The study aims to identify the specifics of the theories of myth by Umberto Eco and Roland Barthes, as well as the similarity of these theories through a comparative analysis of their philosophical and cultural texts. The paper analyzes the theories of myth by the specified researchers taking into account the following aspects: myth as a special semiotic system; myth integrality, polyfunctionality; myth ideologization; susceptibility of myth to constant semantic metamorphoses, etc. As a result of the study, the thesis that the theories of myth by R. Barthes and U. Eco are isomorphic in all the above-mentioned aspects was substantiated. It was shown that in the theories of both thinkers, myth is seen as a central phenomenon, which is an “open text”, the basis of hyperreality and ideological systems in modern culture.
本研究旨在通过对翁贝托-艾柯（Umberto Eco）和罗兰-巴特（Roland Barthes）的哲学和文化文本进行比较分析，确定他们的神话理论的具体内容，以及这些理论的相似之处。论文从以下几个方面分析了这两位研究者的神话理论：神话作为一种特殊的符号系统；神话的整体性、多功能性；神话的意识形态化；神话对不断的语义变形的敏感性等。研究结果证实了 R. Barthes 和 U. Eco 的神话理论在上述所有方面都是同构的这一论点。研究表明，在两位思想家的理论中，神话都被视为一种核心现象，是一种 "开放文本"，是现代文化中超现实和意识形态体系的基础。
{"title":"Comparative analysis of the theories of myth by U. Eco and R. Barthes (the philosophical and cultural aspect)","authors":"Alyona Dmitrievna Fofanova","doi":"10.30853/pa20240004","DOIUrl":"https://doi.org/10.30853/pa20240004","url":null,"abstract":"The study aims to identify the specifics of the theories of myth by Umberto Eco and Roland Barthes, as well as the similarity of these theories through a comparative analysis of their philosophical and cultural texts. The paper analyzes the theories of myth by the specified researchers taking into account the following aspects: myth as a special semiotic system; myth integrality, polyfunctionality; myth ideologization; susceptibility of myth to constant semantic metamorphoses, etc. As a result of the study, the thesis that the theories of myth by R. Barthes and U. Eco are isomorphic in all the above-mentioned aspects was substantiated. It was shown that in the theories of both thinkers, myth is seen as a central phenomenon, which is an “open text”, the basis of hyperreality and ideological systems in modern culture.","PeriodicalId":477194,"journal":{"name":"Pan-Art","volume":"99 ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140451000","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 recreate the portrait of the Japanese artist Saeki Yuzo (1898-1928), a representative of the “yoga” movement, in the context of his contemporary era. The author addresses the transformation of the Japanese art community of the Meiji and Taisho eras, identifies the peculiarities of formation of the “yoga” and “nihonga” painting trends in Japanese art, considers the main periods of Saeki Yuzo’s life and creative work (the first Paris period, the creation of Italian watercolors, return to Japan, the second Paris period). The paper is novel in that it is the first to determine how the traditions of the East and the West are interpreted in the works of the artist. As a result, the author substantiates the thesis that Saeki Yuzo was a follower in the context of European art and an innovator at home; the artist’s contribution marked a new stage in Japanese modernism – the transition from impressionism to Fauvist expressionism.
{"title":"Portrait of an artist in the context of the era: Saeki Yuzo","authors":"L. A. Akhmylovskaya","doi":"10.30853/pa20230040","DOIUrl":"https://doi.org/10.30853/pa20230040","url":null,"abstract":"The study aims to recreate the portrait of the Japanese artist Saeki Yuzo (1898-1928), a representative of the “yoga” movement, in the context of his contemporary era. The author addresses the transformation of the Japanese art community of the Meiji and Taisho eras, identifies the peculiarities of formation of the “yoga” and “nihonga” painting trends in Japanese art, considers the main periods of Saeki Yuzo’s life and creative work (the first Paris period, the creation of Italian watercolors, return to Japan, the second Paris period). The paper is novel in that it is the first to determine how the traditions of the East and the West are interpreted in the works of the artist. As a result, the author substantiates the thesis that Saeki Yuzo was a follower in the context of European art and an innovator at home; the artist’s contribution marked a new stage in Japanese modernism – the transition from impressionism to Fauvist expressionism.","PeriodicalId":477194,"journal":{"name":"Pan-Art","volume":"53 12","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138602328","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The article is devoted to the interpretation of "modality" as a compositional technique that embodies an emotional component. The study establishes that the principles of modality, in many ways, contradict the tonal system. It concludes that pure modality is encountered very rarely, as it usually complements other techniques. A unique example in this regard is Claude Debussy's piano piece "Voiles" (1909) from his first book of preludes (1910). The innovative value of Debussy's musical discoveries is hard to overestimate. The novelty of his music is associated, in part, with moving away from the traditional harmonic framework. In this sense, Debussy continues the discoveries of Modest Petrovich Mussorgsky (1839-1881).
{"title":"Modality\" as the basis of the compositional technique in the piano prelude \"Voiles\" by Claude Debussy","authors":"Iuliia Vladimirovna Shatskikh","doi":"10.30853/pa20230038","DOIUrl":"https://doi.org/10.30853/pa20230038","url":null,"abstract":"The article is devoted to the interpretation of \"modality\" as a compositional technique that embodies an emotional component. The study establishes that the principles of modality, in many ways, contradict the tonal system. It concludes that pure modality is encountered very rarely, as it usually complements other techniques. A unique example in this regard is Claude Debussy's piano piece \"Voiles\" (1909) from his first book of preludes (1910). The innovative value of Debussy's musical discoveries is hard to overestimate. The novelty of his music is associated, in part, with moving away from the traditional harmonic framework. In this sense, Debussy continues the discoveries of Modest Petrovich Mussorgsky (1839-1881).","PeriodicalId":477194,"journal":{"name":"Pan-Art","volume":" 36","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-11-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135243627","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 this research is to identify the specific features of the artistic language of Russian Impressionism. The article presents the content of this stylistic direction, distinguishing it from the general concept of "impressionism." The characteristics of Russian Impressionist art are revealed in its "dialogue" with both Western and Eastern painting, within the chronological framework of the late 19th to the first half of the 20th century. It is determined that the combination of Impressionist language with other styles, including realism, remains significant in both the latter half of the 20th century and contemporary Russian culture.
