Art Space Research Articles

Global Art Collectives and Exhibition Making

Art collectives come into existence for many reasons, whether to collaborate on art making or to generate a space for contemporary art outside of the established channels of exhibition and the art market. These efforts have been captured in recent exhibitions such as The Ungovernables, organized by the New Museum in 2012; Six Lines of Flight, which was launched at SFMOMA in 2013; and Cosmopolis I, organized by the Centre Pompidou in 2017. Artist collectives have received some scholarly attention, primarily as producers of artworks, but their exhibition-making practices have not been explored. Some of the collectives included in these exhibitions have also been very involved in exhibition making themselves. The Indonesian art collective ruangrupa was selected to curate the 2022 edition of documenta. This selection emerges not only from their participation in international biennials and their own exhibition practice in Jakarta—including the organization of regular exhibitions, workshops and film screenings at their compound—but also more ambitions events such as Jakarta 32 °C, a festival of contemporary art and media (2004–2014), or O.K. Video (2006–2018). Another group, the Raqs Media Collective, based in Delhi, curated the Shanghai Bienniale in 2016 and the Yokohama Trienniale in 2020. This paper will connect the local and the global through an examination of art collectives’ community-based work in their own cities, and the way it translates into global art events.

도시재생 문화예술공간 공용공간의 유니버설디자인 특성 연구

Recent years have witnessed the appearance of many cultural and art spaces regenerated from old buildings Not only multi-functional architecture, but also cultural and art spaces with a profound history and culture are open to the public. In addition, to meet the needs of all users, these spaces should be applied with universal design. This study aims to promote a deeper understanding of the characteristics of universal design by analyzing urban regeneration culture and arts spaces for various users through case studies. The results are as follows. First, The public space of urban regeneration cultural and art space has four characteristics: accessibility, safety, acceptability and supportivity. Second, Research shows that, among universal design characteristics of public spaces in urban regenerative culture and art spaces, the acceptability is the highest, while the supportivity scores the lowest. Third, From the perspective of acceptability, the major information is highlighted by materials and colors different from those of the surroundings. The dotted blocks and acoustic interpretation devices are set at the elevators, staircases, entrances and exits to the indoor, toilet entrances and exists for visually-impaired users, which has greatly improved the acceptability. Survey shows that a majority of cases fail to provide independent nursing room for pregnant women, infants. So caring spaces should be set up for the visually-impaired, pregnant women, infants. Fourthly, From the perspective of supportivity, the braille signs should be set up for the visually-impaired. Two sections of handles should be installed at the corridors, staircases, etc. Meanwhile, rental services covering strollers, wheelchairs, and so on should be offered. In the future, while transforming the cultural and art spaces, researchers should also consider the universal design for multiple users.

RUANG SENI PUBLIK DI BANJARBARU

Banjarbaru has the opportunity to develop local potential in the field of art, especially works of fine art in line with the era of globalization so that there needs to be a container of interest as well as interactive public education facilities that can generate curiosity and mindfulness to provide new experiences in the meaning of art for the general public. Therefore, the Public Art Space in Banjarbaru is designed as a solution to the architectural problems raised to meet these needs. The design of Public Art Space in Banjarbaru applies the concept of mindfulness which refers to 3 design elements namely sequential, lighting, and pause then completed by the approach of Expressionist Architecture through the processing of architecture elements, namely the shape of space and the form of circulation. The design idea aims to realize a functional design for its users while making the Public Art Space in Banjarbaru an expressive unit in implementing the process of meaning art related to the value of fine art from local artists both individually and collectively presented to the general public.

Специфика реализации системы оппозиций пейзажной образности в рассказах о детстве И. С. Шмелева 1906–1912 гг.

