Pub Date : 2023-08-01DOI: 10.7256/2454-0757.2023.8.43702
Xingqian Wang
The art of traditional painting and ceramic painting in China has a long tradition, in particular in understanding the role of color in the compositional and semantic structure. The principles of creating a color image have long been associated with national peculiarities of perception of shades and their combinations, as well as philosophical ideas. Technological features and properties of glazes imposed certain restrictions on the use of expressive possibilities of color by Chinese ceramic artists. The object of this research is the works of Chinese painting and ceramics, the subject is the principles of color formation in these arts. Particular attention is paid to identifying similarities in approaches to color transfer in paintings and ceramics. The author's special contribution to the study of the problem is an attempt to characterize and compare the role of color in the art of Chinese painting and ceramic painting. The article defines a number of general principles of correlation and harmonization of colors in the two arts. The traditions of the color formation of works of various epochs are traced, the peculiarities of their evolution are established, the colors characteristic of painting and painting ceramics of different historical periods are revealed. The article examines the essence and symbolism of different colors, which are based on national philosophical and cultural ideas. The conclusion is made about the significance of the color image and color formation for the works of ceramics and painting in China.
{"title":"Principles of color formation in Chinese painting and ceramic painting","authors":"Xingqian Wang","doi":"10.7256/2454-0757.2023.8.43702","DOIUrl":"https://doi.org/10.7256/2454-0757.2023.8.43702","url":null,"abstract":"\u0000 The art of traditional painting and ceramic painting in China has a long tradition, in particular in understanding the role of color in the compositional and semantic structure. The principles of creating a color image have long been associated with national peculiarities of perception of shades and their combinations, as well as philosophical ideas. Technological features and properties of glazes imposed certain restrictions on the use of expressive possibilities of color by Chinese ceramic artists. The object of this research is the works of Chinese painting and ceramics, the subject is the principles of color formation in these arts. Particular attention is paid to identifying similarities in approaches to color transfer in paintings and ceramics. The author's special contribution to the study of the problem is an attempt to characterize and compare the role of color in the art of Chinese painting and ceramic painting. The article defines a number of general principles of correlation and harmonization of colors in the two arts. The traditions of the color formation of works of various epochs are traced, the peculiarities of their evolution are established, the colors characteristic of painting and painting ceramics of different historical periods are revealed. The article examines the essence and symbolism of different colors, which are based on national philosophical and cultural ideas. The conclusion is made about the significance of the color image and color formation for the works of ceramics and painting in China.\u0000","PeriodicalId":437937,"journal":{"name":"Философия и культура","volume":"33 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129799365","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-01DOI: 10.7256/2454-0757.2023.7.39268
Katarina Sergeevna Vereshchagina
The relevance of the research is due to the fact that the musical and folklore heritage of V. F. Odoevsky is of great value for modern musicology, since it contains many unique recordings of Russian folk songs and songs of 26 other ethnic groups. V. F. Odoevsky is the first folklorist who recorded song folklore in a scientific way. His recordings are the first reliable examples of folklore in the history of Russian musicology. At the same time, the archives of V. F. Odoevsky are practically not studied. The article examines the publications of B. B. Granovsky, since this scientist has been deciphering materials from the archive of V. F. Odoevsky for many years and introducing them into scientific circulation. The article considers that these publications reveal the style of the scientific method of V. F. Odoevsky, which is of great value in the study of the history and development of Russian ethnomusicology. Thanks to the works of B. B. Granovsky, rare songs of the peoples of Russia, which were recorded by V. F. Odoevsky, have been studied. In addition, the article shows that B. B. Granovsky not only deciphered many archival recordings of V. F. Odoevsky, but also published them in a musical collection of Russian folk songs.
