The father from us through the ages is the only truly original Russian philosopher Vladimir Sergeevich Solovyev (1853-1900) the greater his personality in all forms of his scientific works, publishing activity, citizen activism. A confusing picture of modern philosophy animated with multiple theories of Modernism and Postmodernism reflects diverse philosophical reception of the global world of sustainable development. A variety of philosophical discourses fosters latent aspiration for coherence, methodological discipline and authenticity which were clearly developed by Vladimir Sergeevich Solovyev. Therefore, Solovyev's works considering memory as a phenomenon in all diversity of its modes can become a kind of Plato's “second navigation” in countless philosophical wanderings. The aim of the article is to study the issue of memory in the works of the Russian philosopher Vladimir Sergeevich Solovyev. On the way to achieve the goal we must solve the next tasks: 1) review scientific publications presenting the major research trends of Vladimir Solovyev's work in Russia and abroad; 2) define the main scientific trends of philosophical understanding of memory on the basis of analysis of V.S. Solovyev's works (“Theoretical philosophy”, “Enigma of progress”, speeches dedicated to the memory of outstanding figures of Russian and world philosophy and culture, articles in an encyclopedia and obituaries); 3) prove the importance of the philosopher's ideas for analysis of memory in the times of “memorial boom”. The analysis showed that the issue of memory as socio-cultural, not only psychological phenomenon, was one of the main Vladimir Solovyev's philosophical receptions. He studied memory issues by reference to the main principles of philosophy of holistic knowledge: truth, the good, and beauty. Consequently, the main modes of memory research in V.S. Solovyev's works are presented in the article. We understand a mode as a property of an object, in our case memory, as something momentary, ever-changing, manifesting itself under some conditions and changing or disappearing under others. The modes of memory are considered in the article as: 1) a supertemporal, essential phenomenon, the basis for consciousness, conscientious, real union of Man and God; 2) eternal remembrance and, thereby, extension of Man's existence in memory; 3) communion with spiritual foundations of one's historical existence.
{"title":"Vladimir Solovyev: memory in the context of culture","authors":"O. Loyko","doi":"10.17223/22220836/45/6","DOIUrl":"https://doi.org/10.17223/22220836/45/6","url":null,"abstract":"The father from us through the ages is the only truly original Russian philosopher Vladimir Sergeevich Solovyev (1853-1900) the greater his personality in all forms of his scientific works, publishing activity, citizen activism. A confusing picture of modern philosophy animated with multiple theories of Modernism and Postmodernism reflects diverse philosophical reception of the global world of sustainable development. A variety of philosophical discourses fosters latent aspiration for coherence, methodological discipline and authenticity which were clearly developed by Vladimir Sergeevich Solovyev. Therefore, Solovyev's works considering memory as a phenomenon in all diversity of its modes can become a kind of Plato's “second navigation” in countless philosophical wanderings. The aim of the article is to study the issue of memory in the works of the Russian philosopher Vladimir Sergeevich Solovyev. On the way to achieve the goal we must solve the next tasks: 1) review scientific publications presenting the major research trends of Vladimir Solovyev's work in Russia and abroad; 2) define the main scientific trends of philosophical understanding of memory on the basis of analysis of V.S. Solovyev's works (“Theoretical philosophy”, “Enigma of progress”, speeches dedicated to the memory of outstanding figures of Russian and world philosophy and culture, articles in an encyclopedia and obituaries); 3) prove the importance of the philosopher's ideas for analysis of memory in the times of “memorial boom”. The analysis showed that the issue of memory as socio-cultural, not only psychological phenomenon, was one of the main Vladimir Solovyev's philosophical receptions. He studied memory issues by reference to the main principles of philosophy of holistic knowledge: truth, the good, and beauty. Consequently, the main modes of memory research in V.S. Solovyev's works are presented in the article. We understand a mode as a property of an object, in our case memory, as something momentary, ever-changing, manifesting itself under some conditions and changing or disappearing under others. The modes of memory are considered in the article as: 1) a supertemporal, essential phenomenon, the basis for consciousness, conscientious, real union of Man and God; 2) eternal remembrance and, thereby, extension