The purpose of the study is to identify the place and role of the Oscar film Award by the American Academy of Motion Picture Arts and Sciences in the Russian film community. The article reveals the aspects of the Oscar Film Award in the context of the global recognition of the professional merits of Russian cinematographers and their works. The focus is not only on the quantitative approach, but also on the qualitative one. It is important for the author to trace the nominations of the film award, the years of application, the directors who repeatedly apply, as well as the opinions of critics and viewers of the submitted films in order to reveal the comprehensive role of this film award in the career of domestic cinematographers, as well as their status in the world of cinema. The scientific novelty of the research lies in the actualization of the role of the Oscar film Award in relation to Russian cinema and the justification of a clear analytical approach to films and directors claiming to be the winner of the most prestigious film award in the world. As a result of the study, it was revealed that Russia (including the Soviet period of its existence) was represented at the Oscar Film Awards from 1943 to 2023. During this period, 64 films were officially submitted from our country to participate in various film award nominations. Of these, 29 became the official nominees of the film award in 7 nominations. The most successful year, in terms of Oscar nominations, was 2008, and the decade was the 1990s. The most nominated directors were Nikita Mikhalkov (6 applications, 3 nominations, 1 win) and Alexander Petrov (4 applications, 4 nominations, 1 win). It has also been revealed that many filmmakers around the world consider this film award to be politicized and biased. However, this does not exclude the enormous influence of this award, as well as its laureates, on the world film community.
{"title":"The place and role of the Oscar Film Award in Russian cinema","authors":"Maksim Vladimirovich Shumov","doi":"10.30853/pa20240021","DOIUrl":"https://doi.org/10.30853/pa20240021","url":null,"abstract":"The purpose of the study is to identify the place and role of the Oscar film Award by the American Academy of Motion Picture Arts and Sciences in the Russian film community. The article reveals the aspects of the Oscar Film Award in the context of the global recognition of the professional merits of Russian cinematographers and their works. The focus is not only on the quantitative approach, but also on the qualitative one. It is important for the author to trace the nominations of the film award, the years of application, the directors who repeatedly apply, as well as the opinions of critics and viewers of the submitted films in order to reveal the comprehensive role of this film award in the career of domestic cinematographers, as well as their status in the world of cinema. The scientific novelty of the research lies in the actualization of the role of the Oscar film Award in relation to Russian cinema and the justification of a clear analytical approach to films and directors claiming to be the winner of the most prestigious film award in the world. As a result of the study, it was revealed that Russia (including the Soviet period of its existence) was represented at the Oscar Film Awards from 1943 to 2023. During this period, 64 films were officially submitted from our country to participate in various film award nominations. Of these, 29 became the official nominees of the film award in 7 nominations. The most successful year, in terms of Oscar nominations, was 2008, and the decade was the 1990s. The most nominated directors were Nikita Mikhalkov (6 applications, 3 nominations, 1 win) and Alexander Petrov (4 applications, 4 nominations, 1 win). It has also been revealed that many filmmakers around the world consider this film award to be politicized and biased. However, this does not exclude the enormous influence of this award, as well as its laureates, on the world film community.","PeriodicalId":477194,"journal":{"name":"Pan-Art","volume":"18 8","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-06-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141356796","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 aim of the study is to characterize the ballad and the specifics of its realization in Russian musical creativity of the 20th century in the historical context with the identification of the reasons for the author's appeal to the genre. The article presents the constant features of the genre, the main trends in the development of the ballad in the historical period under consideration, analyzes the principles of interpenetration of the ballad and other genres, and identifies the reasons for its popularity in composers' work and mass culture. For the first time on the material of diverse compositions of Russian musical academic art and samples of mass culture the manifestations of balladry in the framework of mixt combinations with large-scale genres (symphony, concerto, cantata, etc.) are studied. The ballad is considered from the point of view of a tool that allows authors to build the artistic world of the work, to appeal to various ancient aesthetic concepts, as well as to circumvent ideological barriers. This is the scientific novelty of the study. As a result of analyzing the available data, the author came to the conclusion: in the process of development in the ballad formed features that can be divided into constant and mobile. At the same time, it is established that such specific properties of the genre as allegorical statement, multiplanarity, mobility of categories of time and space, as well as the possibility of genre synthesis are determinant for the demand for ballads in musical art and mass culture.
