Art Books Research Articles

Раннее творчество М. Горького в издательских стратегиях социал-демократов

The paper reconstructs the publishing history of early short novels by Maxim Gorky, which eventually became his first collection of works. Consideration is given to the actions of figures from the social democratic movement, who were drawn to Gorky’s works due to their artistic merits as well as their inherent potential for protest. It was a common practice for adherents of social democratic ideas to maintain constant contact and engage in patronage, frequently through correspondence. Following the correspondence recommendations, Gorky encountered V. G. Korolenko, who exhibited unwavering support and a willingness to discuss and promote the manuscripts of the young author and participate in their publication from 1893 to 1895. From 1898 to 1901, Gorky was under the patronage of V. A. Posse, who spearheaded the publication of the collected works of the provincial author in the capital. Despite the strategic risk involved, posse managed to establish the publishing house of Dorovatovsky and Charushnikov in St. Petersburg. In 1898, this publishing house released the first two volumes of Gorky’s “Essays and Stories” and in 1899, the third volume appeared and the first two were reprinted. The reconstruction of the publishing history of Gorky’s works made it possible to qualify the organizational and publishing intentions of social democrats as publishing strategies to create and promote publications that are important ideologically for a particular social group. In artistic book publishing, it was crucial to prioritize ideological strategies that would appeal to a broad audience.

«Новый реализм» как объект идеологических стратегий

“New realism” is a specific phenomenon of the beginning of the 21st century, which has repeatedly attracted the attention of researchers as a literary trend and method, as well as as a literary and journalistic project. This article attempts to consider “new realism” as a phenomenon of the literary and publishing process. The concept “literary and publishing process” is revealed: it is the interrelated functioning of fiction and artistic book publishing; the role of literary and publishing institutions in the promotion of “new realism” is characterized. The organizers of the project sought to promote serious literature, more or less tendentious, with socially significant issues, addressing the past, present and future of the country and the state, carrying a patriotic charge even through nihilism and denial. Special events aimed at reviving and promoting ideologically significant literature were organized, such as the Forum of Young Writers of Russia and the Debut literary prize. The works of the participants of these events were published by “thick” literary magazines, articles periodically appeared there to support readers’ interest in “new realism” and its authors, whose composition continued to be replenished at the annual Forum. The project was implemented in printed periodicals and nonperiodicals. Books following the results of the award were published in several publishing houses: AST, O.G.I., Izdatel’stvo R. Elinina, Svetlye Golovy, etc. Information about young writers appeared on the websites of literary publications and literary awards. The authors appeared on television; there were news stories about the events related to the Forum, and in 2004 a film was made based on the work of one of the nominees. The analysis of the complex of measures aimed at creating, publishing and promoting the works of the authors of “new realism” allowed expressing the following idea: the intentions of the coordinators and participants in this project are ideological and partially fall under the definition of publishing strategies given in a monograph by Lyubov Zimina, who described academic, nonconformist, traditionalist, etc. strategies. The author declares no conflicts of interests.

ПАРАДОКС АЛЕКСАНДРА АЛЕКСЕЕВА: ИЗ КАДЕТОВ – В ХУДОЖНИКИ (1919-1930)

The authors of the article examine the way Alexander Alexeev (1901, Kazan – 1982, Paris), the outstanding world and Russian classical literature illustrator and pinscreen creator began his creative career. It is mentioned in the article that Alexander Alexeev had to leave the Russian Empire, forming part of the first wave of the Russian emigration settling down in Paris in the long run. In the beginning of his creative career he worked there as a theatre artist. Henceforward, Alexander Alexeev committed himself to the art of the book illustration. The authors claim in the first fifteen years of his creative activities Alexander Alexeev to have become the most eminent of the Russian emigrants book artist with twenty seven books, including book author frontispiece portrait and some book jackets illustrated. Having examined creative activities in the first fifteen years of his Paris life the authors claim Alexander Alexeev, as many other creative intellectuals of the first wave of the Russian emigration to have retained in his soul and heart the image of his Motherland, visualizing it in his works this way or another. These reminiscences and Motherland perception do demonstrate our contemporaries Alexander Alexeev though being away from Russia for nearly 60 years, in fact to have always been Russian patriot retaining the Russian world particle in his heart, as well as love for his mother, with her images scattered in his works all over his creative activities.