of Man's existence in memory; 3) communion with spiritual foundations of one's historical existence.","PeriodicalId":41702,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta-Kulturologiya i Iskusstvovedenie-Tomsk State University Journal of Cultural Studies and Art History","volume":"120 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90394421","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 authors of the article address the problem of organization of Karl Marx Street in the historic center of Krasnoyarsk as an open public space, located in the cultural heritage objects influence zone. The focus of this article is on the historic part of the street. The relevance of the study is due to several factors. Firstly, Karl Marx Street is a connecting communication axis, uniting territories of such significant and large public spaces as: Red Square, Central Park, Historical Quarter, Revolution Square, Peace Square and part of the central embankment. In this regard, the street is considered as a linear recreation, adjoined by the largest open recreational areas of the historic center of Krasnoyarsk which also form its view. Secondly, Karl Marx Street houses objects of cultural heritage. There is a clear need for further development and improvement of Karl Marx Street as a connecting pedestrian axis between historically significant spaces and objects of cultural heritage. The purpose of the study is to identify the peculiarities of Karl Marx Street formation in the historic center of Krasnoyarsk and develop recommendations for making additions to the regulation of special use zones related to cultural heritage protection. In the course of the study the following results were achieved. 1) Three largest conventional culturally-significant open public spaces adjacent to Karl Marx Street with were identified by analyzing the interactive map of Krasnoyarsk called “Special Use Zones related to the protection of cultural heritage objects”. 2) The current condition of the street was assessed on the basis of analysis of photofixation. 3) Historical documents containing information on lost objects of cultural heritage and the stages of formation of Karl Marx Street were analyzed. 4) The following documents on the regulation of Special Use zones related to the protection of objects of cultural heritage were analyzed: “Government Decree of the Krasnoyarsk Region № 569-p dated 15.11.2016”. “On the Approval of the Boundaries of Protection Zones of Cultural Heritage Objects of Federal, Regional and Local (Municipal) Importance, Located in Krasnoyarsk, Special Regimes of Land Use and Requirements for Urban Planning Regulations Within the Boundaries of These Protection Zones”; Order of the Krasnoyarsk Region State Protection of Cultural Heritage Objects № 487 from 05.10.2020 “On the Approval of Boundaries and Regime of Use of the Cultural Heritage Object Territory”; Order of the Krasnoyarsk Region Ministry of Culture № 314 dated 01.07.2013. The influence of these documents extends within the boundaries of the three conditionally designated locations and along Karl Marx Street in the historic center. The recommendations on the formation and improvement of Karl Marx Street proposed by the authors can be considered the main result of the study. On the basis of these recommendations the authors propose to make additions to the regulation of areas with special
{"title":"Peculiarities of Karl Marx street formation in the historic center of Krasnoyarsk city","authors":"Iana V. Osadchai, M. V. Saveliev, N. Unagaeva","doi":"10.17223/22220836/46/18","DOIUrl":"https://doi.org/10.17223/22220836/46/18","url":null,"abstract":"The authors of the article address the problem of organization of Karl Marx Street in the historic center of Krasnoyarsk as an open public space, located in the cultural heritage objects influence zone. The focus of this article is on the historic part of the street. The relevance of the study is due to several factors. Firstly, Karl Marx Street is a connecting communication axis, uniting territories of such significant and large public spaces as: Red Square, Central Park, Historical Quarter, Revolution Square, Peace Square and part of the central embankment. In this regard, the street is considered as a linear recreation, adjoined by the largest open recreational areas of the historic center of Krasnoyarsk which also form its view. Secondly, Karl Marx Street houses objects of cultural heritage. There is a clear need for further development and improvement of Karl Marx Street as a connecting pedestrian axis between historically significant spaces and objects of cultural heritage. The purpose of the study is to identify the peculiarities of Karl Marx Street formation in the historic center of Krasnoyarsk and develop recommendations for making additions to the regulation of special use zones related to cultural heritage protection. In the course of the study the following results were achieved. 