Pub Date : 2023-01-01DOI: 10.21638/spbu15.2023.306
Irina G. Mamonova
Kinetic works of Leningrad artists have never been studied as a separate topic. In 1965–1967, kinetic art broke into the Leningrad art scene with bright projects of a Moscow artist collective called “Dvizhenie” (“the Movement”). Soon, several young Leningrad artists became active members of the collective. At the beginning of the 1970s, the impulse given by the “Dvizhenie” led to the formation of an independent Leningrad art collective which worked on color music kinetic art performances but broke up short afterwards. Is it possible to talk about some kind of a separate Leningrad branch of kineticism? Leningrad artists whose works in the 1960s, the 1970s and later periods were related to the kinetic art perspective, and even explicitly aligned with it, did not identify themselves with kineticism. Even in the 2010s, no one talked about kineticism in connection with some exhibitions in Saint Petersburg which presented completely kinetic works of art. Today, in the wake of the growing interest in this movement in Russia in the context of recent exhibitions, the concept of kineticism has expanded to include new names. The article considers activities of Leningrad artists associated with this art movement in the field of theatrical kinetic performances (the “Dynamic” collective), three-dimensional counter-relief objects (L. Borisov), color light music and paintings visualizing music (V. Afanasyev), and architectural design / color light music projects (A. Lanin). The study also traces parallels between proto-kinetic works of Leningrad avant-garde of the 1910s–1920s, and works of Leningrad kinetic artists of the 1960s–1970s.
{"title":"Kinetic Art: The Leningrad Experience, the 1920s–1990s","authors":"Irina G. Mamonova","doi":"10.21638/spbu15.2023.306","DOIUrl":"https://doi.org/10.21638/spbu15.2023.306","url":null,"abstract":"Kinetic works of Leningrad artists have never been studied as a separate topic. In 1965–1967, kinetic art broke into the Leningrad art scene with bright projects of a Moscow artist collective called “Dvizhenie” (“the Movement”). Soon, several young Leningrad artists became active members of the collective. At the beginning of the 1970s, the impulse given by the “Dvizhenie” led to the formation of an independent Leningrad art collective which worked on color music kinetic art performances but broke up short afterwards. Is it possible to talk about some kind of a separate Leningrad branch of kineticism? Leningrad artists whose works in the 1960s, the 1970s and later periods were related to the kinetic art perspective, and even explicitly aligned with it, did not identify themselves with kineticism. Even in the 2010s, no one talked about kineticism in connection with some exhibitions in Saint Petersburg which presented completely kinetic works of art. Today, in the wake of the growing interest in this movement in Russia in the context of recent exhibitions, the concept of kineticism has expanded to include new names. The article considers activities of Leningrad artists associated with this art movement in the field of theatrical kinetic performances (the “Dynamic” collective), three-dimensional counter-relief objects (L. Borisov), color light music and paintings visualizing music (V. Afanasyev), and architectural design / color light music projects (A. Lanin). The study also traces parallels between proto-kinetic works of Leningrad avant-garde of the 1910s–1920s, and works of Leningrad kinetic artists of the 1960s–1970s.","PeriodicalId":40378,"journal":{"name":"Vestnik Sankt-Peterburgskogo Universiteta-Iskusstvovedenie","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135107060","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 : 2023-01-01DOI: 10.21638/spbu13.2023.206
Elena N. Emelchenkova
The article is devoted to the description of buyu (补语 bǔyǔ), i. e. a linguistic concept of a complement perceived as a special part of a sentence in Chinese linguistics. The problem of distinguishing grammatical units of a sentence that share one syntactic function is considered. Less than a century ago China did not have any knowledge of theoretical linguistics of its own, so it had to borrow the concept from foreign science. Thus, the notion of a complement that supplements the semantics of a verb or an adjective in a predicate was introduced by Li Jinxi who had borrowed it from English grammars and applied to Chinese syntax. However, soon enough it had become a subject of revision. The article reflects how the concept of buyu has become a mixture of related linguistic phenomena by its gradual meaning extension. Besides, the paper analyses topmost structural and semantic features of the units that perform the role of buyu in a sentence, as well as summarises the criteria for distinguishing it from other parts of a sentence, i. e. an object and adverbial modifier. It is claimed that a single and consistent approach should be employed to the relevant elements with the same syntactic function and that the existing descriptions of Chinese grammar should be reexamined providing the concept of buyu. Finally, the author stresses the necessity to use the term dopolnitel’niy element (‘an additional element’) for terminology consistency in Russian sinological literature.
