the culturological approach is highly in demand in information security, which is due to its transformation into a general civil culture, which must include more and more significant socio-cultural aspects.
{"title":"Culturology of professional culture of information security","authors":"Pavel Gennadievich Bylevskiy","doi":"10.7256/2454-0625.2023.8.43846","DOIUrl":"https://doi.org/10.7256/2454-0625.2023.8.43846","url":null,"abstract":"\u0000 The purpose of the study is to study the potential of a culturological approach to the professional culture of information security in modern conditions. The subject of the study is the socio-cultural aspects of professional competencies in the context of the formation and development of the general civil culture of information security. The object of the study is the previous and ongoing evolution of the professional culture of information security in Russia. The materials used are scientific, research and scientific-practical publications on the research topic in the Russian journals of the list of the Higher Attestation Commission and in the international database Scopus (categories Q1 and Q2) for 2021-2023. The evolutionary and structural-functional methods are applied, the subject of the study is considered from the point of view of the cultural paradigm − the dynamic system model. The novelty of the research lies in the application of the conceptual apparatus and methods of cultural studies to study the professional culture of information security. Previously, the formation and development of an information security culture was considered within the framework of technical scientific disciplines, and then law, management, pedagogy, psychology and linguistics. The result of the study is the identification of socio-cultural factors as components inherent in the professional culture of information security at the present stage. These include traditional values, identity, resistance to manipulation of consciousness, as well as psychological and pedagogical competencies of training non-professionals in information security of employees of organizations and citizens, customers and users of services. The conclusion is made: the culturological approach is highly in demand in information security, which is due to its transformation into a general civil culture, which must include more and more significant socio-cultural aspects.\u0000","PeriodicalId":184304,"journal":{"name":"Культура и искусство","volume":"599 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":"123194966","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: 10.7256/2454-0625.2023.8.39760
Gleb Romanovich Sorochinsky
The subject of the study is such a phenomenon in the cult architecture of the Near East region (Levant, Mesopotamia, Anatolia, Elam) as the erection of stelae. Special attention is paid to the semantics of stelae, which had a sacred meaning for ancient people. The purpose of the research is to identify the main functions and meanings characteristic of such a typological unit in the architecture of the Near East as the stela (stele). The relevance of the research is determined by the development of interdisciplinary discourse in this issue among domestic (N. Ya. Merpet, E. V. Antonova, A. B. Zubov, T. V. Kornienko, V. V. Emelianov) and foreign (J. Mellaart, K. Schmidt) scientists. The scientific research of the article is based on the architectural-ontological research method: analysis of architectural objects (Göbekli Tepe, Nevali Çori) with the identification of typological and compositional features, analysis of literary sources in the form of sacred texts (the Epic of Gilgamesh, the Bible) with the identification of the semantic field of meanings. The novelty of the study is determined by the identification of the architectural and ontological role of stelae in the ancient architecture of the region. As a result of the study, a number of basic semantic meanings and functions characteristic of such a typological unit in the architectural tradition of the Near East as the stela (stele) are given. These conclusions can be applied in such areas of the humanities as history, philosophy, cultural studies, religious studies, art history, architecture, archeology and other sciences.