研究的相关性在于，v·f·奥多耶夫斯基的音乐和民俗遗产对现代音乐学具有重要价值，因为它包含了许多独特的俄罗斯民歌和其他26个民族的歌曲录音。奥多耶夫斯基是第一个以科学的方式记录歌曲民俗学的民俗学家。他的录音是俄罗斯音乐史上第一个可靠的民间传说的例子。与此同时，v·f·奥多耶夫斯基的档案几乎没有被研究过。本文考察了B. B. Granovsky的出版物，因为这位科学家多年来一直在破译V. F. Odoevsky档案中的材料，并将它们引入科学流通。文章认为，这些著作体现了奥多耶夫斯基的科学方法风格，对研究俄罗斯民族音乐学的历史和发展具有重要价值。由于B. B. Granovsky的作品，对V. F. Odoevsky记录的俄罗斯各族人民的稀有歌曲进行了研究。此外，文章还表明，B. B. Granovsky不仅破译了V. F. Odoevsky的许多档案录音，而且还将其出版在一本俄罗斯民歌音乐合集中。
{"title":"The Significance of B. B. Granovsky's Activity in the Study of Song Folklore from the Archive of V. F. Odoevsky (to the 100th Anniversary of the Birth of B. B. Granovsky)","authors":"Katarina Sergeevna Vereshchagina","doi":"10.7256/2454-0757.2023.7.39268","DOIUrl":"https://doi.org/10.7256/2454-0757.2023.7.39268","url":null,"abstract":"\u0000 The relevance of the research is due to the fact that the musical and folklore heritage of V. F. Odoevsky is of great value for modern musicology, since it contains many unique recordings of Russian folk songs and songs of 26 other ethnic groups. V. F. Odoevsky is the first folklorist who recorded song folklore in a scientific way. His recordings are the first reliable examples of folklore in the history of Russian musicology. At the same time, the archives of V. F. Odoevsky are practically not studied. The article examines the publications of B. B. Granovsky, since this scientist has been deciphering materials from the archive of V. F. Odoevsky for many years and introducing them into scientific circulation. The article considers that these publications reveal the style of the scientific method of V. F. Odoevsky, which is of great value in the study of the history and development of Russian ethnomusicology. Thanks to the works of B. B. Granovsky, rare songs of the peoples of Russia, which were recorded by V. F. Odoevsky, have been studied. In addition, the article shows that B. B. Granovsky not only deciphered many archival recordings of V. F. Odoevsky, but also published them in a musical collection of Russian folk songs.\u0000","PeriodicalId":437937,"journal":{"name":"Философия и культура","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126967441","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-01DOI: 10.7256/2454-0757.2023.7.43479
L. Mysovskikh
In the article, through the prism of the existential philosophy of S. Kierkegaard, K. Jaspers, G.-G. Gadamer and J.-P. Sartre, as well as the theory of ideology of K. Manheim, the personality of the main character of M. Y. Lermontov's drama "Masquerade" – Arbenin is analyzed. The author of the article claims that Arbenin is in a state of existential despair and finds himself in a borderline situation. At the same time, in the drama "Masquerade", the ideals of Romanticism are reduced to a post-Romantic ideology. Lermontov does this intentionally in order to condemn the ideological perversion of the ideals of romantic culture. The drama also focuses on the general cultural border situation: how to protect yourself from the temptations of ideology at a time when existing ideals and values are disappearing. The author of the article comes to the conclusion that in "Masquerade" Lermontov praises the romantic ideals of rebellious spirit and will, transcendent love and insight, even when he shows the dangers of turning these ideals into ideology. But "Masquerade" is not a romantic drama. This is a drama about romanticism, that is, about how the ideals of romantic culture can be perverted into an ideology that deceives and destroys people, destroying their unique existence, instead of elevating them. "Masquerade" is a variant of Lermontov's reaction to the difficulties that arose in his post–romantic, transitional time. Conveying his admiration for the ideals of romantic culture, Lermontov embodies one of the types of reaction to the realization of the decline of these ideals – the stereotypical reduction of the romantic worldview and values to a set of ideological concepts. But by portraying Arbenin, Lermontov hints at the possibility of recognizing that the worldview and values of Romanticism are losing their authority and integrity and that turning them into an ideology does not compensate for this loss. We need to find a new worldview, new values, new ideals.
