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.
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Pub Date : 2023-01-01DOI: 10.21638/spbu15.2023.204
A. Zavyalova
The article is the first to consider the influence of the views of Denis Diderot (“Salons”) on the works of Alexandre Benois — as an art historian, first of all — on his “The History of painting of all times and peoples”. As a result of a comparative analysis of the texts by two authors, it was established that both Benois and Diderot paid the greatest attention to the works of J. B. S. Chardin, F. Boucher, C. (Sh. A.) Vanloo, J.-B. Greuze, J.Robert. It has also been established that Benois described the art of Chardin and Boucher practically in the words of Diderot. The source study analysis of Benois’s article “The Collection of Drawings by Stepan Yaremich”, as well as Benois’s “Art letters” of different years, made it possible to find out his own attitude to Busher. The source study analysis of Benois’s memoirs “My Memories” and the work of R. Muther “The History of Painting in the 19th Century” made it possible to find out the source of Benois’s negative assessment of narrative and edifying in the art of Dreams — precisely those qualities that Diderot especially appreciated in the works of this artist. Comparative analysis of the text of Benois’s article “On Narrative in Painting”, his work “History of Russian Painting in the 19th Century” with the text of “Salons” by Diderot made it possible to find out that Benois used at the beginning of his activity the Diderot’s method of an expanded description.
这篇文章首先考虑了丹尼斯·狄德罗(“沙龙”)的观点对亚历山大·贝努瓦的作品的影响——作为一个艺术史学家，首先是对他的“所有时代和民族的绘画史”的影响。通过对两位作者的文本进行比较分析，可以确定贝努瓦和狄德罗对查尔丹、鲍彻、C. (Sh. a .)的作品最为关注。Vanloo J.-B。Greuze J.Robert。贝努瓦实际上是在用狄德罗的话来描述夏尔丹和布歇的艺术。通过对Benois的文章《The Collection of Drawings by Stepan Yaremich》的来源研究分析，以及Benois不同年份的“Art letters”，可以发现他自己对Busher的态度。通过对贝努瓦的回忆录《我的回忆》和R. Muther的作品《19世纪绘画史》的源性研究分析，我们可以找到贝努瓦对梦的艺术中叙事和教化的负面评价的来源，而这些恰恰是狄狄罗在这位艺术家的作品中特别欣赏的品质。将贝努瓦的文章《论绘画中的叙事》、他的作品《19世纪俄罗斯绘画史》与狄德罗的作品《沙龙》的文本进行对比分析，可以发现贝努瓦在活动之初就采用了狄德罗的扩展描述方法。
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Pub Date : 2023-01-01DOI: 10.21638/spbu15.2023.108
E. M. Glinternik
The article is devoted to the historiographic problem of domestic design graphics in the history of Russian art. The analysing sources are structured in accordance with the main stages of the development of graphic design in Russia. This approach allows to visually trace the evolution of art history in the context of the corresponding cultural and historical era. In chronological order, the article examines the following periods: 18th — early 20th century, an era that can be called the protodesign period; 1920s–1930s, a period of active development of a new professional model, interrupted for the next twenty years; 1960s–1990s, a period of professional self-determination; the first decades of the 21st century, when the digital age begins and new horizons of research open up. The characteristics of each period are given from the point of view of the development of graphic design as a phenomenon of artistic creativity. The paper’s novelty is determined by the topic itself: the specifics of design in general and graphic design in particular have not yet been studied. It takes into account, basically, the range of problems studied in the Russian conventional history of art. The main tasks of the work: to show the path of development of art criticism in the work of Russian researchers; to systematize the volume and problems of the latest studies of art history over the past decades; to contribute to the formation of a more complete picture of the authors and the amount of accumulated research material. The article shows the path of development of art criticism in the work of Russian researchers — from artistic-critical to historical-theoretical comprehension throughout the 19th and 21st centuries. The foundations of fundamental research of the late 20th — early 21st century are revealed are systematized for the first time.
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Pub Date : 2023-01-01DOI: 10.21638/spbu13.2023.203
Tatiana I. Breslavets, Yuriy L. Kuzhel’
The diary of the Japanese poet Sogi (1421–1502) “Shirakawa kiko” (“Journey to the Shirakawa Barrier”, 1468) is analyzed. The sacred place, sung in the lyrics of the past, is the beginning of the song (utamakura). The diary is divided into two parts. This is the result of the development of the genre in the art of renga (connected stanzas) poets. The subject of the study is the prose part. It reveals an increased suggestiveness (yojo) of artistic speech. In the reminiscent variety, a picture of intertextual discourse is formed, the significance of the literary tradition is revealed. It makes up the latent layer of the text, covering the entire narrative. The essay is considered as a memoir diary, it is dominated by emotional content (aware), dating back to the cult of feelings of the aristocratic era. In the chronotope of the diary, a plexus of times and spaces is found, creating an illusory vision of reality as a reflection of the poet’s Zen consciousness. The journey remains unfinished, affirming the infinity of the path and recalling the rotation of the wheel of samsara — the cycle of life and death. The path in the illusory, changeable world affirms the idea of mortal existence (mujo), which has become the fundamental Zen Buddhist concept of the diary.