{"title":"Specificity of the ballad genre in Russian musical creativity of the XX century: Defining properties and historical context","authors":"Alyona Alekseevna Kononova","doi":"10.30853/pa20240019","DOIUrl":"https://doi.org/10.30853/pa20240019","url":null,"abstract":"The aim of the study is to characterize the ballad and the specifics of its realization in Russian musical creativity of the 20th century in the historical context with the identification of the reasons for the author's appeal to the genre. The article presents the constant features of the genre, the main trends in the development of the ballad in the historical period under consideration, analyzes the principles of interpenetration of the ballad and other genres, and identifies the reasons for its popularity in composers' work and mass culture. For the first time on the material of diverse compositions of Russian musical academic art and samples of mass culture the manifestations of balladry in the framework of mixt combinations with large-scale genres (symphony, concerto, cantata, etc.) are studied. The ballad is considered from the point of view of a tool that allows authors to build the artistic world of the work, to appeal to various ancient aesthetic concepts, as well as to circumvent ideological barriers. This is the scientific novelty of the study. As a result of analyzing the available data, the author came to the conclusion: in the process of development in the ballad formed features that can be divided into constant and mobile. At the same time, it is established that such specific properties of the genre as allegorical statement, multiplanarity, mobility of categories of time and space, as well as the possibility of genre synthesis are determinant for the demand for ballads in musical art and mass culture.","PeriodicalId":477194,"journal":{"name":"Pan-Art","volume":"50 32","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-06-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141383994","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 aim of the study is to form a theoretical core of understanding of this phenomenon within the framework of theoretical review of modern concepts of cultural code. The article considers different definitional, structural and functional aspects of the cultural code, reveals its psychic roots and significance in human behavior, structure, sign-symbolic, figurative and value content, the role of a connecting element between the psyche and culture, the function of a communicative element and an interpreter of cultural texts and a cipher encapsulating the main meanings of culture. The significance of the cultural code in ethnic and national forms of human existence, in the construction of social and cultural identity is established. The key problems and risks associated with the defragmentation of the cultural code are outlined: standardization and unification of cultural codes within the framework of globalization, ideological and cultural wars and propaganda, excessive subordination of culture to market and materialistic principles, erosion of traditional values and meanings and at the same time imbalance between traditional and innovative principles in culture, conflictogenicity and disharmony of socio-cultural space as factors of intergroup and international conflicts, destructive processes, and the emergence of new cultural codes. Based on the generalization and synthesis of the obtained knowledge, a new theoretical and conceptual core of the cultural code is formulated as a structure that determines the image-symbolic and value content of culture, its ethnic and national peculiarities, the prospects of development of the sociocultural environment or the mechanisms slowing down this development, as well as the specificity of unconscious thinking and behavior of the people-expressor of the culture and its codes. In the framework of the proposed concept, the cultural code appears as a kind of “genome” of culture, laying the foundations of its development, determining the nature of interaction and human assimilation of its products, serves as a basic mechanism of specific cultural mastering and transformation of the world around people, as well as a decoder that allows (if correctly interpreted) to read the mental characteristics of social groups and influence them in the mental and behavioral sense.