{"title":"The Existential Illusory Nature of Arbenin's Image as a Condemnation of the Ideological Perversion of the Ideals of Romantic Culture in M. Lermontov's drama \"Masquerade\"","authors":"L. Mysovskikh","doi":"10.7256/2454-0757.2023.7.43479","DOIUrl":"https://doi.org/10.7256/2454-0757.2023.7.43479","url":null,"abstract":"\u0000 In the article, through the prism of the existential philosophy of S. Kierkegaard, K. Jaspers, G.-G. Gadamer and J.-P. Sartre, as well as the theory of ideology of K. Manheim, the personality of the main character of M. Y. Lermontov's drama \"Masquerade\" – Arbenin is analyzed. The author of the article claims that Arbenin is in a state of existential despair and finds himself in a borderline situation. At the same time, in the drama \"Masquerade\", the ideals of Romanticism are reduced to a post-Romantic ideology. Lermontov does this intentionally in order to condemn the ideological perversion of the ideals of romantic culture. The drama also focuses on the general cultural border situation: how to protect yourself from the temptations of ideology at a time when existing ideals and values are disappearing. The author of the article comes to the conclusion that in \"Masquerade\" Lermontov praises the romantic ideals of rebellious spirit and will, transcendent love and insight, even when he shows the dangers of turning these ideals into ideology. But \"Masquerade\" is not a romantic drama. This is a drama about romanticism, that is, about how the ideals of romantic culture can be perverted into an ideology that deceives and destroys people, destroying their unique existence, instead of elevating them. \"Masquerade\" is a variant of Lermontov's reaction to the difficulties that arose in his post–romantic, transitional time. Conveying his admiration for the ideals of romantic culture, Lermontov embodies one of the types of reaction to the realization of the decline of these ideals – the stereotypical reduction of the romantic worldview and values to a set of ideological concepts. But by portraying Arbenin, Lermontov hints at the possibility of recognizing that the worldview and values of Romanticism are losing their authority and integrity and that turning them into an ideology does not compensate for this loss. We need to find a new worldview, new values, new ideals.\u0000","PeriodicalId":437937,"journal":{"name":"Философия и культура","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121958435","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-01DOI: 10.7256/2454-0757.2023.7.39283
Kseniia V. Popova
The subject of the study is one of the main lines in the work of choreographer John Neumeier - the interpretation of literary works on the ballet stage. This article discusses his productions based on literature such as "The Lady with Camellias" (1978), "Peer Gynt" (1989/2015), "The Seagull" (2002), "Death in Venice" (2003), "Anna Karenina" (2017), "The Glass Menagerie" (2019). Neumeier's ballets reveal a special relationship between literature and choreography. The performances created by him are not just a fact of illustrating the plot of the original source, but an attempt to penetrate into the essence of the author's idea, reflect and emphasize the details found in the text in the language of choreography. The novelty of the research lies in the fact that when analyzing several key performances from the choreographer's creative biography, the prospect of considering the literary line of his ballets as a separate phenomenon opened up. As a result of the study, the following conclusions were made. Firstly, an important feature of Neumeier's ballets, based on literary works, is a clearly structured dramaturgy of all components of the performance: action, music, choreography, set design. Secondly, when working with a literary source, most often the choreographer transfers the action to the modern world, while not going against the author's intention, but on the contrary, enhances the relevance of the themes embedded in the works, declaring the timeless existence of the meanings of the text. Thirdly, the interrelation of literature and choreography in Neumeier's work takes the choreographer's work with the text to an absolutely new level, which allows us to talk about the great possibilities of non-verbal interpretation in the ballet theater as a whole.
