The purpose of this report is to describe the actuality of literary regional studies. The history of the origin of this concept has been disclosed here. And a problem of the ambiguity of its application in scientific circles was outlined. The list of authors who used the term “literary regional studies” in literary, cultural, pedagogical works was presented. A terminological analysis of the notion “literary regional studies” according to the type of relation to the branches of science has been carried out, the working definition of the concept has been derived. The results of bibliometric analysis of publications on the theme “literary study of local lore” from 2000-2017 which was based on the scientific electronic library elibrary.ru are presented. Analysis of publication activity was carried out, productive authors who were engaged in the study of literary regional studies were identified. The process of increasing the number of conferences at various levels at which reports on the subject under consideration were heard was investigated. The type-specific, sectoral and thematic structure of the documentary flow on the problem is considered. The interest of the professional community to the reviewed topic was confirmed by graphs. Analysis of the workflow on the research topic allows us to draw some conclusions: • most of the publications devoted to literary regional studies were presented to professional journals “Library Business”, “School Literature”, “Social and Humanitarian Sciences”, “Pedagogical Search”; interest in this investigation is increasing because you can observe the growth of publications and the number of conferences on this topic; • Literature, pedagogy, cultural studies, history and geography are studying literary local history; The investigation of various points of view allows you to find different methods of obtaining information from primary literary sources; • The scientist of different institutions in the peripheral regions of Russia - the Southern Urals, Siberia, and the Amur Region have the largest number of publications on the research topic. It shows the availability of local literary material and about the relevance where the tourist attractiveness of the regions.
{"title":"Problems of literary regional studies (the research is based on a terminological and bibliometric analysis)","authors":"Lubov G. Taranenko, O. V. Boronikhina","doi":"10.17223/22220836/46/23","DOIUrl":"https://doi.org/10.17223/22220836/46/23","url":null,"abstract":"The purpose of this report is to describe the actuality of literary regional studies. The history of the origin of this concept has been disclosed here. And a problem of the ambiguity of its application in scientific circles was outlined. The list of authors who used the term “literary regional studies” in literary, cultural, pedagogical works was presented. A terminological analysis of the notion “literary regional studies” according to the type of relation to the branches of science has been carried out, the working definition of the concept has been derived. The results of bibliometric analysis of publications on the theme “literary study of local lore” from 2000-2017 which was based on the scientific electronic library elibrary.ru are presented. Analysis of publication activity was carried out, productive authors who were engaged in the study of literary regional studies were identified. The process of increasing the number of conferences at various levels at which reports on the subject under consideration were heard was investigated. The type-specific, sectoral and thematic structure of the documentary flow on the problem is considered. The interest of the professional community to the reviewed topic was confirmed by graphs. Analysis of the workflow on the research topic allows us to draw some conclusions: • most of the publications devoted to literary regional studies were presented to professional journals “Library Business”, “School Literature”, “Social and Humanitarian Sciences”, “Pedagogical Search”; interest in this investigation is increasing because you can observe the growth of publications and the number of conferences on this topic; • Literature, pedagogy, cultural studies, history and geography are studying literary local history; The investigation of various points of view allows you to find different methods of obtaining information from primary literary sources; • The scientist of different institutions in the peripheral regions of Russia - the Southern Urals, Siberia, and the Amur Region have the largest number of publications on the research topic. It shows the availability of local literary material and about the relevance where the tourist attractiveness of the regions.","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":"78106272","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 the article the conceptual issues of the educational philosophy are presented. The aim of the research is to explore the specific character of contemporary education ontology in the whole and the particularities of the university education as a part of it. In addition authors make an attempt to consider the education being as its betweenness in the world, to identify its historical and philosophical transformations closely connected with traditionally obtained corporative university form. Originally, the university was founded as a corporation, but state-of-the-art conditions of its functioning forced the development of its cultural model and structure. Authors stand on the position that the classical ontological university particularities - the wholeness of a being and the absoluteness of criteria - at the moment are displaced by the ontological eventness. Event ontology supposed to obtain ordinary disunification, plurality and conditions singularity. The university educational ontology transformation leads to the corporate culture ontology changing processes. A contemporary university corporate culture has event nature and it is supposed to illuminate itself in the postclassical cultural university identity. The main methods of the investigation are the philosophical and cultural critics (critical analysis) and the comparative research of the classical university education (presented in the unity of its being) and its current condition status represented by the event existence. The novelty of the authors' position is in argumentation of ontological term “event” applied to the contemporary university and relative to it, also event ontology based, corporativity. Eventness of the current cultural processes, including educational ones, is an element, deconstructing being in its entity and wholeness. Being in existent modernity obtains the features of eclecticism, fragmentarity, as a consequence, the key characteristics development of the social institutes is required. The classical university in its students' and professors' unity of scientific investigations has to expand its functions in accordance with the educational market demand. Essentially, a university transforms into a business corporation with the high standard of culture. The authors' position is based on the deconstructive processes within the present day philosophical thinking, distinguishing the classical scope clarity. The position mentioned above give a possibility to consider the modification of ontology of being in entity of its particularities, the education being and the university being alongside its corporate culture. The position explored can be identified as event ontology and it is the result of liquid modernity requirements challenging a contemporary university. The classical university model and the unipolar culture are displaced by the multiple identity and the complementarity of corporate and academic cultures as a vital condition of the university existence.