{"title":"Genesis of Russian Impressionism and its first interpretations","authors":"Ekaterina Aleksandrovna Skorobogacheva","doi":"10.30853/pa20230037","DOIUrl":"https://doi.org/10.30853/pa20230037","url":null,"abstract":"The aim of this research is to identify the specific features of the artistic language of Russian Impressionism. The article presents the content of this stylistic direction, distinguishing it from the general concept of \"impressionism.\" The characteristics of Russian Impressionist art are revealed in its \"dialogue\" with both Western and Eastern painting, within the chronological framework of the late 19th to the first half of the 20th century. It is determined that the combination of Impressionist language with other styles, including realism, remains significant in both the latter half of the 20th century and contemporary Russian culture.","PeriodicalId":477194,"journal":{"name":"Pan-Art","volume":"10 1‐4","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-11-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135392355","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 devoted to a summary review of the main phenomena of global artistic culture in the Antiquity period (a millennium before the Birth of Christ). The work provides a holistic vision of artistic phenomena. The author consistently examines the achievements of ancient masters in various art forms: literature (the creation of the spiritual foundation of ancient culture in religious canons and national epic), architecture (the appearance of the order in ancient Greek classics), sculpture (as the leading genre of Antiquity), fine art (based on preserved frescoes and mosaics), theatrical art (tragedies of ancient Greek playwrights), poetry (Roman classicism). Attention is also paid to the development of art in line with Hellenism and to the parallels to Greco-Roman Antiquity in the territories of the East. In addition, an overview of the last stage of Antiquity, the Roman stage (the heyday of Roman architecture and sculpture), is given. In conclusion, the author finds that the art phenomena of the period of Antiquity played the most important role as the basis of European culture.
{"title":"Antiquity: A millennium before the Birth of Christ. The basis of European culture","authors":"Aleksandr Ivanovich Demchenko","doi":"10.30853/pa20230036","DOIUrl":"https://doi.org/10.30853/pa20230036","url":null,"abstract":"The essay is devoted to a summary review of the main phenomena of global artistic culture in the Antiquity period (a millennium before the Birth of Christ). The work provides a holistic vision of artistic phenomena. The author consistently examines the achievements of ancient masters in various art forms: literature (the creation of the spiritual foundation of ancient culture in religious canons and national epic), architecture (the appearance of the order in ancient Greek classics), sculpture (as the leading genre of Antiquity), fine art (based on preserved frescoes and mosaics), theatrical art (tragedies of ancient Greek playwrights), poetry (Roman classicism). Attention is also paid to the development of art in line with Hellenism and to the parallels to Greco-Roman Antiquity in the territories of the East. In addition, an overview of the last stage of Antiquity, the Roman stage (the heyday of Roman architecture and sculpture), is given. In conclusion, the author finds that the art phenomena of the period of Antiquity played the most important role as the basis of European culture.","PeriodicalId":477194,"journal":{"name":"Pan-Art","volume":"92 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136253156","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 considers the monographic work “The Image of the Holy Fool in the Word and Depiction” by O. A. Tuminskaya and N. Z. Gayevskaya (2021), dedicated to shedding light on the image of the holy fool in literature and art in a comprehensive analytical manner. Analysing numerous iconographic examples, referring to a wide range of sources, the authors of the monograph trace the parallels of the creation of the image of the holy fool in iconography and hagiography. Being novel in its content, methodology, having an interdisciplinary nature that combines historical, art historical, anthropological approaches, the reviewed publication makes a significant contribution to the study of foolishness for Christ.
本文综合分析了O. a .图明斯卡娅和N. Z.加耶夫斯卡娅(2021)的专著《文字和描绘中的圣人形象》，该专著致力于揭示文学和艺术中的圣人形象。分析了大量的图像例子，参考了广泛的来源，专著的作者追踪了圣像学和圣徒传记中神圣的傻瓜形象的创造的相似之处。由于其内容，方法新颖，具有跨学科的性质，结合了历史，艺术史，人类学的方法，该评论出版物对研究基督的愚蠢做出了重大贡献。
{"title":"Joint Monograph: Tuminskaya O. A., Gayevskaya N. Z. The Image of the Holy Fool in the Word and Depiction / intr. by Doctor in Philosophy K. G. Isupov; comp. and ed. by N. Z. Gayevskaya. Kaluga: Zolotaya Alleya, 2021. 208 p., ill.: Book Revew","authors":"Aleksandr Ivanovich Demchenko","doi":"10.30853/pa20230016","DOIUrl":"https://doi.org/10.30853/pa20230016","url":null,"abstract":"The review considers the monographic work “The Image of the Holy Fool in the Word and Depiction” by O. A. Tuminskaya and N. Z. Gayevskaya (2021), dedicated to shedding light on the image of the holy fool in literature and art in a comprehensive analytical manner. Analysing numerous iconographic examples, referring to a wide range of sources, the authors of the monograph trace the parallels of the creation of the image of the holy fool in iconography and hagiography. Being novel in its content, methodology, having an interdisciplinary nature that combines historical, art historical, anthropological approaches, the reviewed publication makes a significant contribution to the study of foolishness for Christ.","PeriodicalId":477194,"journal":{"name":"Pan-Art","volume":"33 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135464186","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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