Artistic Reality Research Articles

IMAGE FUNCTIONS OF REPRESENTATIONS OF TIME AND SPACE IN THE MUSIC-CREATIVE PROCESS

The purpose of the research is to develop the concept of image temporal representation in music as concrete-compositional and conditionally alienated, to reveal the prerequisites for the actualization and symbolic expression of the temporal nature of music, and to define the main figurative connections - temporal vectors of musical time. The methodology of the work is determined by a combination of philosophical-aesthetic and textological musicological approaches, with an emphasis on the typological aspect of semantic characteristics. A certain psychological perspective of musicological concepts that relate to the process of musical influence and perception is revealed. The scientific novelty of this article is due to the discovery of temporal vectors of the musical text in a specific composition and in music as a whole as an intertextual sphere; it is proved that it is expedient to single out three main types of figurative connections (modalities) that objectify musical movement in time or time that becomes artistic in musical movement. The meaning of the sound image or «auditory intent» in music is revealed as a formative factor that has immanent, psychological, and compositional features, that is, from two sides - human and musical. The conclusions reveal that there is something in musical understanding that is equally essential for all times, that is, it is above the historical specifics and belongs to the imaginary autonomous world of music, its own artistic reality, which exists outside the laws of physical time. At the same time, it is the directly performed musical movement in time, the sonorous form of music with its spatial indicators, that objectifies the main time vectors - figurative connections that acquire symbolic positions. The value of semantic representation through verbal evaluation as the final stage of understanding in music consists in a more representative conceptual and logical integration of figurative content, which contributes to the development of language and speech resources of musical communication. It is especially convincingly revealed in the era of romanticism, but it is supported even after it – precisely as a discussion of the content and meaning of the temporal and spatial organization of music in its various dimensions, as an attempt to understand the mission of musical language.

Провiнцiйний свiт у творчостi Бруно Шульца як елемент авторськоï концепцiï

Bruno Schulz is one of the most original creators of Polish culture of the first half of the 20th century. Recently, interest in Bruno Schultz’s creative work has been growing all over the world. The literary works by Bruno Schulz clearly confirm that his artistic creativity is characterized by extraordinariness in everything: both in the context of artistic works and the author’s concept and the artistic reflection of reality. The writer chooses such characters, such dramatic situations, which allow him to unravel his creative ideas with the greatest expressiveness and evidence, to realize his author’s concept. The provincial world of Shultz’s works, his “special province”, as an element of the author’s concept, is represented in scientific studies through the lens of several elements: topographical, linguistic, “characteristic” (images of the characters), the element of numerous details, etc. The dilogy of short stories has been chosen as the source base: “Cinnamon Shops” and “Sanatorium Under the Sign of the Hourglass”, as well as several works that were not included in the first editions of these collections. The analysis of Bruno Schulz’s authorial concept contributes to a deeper and more complete understanding of the features of Bruno Schulz’s creation of a unique, artistic world, as well as the features of the artist’s way of perceiving and mastering real reality with its subsequent transformation into an artistic reality. Bruno Schulz tried to overcome the mediocrity destined for him by fate, to go beyond the boundaries of his “region of heresy”, while remaining himself – a Galician Jew, a classic of Polish literature, a singer of a special Ukrainian “secret” province, the symbolic mystical portrait of which, according to researchers, he had left to posterity.

Cultural and psychological concept of art (continuing and overcoming M. Bakhtin and L.Vygotsky)

The article outlines and develops a cultural and psychological concept of art. At the same time, the author starts from the concepts and understanding of the art of M. Bakhtin and L. Vygotsky, which he analyzed in his other works. For a better understanding of the theses, three cases are considered and analyzed: the novel by Israeli writer Meir Shalev "Two Bears Came out of the Forest", a poem by Marina Tsvetaeva and the process of discovering an artistic image by a small child. The author discusses several issues: problems that could worry Shalev and his readers, some features of the author's work that allowed to create an artistic reality of this work, features of artistic reality, a mental mechanism that generates strong emotions of readers. The techniques and expressive means used by Shalev during the creation of his novel are analyzed. The factors (semiotic, personal, cultural) that determine the independent existence of artistic reality, as well as the naturalness and realism of its events are discussed. These events are more real and natural because Shalev opens the way for the reader to the events of artistic reality, allows him to see the whole, emphasizes the most important. Shalev's genius as a storyteller, his wonderful language also plays a big role. It is concluded that the necessary conditions for the creation of artistic reality and the living of its events are the semiosis of art and a special form of human life in art (leisure according to Aristotle, "non-utilitarian form of life", according to the author).

