Art World Research Articles

Поэтика вещи в творчестве современных татарских поэтов как воплощение национального культурного кода

The study of the specifics of the artistic embodiment of the national cultural code through the material world in modern Tatar poetry is of scientific interest to researchers. This article provides a systematic and comprehensive analysis of the creativity of modern Tatar poets Renat Kharis, Robert Minnullin, Ravil Fayzullin, Sania Akhmetzyanova, who create their works in the Tatar language, and it is revealed that images of home and homeland occupy a large place in their artistic world, an important part of which the “material world” appears, elements of national clothing (ak kalfak — women’s headdress, skullcap — men’s headdress, ichigi — leather boots, musical instruments — kurai, accordion, domra), white or embroidered towel).

Вещное окружение как средство формирования психологизма в повести Л. Н. Толстого «Смерть Ивана Ильича»

The article examines the specifics of the material environment in the story by L. N. Tolstoy “The Death of Ivan Ilyich” as one of the ways of forming psychologism. The artistic world of the work, saturated with material details, on the one hand, characterizes the inner world of the hero, on the other hand, it becomes an active participant in the action, ultimately causing the death of Ivan Ilyich. The story presents a specific image of a house-grave, in contrast to a house - a place of strength, unity, harmony, as in earlier works (“War and Peace”, “Anna Karenina”). Ivan Ilyich’s home, furnished with excessive attention, is filled with a huge number of things that create a kind of “rebellion,” hasten the owner’s departure, make the last days unbearable, and even after his death, distract the attention of those who came to say goodbye. Things in the story appear as an integral part of life, taking away vitality from people who have chosen a soulless existence and become hostages of these very things and external gloss.

Поэтика вещи в книге сказов П. П. Бажова «Малахитовая шкатулка»

The article deals with P. P. Bazhov’s world of things as an aesthetic unity. The book of skaz (folk tales) of the Ural writer is a unique artistic world, the structure of which is defined by a system of several basic oppositions. It is a world extremely full of things, such as household items (people’s everyday lives), clothes (social status, the «us-them» divide), instruments and tools of craft (key topics of handicraft / craftsmanship) etc. A special role in this objective world is played by artisan products that combine the functions of a household item, an artefact and a magical object, and magical objects per se that are received from a donor but are usually different in function from their proper fairytale counterparts, which are common to the traditional Russian folklore and literary fairytales based on folklore stories. Bazhov’s system of images-things also includes a specific «human as a thing» category that is connected with the main conflicts of the book depicting serfdom-based mining civilization. Generally, the peculiarity of the world of things in «The Malachite Casket» is defined by the «borderline» nature of the skaz genre, its complex relationship with folklore and the unique character of Bazhov’s aesthetic experiment.

Fabulating Archival Arts: An Exploration of the Complexities of Politics, History, and Memory in a Postmodern Context

Archival art, which emerged in the last century, has become a significant influence in the art world, challenging the constraints of traditional historical narratives. It offers viewers a more nuanced and inclusive framework for thinking, providing an alternative engagement with history free from dominant past narratives. This paper undertakes a comprehensive analysis of two significant archival artworks, namely the Atlas Group and Sputnik. Through this analysis, it aims to elucidate the societal impacts engendered by archival art that adopts critical fabulation as a strategy. Combining textual and graphic analyses with perspectives from postmodernism and deconstructionism, the research demonstrates that fictional archival art stimulates profound contemplation of the interconnectedness between the past, present, and future through artistic expression. It also examines the emotional impact of revisiting the past, records, and memory. By navigating the complexities and ambiguities of postmodern society through archival artistic expression, we can foster a more inspiring approach to understanding this art form.

Ideology of the Image: Wu Guanzhong's Abstract Expression, 1979–1983

Abstract This article examines the discourse of abstraction among Beijing intellectuals in response to the artist Wu Guanzhong's 吴冠中 (1919–2010) published essays on formal and abstract beauty from 1979 and 1980. By introducing Wu through a new critical lens that emphasizes his writings and institutional critique, the author addresses how abstraction was repurposed for early post-Mao China. Where institutional elites in Beijing regarded painterly abstraction with unease, owing to its continued associations with the bourgeois-capitalist art worlds of Paris and New York, this article shows how Wu performed an aesthetic intervention through writing, utilizing scientism and Maoist logic to filter abstraction through the still-hegemonic language of radical materialism, which allowed abstraction to take hold as a renewed term of engagement in the early post-Mao art world by 1983. This article is a shortened version of a chapter in the author's recently published book.

