The authors of this article highlight the contribution of women to the creation and functioning of museums of Tomsk University. The using of authentic sources suggests that in the early years of the university's creation, the participation of women in the museum science was limited to charity. Women donated collections of their deceased relatives to Tomsk University or donated their own collections of museum objects. It is known about the generous gift of F.E. Tsibulskaya, Siberian gold-miner' widow. She donated a collection of Siberian minerals to the university. Anna Nordenschild (Smit), the widow of the Norwegian collector Gustav Nordenschild, presented a large collection of butterflies. It was highly appreciated by the head of the University Zoological Museum, professor Kashchenko. It mentioned that among the women-donors were ordinary townswomen, and high-society ladies. For example, the collection of coins and tokens, sent to Tomsk by E.V. von Geyser, the Minister of Public Education I.D. Delyanov had accompanied. The situation was changed by the law of July 3, 1914. This law allowed women to work in university museums on equal terms with men. The implementation of the law began in 1915. The Ministry of Public Education sent additional assignation for the maintenance of educational and auxiliary institutions (offices, laboratories, museums) of the Imperial Tomsk University. In 1915-1916, the first female employees were admitted to the museums of Tomsk University. Graduates of the Siberian Women's Courses Taisiya Tripolitova, Enafa Nikitina and Lidia Sergiyevskaya worked at the Botanical Museum (Herbarium)) on a permanent basis. They participated in scientific expeditions conducted under the leadership of professor of Botany Department V.V. Sapozhnikov, as well as the curator of the Botanical Museum P.N. Krylov. They processed their herbariums, published the first scientific articles. Elizaveta Kiseleva, a graduate of the Siberian Women's Courses, worked at the Zoological Museum. Under the guidance of Professor M.D. Ruzsky, she collected a collection of ants and was engaged in the processing and description of this collection. In 1919, E.F. Kiseleva collaborated at the Institute of Siberian Studies. She studied the fauna of the Ob River and brought a collection of Ob fish to the Zoological Museum. So the study of the causes of the “fish kill” in Ob River was began. In addition to full-time employees in Tomsk University museums female students who specialized in the study of Siberian vegetation worked as well. Their collections replenished the Herbarium of Tomsk University and were used for scientific and educational purposes. In conclusion, the authors emphasize that at the turn of the 1910-20s, Tomsk University formed a core of women researchers, around whom professional museum employees were concentrated.
{"title":"Participation of women in the formation and development of the museum science of Tomsk university (1880s - early 1920s)","authors":"Nadezhda M. Dmitrienko, Ivan S. Karachencev","doi":"10.17223/22220836/46/22","DOIUrl":"https://doi.org/10.17223/22220836/46/22","url":null,"abstract":"The authors of this article highlight the contribution of women to the creation and functioning of museums of Tomsk University. The using of authentic sources suggests that in the early years of the university's creation, the participation of women in the museum science was limited to charity. Women donated collections of their deceased relatives to Tomsk University or donated their own collections of museum objects. It is known about the generous gift of F.E. Tsibulskaya, Siberian gold-miner' widow. She donated a collection of Siberian minerals to the university. Anna Nordenschild (Smit), the widow of the Norwegian collector Gustav Nordenschild, presented a large collection of butterflies. It was highly appreciated by the head of the University Zoological Museum, professor Kashchenko. It mentioned that among the women-donors were ordinary townswomen, and high-society ladies. For example, the collection of coins and tokens, sent to Tomsk by E.V. von Geyser, the Minister of Public Education I.D. Delyanov had accompanied. The situation was changed by the law of July 3, 1914. This law allowed women to work in university museums on equal terms with men. The implementation of the law began in 1915. The Ministry of Public Education sent additional assignation for the maintenance of educational and auxiliary institutions (offices, laboratories, museums) of the Imperial Tomsk University. In 1915-1916, the first female employees were admitted to the museums of Tomsk University. Graduates of the Siberian Women's Courses Taisiya Tripolitova, Enafa Nikitina and Lidia Sergiyevskaya worked at the Botanical Museum (Herbarium)) on a permanent basis. They participated in scientific expeditions conducted under the leadership of professor of Botany Department V.V. Sapozhnikov, as well as the curator of the Botanical Museum P.N. Krylov. They processed their herbariums, published the first scientific articles. Elizaveta Kiseleva, a graduate of the Siberian Women's Courses, worked at the Zoological Museum. Under the guidance of Professor M.D. Ruzsky, she collected a collection of ants and was engaged in the processing and description of this collection. In 1919, E.F. Kiseleva collaborated at the Institute of Siberian Studies. She studied the fauna of the Ob River and brought a collection of Ob fish to the Zoological Museum. So the study of the causes of the “fish kill” in Ob River was began. In addition to full-time employees in Tomsk University museums female students who specialized in the study of Siberian vegetation worked as well. Their collections replenished the Herbarium of Tomsk University and were used for scientific and educational purposes. In conclusion, the authors emphasize that at the turn of the 1910-20s, Tomsk University formed a core of women researchers, around whom professional museum employees were concentrated.","PeriodicalId":41702,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta-Kulturologiya i Iskusstvovedenie-Tomsk State University Journal of Cultural Studies and Art History","volume":"40 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81887176","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}
The article compares the two most famous eschatological plots in the world culture related to the description of the posthumous state of the human soul. These plots are contained in the “The Life of St. Basil the New” (10th century) and the “Divine Comedy” by Dante. The subject of the study is an artistic presentation of the posthumous fate of suicides, and the goal is a comparative analysis of two versions of the punishment for suicide as the most radical human action. Comparison of the two texts required clarification of their place in the general range of eschatological literature, as well as clarification of hypotheses about the ancient and old Eastern sources of the “Divine Comedy”. The connection of “The Life of Basil the New” with the Old Testament and Christian (including apocryphal) traditions about the other world, as well as the connection of Dante's work with ancient Greek myths about the underworld (in particular, Plato) is traced. The hypothesis that Plato borrowed his eschatological myth from the ancient Armenian legend about Ara the Beautiful is critically considered. The author comes to the conclusion that, despite the common points of content and plot in the two named texts, it is necessary to recognize the difference in their key semantic accents: in the “Divine Comedy” the fate of suicides is depicted immediately after physical death, in the Life of St. Basil the New - their last fate during the Last Judgment. That is why Dante reveals a significant variability in the posthumous state of suicides, while in the Life their final fate is unambiguous. The huge popularity of these literary works indicates that the theme of retribution after death is the most important element of the religious worldview system, in which the universe itself appears as a morally oriented existential topic.