This article examines the features of how the system of semantic oppositions of landscape images is objectified in the stories about childhood by the writer of the Russian expatriate community Ivan Sergeevich Shmelev, created in 1906-1912. The research material constitutes the works The Sergeant, On Urgent Business, One Night, Gingerbread (the Doctor’s Story), Festive Heroes, Stars, Timid Silence, related to the pre-emigration period of the author’s ouevre. The aim of the work is to consider the artistic principle of antinomy, actualizing a wide range of images, including images of ‘happy childhood’, mellow autumn, night landscape, idyllic summer panoramic landscape, autumn melancholy landscape, ‘sacred’ landscape, spilt innocent blood. All together, they recreate a rich motivic spectrum containing motifs of abundance, spaciousness, peace, blissful silence, contrasted with a dead, graceless silence. The theme of the rebellious revolutionary city in the stories is interspersed with the theme of harmonious unity, opposing the discordant life of man and nature, as well as the themes of death, unjust murder and human cruelty. In the works of I. S. Shmelev, the theme of the unity of children and nature is closely connected with the poetization of the Russian landscape, paintings-images of a rapid children’s run, combined with aerial imagery and the theme of human talent, bestowed by God. In the structure of the artistic space of the stories, a contrasting idea of the ‘inner’ fertile home space filled with children’s light, warmth, love, and the ‘outer’ cold, dark space bearing torment and death is realized. Biblical allusions, closely related to the images of stars, among which the image of the Christmas Star stands out, and the Christmas chronotope, are associated with the meaning of the higher, spiritual sphere and the theme of death.

Место пейзажа в повествовательной структуре произведений Ф. Крюкова

The purpose of the article is to analyze the main functions of the landscape in the works of F. Kryukov. Nature in his narrative system acts as an independent object of portrayal and a toolkit for description, as the place of the character’s residence and the contemplated landscape, as an integral picture and a set of contrasting elements. The emphasis is placed on the narrative role of the landscape in the development of the author’s point of view, the structuring of the artistic space, and plot formation. Through the landscape in the novels and short stories of Kryukov, preceding the prose of M. Sholokhov, the organic essence of the Don Cossacks’ way of life, their perception of the world, characters, life, the search for new opportunities for the development of living space, the specificity of the aesthetic reflection are depicted. Nature is perceived by Kryukov as part of the picture of the world. The emphasis is made on the correspondence of the psychological states of the characters and the states of nature, the role of images of the natural world in disclosing social problems and family plots is revealed, axiological dominants in the symbolic and philosophical content of landscapes are noted, their role in the depiction of vital and mortal meanings of life is determined. The article discusses Kryukov’s description of the grave topos as a continuation of the literary tradition. A statement about the priority of the organic state of the world in Kryukov’s worldview values is put forward. The landscape in the works of Kryukov is directly related to the characteristics of the idiostyle. Particular attention is paid to the principles of depicting nature. Constant images of the landscape (steppe, the Don, forest, sky) are named, their subjective perception by the heroes and the author is noted, which brings the mythopoetic aspect to the realistic depiction of the landscape. Conclusions are drawn on the preference of a panoramic landscape to a close-up while preserving the role of detail, the combination of vertical and horizontal coordinates in nature pictures, the significance of binary characteristics in depicting the integrity of nature, the frequency of perception of the landscape in perspective, the influence of nature pictures on the pace of narration, the semantics of color, the place of direct author’s comments.

Revisiting theatre of the minoritarian in neoliberalism: The Embodied Memories in Denise Uyehara’s and Dan Kwong’s Auto-performances

In a neoliberal multicultural landscape, minoritarian artists tend to, deploying various forms of self-media or virtual platforms, create their artistic spaces for their identitarian performances. While self-media has been more and more entrepreneurially dominant, the aura of theatrical performance of the self seems to be now obsolete. Moreover, in view of neoliberalism as an increasing hegemony that has insidiously marginalized theaters of minoritarian performances (such as the New WORLD theater) in the past decade in the U.S., “minoritarian subjects” (to borrow José Esteban Muñoz’s term) are experiencing a predicament in which they are becoming more and more visually contingent owing to the neoliberal representational violence. With an urge of reviving such distant aura, this paper revisits the solo performances of Denise Uyehara and Dan Kwong staged in the Highway Performance Space, a generative site of what Meiling Cheng calls the “heterolocus”. By exploring auto-performance as a minoritarian genre, the paper examines what Diana Taylor calls the “embodied memories” in the works of Uyehara and Kwong, and further argues that these performances should not be simply understood as an individual aesthetic and political expression, but also be rendered as a powerful epistemological repertoire to perform cultural politics for the communal Asian American theater.