浅析于漪《语文教学谈艺录》的教学思想

浅析于漪《语文教学谈艺录》的教学思想

Հայ տպագրության զարգացման զուգահեռները

The book has always been valued as the most important value for the transmission of information. Along with the historical development of the society, it performed the complex function of transferring the achievements of the given period to the future generations, which made it possible to correctly assess the past. This phenomenon is more emphasized when we refer to the history of Armenian book art. Perhaps, for no people in the world, books and printing have had the same role and significance as in the life of the Armenian people.

BIBLIOGRAPHIC RESEARCH IN NATIONAL LIBRARIES OF UKRAINE IN 2016–2020: SUMMARY ANALYSIS

In Viktor Sokolov’s article «Bibliographic research in the national libraries of Ukraine in 2016–2020: a summary analysis» based on the analysis of materials of scientific publications and reports on the scientific research work of national libraries, the state and directions of the development of bibliographic research are summarized and highlighted using the example of the characteristics of the study books in certain specified institutions. The article clarifies the place and significance of bibliographic research in the study and popularization of specialized funds of national libraries, as well as in the preparation of relevant materials for the State Register of National Cultural Heritage; the topics, peculiarities of conducting and organizing bibliographic studies in the researched library institutions are disclosed; the importance of the study of rare and valuable books, library collections and book collections for the development of national culture is confirmed. The purpose of the proposed article is to characterize the content and directions of bibliographic research carried out in the national libraries of Ukraine in 2016–2020. The research methodology consists in applying both general scientific research methods (description, comparison, analogy, deduction, induction, analysis, etc.) and historical ones (historical-comparative, historical-typological, chronological, etc.). The scientific novelty of the work is that the state and nature of bibliographic research in the national libraries of Ukraine in 2016–2020 was analyzed for the first time; their place and importance in the research work of the mentioned institutions is substantiated. Conclusions. It is substantiated that in the period 2016–2020 in the national libraries of Ukraine, the development of scientific research work in the field of bibliography was characterized by the activation of research in historical, theoretical and methodological directions, among which, in particular, the issue of the creation and functioning of the book as a type of communicative- cognitive tool occupied an important place activities aimed at meeting information needs by means of printed and electronic information. It has been established that the specified bibliographic studies can be classified: by the nature of scientific knowledge into fundamental and applied; according to the scope or limits of the implementation on local, regional, national level; according to the time of implementation into permanent and episodic. It has been proven that medium-term local applied scientific research, designed for 1–3 years, prevailed, and the subject of bibliographic research was aimed not only at ensuring the disclosure of the informational and source- research resource of book funds, but also at solving theoretical fundamental scientific problems. Based on the analysis of the topics of scientific projects, publications and reports at scientific and practical conferences organized by national libraries, it is substantiated that a significant part of bibliographic research was devoted to the historical aspect of the development of book collections and the libraries themselves; analysis of a set of prints by a certain feature; study of individual types and types of publications. It was found out that studies related to bibliography were actively developing, in particular, in the art of books, book historical studies, publishing history, bibliographic studies, library history, Ukrainian history, and other fields of social sciences. It is motivated that bibliographic studies contribute to the mutual enrichment of these sciences, significantly expand the cognitive capabilities of their methods, and have a positive effect on the improvement of theory.

