Pub Date : 2021-12-01DOI: 10.52603/arta.2021.30-2.15
Alexandru Bohanţov
The seventh decade of the XX century of the communist regime is significant in many ways. First of all, it is through the brief “liberalization” of the political, social and cultural life of the former Soviet country, which followed the Stalinist frost of sadness. Nonetheless, the ideological constraints in the field of culture and the media have not completely disappeared. A fundamental feature of the research paradigm of British cultural studies explains that no cultural-artistic practice or cultural product can be understood out of context that is why the study of identity dimensions of media culture in the given period requires a complex grid of analysis. The factual state of culture in general, but also of media communication in particular, can be fully understood only if we proceed to a deconstruction of the mechanisms of propagandistic transfiguration of “socialist reality” and of the cultural or media discourse in the society of those times.
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Pub Date : 2021-12-01DOI: 10.52603/arta.2021.30-2.16
Marina Protas
At the turn of the millennia, the narrative of the art sciences was enriched by an extensive analytical polylogue: from eschatological forecasts of the end of the crisis of theories and practices to the multicultural utopias of “global art”. A solid sector in this context is made up of trans-disciplinary studies of the problems of national self-identification and the revision of regional art epistemes in the new geocultural realities, in particular, those refracted in the field of postcolonial trauma of national consciousness discourse. This aspect is especially relevant for the countries of the post-Soviet space, because their cultural and artistic development is under the pressure of two equally traumatic paradigms: the Russification one belonging to the past, and the Westernization paradigm that declares itself to be the manifestation of democratic freedoms. However, each of them leads to amnesia in the historical and cultural memory of nations, threatening to collapse. Only a careful study of the causes and consequences of this civilizational phenomenon, as well as the study of the negative impact of the market ideology of the culture industry, will help to avoid depersonalization of national arts and cultures, while preserving the possibility of indigenous flourishing in the future. The article pinpoints the pain points identifies the sensitive issues in solving this problem by contemporary artists and critics from different countries, including Ukraine, leaving open the final effective fixation of the situation, which increases the catastrophic bifurcation by unstable development
{"title":"The art episteme of national self-identification in the context of postcolonial cultural trauma","authors":"Marina Protas","doi":"10.52603/arta.2021.30-2.16","DOIUrl":"https://doi.org/10.52603/arta.2021.30-2.16","url":null,"abstract":"At the turn of the millennia, the narrative of the art sciences was enriched by an extensive analytical polylogue: from eschatological forecasts of the end of the crisis of theories and practices to the multicultural utopias of “global art”. A solid sector in this context is made up of trans-disciplinary studies of the problems of national self-identification and the revision of regional art epistemes in the new geocultural realities, in particular, those refracted in the field of postcolonial trauma of national consciousness discourse. This aspect is especially relevant for the countries of the post-Soviet space, because their cultural and artistic development is under the pressure of two equally traumatic paradigms: the Russification one belonging to the past, and the Westernization paradigm that declares itself to be the manifestation of democratic freedoms. However, each of them leads to amnesia in the historical and cultural memory of nations, threatening to collapse. Only a careful study of the causes and consequences of this civilizational phenomenon, as well as the study of the negative impact of the market ideology of the culture industry, will help to avoid depersonalization of national arts and cultures, while preserving the possibility of indigenous flourishing in the future. The article pinpoints the pain points identifies the sensitive issues in solving this problem by contemporary artists and critics from different countries, including Ukraine, leaving open the final effective fixation of the situation, which increases the catastrophic bifurcation by unstable development","PeriodicalId":55785,"journal":{"name":"Arta","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46574912","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 : 2021-12-01DOI: 10.52603/arta.2021.30-2.07
N. Kornienko
The author considers artistic culture as a subject of synergetics and pre-quantum / quantum culture. The author’s reflections are in the field of searching theater, literature, performative art, and cinema. The theater of the future is the research subject, a “scientific” project. The level of the theater rises by an order of magnitude to its surpassing scenarios. Universalism, or rather, trans-professionalism, is becoming an indispensable component of the future artistic process. The leader, the Scientist–Researcher–Poet (Artist), becomes of current interest. The stage works by Castellucci, Suzuki, music by Scott Gibbons and others have modeled this future. Time moves simultaneously in all directions refuting the laws of classical physics. The trajectory of movement indicates quantum measurements. Faulkner, Joyce, Proust, Andre Gide, John Dos Passos, Rilke successfully polemicize with physics. The new dimensions of a person imply a plurality of identifications. Calvino – “The Cloven Viscount”.