{"title":"Cultural code: Definition of the concept and practical problems of the phenomenon: Theoretical review","authors":"D. Losev","doi":"10.30853/pa20240020","DOIUrl":"https://doi.org/10.30853/pa20240020","url":null,"abstract":"The aim of the study is to form a theoretical core of understanding of this phenomenon within the framework of theoretical review of modern concepts of cultural code. The article considers different definitional, structural and functional aspects of the cultural code, reveals its psychic roots and significance in human behavior, structure, sign-symbolic, figurative and value content, the role of a connecting element between the psyche and culture, the function of a communicative element and an interpreter of cultural texts and a cipher encapsulating the main meanings of culture. The significance of the cultural code in ethnic and national forms of human existence, in the construction of social and cultural identity is established. The key problems and risks associated with the defragmentation of the cultural code are outlined: standardization and unification of cultural codes within the framework of globalization, ideological and cultural wars and propaganda, excessive subordination of culture to market and materialistic principles, erosion of traditional values and meanings and at the same time imbalance between traditional and innovative principles in culture, conflictogenicity and disharmony of socio-cultural space as factors of intergroup and international conflicts, destructive processes, and the emergence of new cultural codes. Based on the generalization and synthesis of the obtained knowledge, a new theoretical and conceptual core of the cultural code is formulated as a structure that determines the image-symbolic and value content of culture, its ethnic and national peculiarities, the prospects of development of the sociocultural environment or the mechanisms slowing down this development, as well as the specificity of unconscious thinking and behavior of the people-expressor of the culture and its codes. In the framework of the proposed concept, the cultural code appears as a kind of “genome” of culture, laying the foundations of its development, determining the nature of interaction and human assimilation of its products, serves as a basic mechanism of specific cultural mastering and transformation of the world around people, as well as a decoder that allows (if correctly interpreted) to read the mental characteristics of social groups and influence them in the mental and behavioral sense.","PeriodicalId":477194,"journal":{"name":"Pan-Art","volume":"7 11","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-06-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141385061","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 study aims to identify the main directions that the fine art of Austria-Hungary at the turn of the 19th and 20th centuries followed in the field of portraying the nude human body. To do so, a number of works by Austro-Hungarian masters (G. Klimt, K. Moser, O. Kokoschka, F. von Bayros, M. Liebermann, etc.) who worked during the specified period were analyzed on the basis of the collections of museums in Vienna, as well as electronic collections and catalogs of other foreign museums. The analysis helped to identify three main trends in nudity depiction: idealization, characteristic of conservative art; opposed to idealization, naturalism, found in the works by more progressive artists; and eroticism, which represents a balance between the two aforementioned extremes, in other case the work loses its erotic charge. Although depictions of nudity are often the subject of art criticism, the three-part classification developed for this study seems to be a new and productive form of examining the topic.
{"title":"Nudity in the fine art of Austria-Hungary at the turn of the 19th and 20th centuries. Idealization, naturalism and eroticism","authors":"Danila Sergeevich Cherkasov","doi":"10.30853/pa20240018","DOIUrl":"https://doi.org/10.30853/pa20240018","url":null,"abstract":"The study aims to identify the main directions that the fine art of Austria-Hungary at the turn of the 19th and 20th centuries followed in the field of portraying the nude human body. To do so, a number of works by Austro-Hungarian masters (G. Klimt, K. Moser, O. Kokoschka, F. von Bayros, M. Liebermann, etc.) who worked during the specified period were analyzed on the basis of the collections of museums in Vienna, as well as electronic collections and catalogs of other foreign museums. The analysis helped to identify three main trends in nudity depiction: idealization, characteristic of conservative art; opposed to idealization, naturalism, found in the works by more progressive artists; and eroticism, which represents a balance between the two aforementioned extremes, in other case the work loses its erotic charge. Although depictions of nudity are often the subject of art criticism, the three-part classification developed for this study seems to be a new and productive form of examining the topic.","PeriodicalId":477194,"journal":{"name":"Pan-Art","volume":"27 2","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-06-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141388274","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}
Lana Yanovna Zhivova, Evgenia Aleksandrovna Zabolotskaya
The aim of the research is to identify the relevant format of applying the modular form shaping technique when teaching the “Architectonics of three-dimensional structures” course to students in various design training programs. The paper addresses issues related to the practical mastery of the specified course by students in creative training programs, focusing on the features of a developed comprehensive exercise. The scientific novelty of the work lies in using modular form shaping of varying structural complexity within the described task, aiming to find the structure of an independent object rather than merely an element the multiple repetition of which forms a complete shape. Additionally, the developed system of approaches is universally applicable to most three-dimensional design objects. Moreover, the concise combination of theory (a set of basic laws of constructing harmonious forms) and its implementation through the development of crucial analytical skills and the direct realization of an author’s art object using advanced paper-plastic techniques is atypical for standard exercises. Thus, the uniqueness of the described task is evident due to its comprehensive approach to form shaping and an attempt to immerse students in the full process of a designer’s work. As a result of the research, the universality of the principles embedded in the described exercise has been identified, applicable not only to the creation of products presented in the paper but also to any three-dimensional art objects.