Historia sztuki w polu metodologii. Aktualne problemy i wyzwania

At the end of the 20th century, the theory of art history shifted from the area of methodology understood as a normative field of the philosophy of science to the area of the social practice of constructing knowledge. The term “art historical methodology” itself became trivialized when its meaning was detached from the horizon of epistemology and became extremely inclusive, encompassing all methods practised in the discipline, with a method being considered to be the use of any theory as a tool of interpretation. As a consequence, the basic problem of scientific methodology, which is the critical assessment of explanatory and interpretive theories due to the value of their justification, is not addressed in the self-reflection of contemporary art history. The retreat from the rigors of methodology was related to the reception of structuralism, initiated by Ernst Gombrich in the book Art and Illusion. Popper’s model of situational logic as a method of historical explanation of works of art was transformed into a structuralist model, referring to constant rules of pictorial representation, symbolization and communication. Michael Fried and Norman Bryson formulated their own theories of invariant rules defining the necessary initial conditions for the formation and reception of pictures, so that individual works could be interpreted in terms of these rules and, as a result, confirm the general theory, which created a vicious circle. Structuralist theories did not function as hypotheses requiring critical testing, but as interpretive codes that served to read each work of art within their own conceptual system. The next step in the process of the reception of structuralism was the development of theories defining general rules that would govern the discursive practice of art history, and the detection of which at the basis of this practice would discredit or invalidate its epistemological dimension. Hayden White’s narrativism was the theory that historical discourse is subject to narrative conventions, not to the laws of logic and the rigors of methodology that serve to limit the pool of alternative explanations or interpretations. This theory was intended to justify the pluralism of equal versions of history as a politically correct idea, appropriate for a “democratic” model of knowledge. Theorists developing White’s theses in the field of art history claimed that the discursive practice of this discipline was not governed by methodological rules but by political motivations (Keith Moxey) or aesthetic principles of artwriting (David Carrier). After the phase of open denial of the dependence of the art history discourse on methodology, the theory of the discipline turned into an analysis of techniques for building this discourse, which no longer included methodological issues, as in James Elkins’ book Our Beautiful, Dry, and Distant Texts. A critical review of theories separating art history from methodology leads to the conclusion that they are untenable. It is impossible to maintain the scientific status of our discipline without respecting the principles of methodology founded in the contemporary philosophy of science.

ЧИТАЦЬКІ ІНТЕРЕСИ І ЇХ ВПЛИВ НА ФОРМУВАННЯ ЧИТАЦЬКОЇ САМОСТІЙНОСТІ В КОНТЕКСТІ ІДЕЙ ІВАНА ОГІЄНКА

The article considers the problem of the infl uence of reading interests of primary school pupils on the formation of reading autonomy. The psychological and pedagogi-cal literature was analysed from the point of view of methods of forming interest in scientifi c and informative literature. The role of cognitive interest in the formation of reading autonomy is clarifi ed: the nature, indicators, and conditions of the formation of interest in books in the context of Ivan Ohiienko’s views are found out.The data of the conducted research are presented, which demonstrated that read-ing is far from the fi rst place among children of primary school age. Among the pri-orities are computer games, watching television programs, walks and games in the fresh air with friends, and only then ‒ reading books. From the 1st to the 4th grade, the interest in reading among primary school pupils is gradually lost. The circle of readers who are motivated to read specifi c literature and who has a lack of elementary bibliographic literacy is defi ned.The results of the analysis of reading forms and requests of primary school pupils regarding topics and authors are presented; priorities in the literature are defi ned.The results of a formative experiment are adduced, during which there was used literature, grouping and arranging it according to thematic direction and in accordance with the identifi cation of reading interests of primary school pupils. The advantages of the science and art book as a means of learning the laws of nature are determined. Emphasis is placed on the need for primary school pupils to read works from diff er-ent sections of informative literature, since popular science and science fi ction works complement each other: science fi ction causes cognitive interest, which can be more satisfi ed by reading non-fi ction books, while the ability to use a non-fi ction book depends on the level of understanding of science fi ction. The literary works of these subsections meet the various requests of pupil readers at diff erent levels of their gen-eral education, depending on their age, internal state of mind and reading tastes. Not everyone understands the diff erence between non-fi ction and fi ction, and the choice of eff ective methods of working with the literary work depends on this.The role of the family in the formation of spiritual values in the context of I. Ohiienko’s views and reading interests and reading autonomy of primary school pupils is clarifi ed

Visualization of the Book: Graphic Metaphors in Art Decoration of Ukrainian Church Editions of the Baroque Epoque