{"title":"The Evolution of the Concept of Complement (补语 bǔyǔ) in Chinese Linguistics","authors":"Elena N. Emelchenkova","doi":"10.21638/spbu13.2023.206","DOIUrl":"https://doi.org/10.21638/spbu13.2023.206","url":null,"abstract":"The article is devoted to the description of buyu (补语 bǔyǔ), i. e. a linguistic concept of a complement perceived as a special part of a sentence in Chinese linguistics. The problem of distinguishing grammatical units of a sentence that share one syntactic function is considered. Less than a century ago China did not have any knowledge of theoretical linguistics of its own, so it had to borrow the concept from foreign science. Thus, the notion of a complement that supplements the semantics of a verb or an adjective in a predicate was introduced by Li Jinxi who had borrowed it from English grammars and applied to Chinese syntax. However, soon enough it had become a subject of revision. The article reflects how the concept of buyu has become a mixture of related linguistic phenomena by its gradual meaning extension. Besides, the paper analyses topmost structural and semantic features of the units that perform the role of buyu in a sentence, as well as summarises the criteria for distinguishing it from other parts of a sentence, i. e. an object and adverbial modifier. It is claimed that a single and consistent approach should be employed to the relevant elements with the same syntactic function and that the existing descriptions of Chinese grammar should be reexamined providing the concept of buyu. Finally, the author stresses the necessity to use the term dopolnitel’niy element (‘an additional element’) for terminology consistency in Russian sinological literature.","PeriodicalId":40378,"journal":{"name":"Vestnik Sankt-Peterburgskogo Universiteta-Iskusstvovedenie","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135556387","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 : 2023-01-01DOI: 10.21638/spbu13.2023.213
Igor V. Ryzhov, Maria U. Borodina, Elena M. Savicheva
The article focuses on one of the global problems of international relations — creation of a regional security system in the Middle East. There is no multilateral process in the region aimed at the regional stability maintenance, as well as effective mechanisms for controlling conflict and crisis zones. The authors put forward the goal of identifying new trends and prospects for ensuring security in the region. They analyze the accumulated experience, in particular, such security initiatives as the Damascus Declaration, “Peninsula Shield”, “Interpol of the Gulf ”, “Arab NATO”. The weaknesses and strengths of these projects are noted, and significant processes and events in the implementation of these initiatives are highlighted. Particular emphasis is placed on the Gulf sub-region. The scientific novelty of the research is determined by necessity to examine and understand new processes and phenomena at the level of interstate interaction in the region and in the field of security as a whole. The provisions of the concept of regional security complexes by B. Buzan and O. Weaver turned out to be useful for the discourse on security threats and their dynamics in the region. They conclude that the establishment of an inclusive security system in the Middle East appears to be a long-term and multi-layered process. It is necessary to consider the declared problem in a wide context, affecting not only military security issues, but also political, social, economic stability, taking into account the totality of the national interests of all states of the region and the participation of extra-regional actors in this process as well.