该研究的主题是近东地区(黎凡特、美索不达米亚、安纳托利亚、埃兰)的邪教建筑中出现的石碑竖立现象。特别要注意的是石碑的语义，它对古代的人有神圣的意义。本研究的目的是确定像石碑(石碑)这样的类型学单位在近东建筑中的主要功能和意义特征。研究的相关性是由国内关于这一问题的跨学科话语的发展决定的。Merpet, E. V. Antonova, A. B. Zubov, T. V. Kornienko, V. V. Emelianov)和国外(J. Mellaart, K. Schmidt)科学家。本文的科学研究基于建筑本体论的研究方法:分析建筑对象(Göbekli Tepe, Nevali Çori)，识别类型学和组成特征，分析神圣文本形式的文学来源(吉尔伽美什史诗，圣经)，识别意义的语义场。这项研究的新颖性是由石碑在该地区古建筑中的建筑和本体论作用的识别决定的。作为研究的结果，给出了像石碑(石碑)这样的类型学单位在近东建筑传统中的一些基本语义和功能特征。这些结论可以应用于历史、哲学、文化研究、宗教研究、艺术史、建筑、考古学和其他科学等人文学科领域。
{"title":"Semantics and Function of Stelae in the Ancient Architecture of the Near East in the Era from the Neolithic Man to the Epic Gilgamesh and the Biblical Jacob","authors":"Gleb Romanovich Sorochinsky","doi":"10.7256/2454-0625.2023.8.39760","DOIUrl":"https://doi.org/10.7256/2454-0625.2023.8.39760","url":null,"abstract":"\u0000 The subject of the study is such a phenomenon in the cult architecture of the Near East region (Levant, Mesopotamia, Anatolia, Elam) as the erection of stelae. Special attention is paid to the semantics of stelae, which had a sacred meaning for ancient people. The purpose of the research is to identify the main functions and meanings characteristic of such a typological unit in the architecture of the Near East as the stela (stele). The relevance of the research is determined by the development of interdisciplinary discourse in this issue among domestic (N. Ya. Merpet, E. V. Antonova, A. B. Zubov, T. V. Kornienko, V. V. Emelianov) and foreign (J. Mellaart, K. Schmidt) scientists. The scientific research of the article is based on the architectural-ontological research method: analysis of architectural objects (Göbekli Tepe, Nevali Çori) with the identification of typological and compositional features, analysis of literary sources in the form of sacred texts (the Epic of Gilgamesh, the Bible) with the identification of the semantic field of meanings. The novelty of the study is determined by the identification of the architectural and ontological role of stelae in the ancient architecture of the region. As a result of the study, a number of basic semantic meanings and functions characteristic of such a typological unit in the architectural tradition of the Near East as the stela (stele) are given. These conclusions can be applied in such areas of the humanities as history, philosophy, cultural studies, religious studies, art history, architecture, archeology and other sciences.\u0000","PeriodicalId":184304,"journal":{"name":"Культура и искусство","volume":"26 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":"127654503","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: 10.7256/2454-0625.2023.8.43584
Chenyuan Jin
The article examines the ancient and unique culture of the mask, analyzes the features of its perception, understanding and interpretation in different theatrical traditions of the West and East (ancient Greek tragedy, comedy dell'arte, Chinese no-si theater, Peking opera, etc.). Particular attention is paid to how the mask is interpreted and used, based on tradition, to create and enhance stage effects and deepen meaningful symbolism in modern performances. The relevance of this work lies in the typology and classification of common and distinctive characteristics of similar, but at the same time unique artifacts of various theatrical cultures of the East and West on the example of the use of masks in productions in the past and present. Addressing this topic can help to establish intercultural ties, facilitate intercultural communication and reduce the degree of civilizational contradictions in a multipolar world. The scientific novelty of the study lies in the results of processing the original selection of case studies, scientific publications and literary sources. The purpose of the study is to search for the features of the perception and understanding of masks in various theatrical systems. To achieve this attitude, the history of masks in different countries, their semantics are analyzed, in particular, the ancient Chinese thermal culture and the ancient Greek theater, as well as the Italian comedy dell'arte are compared. In conclusion, we note that in different theatrical systems, the mask has unique symbols and uses. Thus, it reveals the complex and contradictory human nature, reveals the unknown and people's fear of reality, embodies and expresses emotions, provides the rhythm and sharpness of the development of the drama, deepens the meaning of ongoing events.