{"title":"The life of saint Basil the New and Dante's Divine Comedy: the posthumous fate of suicides","authors":"S. Avanesov","doi":"10.17223/22220836/46/1","DOIUrl":"https://doi.org/10.17223/22220836/46/1","url":null,"abstract":"The article compares the two most famous eschatological plots in the world culture related to the description of the posthumous state of the human soul. These plots are contained in the “The Life of St. Basil the New” (10th century) and the “Divine Comedy” by Dante. The subject of the study is an artistic presentation of the posthumous fate of suicides, and the goal is a comparative analysis of two versions of the punishment for suicide as the most radical human action. Comparison of the two texts required clarification of their place in the general range of eschatological literature, as well as clarification of hypotheses about the ancient and old Eastern sources of the “Divine Comedy”. The connection of “The Life of Basil the New” with the Old Testament and Christian (including apocryphal) traditions about the other world, as well as the connection of Dante's work with ancient Greek myths about the underworld (in particular, Plato) is traced. The hypothesis that Plato borrowed his eschatological myth from the ancient Armenian legend about Ara the Beautiful is critically considered. The author comes to the conclusion that, despite the common points of content and plot in the two named texts, it is necessary to recognize the difference in their key semantic accents: in the “Divine Comedy” the fate of suicides is depicted immediately after physical death, in the Life of St. Basil the New - their last fate during the Last Judgment. That is why Dante reveals a significant variability in the posthumous state of suicides, while in the Life their final fate is unambiguous. The huge popularity of these literary works indicates that the theme of retribution after death is the most important element of the religious worldview system, in which the universe itself appears as a morally oriented existential topic.","PeriodicalId":41702,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta-Kulturologiya i Iskusstvovedenie-Tomsk State University Journal of Cultural Studies and Art History","volume":"295 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81098282","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}
He purpose of the study is to characterize the image of the clergy in the worldview and rituals of the Khakas. In order to achieve this goal, the following tasks were solved: 1) to conduct an etymological analysis of the term “Kir Palykh”; 2) to identify the significance and role of this being in the sacred practice of the Khakass people. The source base of the research includes folklore and ethnographic materials. Folklore works are epics and myths published in the Khakass language. The excerpts of some of them were first translated into Russian by the author. The chronological framework of the work covers the end of the XIX - middle of the XX centuries, which is determined by the state and possibilities of the source base on the research topic. Leading the study is the principle of historicism, when any cultural phenomenon is considered in the development and taking into account the specific situation. The research methodology is based on historical and ethnographic methods - relic and semantic analysis. As a result of the analysis, the following conclusions can be drawn: 1) in the traditional worldview and folklore of the Khakas, an important place was given to the mythical being kir palykh; 2) an analysis of the etymology of the name and a direct study of its image leads to the conclusion that in the religious and mythological consciousness, kir palykh is endowed with an ichthyomorphic image. She was characterized: a) as a monstrous fish of gigantic size and often identified with a whale; b) the color of the body was designated as “the bay”; c) described in the form of “old / ancient fish”, correlated with a certain entity that appeared in the mythical era of the first creation; 3) in the traditional notions of the Khakas and other Turkic peoples of the Sayan-Altai, kir palyh are often identified with the ker yutpa, a fantastic creature with zoomorphic features, and identified with a dragon serpent. The single chthonic nature of these creatures, the common habitat and similar ritual functions contributed to the syncretization of the image of fish and snake; 4) in the religious and mythological representations of the khakas, kir palykh acted as the embodiment of the spirit of the master of water - sug ezi. The designated deity performed one of the most important functions in the traditional ritual of the people; 5) The water lord was directly associated with the shamanic mysteries, including playing a key role in the process of initiation into shamans. Kir palykh herself was one of the strongest tos'es - the spirit helpers of the shaman. Her image was captured in their ritual paraphernalia - tambourines and costume; 6) she was included in the range of views associated with homemade spirits patrons. Her mystical power found its application in traditional medicine.