{"title":"The Middle East: Seeking a New Security Architecture in a Changing World","authors":"Igor V. Ryzhov, Maria U. Borodina, Elena M. Savicheva","doi":"10.21638/spbu13.2023.213","DOIUrl":"https://doi.org/10.21638/spbu13.2023.213","url":null,"abstract":"The article focuses on one of the global problems of international relations — creation of a regional security system in the Middle East. There is no multilateral process in the region aimed at the regional stability maintenance, as well as effective mechanisms for controlling conflict and crisis zones. The authors put forward the goal of identifying new trends and prospects for ensuring security in the region. They analyze the accumulated experience, in particular, such security initiatives as the Damascus Declaration, “Peninsula Shield”, “Interpol of the Gulf ”, “Arab NATO”. The weaknesses and strengths of these projects are noted, and significant processes and events in the implementation of these initiatives are highlighted. Particular emphasis is placed on the Gulf sub-region. The scientific novelty of the research is determined by necessity to examine and understand new processes and phenomena at the level of interstate interaction in the region and in the field of security as a whole. The provisions of the concept of regional security complexes by B. Buzan and O. Weaver turned out to be useful for the discourse on security threats and their dynamics in the region. They conclude that the establishment of an inclusive security system in the Middle East appears to be a long-term and multi-layered process. It is necessary to consider the declared problem in a wide context, affecting not only military security issues, but also political, social, economic stability, taking into account the totality of the national interests of all states of the region and the participation of extra-regional actors in this process as well.","PeriodicalId":40378,"journal":{"name":"Vestnik Sankt-Peterburgskogo Universiteta-Iskusstvovedenie","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135556389","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 : 2023-01-01DOI: 10.21638/spbu13.2023.209
Dmitry M. Timokhin
This article examines the period of internecine struggle in the Khorezm state after the death of Khorezm Shah Abu’l-Fath Il-Arslan (1156–1172) between his sons — Sultan Shah Mahmud and ‘Ala’ ad-Din Tekish. Despite the fact that this episode from the Anushteginid dynasty is relatively well known to scholars, there has not yet been a single special study of how well this internecine war or the “Khorezmian sedition” was reflected in the synchronous Muslim texts of the 12th century, as well as in the writings of the early 13th century. Most of those who in their works tried to describe the struggle between these brothers for the Khorezm throne were based mainly on Muslim historical writings of the Mongol era. Here we see as our goal to consider the description of the “Khorezm sedition” in the monuments of the pre-Mongol period and compare the amount of information in them about this with the texts of a later time — this will allow not only to understand how detailed the event is described by the early authors in comparison with the later ones, but to identify possible continuity between them. Our research will also allow us to identify gaps in the description of the struggle between Sultan-Shah Mahmud and ‘Ala’ ad-Din Tekish in early texts, emphasize the facts of the “Khorezm sedition” relatively known to the authors of this period and thereby show what kind of picture of events is being built if we focus only on the writings of the pre-Mongol time. As a result, we hope to trace a certain evolution of the description of the war for the Khorezm throne in the Muslim writings of the 12th–13th centuries.
本文考察了在Khorezm Shah Abu ' l- fath Il-Arslan(1156-1172)去世后，他的儿子- Sultan Shah Mahmud和' Ala ' ad-Din Tekish之间的内讧时期。尽管学者们对阿努什特吉尼王朝的这一事件相对熟悉，但还没有一项专门的研究表明，这场内讧战争或“Khorezmian骚乱”在12世纪的穆斯林文献以及13世纪早期的著作中反映得有多好。在他们的作品中，大多数试图描述这些兄弟之间为争夺花剌子模王位而进行的斗争的人，主要是基于蒙古时代的穆斯林历史著作。在这里，我们的目标是考虑前蒙古时期的纪念碑中对“花剌子暴乱”的描述，并将其中的信息量与后来的文本进行比较——这不仅可以让我们了解早期作者与后期作者对事件的描述有多详细，还可以确定它们之间可能的连续性。我们的研究还将使我们能够识别早期文本中苏丹-沙阿·马哈茂德和“阿拉”-丁·埃及人之间的斗争描述中的空白，强调这一时期的作者相对了解的“花心骚乱”的事实，从而显示如果我们只关注前蒙古时代的作品，我们正在构建什么样的事件图景。因此，我们希望追踪12 - 13世纪穆斯林著作中对花剌剌王座之战描述的某种演变。
{"title":"The Sedition in Khorezm in the Second Half of the 12th Century and its Consequences: According to pre-Mongol Muslim Sources","authors":"Dmitry M. Timokhin","doi":"10.21638/spbu13.2023.209","DOIUrl":"https://doi.org/10.21638/spbu13.2023.209","url":null,"abstract":"This article examines the period of internecine struggle in the Khorezm state after the death of Khorezm Shah Abu’l-Fath Il-Arslan (1156–1172) between his sons — Sultan Shah Mahmud and ‘Ala’ ad-Din Tekish. Despite the fact that this episode from the Anushteginid dynasty is relatively well known to scholars, there has not yet been a single special study of how well this internecine war or the “Khorezmian sedition” was reflected in the synchronous Muslim texts of the 12th century, as well as in the