The article considers the role of metaphor in the art decoration of 17th–18th centuries Ukrainian editions of church books. It claims that the book art of this period is marked by generous use of symbolic and allegoric visual images which play metaphorical role in general structure of the book. Structural-semiotical exploration of title pages, frontispieces, and illustration cycles in more than one hundred reeditions of Ukrainian church books of 17th–18th centuries enabled us to single out the main types of structure forming visual metaphors. All metaphorical visual images, used in decoration of the church books, transfer the meaning of the book through picturing its author, addressee, or the central theological concept. The image of the author in the tradition of the Ukrainian church book art decoration is inserted in the composition of the title page and frontispiece. It visually presents the church book as a creation of a saint person, inspired by God. The addressee is expressed both by the emblem of a patron, who supported book printing, and by an icon of a divine person to whom the prayer content of the book is addressed. The emblem of a patron is positioned on the title page and/or backside of the title page. It visually generalizes the image of the church book edition, printed due to support of notable person. The icons of a prayer addressee on the backside of the title page, on the frontispieces, or on in-text miniatures, reflect the conceptual idea of a church book as a tool for praying. The main idea of a church book is commonly expressed by symbolic and allegoric compositions. Such compositions, positioned on the title pages and frontispieces, summarize the content of the book by the most unexpected visual images. All the complexity of meanings expressed by images of author, addressee, and theological content, demonstrate the baroque means, which Ukrainian church book editors applied to visualize the church book essence.

“The Affects of Image”: case report of a collaborative exhibition at the University Art Museum of the Federal University of Uberlândia (MUnA, UFU)

This article addresses the curation of the exhibition "Os Afetos da Imagem" at the University Museum of Art at the Federal University of Uberlândia (MUnA/UFU) in April 2023, carried out collaboratively by the museum team. This proposal highlights the shared responsibility between individuals in museum activities and the redefinition of traditional approaches to preserving memory and extroversion of the collection. The resulting exhibition celebrates artistic diversity, covering different typologies, such as sculpture, drawing, engraving, artist's book, object and painting. Designed and built in a decentralized and collaborative way, this curation is based on the principle that the museum is a performative device, promoting dialogue with society and valuing public cultural and artistic heritage. Although the collaborative curation experience presented challenges, these were promptly overcome by the team, resulting in an exhibition that highlights the ability to work together and reaffirms MUnA as a space for experimentation and construction of knowledge from shared perspectives. KEYWORDS: Museum. Collection. Curation. Collaborative Experience. Memory Preservation.

조선 후기 지식인의 ‘중국 동국기사류(東國記事類) 서목’ 편찬 -이덕무(李德懋)․한치윤(韓致奫)․이규경(李圭景)의 경우를 중심으로-

This paper focused on three Chinese Dongkuk Gisa book lists compiled by intellectuals in the late Joseon Dynasty. Lee Deok-moo(李德懋)’s Hwaingi Dongsa(華人記東事), Han Chi-yoon(韓致奫)’s Dongguk Gisa(東國記事) and Lee Kyu-kyung(李圭景)’s Jungwon Gi Dongsa(中原記東事) contain specialized books on the Korean Peninsula compiled by Chinese intellectuals. Lee Deok-moo’s Hwaingigidongsa contained 22 kinds of books, and Han Chi-yoon’s Dongguk Gisa collected 59 kinds of books. Lee Kyu-kyung’s Jungwon Gi Dongsa contained 23 kinds of books and inherited the contents of Lee Deok-moo’s books. 
 Re-segmenting the literature contained in these books identifies the types of Korean Peninsula encyclopedia, administrative records and observations, books related to the institution of the Korean Peninsula, books on the art of war, poetry collections, and history books. And if you look at the narrative system, it can be said that Lee Deok-moo’s book list belongs to the Joseon-centered narrative system. Han Chi-yoon and Lee Kyu-kyung’s book list showed efforts to objectify their perception of their country in the East Asian Chinese character civilization beyond the Joseon-centered narrative system and can be said to belong to an objective narrative system.
 Through these three book lists, it was possible to see the process of intellectuals in the late Joseon Dynasty building an objective narrative system for their country. On the other hand, the collection of Chinese Dongkuk Gisa book lists written by Joseon intellectuals will be evaluated as valuable data showing their own perception and data that can help us explore the origin of the establishment of Korean studies in China.