{"title":"Kir palykh is a water monster and a shaman spirit in the religious and mythological representations of the khakas (late XIX - mid XX century)","authors":"V. A. Burnakov","doi":"10.17223/22220836/47/18","DOIUrl":"https://doi.org/10.17223/22220836/47/18","url":null,"abstract":"He purpose of the study is to characterize the image of the clergy in the worldview and rituals of the Khakas. In order to achieve this goal, the following tasks were solved: 1) to conduct an etymological analysis of the term “Kir Palykh”; 2) to identify the significance and role of this being in the sacred practice of the Khakass people. The source base of the research includes folklore and ethnographic materials. Folklore works are epics and myths published in the Khakass language. The excerpts of some of them were first translated into Russian by the author. The chronological framework of the work covers the end of the XIX - middle of the XX centuries, which is determined by the state and possibilities of the source base on the research topic. Leading the study is the principle of historicism, when any cultural phenomenon is considered in the development and taking into account the specific situation. The research methodology is based on historical and ethnographic methods - relic and semantic analysis. As a result of the analysis, the following conclusions can be drawn: 1) in the traditional worldview and folklore of the Khakas, an important place was given to the mythical being kir palykh; 2) an analysis of the etymology of the name and a direct study of its image leads to the conclusion that in the religious and mythological consciousness, kir palykh is endowed with an ichthyomorphic image. She was characterized: a) as a monstrous fish of gigantic size and often identified with a whale; b) the color of the body was designated as “the bay”; c) described in the form of “old / ancient fish”, correlated with a certain entity that appeared in the mythical era of the first creation; 3) in the traditional notions of the Khakas and other Turkic peoples of the Sayan-Altai, kir palyh are often identified with the ker yutpa, a fantastic creature with zoomorphic features, and identified with a dragon serpent. The single chthonic nature of these creatures, the common habitat and similar ritual functions contributed to the syncretization of the image of fish and snake; 4) in the religious and mythological representations of the khakas, kir palykh acted as the embodiment of the spirit of the master of water - sug ezi. The designated deity performed one of the most important functions in the traditional ritual of the people; 5) The water lord was directly associated with the shamanic mysteries, including playing a key role in the process of initiation into shamans. Kir palykh herself was one of the strongest tos'es - the spirit helpers of the shaman. Her image was captured in their ritual paraphernalia - tambourines and costume; 6) she was included in the range of views associated with homemade spirits patrons. Her mystical power found its application in traditional medicine.","PeriodicalId":41702,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta-Kulturologiya i Iskusstvovedenie-Tomsk State University Journal of Cultural Studies and Art History","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76700377","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}
The paper is devoted to the reconstruction in historical retrospection of the images of the space-time continuum, expressed through the material world of the Mansis ethnic culture and concentrated in the folklore sphere. The methodology is set by the postulates about the specificity of mythological thinking, refracted in relation to time and space. The source base was made up of the Mansis folklore texts collected from the beginning of the 20th century. Following his predecessors, the author distinguishes three periods in the mythological and poetic history of the Mansis. The classification is based on the principle of generational affiliation of the main characters. The first period is associated with the era of primordial creation and the “old couple” or the supreme deity Num-Torum. Time and space in it are substantial and are expressed through the images of water and earth. Infinity, as the initial state of space, is replaced by a measurement through time, which emphasizes its finiteness and limitation. The principle of trinity dominates in the reckoning of time. The second period is set by the acts of the sons of the supreme deity - Taryg-peshch-nimal'-sova and the bear. The space is desribed multidimensional: the earth and near-earth spheres -the sky, the underground, the water and the southern land of Mortim-maa, as well as the underworld or the dead world. Particular attention is paid to the “bark soil”, which is characterized by landscape: first of all, rivers, but also swamps, thickets, mountains, manes. The idea of “one's own land” as a personal form of connection with space is fixed. The culture of the space is emphasized, the signs of which are villages, fortresses, barns, plague, and the sacred part - “sacred place” - stands out. The perception of time is also distinguished by multidimensionality. On the one hand, relativity is attributed to it due to the opposition “far -close”, correlated with movement, on the other hand, there is time reckoning with the help of the light and dark parts of the day, accentuation of morning and evening as the prologue and epilogue of the day. The third period becomes the arena of human action, and in various folklore forms of manifestation of human nature - Ekva-pyris, people-heroes, the progenitors of the phratries Por and Mos. The main thing here is activities and actions through which the feeling of timespace is transmitted. Space is thought of locally, although the degree of local concretization is different: on the one hand, an indefinitely distant territory, and on the other, a topographically verified reference to real settlements and geographical objects. The interpretation of time, and above all in the heroic epic, is as close as possible to the linear historical. During this period, there is the most developed system of calculating time, in which astronomical units dominate - the year as the sum of winter and summer, day and night. At the same time, the day is interpreted both as the time o
{"title":"Space and time in the mythical-historical memory of the mansis","authors":"O. Ryndina","doi":"10.17223/22220836/46/24","DOIUrl":"https://doi.org/10.17223/22220836/46/24","url":null,"abstract":"The paper is devoted to the reconstruction in historical retrospection of the images of the space-time continuum, expressed through the material world of the Mansis ethnic culture and concentrated in the folklore sphere. The methodology is set by the postulates about the specificity of mythological thinking, refracted in relation to time and space. The source base was made up of the Mansis folklore texts collected from the beginning of the 20th century. Following his predecessors, the author distinguishes three periods in the mythological and poetic history of the Mansis. The classification is based on the principle of generational affiliation of the main characters. The first period is associated with the era of primordial creation and the “old couple” or the supreme deity Num-Torum. Time and space in it are substantial and are expressed through the images of water and earth. Infinity, as the initial state of space, is replaced by a measurement through time, which emphasizes its finiteness and limitation. The principle of trinity dominates in the reckoning of time. The second period is set by the acts of the sons of the supreme deity - Taryg-peshch-nimal'-sova and the bear. The space is desribed multidimensional: the earth and near-earth spheres -the sky, the underground, the water and the southern land of Mortim-maa, as