{"title":"Interrelation of Literature and Choreography in the Works of John Neumeier","authors":"Kseniia V. Popova","doi":"10.7256/2454-0757.2023.7.39283","DOIUrl":"https://doi.org/10.7256/2454-0757.2023.7.39283","url":null,"abstract":"\u0000 The subject of the study is one of the main lines in the work of choreographer John Neumeier - the interpretation of literary works on the ballet stage. This article discusses his productions based on literature such as \"The Lady with Camellias\" (1978), \"Peer Gynt\" (1989/2015), \"The Seagull\" (2002), \"Death in Venice\" (2003), \"Anna Karenina\" (2017), \"The Glass Menagerie\" (2019). Neumeier's ballets reveal a special relationship between literature and choreography. The performances created by him are not just a fact of illustrating the plot of the original source, but an attempt to penetrate into the essence of the author's idea, reflect and emphasize the details found in the text in the language of choreography. The novelty of the research lies in the fact that when analyzing several key performances from the choreographer's creative biography, the prospect of considering the literary line of his ballets as a separate phenomenon opened up. As a result of the study, the following conclusions were made. Firstly, an important feature of Neumeier's ballets, based on literary works, is a clearly structured dramaturgy of all components of the performance: action, music, choreography, set design. Secondly, when working with a literary source, most often the choreographer transfers the action to the modern world, while not going against the author's intention, but on the contrary, enhances the relevance of the themes embedded in the works, declaring the timeless existence of the meanings of the text. Thirdly, the interrelation of literature and choreography in Neumeier's work takes the choreographer's work with the text to an absolutely new level, which allows us to talk about the great possibilities of non-verbal interpretation in the ballet theater as a whole.\u0000","PeriodicalId":437937,"journal":{"name":"Философия и культура","volume":"25 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133850010","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-01DOI: 10.7256/2454-0757.2023.7.38797
P. A. Gorokhov
The problem of the creation of artificial man and the creation of artificial intelligence are issues that have now become not just potential, but also actual scientific tasks. The original genetic kinship of philosophy and literature as forms of human culture and meaning formation made it possible to comprehend the most important problems in works rich in ideological content and beautiful in form. The subject of the research is the philosophical aspects of the problem of the creation of artificial man in the classic works of fantasy literature of the XIX-XX centuries. This goal is achieved by consistent consideration and comparison of philosophical and anthropological ideas that can be isolated from the works of Johann Wolfgang Goethe, Mary Shelley, Herbert George Wells and M.A. Bulgakov. Hermeneutical method as interpretation and reconstruction of meanings, comparative historical analysis, philosophical comparative studies are used as the methodological basis of this historical and philosophical research. The novelty of the research lies in the historical and philosophical reconstruction of the problem of creating an artificial person, posed for the first time on the pages of the world art classics. The very idea of creating an artificial man was a continuation of the God-fighting aspirations of the Renaissance and the embodiment of the ardent desire to become not only on a par with the Creator, but also to surpass Him. When creating the image of the homunculus, Goethe also had in mind the contrivance, artificiality and fruitlessness of many enlightenment ideas, because the enlighteners questioned the very existence of God, putting a scientist-creator in His place. Goethe's idea of the futility and danger of experimenting with human nature was later developed by Mary Shelley, H. G. Wells and Mikhail Bulgakov. Wagner's homunculus and the creation of Dr. Frankenstein are the closest to the idea of man that prevailed in the philosophy of Modern times and educational pedagogy. Powerful notes of philosophical foresight of many plot moves of the coming history of mankind sound in the novel by Wells (the creation of Dr. Moreau) and the story of Bulgakov (Sharikov).