{"title":"Education as an event: event nature of the university corporativity","authors":"G. Petrova, E. V. Chibir","doi":"10.17223/22220836/46/8","DOIUrl":"https://doi.org/10.17223/22220836/46/8","url":null,"abstract":"In the article the conceptual issues of the educational philosophy are presented. The aim of the research is to explore the specific character of contemporary education ontology in the whole and the particularities of the university education as a part of it. In addition authors make an attempt to consider the education being as its betweenness in the world, to identify its historical and philosophical transformations closely connected with traditionally obtained corporative university form. Originally, the university was founded as a corporation, but state-of-the-art conditions of its functioning forced the development of its cultural model and structure. Authors stand on the position that the classical ontological university particularities - the wholeness of a being and the absoluteness of criteria - at the moment are displaced by the ontological eventness. Event ontology supposed to obtain ordinary disunification, plurality and conditions singularity. The university educational ontology transformation leads to the corporate culture ontology changing processes. A contemporary university corporate culture has event nature and it is supposed to illuminate itself in the postclassical cultural university identity. The main methods of the investigation are the philosophical and cultural critics (critical analysis) and the comparative research of the classical university education (presented in the unity of its being) and its current condition status represented by the event existence. The novelty of the authors' position is in argumentation of ontological term “event” applied to the contemporary university and relative to it, also event ontology based, corporativity. Eventness of the current cultural processes, including educational ones, is an element, deconstructing being in its entity and wholeness. Being in existent modernity obtains the features of eclecticism, fragmentarity, as a consequence, the key characteristics development of the social institutes is required. The classical university in its students' and professors' unity of scientific investigations has to expand its functions in accordance with the educational market demand. Essentially, a university transforms into a business corporation with the high standard of culture. The authors' position is based on the deconstructive processes within the present day philosophical thinking, distinguishing the classical scope clarity. The position mentioned above give a possibility to consider the modification of ontology of being in entity of its particularities, the education being and the university being alongside its corporate culture. The position explored can be identified as event ontology and it is the result of liquid modernity requirements challenging a contemporary university. The classical university model and the unipolar culture are displaced by the multiple identity and the complementarity of corporate and academic cultures as a vital condition of the university existence.","PeriodicalId":41702,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta-Kulturologiya i Iskusstvovedenie-Tomsk State University Journal of Cultural Studies and Art History","volume":"48 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73608048","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 examines visual practices related to the transformation of the environment, the protection of green spaces from negative influences, and eco-education using the example of natural objects in Tomsk. These practices can be attributed to prosumer practices, as they are free of charge, on a voluntary basis, and rely on the personal initiative of the participants. The painting on trees, which is analyzed as part of the project to create an eco-art-trail, goes as the main direction of the study, and the design of natural landscapes as places of recreation for citizens goes as an additional one.
{"title":"Visual practices in the activities of Tomsk urban eco-communities","authors":"S. V. Gorbunova","doi":"10.17223/22220836/45/1","DOIUrl":"https://doi.org/10.17223/22220836/45/1","url":null,"abstract":"The paper examines visual practices related to the transformation of the environment, the protection of green spaces from negative influences, and eco-education using the example of natural objects in Tomsk. These practices can be attributed to prosumer practices, as they are free of charge, on a voluntary basis, and rely on the personal initiative of the participants. The painting on trees, which is analyzed as part of the project to create an eco-art-trail, goes as the main direction of the study, and the design of natural landscapes as places of recreation for citizens goes as an additional one.","PeriodicalId":41702,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta-Kulturologiya i Iskusstvovedenie-Tomsk State University Journal of Cultural Studies and Art History","volume":"12 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73698217","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 discusses one of the methods for comprehending the content of a musical work through the interaction of the pianist's composing and performing practice. No one can deny that the listener “gets” a work only “from the hands” of the performerpianist, and if the composer is not a pianist, then the audience in the hall will inevitably receive the product of joint creativity. That is why it seems appropriate to talk about the fact of a single composing and performing practice, without special emphasis on the composing or performing component of the creative process. When such an intratextual structure as the figurative-emotional series of a work is brought to the fore, the line between the composer and the performer becomes even more blurred. Of course, one cannot speak of replacing one with another - each has its own field of activity -but it seems to be quite adequate to assert the presence of some creative conglomerate. Of course, in every piece of music there are many components that must be observed by the performer unconditionally: size, key signs, etc. This article will focus specifically on the figurative and emotional content of the work. As you know, each performer expresses the vision of a musical work in his own way. From the side of performing practice, a detailed analysis of the Second Piano Concerto by Ekaterina Prikhodovskaya was carried out. It is interesting that the composition in question was created practically “in a dialogue” between the authors of the article - the composer who wrote the concerto for piano and orchestra, and the pianist for whom this concerto was written and dedicated. The compositions of Anna Okisheva are considered as a composer's activity. On the example of her own works, Anna Okisheva gives an associative analysis, using works of art and literature as an addition to the figurative-emotional range. The uniqueness of this method lies in the fact that the performer, being a composer, already has an idea of the figurative and emotional content. In this example, we clearly see the process of “encryption” and “decryption” of a musical composition. Together and separately, these works demonstrate a fairly extensive representation of the figurative and emotional range. Thanks to the appeal to related arts (in particular, literature and painting), a more accurate and versatile formulation of the fan-shaped model of the creative process occurs (it was specified earlier). So, there is an inseparable, perhaps invisible at first glance, interconnection between composing and performing practice. Comprehension of the figurative-emotional range of a musical work -in fact, its content - is indeed the right way to create an incentive for cooperation between the composer, performer and listener (even taking into account time distances).