1) Three largest conventional culturally-significant open public spaces adjacent to Karl Marx Street with were identified by analyzing the interactive map of Krasnoyarsk called “Special Use Zones related to the protection of cultural heritage objects”. 2) The current condition of the street was assessed on the basis of analysis of photofixation. 3) Historical documents containing information on lost objects of cultural heritage and the stages of formation of Karl Marx Street were analyzed. 4) The following documents on the regulation of Special Use zones related to the protection of objects of cultural heritage were analyzed: “Government Decree of the Krasnoyarsk Region № 569-p dated 15.11.2016”. “On the Approval of the Boundaries of Protection Zones of Cultural Heritage Objects of Federal, Regional and Local (Municipal) Importance, Located in Krasnoyarsk, Special Regimes of Land Use and Requirements for Urban Planning Regulations Within the Boundaries of These Protection Zones”; Order of the Krasnoyarsk Region State Protection of Cultural Heritage Objects № 487 from 05.10.2020 “On the Approval of Boundaries and Regime of Use of the Cultural Heritage Object Territory”; Order of the Krasnoyarsk Region Ministry of Culture № 314 dated 01.07.2013. The influence of these documents extends within the boundaries of the three conditionally designated locations and along Karl Marx Street in the historic center. The recommendations on the formation and improvement of Karl Marx Street proposed by the authors can be considered the main result of the study. On the basis of these recommendations the authors propose to make additions to the regulation of areas with special","PeriodicalId":41702,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta-Kulturologiya i Iskusstvovedenie-Tomsk State University Journal of Cultural Studies and Art History","volume":"20 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80740411","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}
{"title":"Books exhibition in Saint-Petersbur: from Siberia to northen capital","authors":"L. Korobeynikova, Audra-Kristina I. Zabulionite","doi":"10.17223/22220836/45/21","DOIUrl":"https://doi.org/10.17223/22220836/45/21","url":null,"abstract":"","PeriodicalId":41702,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta-Kulturologiya i Iskusstvovedenie-Tomsk State University Journal of Cultural Studies and Art History","volume":"112 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76795053","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 philosophical analysis of the problem of the musical language as a system of special symbolism from the period of the birth of individual composer creativity to the period of the New Time described in the article. This is the first part of the theoretical interpretation of the history of musical symbolism. The philosophical and aesthetic interpretation of the sign structures of the musical language considered to be presented in the context of the evolutionary and historical development on the basis of the methodology of semiosis analysis. Composer's creativity is based on certain techniques and innovative experiments, sometimes on mathematical calculations or on the improvement of existing techniques. Beginning approximately from the 11th-14th centuries, when individual composer creativity was born, and in the epoch of the 17th-20th centuries, reaching its apogee, European composer music produced the highest examples of opus music. This is an autonomous art that sets laws for itself and does not require meaningful injections from the outside - religion or philosophy, from a household or ritual situation, from the lifestyle or everyday experiences of people. The system of autonomous opus music of the twentieth century represents, on the one hand, the absolutization of the artistic specification of the art of sounds, and on the other, the fragility and vulnerability of creativity, isolation from life concreteness or from symbols included in traditional ceremonies, ceremonies, cult life, which often alienates professional opus music from the mass audience makes it incomprehensible and inaccessible. Since music and its language have a sign-symbolic nature, the process of semiosis is the mechanism by which decoding of musical symbolism is possible. Therefore, we are talking about the philosophy of musical semiosis as a process of understanding musical significance in the context of its evolution from its inception to the present day. Musical semiosis is the process of interpreting and structuring musical signs and symbols, as a result of which the open space of human emotions and sense-values is generated. A semi-musical form of musical thinking arises in terms of symbolic and symbolic meaning-making and is a mental construction, interpretation and understanding of musical signs.