{"title":"Artistic culture: new dimensions of a person (a plurality of identifications in time moving simultaneously in all directions)","authors":"N. Kornienko","doi":"10.52603/arta.2021.30-2.07","DOIUrl":"https://doi.org/10.52603/arta.2021.30-2.07","url":null,"abstract":"The author considers artistic culture as a subject of synergetics and pre-quantum / quantum culture. The author’s reflections are in the field of searching theater, literature, performative art, and cinema. The theater of the future is the research subject, a “scientific” project. The level of the theater rises by an order of magnitude to its surpassing scenarios. Universalism, or rather, trans-professionalism, is becoming an indispensable component of the future artistic process. The leader, the Scientist–Researcher–Poet (Artist), becomes of current interest. The stage works by Castellucci, Suzuki, music by Scott Gibbons and others have modeled this future. Time moves simultaneously in all directions refuting the laws of classical physics. The trajectory of movement indicates quantum measurements. Faulkner, Joyce, Proust, Andre Gide, John Dos Passos, Rilke successfully polemicize with physics. The new dimensions of a person imply a plurality of identifications. Calvino – “The Cloven Viscount”.","PeriodicalId":55785,"journal":{"name":"Arta","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49432403","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 : 2021-12-01DOI: 10.52603/arta.2021.30-2.04
Vasile Chiseliţă
The study aims to identify the main theoretical and methodological criteria, important in shaping the scientific vision applied to the approach of the subject. The author delimits two distinct periods in the evolution of the singer’s repertoire: the late Soviet period (1968–1991) and the post-Soviet period (1991–1999). The main focus is on the Soviet epoch. Among the documentary sources are the materials stored in the IPNA archive – “TeleradioMoldova” Company, the personal files of the artists, the minutes of the Artistic Council, the musical scores, the library of the editorial offices within the institution. To substantiate the theoretical framework of the study, the author argues the need to instrumentalize the concepts of „Soviet folk song”, „mass song”, „creator&producer networks”, „modernization”, „revitalization”, „invented traditions”, „folklorization”, „new folk songs”, „neo-traditional music”.
{"title":"Documentary sources and methodological landmarks in the research of the creation of the singer Veronica Mihai in the „Folclor” Orchestra","authors":"Vasile Chiseliţă","doi":"10.52603/arta.2021.30-2.04","DOIUrl":"https://doi.org/10.52603/arta.2021.30-2.04","url":null,"abstract":"The study aims to identify the main theoretical and methodological criteria, important in shaping the scientific vision applied to the approach of the subject. The author delimits two distinct periods in the evolution of the singer’s repertoire: the late Soviet period (1968–1991) and the post-Soviet period (1991–1999). The main focus is on the Soviet epoch. Among the documentary sources are the materials stored in the IPNA archive – “TeleradioMoldova” Company, the personal files of the artists, the minutes of the Artistic Council, the musical scores, the library of the editorial offices within the institution. To substantiate the theoretical framework of the study, the author argues the need to instrumentalize the concepts of „Soviet folk song”, „mass song”, „creator&producer networks”, „modernization”, „revitalization”, „invented traditions”, „folklorization”, „new folk songs”, „neo-traditional music”.","PeriodicalId":55785,"journal":{"name":"Arta","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44326798","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 : 2021-12-01DOI: 10.52603/arta.2021.30-2.08
Elfrida Koroliova
The fruitful activity of Valeriu Cupcea in the 1960s was manifested in the identity of his plays. In the comedy Take, Yanke, and Kadar by I. Popa, this is a union of people overcoming national and religious prejudices. In the socio-psychological drama from the life of a collective farm village The Wheel of Time by A. Lupan, this is the drama of the era, manifested in life situations, in dramatic collisions of the characters in the play. In the philosophical drama about the life and death of A. Levada’s Faust and Death, this is a clash of human destinies, in the struggle of worldviews. The play I Don’t Want You To Do Good For Me Anymore by G. Malarciuc is a satire against favoritism and nepotism. In the play Two Lives and the Third by F. Vidrascu, this is psychological certainty in revealing the spiritual dramas of the heroes. In the play The Crane Feathers by J. Kinoshita this is a poetical and philosophical reading of an old Japanese legend. In the play Eminescu by M. Stefanescu, this is a highly artistic embodiment of the images of Eminescu, Creanga, Alecsandri. In the play Blanduzia’s Fountain by V. Alecsandri, this is the disclosure of the tragic life of a poet who selflessly strives to bring love and goodness to people and dooms himself to death. And others.
