Pub Date : 2024-01-01DOI: 10.7256/2454-0625.2024.1.69444
G. A. Prokudin
The article deals with the problem of the world–in–itself being closed to our perception due to the inevitability of human subjectivity in the process of cognition of the world. In the philosophy of positivism and speculativism, the thesis of the fundamental unknowability of reality allows us to deduce an entire aspect of the world that is inaccessible to perception by analytical methods. This part of the world, by virtue of its fundamental concealment, resists all rational cognition, but, nevertheless, it can manifest itself in a special way that has more in common with mystical experience than with objective cognition. The purpose of the article is to offer a figurative language of the cinema texts of the cosmic horror genre as a way to think of the world–in–itself, otherwise inaccessible to cognition. The analysis is based on the example of two texts – "Through the Horizon" (dir. Paul W. S. Anderson, 1997) and "Hell" (directed by D. Boyle, 2007). A systematic film analysis was chosen as the research method. Screen works are analyzed from the point of view of how the subject of this research is revealed through the structural elements of film production. The main conclusions of the study are the theses that screen works in the horror genre, in particular space horror, can be used as a way to think about an aspect of the world that is inaccessible to knowledge by rational methods. This is possible due to the fact that the fundamental concealment of the world–not–for–us, on the one hand, makes it inaccessible to traditional analysis, and on the other hand, brings it closer to mystical experience. Films of the cosmic horror genre, and especially those that are the successors of the so–called Lovecraftian tradition, use characteristic frightening imagery to evoke in the viewer a feeling of the otherworldly, mystical, to create the same feeling of the creepy that occurs when the world-not–for–us manifests itself. But besides the images, the very structure of the film's narrative and its means of expression work to direct the viewer's thought towards understanding this strange world hidden from us.
{"title":"Films of the space horror genre, as an attempt to imagine a world–not–for–us.","authors":"G. A. Prokudin","doi":"10.7256/2454-0625.2024.1.69444","DOIUrl":"https://doi.org/10.7256/2454-0625.2024.1.69444","url":null,"abstract":"\u0000 The article deals with the problem of the world–in–itself being closed to our perception due to the inevitability of human subjectivity in the process of cognition of the world. In the philosophy of positivism and speculativism, the thesis of the fundamental unknowability of reality allows us to deduce an entire aspect of the world that is inaccessible to perception by analytical methods. This part of the world, by virtue of its fundamental concealment, resists all rational cognition, but, nevertheless, it can manifest itself in a special way that has more in common with mystical experience than with objective cognition. The purpose of the article is to offer a figurative language of the cinema texts of the cosmic horror genre as a way to think of the world–in–itself, otherwise inaccessible to cognition. The analysis is based on the example of two texts – \"Through the Horizon\" (dir. Paul W. S. Anderson, 1997) and \"Hell\" (directed by D. Boyle, 2007). A systematic film analysis was chosen as the research method. Screen works are analyzed from the point of view of how the subject of this research is revealed through the structural elements of film production. The main conclusions of the study are the theses that screen works in the horror genre, in particular space horror, can be used as a way to think about an aspect of the world that is inaccessible to knowledge by rational methods. This is possible due to the fact that the fundamental concealment of the world–not–for–us, on the one hand, makes it inaccessible to traditional analysis, and on the other hand, brings it closer to mystical experience. Films of the cosmic horror genre, and especially those that are the successors of the so–called Lovecraftian tradition, use characteristic frightening imagery to evoke in the viewer a feeling of the otherworldly, mystical, to create the same feeling of the creepy that occurs when the world-not–for–us manifests itself. But besides the images, the very structure of the film's narrative and its means of expression work to direct the viewer's thought towards understanding this strange world hidden from us.\u0000","PeriodicalId":508990,"journal":{"name":"Культура и искусство","volume":"22 3","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140518755","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 : 2024-01-01DOI: 10.7256/2454-0625.2024.1.69614
Marina V. Porubina