{"title":"Composer-performing practice of a pianist as a way to comprehend the figurative-emotional range of a musical work","authors":"E. Prikhodovskaya, Anna A. Okisheva","doi":"10.17223/22220836/47/16","DOIUrl":"https://doi.org/10.17223/22220836/47/16","url":null,"abstract":"The article discusses one of the methods for comprehending the content of a musical work through the interaction of the pianist's composing and performing practice. No one can deny that the listener “gets” a work only “from the hands” of the performerpianist, and if the composer is not a pianist, then the audience in the hall will inevitably receive the product of joint creativity. That is why it seems appropriate to talk about the fact of a single composing and performing practice, without special emphasis on the composing or performing component of the creative process. When such an intratextual structure as the figurative-emotional series of a work is brought to the fore, the line between the composer and the performer becomes even more blurred. Of course, one cannot speak of replacing one with another - each has its own field of activity -but it seems to be quite adequate to assert the presence of some creative conglomerate. Of course, in every piece of music there are many components that must be observed by the performer unconditionally: size, key signs, etc. This article will focus specifically on the figurative and emotional content of the work. As you know, each performer expresses the vision of a musical work in his own way. From the side of performing practice, a detailed analysis of the Second Piano Concerto by Ekaterina Prikhodovskaya was carried out. It is interesting that the composition in question was created practically “in a dialogue” between the authors of the article - the composer who wrote the concerto for piano and orchestra, and the pianist for whom this concerto was written and dedicated. The compositions of Anna Okisheva are considered as a composer's activity. On the example of her own works, Anna Okisheva gives an associative analysis, using works of art and literature as an addition to the figurative-emotional range. The uniqueness of this method lies in the fact that the performer, being a composer, already has an idea of the figurative and emotional content. In this example, we clearly see the process of “encryption” and “decryption” of a musical composition. Together and separately, these works demonstrate a fairly extensive representation of the figurative and emotional range. Thanks to the appeal to related arts (in particular, literature and painting), a more accurate and versatile formulation of the fan-shaped model of the creative process occurs (it was specified earlier). So, there is an inseparable, perhaps invisible at first glance, interconnection between composing and performing practice. Comprehension of the figurative-emotional range of a musical work -in fact, its content - is indeed the right way to create an incentive for cooperation between the composer, performer and listener (even taking into account time distances).","PeriodicalId":41702,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta-Kulturologiya i Iskusstvovedenie-Tomsk State University Journal of Cultural Studies and Art History","volume":"7 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85486649","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}
Fashion as an ephemeral and feminine sphere arose at the end of the 18th century as a kind of consequence of the gender division of the social roles of men and women. Until the French Revolution, both men and women were distinguished by the desire for luxurious bright fabrics, an abundance of decorations and trimmings, which were the main means of representing their social status. The French revolution embodied the destruction of the ves-timentary system of the Old regime and, as consequence, negated the importance of visual representation of the individual's identity, putting forward instead a bourgeois ideal with its value of private life and inalienable talents and abilities of the individual that do not have vestimentary channels of expression. In this regard, the shirt dress, which arose in the 1780s under the influence of the ideas of Antiquity and the utilitarian tendencies in costume, which came from England, having received its greatest impact in the neoclassical modes of the style of Empire. By emphasizing and exposing bodily outlines, this kind of dress embodied the collapse of the vestimentary system of the old regime, revealing the basis of fashion changes - a private body. Neoclassical fashion with dresses revealing body shapes can be considered the starting point of bourgeois fashion, by such a way manifesting the female body as the main object of transformation in fashion. The reduction of a woman to her corporality and to the private sphere, expressed in such dresses, can also be considered as a consequence of her exclusion from the political sphere as it declared in the Constitution of 1791, which deprived women of any political rights and, as a consequence, of the possibility of a similar with men vestimentary representation of their social identity. Thus, the aim of this article is to examine the historical and cultural context of the exclusion of women from the political sphere, a sign of which was the shirt dress that not only embodied the identification of women with a private sphere, but also, showing more than ever the outlines of the body in a public sphere, expressed the manifestation of the female body as the main object of transformation and manipulation in the bourgeois fashion.