{"title":"Teaching future designers the specifics of form shaping for architectonic objects of the object-spatial environment and costume","authors":"Lana Yanovna Zhivova, Evgenia Aleksandrovna Zabolotskaya","doi":"10.30853/pa20240013","DOIUrl":"https://doi.org/10.30853/pa20240013","url":null,"abstract":"The aim of the research is to identify the relevant format of applying the modular form shaping technique when teaching the “Architectonics of three-dimensional structures” course to students in various design training programs. The paper addresses issues related to the practical mastery of the specified course by students in creative training programs, focusing on the features of a developed comprehensive exercise. The scientific novelty of the work lies in using modular form shaping of varying structural complexity within the described task, aiming to find the structure of an independent object rather than merely an element the multiple repetition of which forms a complete shape. Additionally, the developed system of approaches is universally applicable to most three-dimensional design objects. Moreover, the concise combination of theory (a set of basic laws of constructing harmonious forms) and its implementation through the development of crucial analytical skills and the direct realization of an author’s art object using advanced paper-plastic techniques is atypical for standard exercises. Thus, the uniqueness of the described task is evident due to its comprehensive approach to form shaping and an attempt to immerse students in the full process of a designer’s work. As a result of the research, the universality of the principles embedded in the described exercise has been identified, applicable not only to the creation of products presented in the paper but also to any three-dimensional art objects.","PeriodicalId":477194,"journal":{"name":"Pan-Art","volume":"10 6","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140712356","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 essay is dedicated to exploring the art and culture of the Renaissance period, heralding Modern times, spanning from the mid-13th to the mid-16th century. This part of the work highlights the artistic achievements of the Middle East during the specified period, particularly in architecture, poetry (including the rise of humanism). Turning to European culture, the author specifically addresses the art of the Orthodox world (primarily focusing on church painting and, to a lesser extent, on the Ancient Russian Znamenny chant), noting its influence on the currents of the Renaissance. The author delves into the Gothic style, somewhat contrasting traditional notions of the Renaissance period (a kind of “counterculture”), across its various manifestations in visual arts, music and literature. Special attention is given to the central part of Renaissance art, tracing its evolution from the Early Renaissance (masterpieces of sculpture in Gothic cathedrals) to the Proto-Renaissance (paintings and frescoes by Italian masters, the emergence of psychologism in painting, the literary movement of Dolce stile nuovо marking the transition from the Middle Ages to Modern times, Ars Nova in musical art). The exploration of this theme will continue in the next part of the essay.