{"title":"Philosophical and semiotic analysis of the musical sign of the period of the XVII - ХХ century","authors":"Elena A. Kapichina","doi":"10.17223/22220836/47/15","DOIUrl":"https://doi.org/10.17223/22220836/47/15","url":null,"abstract":"The philosophical analysis of the problem of the musical language as a system of special symbolism from the period of the birth of individual composer creativity to the period of the New Time described in the article. This is the first part of the theoretical interpretation of the history of musical symbolism. The philosophical and aesthetic interpretation of the sign structures of the musical language considered to be presented in the context of the evolutionary and historical development on the basis of the methodology of semiosis analysis. Composer's creativity is based on certain techniques and innovative experiments, sometimes on mathematical calculations or on the improvement of existing techniques. Beginning approximately from the 11th-14th centuries, when individual composer creativity was born, and in the epoch of the 17th-20th centuries, reaching its apogee, European composer music produced the highest examples of opus music. This is an autonomous art that sets laws for itself and does not require meaningful injections from the outside - religion or philosophy, from a household or ritual situation, from the lifestyle or everyday experiences of people. The system of autonomous opus music of the twentieth century represents, on the one hand, the absolutization of the artistic specification of the art of sounds, and on the other, the fragility and vulnerability of creativity, isolation from life concreteness or from symbols included in traditional ceremonies, ceremonies, cult life, which often alienates professional opus music from the mass audience makes it incomprehensible and inaccessible. Since music and its language have a sign-symbolic nature, the process of semiosis is the mechanism by which decoding of musical symbolism is possible. Therefore, we are talking about the philosophy of musical semiosis as a process of understanding musical significance in the context of its evolution from its inception to the present day. Musical semiosis is the process of interpreting and structuring musical signs and symbols, as a result of which the open space of human emotions and sense-values is generated. A semi-musical form of musical thinking arises in terms of symbolic and symbolic meaning-making and is a mental construction, interpretation and understanding of musical signs.","PeriodicalId":41702,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta-Kulturologiya i Iskusstvovedenie-Tomsk State University Journal of Cultural Studies and Art History","volume":"4 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75851909","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 presents the analysis of the program of monumental painting of Pokrovsky Cathedral of the city of Barnaul. The need in the detailed analysis of paintings of the temple lies is explained by the fact of their unsatisfactory state. Especially it can be seen in the southern nave where some of the images have been strongly damaged. The analysis was carried out from the point of view of an hierotopy - the concept of the organization of sacral spaces. The studies of the spatial imagery of the temple was carried out at three levels: the theological idea of the temple, the substantial plan of the images, and definite factors, such as customer's wishes, the value of church, samples for iconic imitation. The time of formation of the isographic ensemble of Pokrovsky Cathedral of the city of Barnaul, the periods of reconstruction and renewal of separate picturesque elements and compositions is designated. It is established that a considerable part of picturesque fund of the temple represents the imitational works of the Russian orthodox isographists of the second half of the 19th century, in particular, of painters of a Vasnetsov's circle. Religious plots intertwine with historical events, creating the complete art ensemble representing narrative icon-ographic space. During the research the scheme of the placement of the paintings of Pokrovsky Cathedral of the city of Barnaul has been made. According to the narrative-theological logic, the programs of monumental painting of three naves - Central, Southern and Northern and also the altar niches - an altar, consecrated in the memory of of the miracle of the Protection of the Theotokos, a side-altar of the Saint Great martyr Panteleymon and a side-altar of the Saint Blessed prince Alexander Nevsky are described (nowadays the Icon of the Mother of God “Consolation of All Who Sorrow”). The semantic, the liturgical and the theological loading of each site of isographic ensemble of the temple is defined. Paintings of the arch, walls and columns are described. The key motives which have formed the basis of each isographic program are designated. The space of the central nave is devoted to the history of Russian Orthodox Church, the Southern nave narrates about the events of the Manifestation of Christ to His disciples. Communication of separate art elements with the theurgical project of the temple as with the spatial icon, their correlation, creating complex isographic “sounding” which, in turn, defines the dynamics of the liturgical action is revealed. The hi-erotopical analysis in studying of art and liturgical space of the temple will help as with the restoration of orthodox church art culture, and with the creation of new harmonious theurgi-cal systems in construction of new temples.