{"title":"The shirt dress as a sign of exclusion of women from the socio-political sphere in the late XVIII - early XIX centuries","authors":"Maria V. Guryanova","doi":"10.17223/22220836/45/2","DOIUrl":"https://doi.org/10.17223/22220836/45/2","url":null,"abstract":"Fashion as an ephemeral and feminine sphere arose at the end of the 18th century as a kind of consequence of the gender division of the social roles of men and women. Until the French Revolution, both men and women were distinguished by the desire for luxurious bright fabrics, an abundance of decorations and trimmings, which were the main means of representing their social status. The French revolution embodied the destruction of the ves-timentary system of the Old regime and, as consequence, negated the importance of visual representation of the individual's identity, putting forward instead a bourgeois ideal with its value of private life and inalienable talents and abilities of the individual that do not have vestimentary channels of expression. In this regard, the shirt dress, which arose in the 1780s under the influence of the ideas of Antiquity and the utilitarian tendencies in costume, which came from England, having received its greatest impact in the neoclassical modes of the style of Empire. By emphasizing and exposing bodily outlines, this kind of dress embodied the collapse of the vestimentary system of the old regime, revealing the basis of fashion changes - a private body. Neoclassical fashion with dresses revealing body shapes can be considered the starting point of bourgeois fashion, by such a way manifesting the female body as the main object of transformation in fashion. The reduction of a woman to her corporality and to the private sphere, expressed in such dresses, can also be considered as a consequence of her exclusion from the political sphere as it declared in the Constitution of 1791, which deprived women of any political rights and, as a consequence, of the possibility of a similar with men vestimentary representation of their social identity. Thus, the aim of this article is to examine the historical and cultural context of the exclusion of women from the political sphere, a sign of which was the shirt dress that not only embodied the identification of women with a private sphere, but also, showing more than ever the outlines of the body in a public sphere, expressed the manifestation of the female body as the main object of transformation and manipulation in the bourgeois fashion.","PeriodicalId":41702,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta-Kulturologiya i Iskusstvovedenie-Tomsk State University Journal of Cultural Studies and Art History","volume":"28 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91349950","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 author of the article relies on the formula of M.M. Bakhtin: Genre is the memory of. Genre memory is one of the most important representatives of culture influencing society. The structure of the genre captures and conveys the values and horizons of culture. In this methodological context, a specific essay by A.M. Gorky, written back in the 1930s, however, which had a retrospective, and at the same time, relevant character to this day. The essay by the already famous writer and architect of Soviet culture is dedicated to two representatives of the Samara intelligentsia. In their circle, the novice journalist Maxim Gorky was back in 1895-1896. “Doublethink”, “double meaning”, “externality” permeate the content of the essay, the heroes of which were Gorky's pre-revolutionary acquaintances: engineer and writer N.G. Garin-Mikhailovsky, as well as lawyer Ya.L. Teitel. While still a novice writer, Gorky communicated with them when he lived briefly in Samara and worked in Samara Newspaper. Gorky presents his old acquaintances as people of high culture and professionalism. He compares them with the most outstanding figures of world culture: the righteous and the founders of new socio-cultural institutions. An essay dedicated to old acquaintances from Samara was written in 1925, and subsequently placed in Volume 17 of Gorky's. This volume was published only in 1952. The belief of the “Soviet classic No. 1” in a culture capable of transforming the people played a significant role in his worldview. According to the author of the article, all the activities of A.M. Gorky of the late period.He created unique cultural projects, including the academic edition of World Literature, the Life of Remarkable People series popular to this day, the Children's Literature publishing house, and the creation of creative Unions of writers, composers, and artists. In the same row is the concept of a relatively small essay dedicated to Garin-Mikhailovsky and Teitel. It is typical of the later writings and cultural projects of the writer. The meaning and structure of this essay (representing two intelligent people of the Russian province) resembles a hologram - a tiny fragment that reflects the general understanding of the role of culture by a mature writer and a global builder of culture.
{"title":"“Genre as a memory of culture”: an essay by A.M. Gorky about Garin-Mikhailovsky and Teitel","authors":"E. Burlina","doi":"10.17223/22220836/46/2","DOIUrl":"https://doi.org/10.17223/22220836/46/2","url":null,"abstract":"The author of the article relies on the formula of M.M. Bakhtin: Genre is the memory of. Genre memory is one of the most important representatives of culture influencing society. The structure of the genre captures and conveys the values and horizons of culture. In this methodological context, a specific essay by A.M. Gorky, written back in the 1930s, however, which had a retrospective, and at the same time, relevant character to this day. The essay by the already famous writer and architect of Soviet culture is dedicated to two representatives of the Samara intelligentsia. In their circle, the novice journalist Maxim Gorky was back in 1895-1896. “Doublethink”, “double meaning”, “externality” permeate the content of the essay, the heroes of which were Gorky's pre-revolutionary acquaintances: engineer and writer N.G. Garin-Mikhailovsky, as well as lawyer Ya.L. Teitel. While still a novice writer, Gorky