{"title":"The symbolism of the mask in the theatrical art of the West and East","authors":"Chenyuan Jin","doi":"10.7256/2454-0625.2023.8.43584","DOIUrl":"https://doi.org/10.7256/2454-0625.2023.8.43584","url":null,"abstract":"\u0000 The article examines the ancient and unique culture of the mask, analyzes the features of its perception, understanding and interpretation in different theatrical traditions of the West and East (ancient Greek tragedy, comedy dell'arte, Chinese no-si theater, Peking opera, etc.). Particular attention is paid to how the mask is interpreted and used, based on tradition, to create and enhance stage effects and deepen meaningful symbolism in modern performances. The relevance of this work lies in the typology and classification of common and distinctive characteristics of similar, but at the same time unique artifacts of various theatrical cultures of the East and West on the example of the use of masks in productions in the past and present. Addressing this topic can help to establish intercultural ties, facilitate intercultural communication and reduce the degree of civilizational contradictions in a multipolar world. The scientific novelty of the study lies in the results of processing the original selection of case studies, scientific publications and literary sources. The purpose of the study is to search for the features of the perception and understanding of masks in various theatrical systems. To achieve this attitude, the history of masks in different countries, their semantics are analyzed, in particular, the ancient Chinese thermal culture and the ancient Greek theater, as well as the Italian comedy dell'arte are compared. In conclusion, we note that in different theatrical systems, the mask has unique symbols and uses. Thus, it reveals the complex and contradictory human nature, reveals the unknown and people's fear of reality, embodies and expresses emotions, provides the rhythm and sharpness of the development of the drama, deepens the meaning of ongoing events.\u0000","PeriodicalId":184304,"journal":{"name":"Культура и искусство","volume":"53 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":"127642828","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 : 2023-07-01DOI: 10.7256/2454-0625.2023.7.43416
V. Rozin
The subject of the study is, on the one hand, the artistic reality of Alexandra Marinina's novel "The Illusion of Sin", on the other hand, the analysis of the peculiarities of Russian life of the 90s, presented through the prism of this novel. The author doubts that this work can be fully summed up under the concept of the detective genre, since the background is a description and understanding of the life of Russia at that time. It is also unclear to him why Marinina's novel is so named, in connection with which it concerns four novels by Diana Soul, named in the same way. The comparison of Chekhov's "Cherry Orchard" and "The Illusion of Sin" allows us to formulate a hypothesis about the nature of Russian sociality. As before, two unrelated processes are impersonal, social (revolution, building socialism, war, the unexpected death of the USSR, reforms, etc., up to the present events) and unrelated and often meaningless, marginal actions and actions of people. From the point of view of this hypothesis, Marinina's work is considered: she, but naturally as an artist, represents for the reader the social reality of the 90s, which in many ways resembles the "bad sociality" that Vasily Zenkovsky wrote about back in the 20s of the last century. The author identifies four aspects of this sociality: the attitude of Russians to law stretching from the past centuries, the tradition of non-legal consciousness and behavior, a sense of social injustice, the lack of moral guidelines, the obsession of Russians with ideas, which M. Bakhtin wrote about.
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Pub Date : 2023-07-01DOI: 10.7256/2454-0625.2023.7.43467
Tszyun'tsze Chzhuan, Pavel A. Michkov
In the modern professional piano art of China, the genre of piano etude is an important part of musical culture and occupies a special place in the history of Chinese music. The first samples of etudes for piano by Chinese composers date back to the 20s of the last century and were created as pieces for the development of the pianist's technical skills. During the development of the genre, the artistic value of the sketches has increased: from a play of a technical nature, the sketches have become independent, dramaturgically constructed compositions. The composers rely on the intonation features of national music, use the melodies of traditional Chinese songs, and resort to modern writing techniques. However, innovation is usually limited to this. The young Chinese composer Luo Maisho created a series of etudes in which, on the one hand, he inherits traditional methods of composition, on the other, he violates the established foundations. For the first time, the metrorhythm region becomes a donor for structural transformations. The author of the article introduces the work of the young composer, offers an excursion into the history of the development of the piano etude genre in China, provides an analysis of the metrorhythmic organization of Lo Maisho's etudes. Thus, the purpose of the study is to analyze new trends in the development of the piano etude genre in China, the subject is the metrorhythmic organization of the musical fabric. In piano studies, Lo Maisho reaches a new level in the progression of the genre. He identifies new trends in Chinese piano music, introducing elements of folk songs, imitation of the sounds of traditional musical instruments, reflecting the imagery and various cultural characteristics of the peoples of various regions of China, introduces new techniques of metrorhythmic organization. The composer does not limit himself to the use of pentatonics, but resolutely strives for innovations in the genre of etude. It is noteworthy that the author departs from the established tradition, which is based on the use of Western European techniques combined with the intonation culture of Chinese melodies, he offers new forms of compositional solutions.