The ideological and artistic features of the travelogues about Turkey in the Russian parent state literature of the 1920s (based on Summer in Angora by E. Lanceray and Istanbul and Turkey by P. Pavlenko)

The article discusses the travelogues of Turkey by E. Lanceray and P. Pavlenko. If, until 1917, the Russian literature had described Turkey from the ethnographical and geographic perspectives or had made it a part of modernist vision, in the 1920s, the authors wrote mainly about its political, social and cultural changes. The aim of the article is to analyze Turkey’s image in the parent state literature of the 1920s, close the lacuna in its Asian text and form a more complete understanding of the Russian literary process of that period. The article uses the descriptive, biographical and culture-historical methods of research. It concludes that so different writers as Lanceray and Pavlenko representing the unlike generations and artistic worlds and making different accents in their writings – on ethnography and the formation of a new statehood, respectively – are prone to interpret the revolutionary changes taking place in Turkey optimistically. Therefore, the Turkish motive and thematic vector should be viewed as a relevant stage of forming the ideology and aesthetics of a new artistic method, which is to be known as socialist realism subsequently.

The Most Unkindest Cut of All

When a fee decrease is actually a fee increase in the world of fine art and luxury goods auctions.

중일(中日) 근대문예론의 형성과 그 이동(異同)에 관한 소고(小考)

This paper attempts to compare the literary theory of Tsubouchi Shoyo(坪內逍遙), which was developed from the 'arts-the arts' examined throughout Wang Guowei's(王國維) literary theory, and Wang Guei's literary theory, which was established as the early modern Japanese literary theory. As Tsubouchi Shoyo's first statement, 'Novels are art(美術)' in 『Shosetsu Shinzui(小說神髓)』 opened the chapter of modern Japanese literary theory, this paper aims to explore Wang Guowei's literary theories in relation to the formation of modern literary theory in China. Therefore, in the case of the formation of Japanese modern art theory, Tsubouchi Shoyo's use of Western literary theory and logic in his own way within the magnetic field of pragmatic thought and literary dance theory that spread throughout Japanese society in the 1880s, while building a literary theory that incorporated the discourse of the Japanese art world at the time, was used as a guide to examine the formation of Chinese modern art theory and Wang Guowei's literary theory treatise. This was further utilized to examine the shifts in the theses that were common to their literary theories. In fact, the formation environment of Sino-Japanese modern literary theory was different in terms of its reception and paragraph situation according to the way the two countries experienced modern East Asia, but there are also similar points. It is also true that Wang Guowei's and Tsubouchi Shoyo's views and arguments on the literary arts developed in very different ways after they published their literary theory works and related papers, depending on their respective life trajectories and the circumstances of their respective countries. Nevertheless, neither Tsubouchi Shoyo nor Wang Guowei built a separate literary theory that completely excluded the dominant discourse in the academic and literary circles of their time. Rather, Wang Guowei, who studied a wide range of disciplines, including mathematics and natural sciences, could be said to have been more attuned to and thought about the axioms of modern China's time and built his literary theories in response to them.

Shifting the Lens: Photography's Expanding Influence in the Contemporary Art World

Photography plays a significant part in contemporary art and is fitting as a multi-purpose tool for expression, communication, and documentation. This study examines multifaceted photography and how it impacts the arts in today’s world. The growth of photography from representation to a complicated form of art has transformed the world of art. Artists employ photography to explore different themes, experimenting with techniques and pushing against traditional confines, revealing its flexibility and appropriateness within modern art. The transformative influence of photography that conveys emotion, narratives, or social critique can be observed through such photographers' perspectives. Also, incorporating itself into modern visual culture made itself an international language transcending cultural differences. It captures the essence of our globalized reality, where technological advancement connects societies at breakneck speed. This study takes a deeper look into the philosophical implications of photography on contemporary art, mainly focusing on its shaping effect on perceptions, sparks important discussions, and reflects the complexities of modern society. Ultimately, photography plays a vital, ever-changing role in contemporary art. It connects traditions with future innovations, embodying the spirit of creativity, diversity, and cultural exchange in art. Artists, scholars, and practitioners continue to recognize photography as a powerful tool that enriches the understanding of art and society in the 21st century.