{"title":"The program of painting of the pokrovsky cathedral of barnaul as a part of the hierotopical project Visual practices in the activities of Tomsk urban ecocommunities","authors":"Yuri A. Kreydun, Vladislav V. Pasechnyk","doi":"10.17223/22220836/45/13","DOIUrl":"https://doi.org/10.17223/22220836/45/13","url":null,"abstract":"The article presents the analysis of the program of monumental painting of Pokrovsky Cathedral of the city of Barnaul. The need in the detailed analysis of paintings of the temple lies is explained by the fact of their unsatisfactory state. Especially it can be seen in the southern nave where some of the images have been strongly damaged. The analysis was carried out from the point of view of an hierotopy - the concept of the organization of sacral spaces. The studies of the spatial imagery of the temple was carried out at three levels: the theological idea of the temple, the substantial plan of the images, and definite factors, such as customer's wishes, the value of church, samples for iconic imitation. The time of formation of the isographic ensemble of Pokrovsky Cathedral of the city of Barnaul, the periods of reconstruction and renewal of separate picturesque elements and compositions is designated. It is established that a considerable part of picturesque fund of the temple represents the imitational works of the Russian orthodox isographists of the second half of the 19th century, in particular, of painters of a Vasnetsov's circle. Religious plots intertwine with historical events, creating the complete art ensemble representing narrative icon-ographic space. During the research the scheme of the placement of the paintings of Pokrovsky Cathedral of the city of Barnaul has been made. According to the narrative-theological logic, the programs of monumental painting of three naves - Central, Southern and Northern and also the altar niches - an altar, consecrated in the memory of of the miracle of the Protection of the Theotokos, a side-altar of the Saint Great martyr Panteleymon and a side-altar of the Saint Blessed prince Alexander Nevsky are described (nowadays the Icon of the Mother of God “Consolation of All Who Sorrow”). The semantic, the liturgical and the theological loading of each site of isographic ensemble of the temple is defined. Paintings of the arch, walls and columns are described. The key motives which have formed the basis of each isographic program are designated. The space of the central nave is devoted to the history of Russian Orthodox Church, the Southern nave narrates about the events of the Manifestation of Christ to His disciples. Communication of separate art elements with the theurgical project of the temple as with the spatial icon, their correlation, creating complex isographic “sounding” which, in turn, defines the dynamics of the liturgical action is revealed. The hi-erotopical analysis in studying of art and liturgical space of the temple will help as with the restoration of orthodox church art culture, and with the creation of new harmonious theurgi-cal systems in construction of new temples.","PeriodicalId":41702,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta-Kulturologiya i Iskusstvovedenie-Tomsk State University Journal of Cultural Studies and Art History","volume":"20 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75023767","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 scientific article is devoted the investigation of the most actual questions concerning distance educational form into the light of the specialized training disciplines a namely „Ensemble” and „Special class”. The author has approved that the problem of distance educational form in relation to underlined musical subjects is maximally indicated their practical nature, what have had presentation in the professional communicative sensation of general (simultaneous) performing act, in the process for development and correlation of musician's performing apparatus, in detail-hearing comprehension of particularity for artistic musically-expressive means a namely timbre and attack of sound, traits and articulation, strong and dynamic of instrument (vocal) sounding. The importance of introduction to the contemporary educational process the mixed thematic-integrated learning, specifically the synthesis of distance and full-time educational forms. This interaction must be in the presence of academic musical compositions solo at the training repertoires, specialized musical pieces that were written by vocational composer for playing only one performer-soloist (instrumentalist, vocalist). It is necessary to emphasize that maximally active, result way for keep qualitative high level of creatively artistic practice, musical lessons into the special class (wind wood and brass, drums, vocal, string-bowed, string-plucked specializations) is creative appeal of contemporary pedagogue-musicians to the academic compositions, that were written by authors in to performing form solo, namely the address to masterpieces for performing only one artist-soloist. These academic stagesingle musical pieces are artistically self-sufficient, at the same time, this kind compositions are performed by musician without fortepiano. The pieces of music solo absorb by the power of composer's talent, artistic thoughts the excellently most potential of artistically expressive possibilities, intonation sounding means one or another instrument (voice) - chord sounding (monophonic instruments), microinterval (microchromatics), sound oscillation, playing with four mallets, hidden polyphony and others. This type of compositions (music solo) will be giving the distance professional development of artistically expressive means for student's practice, the formation of independence concerning artistically imaginative thinking of pupils, as well as the upbringing of academic ensemble performing skills among contemporary students.