well as the underworld or the dead world. Particular attention is paid to the “bark soil”, which is characterized by landscape: first of all, rivers, but also swamps, thickets, mountains, manes. The idea of “one's own land” as a personal form of connection with space is fixed. The culture of the space is emphasized, the signs of which are villages, fortresses, barns, plague, and the sacred part - “sacred place” - stands out. The perception of time is also distinguished by multidimensionality. On the one hand, relativity is attributed to it due to the opposition “far -close”, correlated with movement, on the other hand, there is time reckoning with the help of the light and dark parts of the day, accentuation of morning and evening as the prologue and epilogue of the day. The third period becomes the arena of human action, and in various folklore forms of manifestation of human nature - Ekva-pyris, people-heroes, the progenitors of the phratries Por and Mos. The main thing here is activities and actions through which the feeling of timespace is transmitted. Space is thought of locally, although the degree of local concretization is different: on the one hand, an indefinitely distant territory, and on the other, a topographically verified reference to real settlements and geographical objects. The interpretation of time, and above all in the heroic epic, is as close as possible to the linear historical. During this period, there is the most developed system of calculating time, in which astronomical units dominate - the year as the sum of winter and summer, day and night. At the same time, the day is interpreted both as the time o","PeriodicalId":41702,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta-Kulturologiya i Iskusstvovedenie-Tomsk State University Journal of Cultural Studies and Art History","volume":"47 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81367488","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}
In order to understand such a unique phenomenon of European civilization as the Renaissance, it is necessary to immerse yourself in its musical culture, which reflects the complex and often contradictory processes taking place in the inner world of a person of that era. Under the influence of these processes, a wide variety of qualitatively new musical forms was formed, which served as the basis for interesting phenomena of musical culture, reflecting the characteristic traits of the Renaissance. Among these forms is the Italian madrigal comedy, a genre that lies at the intersection of musical and stage arts, which has not been sufficiently studied to date. In this regard, it is of interest to study its genesis and connection with elements of folk musical culture. Several samples of medieval prose could be considered the origins of the madrigal comedy -in particular, related to the tradition of the Italian novella. Among the examples of these, originally oral, genres was the 13th-century digest “Il novellino”, echoes of which can also be found in the typically Renaissance “Decameron” by G. Bocaccio, which reflects the characteristic features of the secularization of European society, including the enjoyment of man on earth existence. The novella itself is a kind of “construction genre”, opening up wide opportunities for improvisation - which makes it related to late theatrical genres. A mature literary genre that influenced the formation of the madrigal comedy was the farce that has existed since the 15th century. The difference between a farce and a novella is a pronounced stereotyping of certain characteristic features of the components of the Renaissance society (such as social classes, estates and professions), which can be considered as a phenomenon that precedes the appearance of masks of the madrigal comedy. The musical basis of the madrigal comedy was based on medieval song genres, which have a simple, lively and energetic harmony, which corresponds to the spirit of love of life and fun, embodied in the ideals of the Renaissance. The typology of madrigal comedies includes at least two types. The first is the simplest, representing a thematic cycle of madrigals without a pronounced stage component (“Caccia” by A. Striggio). A mature type, including independent solo parts, division into parts and a pronounced storyline, is reflected in the work of A. Banchieri and O. Vecchi. O. Veechi's comedy, the “Amphiparnassus”, among other things, also has pronounced farcical features, reflected in the vivid images of the heroes of the work. The short life of the madrigal comedy, apparently, was associated not so much with its content, but with the absence of a pronounced visual component, which did not allow it to find a response among the people and significantly reduced its competitiveness with the new visual genre of opera. Thus, the madrigal comedy can be considered as an organic combination of elements of traditional Italian culture and the ideas
{"title":"Questioning the genesis of the madrigal comedy and its connections with the cultural traditions and ideas of the renaissance humanism","authors":"Alexander S. Korobeinikov, T. Chaplya","doi":"10.17223/22220836/46/16","DOIUrl":"https://doi.org/10.17223/22220836/46/16","url":null,"abstract":"In order to understand such a unique phenomenon of European civilization as the Renaissance, it is necessary to immerse yourself in its musical culture, which reflects the complex and often contradictory processes taking place in the inner world of a person of that era. Under the influence of these processes, a wide variety of qualitatively new musical forms was formed, which served as the basis for interesting phenomena of musical culture, reflecting the characteristic traits of the Renaissance. Among these forms is the Italian madrigal comedy, a genre that lies at the intersection of musical and stage arts, which has not been sufficiently studied to date. In this regard, it is of interest to study its genesis and connection with elements of folk musical culture. Several samples of medieval prose could be considered the origins of the madrigal comedy -in particular, related to the tradition of the Italian novella. Among the examples of these, originally oral, genres was the 13th-century digest “Il novellino”, echoes of which can also be found in the typically Renaissance “Decameron” by G. Bocaccio, which reflects the characteristic features of the secularization of European society, including the enjoyment of man on earth existence. The novella itself is a kind of “construction genre”, opening up wide opportunities for improvisation - which makes it related to late theatrical genres. A mature literary genre that influenced the formation of the madrigal comedy was the farce that has existed since the 15th century. The difference between a farce and a novella is a pronounced stereotyping of certain characteristic features of the components of the Renaissance society (such as social classes, estates and professions), which can be considered as a phenomenon that precedes the appearance of masks of the madrigal comedy. The musical basis of the madrigal comedy was based on medieval song genres, which have a simple, lively and energetic harmony, which corresponds to the spirit of love of life and fun, embodied in the ideals of the Renaissance. The typology of madrigal comedies includes at least two types. The first is the simplest, representing a thematic cycle of madrigals without a pronounced stage component (“Caccia” by A. Striggio). A mature type, including independent solo parts, division into parts and a pronounced storyline, is reflected in the work of A. Banchieri and O. Vecchi. O. Veechi's comedy, the “Amphiparnassus”, among other things, also has pronounced farcical features, reflected in the vivid images of the heroes of the work. The short life of the madrigal comedy, apparently, was associated not so much with its content, but with the absence of a pronounced visual component, which did not allow it to find a response among the people and significantly reduced its competitiveness with the new visual genre of opera. Thus, the madrigal comedy can be considered as an organic combination of elements of traditional Italian culture and the ideas","PeriodicalId":41702,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta-Kulturologiya i Iskusstvovedenie-Tomsk State University Journal of Cultural Studies and Art History","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87020253","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}
