Artistic Research Articles

ON THE ISSUE OF SOME THEORETICAL ASPECTS OF WORLD AND KAZAKHSTAN FILM MUSIC: GENRE AND FUNCTIONAL FEATURES

The world experience of composing music for films spans over a century, encompassing the creation of scores for films of various genres. Over the course of its existence, film music has solidified its position as an integral part of this form of art. Similar to any specific genre, film music has developed its own set of laws: the power of impact, stylistics, form development, musical language, dramaturgy, instrumentation, principles of functioning, methods of integration with other components of the film, etc.The comprehensive focus on the research subject necessitates the application of a systematic approach, employing multi-disciplinary methods. Historical-art, culturological and analytical methods, which are fundamental in the article, allow to achieve the intended aim. Due to an interdisciplinary approach, the theoretical foundation of the article is based on the works of philosophers, culturologists, art historians, film experts and musicologists, aiming for the most comprehensive exploration of the issue.Film music, serving as a colossal in volume and still insufficiently explored artistic domain, holds particular interest for musicology. It is characterized by a significant array of questions, encompassing both scientific-theoretical and practical issues. The scope of this article includes issues of theoretical principles of film music, including genre and artistic-stylistic features, methods of interaction with visual elements, questions of authorship, instrumentation, the relationship between sound and visual components, problems of form, functioning, etc. Having considered the theoretical aspects of the research subject, it becomes evident that music and sound have become one of the most crucial components of synthetic screen art. The musical structure of a cinematic work presents its multifaceted characteristics, contributing to the fullest realization of the creators’ intentions. The work defines the main terminological categories of the «film music» phenomenon, analyzes the existing systems of foreign researchers regarding the classification of functions, gives a genre description of music in the main types of films and also presents a generalized and expanded classification of the functions according to the criterion of dramatic role.

Exploring Local Wisdom: Analysis of Non-Verbal Communication Skills in Cirebon Traditional Mask Dance Audiences

This research delves into the intriguing realm of mask dance and its role as a nonverbal communication medium for audiences in Cirebon. By examining dance skills such as movement, rhythm, expression, level, and floor patterns, the study aims to unravel the profound impact of this art form. A qualitative approach and descriptive research design are adopted to achieve this, allowing for a comprehensive exploration of the performance form and the far-reaching effects of mask dance. The research findings promise to provide profound insights into the significance of dance in preserving local culture. By shedding light on the intricate nuances of mask dance, this study contributes to a deeper understanding of the art's value and cultural implications. Not only does it enhance our understanding of the art form itself, but it also holds practical implications for researchers and stakeholders in the field. The knowledge gleaned from this research equips researchers and stakeholders with a more profound appreciation and recognition of the richness embedded within the Cirebon mask dance. It serves as a testament to the power of dance as a nonverbal form of communication, capable of transcending language barriers and conveying messages that resonate with audiences on a profound level. This research serves as a valuable resource, providing a foundation upon which future studies and initiatives can build, further enhancing the preservation and promotion of local art and culture.

Meanings Behind the Carving Motifs of Traditional Malay Houses

Woodcarving motifs, including Negeri Sembilan, are significant in Malaysian art, bearing ancient knowledge and latent meanings. However, the understanding of Malay woodcarving motifs in Kuala Pilah is relatively limited compared to the east coast. The urgency to study these motifs intensifies as urbanization rapidly changes the landscape, representing not only woodcarvers’ skills but also profound cultural symbolism. This paper aims to interpret the meanings within these motifs in traditional Malay houses in Kuala Pilah, employing qualitative methods such as observation, interviews, photographic records, and secondary data analysis alongside Ferdinand de Saussure’s Semiotics Theory for analysis. The cultural and social significance embedded in these motifs is unveiled through signifier and signified analysis. The results revealed the presence of various motifs encompassing geometry, fauna, flora, and still life. The study also uncovered that each motif plays a pivotal role in conveying the cultural and social values of the Malay people in Negeri Sembilan and enhances our understanding of the traditional art form of woodcarving amidst contemporary transformations.