communicated with them when he lived briefly in Samara and worked in Samara Newspaper. Gorky presents his old acquaintances as people of high culture and professionalism. He compares them with the most outstanding figures of world culture: the righteous and the founders of new socio-cultural institutions. An essay dedicated to old acquaintances from Samara was written in 1925, and subsequently placed in Volume 17 of Gorky's. This volume was published only in 1952. The belief of the “Soviet classic No. 1” in a culture capable of transforming the people played a significant role in his worldview. According to the author of the article, all the activities of A.M. Gorky of the late period.He created unique cultural projects, including the academic edition of World Literature, the Life of Remarkable People series popular to this day, the Children's Literature publishing house, and the creation of creative Unions of writers, composers, and artists. In the same row is the concept of a relatively small essay dedicated to Garin-Mikhailovsky and Teitel. It is typical of the later writings and cultural projects of the writer. The meaning and structure of this essay (representing two intelligent people of the Russian province) resembles a hologram - a tiny fragment that reflects the general understanding of the role of culture by a mature writer and a global builder of culture.","PeriodicalId":41702,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta-Kulturologiya i Iskusstvovedenie-Tomsk State University Journal of Cultural Studies and Art History","volume":"30 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77788547","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 common place of cognitive understanding of music of the past twentieth century as a holistic musical and artistic system was not so much the birth of writing techniques, but their mixing, interaction, obvious synthesis, perceived integrally and organically, but very difficult to find in analysis. In the twentieth century, a change in the creative process led to the rebirth of a traditional musical form as a structure and the birth of a new type of musical composition. Taking into account the fact that the term “musical form” does not embrace all the facets of the holistic meaning of music that exist in contemporary composers' creativity, this article introduces its homonym - “musical composition”. Thus, we affirm the right of the term “composition” to act as a musical universal for its description as a demonstrator of the artistic consciousness of the composer and, accordingly, the category of comprehending the spiritual content of a musical work. By composition we will understand the structural principles of organizing a musical work as an artistic whole in the unity of musical time and space. We are talking about the stable qualities of the procedural formation of music, its architectonics (Space = architectonics) and the mobile properties of musical development (Time = intonational dramaturgy). The analytical musicology of the twentieth century has developed the criteria necessary to form the basis of the typology of musical forms of classic-romantic music. A large treasure was introduced by Russian and Ukrainian musicologists: B. Asafiev, V. Bobrovsky, V. Medushevsky, V. Kholopova, Y. Kholopov, T. Kureregian, V. Zaderatsky, etc. On the interaction of functional and historical-genre approaches, a cognitive method of analyzing contemporary composition in Chinese music of the twentieth century is built, aimed at comprehending national specificity as a culture of assimilated musical thinking. The article gave a number of examples on the “13 Preludes and Fugues” polyphonic cycle by Chen Mingzhi, a kind of Chinese “Ludus tonalis”. The analysis carried out in this article showed the ability of a musician to master the Eastern tradition of the highest form of Western European polyphony - fugues. On the conclusions we can say the following: 1. Musical forms of the twentieth century. so individualized that they need to be systematized according to a single functional and thematic criterion. The systematics of forms is directly dependent on the structural complication in three ways, starting from the category of the topic; the content of specific classes of musical forms, as well as their interposition, is partially changed. 2. In the works of Chinese composers of the twentieth century, whose works form the basis of teaching the course “analysis of musical works” in the university system of China, the principle of “renewal of typical structures” prevails. The assimilation of the typological foundations of musical composition and the integration of i
对过去二十世纪音乐作为一个整体音乐和艺术系统的认知理解的共同点，与其说是写作技巧的诞生，不如说是它们的混合、互动、明显的综合，整体地、有机地感知，但很难在分析中找到。在二十世纪，创作过程的变化导致了传统音乐形式作为一种结构的重生和一种新型音乐创作的诞生。考虑到“音乐形式”一词并不包含当代作曲家创作中存在的音乐整体意义的所有方面，本文引入了它的同音词——“音乐创作”。因此，我们肯定“作品”一词作为一种音乐普遍性的权利，因为它被描述为作曲家艺术意识的证明，因而也被视为理解音乐作品的精神内容的范畴。通过作曲，我们将了解在音乐时间和空间的统一中将音乐作品组织为一个艺术整体的结构原则。我们谈论的是音乐程序形成的稳定性，它的架构性(空间=架构性)和音乐发展的流动性(时间=调性戏剧)。二十世纪的分析音乐学已经发展出必要的标准，以形成古典浪漫主义音乐形式类型学的基础。俄罗斯和乌克兰音乐学家介绍了一个大宝藏:B. Asafiev, V. Bobrovsky, V. Medushevsky, V. Kholopova, Y. Kholopov, T. Kureregian, V. Zaderatsky等。在功能与历史体裁方法的相互作用下，建立了一种分析二十世纪中国音乐当代作品的认知方法，旨在理解作为同化音乐思维的文化的民族特殊性。本文以陈明之的《前奏曲与赋格十三首》复调循环为例，对其进行了分析。本文所进行的分析显示了一个音乐家掌握西欧复调的最高形式——赋格的东方传统的能力。关于结论，我们可以说以下几点:1。二十世纪的音乐形式。如此个性化，它们需要系统化，根据一个单一的功能和主题标准。形式的系统化在三个方面直接依赖于结构的复杂性，从主题的范畴出发;音乐形式的具体类别的内容，以及它们的插入，部分改变。2. 20世纪中国作曲家的作品构成了中国大学“音乐作品分析”课程的教学基础，在他们的作品中，“典型结构更新”的原则盛行。对音乐创作的类型学基础的同化和在民族的民族土壤中的创新思想的融合——这是中国音乐学术传统中音乐形式的历史和风格系统学的现代生活。对曲式的新理解并不局限于对曲式的理解(乍一看似乎如此)，相反，它包含了所有历史上形成的整体组织因素，既有传统的(垂直的、水平的)，也有最新的(无调性的、串联的、结构复调的)。通过对陈明之复调曲《十三前奏曲与赋格曲》的分析，证明了这一点。3.在古典类型学的镜子中研究20世纪最新(包括中国)音乐的标准是民族原创音乐思维形式(主题、和声、织色、结构)的价值。同时，所创作的音乐作品在时空参数统一中的功能逻辑的一般规律，成为中国作曲家和演奏家音乐艺术类型学的规范。