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Pub Date : 2023-07-01DOI: 10.7256/2454-0625.2023.7.43647
Jie Liu
The subject of the research is the piece for piano solo "Fantasy of Southern China: Lady and the Flower Seller" (1931) by the Russian émigré composer Harry Yakovlevich Ore (Xia Like, 1885-1972), forgotten in his homeland. A graduate of the St. Petersburg Conservatory, he lived most of his life in China, where he distinguished himself as a pianist, teacher and composer. Ore left a notable mark on the history of Chinese music, including as the author of the first piano arrangement of typical qupai melodies of the traditional Cantonese opera yueju. The purpose of the study is to consider Fantasia through the prism of the refraction of the Russian traditions of the St. Petersburg school (primarily The Russian Five) and the Chinese operatic traditions yueju. The article uses comparative typological and analytical research methods to substantiate the uniqueness of the selected piece as the first sample in the history of Chinese academic music that combines the melodies of Cantonese opera with the traditions of “New Russian school”. Piano piece “Fantasy of Southern China” by G. Ya. Ore is considered in Russian-language musicology for the first time. The main conclusions of the study are as follows. In the presented composition, the composer arranged four well-known tunes of the Cantonese yueju opera - "Ba Da Ban", "Toilet Table", "Product Sale" and " Narcissus flowers". The composer organically combined the national opera melodies of the Guangdong province in pentatonic modes with the writing techniques characteristic of the representatives of the St. Petersburg "New Russian School" (especially N. A. Rimsky-Korsakov, M. P. Mussorgsky) and its followers (A. K. Lyadov): variability, trichords, parallel-variable modes, plagal harmonies, smooth voice leading, melodization of voices, "singing" piano texture.
{"title":"Russian and Chinese traditions in the piano piece by G. Ya. Ore “Fantasy of Southern China”","authors":"Jie Liu","doi":"10.7256/2454-0625.2023.7.43647","DOIUrl":"https://doi.org/10.7256/2454-0625.2023.7.43647","url":null,"abstract":"\u0000 The subject of the research is the piece for piano solo \"Fantasy of Southern China: Lady and the Flower Seller\" (1931) by the Russian émigré composer Harry Yakovlevich Ore (Xia Like, 1885-1972), forgotten in his homeland. A graduate of the St. Petersburg Conservatory, he lived most of his life in China, where he distinguished himself as a pianist, teacher and composer. Ore left a notable mark on the history of Chinese music, including as the author of the first piano arrangement of typical qupai melodies of the traditional Cantonese opera yueju. The purpose of the study is to consider Fantasia through the prism of the refraction of the Russian traditions of the St. Petersburg school (primarily The Russian Five) and the Chinese operatic traditions yueju. The article uses comparative typological and analytical research methods to substantiate the uniqueness of the selected piece as the first sample in the history of Chinese academic music that combines the melodies of Cantonese opera with the traditions of “New Russian school”. Piano piece “Fantasy of Southern China” by G. Ya. Ore is considered in Russian-language musicology for the first time. The main conclusions of the study are as follows. In the presented composition, the composer arranged four well-known tunes of the Cantonese yueju opera - \"Ba Da Ban\", \"Toilet Table\", \"Product Sale\" and \" Narcissus flowers\". The composer organically combined the national opera melodies of the Guangdong province in pentatonic modes with the writing techniques characteristic of the representatives of the St. Petersburg \"New Russian School\" (especially N. A. Rimsky-Korsakov, M. P. Mussorgsky) and its followers (A. K. Lyadov): variability, trichords, parallel-variable modes, plagal harmonies, smooth voice leading, melodization of voices, \"singing\" piano texture.\u0000","PeriodicalId":184304,"journal":{"name":"Культура и искусство","volume":"33 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114365825","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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