The effect of augmented reality-based serious game on traditional pattern learning

ABSTRACT Traditional pattern teaching is an important part of the art curriculum, but the pattern are complex and difficult to learn. While schema theory focuses on the integration, understanding and construction process of knowledge, AR technology can provide a three-dimensional and dynamic display of patterns, which has been used in teaching in recent years.Therefore, this study uses schema theory to guide the design of AR serious games and conducts experiments in a university. We selected a total of 120 students for the experiment to test AR serious games and common serious games respectively.The results indicated that both common serious games and AR serious games guided by cognitive schema had good teaching effects, while AR serious games more significantly reduce the cognitive load of students. For comprehension questions, the teaching effect of AR serious games is more significant, but for literacy questions, the difference in learning effect between them is not significant. In addition, AR serious games are more helpful for long-term memory and for understanding of complex traditional art forms such as bone schema and cultural schema. These are inspirational for art education.

Етноісторичні мотиви (сюжети) в музичному мистецтві України другої половини 18 – початку 19 століття

The purpose of the article is to study ethno-historical motifs in the musical art of Ukraine in the second half of the eighteenth and early nineteenth centuries, with a special emphasis on folk art and its influence on the development of orchestral, choral and individual musical performances. The article examines the cultural and social changes of this era and their impact on the evolution of kobza and bandura art, which served not only as a means of musical expression but also as an important element of preserving national identity and historical memory. The article describes in detail the ethno-historical motifs that were manifested through musical art, reflecting social moods, historical events and the heroic past of the nation. Considerable attention is paid to the analysis of the interaction of folk traditions with professional art forms, revealing the richness and diversity of folk art of that time. The research methodology is based on an integrated approach to the study of historical, musical and cultural aspects, using archival documents and scientific sources, which allows a comprehensive assessment of the influence of ethno-historical motifs on the formation of the cultural landscape of Ukraine in the period under study. Particular attention is paid to the role of kobzars and bandura players, who, by performing historical and contemporary themes, contributed to the preservation of national identity and the reproduction of cultural heritage. The scientific novelty of the study lies in an in-depth analysis of the contribution of musical groups and individual performers to the development of the region’s art, with an emphasis on their interaction with folk traditions and professional music in the context of historical and cultural processes. Conclusions. The emphasise the importance of studying ethno-historical motifs in the musical art of the late eighteenth and early nineteenth centuries as key elements in the formation of Ukraine’s cultural identity, pointing to the need for further research in this area to better understand the role of musical art in the contemporary cultural context.

The Art of Dying in a Digital World: How Death is Represented in Digital Art

With the rise of computing, human rituals and cultural practices have increasingly interwoven with digital technologies. In this milieu, the cultural facets of death and art are particularly noteworthy. The realm of art has undergone a seismic shift due to computing, developing new artistic forms and enhancing the reach of older forms. Concurrently, aspects of death are now integrated into digital technologies, manifesting in unique ways such as the retention of data from the deceased, digital expressions of grief, online memorials, and the like. In light of this, our fundamental, qualitative, and exploratory study endeavors to map out and discuss digital art pieces that delve into themes of death, mourning, and digital afterlife. In doing so, we probe the intersection of art, death, and technology. Our findings delineate the primary methodologies and technologies employed in digital art centered around death, and the nuanced modalities through which this subject is portrayed in digital media.

The Innovative Application of Hubei Shadow Play Art in Literary and Creative Stationery

Hubei shadow play art, as a national intangible cultural heritage, has a long history and unique artistic charm. This study focuses on the innovative application of this art form in the emerging cultural and creative stationery industry, and analyzes its current situation in the contemporary cultural and creative field as well as the problems and challenges it faces. By extracting the classic elements of Hubei shadow play art, combined with modern design and production technology, this paper explores the innovative transformation mode and market feedback of shadow play art in cultural and creative products, and examines the balance between cultural protection and commercial innovation. In addition, in view of the dilemma of market competition and brand building, this study puts forward the strategy of industrial transformation and upgrading, and emphasizes the importance of strengthening the cultivation of cultural and creative talents and international exchanges and cooperation. The results of this research not only provide theoretical guidance for the inheritance and innovation of Hubei shadow play art, but also contribute new experience and perspective to the development of cultural and creative industry.