{"title":"Philosophical Aspects of the Problem of \"Artificial Man\" in Fiction","authors":"P. A. Gorokhov","doi":"10.7256/2454-0757.2023.7.38797","DOIUrl":"https://doi.org/10.7256/2454-0757.2023.7.38797","url":null,"abstract":"\u0000 The problem of the creation of artificial man and the creation of artificial intelligence are issues that have now become not just potential, but also actual scientific tasks. The original genetic kinship of philosophy and literature as forms of human culture and meaning formation made it possible to comprehend the most important problems in works rich in ideological content and beautiful in form. The subject of the research is the philosophical aspects of the problem of the creation of artificial man in the classic works of fantasy literature of the XIX-XX centuries. This goal is achieved by consistent consideration and comparison of philosophical and anthropological ideas that can be isolated from the works of Johann Wolfgang Goethe, Mary Shelley, Herbert George Wells and M.A. Bulgakov. Hermeneutical method as interpretation and reconstruction of meanings, comparative historical analysis, philosophical comparative studies are used as the methodological basis of this historical and philosophical research. The novelty of the research lies in the historical and philosophical reconstruction of the problem of creating an artificial person, posed for the first time on the pages of the world art classics. The very idea of creating an artificial man was a continuation of the God-fighting aspirations of the Renaissance and the embodiment of the ardent desire to become not only on a par with the Creator, but also to surpass Him. When creating the image of the homunculus, Goethe also had in mind the contrivance, artificiality and fruitlessness of many enlightenment ideas, because the enlighteners questioned the very existence of God, putting a scientist-creator in His place. Goethe's idea of the futility and danger of experimenting with human nature was later developed by Mary Shelley, H. G. Wells and Mikhail Bulgakov. Wagner's homunculus and the creation of Dr. Frankenstein are the closest to the idea of man that prevailed in the philosophy of Modern times and educational pedagogy. Powerful notes of philosophical foresight of many plot moves of the coming history of mankind sound in the novel by Wells (the creation of Dr. Moreau) and the story of Bulgakov (Sharikov).\u0000","PeriodicalId":437937,"journal":{"name":"Философия и культура","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116074913","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-01DOI: 10.7256/2454-0757.2023.7.39098
Sergey Osipov
The subject of the study is the late Soviet underground rock song both in the general context of Soviet popular culture and in the context of patriotic discourse in the Soviet popular song of the 1960s-1980s. The correlation of various segments of Soviet popular music and their access to mass communication media, the phenomenon of the transformation of rock music from a marginal subculture into one of the segments of popular Soviet song is considered. Concrete examples demonstrate the content versatility of an uncensored Soviet rock song, in particular, its contribution to patriotic discourse. The duration and stability of the existence of the considered variations of patriotic discourse are considered. The main conclusions of the study include: -the development of mass/popular songs is directly dependent on the development of mass communication and access to them; -in the 1960s-1980s, the Soviet state lost its monopoly on the ownership of means of delivering music content to the listener; - by the early 1980s Soviet rock music ceased to be a copy of the Western model and became a Soviet/Russian song genre based on domestic melodics, Russian literary poetic tradition, etc.; -the access to the means of delivering song content turned rock song into a segment of Soviet popular music, both censored and in uncensored versions; -the socio-political content in general and the patriotic theme in particular were not an attribute exclusively of the official Soviet song, but found their expression in the work of the authors of the underground rock scene; - the Soviet popular uncensored song made the patriotic discourse much more diverse, rich, sharp, etc. - the identified interpretations of patriotic discourse have a stable existence, being actualized in the modern media environment.
{"title":"Stalin's Houses on Lenin Street: Late Soviet Underground Rock in Patriotic Discourse (1981-1991)","authors":"Sergey Osipov","doi":"10.7256/2454-0757.2023.7.39098","DOIUrl":"https://doi.org/10.7256/2454-0757.2023.7.39098","url":null,"abstract":"\u0000 The subject of the study is the late Soviet underground rock song both in the general context of Soviet popular culture and in the context of patriotic discourse in the Soviet popular song of the 1960s-1980s. The correlation of various segments of Soviet popular music and their access to mass communication media, the phenomenon of the transformation of rock music from a marginal subculture into one of the segments of popular Soviet song is considered. Concrete examples demonstrate the content versatility of an uncensored Soviet rock song, in particular, its contribution to patriotic discourse. The duration and stability of the existence of the considered variations of patriotic discourse are considered. The main conclusions of the study include: -the development of mass/popular songs is directly dependent on the development of mass communication and access to them; -in the 1960s-1980s, the Soviet state lost its monopoly on the ownership of means of delivering music content to the listener; - by the early 1980s Soviet rock music ceased to be a copy of the Western model and became a Soviet/Russian song genre based on domestic melodics, Russian literary poetic tradition, etc.; -the access to the means of delivering song content turned rock song into a segment of Soviet popular music, both censored and in uncensored versions; -the socio-political content in general and the patriotic theme in particular were not an attribute exclusively of the official Soviet song, but found their expression in the work of the authors of the underground rock scene; - the Soviet popular uncensored song made the patriotic discourse much more diverse, rich, sharp, etc. - the identified interpretations of patriotic discourse have a stable existence, being actualized in the modern media environment.\u0000","PeriodicalId":437937,"journal":{"name":"Философия и культура","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117163666","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-01DOI: 10.7256/2454-0757.2023.7.43669