{"title":"The Identity of the Performances of the 1960s Directed by Valeriu Cupcea","authors":"Elfrida Koroliova","doi":"10.52603/arta.2021.30-2.08","DOIUrl":"https://doi.org/10.52603/arta.2021.30-2.08","url":null,"abstract":"The fruitful activity of Valeriu Cupcea in the 1960s was manifested in the identity of his plays. In the comedy Take, Yanke, and Kadar by I. Popa, this is a union of people overcoming national and religious prejudices. In the socio-psychological drama from the life of a collective farm village The Wheel of Time by A. Lupan, this is the drama of the era, manifested in life situations, in dramatic collisions of the characters in the play. In the philosophical drama about the life and death of A. Levada’s Faust and Death, this is a clash of human destinies, in the struggle of worldviews. The play I Don’t Want You To Do Good For Me Anymore by G. Malarciuc is a satire against favoritism and nepotism. In the play Two Lives and the Third by F. Vidrascu, this is psychological certainty in revealing the spiritual dramas of the heroes. In the play The Crane Feathers by J. Kinoshita this is a poetical and philosophical reading of an old Japanese legend. In the play Eminescu by M. Stefanescu, this is a highly artistic embodiment of the images of Eminescu, Creanga, Alecsandri. In the play Blanduzia’s Fountain by V. Alecsandri, this is the disclosure of the tragic life of a poet who selflessly strives to bring love and goodness to people and dooms himself to death. And others.","PeriodicalId":55785,"journal":{"name":"Arta","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46674632","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 : 2021-12-01DOI: 10.52603/arta.2021.30-2.11
Zviad Dolidze
The creation of the film director Otar Ioseliani has a significant role in the evolution of Georgian cinematographic art. Since the 1950s, Ioseliani had been active in RSS Georgia, and since the 1980s, thanks to ideological circumstances, he continued his work as a filmmaker in France. Ioseliani imposed himself through a special style in the detection and cinematic expression of the negative parts of everyday life. That is why most of his films were not accepted by Soviet film critics, acclaiming them as negative works that did not fit the Soviet reality and lifestyle. Those works corresponded more to the conditions of critical realism than to socialist realism - the dogma of the totalitarian regime. As arguments for these ideas will serve the analysis (thematic, ideational background, cinematic expression, etc.) of Otar Ioseliani’s films from the Georgian period, starting with the bachelor’s thesis Watercolor (1958) and continuing with the films that became known to the general public: November, The Last Leaf, Pastoral, Once Upon a Time there was a Blackbird.
{"title":"The Georgian period of the filmmaker Otar Ioseliani","authors":"Zviad Dolidze","doi":"10.52603/arta.2021.30-2.11","DOIUrl":"https://doi.org/10.52603/arta.2021.30-2.11","url":null,"abstract":"The creation of the film director Otar Ioseliani has a significant role in the evolution of Georgian cinematographic art. Since the 1950s, Ioseliani had been active in RSS Georgia, and since the 1980s, thanks to ideological circumstances, he continued his work as a filmmaker in France. Ioseliani imposed himself through a special style in the detection and cinematic expression of the negative parts of everyday life. That is why most of his films were not accepted by Soviet film critics, acclaiming them as negative works that did not fit the Soviet reality and lifestyle. Those works corresponded more to the conditions of critical realism than to socialist realism - the dogma of the totalitarian regime. As arguments for these ideas will serve the analysis (thematic, ideational background, cinematic expression, etc.) of Otar Ioseliani’s films from the Georgian period, starting with the bachelor’s thesis Watercolor (1958) and continuing with the films that became known to the general public: November, The Last Leaf, Pastoral, Once Upon a Time there was a Blackbird.","PeriodicalId":55785,"journal":{"name":"Arta","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43564155","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 : 2021-12-01DOI: 10.52603/arta.2021.30-2.12
Ana Plamadeala
The polemical character of the paper is explained by the need to reconsider the generative factors in the configuration of the new cinematic wave of the “thaw” era. Unlike the popular postulate, the author launches the novel conception: the change in the face of Soviet cinema is entirely due to the ideational-aesthetic performances of the most ideologized genre of historical film, the historical-revolutionary one. Namely in the films, dedicated to the Russian revolution, there happened a reversal of values of the existential equations: “man – history”, “individual – collective”, “general – human-soviet”. Appealing to the generous virtualities of the mythical-archetypal analysis, we specified the change of the vector of cinematographic knowledge in the Balada haiducească/Outlaw Ballad by updating the patterns of the mythical-folkloric complex as the millennial censorship of the nation. Assigning the inspired cinematographic work both to the context of the “thaw” era and to that of the exponential Balkan genre – the film with outlaws, the singularity of the local discourse inscribed in the identity grid of the neo-romantic type was stated