Երկիր-բնօրրանի քրոնոտոպը Հրանտ Մաթևոսյանի գեղարվեստական համակարգում

Tsmak as an artistic reality is an existential construct in H. Matevosyan’s artistic system. In the semantic center of the writer’s aesthetic worldview Tsmakut embodies the concept of homeland. Tsmak as a geographical unit exists in a certain temporal dimension. Adhering to the aesthetic criteria of the time, H. Matevosyan restores the genealogy of the cradle-homeland and its identity with the aesthetic standards of the time.

THE PRINCIPLE OF CONTRAST AS THE COMPOSITIONAL AND STYLISTIC BASIS OF “PREFACE TO “INSCRIPTIONS ON STONE” («‍戚 輨 生 序 本 ») BY QI LUSHEN (戚輨生)

Artistic reality, being a reflection of objective reality, develops according to its laws, and knowledge of both realities is possible due to the presence of contrast in the text. Any work of art is built in contrasts: contrast is an expressive means for which a literary text is impossible. The purpose of this study is to analyze the organizing role of the principle of diversity both at the substantive and formal level in the “Preface to “Inscriptions on stone” (戚蓼生序本) by Qi Lusheng (戚蓼生). The preface to “Preface to “Inscriptions on stone” can be considered as a work of an artistic and journalistic genre: “journalism” analyticity determines the belonging of the preface to the journalistic genre, and the system of techniques through which the aesthetic function of the text is realized forms “artistry”. Contrast as a principle has not been sufficiently studied, which leads to the expediency of studying the logical structure of the concept of the “principle of diversity”. The relevance of the article is determined by the importance of analyzing the principle of contrast and its speech implementation through the use of parallelism as a fundamental compositional and stylistic principle of language development. The object of this study is the principle of contrast in the “Preface to “Inscriptions on stone”. Contrast as a linguo-cognitive principle has characteristics that are extremely important for the preface genre: logicality, schematism, emotionality, opposition, which contributes to the memorization of compositional models that affect not only logic, but also human feelings. “Preface to “Inscriptions on stone” has a wide range of means for expressing contrast: lexical (respectively, they are divided into nuclear and peripheral ones, depending on linguistic representation), syntactic, compositional (contrast in the text of representations by figurative and plot contrast).

Несколько слов о правде и искренности в искусстве: творческий опыт Татьяны Назаренко и Алены Дергилевой

The paper analyzes works of two distinguished contemporary Russian artists: Tatyana Nazarenko and Alena Dergileva, who began their artistic career in Moscow in the 1970s. They are among the most prominent representatives of realistic art, the formation of which had nothing to do with the “epic” praising of shock-workers of “Communist labor” in compliance with “socialist realism”, and was based on their own search for the truth in life and art, whatever it was. This truth was not always convenient for Soviet officialdom, both in terms of content and unceasing search for a new art form adequate to the content and the means of its expression. The study defines and explores the stages of development of artists from compositions with intimate images of family and friends of artists to paintings and graphic sheets dedicated to turning points of Russian history and modern life of the Fatherland. The author analyzes the features of compositional and artistic techniques found by artists and which are a contribution to the development of modern realistic art. In the text, the artists' creativity is presented in the context of the General development of Russian art in the second half of the twentieth century-the first decades of the twenty-first century, expressed both through the interest in Russian history and search for artistic truth and sincerity in art. Analysis of the correlation between the two best representatives of realistic art and the time of creation of their works allows us to understand better the features of changes in the domestic art of the 1970s – 2010s, to identify the creative aspirations of the period and their transformation. The paper focuses on the artists` experience to highlight features of the artistic experience of T. Nazarenko and A. Dergileva within the realistic direction in art and to determine the forms of further development of figurative creativity.