“Justify, do not punish, but call evil evil”, F.M. Dostoevsky urged. Novels and journalism of Dostoevsky are a kind of a genealogy of evil. In the Bible, the ability to distinguish between Good and evil and, as a consequence, the ability to feel shame, mark the birth of consciousness and the beginning of human history. With the recognition of evil, according to Dostoevsky, the movement towards Good begins, the path of salvation of the soul. As the Christian Dostoevsky recognized the metaphysical origins of evil in human being. As a psychologist and thinker, Dostoevsky is focused on the study of what is available for observation and analysis. He discovers biological and social “mechanisms of evil” - the impulse to power inherent in man; contradictions between consciousness and unconscious movements of the soul; pathological fantasizing instead of real activity; dysfunctional family and others. Human being is between the ideal and the “beast”. The ideal is absolute goodness embodied in the person of Jesus Christ. “The Beast” is the worst degree of human fall (failure), in which a person is worse than an animal, since he retains the ability to be conscious, does evil consciously. Between the two poles (poles of Good and evil) are the norm (“a decent person”) and various forms of moral anomies. Dostoevsky uses folk and his own, original, definitions for various forms and degrees of immorality. These are “unfortunates”, “criminals”, “bezobrazniki” (literally “without-an-image-people”; in Russian word usage, in the worldview of Dostoevsky the words “bezobrazie”, “bezobraznik(-i)” express a negative ethical assessment (“bad”) through a negative aesthetic assessment (“ugly”)). Dostoevsky applies the concept of “bezobrazniki” to the characteristic Russian types of falling away from the image of Christ: a man of passions, a drunkard, a reveller, a narcissist, an envious person, a fool, a liar, a buffoon/ a ioly fool, a piilosopier/a God-figiter, a femme fatale/iomme fatale (a seducer, a molester, a rapist), etc. All criminals are “bezobrazniki”, but not all “bezobrazniki” ones are criminals. “Bezobrazniki” enjoy tieir own fall, wiile parading it in a false confession tiat replaces a genuine confession and active repentance. At tie turn of cultural eras, Dostoevsky recognized tie dramatic pienomenon of “tie trying man” (“tie yourself-and-otiers-testing-man”), determined to realize iis desires and ideas, wiile sacrificing otiers, not iimself. Dostoevsky contrasts suci “tie trying man” witi tie Ciristian image of a saint or a rigiteous person wio transforms society tirougi tie transformation of iimself. Boti iave consciousness and self-consciousness, boti act in tiis world at tieir own peril and risk. Holiness is an exceptional pienomenon; egocentrism is a widespread pienomenon and tius affirms itself as a norm tiat tireatens iumanity and iumanism.
{"title":"To the typology of “bezobraznik”, by Dostoyevsky. The yourself-and-others-testing-man","authors":"Tatiana A. Shapovalova-Gupal","doi":"10.17223/22220836/46/14","DOIUrl":"https://doi.org/10.17223/22220836/46/14","url":null,"abstract":"“Justify, do not punish, but call evil evil”, F.M. Dostoevsky urged. Novels and journalism of Dostoevsky are a kind of a genealogy of evil. In the Bible, the ability to distinguish between Good and evil and, as a consequence, the ability to feel shame, mark the birth of consciousness and the beginning of human history. With the recognition of evil, according to Dostoevsky, the movement towards Good begins, the path of salvation of the soul. As the Christian Dostoevsky recognized the metaphysical origins of evil in human being. As a psychologist and thinker, Dostoevsky is focused on the study of what is available for observation and analysis. He discovers biological and social “mechanisms of evil” - the impulse to power inherent in man; contradictions between consciousness and unconscious movements of the soul; pathological fantasizing instead of real activity; dysfunctional family and others. Human being is between the ideal and the “beast”. The ideal is absolute goodness embodied in the person of Jesus Christ. “The Beast” is the worst degree of human fall (failure), in which a person is worse than an animal, since he retains the ability to be conscious, does evil consciously. Between the two poles (poles of Good and evil) are the norm (“a decent person”) and various forms of moral anomies. Dostoevsky uses folk and his own, original, definitions for various forms and degrees of immorality. These are “unfortunates”, “criminals”, “bezobrazniki” (literally “without-an-image-people”; in Russian word usage, in the worldview of Dostoevsky the words “bezobrazie”, “bezobraznik(-i)” express a negative ethical assessment (“bad”) through a negative aesthetic assessment (“ugly”)). Dostoevsky applies the concept of “bezobrazniki” to the characteristic Russian types of falling away from the image of Christ: a man of passions, a drunkard, a reveller, a narcissist, an envious person, a fool, a liar, a buffoon/ a ioly fool, a piilosopier/a God-figiter, a femme fatale/iomme fatale (a seducer, a molester, a rapist), etc. All criminals are “bezobrazniki”, but not all “bezobrazniki” ones are criminals. “Bezobrazniki” enjoy tieir own fall, wiile parading it in a false confession tiat replaces a genuine confession and active repentance. At tie turn of cultural eras, Dostoevsky recognized tie dramatic pienomenon of “tie trying man” (“tie yourself-and-otiers-testing-man”), determined to realize iis desires and ideas, wiile sacrificing otiers, not iimself. Dostoevsky contrasts suci “tie trying man” witi tie Ciristian image of a saint or a rigiteous person wio transforms society tirougi tie transformation of iimself. Boti iave consciousness and self-consciousness, boti act in tiis world at tieir own peril and risk. Holiness is an exceptional pienomenon; egocentrism is a widespread pienomenon and tius affirms itself as a norm tiat tireatens iumanity and iumanism.","PeriodicalId":41702,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta-Kulturologiya i Iskusstvovedenie-Tomsk State University Journal of Cultural Studies and Art History","volume":"60 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88038992","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}