{"title":"The Moldovan film Balada haiducească (Outlaw Ballad): the Phenomenon of Innovation through Tradition","authors":"Ana Plamadeala","doi":"10.52603/arta.2021.30-2.12","DOIUrl":"https://doi.org/10.52603/arta.2021.30-2.12","url":null,"abstract":"The polemical character of the paper is explained by the need to reconsider the generative factors in the configuration of the new cinematic wave of the “thaw” era. Unlike the popular postulate, the author launches the novel conception: the change in the face of Soviet cinema is entirely due to the ideational-aesthetic performances of the most ideologized genre of historical film, the historical-revolutionary one. Namely in the films, dedicated to the Russian revolution, there happened a reversal of values of the existential equations: “man – history”, “individual – collective”, “general – human-soviet”. Appealing to the generous virtualities of the mythical-archetypal analysis, we specified the change of the vector of cinematographic knowledge in the Balada haiducească/Outlaw Ballad by updating the patterns of the mythical-folkloric complex as the millennial censorship of the nation. Assigning the inspired cinematographic work both to the context of the “thaw” era and to that of the exponential Balkan genre – the film with outlaws, the singularity of the local discourse inscribed in the identity grid of the neo-romantic type was stated","PeriodicalId":55785,"journal":{"name":"Arta","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48531775","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 : 2021-12-01DOI: 10.52603/arta.2021.30-2.06
Irina Guzenco
The article describes the methodological and scientific works of the Special Piano department teachers from the Chisinau State Conservatory, created in the period 1950–1970s. The most common type of unpublished articles are reviews of colleagues’ concerts, reports, abstracts, essays and musical collections. The most serious scientific plans of the teachers were related to the genre of the dissertation. In the 1960s. the scientific and methodological articles of teachers of the department of Special Piano begin to appear. The most significant part of them is formed by music collections, composed of the music of Moldovan composers. T. Voitsekhovskaya and A. Dailis compiled and edited musical aids for students of different ages. The uniqueness of these scientific and methodological opuses is due to the specifics of the material under study – the subject of a special piano, the subtleties of which are familiar to authors, pianists-teachers and performers from their direct professional activities. The named scientific publications opened the way for further research of pianists, who became especially numerous at the turn of the XX–XXI centuries.
{"title":"Scientific-methodical activity of the pedagogues of the Special Piano Department of the State Conservatory of Chisinau during the years 1950–1970","authors":"Irina Guzenco","doi":"10.52603/arta.2021.30-2.06","DOIUrl":"https://doi.org/10.52603/arta.2021.30-2.06","url":null,"abstract":"The article describes the methodological and scientific works of the Special Piano department teachers from the Chisinau State Conservatory, created in the period 1950–1970s. The most common type of unpublished articles are reviews of colleagues’ concerts, reports, abstracts, essays and musical collections. The most serious scientific plans of the teachers were related to the genre of the dissertation. In the 1960s. the scientific and methodological articles of teachers of the department of Special Piano begin to appear. The most significant part of them is formed by music collections, composed of the music of Moldovan composers. T. Voitsekhovskaya and A. Dailis compiled and edited musical aids for students of different ages. The uniqueness of these scientific and methodological opuses is due to the specifics of the material under study – the subject of a special piano, the subtleties of which are familiar to authors, pianists-teachers and performers from their direct professional activities. The named scientific publications opened the way for further research of pianists, who became especially numerous at the turn of the XX–XXI centuries.","PeriodicalId":55785,"journal":{"name":"Arta","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48609327","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 : 2021-12-01DOI: 10.52603/arta.2021.30-2.03
Elena Chircev
Written in the year of Romania’s centennial anniversary as a national state, this paper intends to offer a panorama of the monodic music of Byzantine tradition of the period, composed by the Romanian chanters. Although the entire twentieth century was characterized by the harmonization of the already established church chants, the musical works written in neumatic notation specific to the Orthodox Church continue to exist, albeit discontinuously. Based on the political changes that occurred in the Romanian society, three distinct periods of psaltic music creation can be distinguished: a. 1918–1947; b. 1948–1989; c. 1990–2018. The first period coincides with the last stage of the process of “Romanianization” of church chants. The second one corresponds to the communist period and is marked by the Communist Party’s decisions regarding the Church, namely the attempt to standardise the church chants. After 1990, psaltic music regains its position and the compositions of the last two decades enrich its repertoire with new collections of chants. Thus, we can see that in the course of a century marked by political turmoil and changes, psaltic composition went on a hiatus in the first decades of the totalitarian regime, to gradually resurge after 1980, enriched with numerous works bearing a distinct Romanian stamp.