{"title":"Distance learning for specialized musical disciplines: problems and the ways of solution","authors":"V. Hromchenko","doi":"10.17223/22220836/45/11","DOIUrl":"https://doi.org/10.17223/22220836/45/11","url":null,"abstract":"The scientific article is devoted the investigation of the most actual questions concerning distance educational form into the light of the specialized training disciplines a namely „Ensemble” and „Special class”. The author has approved that the problem of distance educational form in relation to underlined musical subjects is maximally indicated their practical nature, what have had presentation in the professional communicative sensation of general (simultaneous) performing act, in the process for development and correlation of musician's performing apparatus, in detail-hearing comprehension of particularity for artistic musically-expressive means a namely timbre and attack of sound, traits and articulation, strong and dynamic of instrument (vocal) sounding. The importance of introduction to the contemporary educational process the mixed thematic-integrated learning, specifically the synthesis of distance and full-time educational forms. This interaction must be in the presence of academic musical compositions solo at the training repertoires, specialized musical pieces that were written by vocational composer for playing only one performer-soloist (instrumentalist, vocalist). It is necessary to emphasize that maximally active, result way for keep qualitative high level of creatively artistic practice, musical lessons into the special class (wind wood and brass, drums, vocal, string-bowed, string-plucked specializations) is creative appeal of contemporary pedagogue-musicians to the academic compositions, that were written by authors in to performing form solo, namely the address to masterpieces for performing only one artist-soloist. These academic stagesingle musical pieces are artistically self-sufficient, at the same time, this kind compositions are performed by musician without fortepiano. The pieces of music solo absorb by the power of composer's talent, artistic thoughts the excellently most potential of artistically expressive possibilities, intonation sounding means one or another instrument (voice) - chord sounding (monophonic instruments), microinterval (microchromatics), sound oscillation, playing with four mallets, hidden polyphony and others. This type of compositions (music solo) will be giving the distance professional development of artistically expressive means for student's practice, the formation of independence concerning artistically imaginative thinking of pupils, as well as the upbringing of academic ensemble performing skills among contemporary students.","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":"85227945","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 dedicated to studying the oneiric text of S. Krzhizhanovsky’s novel “Sideline.” The topicality of the research is due to modern literary criticism interest in examining various aspects of artistic hypnology of Russian writers, as well as studying the works of “returned” authors, including S. Krzhizhanovsky. The realization specifics of the structural model of the literary dream in question can be presented as the following scheme: unconscious falling asleep – dream-journey – awakening by falling down. Different variants of artistic implementation of the main metaphors connected with dreaming are analyzed: “dream-life” in the image of briefcase-cushion and the image of “million-brained” dream of equality and brotherhood; “dream-death” in the image of the leader of a dream world, with the prevalence of thanatological vocabulary in the description of the city of dreams. The ways of imitating the space of real dreaming in the oneiric text of the novel are studied: awakening by falling, sudden muteness of characters, sudden change of location, etc. Also, the specifics of using the plot device of an unannounced dream is considered contributing to the illusion of “reality” of everything that happens to the character in the city of dreams. An attempt is made to consider the oneirotop of the novel in terms of classification by genre and function, plot and composition, images and esthetics and characters, as well as artistic functions of dreams in the literature (plot function, psychological function, idea, and symbolic function). The oneiric text of Krzhizhanosky’s novel “Sideline” is viewed as an artistic realization of the author’s original idea of the subconscious, dreamy origin of a communist utopia.
{"title":"Poetics of literary dream in Sigizmund Krzhizhanovsky’s novel “Sideline”","authors":"M. A. Lipina","doi":"10.17223/18137083/74/10","DOIUrl":"https://doi.org/10.17223/18137083/74/10","url":null,"abstract":"The paper is dedicated to studying the oneiric text of S. Krzhizhanovsky’s novel “Sideline.” The topicality of the research is due to modern literary criticism interest in examining various aspects of artistic hypnology of Russian writers, as well as studying the works of “returned” authors, including S. Krzhizhanovsky. The realization specifics of the structural model of the literary dream in question can be presented as the following scheme: unconscious falling asleep – dream-journey – awakening by falling down. Different variants of artistic implementation of the main metaphors connected with dreaming are analyzed: “dream-life” in the image of briefcase-cushion and the image of “million-brained” dream of equality and brotherhood; “dream-death” in the image of the leader of a dream world, with the prevalence of thanatological vocabulary in the description of the city of dreams. The ways of imitating the space of real dreaming in the oneiric text of the novel are studied: awakening by falling, sudden muteness of characters, sudden change of location, etc. Also, the specifics of using the plot device of an unannounced dream is considered contributing to the illusion of “reality” of everything that happens to the character in the city of dreams. An attempt is made to consider the oneirotop of the novel in terms of classification by genre and function, plot and composition, images and esthetics and characters, as well as artistic functions of dreams in the literature (plot function, psychological function, idea, and symbolic function). The oneiric text of Krzhizhanosky’s novel “Sideline” is viewed as an artistic realization of the author’s original idea of the subconscious, dreamy origin of a communist utopia.","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":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74867101","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}