本文分析了日本诗人Sogi(1421-1502)的日记“白川纪子”(“Journey to Shirakawa Barrier”，1468)。在过去的歌词中歌唱的神圣的地方，是歌曲(utamakura)的开始。日记分为两部分。这是连诗(连诗)诗人艺术中体裁发展的结果。本文的研究对象是散文部分。它揭示了艺术演讲的暗示性(约约)的增加。在回忆的多样性中，形成了一幅互文话语的图景，揭示了文学传统的意义。它构成了文本的潜在层，覆盖了整个叙事。这篇随笔被认为是一本回忆录日记，它以情感内容(意识)为主，可以追溯到崇尚感情的贵族时代。在日记的时间轴中，发现了时间和空间的神经丛，创造了一种虚幻的现实景象，反映了诗人的禅宗意识。旅程仍未完成，肯定了道路的无限，并回忆起轮回之轮的旋转——生与死的循环。在虚幻的、多变的世界中的路径肯定了凡人存在的观念(mujo)，这已经成为禅宗日记的基本概念。
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Pub Date : 2023-01-01DOI: 10.21638/spbu13.2023.211
Kseniia S. Vorkina
The paper focuses on the study of the image of Japanese mothers in modern Japanese society in the context of rethinking the traditional way of life. In the course of the research, there was made an attempt to establish what underlies the value model of modern Japanese women and to analyze the degree of influence of habitual traditional gender stereotypes. The author considers the phases of the formation of the family institution in Japan and states that the principles of Confucian ethics, manifested in the presence of moral norms of behavior, attitudes and prescriptions, can be traced in the minds of modern Japanese. However, in the conditions of accelerated socialization of women and the ongoing process of atomization of families, the burden of responsibility from traditional expectations put on a woman increases, leading to adverse consequences in the form of “neuroses in the background of raising children”. The article discusses the changes in the structure of female employment over the past decades, in order to identify problems associated with the distribution of gender roles and the changing position of Japanese women in society. As a result of the study, it was suggested that despite the tendency in Japan to shift the value model towards individualism, the features of traditional family ideology are preserved, as evidenced by the presence of numerous proverbs and idioms of the Japanese language dedicated to family relationships and based on Confucian ethics. In such a society, social roles and labor functions are still divided and consolidated, the observance of the hierarchy is maintained, despite the disintegration of traditional ties, social division, separation from the clan and large family groups.
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Pub Date : 2023-01-01DOI: 10.21638/spbu11.2023.207
Inge Hendriks, Inga Goryacheva, Marina Tvardovskaya, Dmitrii Zhuravlev, Fredrik Boer, Pancras C. W. Hogendoorn, Ivan Gaivoronsky
The anatomical collection of Frederik Ruijsch (1638–1731) concerning injected dry and wet preparations attracted the attention and interest of several generations of scientists and other admirers, including Tsar Peter the Great of Russia (1672–1725). Even today, this interest has not weakened since its manufacture more than three hundred years ago. The main collection of the famous Dutchman was purchased by Tsar Peter the Great in 1717 for his Kunstkamera, now Peter the Great’s Museum of Anthropology and Ethnography in Saint Petersburg. In books and articles, first written by A. I. Tarenetsky, later by M. A. Tikotin, and again by V. V. Ginzburg was pointed out that several dozens of preparations of Frederik Ruijsch are located in the anatomical museum of the Military Medical Academy named S. M. Kirov in St. Petersburg. This collection is called “the small collection” and was acquired by Peter the Great in 1697–1698 as a private collection. This collection was intended for educational purposes and is nowadays almost unknown in, and outside the scientific world. We set ourselves the task to study the history of the acquisition of this small collection, to find out its journey to the end destination by researching early published or unpublished sources. The small collection paved the way for other botanical, zoological, and anatomical collections and has significant historical importance.