{"title":"Romanian musical creation of Bizantine source in the period 1918–2018","authors":"Elena Chircev","doi":"10.52603/arta.2021.30-2.03","DOIUrl":"https://doi.org/10.52603/arta.2021.30-2.03","url":null,"abstract":"Written in the year of Romania’s centennial anniversary as a national state, this paper intends to offer a panorama of the monodic music of Byzantine tradition of the period, composed by the Romanian chanters. Although the entire twentieth century was characterized by the harmonization of the already established church chants, the musical works written in neumatic notation specific to the Orthodox Church continue to exist, albeit discontinuously. Based on the political changes that occurred in the Romanian society, three distinct periods of psaltic music creation can be distinguished: a. 1918–1947; b. 1948–1989; c. 1990–2018. The first period coincides with the last stage of the process of “Romanianization” of church chants. The second one corresponds to the communist period and is marked by the Communist Party’s decisions regarding the Church, namely the attempt to standardise the church chants. After 1990, psaltic music regains its position and the compositions of the last two decades enrich its repertoire with new collections of chants. Thus, we can see that in the course of a century marked by political turmoil and changes, psaltic composition went on a hiatus in the first decades of the totalitarian regime, to gradually resurge after 1980, enriched with numerous works bearing a distinct Romanian stamp.","PeriodicalId":55785,"journal":{"name":"Arta","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43122456","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 : 2021-12-01DOI: 10.52603/arta.2021.30-2.17
E. Prus, L. Braniste
This article discusses current issues in the evolution of museums worldwide, influenced by global phenomena. The globalization of culture, on the one hand, and the musealization of the world, on the other hand, become the plays of a spectacle of the contemporary world. The museum cultural model becomes dominant in today’s society, influencing all spheres and finding representation in the world’s literatures. Among the various approached theories, the concepts of musealization of the modelled world as a cultural spectacle, “the world as a museum”, imaginary museum, the literaturization of the museum and the musealization of literature. From this perspective, the theses of the Nobel laureates in literature Mario Vargas Llosa and Orhan Pamuk are analysed. In Pamuk’s novel The Museum of Innocence, the museum is the structuring narratological axis of the novel, its theme and compositional nucleus.
{"title":"Spectacle of musealization and literaturization of the world in post/postmodern society","authors":"E. Prus, L. Braniste","doi":"10.52603/arta.2021.30-2.17","DOIUrl":"https://doi.org/10.52603/arta.2021.30-2.17","url":null,"abstract":"This article discusses current issues in the evolution of museums worldwide, influenced by global phenomena. The globalization of culture, on the one hand, and the musealization of the world, on the other hand, become the plays of a spectacle of the contemporary world. The museum cultural model becomes dominant in today’s society, influencing all spheres and finding representation in the world’s literatures. Among the various approached theories, the concepts of musealization of the modelled world as a cultural spectacle, “the world as a museum”, imaginary museum, the literaturization of the museum and the musealization of literature. From this perspective, the theses of the Nobel laureates in literature Mario Vargas Llosa and Orhan Pamuk are analysed. In Pamuk’s novel The Museum of Innocence, the museum is the structuring narratological axis of the novel, its theme and compositional nucleus.","PeriodicalId":55785,"journal":{"name":"Arta","volume":"7 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70712947","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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