An important role in preserving the ethnic and cultural identity of the Buryat ethnos is acquired by traditional culture and a unique historical and cultural heritage, in which a special place is occupied by works of a shamanic cult. In this regard, the study of the phenomenon of the cult of the tengries, shamanic hymns and invocations, as well as shamanic rituals of the Buryats, often lost or modified, their reconstruction becomes obvious urgency and timeliness. The article is devoted to the study of the shamanic cult of the tengries in the archival materials of the Center of Oriental manuscripts and xylographs of the IMBT SB RAS. For the first time in Russian and foreign Mongolian studies an attempt is made to systematize handwritten sources in the Old Mongolian written, Buryat and Russian languages and comprehensively present the materials of the richest funds of the archive. In the archive fund, three groups are revealed: the general fund, the Mongolian fund and the phonofund. The database of the study of the cult of the tengries became materials of more than 116 sources, containing information from the general archive fund in Buryat and Russian (more than 100) and the Mongolian fund (16 sources) translated by the authors of the article from the old Mongolian written into Russian. The materials of the general fund reflect the diversity of shamanic rituals of the Buryats as a whole. Thematic groups such as mythology and uranium genealogy, hymns and texts of shamanic conscription and ritual practice are highlighted for revealing the specific motives of the cult of the tengries. This fund, which is kept in the manuscript department is the heritage of ethnographers, religious scholars, linguists and folklorists. The Mongolian Fund is represented by unique samples of texts of buddhist-shamanic ritual practice. It is determined that such rituals, connected with veneration of tengri, are the basis on the ritual of burning incense named san. These texts refer to the syncretic ritual practice, and represent records of hymns, prayers and descriptions of sacrificial rites to shamanic deities and ancestral spirits included in the Buddhist pantheon of deities. Manuscripts in the Old Mongolian language are a valuable historical and cultural source, revealing the phenomenon of written heritage of the Mongolian peoples. The collection of audio records of shamanic hymns, invocations, spells, stored in the phonofund of the archive of the IMBT SB RAS, which have value as a phenomenon of the ritual shamanic poetry of the Buryats, is singled out. The differentiation of audio samples into ritual singing and foul (narrative) genres is defined. Samples of audio recordings of the shamanic poetry dedicated to the cult of the tengries are systematized into the shamanic calls of the boogei durdalga and shamanic songs of boogei duunuud. It is revealed that the sound or acoustic code is of particular importance in the music of the shamanic cult, and in this connection the
{"title":"The cult of the tengries in archival materials of the Center of oriental manuscripts and xylographs of the IMBT SB RAS","authors":"L. D. Dashieva, S. B. Miyagasheva","doi":"10.17223/22220836/45/17","DOIUrl":"https://doi.org/10.17223/22220836/45/17","url":null,"abstract":"An important role in preserving the ethnic and cultural identity of the Buryat ethnos is acquired by traditional culture and a unique historical and cultural heritage, in which a special place is occupied by works of a shamanic cult. In this regard, the study of the phenomenon of the cult of the tengries, shamanic hymns and invocations, as well as shamanic rituals of the Buryats, often lost or modified, their reconstruction becomes obvious urgency and timeliness. The article is devoted to the study of the shamanic cult of the tengries in the archival materials of the Center of Oriental manuscripts and xylographs of the IMBT SB RAS. For the first time in Russian and foreign Mongolian studies an attempt is made to systematize handwritten sources in the Old Mongolian written, Buryat and Russian languages and comprehensively present the materials of the richest funds of the archive. In the archive fund, three groups are revealed: the general fund, the Mongolian fund and the phonofund. The database of the study of the cult of the tengries became materials of more than 116 sources, containing information from the general archive fund in Buryat and Russian (more than 100) and the Mongolian fund (16 sources) translated by the authors of the article from the old Mongolian written into Russian. The materials of the general fund reflect the diversity of shamanic rituals of the Buryats as a whole. Thematic groups such as mythology and uranium genealogy, hymns and texts of shamanic conscription and ritual practice are highlighted for revealing the specific motives of the cult of the tengries. This fund, which is kept in the manuscript department is the heritage of ethnographers, religious scholars, linguists and folklorists. The Mongolian Fund is represented by unique samples of texts of buddhist-shamanic ritual practice. It is determined that such rituals, connected with veneration of tengri, are the basis on the ritual of burning incense named san. These texts refer to the syncretic ritual practice, and represent records of hymns, prayers and descriptions of sacrificial rites to shamanic deities and ancestral spirits included in the Buddhist pantheon of deities. Manuscripts in the Old Mongolian language are a valuable historical and cultural source, revealing the phenomenon of written heritage of the Mongolian peoples. The collection of audio records of shamanic hymns, invocations, spells, stored in the phonofund of the archive of the IMBT SB RAS, which have value as a phenomenon of the ritual shamanic poetry of the Buryats, is singled out. The differentiation of audio samples into ritual singing and foul (narrative) genres is defined. Samples of audio recordings of the shamanic poetry dedicated to the cult of the tengries are systematized into the shamanic calls of the boogei durdalga and shamanic songs of boogei duunuud. It is revealed that the sound or acoustic code is of particular importance in the music of the shamanic cult, and in this connection the","PeriodicalId":41702,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta-Kulturologiya i Iskusstvovedenie-Tomsk State University Journal of Cultural Studies and Art History","volume":"46 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75051281","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}
Urban art and related terms - public art and street art - are considered in the context of the fundamental importance of the physical, architectural and urban environment in which the artist's work is located. The purpose of the article is to identify the specifics of the modes of visualization of urban art as features of communication between the original event (object, phenomenon), the creator / visualizer of the image and the recipient of the visual image. The use of a set of art history methods allowed us to investigate the patterns of the emergence of art objects in the urban environment, taking into account the conditions of their visualization, to which the author refers the degree of freedom of content; the degree of conditionality of the work by the context of the urban environment; the potential duration of the existence of an art object in public space; its monologue / dialogicity; the degree of emotional impact. The conclusion is made about the asymmetry of visualization of two art practices - street and public art, and the reasons for this asymmetry are considered. It is noted that public art provides better conditions for the placement of the artist's work and a longer duration of the “ life” of the art object, it is more noticeable, more attractive to casual observers whose understanding of the context is superficial. The disadvantages of the visualization mode of public art include restrictions on creative freedom, weak attachment to the context and possibilities of the game with unique characteristics of the working environment and surfaces, the smoothness of the adjusted monologue, the predictability of reactions, which reduces the emotional response of the prepared viewer. Due to these limitations, the visualization mode of street art, as a more sincere, honest and relevant art, has a greater degree of “street trust”. The problem that arises at the level of theory is noted: being, like any manifestation of pop culture, more visible and ubiquitous, public art replaces the concept of “street art”, creating terminological confusion. In practice, public art festivals are called street art festivals, and all Russian legislative initiatives to support street art actually lead to the legitimization of monumental advertising and propaganda while simultaneously displacing unauthorized street work.