Текст-игра: интертекстуальность киноискусства как отражение сознания эпохи (на примере фильма А. Штерс «Мадам»)

Rationale. Interest in the knowledge of the art language essence, the search for different models of its description and study are typical not only for modern science in general, but also for cognitive approach in culture studies in particular. This explains the publication relevance, that is expressed in the accumulative function of language and culture, connecting the outside world objects and human consciousness, providing a systematic and orderly reality image. The article aim is to objectify the problem of correlation between the understanding the real world principles and the modeling artistic reality principles on the example of the film “Madam” (2017) directed by A. Sthers. To reach this purpose is possible by the solution of such research objectives: - Analysis of the film intertextual nature, given the European cultural experience - from the medieval farces and Shakespeare's theatre to the postmodern novel, from the Leonardo da Vinci's frescoes to D. Buren's conceptualism. The key element of this cultural mosaic is the Baroque tradition with its gameful nature. - Designation of the author image status in the text: the film plays out the situation when the writer's artistic reflection goes beyond his individual consciousness, modeling the real situation and at the same time objectifying itself in the verbal text. There is a subtle image of the subjective process of the modeling “second reality” beneath the outwardly unpretentious comedy film plot. - Actualization the games category. The associations freedom and the wide scope of combining meanings constitute the Baroque combinational game essence - the game as the creative thought manifestation, as the human culture essence. There are surprisingly witty (in the Baroque sense) parallels with the L. Carroll's “Alice's Adventures in Wonderland” and “Through The Looking-Glass And What Alice Found There”, V. Nabokov's “Luzhin's Defense”, S. Zweig's “Chess Novella”. The analysis of these “chess” texts reveals their semantic commonality with the film artistic organization. The setting objectives led to the useing of three research methods: the structural semiological, the intertextual and the hermeneutic methods of the filmtext research. The study found that the inner film semantic core includes the following oppositions: truth and lie; freedom and unfreedom; emptiness and fullness. Overall, A. Sthers playing a kind of “the glass bead game” party, in which she makes actual the Baroque artistic thinking, given the postmodern discourse experience and using associative links with a variety of culture periods and culture texts. The neo-Baroque character of the modern worldview is determined largely by the problems of human knowledge possibility limits, of the illusory nature of the hypothesis about the world that human consciousness constructs - the problems that were first put with the greatest clarity in the Baroque era. This same era affirms the universality of the moral world foundations, loyalty to which allows you to escape from the illusions world.

О критериях современного искусства: культурологический подход

XX century introduced significant adjustments in the understanding of art. Art lost its special “aura” (V. Benjamin) with the development of visual practices, the growing role of science and the recipient in the design of artistic reality, which led to a change in the notion of the criteria of art up to the denial of its existence. The scientific novelty is determined by the change in the status of art in modern culture. The changes that took place in the art of the 19th century expanded the range of artistic value by recognizing new values and involving the figure of the recipient in the process of creating art. The acceleration of the development of culture in the 20th century led to a further change in the perception of art, which began to rely more on a rethinking of a tradition that had been enriched by the discovery of previously little-known cultures. In this regard, the criteria of art, representing the artwork as a cultural text aimed at understanding the experience of previous cultural eras, are changed. Purpose of the study describe the changes in the role of art in human life, which were reflected primarily in the rethinking of art criteria. In the twentieth century, there is a large number of contradictory phenomena called to be called culture and going beyond the framework of art, which requires their mastering. Visual mass culture, which does not have the signs of a new one, has trained the viewer to pay attention to the already realized reality, presented in a new shell from a different angle. Herewith the recipient ascribes traditional values and meanings to the mastered reality. Thus, the replicability and reproducibility of works of art change the person's idea of the subject of art. Methods: The analysis of art, through the lens of its criteria, took a cultural approach, which allowed to consider art in the context of the cultural text. To represent the specificities of contemporary art, descriptive and comparative methods were used to fit contemporary art into the cultural context and to identify its main criteria. The concepts of “art” and “culture” become largely synonymous in the consciousness of modern man. Peculiarities of the perception of a work of art are associated with the fusion of the concepts “work of art” and “cultural text”, when culture began to substitute for itself art, so people in the assessments of art are guided by the same concepts that apply to culture. Recognition of the conscious, as the main criterion of the art of mass consciousness, translates the work of art into the rank of a cultural text, for which other values and aesthetic criteria already act. We can draw a conclusion on the basis of the perception of the cultural text, that the toolkit for evaluating the cultural text passes to art, and therefore the main criteria are not the aesthetic, but the anthropological, associated with the creative activity of the recipient and his participation in the creation of a work of art.