LINGUOPOEICS OF M. ZHUMABAYEV’S POEM “TO MADAME GULSIM” AND ITS REFLECTION IN TRANSLATION

The article examines the features of the translation of linguapoetics elements into Russian and English in Magzhan Zhumabaev’s poem “To Madam Gulsim”. Poetic translation is the highest peak of literary translation. Deep, subtextual thoughts are brought into a certain rhythmic form by various artistic and figurative means, and when every word becomes important, the burden placed on the translator becomes heavier. Translation into other languagesof the poetry of Magzhan, a master of the poetic word, is only now being studied. Therefore, we aim to identify successful moments of translation and emerging gaps, comparing artistic and visual means that meet the aesthetic effect in the original and translated text from a lexical-semantic and structural point of view. Also, in the original/translation pair, external parameters and structure are analyzed that give the poem a certain melody and rhythm at the level of syllables, stanzas and rhymes. The results of the study determine the quality of translations of the poet’s po- etry and further contribute to enriching the experience of translation into foreign languages. It is determined which poetry translation strategy (According to J. Holmes and A. Lefever) corresponds to three versions of the translation in Russian and the English translation, and the extent to which it influenced the original content and idea, the artistic form, is interpreted. Currently, only twenty of the poet’s poems have been translated into English. Since Russian serves as an intermediate language for many translations, Russian translations require special analysis.

Hanfu catwalk shows: A performance of Chinese femininities

This article analyses the complex relationship between the construction of gender identities among young Chinese females and the practice of dressing up in Hanfu attire. The study employs the perspectives of dress as a situated embodied practice, the performativity of gender and the catwalk as a form of performance art. By drawing on an ethnography of self-defined Hanfu fans in Beijing, China, the authors investigate how the female participants construct femininities through performing on Hanfu catwalks. The ethnographic findings are that, first, the Hanfu catwalk mediates the intricate interplay of Chinese aesthetic norms and gender expression between performers and the audience. Second, wearing Hanfu is an embodied practice unifying the Hanfu costume style, gender construction and corporeal acts, situated in China’s sociopolitical context. Third, Chinese femininity is complex, with both flexibility and internal conflicts, reflecting China’s paradoxical modernization.

David Burliuk – many-faced and individual

INTRODUCTION. The creative personality of David Burliuk gave grounds for naming a kind of International Avant-garde Artistic Award after him. Consider the incarnations of the creative personality of the “father of Russian futurism” David Burliuk means to penetrate into the world of avant-garde art and various forms of artistry, which is especially relevant these days, representing great interest for the study of Russian futurism. The purpose of the article is to show the diversity of activities of the father of Russian futurism, David Burliuk, in establishing new forms of art.MATERIALS AND METHODS. The research material was the personal experience of the author of the article working with the work of David Burliuk, the life and work of those associated with the Tambov region. Techniques for collecting, systematizing and analyzing material underlie the methods used, including bibliographic, descriptive, linguistic and poetic.RESULTS AND DISCUSSION. The hypostases of the creative personality of David Burliuk are considered, which gave grounds for assigning a kind of avant-garde artistic award to his name. The innovative activity of David Burliuk as the organizer of the leading futurist group “Gilea”, the initiator of exhibitions, publishing projects, presentations of the work of cubo-futurists in different cities and regions of Russia is described.CONCLUSION. The features of David Burliuk’s poetic work with nonstandard forms are revealed, in which he acted as an innovator, stimulating the search for his colleagues, especially those who joined the movement as it developed. An important hypostasis of Burliuk’s creative personality has been established – the “instinct of aesthetic self-preservation” – the recording of creative activity in memoirs, correspondence and in the magazine “Color and Rhyme”.

Pia Petersen, Translingualism and Disruption

This article analyses the work of translingual writer Pia Petersen. It situates Petersen’s work within current debates about translingual writing and asks whether a translingual writer should be expected to draw attention to their multilingual background within their work. It argues that Petersen’s work is disruptive in both its form and content. In terms of content, Petersen engages in pointed social critique, highlighting the social injustice of contemporary French and American society. She also defends an approach to literature as an art form that should be respected and valued, not debased by market forces, consumption or popular appeal. Her work is also disruptive on a formal level, since she incorporates a variety of registers and phrases in English into her French language prose. This is not a writer who could be described as a multilingual author who incorporates several languages into her writing. But nor should we except her to do so. Instead, Petersen’s unique style reveals an attention to language, communication and disruption that suggests a translingual imagination.

Begrundelse for det performatives æstetik

The well-known German professor of Theatre Research, Erika Fischer-Lichte, argues for the necessity of developing a specific performative aesthetics capable of reflecting the transformative processes and physical reactions which the audience experiences in the face of the rise of performative art forms.