{"title":"Modes of visualization of urban art: street art vs public art","authors":"M. Vilchinskaya-Butenko","doi":"10.17223/22220836/47/2","DOIUrl":"https://doi.org/10.17223/22220836/47/2","url":null,"abstract":"Urban art and related terms - public art and street art - are considered in the context of the fundamental importance of the physical, architectural and urban environment in which the artist's work is located. The purpose of the article is to identify the specifics of the modes of visualization of urban art as features of communication between the original event (object, phenomenon), the creator / visualizer of the image and the recipient of the visual image. The use of a set of art history methods allowed us to investigate the patterns of the emergence of art objects in the urban environment, taking into account the conditions of their visualization, to which the author refers the degree of freedom of content; the degree of conditionality of the work by the context of the urban environment; the potential duration of the existence of an art object in public space; its monologue / dialogicity; the degree of emotional impact. The conclusion is made about the asymmetry of visualization of two art practices - street and public art, and the reasons for this asymmetry are considered. It is noted that public art provides better conditions for the placement of the artist's work and a longer duration of the “ life” of the art object, it is more noticeable, more attractive to casual observers whose understanding of the context is superficial. The disadvantages of the visualization mode of public art include restrictions on creative freedom, weak attachment to the context and possibilities of the game with unique characteristics of the working environment and surfaces, the smoothness of the adjusted monologue, the predictability of reactions, which reduces the emotional response of the prepared viewer. Due to these limitations, the visualization mode of street art, as a more sincere, honest and relevant art, has a greater degree of “street trust”. The problem that arises at the level of theory is noted: being, like any manifestation of pop culture, more visible and ubiquitous, public art replaces the concept of “street art”, creating terminological confusion. In practice, public art festivals are called street art festivals, and all Russian legislative initiatives to support street art actually lead to the legitimization of monumental advertising and propaganda while simultaneously displacing unauthorized street work.","PeriodicalId":41702,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta-Kulturologiya i Iskusstvovedenie-Tomsk State University Journal of Cultural Studies and Art History","volume":"69 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75054083","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}
With the advent of the postmodern era in the second half of the XX c. - the beginning of the XXI c. humankind faced such global challenges as informatization and digitalization of different spheres of life. The human need for “digital detox”, expansion of the world view and self-development resulted in popularization of the phenomenon of nomadism. The aim of the present article is to reveal means of realizing the phenomenon of nomadism in political campaign advertising. Nomadism is approached by us from the perspective of postmodern philosophy and is defined as a social strategy of counteracting modern problems, centred around movement through space and time. The research material is texts of English-language political commercials published before the 2020 US presidential elections on the candidates' official YouTube channels. The material was chosen because the political campaign discourse and the discourse of political advertising draw upon resources of marketing communication which includes manifestations of nomadism. In the course of the research, we selected texts with a retro-component which vividly illustrates the essence of nomadism, that is movement in space and time. The authentic examples were transcribed by us. In the article nomadism is treated from the point of view of the postmodern theory of nomadology developed by the French philosophers in the 1970s. Nomadism is described as a form of opposing orderliness, structurality and linearity of the “polis”. The main value of nomadism is freedom of movement in space and time. The nomadic culture has a rhizomatic character which manifests itself in the blurring of borders, deterritorialization and hybridization and determines the nomad's movement: they move without a specific aim and without a given direction. An analysis of the empirical material yielded that political campaign advertising has a rhizomatic character that manifests itself in the following discourse features: horizontality, blurred identity, hybridity, clip-like structure, virtuality, ecologicity and arithmetic organization. A range of verbal and non-verbal means of realizing each of the discourse features is revealed and described, for example, the non-linear presentation of information, the use of wide-meaning vocabulary, montage effects and etc. In a number of commercials two main nomadic motifs were detected, i.e. the journey motif and the motif of investigation. It is concluded that rhizomaticity of political campaign advertising is to be referred to means of increasing the persuasiveness of a message.