«Маскарад» Лермонтова и драматургия Шекспира («Отелло», «Цимбелин», «Зимняя сказка»): к художественной антропологии

The article is considering the roll-calls in the subject structure and in the genre-motive sphere between Lermontov’s drama “Masquerade” and Shakespeare’s dramaturgy (“Othello”, “Cimbeline”, “The Winter’s Tale”).With all the closeness and even partly continuity of personality’s question in the Renaissance and in Romanticism, it is important to note the similarity of Shakespeare and Lermontov’s bringing to the forefront the concept of artistic anthropology. In their works, the image of a person concentrates around itself all the other features of artistic reality. Shakespeare’s balance of the world and man is obvious in the final analysis. While Lermontov confronts the world and man in his dramaturgy. In a holistic autoscript of his behavior, Arbenin, like Othello, also predicts a pessimistic ending ahead of time. There is a certain self-construction of both Othello and Arbenin. The underlying reason for their actions is not “passion”, but their own artificial ideas about how to behave in a given situation, about what certain relationships should be, and so on. The Shakespearean theme of the existential-anthropological experiment in “Cimbeline” portends the image of Pechorin from A Hero of Our Time. Arbenin’s “experiments” are known from his monologues about his past, from the explication of the Unknown’s story; finally, the idea of an “experiment” – revenge inspires the act of the Unknown.The fact of Hermione’s “resurrection” in “The Winter’s Tale” goes back to the concept of the triumph of the implied natural-cosmic harmony and the realization of a universal world utopia. Lermontov, by the death of Nina, demonstrates the irreversibility of individual lives’ catastrophe, the impossibility of changing the past. Being a radical romantic, he sharply contrasts life and death.

The transitional era in literature and the term realism (1840–1850s)

The article describes main milestones of the emergence and approval of the literary term realism. The term was filled with new content in French literature and criticism in the 1840s, and in 1849 first appeared in Russia in the article by Pavel Annenkov. The appearance of the term contributed to the transfer to Russian soil of the entire associative halo of the Realistic school, as it was understood in France at that time. The study of lagging autoreflection allows one to put forward the thesis about the atheoretical nature of realism. The means of realistic self-knowledge were not treatises, but critical articles on modern literature, where the concept of realism served as a means of journalistic polemics. The writers ranked among the great realists today did not classify themselves as such. Realists were considered anti-romantic-minded authors of low origin (raznochintsy), depicting familiar details of low reality. Subsequently, the fundamental thesis of the social determination of characters and artistic typification as asign of realistic art, which was subsequently consolidated, remained peripheral to the autoreflection of realism at the first stage of its development. All this determines the complexity of the conceptualization of this literary trend. In Russia the situation is more complicated because of the still-persisting influence of Soviet literary criticism, which sought to extend the unhistorically understood realism to the entire history of literature and turn it into a telos of literary development. Overcoming this approach and returning to the historical comprehension of realism is one of the urgent tasks of the history of literature.

Methodological Status of the Concept of World Picture and its Philosophical Origins

Abstract: The world picture in a literary text is created by linguistic means, while it reflects the individual picture of the world in the mind of the writer and is embodied in the selection of elements of the content of the work of art; the selection of the language means used; in the individual use of figurative means. The artistic picture of the world is a secondary, mediated the world picture, and it is mediated twice - by language and individually - by the author's conceptual picture of the world. Keywords: artistic reality, worldview, methodological characteristics, reality, linguistic approach.