Bin Yan
In the process of interpreting works of pictorial art, it is easier to understand not the "style", but the "theme", that is, not how to write, but what to write. In the history of modern art, which attaches more importance to "style", the problem of "theme" is not fundamental and is among the primitive issues worthy of the attention of amateurs who do not understand art. However, sometimes it is in simplicity that the essence lies. The simplest questions that interest almost everyone are the link between works of art and society. When analyzing the "topic", the subject under study is not confined to one work of art, since an integrated approach to the consideration of the problem should be used. The author's main contribution to the study of the history of the development of Chinese painting is a new perspective – the analysis of works based on the "theme". The results of the study revealed the main themes of Chinese pictorial art, identified the main reasons for referring to them, and also established their symbolic meaning, connection with philosophical and literary traditions. The important role of literary scientists in determining the directions of thematic development of Chinese landscape painting is revealed, the significance of the images of the fisherman and the traveler as carriers of the spiritual content of the landscape is determined. The conclusion is made about the prominence of certain themes in the pictorial art, depending on the processes of social development of China.
{"title":"Themes of Chinese painting and their evolution in the process of development of pictorial art","authors":"Bin Yan","doi":"10.7256/2454-0757.2023.7.43669","DOIUrl":"https://doi.org/10.7256/2454-0757.2023.7.43669","url":null,"abstract":"\u0000 In the process of interpreting works of pictorial art, it is easier to understand not the \"style\", but the \"theme\", that is, not how to write, but what to write. In the history of modern art, which attaches more importance to \"style\", the problem of \"theme\" is not fundamental and is among the primitive issues worthy of the attention of amateurs who do not understand art. However, sometimes it is in simplicity that the essence lies. The simplest questions that interest almost everyone are the link between works of art and society. When analyzing the \"topic\", the subject under study is not confined to one work of art, since an integrated approach to the consideration of the problem should be used. The author's main contribution to the study of the history of the development of Chinese painting is a new perspective – the analysis of works based on the \"theme\". The results of the study revealed the main themes of Chinese pictorial art, identified the main reasons for referring to them, and also established their symbolic meaning, connection with philosophical and literary traditions. The important role of literary scientists in determining the directions of thematic development of Chinese landscape painting is revealed, the significance of the images of the fisherman and the traveler as carriers of the spiritual content of the landscape is determined. The conclusion is made about the prominence of certain themes in the pictorial art, depending on the processes of social development of China.\u0000","PeriodicalId":437937,"journal":{"name":"Философия и культура","volume":"84 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129088343","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-01DOI: 10.7256/2454-0757.2023.6.40924
S. B. Dugarova
The subject of the study is the human potential in the conditions of transformation of the socio-cultural space of the PRC. The modern anthropological crisis causes the need to search for new value foundations of human potential development and actualizes the study of cultural regional-country specifics of its implementation practices. The heterogeneous nature of the socio-cultural space of the PRC makes it necessary to know specific regional practices for developing human potential. China is forming an effective system for developing and attracting human potential within the country and in interaction with the outside world. The success of the PRC largely determines a new vision of the place and role of man in socio-cultural transformations. Human potential forms a dynamic, rapidly changing image of the socio-cultural environment in China, determining the speed and direction of internal and external modernization processes. The scientific novelty lies in the fact that in the PRC regionality acts as a cultural and spatial characteristic of activity, which in turn has a concrete expression - in practices. The philosophical and anthropological analysis of practices involves an appeal to a regionological approach that contributes to the identification of specifics at the level of regions – "internal" and "external". At the national level, the process of building human potential, which is an element of "soft power", occurs at all levels of the multilevel hierarchy of regional development management, starting from the level of large regions, ending with local-regional communities at the level of cities, towns, villages and individual enterprises.