writings of the early 13th century. Most of those who in their works tried to describe the struggle between these brothers for the Khorezm throne were based mainly on Muslim historical writings of the Mongol era. Here we see as our goal to consider the description of the “Khorezm sedition” in the monuments of the pre-Mongol period and compare the amount of information in them about this with the texts of a later time — this will allow not only to understand how detailed the event is described by the early authors in comparison with the later ones, but to identify possible continuity between them. Our research will also allow us to identify gaps in the description of the struggle between Sultan-Shah Mahmud and ‘Ala’ ad-Din Tekish in early texts, emphasize the facts of the “Khorezm sedition” relatively known to the authors of this period and thereby show what kind of picture of events is being built if we focus only on the writings of the pre-Mongol time. As a result, we hope to trace a certain evolution of the description of the war for the Khorezm throne in the Muslim writings of the 12th–13th centuries.","PeriodicalId":40378,"journal":{"name":"Vestnik Sankt-Peterburgskogo Universiteta-Iskusstvovedenie","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135556393","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 : 2023-01-01DOI: 10.21638/spbu13.2023.208
Alexander G. Storozhuk
Editions of the famous story collection “Liao Zhai zhi yi” (聊齋志異, Strange Tales from a Chinese Studio) by Pu Songling (蒲松齡, 1640–1715) were numerous and various in the 19th century. A special place among them holds the lithograph, printed in 1886 on the funds of tycoon Xu Run (徐潤, 1838–1911); the edition contains an abundant collection of illustrations and specially written poetic inserts. The lithograph was titled “Xiangzhu Liao Zhai zhi yi tuyong” (詳註聊齋誌異圖詠, Illustrated and Commented “Strange Tales from a Chinese Studio”) and begot a great number of imitations and fakes among Chinese editions of the end of the 19th — beginning of the 20th centuries. Sometimes they were done so beautifully that happened to be practically undistinguishable from the original; sometimes they deliberately demonstrated their individuality, having become autonomous works of printing art with aesthetic peculiarities of their own. Along with that beginning of the 20th century generated a number of typographically printed editions, but their design either repeated or stood very close to the original Shanghai publication. The tradition happened to be very tenacious, so that contemporary editions continue copying exterior of the 1886 collection. Purpose of this article is to outline the main features of the original 1886 lithograph and its major later reprints until 1930s and their significant for attribution codicological peculiarities.
{"title":"Illustrated edition Liao Zhai Zhiyi Tuyong, published in 1886: reprints and imitations","authors":"Alexander G. Storozhuk","doi":"10.21638/spbu13.2023.208","DOIUrl":"https://doi.org/10.21638/spbu13.2023.208","url":null,"abstract":"Editions of the famous story collection “Liao Zhai zhi yi” (聊齋志異, Strange Tales from a Chinese Studio) by Pu Songling (蒲松齡, 1640–1715) were numerous and various in the 19th century. A special place among them holds the lithograph, printed in 1886 on the funds of tycoon Xu Run (徐潤, 1838–1911); the edition contains an abundant collection of illustrations and specially written poetic inserts. The lithograph was titled “Xiangzhu Liao Zhai zhi yi tuyong” (詳註聊齋誌異圖詠, Illustrated and Commented “Strange Tales from a Chinese Studio”) and begot a great number of imitations and fakes among Chinese editions of the end of the 19th — beginning of the 20th centuries. Sometimes they were done so beautifully that happened to be practically undistinguishable from the original; sometimes they deliberately demonstrated their individuality, having become autonomous works of printing art with aesthetic peculiarities of their own. Along with that beginning of the 20th century generated a number of typographically printed editions, but their design either repeated or stood very close to the original Shanghai publication. The tradition happened to be very tenacious, so that contemporary editions continue copying exterior of the 1886 collection. Purpose of this article is to outline the main features of the original 1886 lithograph and its major later reprints until 1930s and their significant for attribution codicological peculiarities.","PeriodicalId":40378,"journal":{"name":"Vestnik Sankt-Peterburgskogo Universiteta-Iskusstvovedenie","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135556394","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 : 2023-01-01DOI: 10.21638/spbu11.2023.204
Ali Talyshinskii, Irina Kamyshanskaya, Andrey Mischenko, Bakhman Guliev, Rustam Bakhtiozin