Regional film festivals are part of the film process and play a special role in the formation and preservation of national and cultural identity. The author of the article refers to the regional children's cinema festival. This topic is relevant because children's filmmaking is given very little attention in the space of contemporary culture (These are films made by the children themselves). We characterize this cinema as the artistic practice of “small cinema with great meaning”. The purpose of research – to identify the specific features of the cinema, as a product of children's creativity. In the course of the work, the following tasks were solved. Firstly, the features of the organization of children's film festivals and educational film studios (in Tomsk region) were studied. Secondly, an analysis of the artistic and imaginative specificity of children's cinema is given. The study was conducted on the material Children's Film Festival "Bronze Knight", the children's film studio "On a cloud" (Tomsk). Our research has shown that the experience of the regions demonstrates the success of the institutionalization of the practices of children's film-making in the format of film festivals, as well as in the form of organizing film schools. At the same time, an important organizational feature is the set guidelines for children's creativity. There are content priority setting; the need to determine value-semantic guidelines, attention to professional training; emphasis on the development of creativity, etc. Analysis of children's films, presented at the International Film Festival "Bronze Knight", enabled us to identify the characteristics of their artistic-figurative system. On the one hand, there is an orientation toward the Soviet film tradition with its distinct guidelines for the transmission of cultural value-semantic attitudes and special aesthetics. This is manifested, firstly, in themes, plots and heroes (humanistic values are glorified, respect for each other and love for their homeland, people and culture are instilled; a positive hero striving for good deeds; the presence of creative and instructive elements, a craving for intellectuality); secondly, in artistic aesthetics (close-ups, landscape photography; foreshortening; even rhythm, experiments with color: sepia, aged shots). On the other hand, there is an appeal to the modern cinema language, with its priority attention to visual effects, dynamics of frames and rhythm, including youth discourse (slang, neologisms). On the other hand, there is an appeal to the modern cinema language, with its priority attention to visual effects, dynamics and rhythm, including youth discourse (slang, neologisms). Thus, it should be noted that the ideological core of the artistic and imaginative system of children's films is based on the traditions of Russian cinema aesthetics, while maintaining a craving for intellectuality and spiritual and moral themes, while the visual embodiment combines the tradi
{"title":"TOMSK CHILDREN'S AND YOUTH FILM FESTIVALS AND STUDIOS: THE EXPERIENCE OF CHILDREN AND YOUTH CINEMA REVIVAL","authors":"V. V. Sennikova","doi":"10.17223/22220836/43/9","DOIUrl":"https://doi.org/10.17223/22220836/43/9","url":null,"abstract":"Regional film festivals are part of the film process and play a special role in the formation and preservation of national and cultural identity. The author of the article refers to the regional children's cinema festival. This topic is relevant because children's filmmaking is given very little attention in the space of contemporary culture (These are films made by the children themselves). We characterize this cinema as the artistic practice of “small cinema with great meaning”. The purpose of research – to identify the specific features of the cinema, as a product of children's creativity. In the course of the work, the following tasks were solved. Firstly, the features of the organization of children's film festivals and educational film studios (in Tomsk region) were studied. Secondly, an analysis of the artistic and imaginative specificity of children's cinema is given. The study was conducted on the material Children's Film Festival \"Bronze Knight\", the children's film studio \"On a cloud\" (Tomsk). Our research has shown that the experience of the regions demonstrates the success of the institutionalization of the practices of children's film-making in the format of film festivals, as well as in the form of organizing film schools. At the same time, an important organizational feature is the set guidelines for children's creativity. There are content priority setting; the need to determine value-semantic guidelines, attention to professional training; emphasis on the development of creativity, etc. Analysis of children's films, presented at the International Film Festival \"Bronze Knight\", enabled us to identify the characteristics of their artistic-figurative system. On the one hand, there is an orientation toward the