Bibliographic Annals of Russian Bibliology — 2009

A critical review of the next bibliographic index “Bibliology: Index of Literature for 2009” published in 2023 by “Pashkov House” is presented. This book was prepared by the employee of the Russian State Library, authoritative bibliographer L.I. Fursenko. This issue covers the publications on bibliology and book culture (from the general problems to the bibliophily and book art) that published in the Russian Federation during 2009. The reviewer underlines the need to continue one of the most important bibliographic project in the sphere of the contemporary book science and culture. The traditional merits of this voluminous index and its enduring relevance not only for specialists of book business but another ones representing wider spheres of science, culture and education are specially noted.

Evaluating Purchase Plans for Niche Collecting Areas

Many academic libraries collect art exhibition catalogues and juvenile books to support the curriculum, but academic library review sources and book vendors have limited coverage of these niche areas. For more than a decade, Wichita State University has used purchase plans from Worldwide Art Books and Junior Library Guild to acquire print books. This paper discusses the assessment of both plans, how experience with this assessment has influenced development of an assessment plan, and reasons other libraries may want to assess their own niche collecting plans.

“To Make Books Is to Multiply”: Artists' Books and Feminist Expression in Mexico

Abstract In the late 1970s and early 80s, artist's books exploded in Mexico City. The impetus for this explosion has often been located in the artistic practice of the experimental artist Felipe Ehrenberg and the bookmaking workshops he offered beginning in 1976. While Ehrenberg was undoubtedly influential, this essay reexamines the history of this period—a so-called Golden Epoch of independent publishing in Mexico––in order to recuperate the significant role that feminist-aligned artists played in advancing the medium of the artist's book. In particular, I examine early editions produced by the artists Magali Lara and Yani Pecanins. Both prolific producers and staunch advocates for the artist's book medium, Lara and Pecanins wielded the book form's unique qualities in order to interrogate and validate aspects of women's experience that were often elided from both Mexican popular culture and the contemporaneous experimental art scene. Their early artist's books were conduits for feminist expression that pushed the limits of formal experimentation and forged new circuits of communication.

Signs of the Uniqueness of the Ukrainian Printed Book in the Context of the Global Digitalisation of Art

The aim of the article is to explore the features of the uniqueness of a classic printed book as a valuable source of art studies analysis against the backdrop of dynamic transformations in Ukrainian book design. The article seeks to determine the prospects for its development as an artistic and project form, and ways to preserve the relevant design traditions. Results. The perception of traditional printed books in Ukraine today has changed in the context of the global digitisation of art. In this regard, the following opposing positions of scholars are highlighted: some predict a new phase of life for printed books, which involves the transformation of their socio-cultural role and the acquisition of different artistic content, while others underestimate the potential of traditional paper publications compared to innovative electronic formats. However, it is worth noting that the modern Ukrainian printed book has exclusive visual and aesthetic characteristics, demonstrating a unique synthesis of subject-spatial and artistic-design solutions. These characteristics include the long-term preservation of book design traditions, presentation of the designer's own artistic style (illustrator), tactile features (paper type, frame type, etc.), as well as the consistency of the layout at all levels of its implementation. The article proves this fact by comparing the design features of classic book editions with their alternative forms: electronic (multimedia) and interactive editions, as well as art books. The scientific novelty of the article consists in a comprehensive examination of the coexistence of various book forms on the modern domestic book market, their mutual influence, and the formulation of prospects for the development of the Ukrainian traditional printed books based on theoretical and empirical research of relevant sources, which was carried out for the first time. Conclusions. The article demonstrates that the highest potential of a traditional printed book lies in its highly differentiated design, unique artistic, genre and functional characteristics. The guarantee of the future of such publications is the mandatory presence of artistic and creative components in the book ensemble, as well as a genre-functional variable component.

The Book about Bookman Alexandre Benoit

The critical review of the album “The Book World of Alexandre Benoit: Sketches of a Researcher and a Collector” (Moscow, 2023) by well-known bibliophile, academician of the Russian Academy of Arts, the leader/chairman of Council of the National Union of Bibliophiles M.V. Seslavinsky is presented. The review reveals the aims and purposes of popularizing of various artistic career and activities of A. Benoit in the book sphere, undertaken in the album. It is shown that this edition in many senses fells out the scope of the scientific and popular type declared by the compilator and represents full-fledged scientific research of the history of book design on the example of A. Benoit. The high rating is given both to the editorial and publisher’s presentation and artistic book design of this edition.