{"title":"Socio-cultural practices of human potential development in China","authors":"S. B. Dugarova","doi":"10.7256/2454-0757.2023.6.40924","DOIUrl":"https://doi.org/10.7256/2454-0757.2023.6.40924","url":null,"abstract":"\u0000 The subject of the study is the human potential in the conditions of transformation of the socio-cultural space of the PRC. The modern anthropological crisis causes the need to search for new value foundations of human potential development and actualizes the study of cultural regional-country specifics of its implementation practices. The heterogeneous nature of the socio-cultural space of the PRC makes it necessary to know specific regional practices for developing human potential. China is forming an effective system for developing and attracting human potential within the country and in interaction with the outside world. The success of the PRC largely determines a new vision of the place and role of man in socio-cultural transformations. Human potential forms a dynamic, rapidly changing image of the socio-cultural environment in China, determining the speed and direction of internal and external modernization processes. The scientific novelty lies in the fact that in the PRC regionality acts as a cultural and spatial characteristic of activity, which in turn has a concrete expression - in practices. The philosophical and anthropological analysis of practices involves an appeal to a regionological approach that contributes to the identification of specifics at the level of regions – \"internal\" and \"external\". At the national level, the process of building human potential, which is an element of \"soft power\", occurs at all levels of the multilevel hierarchy of regional development management, starting from the level of large regions, ending with local-regional communities at the level of cities, towns, villages and individual enterprises.\u0000","PeriodicalId":437937,"journal":{"name":"Философия и культура","volume":"29 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133429294","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-01DOI: 10.7256/2454-0757.2023.6.41022
Daniil Vladimirovich Bliudov
The object of this study is acting speech in modern theater and cinema. The subject of the study is the influence of the aesthetics of screen speech on the theatrical word in the 21st century. The author explores in detail the phenomenon of "microphone speech" in modern drama theater, analyzes the reasons for the rapid expansion of microphone sound and, in particular, the influence on stage speech of the aesthetics of post-drama theater. With numerous examples, various options for using microphones in a drama theater are considered - from local to radical. The author pays special attention to the category of "naturalness" of the acting speech in the screen arts and on the theatrical stage. The novelty of the study lies in a comprehensive study of the phenomenon of "microphone speech" in drama theater and the category of naturalness in stage and screen speech. The author concludes about the overwhelming influence of cinema on modern theatrical speech. The article scientifically substantiates the impact on the speech art of a modern theater actor both the aesthetics of post-dramatism and the new standard of naturalness that has developed in the screen arts and has formed spectator perception. The opposite influence of stage speech on the aesthetics of speech in screen arts is mediated, realized almost exclusively through the theater school. In the final part of the study, the author concludes that changes are necessary in the speech education of future theater and film artists.