Boycott of Foreign Goods in Premchand’s Stories

This article showcases that studies on Hindi and Urdu literature are also being conducted outside South Asia and that elsewhere, too, such literary studies and socio-political analyses are being combined in quite specific ways. Boycott of foreign goods was one of the most important parts of colonial India’s freedom struggle and many intellectuals from the literary and art worlds expressed their views on it. In his Hindi and Urdu stories, Munshi Premchand used his unique narrative technique, critical perspective on social events, and deep understanding of Indian society also to comment on the boycott of foreign goods. The article examines how such reflections of India’s struggle for independence manifest in two of Premchand’s lesser-known stories in which he argued for boycotting foreign goods. Our analysis portrays Premchand as an activist writer, who chose common people’s language to present gendered social documents, in a form akin to oral history, as his specific contribution to India’s freedom from foreign rule.

Bereavement And Melancholy in Cinema: A Comparative Review Between Turkish and American Cinemas

Cinema is one of the most vivid and sensational reflection tools in the art world since it reverberates almost all emotions concerning human beings and their experiences. One of these emotions is grief due to the loss of our beloved ones and in the same way as existence and life, it is a striking issue covering lots of films and thus the concept of mourning and sorrow are the most outstanding and common themes having a profound impact on cinema audiences. In other words, despite cultural and social differences all around the world, grief and pain are intense and universal emotions. Understanding and interpreting the contexts in which these emotions are addressed in different cinema cultures is essential to reveal the cultural projections of cinematic narratives. As part of this idea, the main purpose of this study is to illustrate how Turkish Cinema and American Cinema approach the concepts of bereavement and lament. Accordingly, four well-known films, Canım Kardeşim (1973) Babam ve Oğlum (2005), Rabbit Hole (2010) and finally Manchester by the Sea (2016) have been determined via purposeful sampling method and analyzed by focusing on remarkable similarities and differences in terms of loss and death with the aid of descriptive analysis. As a result of reviews of the films, it has been observed that the Turkish approach to death and loss includes melodrama, emotional abuse, and local connotations while the American one involves a more realistic point of view underlying individual crises, mental collapses or devastations.

“Lunar New Year” by A. Parkau: cultural memory

This article considers the Russian émigré literature in China in the aspect of implementing the principles of intercultural communication and interaction between the cultures of Russia and China. Scholars began to study it in the 1990s, and currently the work of many Russian writers from Harbin and Shanghai remains unexplored. Features of the interaction of national traditions are analyzed in the poem “Lunar New Year” (Chinese New Year) by the poet of the Russian diaspora — A. Parkau, published in the poetic book Unquenchable Fire. Her artistic world still is not in the focus of the scholars. The poem “Lunar New Year,” included in the Bitter Paths cycle, is the artistic description of the Chinese holiday. Its content is determined by Chinese culture, and its artistic form is determined by the Russian poetic tradition. The article traces the connections of the poem with Chinese culture and philosophy, on the one hand, and with the contexts of the Russian poetry of the 19th century, expressed in poetic meters, on the other. The authors of the article examine the compositional and semantic principles of organizing a book of poems and come to the conclusion that the analyzed poem is included simultaneously in several cycles — calendar, reflecting the life of nature, and social, expressing the existential ideas of emigrants, expressed with the motives of loneliness, and fear of death, among others.