The work of Erik Satie, his value assessment, as well as the peculiarities of the author's non-normative artistic thinking have repeatedly become the subject of musicological discussions, but still a number of his artistic discoveries in different genre areas remain out of the researchers' field of vision. The proposed article analyzes the French composer's ballet work, which became a space of experimentation in the process of searching for a new image of a musical-choreographic performance. The material of the study includes not only the odious "Parade", which became a manifesto of the "new art", but also four other works by Erik Satie in the genre of ballet, without the study of which it is impossible to draw a complete picture of this sphere ("Uspud", "The Adventures of Mercury", "Eccentric Beauty", "The Spectacle is Canceled"). Their consideration from the point of view of the evolution of the author's approach to the creation of music for a ballet performance, as well as in the aspect of revealing content-semantic, compositional-dramaturgical and stylistic innovations, is the subject of research in this article. In the process of studying the problem, a comprehensive approach is applied, combining comparative and cultural-historical methods with theoretical and analytical tools of musicology. In the course of the analysis, the author comes to the conclusion that all components of the artistic whole of a ballet performance undergo transformation. At the narrative and semantic level, there is a gradual rejection of the traditional libretto, procedurally revealing the fabula of what is happening on stage, in favor of a small script plan, often without development and cause-and-effect relationships between episodes. The compositional and dramaturgical solution of the ballets is based on the suite, which is the root of the genre, but interpreted in a modified form, with the active involvement of combinatorics and montage. The musical and stylistic appearance of the performances is also often determined by an "anti-academic" concept characteristic not only of this genre, but also of Erik Satie's work in general. The sound space of the composer's ballets is highly heterogeneous and represents a mix of academic musical traditions with the culture of everyday life, both musical (music hall, cabaret, jazz) and extra-musical (the use of everyday objects reproducing the noise of the urban environment in the score of Parade).
{"title":"Variations on the theme of \"ballet\" in the works of Eric Satie","authors":"Marina V. Porubina","doi":"10.7256/2454-0625.2024.1.69614","DOIUrl":"https://doi.org/10.7256/2454-0625.2024.1.69614","url":null,"abstract":"\u0000 The work of Erik Satie, his value assessment, as well as the peculiarities of the author's non-normative artistic thinking have repeatedly become the subject of musicological discussions, but still a number of his artistic discoveries in different genre areas remain out of the researchers' field of vision. The proposed article analyzes the French composer's ballet work, which became a space of experimentation in the process of searching for a new image of a musical-choreographic performance. The material of the study includes not only the odious \"Parade\", which became a manifesto of the \"new art\", but also four other works by Erik Satie in the genre of ballet, without the study of which it is impossible to draw a complete picture of this sphere (\"Uspud\", \"The Adventures of Mercury\", \"Eccentric Beauty\", \"The Spectacle is Canceled\"). Their consideration from the point of view of the evolution of the author's approach to the creation of music for a ballet performance, as well as in the aspect of revealing content-semantic, compositional-dramaturgical and stylistic innovations, is the subject of research in this article. In the process of studying the problem, a comprehensive approach is applied, combining comparative and cultural-historical methods with theoretical and analytical tools of musicology. In the course of the analysis, the author comes to the conclusion that all components of the artistic whole of a ballet performance undergo transformation. At the narrative and semantic level, there is a gradual rejection of the traditional libretto, procedurally revealing the fabula of what is happening on stage, in favor of a small script plan, often without development and cause-and-effect relationships between episodes. The compositional and dramaturgical solution of the ballets is based on the suite, which is the root of the genre, but interpreted in a modified form, with the active involvement of combinatorics and montage. The musical and stylistic appearance of the performances is also often determined by an \"anti-academic\" concept characteristic not only of this genre, but also of Erik Satie's work in general. The sound space of the composer's ballets is highly heterogeneous and represents a mix of academic musical traditions with the culture of everyday life, both musical (music hall, cabaret, jazz) and extra-musical (the use of everyday objects reproducing the noise of the urban environment in the score of Parade).\u0000","PeriodicalId":508990,"journal":{"name":"Культура и искусство","volume":"27 2","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140524056","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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