Artistic and aesthetic characteristics of vocal and pop performance as a genre synthesis of arts

The purpose of the article is to study the artistic and aesthetic features of vocal and pop art as a genre synthesis of arts. The research methodology involves the use of system-structural, comparative methods of analysis and culturological and art approaches in the study of these issues. The scientific novelty of the work is to expand the theoretical boundaries of understanding vocal and pop performance as a synthetic genre that combines different arts, and its defining artistic and stylistic features that directly affect the structure and stylistic features of vocals, interpretation of the work, its perception by listeners and representation of values, ideas and impressions generated in the process of performance and its perception. Conclusions. Conclusions. Variety vocal performance as a kind of musical text involves special manifestations of intertextuality, so it is possible to find layers of artistic and species series, expressive forms and meanings, artistic and linguistic means and interpretive techniques. From the point of view of specific tasks of artistic communication, it appears as a generalized form of musical and artistic activity that can claim universality and has its stage and staging canons, determined by value concepts of culture, but in their new popular sense. There are also exemplary compositional and semantic models in this field, the imitation of which is a recognized way to join the pop vocal and performing professionalism. In the field of pop and vocal performance in its theatrical and staged form there is a specific mythologizing, which concerns the figure of the singer as the central actor of the concert program, which forms a certain image to achieve extreme artistic persuasiveness. Therefore, it is not an image of a fictional character, but of a person close in time and meaning to life, as she can and should be in virtual artistic reality - aesthetically sublime and morally balanced. The main components of the intertextual sphere, which is formed around the variety show and determines the special director's interest in it, are semantic positions on the singer as a semantic core of the whole moving picture of pop and stage action. It is these semantic factors that organize and lead to a holistic artistic result all the structural indicators of pop performance. Keywords: vocal and pop art, artistic and aesthetic characteristics, genre specifics, genre synthesis of arts.

Semantic space of “Well-Tempered Clavier” of J. S. Bach as a basis of the performing concept

The relevance of the article is due to the issue of formation in a modern multicultural space of the new image of the executor — the carrier of new senses and cultural memory, as well as need for creative comprehension of the world treasury of musical art in the artistic realities of modernity and research on the specifics of its modern performing versions.
 The purpose of the article is to outline the determinants and the specifics of the semantic space of “Well-Tempered Clavier” of J. S. Bach as conceptual basis of the performing concept.
 The methodology of the article is based on the principles of a comparative approach, which enables the use of research tools for cultural studies and musicology, in particular historical, historical-contextual, genre, hermeneutical and semiological methods and approaches.
 The results. The article outlines the following factors of conceptual polyphony of “Well-Tempered Clavier” as accumulation and artist experience of reflection and protecting the world in symbolic forms, the significance of the synthesis of arts and the unity of emotion, image and symbol on the parameters of baroque aesthetics, the connection of “Well-Tempered Clavier” with the creativity of the artist, resonance of symbolic forms with axiological structures of historical and cultural epochs. The article substantiates the significance in pluralistic symbolic field of the works: semantics of tonality and tempo, which acts as a construction of performing chronotope; sacred melos with perceptually fixed semantics, means of embodiment of which is citing, representation as complementary unity, allusion-variable reproduction; numeric symbolism; rhetorical figures, sound treatment — visualization of the musical process; fixed in the context of European art semantics — in particular “mirror in the mirror” (on micro — and macro levels of the of the music text organization); the genre “ambivalence”, which determines the superposition of different variants of “genre’s memory” and enables the creation of an artistic-reflective arch between the era of Baroque and postmodernism, designated be the leveling of the genre.
 The scientific topicality of the article is due to the clarification and systematization of representations regarding the specifics of the semantic field of “Well-Tempered Clavier” of J. S. Bach and the positioning of conceptual polyphony of the work as the basis of performing concepts and text.
 The practical significance of article is determined by a direct possibility of applying research results in the performing practice.
 Conclusion. Performance of “Well-Tempered Clavier” of J. S. Bach on the basis of the interiorization of symbolic forms is a guarantee of its performing “reading” as an embodiment of the process of being human in a cross-cultural dialogue, deploying self-reflection in the space of a representation of postmodernism paradigm as a multidimensional cultural message, in which the axiological experience of humanity is concentrated and the eternal problems of its spiritual being are actualized.