这篇文章专门探讨文艺复兴时期的艺术和文化，它预示着现代，时间跨度从 13 世纪中叶到 16 世纪中叶。这部分内容重点介绍了中东地区在这一时期取得的艺术成就，尤其是在建筑、诗歌（包括人文主义的兴起）方面。在谈到欧洲文化时，作者特别论述了东正教世界的艺术（主要侧重于教堂绘画，其次是古俄罗斯兹纳曼尼圣歌），并指出其对文艺复兴潮流的影响。作者深入研究了哥特式风格，在一定程度上对比了文艺复兴时期的传统观念（一种 "反文化"）及其在视觉艺术、音乐和文学中的各种表现形式。特别关注文艺复兴艺术的核心部分，追溯其从早期文艺复兴（哥特式大教堂的雕塑杰作）到原文艺复兴（意大利大师的绘画和壁画、绘画中心理主义的出现、标志着从中世纪向现代过渡的 Dolce stile nuovо文学运动、音乐艺术中的 Ars Nova）的演变过程。下一部分将继续探讨这一主题。
{"title":"The edges of humanism of the Renaissance in the mid-13th – the mid-16th century: Part 1","authors":"A. Demchenko","doi":"10.30853/pa20240011","DOIUrl":"https://doi.org/10.30853/pa20240011","url":null,"abstract":"The essay is dedicated to exploring the art and culture of the Renaissance period, heralding Modern times, spanning from the mid-13th to the mid-16th century. This part of the work highlights the artistic achievements of the Middle East during the specified period, particularly in architecture, poetry (including the rise of humanism). Turning to European culture, the author specifically addresses the art of the Orthodox world (primarily focusing on church painting and, to a lesser extent, on the Ancient Russian Znamenny chant), noting its influence on the currents of the Renaissance. The author delves into the Gothic style, somewhat contrasting traditional notions of the Renaissance period (a kind of “counterculture”), across its various manifestations in visual arts, music and literature. Special attention is given to the central part of Renaissance art, tracing its evolution from the Early Renaissance (masterpieces of sculpture in Gothic cathedrals) to the Proto-Renaissance (paintings and frescoes by Italian masters, the emergence of psychologism in painting, the literary movement of Dolce stile nuovо marking the transition from the Middle Ages to Modern times, Ars Nova in musical art). The exploration of this theme will continue in the next part of the essay.","PeriodicalId":477194,"journal":{"name":"Pan-Art","volume":"5 3","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140743766","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The author extensively examines the plots of films from the Cold War period in English-language cinema, focusing on the representation of the “common enemy” and the Soviet side. The research aim is to identify how this theme evolved during periods of détente and escalation of the Cold War in the 1980s, exploring the images and plots used in films. The study analyzes a range of films and TV series as sources of this theme, including James Bond films, the series “The Man from U.N.C.L.E.” and “The A-Team”, as well as works by directors such as Stanley Kubrick, Don Siegel, and John Mackenzie. The scientific novelty lies in analyzing plots and characters that have received little attention in Russian cultural studies. New sources have been introduced into the academic discourse, and the theme of the article is novel, shedding new light on the topic of cultural confrontation between the USSR and the Western bloc, revealing plots that reshape perceptions of the representation of the Soviet side in Anglo-American cinema. The author concludes that British and American directors did not consider the USSR as absolute evil, leading to the creation of a narrative trope of a common enemy hostile to both NATO and the Soviet Union.