Locative media communities, social media and cultures of enthusiasm

ABSTRACT Locative media art has been a popular topic to study, yet the focus tends to be on examining the artworks themselves, which have challenged us to think about the complex interrelations of space, place and time in novel ways. In this paper we offer a different view of locative media art by examining the community practices that can emerge through the production of this work. By highlighting how the social media platform, WhatsApp, facilitated communication and arts practice during a recent summer school on the theme of locative media, we demonstrate how cultures of enthusiasm can emerge from the adjacent digital spaces of locative media art. Our reflections highlight the ways that enthusiasm for locative media art and towards other participants was produced through WhatsApp spaces, through both enthusiastic language practices and atmospheres of enthusiasm. Ultimately, we aim to reveal that locative media is not only a technology that is used to shape our relationship to space, place and time, but that it is also a technology which encourages a set of community driven practices. In doing so we contribute to the literature on locative media art by giving attention to the communities of practice that form around it.

LANGUAGE MEANS OF REPRESENTATION OF ARTISTIC SPACE IN THE SHORT STORY BY JACK LONDON “AN ODYSSEY OF THE NORTH”

The article is devoted to the peculiarities of the functioning of open and closed space in the artistic text. The purpose of this article is to explore the verbal means of creating artistic space in Jack London's short story from the North Cycle "An Odyssey of the North". It was extremely important in the course of the research to find out the essence of artistic space and the peculiarities of its organization in the text, to consider the main classifications and types of artistic space; to explore the artistic space in the short story in the context of types of information, types of presentation and narrative-compositional forms; as well as to compile frequency lists of the lexical markers that represent the artistic space in the short story and to provide a semantic description of the spatial markers and to determine their stylistic functions in the text. The artistic space in the story is mostly an open exact space. The closed artistic space is represented by only a few touches of the description of the main character's hut. The deployment of artistic space is carried out nonlinearly. Due to retrospection, the real space of the plot is interrupted by the description of the events that developed earlier, and therefore are considered new spatial markers. The real artistic space of the short story is the north of Canada – the Klondike, the imaginary artistic space is the space and its markers that function in the story, that odyssey, told by the protagonist. Both direct and indirect spatial markers take part in the actualization of artistic space in the short story. Direct spatial markers are introduced with the help of toponyms – astonyms and potamonyms and form the megaspace of the short story; and also common names meaning means of transportation and common names with generalizing local reference. Indirect spatial markers are realized with the help of lexical means that define meteorological phenomena, representatives of fauna, clothing items containing this seme. Among the lexical means that represent the imaginary artistic space of the text of the short story, toponyms are dominant. By genre, the artistic space in the short story can be defined as psychological. We see the prospects for further research in a comparative analysis of the means of realization of artistic space in the rest of the short stories that make up the North Cycle of Jack London's short stories.

Хронотоп степи в поэтическом мире А. Тарковского

The authentic position of the steppe chronotope in the poetic world of A. Tarkovsky is emphasized in the article. It is the artistic space that absorbs the most important ideas that form the author’s concept and philosophy. The steppe contains many of the poet’s cultural and personal associations, and it is also a space inhabited by characters important for Arseny Tarkovsky. In particular, the closest interlocutors of the lyrical subject, Grigory Skovoroda and Ovid, are inextricably linked with the steppe universe.

“Sad svejedno da li je istinito – glavno da je logično” Društveno angažirano umjetničko djelovanje Mice Todorović / “Now, it doesn’t matter if it’s true – the main thing is that it’s logical” Socially engaged artistic work of Mica Todorović

In the Yugoslav cultural and artistic space between the two world wars, engaged artistic activity with a pronounced social function represents a reaction to complex
 and generally unfavorable socio-political circumstances, economic crises, social misery, and moral agony. Although it is possible to talk about the uniformity of artistic ideas and phenomena in Yugoslav social art in the period in question, in order to understand them, it
 is necessary to keep in mind the peculiarities of local communities (republics) and specific socio-political, economic, and cultural and artistic constellations that directly caused
 different forms of resistance through art. The text deals with the analysis of the cycle of drawings by the Bosnian-Herzegovinian artist Mica Todorović (1900-1980) from 1933 and
 its setting in thematic contexts. The drawings represent a solitary example of socially engaged artistic activity in her entire artistic opus. These drawings will be interpreted in relation to
 the main trends of Yugoslav and international art of the period, and special attention will be paid to stylistic and thematic similarities and differences with the artistic expression of the
 Association of Artists “Zemlja” (1929-1935). The text, a segment of the broader doctoral research on socially engaged activity in fine arts, architecture, and synthetic theater in the
 interwar period in Bosnia and Herzegovina, opens new possibilities for interpreting and evaluating Bosnian-Herzegovinian social art in the said period.