{"title":"Microphones in modern drama theatre","authors":"Daniil Vladimirovich Bliudov","doi":"10.7256/2454-0757.2023.6.41022","DOIUrl":"https://doi.org/10.7256/2454-0757.2023.6.41022","url":null,"abstract":"\u0000 The object of this study is acting speech in modern theater and cinema. The subject of the study is the influence of the aesthetics of screen speech on the theatrical word in the 21st century. The author explores in detail the phenomenon of \"microphone speech\" in modern drama theater, analyzes the reasons for the rapid expansion of microphone sound and, in particular, the influence on stage speech of the aesthetics of post-drama theater. With numerous examples, various options for using microphones in a drama theater are considered - from local to radical. The author pays special attention to the category of \"naturalness\" of the acting speech in the screen arts and on the theatrical stage. The novelty of the study lies in a comprehensive study of the phenomenon of \"microphone speech\" in drama theater and the category of naturalness in stage and screen speech. The author concludes about the overwhelming influence of cinema on modern theatrical speech. The article scientifically substantiates the impact on the speech art of a modern theater actor both the aesthetics of post-dramatism and the new standard of naturalness that has developed in the screen arts and has formed spectator perception. The opposite influence of stage speech on the aesthetics of speech in screen arts is mediated, realized almost exclusively through the theater school. In the final part of the study, the author concludes that changes are necessary in the speech education of future theater and film artists.\u0000","PeriodicalId":437937,"journal":{"name":"Философия и культура","volume":"57 4","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132434459","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-01DOI: 10.7256/2454-0757.2023.6.41045
Oleg Yur'evich Akimov
The spiritual quest of Raymond Lull is of interest to modern philosophical discourse as occupying an intermediate position between the Middle Ages and the Renaissance and thus combining the features of these two eras in the history of the development of human thought. They are connected with the Middle Ages by theocentrism and traditionalism, and with the Renaissance by emphasizing the peculiar polyphony of the world, the predominance of plurality over unity, given in the autonomous dialogic space of the human personality as a gradual immanentization of the presence of a transcendent deity, associated with the acceptance by man of the external world as the only possible one. This immanentization is carried out by Luli in the symbol of Love as the Unity of the Loving and the Beloved, explicating the thinker's introspection. The novelty of the work lies in the application of the teachings of A.F. Losev about the interpretive symbol, which made it possible to consider them as a special form of explication of the personality as its transcendence and simultaneous immanence, being a special form of introspection, which correlates with Lull's teaching about Love as a fluctuation in which the Beloved descends, and the Lover ascends. This contributes to the actualization of Lull's spiritual quest as an integrity, a unique eidos, in which each of the separate features of Raymond Lull's spiritual quest is realized in a special way, reflecting the intermediate position occupied by the thinker between the worlds of Antiquity and the Middle Ages. The proposed model of mutual positing of the "components" of Lull's teaching allows us to show one of the possibilities for the interaction of the thinker's logical system (understanding the force, its bearer and passively perceiving its beginning) and his theologically oriented personal spiritual quest as a special kind of dynamics in which the leading role is assigned to introspection as a personal intentions, a kind of mythological sub-foundation of the actual logical dimension of the thinker's teachings.
{"title":"Introspection of Raimundus Lullus","authors":"Oleg Yur'evich Akimov","doi":"10.7256/2454-0757.2023.6.41045","DOIUrl":"https://doi.org/10.7256/2454-0757.2023.6.41045","url":null,"abstract":"\u0000 The spiritual quest of Raymond Lull is of interest to modern philosophical discourse as occupying an intermediate position between the Middle Ages and the Renaissance and thus combining the features of these two eras in the history of the development of human thought. They are connected with the Middle Ages by theocentrism and traditionalism, and with the Renaissance by emphasizing the peculiar polyphony of the world, the predominance of plurality over unity, given in the autonomous dialogic space of the human personality as a gradual immanentization of the presence of a transcendent deity, associated with the acceptance by man of the external world as the only possible one. This immanentization is carried out by Luli in the symbol of Love as the Unity of the Loving and the Beloved, explicating the thinker's introspection. The novelty of the work lies in the application of the teachings of A.F. Losev about the interpretive symbol, which made it possible to consider them as a special form of explication of the personality as its transcendence and simultaneous immanence, being a special form of introspection, which correlates with Lull's teaching about Love as a fluctuation in which the Beloved descends, and the Lover ascends. This contributes to the actualization of Lull's spiritual quest as an integrity, a unique eidos, in which each of the separate features of Raymond Lull's spiritual quest is realized in a special way, reflecting the intermediate position occupied by the thinker between the worlds of Antiquity and the Middle Ages. The proposed model of mutual positing of the \"components\" of Lull's teaching allows us to show one of the possibilities for the interaction of the thinker's logical system (understanding the force, its bearer and passively perceiving its beginning) and his theologically oriented personal spiritual quest as a special kind of dynamics in which the leading role is assigned to introspection as a personal intentions, a kind of mythological sub-foundation of the actual logical dimension of the thinker's teachings.\u0000","PeriodicalId":437937,"journal":{"name":"Философия и культура","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126713340","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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