{"title":"Typology of musical forms as a method of cognitive modeling","authors":"Lian Liu","doi":"10.17223/22220836/46/17","DOIUrl":"https://doi.org/10.17223/22220836/46/17","url":null,"abstract":"The common place of cognitive understanding of music of the past twentieth century as a holistic musical and artistic system was not so much the birth of writing techniques, but their mixing, interaction, obvious synthesis, perceived integrally and organically, but very difficult to find in analysis. In the twentieth century, a change in the creative process led to the rebirth of a traditional musical form as a structure and the birth of a new type of musical composition. Taking into account the fact that the term “musical form” does not embrace all the facets of the holistic meaning of music that exist in contemporary composers' creativity, this article introduces its homonym - “musical composition”. Thus, we affirm the right of the term “composition” to act as a musical universal for its description as a demonstrator of the artistic consciousness of the composer and, accordingly, the category of comprehending the spiritual content of a musical work. By composition we will understand the structural principles of organizing a musical work as an artistic whole in the unity of musical time and space. We are talking about the stable qualities of the procedural formation of music, its architectonics (Space = architectonics) and the mobile properties of musical development (Time = intonational dramaturgy). The analytical musicology of the twentieth century has developed the criteria necessary to form the basis of the typology of musical forms of classic-romantic music. A large treasure was introduced by Russian and Ukrainian musicologists: B. Asafiev, V. Bobrovsky, V. Medushevsky, V. Kholopova, Y. Kholopov, T. Kureregian, V. Zaderatsky, etc. On the interaction of functional and historical-genre approaches, a cognitive method of analyzing contemporary composition in Chinese music of the twentieth century is built, aimed at comprehending national specificity as a culture of assimilated musical thinking. The article gave a number of examples on the “13 Preludes and Fugues” polyphonic cycle by Chen Mingzhi, a kind of Chinese “Ludus tonalis”. The analysis carried out in this article showed the ability of a musician to master the Eastern tradition of the highest form of Western European polyphony - fugues. On the conclusions we can say the following: 1. Musical forms of the twentieth century. so individualized that they need to be systematized according to a single functional and thematic criterion. The systematics of forms is directly dependent on the structural complication in three ways, starting from the category of the topic; the content of specific classes of musical forms, as well as their interposition, is partially changed. 2. In the works of Chinese composers of the twentieth century, whose works form the basis of teaching the course “analysis of musical works” in the university system of China, the principle of “renewal of typical structures” prevails. The assimilation of the typological foundations of musical composition and the integration of i","PeriodicalId":41702,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta-Kulturologiya i Iskusstvovedenie-Tomsk State University Journal of Cultural Studies and Art History","volume":"77 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76015211","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}
Ekaterina N. Egorova, N. Bedina, Anton A. Poluektov
Rationale. Interest in the knowledge of the art language essence, the search for different models of its description and study are typical not only for modern science in general, but also for cognitive approach in culture studies in particular. This explains the publication relevance, that is expressed in the accumulative function of language and culture, connecting the outside world objects and human consciousness, providing a systematic and orderly reality image. The article aim is to objectify the problem of correlation between the understanding the real world principles and the modeling artistic reality principles on the example of the film “Madam” (2017) directed by A. Sthers. To reach this purpose is possible by the solution of such research objectives: - Analysis of the film intertextual nature, given the European cultural experience - from the medieval farces and Shakespeare's theatre to the postmodern novel, from the Leonardo da Vinci's frescoes to D. Buren's conceptualism. The key element of this cultural mosaic is the Baroque tradition with its gameful nature. - Designation of the author image status in the text: the film plays out the situation when the writer's artistic reflection goes beyond his individual consciousness, modeling the real situation and at the same time objectifying itself in the verbal text. There is a subtle image of the subjective process of the modeling “second reality” beneath the outwardly unpretentious comedy film plot. - Actualization the games category. The associations freedom and the wide scope of combining meanings constitute the Baroque combinational game essence - the game as the creative thought manifestation, as the human culture essence. There are surprisingly witty (in the Baroque sense) parallels with the L. Carroll's “Alice's Adventures in Wonderland” and “Through The Looking-Glass And What Alice Found There”, V. Nabokov's “Luzhin's Defense”, S. Zweig's “Chess Novella”. The analysis of these “chess” texts reveals their semantic commonality with the film artistic organization. The setting objectives led to the useing of three research methods: the structural semiological, the intertextual and the hermeneutic methods of the filmtext research. The study found that the inner film semantic core includes the following oppositions: truth and lie; freedom and unfreedom; emptiness and fullness. Overall, A. Sthers playing a kind of “the glass bead game” party, in which she makes actual the Baroque artistic thinking, given the postmodern discourse experience and using associative links with a variety of culture periods and culture texts. The neo-Baroque character of the modern worldview is determined largely by the problems of human knowledge possibility limits, of the illusory nature of the hypothesis about the world that human consciousness constructs - the problems that were first put with the greatest clarity in the Baroque era. This same era affirms the universality of the moral world foundations, loyal