Infrastructure/Aesthetics

This essay analyzes the intersection of contemporary art and infrastructure. The artworks discussed highlight the networks that link the symbolic spaces of art to material realities beyond the gallery. Infrastructures are approached as physical things—wheelchair ramps, metal construction beams, plumbing fixtures, heating circuits, and the like—but also the relations between things—the governing laws, production standards, and ideas that shape the built environment. Expanding upon institutional-critical strategies of the past, these practices cultivate actual experience in galleries that are increasingly networked, flexible, and hierarchical. Together they form a material politicoaesthetic against an art system in crisis.

Blackness and Self-Imaging: Lorraine O’Grady’s Performance as Mademoiselle Bourgeoise Noire

The continued lack of visibility and representation of Black women in studies of historical and contemporary performance art not only forces their work to exist within the margins, but their exclusion also exposes broader questions around the terrain for decolonising performance histories. In order to begin to recover interventionist performances by Black women, this article focuses on the work of African American conceptual artist and theorist Lorraine O’Grady. It recuperates O’Grady’s performance work and expand Black feminist histography for performance art. In the 1980s, O’Grady created Mlle Bourgeoise Noire (1980–83), a series of performative invasions into mainstream art spaces in New York as the persona Mlle Bourgeoise Noire to enable her to become visible in exclusionary spaces. O’Grady’s performances sought to disturb the structures of race, gender and class that excluded her as a Black woman from the mainstream art world. In turn, I argue, her intrusion complicated the already existing and speculative modes of blackness.

Akčnosť človeka v priestore akčného umenia

The paper provides an insight into the existence of people in the space of action art during their journey through life. Based on research conducted in 2019-2021, the authors present a characterization of the different periods of development with the addition of specific potentials for the application of action art. Namely, those are documented by the chosen conceptual maps that are presented for the selected developmental periods as part of the action research. The presented findings can be considered as unique in our conditions, as they go beyond the knowledge of action art in the space of art and move them to the educational environment with possible use within therapeutic-formative processes.

Die Kunst und der Raum bei Heidegger und Merleau-Ponty

Art and Space: Heidegger and Merleau-Ponty Although Heidegger’s and Merleau-Ponty’s discussion of the problem of art and space leads in part to comparable results, the differences between the two phenomenological approaches should also be pointed out. As such a difference the relationship between the space of art (and craft) and the space of nature is first brought into view – as described by Heidegger in §§ 22 – 24 of <italic>Being and Time</italic> (1927) and by Merleau-Ponty in §§ 29 – 33 of his second fundamental work <italic>Phenomenology of Perception</italic> (1945). More concrete studies of space and art can be found in later texts by the two philosophers. For this comparison Merleau-Ponty’s essays “Cézanne’s Doubt” (1945), “Indirect Language and the Voices of Silence” (1952) and in particular “Eye and Mind” (1961) as well as Heidegger’s texts “Building Dwelling Thinking” (1951) “Remarks on Art – Sculpture – Space” (1964, published 1996 in German: “Bemerkungen zu Kunst – Plastik – Raum”) and “Art and Space” (1969) are regarded.

VIDEO SEQUENCE IN CONCERT PERFORMANCE ОF THE MODERN GUITAR PLAYER AS A FACTOR OF EXPANDING COMMUNICATIVE PROPERTIES

Aim of the work. The article defines the role, types and specific properties of using a video sequence in a concert performance of a modern guitarist with the aim of expanding the communicative properties of the instrumental play. The research methodology consists in the application of aestheticcultural, historical, musicological analytical methods, as well as systemic, interdisciplinary and performing approaches, which form a single methodological basis. The scientific novelty of the article appears in the identification of the meaning, as well as the specifics of techniques in the use of video-photo materials in order to find new facets of an individual concert-performance style. Emphasis is placed on creating a synergistic spatio-temporal integrity of the presentation of the musical image in the performance of both programmatic and purely instrumental compositions. Conclusions. Recently, more and more instrumentalists-performers think about and implement in academic concert practice a number of video and/or photo (visual) materials that contribute to strengthening the aesthetic and emotional impact of a musical piece based on the natural synergy of perception. Holistic perception, in accordance with the principles of synergy, occurs thanks to the organized interaction of many channels of different types, which is an important argument in favor of the synthesis of arts, as well as for the performing concept of using a video (photo) sequence in parallel with an instrumental performance on stage, even in compositions, that were not predicted by their authors to take part in synthesis kind in question. Such ‘enhancement’ of the spectacle of an instrumental performance should not ‘overshadow’ the traditional means and ways of influencing performance concertism and mastery, the founders of which were F. Liszt and N. Paganini, or the individualized intimate-philosophical chamberness of musical expression, but, under the conditions of a competent selection of visual material, is capable of connecting additional pulses of parallel perception. Such addition of a visual channel of communication is also a creative laboratory of the performer, in a certain way related to the composer’s and director’s laboratory, creating an actual vertical connection of times and spaces of art and life.