Soviet film tradition with its distinct guidelines for the transmission of cultural value-semantic attitudes and special aesthetics. This is manifested, firstly, in themes, plots and heroes (humanistic values are glorified, respect for each other and love for their homeland, people and culture are instilled; a positive hero striving for good deeds; the presence of creative and instructive elements, a craving for intellectuality); secondly, in artistic aesthetics (close-ups, landscape photography; foreshortening; even rhythm, experiments with color: sepia, aged shots). On the other hand, there is an appeal to the modern cinema language, with its priority attention to visual effects, dynamics of frames and rhythm, including youth discourse (slang, neologisms). On the other hand, there is an appeal to the modern cinema language, with its priority attention to visual effects, dynamics and rhythm, including youth discourse (slang, neologisms). Thus, it should be noted that the ideological core of the artistic and imaginative system of children's films is based on the traditions of Russian cinema aesthetics, while maintaining a craving for intellectuality and spiritual and moral themes, while the visual embodiment combines the tradi","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":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74970107","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}
{"title":"KIMEEV VALERY MAKAROVICH - HISTORIAN, ETHNOGRAPHER, MUSEOLOGIST (21.10.1952–04.01.2021)","authors":"N. Belousova, L. Z. Bogolepova, L. Kitova","doi":"10.17223/22220836/42/28","DOIUrl":"https://doi.org/10.17223/22220836/42/28","url":null,"abstract":"","PeriodicalId":41702,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta-Kulturologiya i Iskusstvovedenie-Tomsk State University Journal of Cultural Studies and Art History","volume":"54 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79250981","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}
Quest is an increasingly popular form of holding events in modern libraries. The quest allows readers to develop general cultural and professional competencies, teamwork skills, creative interaction, and quick decision-making. This form of work is used to acquaint readers with the library, its structure and resources; to help students in mastering academic disciplines; to present information on any topic in an attractive and innovative format. Quests help to develop interest in reading, creativity of local authors, local history research, environmental protection. During the game, participants solve logical problems, search for the necessary information, learn to work with information resources. The quest allows you to master new material in an easy and interesting way, to master any new skill. In addition, the form of the quest corresponds to the way of thinking of the modern young generation. The use of quests in educational activities is due to the fact that this technology provides for a quick switch of attention, efficiency, change of tasks. The purpose of the conducted research: systematization and analysis of the practice of using quests in the libraries of Tomsk, identification of positive experience, determination of the prospects for using this form of work with readers. The experience of the Scientific Library of Tomsk State University, Tomsk Regional Universal Scientific Library named after A.S. Pushkin, Tomsk Regional Children's and Youth Library, Municipal Information Library System of Tomsk was analyzed. The source base was analytical reports of libraries and news information posted on their websites.
{"title":"QUEST AS A FORM OF WORK WITH READERS (ON THE EXAMPLE OF TOMSK LIBRARIES)","authors":"Kristina A. Kuzoro, M. Zhukova","doi":"10.17223/22220836/43/25","DOIUrl":"https://doi.org/10.17223/22220836/43/25","url":null,"abstract":"Quest is an increasingly popular form of holding events in modern libraries. The quest allows readers to develop general cultural and professional competencies, teamwork skills, creative interaction, and quick decision-making. This form of work is used to acquaint readers with the library, its structure and resources; to help students in mastering academic disciplines; to present information on any topic in an attractive and innovative format. Quests help to develop interest in reading, creativity of local authors, local history research, environmental protection. During the game, participants solve logical problems, search for the necessary information, learn to work with information resources. The quest allows you to master new material in an easy and interesting way, to master any new skill. In addition, the form of the quest corresponds to the way of thinking of the modern young generation. The use of quests in educational activities is due to the fact that this technology provides for a quick switch of attention, efficiency, change of tasks. The purpose of the conducted research: systematization and analysis of the practice of using quests in the libraries of Tomsk, identification of positive experience, determination of the prospects for using this form of work with readers. The experience of the Scientific Library of Tomsk State University, Tomsk Regional Universal Scientific Library named after A.S. Pushkin, Tomsk Regional Children's and Youth Library, Municipal Information Library System of Tomsk was analyzed. The source base was analytical reports of libraries and news information posted on their websites.","PeriodicalId":41702,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta-Kulturologiya i Iskusstvovedenie-Tomsk State University Journal of Cultural Studies and Art History","volume":"91 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84394241","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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