{"title":"Text-game: the cinema intertextuality as reflection of the epoch consciousness (the case of the Amanda Sthers's film “Madame”)","authors":"Ekaterina N. Egorova, N. Bedina, Anton A. Poluektov","doi":"10.17223/22220836/47/3","DOIUrl":"https://doi.org/10.17223/22220836/47/3","url":null,"abstract":"Rationale. Interest in the knowledge of the art language essence, the search for different models of its description and study are typical not only for modern science in general, but also for cognitive approach in culture studies in particular. This explains the publication relevance, that is expressed in the accumulative function of language and culture, connecting the outside world objects and human consciousness, providing a systematic and orderly reality image. The article aim is to objectify the problem of correlation between the understanding the real world principles and the modeling artistic reality principles on the example of the film “Madam” (2017) directed by A. Sthers. To reach this purpose is possible by the solution of such research objectives: - Analysis of the film intertextual nature, given the European cultural experience - from the medieval farces and Shakespeare's theatre to the postmodern novel, from the Leonardo da Vinci's frescoes to D. Buren's conceptualism. The key element of this cultural mosaic is the Baroque tradition with its gameful nature. - Designation of the author image status in the text: the film plays out the situation when the writer's artistic reflection goes beyond his individual consciousness, modeling the real situation and at the same time objectifying itself in the verbal text. There is a subtle image of the subjective process of the modeling “second reality” beneath the outwardly unpretentious comedy film plot. - Actualization the games category. The associations freedom and the wide scope of combining meanings constitute the Baroque combinational game essence - the game as the creative thought manifestation, as the human culture essence. There are surprisingly witty (in the Baroque sense) parallels with the L. Carroll's “Alice's Adventures in Wonderland” and “Through The Looking-Glass And What Alice Found There”, V. Nabokov's “Luzhin's Defense”, S. Zweig's “Chess Novella”. The analysis of these “chess” texts reveals their semantic commonality with the film artistic organization. The setting objectives led to the useing of three research methods: the structural semiological, the intertextual and the hermeneutic methods of the filmtext research. The study found that the inner film semantic core includes the following oppositions: truth and lie; freedom and unfreedom; emptiness and fullness. Overall, A. Sthers playing a kind of “the glass bead game” party, in which she makes actual the Baroque artistic thinking, given the postmodern discourse experience and using associative links with a variety of culture periods and culture texts. The neo-Baroque character of the modern worldview is determined largely by the problems of human knowledge possibility limits, of the illusory nature of the hypothesis about the world that human consciousness constructs - the problems that were first put with the greatest clarity in the Baroque era. This same era affirms the universality of the moral world foundations, loyal","PeriodicalId":41702,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta-Kulturologiya i Iskusstvovedenie-Tomsk State University Journal of Cultural Studies and Art History","volume":"55 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80803335","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 transition of the countries of the world to the sixth economic structure presupposes both socio-economic reforms and changes in the national culture, in which the orientation towards improving the quality of life, creativity and independence is more and more manifested. At the same time, traditions do not disappear. They are either synthesized with a new culture or coexist with its samples, often hindering the introduction of innovations. The purpose of the work is to determine the vectors of development of traditional and new cultures of the population living in the territory of the former USSR. The authors tried to answer the question of what determines the life of representatives of the soviet and post-soviet generations - archaic, modern, the coexistence of traditions and innovations or their synthesis. As part of the study, the characteristic manifestations of traditional and new cultures in society are highlighted, a methodological scheme for their study based on sociological data (based on the theoretical approaches of G. Hofstede) is developed, which is tested on the materials of representative questionnaires conducted by the authors in 2016 among the urban population of Vologda (408 people interviewed) and Yerevan (250 people interviewed). The analysis compared the opinions of representatives of two generations: youth (under 30 years old) and the older generation (over 55 years old). A qualitatively new result of the study was the original author's model of analysis of the manifestations of traditional and new cultures in society. It contains a set of sociological indicators corresponding to the typological features of culture (from the type of thinking that dominates in society to the attitude to social reality). Each of these indicators is distinguished by a different degree of manifestation in modern society and modern society. Based on the analysis of the results of these surveys, the mods of traditional culture (family values, attitude to material wealth, etc.), as well as new phenomena in public consciousness (Internet activity, concern for a healthy lifestyle, etc.) were identified. On the example of the Russian and Armenian population, the significance of the institution of the family and archetypes for the formation of life values is considered. The role of the young generation in the formation of the “new culture” and the older generation in preserving the pattern of “a simple Soviet man” is defined. In the conclusion, the interrelation of traditions and innovations in the life of Russian and Armenian societies is determined, the conditions for the synthesis of old and new samples of human life for the development of culture are clarified, the possible prospects of cultural genesis in the post-soviet space (tradation, countradrading, posttrading) are determined.