The Application Practice of Acupuncture Boneless Lanterns in Modern Brands

In the century when the oriental style is hot, the application of Chinese elements in visual design is increasing rapidly. Whether it is the need of consumers to pursue "cultural individuality" or the urgent requirement to promote and protect the national traditional culture, the integration of Chinese traditional culture is undoubtedly the next hot trend. The Chinese national culture is broad and profound, with many wonderful cultural and artistic treasures. Flower lantern is one of the traditional folk crafts in ancient China. Quanzhou flower lantern has unique craft characteristics, long history and rich cultural connotation, and is also a national intangible cultural heritage protection project. The main research object of this paper is based on the artistic characteristics of "needled boneless lantern". Through literature analysis, induction and extraction, design practice and other methods, this paper extracts and analyzes its historical and cultural connotation, art form appreciation, traditional pattern technology, and combines it with modern technology to explore and summarize, feel the unique charm of oriental culture, and form a diversified collision between traditional handicraft culture and modern brand design.

Picto‐verbal representation: Types and features of unreliable narration in comics

AbstractScholars have underestimated comics as an art form. This article uses an analysis of unreliable narration to show the complexity of this narrative mechanism in comics and, in turn, the sophistication of comics. Groensteen divides comic narrators into reciters and monstrators, and this distinction provides the basis to discuss unreliable narration in comics. This article categorizes comics with unreliable narration into mono‐sequence and dual‐sequence unreliable narrations according to the picto‐verbal relationship in the works. Moreover, medium‐specific features of comics such as spatialization of time and panel designs lead to unique types of unreliability.

De narices extravagantes y otras bromas de la naturaleza: la estructura del strange loop y la defensa de las líneas curvas en el “episodio de las narices” de Tristram Shandy

“The Tale of Slawkenbergius”, also known as the “Episode of the Nose”, is one of the most recognised and quoted passages from Tristram Shandy (Sterne 1759-1767). This short story from the fourth volume of Sterne’s novel has received a great deal of attention in the specialised bibliography. However, the studies so far published analyse the story as an isolated episode and concentrate mainly on the use of irony, double entendre and puns as a means of alluding to sexual issues (Gallagher 2018; Walsh 2009). The aim of this paper is to study “The Tale of Slawkenbergius” no longer as a humorous representation of the grotesque, but as a metaliterary manifestation of Sterne’s poetics, thus relating the tale to the structure of the novel. The way in which Sterne uses the device of the “strange loop” in this passage to express his subscription to Hogarth’s aesthetics and to Hogarth’s ideas about the “lines of beauty and grace” will be determined. It will also relate the apology for the beauty of a colossal-nosed, disproportionate hero that is established in this episode to the defence of “deformed” art forms, removed from neoclassical aesthetics, that Tristram establishes throughout his narrative.

A Study of the Subtitle Translation of Coco from the Perspective of Skopos Theory

In the context of the continuous advancement of globalization, intercultural communication is increasingly frequent. Films, as an art form, play a crucial role in promoting cultural exchange. With skopos theory as the theoretical framework, this article analyzes the subtitle translation of the film Coco. Through the analysis of specific cases, it is observed that translators adhere to the skopos rule, the coherence rule and the fidelity rule of skopos theory during the subtitle translation of Coco, and effectively address the problem of differences between target language culture and source language culture by adopting translation methods and strategies such as free translation and domestication so as to facilitate effective movie-watching experience, foster communication, and achieve cross-cultural communication.

Nandanar: Visibilizing Caste in Bharatanatyam Performance

What are the implications of a bejeweled dancer in fine silk on the proscenium stage performing a piece that undeniably centers caste? As the Bharatanatyam field reflects on the art form’s appropriation from the hereditary dance community, analyzing choreography reveals different bodily representations of caste. Many Bharatanatyam dancers globally perform excerpts of the Nandanar Charitram, by Tamil composer Gopalakrishna Bharathi. The plot traces Nandanar, a Dalit saint who is not allowed in many temples and ends with his immolation, allowing his “purified” self to unite with the Hindu god Shiva. I study performances of the Nandanar Charitram comparing two Bharatanatyam showings and the 1942 film “Nandanar”. To recognize how caste is both articulated and understood, I analyze choreography, interviews conducted with dancers, and forums where audience members share their responses to the works. I use Judith Butler and Dwight Conquergood’s theorization of performativity, acknowledging that while Bharatanatyam choreography is often “iterative”, it has the potential to “disrupt” dominant norms on caste and politics. Nandanar remains the most prominent Dalit figure seen in the Bharatanatyam repertoire. By studying representations of his story, I highlight the relevance of bodily caste politics in the South Asian diaspora today.