{"title":"The image of the common enemy of the USSR and NATO in the English-language cinema of the Cold War period","authors":"Maxim Alekseevich Nazarov","doi":"10.30853/pa20240012","DOIUrl":"https://doi.org/10.30853/pa20240012","url":null,"abstract":"The author extensively examines the plots of films from the Cold War period in English-language cinema, focusing on the representation of the “common enemy” and the Soviet side. The research aim is to identify how this theme evolved during periods of détente and escalation of the Cold War in the 1980s, exploring the images and plots used in films. The study analyzes a range of films and TV series as sources of this theme, including James Bond films, the series “The Man from U.N.C.L.E.” and “The A-Team”, as well as works by directors such as Stanley Kubrick, Don Siegel, and John Mackenzie. The scientific novelty lies in analyzing plots and characters that have received little attention in Russian cultural studies. New sources have been introduced into the academic discourse, and the theme of the article is novel, shedding new light on the topic of cultural confrontation between the USSR and the Western bloc, revealing plots that reshape perceptions of the representation of the Soviet side in Anglo-American cinema. The author concludes that British and American directors did not consider the USSR as absolute evil, leading to the creation of a narrative trope of a common enemy hostile to both NATO and the Soviet Union.","PeriodicalId":477194,"journal":{"name":"Pan-Art","volume":"12 4","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140741827","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 aim of the study is to identify the role of the principle of contrast (figurative, genre, thematic, tempo) as a compositional technique in the Sonata for accordion by B. Mironchuk. The work of the Donetsk author becomes the object of comprehensive study for the first time. The principle of contrast is considered as an important factor in the formation and development of musical material. It is noted that the figurative contrast associated with the alternation of active and lyrical figurative spheres drives the dramatic development of the work. The tempo contrast is embodied in delimitating the sections of the form of each of the sonata’s movements. The figurative-tempo spheres are characterized by comparisons of the genre models of toccata, scherzo and song, the jazz style of boogie-woogie and quasi-choral episodes are involved. The thematic contrast is manifested in changes in the mode-tonal plan, features of the harmonic and rhythmic organization and stylistic decisions. The analysis of the interpretation shows the identity of the thinking of the performer and the composer embodied in one person and suggests the unique standard of such an interpretation due to the exact adherence to the instructions of the author’s text. The result of the study amounts to the following: the analysis of the compositional techniques and interpretation of this opus provides a platform for further study of B. Mironchuk’s creative work and the sonata genre.
本研究旨在确定对比原则（形象、体裁、主题、节奏）作为一种作曲技巧在 B. Mironchuk 手风琴奏鸣曲中的作用。这位顿涅茨克作家的作品首次成为全面研究的对象。对比原则被视为形成和发展音乐素材的重要因素。我们注意到，与活跃的和抒情的具象领域交替相关的具象对比推动了作品的戏剧性发展。速度对比体现在对奏鸣曲各乐章形式的划分上。具象-速度领域的特点是对托卡塔、回旋曲和歌曲等体裁模式进行比较，还涉及布吉-伍吉爵士风格和准合唱情节。主题对比体现在音调模式的变化、和声与节奏组织的特点以及风格决定上。对诠释的分析表明，演奏者和作曲家的思维体现在一个人身上，并表明这种诠释的独特标准是由于严格遵守了作者文本的指示。研究结果如下：对这首作品的作曲技巧和诠释的分析为进一步研究 B. Mironchuk 的创作和奏鸣曲体裁提供了一个平台。
{"title":"Principle of contrast as a compositional technique in the Sonata for accordion by B. Mironchuk","authors":"Oleg Nikolaevich Miroshnichenko","doi":"10.30853/pa20240007","DOIUrl":"https://doi.org/10.30853/pa20240007","url":null,"abstract":"The aim of the study is to identify the role of the principle of contrast (figurative, genre, thematic, tempo) as a compositional technique in the Sonata for accordion by B. Mironchuk. The work of the Donetsk author becomes the object of comprehensive study for the first time. The principle of contrast is considered as an important factor in the formation and development of musical material. It is noted that the figurative contrast associated with the alternation of active and lyrical figurative spheres drives the dramatic development of the work. The tempo contrast is embodied in delimitating the sections of the form of each of the sonata’s movements. The figurative-tempo spheres are characterized by comparisons of the genre models of toccata, scherzo and song, the jazz style of boogie-woogie and quasi-choral episodes are involved. The thematic contrast is manifested in changes in the mode-tonal plan, features of the harmonic and rhythmic organization and stylistic decisions. The analysis of the interpretation shows the identity of the thinking of the performer and the composer embodied in one person and suggests the unique standard of such an interpretation due to the exact adherence to the instructions of the author’s text. The result of the study amounts to the following: the analysis of the compositional techniques and interpretation of this opus provides a platform for further study of B. Mironchuk’s creative work and the sonata genre.","PeriodicalId":477194,"journal":{"name":"Pan-Art","volume":"14 5","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140412054","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 aim of the study is to identify cause-and-effect relations in semiotic interpretation of stage costume. The article explores the history of stage costume development, briefly presents its periodization with characteristic features of each stage, and socio-cultural forms of encoding. The scientific novelty of the research lies in focusing on the issue of costume semantics as an important component of the expressive system of modern music and theater productions. The research establishes that stage (theatrical) costume has its own developmental regularities and periodization caused by many factors. It is found that in the 20th and 21st centuries, there is an increasing interaction of two main trends: 1) stage costume is characterized by a high degree of codification and symbolism, with significant transformations in the specific content of symbols; 2) a variety of techniques are observed in achieving various aspects of “authenticity” in relation to theatrical action as a whole and theatrical costumes in particular.