{"title":"Traditional and new culture in the post-soviet space: synthesis or coexistence?","authors":"G. Mkoyan, M. Golovchin","doi":"10.17223/22220836/47/9","DOIUrl":"https://doi.org/10.17223/22220836/47/9","url":null,"abstract":"The transition of the countries of the world to the sixth economic structure presupposes both socio-economic reforms and changes in the national culture, in which the orientation towards improving the quality of life, creativity and independence is more and more manifested. At the same time, traditions do not disappear. They are either synthesized with a new culture or coexist with its samples, often hindering the introduction of innovations. The purpose of the work is to determine the vectors of development of traditional and new cultures of the population living in the territory of the former USSR. The authors tried to answer the question of what determines the life of representatives of the soviet and post-soviet generations - archaic, modern, the coexistence of traditions and innovations or their synthesis. As part of the study, the characteristic manifestations of traditional and new cultures in society are highlighted, a methodological scheme for their study based on sociological data (based on the theoretical approaches of G. Hofstede) is developed, which is tested on the materials of representative questionnaires conducted by the authors in 2016 among the urban population of Vologda (408 people interviewed) and Yerevan (250 people interviewed). The analysis compared the opinions of representatives of two generations: youth (under 30 years old) and the older generation (over 55 years old). A qualitatively new result of the study was the original author's model of analysis of the manifestations of traditional and new cultures in society. It contains a set of sociological indicators corresponding to the typological features of culture (from the type of thinking that dominates in society to the attitude to social reality). Each of these indicators is distinguished by a different degree of manifestation in modern society and modern society. Based on the analysis of the results of these surveys, the mods of traditional culture (family values, attitude to material wealth, etc.), as well as new phenomena in public consciousness (Internet activity, concern for a healthy lifestyle, etc.) were identified. On the example of the Russian and Armenian population, the significance of the institution of the family and archetypes for the formation of life values is considered. The role of the young generation in the formation of the “new culture” and the older generation in preserving the pattern of “a simple Soviet man” is defined. In the conclusion, the interrelation of traditions and innovations in the life of Russian and Armenian societies is determined, the conditions for the synthesis of old and new samples of human life for the development of culture are clarified, the possible prospects of cultural genesis in the post-soviet space (tradation, countradrading, posttrading) are determined.","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":"84999424","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 is devoted to the formation spectator-child's identity problem by cinematography means. The authors rely on the social constructionism position. The position allows us to talk about the socio-cultural reality construction by cinematography means: about the creation of an artistic and symbolic world model. The values or ideology system guidelines developed within the framework of the USSR ideology and meeting the tasks socio-political, socio-economic structure is the model based. Cinematography, namely children's cinema, aimed at an educational role, broadcasts these attitudes, including the values of patriotism, diligence, collectivism, etc. In this way, the forming the child's identity (Soviet identity) process is “launched”. After the USSR collapse, cinematography develops under the globalization processes influence: there is a rejection of ideology and the spread of postmodern cultural values. The development of the information environment and the change in the socio-economic system dictate the development of a new language of cinema, which is becoming an actual research field. The expose of the child-viewer's constructing identity specifics on the basis of a comparative the Soviet era and modern Russia children's films is the study purpose according to the authors of the research. The study was conducted on the material of films with similar fairy tale plots, which are analyzed from the position of the following parameters: plot construction, the hero image, the expression used means, as well as the value-semantic attitudes of culture transmitted by the artistic and figurative film production system. The study showed, that modern cinema, unlike the USSR cinema, demonstrates a rejection of binary thinking, does not claim to be clear on the author's position and establish any final meaning of the work, refers to new topics (consumer society, feminism, power) and values (individualism, hedonism, priority of the material over the spiritual).The visual aspect prevails among artistic means to the detriment of the verbal and semantic aspects for a reason the digital culture and computer graphics development. A new socio-cultural reality is constructed, and, consequently, a new child identity in such a cinema space in this way. The “new viewer” is forced to navigate in the meanings multiple stream and images, relying on his own unstable experience.
{"title":"Identity construction in children's cinema: the experience of cinema in the USSR and the practice of modern Russia","authors":"O. V. Kniaziuk, V. V. Sennikova","doi":"10.17223/22220836/46/5","DOIUrl":"https://doi.org/10.17223/22220836/46/5","url":null,"abstract":"The article is devoted to the formation spectator-child's identity problem by cinematography means. The authors rely on the social constructionism position. The position allows us to talk about the socio-cultural reality construction by cinematography means: about the creation of an artistic and symbolic world model. The values or ideology system guidelines developed within the framework of the USSR ideology and meeting the tasks socio-political, socio-economic structure is the model based. Cinematography, namely children's cinema, aimed at an educational role, broadcasts these attitudes, including the values of patriotism, diligence, collectivism, etc. In this way, the forming the child's identity (Soviet identity) process is “launched”. After the USSR collapse, cinematography develops under the globalization processes influence: there is a rejection of ideology and the spread of postmodern cultural values. The development of the information environment and the change in the socio-economic system dictate the development of a new language of cinema, which is becoming an actual research field. The expose of the child-viewer's constructing identity specifics on the basis of a comparative the Soviet era and modern Russia children's films is the study purpose according to the authors of the research. The study was conducted on the material of films with similar fairy tale plots, which are analyzed from the position of the following parameters: plot construction, the hero image, the expression used means, as well as the value-semantic attitudes of culture transmitted by the artistic and figurative film production system. The study showed, that modern cinema, unlike the USSR cinema, demonstrates a rejection of binary thinking, does not claim to be clear on the author's position and establish any final meaning of the work, refers to new topics (consumer society, feminism, power) and values (individualism, hedonism, priority of the material over the spiritual).The visual aspect prevails among artistic means to the detriment of the verbal and semantic aspects for a reason the digital culture and computer graphics development. A new socio-cultural reality is constructed, and, consequently, a new child identity in such a cinema space in this way. The “new viewer” is forced to navigate in the meanings multiple stream and images, relying on his own unstable experience.","PeriodicalId":41702,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta-Kulturologiya i Iskusstvovedenie-Tomsk State University Journal of Cultural Studies and Art History","volume":"38 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84933764","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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