Специфика организации художественного пространства в книге «Чёртова яма» романа В.П.Астафьева «Прокляты и убиты»

The article is devoted to the study of the artistic space in the text of the first book of V.P. Astafyev’s novel “Cursed and Killed”. The paper identifies the key spaces of the literary text, their specific features and relationship. The correlation of real and artistic space, the role of the latter in the expression of the author’s ideas is considered. The material for the study was the text of the first book “The Devil’s Pit” of the novel “The Cursed and Killed”, which was studied by methods of structural-semiotic, contextual and intertextual analysis.

Традиционное и актуальное в современном академическом искусствоведческом образовании

The methods of teaching art history in The Academy of Fine Arts in the 20th century always were based mainly on a concept of a connoisseur art science. The students of the Academy of arts must deeply understand the nature of creativity, so in addition to studying theoretical and historical disciplines. The art historian students at the Academy of arts spend many hours drawing and painting. They have a unique opportunity to study the technique and technology of art materials in academic laboratories and production workshops. Traditionally, an art historian who graduated from the Academy of arts works in a museum, teaches, works as an art critic, art expert, or deals with attribution of works of art. Now the boundaries of the profession have expanded, thanks to the emergence of curatorial institutions, art dealers, gallery business, the expansion of virtual space, and contemporary art strategies. Modern art history education is influenced by postmodern aesthetics and cultural studies, philosophy, the innovative technologies, the demands of an information and communication constantly changing market society, and so on. The problem of understanding the authenticity of an art work in the conditions of total reproduction and improvement of virtual technologies has also become one of the most significant. The need to switch to full distance learning in connection with the pandemic had both its negative sides and contributed to the development of new educational ideas, gave rise to interesting and unexpected projects that cover a wide audience. In the modern world, there is a process of threatening discommunication associated with the gap between representatives of mass and elite culture, between different layers of the society. The difference is not so much between cultures, but rather there is a lack of understanding between social stratums of society, between age and social groups. In particular, the gap between the previous links in the author-critic-artist chain has increased. The situation in the modern world and art, associated with the collapse of traditionalism and the emergence of non-traditional structures, the time of re-evaluation, the search for new ways to translate cultural experience poses a problem for researchers and teachers to understand and adequately explain the latest processes and phenomena occurring in the artistic space, which should be reflected in art education. The theoretical concept of criticism and its special functions is being developed in the Russian visual art of the 21st century. It performs a special type of artistic, analytical, and creative activity. In different periods of the existence of art criticism, certain features of it came to the fore, depending on the paradigm of the era. Often in modern artistic activity, the functions of critic and curator are combined, the functions of these spheres of activity merge together. It is the critic and the curator who become the interpreters of a work of art and sometimes the perception of an artistic phenomenon or event depends on their interpretation. In the modern world, critics and curators often act as the creators of an artistic concept or a specific art event, and as analysts who evaluate the phenomena. Сriticism and curatorship are creative professions that perform not only the tasks of expertise and evaluation, they are the field of artistic creativity, they have their own creative role. The basis of such professional qualities can be an academic art school, which has all the necessary conditions to achieve the modern level of art studies. Moreover, modern criticism, penetrating the field of art, becomes a part of art itself. Therefore, in the modern cultural space, critics and curators can be more in demand, and sometimes more vividly realized, than even artists trained within the traditional academic system.