This review examines the current methodologies employed in utilizing artificial intelligence for the identification and classification of prostate cancer using magnetic resonance imaging data. It outlines the volume of data utilized and highlights the most commonly sought-after sequences employed for training neural networks. The review further presents the accuracy metrics of the neural networks analyzed, accompanied by a succinct explanation of each metric. Furthermore, the review pinpoints the limitations associated with contemporary neural networks devised for the detection and classification of prostate cancer using magnetic resonance imaging data, as well as the challenges encountered during their creation and implementation.In summary, this comprehensive analysis delves into the existing approaches in leveraging artificial intelligence for prostate cancer detection and stratification through magnetic resonance imaging data. It addresses the data scale and preferred magnetic resonance imaging sequences employed for neural network training. The review provides a breakdown of accuracy indicators for the neural networks evaluated, elucidating their respective capabilities. Moreover, the review identifies the drawbacks associated with current neural network models developed for prostate cancer detection and stratification via magnetic resonance imaging data, while also recognizing the complexities involved in their development and practical application.
{"title":"Application of artificial intelligence in the detection and stratification of prostate cancer: Literature review","authors":"Ali Talyshinskii, Irina Kamyshanskaya, Andrey Mischenko, Bakhman Guliev, Rustam Bakhtiozin","doi":"10.21638/spbu11.2023.204","DOIUrl":"https://doi.org/10.21638/spbu11.2023.204","url":null,"abstract":"This review examines the current methodologies employed in utilizing artificial intelligence for the identification and classification of prostate cancer using magnetic resonance imaging data. It outlines the volume of data utilized and highlights the most commonly sought-after sequences employed for training neural networks. The review further presents the accuracy metrics of the neural networks analyzed, accompanied by a succinct explanation of each metric. Furthermore, the review pinpoints the limitations associated with contemporary neural networks devised for the detection and classification of prostate cancer using magnetic resonance imaging data, as well as the challenges encountered during their creation and implementation.In summary, this comprehensive analysis delves into the existing approaches in leveraging artificial intelligence for prostate cancer detection and stratification through magnetic resonance imaging data. It addresses the data scale and preferred magnetic resonance imaging sequences employed for neural network training. The review provides a breakdown of accuracy indicators for the neural networks evaluated, elucidating their respective capabilities. Moreover, the review identifies the drawbacks associated with current neural network models developed for prostate cancer detection and stratification via magnetic resonance imaging data, while also recognizing the complexities involved in their development and practical application.","PeriodicalId":40378,"journal":{"name":"Vestnik Sankt-Peterburgskogo Universiteta-Iskusstvovedenie","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135911681","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 : 2023-01-01DOI: 10.21638/spbu15.2023.206
N. Mitrofanova
The work of the Italian artists of the Piazza del Popolo School is a unique period in the history of art of the 20th century. The activities of this association marked the birth of the Italian version of pop art. Despite the fact that the American and Italian pop movements existed in parallel and had similar external features, they were significantly different. These differences can be traced in the creativity of the members of the association. Cesare Tacchi was a member of this union. The path of this master represents an individual trajectory of artistic and conceptual development. One of the creative stages of Cesare Tacchi falls into the mid-sixties of the twentieth century. Experimental and innovative paintings of this time were created using industrially produced fabrics. Large-scale textile collages, in addition to being painted with enamel, pastels and felt-tip pens, also acquired a relief texture due to the furniture filler. Cesare Tacchi used a pick with nails or metal staples in accordance with the logic of the created image. That is why the artist ironically called himself “upholstery”, and called his textile collages “upholstery”. In them, we find images of artist’s friends, his own self-portraits or images made on the basis of photographs. The pattern, texture of the fabric and the softness of the emerging relief, together with the conceptual nature of the creative technique, made a great impression on the viewer and gave rise to new associations. Textiles simultaneously demonstrated the consumer culture of that time, turned from a subordinate material into a means of artistic expression, became an object of art and contributed to the emergence of a stream of new associative links, far from the consumer idea.