The emergence of collective knowledge and cumulative culture in animals, humans and machines.

The emergence of collective knowledge and cumulative culture in animals, humans and machines.

Искусство по обе стороны реальности. (Статья первая)

In a broad cultural and philosophical discourse, the comparison and differentiation of two layers of artistic reality in the 20th century, defining “the position of postmodern” (J.-F. Lyotard), are considered. It should be noted that in the 20th century art, without completely excluding the narrative-type artistic reality, was increasingly mastering the post-narrative artistic reality, but most often combined both artistic realities — modern and postmodern. The comprehension of art on both sides of reality presupposes the combination of narrative and post-narrative artistic realities as two layers of meaning covering the “vital reality” displayed and simultaneously overcome by them from both sides. The combination of “one’s own” text as the author’s narrative of life reality and the interweaving of “others” texts, ironically or creatively reflected in the form of a post-narrative texture, are put together as a two-layer text that contrasts “the life reality” in two ways. These provisions are confirmed by a number of literary examples.

Givi Margvelashvili's “The Kantakt, from the Reading-Life Experiences of a City Writer” as a Metafictional Novel

Each author happily writes about himself, about the difficulties encountered in writing, about literature, - we read in Roland Duhamel's book “The Poet in the Mirror: About Metaliterature” (Dichter im Spiegel: Über Metaliteratur) [Duhamel, 2001]. This is also the case with German-speaking Georgian migrant author Givi Margvelashvili. In a 2009 German-language novel, Givi Margvelashvili in his book “The Kantakt, from the Reading-Life Experiences of a City Writer” (“Der Kantakt, Aus den Lese-Lebenserfahrungen eines Stadtschreibers”), in parallel with his account of his life, experiences and work, shows the mystery of literary fiction and invites the reader into a metafictional game. Literary critic Patricia Waugh, who plays a special role in the study of metafiction, believes metafictional texts are those that deliberately refer to themselves as an artificial creation in order to raise questions about the relationship between fiction and reality. According to her concept, metafictional texts are created by an infinite linguistic game with the world, reality, fiction, narrative [Waugh, 1984]. In the present article we will try to review the novel “The Kantakt, from the Reading-Life Experiences of a City Writer” by Givi Margvelashvili, the main motives, elements or narrative techniques, characteristic of the metafictional literature, which show the metafictional nature of The Kantakt.It should be noted from the very beginning that Givi Margvelashvili's novel “The Kantakt, from the Reading-Life Experiences of a City Writer” is based on the artistic reality of the German writer Kurt Tucholsky’s - “Rheinsberg - A Picture Book for Lovers” (“Rheinsberg - Ein Bilderbuch für Verliebte”). The Kantakt is an intertextual game with a pretext. The latter appears in the work as a book in a book, which is one of the most common motifs in metafictional literature. Because Tucholsky’s work is often found in the Kantakt, the readers cannot forget it, therefore they constantly think about it, and even compare the pheno-text with the pretext. Naturally, there are many passages in the Kantakt in which we recognize intertextual metafiction.An important metafictional event in the novel is the transformation of the main character of the work - the first "City Writer" of the German city of Rheinsberg into a "reader" character. From the "real" world of the "City Writer" - from the second layer of the novel to the fictional world of the book - the first layer (the same as his own consciousness), the "transition" into the imaginary world blurs the line between "reality" and fiction. This is where one of the techniques of metafictional literature comes into play - metalepsis.The metafictionality of the novel is evidenced by the characters in the first layer, who are aware of their fictional existence. The aim of the "reader" is for the main characters of Kurt Tucholsky’s work to realize their fictional essence too. Because of this, he leaves a message to Claire and Wolf, which is written on a blank sheet of the same book the characters belong to: “This is your mirror-book. It accurately describes how you live through readers: everything you think, say and do here, you think, say and do in your reading-life” [Margvelashvili, 2009:461). In the work, the characters are presented as reading-creatures, whose lives depend on the reader and their imagination. The function of the characters also becomes a subject of discussion in the novel: "The characters in the book are committed to reflect the lives of real people, to serve people as a kind of reading-mirror" [Margvelashvili, 2009:200], - we read in Margvelashvili's novel.Based on the fragments of the life and memoirs of the "City Writer” scattered within the work, which coincide with the life and memoirs of Givi Margvelashvili, we can argue about the biographical auto-reflexivity in the work, which is also one of the forms of metafiction. It should also be noted that there are signs of autofiction in the Kantakt.In the Kantakt, as in most metafictional texts, the character, the reader, and the author are repeatedly thematized, as well as the act of writing, narrating, and reading. The language games in the novel also have a metafictional meaning. Auto-reflexive phrases and words reveal the fictional world of the book, through which often even a parallel is drawn between the fictional and the real world. Linguistic issues, including phonology, morphology, syntax, etc., are thematized and discussed in the Kantakt as a metafictional novel.Based on these and other examples discussed in the article, we can conclude that Givi Margvelashvili's “The Kantakt, from the Reading-Life Experiences of a City Writer” is a metafictional novel, revealing the fictitiousness of this work as well as other literary texts in general, primarily the pre-text of “Rheinsberg - A Picture Book for Lovers”.