PECULIARITIES OF THE TRANSLATION OF PAUL CELAN'S POETRY INTO UKRAINIAN

Poetry translation is one of the most difficult tasks in the literary translation. It is an artistic process in which translators create qualitatively novel artistic spaces. As a unique creative endeavor, it is becoming an important research topic in translation studies. A considerable attention of investigators has been focused on the means of preserving in translation poets’ aesthetics, specific features of their linguistic and ethno-cultural character which are jointly the products of particular phonetic, stylistic, lexical and syntactic literary tools used in translation. Therefore, an important part of the current analysis is to determine specific features of the literary translation of poetry on phonetic, morphological, lexical, syntactic, and textual levels. The goal of the current study is to examine distinctive features of the Ukrainian translations of Paul Celan’s work done by S. Zhadan, P. Rukhlo, and M. Fishbein. Namely, the study examines the specific literary tools used by the translators to convey the originals. It also aims at discovering unique stylistic features in the work of the translators. To reach the goal, we determined theoretical and methodological bases of the research domain, analyzed translations on the different linguistic levels, determined specific features of the individual style of the translators by using comparative translation, linguistic and contextual analyses. The study found that (a) the translators actively used transliteration, transcription, and adaptive transcoding; they used assonance and alliteration to preserve the gist and euphony of the original work; (b) there were changes in the grammatical number of nouns and uses of diminutive suffices to accurately transmit the original meanings; (c) lexis without available translation equivalents – the original author’s neologisms were translated using calqueing or the change of the lexical semantics; translators reproduced metaphors most of the time; they frequently used lexico-semantic methods of dispersion, addition, and substitution; constructions uncharacteristic for Ukrainian were adapted avoiding grammatical interference; to preserve melodic structure complex sentences were translated using sentences without conjunctions; (d) translators retained communicative functions present in the original work. There were a number of specific features in different translations known as individual stylistic features of translators: P. Rukhlo uses free (non-literal) translation, frequently utilizing a set of translation tools (addition, emphasizing connotation of depicted images, lexico-semantic switches); S. Zhadan often uses deletion in order not to overload the translated texts, dispersion, preserving the balance between the literal and free translation; M. Fishbein prefers literal translation, creating less euphonic texts, frequently uses calqueing or partial lexico-semantic substitution.

ПРЕОДОЛЕНИЕ СЛЕПОТЫ И МУЗЫКА ПАМЯТИ: МОТИВНЫЕ ПЕРЕКЛИЧКИ РАССКАЗОВ ВАН МЭНА, В. ШУКШИНА И К. ПАУСТОВСКОГО

The article examines the system of echoing motives in the stories by Russian writers V. Shukshin «The Sun, the Old Man and the Girl» (1963) and K. Paustovsky «The Old Cook» (1940), and the Chinese writer Wang Meng «Listening to the Sea» (1982), where the central place in the artistic space is taken by a steady dyad of characters based on gender and age antinomy: a blind old man and a young girl. The author of the article examines the story of Wang Meng «Listening to the Sea» in the motive context of the Russian literature of the mid-20th century, which allows to emphasize new meanings in it and to identify artistic universals that create a multi-dimensional, multi-level space of the text. The influence of foreign literature on Van Meng’s style acts as a communicative mechanism without which the writer's creative evolution is impossible. The article highlights many motive and image echoes that are significant to the writers' artistic world: the archetype of the wise old man, whose universal characteristics are embodied by the heroes of all three stories with various degrees of «purity»; motives of blindness, insight and epiphany, the motive of symbolic overcoming blindness through music and memory, the motives of silence and death. The article concludes that the actualization of the intertextual ties in Van Meng's story allows us to read it as an artistic representation of the key uni-versals of the XX century culture, as a work about blindness and epiphany, about death and rebirth, about eternity and omnipotence of art, about the resurrecting theurgical power of memory, and in this sense, the story becomes a kind of «genetic dossier», where the principles of the «letter of memory» in the later Van Meng’s works are formed. These prin-ciples were most forcefully expressed in his famous novel «Metamorphoses, or a Game of Folding Pictures» which al-lows to consider working with memory, including cultural memory, as an integral basis of Van Meng’s work, helping to put together the disconnected images of the past into a coherent picture of «memory elision».

Энциклопедист и подвижник К юбилею профессора М. В. Строганова

The article is dedicated to the anniversary of professor Stroganov M. V., Doctor of Philology (b. 1952). It contains a brief review of his main works tending to four areas of development: 1) anthropology; 2) local history and cultural studies addressed to the issue of local text and artistic space; 3) textual criticism; 4) vocabulary and reference.