THE ORIGIN AND DEVELOPMENT OF ROCK MUSIC IN UKRAINE: THE SEARCH FOR CULTURAL IDENTITY

The aim of the article is to carry out an attempt to carry out a comprehensive analysis of the musical-aesthetic, socio-cultural, cultural-historical prerequisites for the development of rock music in Ukraine, which influences the musical-aesthetic thesaurus, forms the aestheticosphere, value orientations and, ultimately, determines the national-cultural identity of a young person. It is worth proving that musical culture, including the rock industry, has become the embodiment of musical ideals and mental and ideological attitudes of the Ukrainian music lover, which in turn influenced the processes of national identification and left a characteristic imprint on the ethnonational mentality and musical culture as a whole. The methodology of the research consists in the synthesis of art and cultural approaches to the study of the phenomenon of rock music in the Ukrainian art space, in the use of dialectical methods of analysis, synthesis, comparison, generalization and interconnection of cultural identity with the musical culture of the Ukrainian nation. The scientific novelty lies in the theoretical comprehension of the vocal and instrumental art of rock music in Ukraine as a phenomenon of musical cultural genesis and a form of national and cultural identification, in the implementation of cultural and artistic reflection on this genre and style variety. For the first time, the retrospection of Ukrainian rock music is presented in the context of cultural and historical processes of national identification. Through the prism of the author's approach, rock music appears as the embodiment of artistic and aesthetic ideals and mental and ideological trends, leaving a characteristic imprint on the processes of national and cultural identification, ethno-national mentality and the musical culture of Ukraine in general. The studied material allowed us conclusions that the formation and development of domestic rock music covers four stages. The four stages of the functioning of domestic rock music, which we have studied, contributed to the search for national and cultural identity, focused on the national aspect of the rock industry. In turn, this influenced the formation and cultivation of national features in rock music and musical culture as a whole, namely: in the introduction of the Ukrainian language as "fashionable" in the youth rock environment, in authentic intonation inclusions in arrangements, rock compositions, in the names of works and bands; in the use of folk traditions, folklore themes, regional motifs, dialects in vocal and instrumental rock sound of Ukrainian origin. These musical, aesthetic and cultural features of the national rock music contributed to the establishment of national and cultural identity, the popularization of the Ukrainian segment and the entry of the national musical culture into the world art space. The materials of this article were tested by the author in the process of teaching the course "Modern Popular Estradna Music" in the structure of secondary and higher music education and as a special course in out-of-school art education. A manuscript of the textbook of the same name has also been prepared, where domestic rock music is presented as a trigger and a business card of the national, cultural and musical identification of Ukraine.

Огюст Бризё как тип романтического певца локальной культуры

The aim of the research is to identify the main features of a creative type embodied in the figure of A. Brizeux. Based on the analysis of the poems “Marie” (1831), “The Bretons” (“Les Bretons”, 1846) and “The Breton Elegy” (“L’Élégie de la Bretagne”, 1857), the paper describes the main features of the artistic world created by the writer, as well as the most significant features of the author’s poetics. The paper is original in that it provides a typological examination of the Breton poet’s creative work, focusing on the analysis of the works on the Breton theme, which was most important to A. Brizeux. This approach significantly differs from a complete description of the writer’s creative heritage (with all the incidental details distracting from the main material) and is closer to a thesaurus-based thematic and content-based limitation in the selection of research material. Such a method brings typical features to the foreground and emphasizes them: Brizeux is not just the “bard of Brittany” (the most widespread and well-established view of the poet), but the “bard of Brittany” who lived in an era dominated by Romantic tastes in literature and, therefore, saw his homeland in a way that poets of other eras could not. As a result of the research, it has been found that A. Brizeux represents, firstly, a type of writer not uncommon for the Romantic era, who actualized interest in local culture (Breton culture) and created a romantically idealized image of the homeland, similar to how Virgil created the most memorable myth of “blessed Arcadia” in the “Bucolics”, and, secondly, a type of writer who simultaneously participated in processes characteristic of different Romantic literary periods: the rethinking of poetic norms and the practical transformation of genres.