Frederik Ruijsch(1638-1731)关于注射干制剂和湿制剂的解剖收藏吸引了几代科学家和其他崇拜者的注意和兴趣，包括俄罗斯沙皇彼得大帝(1672-1725)。即使在今天，这种兴趣自300多年前制造以来也没有减弱。这位著名荷兰人的主要收藏是沙皇彼得大帝在1717年为他的kunstcamera购买的，现在是彼得大帝在圣彼得堡的人类学和民族志博物馆。在a·i·塔列涅茨基(A. I. Tarenetsky)、m·a·季科京(M. A. Tikotin)和v·v·金兹伯格(V. V. Ginzburg)撰写的书籍和文章中指出，在圣彼得堡名为s·m·基洛夫(S. M. Kirov)的军事医学学院解剖博物馆里，有几十件弗雷德里克·鲁伊施的标本。这个收藏被称为“小收藏”，是彼得大帝在1697年至1698年作为私人收藏获得的。这个收藏是为了教育目的，现在在科学界内外几乎不为人知。我们为自己设定的任务是研究这一小批藏品的收购历史，通过研究早期出版或未出版的资料，找出它的最终目的地。这个小的收藏为其他植物学、动物学和解剖学的收藏铺平了道路，具有重要的历史意义。
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Pub Date : 2023-01-01DOI: 10.21638/spbu11.2023.201
Arseniy Blokhin, Alexander Shishkin, Sergey Minkin
There are several different definitions of the combination of multiple nosology within one organism: comorbidity, multimorbidity, syntropy, and dystropy, etc. Comorbidity is an important component of pathophysiological processes, which has a significant impact on the course and outcome of cardiac diseases in patients. Therefore, in recent decades, researchers have been actively engaged in the problem of assessing the degree of contribution of comorbidity to the overall state of the body. For this purpose, a number of scales and indices of comorbidity have been developed, which allow estimating the burden of comorbidity on the underlying disease within certain groups of diseases. Consideration of comorbidity in routine clinical practice allows to increase reliable prognostic assumptions and correctly build a therapeutic strategy. As a result, it improves patients’ quality of life, allows them to achieve favorable outcomes, and most effectively prevents complications in patients with comorbidity. The assessment of comorbidity in cardiological, endocrinological, oncological, and neurological pathologies is particularly important, since they have the most general negative effect on the entire patient’s body.
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Pub Date : 2022-01-01DOI: 10.21638/spbu15.2022.407
A. Sechin
The author focuses on one of the most important terms of normative aesthetics and art, decency, which occupies a prominent place in the writings of Prince Dmitry Golitsyn (1734–1803), devoted to the issues of architecture and fine arts. A detailed study of the origins of decency and the meaning of this concept leads to the identification of three stages in its development, consistently considered with the involvement of both source texts and the works of modern scholars. The first stage was the flourishing of classical ancient Greek art, which corresponds to the concept of τὸ πρέπον, formed in the consciousness and rhetorical culture of Athens. In relation to the fine arts, its importance cannot be overestimated, since decency was not conceived without an adequate and eye-catching external expression of typical images, including their social status and ethical content. Under its influence, a system of canons of European art was born in ancient Greece. The second stage is associated with the Renaissance, when the idea of convenevolezza arises. It was focused on the Classical Antiquity and the appropriate iconographic tradition and therefore had a pronounced retrospective character. Finally, the classicism of the Enlightenment era, or neoclassicism, the time of Golitsyn’s life and work, picks up the baton of the norm in art and the deviations from it made by nature itself. Golitsyn’s interpretation of decency in his treatises and its correct understanding by art historians are important, since these works formed the basis of the Russian doctrine of normative, primarily academic art. Decency in the understanding of the ancient Greeks, Italians of the Renaissance and enlighteners of the 18th century did not completely dissolve in the works of the great and ordinary masters of those distant times. It is invariably revived when it comes to the visualization of traditions, proprieties and various norms within artistic culture, about the artist’s service to the model, the canon.