{"title":"Textile Painting by Cesare Tacchi","authors":"N. Mitrofanova","doi":"10.21638/spbu15.2023.206","DOIUrl":"https://doi.org/10.21638/spbu15.2023.206","url":null,"abstract":"The work of the Italian artists of the Piazza del Popolo School is a unique period in the history of art of the 20th century. The activities of this association marked the birth of the Italian version of pop art. Despite the fact that the American and Italian pop movements existed in parallel and had similar external features, they were significantly different. These differences can be traced in the creativity of the members of the association. Cesare Tacchi was a member of this union. The path of this master represents an individual trajectory of artistic and conceptual development. One of the creative stages of Cesare Tacchi falls into the mid-sixties of the twentieth century. Experimental and innovative paintings of this time were created using industrially produced fabrics. Large-scale textile collages, in addition to being painted with enamel, pastels and felt-tip pens, also acquired a relief texture due to the furniture filler. Cesare Tacchi used a pick with nails or metal staples in accordance with the logic of the created image. That is why the artist ironically called himself “upholstery”, and called his textile collages “upholstery”. In them, we find images of artist’s friends, his own self-portraits or images made on the basis of photographs. The pattern, texture of the fabric and the softness of the emerging relief, together with the conceptual nature of the creative technique, made a great impression on the viewer and gave rise to new associations. Textiles simultaneously demonstrated the consumer culture of that time, turned from a subordinate material into a means of artistic expression, became an object of art and contributed to the emergence of a stream of new associative links, far from the consumer idea.","PeriodicalId":40378,"journal":{"name":"Vestnik Sankt-Peterburgskogo Universiteta-Iskusstvovedenie","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91246529","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 : 2023-01-01DOI: 10.21638/spbu15.2023.201
T.V. Smirnova
The article is devoted to recreation of the genre Pavan evolution in English music of the 16th–17th centuries. The research involved diverse sources such as early treatises, musical and practical manuals, old-printed musical editions and modern anthologies of the English music of the 16th–17th centuries that allowed to review the Pavan as a vivid representative of the genre system of 16th–17th centuries English instrumental music, to locate the main centers of its expansion (the Tudors and Stuarts Royal Courts, the Houses of English authoritative stripes and Inns of Court) and to concretize some idea about its functional and communicative features, to determine a range of English Pavan authors from William Byrd and Alfonso Ferrabosco the elder (who were silent trendsetters in the musical and artistic tastes at the English Court in the second half of the 16th century) to Henry Purcell (who became a leader in the development of English music in the last quarter of the 17th century marked by vanishing of national late Renaissance and early Baroque traditions in the chamber instrumental music-making). In the article there were defined the vectors for new treatment of dance genre, have been developing its composition from anonymous to author’s one with clearly recognizable individual style of writing. It emphasizes the systematics of the variety of surviving Pavans with different titles, which reflects the compositional-technological or figurative-emotional features of dance pieces. Apart from the others the “named” Pavans and the pieces related to them and created in traditions ‘In memoriam’ were examined. The results of scientific research could be used for the further development of the musical style questions and compositional method of English composers of the 16th–17th centuries related to the mutual cultural and historical tradition.