Лексические средства выражения художественного образа (на материале романа Е. Д. Айпина «В поисках Первоземли»)

The paper is devoted to the system of linguistic means used to embody a literary image, the specifics of their functioning in a literary work, as well as the characteristics of the language of a regional text. The research aims to describe the lexical linguistic means involved in creating the image of a man in a literary text. The paper is original in that it is the first to consider a new novel by the well-known Ugric writer E. D. Aypin in terms of studying the linguistic means through which the author creates his artistic world, outlining the artistic space of his characters. Since the literary image in the text is represented solely by linguistic means, presenting the system of such means is necessary for a more complete and profound understanding of the character, or the literary image that is key to the author’s intention. As a result of the research, it is for the first time discovered that the lexical means in this novel, although not numerous, are nonetheless quite diverse. Their diversity serves as an indicator of the detailed representation of the work’s protagonist and recreates the unique ethnopoetics of this literary text.

Über einige Bedingungen gegenwärtiger ART (Artistic Research Theory)

Abstract Theories that treat Artistic Research (AR) as their object have been experiencing a boom since the beginning of the 21st century. Increased interest in AR resulted from a historical situation interconnecting at least three fields. First, the art world, which, starting in the 90s, produced AR as a phenomenon in the first place; second, higher education policy, which, in the implementation discussions concerning the Bologna reforms from the 90s onwards, drew on reflections on AR; and third, Germanophone aesthetics, which, during the 2000s, paid increased attention to heteronomy aesthetics. Within these fields, multiple factors are to be accounted for to understand both the sudden increase in pertinence as well as the concrete shape that these theories took in the Germanophone sphere.

Миры и смыслы Александра Асмолова (беседа с ученым)

<p>A transcript of a conversation with A.G. Asmolov in the program "Learning to Live", which was recorded 2 years ago, but was released recently, on the eve of his anniversary, on the YouTube channel "Enlighteners" (link to the video: https://www.youtube.com/watch?v=bW1pP2c99oM&t=1373s). The conversation is conducted by the editor-in-chief of the TV channel "Enlighteners" and the electronic newspaper "Vesti Obrazovaniya" T.N. Voloshko, a graduate of the MGPPU master's degree and a candidate for the UNESCO chair "Cultural and Historical Psychology of Childhood of MGPPU". And the interview tells about childhood, youth and the first steps in psychology, describes his most ordinary day, recalls a meeting with his teacher Alexey Nikolaevich Leontiev and other teachers, invites him to the worlds of psychology, art, literature and human relations.</p>

Stars and precariousness in the art world.

Stars and precariousness in the art world.

Guidelines for art-based interventions in parental training

Art-based parental training involves engaging the parents in creative processes and the observation of their art products. The current paper presents guidelines for art-based parental training, based on the assumption that the encounter between the world of art and the world of therapy creates a rich triangular relationship between therapist, parent, and artwork. Semi-structured interviews were conducted with 15 art therapists who described their experiences and the interventions they have developed for parents. The findings show how these interventions can be applied in clinical settings and how these art therapists see the impact of these art-based interventions on the therapeutic process. Most therapists believe that encouraging parents to create spontaneously and authentically in a suitable environment that contains a range of art materials for painting and sculpture can support the initiation of emotional communication on the part of the parents with themselves, their partner, and their child. In this type of therapy, the parents’ responses and the creative product are primordial since they are considered to reflect the parents’ development, personal skills, fields of interest, concerns, and difficulties. The guidelines are derived from these findings.

Between Scientific and Sensory Knowledge: Exploring the Enactment of Clay Sensibilities Among Clay Artists in Singapore

This article explores how clay artists in Singapore utilize both their scientific and sensory knowledge of clay-making in producing clay works. Based on a study of the biographies and sensory experiences of clay artists, clay artists rely simultaneously on their scientific knowledge and understanding of clay firing processes, temperatures, and glazing, together with their sensory judgment and experience of the same set of processes, to produce clay works of different design, effect, and form. Thermoreceptive understanding and knowledge of how clay reacts and behaves toward the different styles of firing are deployed by clay artists through both a scientific calibration of temperature, as well as one’s sensory evaluation—including visual and sonic judgments—of fire-control toward producing intended textures and forms. Through making sense of how scientific and sensory knowledges are concurrently enacted but not without contradictions, we make a case for how creative clay work-making straddles across different domains of learning, knowledge use, teaching, and evaluation emerging through kairotic moments. The article contributes to extant debates on art worlds, material culture, sensory knowledges, and embodied experiences through clay work as a medium of analysis.