INTERVIEW WITH NIKOLAI TSISKARIDZE — A MEMBER OF THE COUNCIL FOR CULTURE AND ART UNDER THE PRESIDENT OF THE RUSSIAN FEDERATION, RECTOR OF THE VAGANOVA ACADEMY OF RUSSIAN BALLET

Traditionally, our journal opens with an academic interview. In this issue, we present an outstanding figure of world culture — Nikolai Tsiskaridze, a member of the Council for Culture and Art under the President of the Russian Federation, National Artist of Russia, Rector of the Vaganova Academy of Russian Ballet. His charismatic image personifies the Russian ballet school. It is universally recognised that Tsiskaridze’s creative and pedagogical activity has given a new impetus to the school of classical dance. Thanks to his efforts, the Vaganova Academy of Russian Ballet has rightfully taken a leading place on the world stage and is highly regarded by the professional community. Nikolai Tsiskaridze kindly agreed to answer the questions of Maria Burganova, the Editor-in-Chief of the journal Burganov House. Space of Culture. INTERVIEW WITH NIKOLAI TSISKARIDZE — A MEMBER OF THE COUNCIL FOR CULTURE AND ART UNDER THE PRESIDENT OF THE RUSSIAN FEDERATION, RECTOR OF THE VAGANOVA ACADEMY OF RUSSIAN BALLET Maria A. Burganova: What defines contemporary culture in Russia? Dialogue with the past, search for innovations, an expectation of change? Nikolai M. Tsiskaridze: Everything listed by you. And also, the rapid development of the culture of consumerism. M.B.: Are culture and the state interrelated concepts? To what extent does the state determine the development of culture? Can culture exist without government support? N.Ts.: At all times, culture could not exist without state support; therefore, of course, these concepts are interrelated. M.B.: The cultural space is a dialogue space. The audience creates it jointly with an artist, an actor, a musician. Today it seems that the viewer comes to the theatre, museum, philharmonic “to have a rest”. Who is an ideal viewer? What would you like to communicate to them? To what extent does the creative process take the possible reaction of the viewer into account? N.Ts.: There can be no dialogue. There is an artist, and there is the viewer’s perception of them. Any cultural space — theatre, museum, and so on, has always been a space for relaxation. When they say that the viewer also “works”, “creates” — it is nonsense. M.B.: The modern cultural space is permeated with Internet culture. How does this relate to classical heritage and education? Has a new cultural myth been formed? N.Ts.: The Internet is just a form of expression. M.B.: Virtuality is fully capturing museums and theatres. Exhibitions based on media technologies have become commonplace. In theatres, laptops broadcasting monologues and stage performances appear instead of actors. Is this a farce or a new reality in art? Is there a border in the cultural space which virtual technologies cannot cross? N.Ts.: Some people like butter, and some like margarine. If a person loves margarine, then they will use it. If someone wants to use a laptop, they will use a laptop. Whoever wants to see an artist will come to the artist.