{"title":"The Pavan in English Music of the 16th–17th Centuries","authors":"T.V. Smirnova","doi":"10.21638/spbu15.2023.201","DOIUrl":"https://doi.org/10.21638/spbu15.2023.201","url":null,"abstract":"The article is devoted to recreation of the genre Pavan evolution in English music of the 16th–17th centuries. The research involved diverse sources such as early treatises, musical and practical manuals, old-printed musical editions and modern anthologies of the English music of the 16th–17th centuries that allowed to review the Pavan as a vivid representative of the genre system of 16th–17th centuries English instrumental music, to locate the main centers of its expansion (the Tudors and Stuarts Royal Courts, the Houses of English authoritative stripes and Inns of Court) and to concretize some idea about its functional and communicative features, to determine a range of English Pavan authors from William Byrd and Alfonso Ferrabosco the elder (who were silent trendsetters in the musical and artistic tastes at the English Court in the second half of the 16th century) to Henry Purcell (who became a leader in the development of English music in the last quarter of the 17th century marked by vanishing of national late Renaissance and early Baroque traditions in the chamber instrumental music-making). In the article there were defined the vectors for new treatment of dance genre, have been developing its composition from anonymous to author’s one with clearly recognizable individual style of writing. It emphasizes the systematics of the variety of surviving Pavans with different titles, which reflects the compositional-technological or figurative-emotional features of dance pieces. Apart from the others the “named” Pavans and the pieces related to them and created in traditions ‘In memoriam’ were examined. The results of scientific research could be used for the further development of the musical style questions and compositional method of English composers of the 16th–17th centuries related to the mutual cultural and historical tradition.","PeriodicalId":40378,"journal":{"name":"Vestnik Sankt-Peterburgskogo Universiteta-Iskusstvovedenie","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78260824","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 : 2023-01-01DOI: 10.21638/spbu15.2023.308
Vitaly F. Poznin
The problem of genre formation in cinema constantly causes controversy and discrepancies among art historians, since this type of creativity is synthetic, using the creative possibilities of other types of art. Сommon in the definition of the term “genre” is only the provision that a genre is a way of embodying a certain concept of reality in a work, creating an artistic picture or an artistic model of the world, perceived from a certain angle, which implies a limitation in the choice of means of artistic embodiment of the theme of the work. Like any complex concept, a genre should be considered in a system of several coordinates, among which the dominant features inherent in a particular genre play the most significant role. These two dominants are: 1) the emotion that the film should evoke in the viewer (laughter, horror, sympathy, etc.); 2) the theme of the film (historical, military, sci-fi, etc.). When investigating the problem of genre formation, one should also not forget that the genre is a historical category, i. e. the specific period in which it was created plays an important role in determining the genre characteristics of a particular film. Over the past 30 years, Russian cinema has undergone significant changes in the aesthetic and ethical paradigm, including changes in the themes and genre palette of films. This article is the first attempt to analyze the process of mastering by Russian cinematography new genres for it, which were not previously in the repertoire of Russian cinema (fantasy, disaster film, horror, biopic, musical). Having considered the problem of interaction between cultural globalization and national mentality, the author comes to the conclusion that, having survived the period of imitation of foreign models, Russian genre cinema at the present stage has the opportunity to gain self-identification and become an art that is in demand by a wide audience.
{"title":"The Formation of Russian Genre Cinema at the Beginning of the 21st Century","authors":"Vitaly F. Poznin","doi":"10.21638/spbu15.2023.308","DOIUrl":"https://doi.org/10.21638/spbu15.2023.308","url":null,"abstract":"The problem of genre formation in cinema constantly causes controversy and discrepancies among art historians, since this type of creativity is synthetic, using the creative possibilities of other types of art. Сommon in the definition of the term “genre” is only the provision that a genre is a way of embodying a certain concept of reality in a work, creating an artistic picture or an artistic model of the world, perceived from a certain angle, which implies a limitation in the choice of means of artistic embodiment of the theme of the work. Like any complex concept, a genre should be considered in a system of several coordinates, among which the dominant features inherent in a particular genre play the most significant role. These two dominants are: 1) the emotion that the film should evoke in the viewer (laughter, horror, sympathy, etc.); 2) the theme of the film (historical, military, sci-fi, etc.). When investigating the problem of genre formation, one should also not forget that the genre is a historical category, i. e. the specific period in which it was created plays an important role in determining the