Directions for Anarchist Studies

Anarchism is a fertile site for nurturing the sorts of encounters that feminists have called intersectionality. Anarchism and intersectionality share the goal of critically examining familiar as well as emergent flows of power and meaning, and understanding their relations to one another. This paper focuses on three compelling directions for anarchist studies: Indigenous anarchism, anarchism developing with new materialism, and anarchism emergent in radical book arts. Each thread has established roots while also moving in new directions. Anarchist encounters with Indigeneity, new materialism, and book arts resonate with each other: they can foster “a commitment to the particular” through which we can immerse ourselves in rich and dense worlds where specific Indigenous theories and practices, detailed encounters with non-human things, and particular artistic + intellectual productions of materials can emerge.

SCIENTIFIC AND ARTISTIC KNOWLEDGE IN KAZAKH LITERATURE FOR CHILDREN

The article discusses the nature of the scientific and cognitive function of natural history fiction. The authors of the article emphasize that the theme of the relationship between man and nature is still popular in the literary genre. The scientific reasoning emphasizes the emphasis on the mythopoetic basis of Kazakh folklore, in which the scientific, artistic and heuristic beginnings of human exploration of the surrounding world are synthetically presented. The purpose of the study is to present an analytical review of the most representative critical assessment of the natural history of children's literature in Kazakhstan. The illustrative material of the artistic description of local history and natural history is given. In this article, the authors refer to the corpus of historical and modern scientific criticism of children's literature. The practical significance of the problem under study lies in revealing the peculiarities of the development of children's literature in its main genre and style concentra. The authors use a systematic approach that allows them to build the studied material according to a linear-concentric principle, applicable to genre forms of prose and poetry addressed to children. Key words: natural science, animal world, Kazakh children's literature, man and nature, scientific and artistic book.

The Role of Special Collections in Climate Change Movements

This presentation examines the role that special collections can play in documenting climate change literature over the course of history. We chose to focus on artist books in particular due to their unique trait as a format found almost exclusively within special collections libraries. We connect artist books to other collections within Bruce Peel Special Collections to create a narrative of climate change across cultures, time, and social movements. This narrative focuses on the past, present, and future of climate change, showcasing how special collections libraries provide new perspectives on how we should view the role we have to play in climate change. We believe the creation of this narrative shows how collecting literature and archives is an active form of combatting climate misinformation. In particular, we believe connecting this narrative through artist books is a way to challenge dominant narratives due to the role of artist books in counterculture and alternate ways of viewing knowledge.

Symbolism of Artistic Language and Principles of Image Making in Oleh Denysenko’s Art Books

The purpose of the article is to highlight the tools of symbolism of the artistic language of the art books of Lviv artist Oleh Denysenko in the context of contemporary artistic processes. The research methodology is based on hermeneutical, axiological, and semiotic research methods as the basis for understanding the sacred meaning of the sign system in the artist's work. Complex, chronological, biographical, and comparative methods of analysis of the author's works are used. The scientific novelty lies in the attempt to conduct a comprehensive analysis of the art book phenomenon in the context of contemporary art, not only from the standpoint of its positioning as a design category and a graphic phenomenon, but also taking into account the technological side of the work's production. Conclusions. The article is an analysis of one of the most characteristic components of the creative work of the contemporary Lviv graphic artist Oleh Denysenko, who can be attributed to the flagship of the Lviv school of graphics. The article examines the peculiarities and figurative construction of the “artist's book” – art book – in O. Denysenko’s work, taking into account technological characteristics, i.e. it studies all stages of the process from the idea, concept to the visualisation of the idea, the technological side of its implementation. The basic principles of imagery and symbolism of the artistic language used in the approaches to solving the general idea emphasise the value of manual labour and the exclusivity of the artwork. The most interesting examples of the author's creative work presented in the design solutions of art objects are considered. The creative experiments of Lviv graphic artrist Oleh Denisenko, graphic design and technological features of execution emphasise the importance of his contribution to the formation of cultural values and the perception of works of art by society. Attention is paid to the interpretation of signs and symbols that serve as a means of communication between generations and the transmission of the artist's own experience and thoughts. Key words: Oleh Denysenko, symbolism, artistic language, imagery, style dominant, figurative and symbolic language, art book.