{"title":"The phenomenon of nomadism in english-language political campaign advertising of the beginning of the XXI c.","authors":"E. Murashova","doi":"10.17223/22220836/47/10","DOIUrl":"https://doi.org/10.17223/22220836/47/10","url":null,"abstract":"With the advent of the postmodern era in the second half of the XX c. - the beginning of the XXI c. humankind faced such global challenges as informatization and digitalization of different spheres of life. The human need for “digital detox”, expansion of the world view and self-development resulted in popularization of the phenomenon of nomadism. The aim of the present article is to reveal means of realizing the phenomenon of nomadism in political campaign advertising. Nomadism is approached by us from the perspective of postmodern philosophy and is defined as a social strategy of counteracting modern problems, centred around movement through space and time. The research material is texts of English-language political commercials published before the 2020 US presidential elections on the candidates' official YouTube channels. The material was chosen because the political campaign discourse and the discourse of political advertising draw upon resources of marketing communication which includes manifestations of nomadism. In the course of the research, we selected texts with a retro-component which vividly illustrates the essence of nomadism, that is movement in space and time. The authentic examples were transcribed by us. In the article nomadism is treated from the point of view of the postmodern theory of nomadology developed by the French philosophers in the 1970s. Nomadism is described as a form of opposing orderliness, structurality and linearity of the “polis”. The main value of nomadism is freedom of movement in space and time. The nomadic culture has a rhizomatic character which manifests itself in the blurring of borders, deterritorialization and hybridization and determines the nomad's movement: they move without a specific aim and without a given direction. An analysis of the empirical material yielded that political campaign advertising has a rhizomatic character that manifests itself in the following discourse features: horizontality, blurred identity, hybridity, clip-like structure, virtuality, ecologicity and arithmetic organization. A range of verbal and non-verbal means of realizing each of the discourse features is revealed and described, for example, the non-linear presentation of information, the use of wide-meaning vocabulary, montage effects and etc. In a number of commercials two main nomadic motifs were detected, i.e. the journey motif and the motif of investigation. It is concluded that rhizomaticity of political campaign advertising is to be referred to means of increasing the persuasiveness of a message.","PeriodicalId":41702,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta-Kulturologiya i Iskusstvovedenie-Tomsk State University Journal of Cultural Studies and Art History","volume":"14 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85036168","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}
By the logic of the language, any object of art has an author - albeit a collective one, as in folklore - and therefore, should be called an “author”. However, this does not really help in determining the exact place of a work of art in the system of art concepts and terms; but not every director manages to create an individual author's style. In Western theatre studies, at a linguistic level, the borrowing from cinema of such terms as “auteur theatre” and “the theatre of the director-auteur” is rather reflected. The concept of “auteur” turns out to be the most acceptable in describing a new type of director who actively adapts dramatic plays, intervenes in them and thus creates their own script based upon the other whilst developing their own unique style. Today new terms have appeared in theatre studies such as post-auteur and neo-auteur, which have not yet been investigated and are riddled with contradiction. The post-auteur theatre considers the work of the director-auteur, not as an expression of an individual genius, but rather as a meeting place, a point of assembly of his biography, intertext, context and specific historical situation. The post-auteur theatre puts the personality of the director-auteur in the background, putting in the first place the collective nature of the work to create a film or performance. The director exists today in another socio-cultural formation. That is why the concept of “neo-auteur theatre” (or cinema) that may become appropriate to describe a new approach to directing that is characteristic of the contemporary cultural situation. The neo-auteurism approach suggests that the director, in addition to the film or performance, creates a certain “added value”. Directors are fully involved in the advertising process to promote their performances on social networks, the media, participation in festivals, lecturing and other forms of public presentation and promotion. “Auteur” has become a marketing category, a label that is actively and not always deservedly assigned or distributed to directors. Anglo-American critics pay attention to such a sign of auteurship in the credits or on posters such as “film by” or “performance by”. This is a kind of trophy. In such a situation, auteurship turns out to be nothing more than a category of status in the hierarchy of social values, a purely external attribute of the “packaging” of a film or performance. However, it is important to consider the rise of a new type of director and to allow the rational identification of his or her conceptual activity; more often than not displayed in the work of such avant-garde directors as Edward Gordon Craig, Vsevolod Meyer-hold, Bertolt Brecht etc.
{"title":"On the question of terminological definition of the concept of author's theatre","authors":"Emiliia V. Dementsova","doi":"10.17223/22220836/45/3","DOIUrl":"https://doi.org/10.17223/22220836/45/3","url":null,"abstract":"By the logic of the language, any object of art has an author - albeit a collective one, as in folklore - and therefore, should be called an “author”. However, this does not really help in determining the exact place of a work of art in the system of art concepts and terms; but not every director manages to create an individual author's style. In Western theatre studies, at a linguistic level, the borrowing from cinema of such terms as “auteur theatre” and “the theatre of the director-auteur” is rather reflected. The concept of “auteur” turns out to be the most acceptable in describing a new type of director who actively adapts dramatic plays, intervenes in them and thus creates their own script based upon the other whilst developing their own unique style. Today new terms have appeared in theatre studies such as post-auteur and neo-auteur, which have not yet been investigated and are riddled with contradiction. The post-auteur theatre considers the work of the director-auteur, not as an expression of an individual genius, but rather as a meeting place, a point of assembly of his biography, intertext, context and specific historical situation. The post-auteur theatre puts the personality of the director-auteur in the background, putting in the first place the collective nature of the work to create a film or performance. The director exists today in another socio-cultural formation. That is why the concept of “neo-auteur theatre” (or cinema) that may become appropriate to describe a new approach to directing that is characteristic of the contemporary cultural situation. The neo-auteurism approach suggests that the director, in addition to the film or performance, creates a certain “added value”. Directors are fully involved in the advertising process to promote their performances on social networks, the media, participation in festivals, lecturing and other forms of public presentation and promotion. “Auteur” has become a marketing category, a label that is actively and not always deservedly assigned or distributed to directors. Anglo-American critics pay attention to such a sign of auteurship in the credits or on posters such as “film by” or “performance by”. This is a kind of trophy. In such a situation, auteurship turns out to be nothing more than a category of status in the hierarchy of social values, a purely external attribute of the “packaging” of a film or performance. However, it is important to consider the rise of a new type of director and to allow the rational identification of his or her conceptual activity; more often than not displayed in the work of such avant-garde directors as Edward Gordon Craig, Vsevolod Meyer-hold, Bertolt Brecht etc.","PeriodicalId":41702,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta-Kulturologiya i Iskusstvovedenie-Tomsk State University Journal of Cultural Studies and Art History","volume":"6 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85265825","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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