作者专注于规范美学和艺术中最重要的术语之一，体面，这在德米特里·戈利琴亲王(1734-1803)的著作中占有突出地位，致力于建筑和美术问题。对体面的起源和这一概念的含义进行详细研究，可以确定其发展的三个阶段，并始终考虑到源文本和现代学者的作品的参与。第一阶段是古希腊古典艺术的兴盛，这与雅典意识和修辞文化中形成的τ ο πρ ον概念相对应。就美术而言，它的重要性怎么估计都不为过，因为如果没有典型图像的充分和引人注目的外部表达，包括它们的社会地位和伦理内容，体面就不会被构想出来。在它的影响下，古希腊诞生了一套欧洲艺术经典体系。第二阶段与文艺复兴时期有关，当时出现了“集会”的概念。它专注于古典古代和适当的图像传统，因此具有明显的回顾性特征。最后，启蒙时代的古典主义，或新古典主义，戈利岑生活和工作的时代，拿起了艺术规范的接力棒，以及自然本身对它的偏离。戈利琴在他的论文中对体面的解释以及艺术史学家对它的正确理解是重要的，因为这些作品构成了俄罗斯规范的、主要是学院派艺术的学说的基础。古希腊人、文艺复兴时期的意大利人和18世纪的启蒙者所理解的正派，并没有完全溶解在那个遥远时代的伟大和普通大师的作品中。当涉及到艺术文化中的传统、礼仪和各种规范的可视化，以及艺术家对模型和经典的服务时，它总是会复活。
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Pub Date : 2022-01-01DOI: 10.21638/spbu15.2022.201
N. Vlasova
The opera “Elektra” is of particular significance for Richard Strauss. It opens an ancient line in his musical and theatrical legacy and is at the same time the culmination of expressionist tendencies in his work. It also marks the start of Strauss’s collaboration with H. von Hofmannsthal as librettist. The tragedy of Hofmannsthal focuses on trends typical of the new understanding of antiquity in the second half of the 19th century. An interest in the archaic, in ancient cults and rituals representing the irrational aspects of Greek culture, is brought to the forefront. Hofmannsthal’s “Electra” was one of the first literary works to embody the new image of Greece. In the course of work on the opera, a particular role played the treatise on matriarchy in the pre-Hellenistic era “Das Mutterrecht” (1861) by J. J. Bachofen. It acquired unexpected relevance at the turn of the 19th and 20th centuries when matriarchy was anxiously perceived as a resurgent world order. Hofmannsthal’s “Electra” appears as the realm of matriarchy. The concentration on the image of the title character, the embodiment on the stage of a short but key segment of her life, the raging of dark passions make Elektra a characteristic phenomenon of expressionist theatre. In Strauss’s opera the role of Elektra is further expanded. With the help of sharp stylistic contrasts in the musical characterization of the heroine, Strauss conveys the dissociation of her personality, her loss of identity. For Strauss, “Elektra” was the culmination of extreme emotional states that demanded the use of the most daring, within his style, compositional means. “Elektra” marks a turning point in the composer’s work. His next opera is “Der Rosenkavalier”, written in an entirely different style. Strauss’s subsequent operas on ancient themes are also very far from the irrationalist and innovative pathos of “Elektra”.
歌剧《艾丽卡》对理查德·施特劳斯来说意义非凡。它在他的音乐和戏剧遗产中开辟了一条古老的路线，同时也是他作品中表现主义倾向的高潮。这也标志着施特劳斯与作家冯·霍夫曼斯塔尔合作的开始。Hofmannsthal的悲剧聚焦于19世纪下半叶对古代的新理解的典型趋势。对古代的兴趣，对代表希腊文化非理性方面的古代崇拜和仪式的兴趣，被带到了最前沿。霍夫曼斯塔尔的《伊莱克特拉》是最早体现希腊新形象的文学作品之一。在这部歌剧的创作过程中，一个特殊的角色扮演了前希腊化时代j·j·巴霍芬(J. J. Bachofen)关于母权制的论文“Das Mutterrecht”(1861)。在19世纪和20世纪之交，当母权制被焦虑地视为一种复兴的世界秩序时，它获得了意想不到的相关性。霍夫曼斯塔尔的《伊莱克特拉》以母权制的形式出现。《艾丽卡》对主人公形象的专注，对她生命中短暂但关键的一段舞台的体现，以及黑暗激情的肆虐，使其成为表现主义戏剧的一个典型现象。在施特劳斯的歌剧中，艾丽卡的角色得到了进一步的扩展。施特劳斯在对女主角的音乐刻画中运用了鲜明的风格对比，表达了女主角个性的分离和身份的丧失。对于施特劳斯来说，《艾丽卡》是极端情感状态的巅峰，这需要在他的风格中使用最大胆的作曲手段。《艾丽卡》标志着这位作曲家作品的一个转折点。他的下一部歌剧是《玫瑰骑士》，以完全不同的风格写成。施特劳斯随后的关于古代主题的歌剧也与《艾丽卡》的非理性主义和创新的悲怆相距甚远。
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Pub Date : 2022-01-01DOI: 10.21638/spbu15.2022.109
M. Chernysheva
The article focuses on selected examples of the 19th century iconography of Ivan Krylov. Depictions of the poet are considered within the representational tradition that originated in the age of Enlightenment and reflected the transformation of writers into public figures and celebrities. This tradition highlighted the growing social influence of writers, as well as the growing power of society, which, regardless of the will of monarchs and state institutions, dictated literary reputations and chose idols for itself. Western prototypes most significant to Krylov’s iconography were the sculptural and pictorial representations of Voltaire acquired by Catherine II, and statues of Walter Scott installed in Scotland shortly after the novelist’s death. The article argues that Nicholas I paid special attention to these latest Scottish monuments when choosing among different concepts for the first monument to Krylov. The portrayals of famous writers evolved in the context of ideas of “great man” and “national poet”. The article examines the semantic variations with which the term “national poet” was used in Russia under Nicholas I. Representations of Krylov are analyzed not only as evidence of his personal literary reputation and public success, but also as markers of social influence that writers as a community were gaining at the time. In Russia, this process was, paradoxically, under the close and effective control of the state and of the tsar personally.
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