Koncepcje „nowej seksualności” we współczesnej fantastyce rosyjskiej ("Nie" Linor Goralik i Siergieja Kuzniecowa)

The article is devoted to the concept of „new sexuality” in Linor Goralik and Sergey Kuznetsov’s dystopian work No (Нет, 2003). Set in 2060, where the primary human activities revolve around fulfilling increasingly sophisticated sexual fantasies. This is achieved through two means: body modifications, often to resemble various animal species, and pornographic films, considered the highest form of art. These films convey not only traditional imagery but also sexual experiences scanned directly from the actors’ brains. In Goralik and Kuznetsov’s narrative, pornography serves as a metaphor for new cultural models, which strip away the remnants of human individuality and distinctiveness, thereby becoming a form of oppression. Furthermore, the new technologies associated with this trend do not contribute to human development but serve as tools for total mind control.

THE ROLE OF SPIRITUAL AND FORMAL EFFECTS IN THE PERCEPTION OF EMOTIONAL STATES CONSTITUTING A WORK OF ART

: The emotional states that constitute a work of art are formed through the effects of a series of rules and regularities that explain the organization of various systems and also form the foundation of a field of study. Emotions, formal pleasures, and spiritual approaches are among the phenomena that develop a theory defining the general definition of art, delineating its boundaries, and identifying the qualities that allow us to label something as a "work of art." Additionally, art is related with the aesthetics of nature and human subjective realities. The emotional sentiments, characterized as reality for the artist and manifested through seeing and understanding, are dependent on the subjects to be addressed in art. Art, an inherent human capability, is essentially a representation of existence. The tangible qualities of natural objects, considered reality for the artist, assist in perceiving and grasping these emotional feelings in art. Furthermore, individually arising emotional states give rise to aesthetic judgment based on both objective and subjective evaluations. The essential qualities inherent in the essence of the artwork are the foundation of artistic existence. The form that aids in the emergence of artistic presence appears as the perceptible reality of any object through our senses. For the artist, the material characteristics in nature bring forth perceptions. Artistic works produced for aesthetic purposes help bring forth the existing emotional states.
 The artist reflects their artistic expression through a perspective developed from their perception of the dynamics of art, attempting to create artistic forms based on the interaction between everyday objects and the senses. Objects that transport perceived forms into reality and everyday items, in interaction with the senses, aid in creating artworks as a synthesis of spiritual approaches. Cultural, sociopolitical, and economic factors influencing society are among the primary factors affecting the creation of artworks. Additionally, variables related to the artist's psychological state and societal structure play a role in this transformative process in the production of artworks. Thus, objects that inherently lack artistic meaning interact with each other in the journey of being transformed into artworks by artists.
 Our research is conducted by examining qualitative data related to the emotional states that constitute a work of art and their perceptual, spiritual, and formal effects. It is believed that this study will contribute to the field of art.

A REVIEW ON HAND BLOCK PRINTING IN INDIA

India is well known for its art and culture which makes the country unique. There are several forms of art which have been nurtured and groomed under skilled guidance and has been inherited through generations of family traditions. Hand Block Printing is one such an art, which can be used to make every design and every piece of fabric exclusive from the other. Hence block printing is considered to be the most interesting method of designing textiles. Printing is the process of applying colour to fabric or yarn in a definite and repeated pattern. Every design created using hand block printing is very exclusive and different from each other. However, this cannot be achieved by automated printing machines where several meters of fabric can be printed with the same design and colour in a short time.India’s block-printed fabric holds a place of pride in the world market. India is one of the major producers and exporters of block printed fabrics. It is amazing that each region of the country has developed variations in this traditional craft, to name a few, Dabu print of Rajasthan which uses the mud printing technique, Ajrakh print of Gujarat known for geometric motifs and Kalamkari of Andra Pradesh. The various styles of block printing are symbolic of the country’s rich heritage and culture. This article explains the process of block printing and the various styles of block printing methods practiced in India.