genre characteristics of a particular film. Over the past 30 years, Russian cinema has undergone significant changes in the aesthetic and ethical paradigm, including changes in the themes and genre palette of films. This article is the first attempt to analyze the process of mastering by Russian cinematography new genres for it, which were not previously in the repertoire of Russian cinema (fantasy, disaster film, horror, biopic, musical). Having considered the problem of interaction between cultural globalization and national mentality, the author comes to the conclusion that, having survived the period of imitation of foreign models, Russian genre cinema at the present stage has the opportunity to gain self-identification and become an art that is in demand by a wide audience.","PeriodicalId":40378,"journal":{"name":"Vestnik Sankt-Peterburgskogo Universiteta-Iskusstvovedenie","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135107056","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 : 2023-01-01DOI: 10.21638/spbu13.2023.204
Albert A. Makaryan, Astghik V. Soghoyan
The article examines the influence of the famous Russian writer N. V. Gogol on the prose of the Armenian writer R. G. Patkanyan. The subject of the research are Gogol’s poem “Dead Souls”, Patkanian’s novel “Ambitious”, the play “Pampulius” and the story “Armenian Chichikov”. One of the key issues is the study of Armenian transformations of the Chichikov type, its similarities and differences in comparison with the Russian prototype. Historical-comparative, comparative, structural-morphological methods are used as the methodological basis of the study: the works were considered according to their content and structure. The article examines the connections and relationships between Russian and Armenian literature at a new level, as well as the influence of Russian literature in general: it studies Gogol’s literary school outside Russia, which had various ideological, philosophical and artistic influence on the works of Armenian writers and on Patkanyan in particular. One of the main problems of the article is the question of choosing and characterizing a scoundrel hero, since Patkanyan, under the influence of Gogol, also puts a person striving for wealth at the center of his works and builds his plot around him. The morphological commonalities of the works are also considered: entry into the city, establishing connections with influential people, successes, disclosure of negative plans, escape. As a separate issue, the problem of marriage for money is also investigated: the characters guided by a simple thirst for power are looking for a bride with a rich dowry. By following Gogol’ example, Patkanian also portrays the negative aspects of Armenia and Armenian reality and criticizes them trying to offer possible solutions to these problems. Being a student of the Gogol school, Patkanyan follows the example of the latter and in various issues and techniques of artistic generalization follows the same literary path, but he is not copying it: in his works, Patkanyan offers independent and unique solutions.
{"title":"The Image of Chichikov in the Works of Raphael Patkanyan","authors":"Albert A. Makaryan, Astghik V. Soghoyan","doi":"10.21638/spbu13.2023.204","DOIUrl":"https://doi.org/10.21638/spbu13.2023.204","url":null,"abstract":"The article examines the influence of the famous Russian writer N. V. Gogol on the prose of the Armenian writer R. G. Patkanyan. The subject of the research are Gogol’s poem “Dead Souls”, Patkanian’s novel “Ambitious”, the play “Pampulius” and the story “Armenian Chichikov”. One of the key issues is the study of Armenian transformations of the Chichikov type, its similarities and differences in comparison with the Russian prototype. Historical-comparative, comparative, structural-morphological methods are used as the methodological basis of the study: the works were considered according to their content and structure. The article examines the connections and relationships between Russian and Armenian literature at a new level, as well as the influence of Russian literature in general: it studies Gogol’s literary school outside Russia, which had various ideological, philosophical and artistic influence on the works of Armenian writers and on Patkanyan in particular. One of the main problems of the article is the question of choosing and characterizing a scoundrel hero, since Patkanyan, under the influence of Gogol, also puts a person striving for wealth at the center of his works and builds his plot around him. The morphological commonalities of the works are also considered: entry into the city, establishing connections with influential people, successes, disclosure of negative plans, escape. As a separate issue, the problem of marriage for money is also investigated: the characters guided by a simple thirst for power are looking for a bride with a rich dowry. By following Gogol’ example, Patkanian also portrays the negative aspects of Armenia and Armenian reality and criticizes them trying to offer possible solutions to these problems. Being a student of the Gogol school, Patkanyan follows the example of the latter and in various issues and techniques of artistic generalization follows the same literary path, but he is not copying it: in his works, Patkanyan offers independent and unique solutions.","PeriodicalId":40378,"journal":{"name":"Vestnik Sankt-Peterburgskogo Universiteta-Iskusstvovedenie","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135556391","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：