{"title":"Semiotic interpretation of stage costume","authors":"Larisa Sergeevna Lozinskaya","doi":"10.30853/pa20240006","DOIUrl":"https://doi.org/10.30853/pa20240006","url":null,"abstract":"The aim of the study is to identify cause-and-effect relations in semiotic interpretation of stage costume. The article explores the history of stage costume development, briefly presents its periodization with characteristic features of each stage, and socio-cultural forms of encoding. The scientific novelty of the research lies in focusing on the issue of costume semantics as an important component of the expressive system of modern music and theater productions. The research establishes that stage (theatrical) costume has its own developmental regularities and periodization caused by many factors. It is found that in the 20th and 21st centuries, there is an increasing interaction of two main trends: 1) stage costume is characterized by a high degree of codification and symbolism, with significant transformations in the specific content of symbols; 2) a variety of techniques are observed in achieving various aspects of “authenticity” in relation to theatrical action as a whole and theatrical costumes in particular.","PeriodicalId":477194,"journal":{"name":"Pan-Art","volume":"76 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140423983","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 review of the monograph "Ornament in the Content of Art Education" by A. K. Veksler (2023) presents an examination and analysis of the material recommended by the author, highlighting the merits of the monograph, and offering recommendations for evaluating and applying A. K. Veksler's theoretical work in artistic-pedagogical practice. The reviewed edition, for the first time, delves into the fundamentals of teaching design and decorative-applied arts through the prism of ornament, establishing the relationship: ornament is a definition that demonstrates meta-subject connections.
对A. K. Veksler的专著《艺术教育内容中的装饰》（2023年）的评论，对作者推荐的材料进行了研究和分析，强调了该专著的优点，并为在艺术教学实践中评价和应用A. K. Veksler的理论工作提出了建议。评论版首次通过装饰的棱镜深入探讨了设计和装饰应用艺术教学的基本原理，确立了两者之间的关系：装饰是一个显示元主体联系的定义。
{"title":"Veksler A. K. Ornament in the Content of Art Education: monograph. St. Petersburg: LLC \"Knizhny Dom\", 2023. 222 p. + color inserts 20 p.: Book review","authors":"Olga Anatolievna Tuminskaya","doi":"10.30853/pa20240005","DOIUrl":"https://doi.org/10.30853/pa20240005","url":null,"abstract":"The review of the monograph \"Ornament in the Content of Art Education\" by A. K. Veksler (2023) presents an examination and analysis of the material recommended by the author, highlighting the merits of the monograph, and offering recommendations for evaluating and applying A. K. Veksler's theoretical work in artistic-pedagogical practice. The reviewed edition, for the first time, delves into the fundamentals of teaching design and decorative-applied arts through the prism of ornament, establishing the relationship: ornament is a definition that demonstrates meta-subject connections.","PeriodicalId":477194,"journal":{"name":"Pan-Art","volume":"53 3","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140427339","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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