Между «своим» и «чужим»: языковые и художественные реалии, проблемы, перспективы литератур народов Крайнего Севера и Дальнего Востока

The article discusses linguistic and artistic realities, problems and perspectives of the literatures of the indigenous peoples of the North and the Far East. The author fixes the widespread writing of works in Russian, comprehends the reasons for the linguistic transition, raises the question of the theoretical and substantive expansion of the concept of “national literature”, emphasizes the importance of the individual author's ethnocultural component. The author considers as a landmark projection of the development of “minority” national literatures the method of including elements of the “native” language in a Russian-language poem, an appeal to the topic “native language”, the experience of accidentally recognizing one's own in the sounds of a genetically non-native language. Special attention is paid to the problem of literary translation into Russian, some scenarios of distortion of texts in translations and reduction precedents of important mythological contexts are presented. The conclusions obtained during the analysis of a large corpus of poetic texts from the Nenets, Dolgan, Even, Chukchi, Koryak, Nanai literatures can be of significant analytical interest in a comparative aspect.

METHODOLOGICAL AND TECHNICAL ENVIRONMENT OF WATERCOLOR PAINTING FOR STUDENTS-ARCHITECTORS

The article considers that watercolor technique is the most advanced one for the transfer of living architectural forms of structures in the drawing. Drawings of architectural projects should give a full understanding of the correct purpose, about the cost-effectiveness, strength and beauty of the future building. Therefore, drawings must be clear, understandable, expressive, their graphic performance must be based on the high foundations of realistic art. Watercolor is a professional and traditional visual means of an architect. Watercolor is an amazing material that combines the ability to comprehend both the pictorial, color organization of the image and the graphic, sign-tonal one. The architect, referring to the picturesque development of the drawing, first of all, must determine its purpose and choose from all the numerous visual techniques of watercolor painting those that will better contribute to the expressiveness of this drawing. Then they will be correctly used: the perfect visual equipment, a large arsenal of tools, a wide range of techniques, a large palette of colors, various possibilities of tools and materials. These features allow you to cope with multitasking in a wide variety of visual arts. The main features of watercolor painting are high airiness and transparency. However, architectural watercolor has its own specific conventions, some generalization, laconicism, business simplicity, clarity, a certain limited palette of colors, but at the same time it successfully fulfills its task only when it proceeds from the position of realistic painting.Such watercolor techniques as: “wet”, “dry”, “glaze”, “ά la prima” are considered The technique of watercolor painting is a visual reflection of the main theoretical postulates of the composite space organization on the plane. Watercolor techniques solve these problems and clearly show the interaction of tonal and color characteristics of all elements of the composition.

Artistic reality of the TV series “The Marvelous Mrs. Maisel”

This article analyzes the artistic reality of the popular TV series “The Marvelous Mrs. Maisel”. There author discusses the feedback of the viewers, including negative. The question is raised on the reasons of its series, as in terms of rigorous analysis it seems mosaic and contradictory. The article explores the artistic techniques (split mind of the hero, bringing modern problems to the past, which create the artistic reality). It is demonstrated that the TV series enjoys popularity namely for representation of the modern problems and situations, despite the use of historical records. Following the logic of comedy-drama streaming TV series, its creators my Sherman-Palladino and Rachel Brosnahan readjusted all historical and non-historical themes and plotline so it would be entertaining for the audience, rather than give knowledge of history. The reality of the series is not a stand-up story based on the example of Mrs. Maisel, but the artistic reality in the comedy-drama genre. Detailed analysis is conducted on the techniques of depicting split personality of the hero, as well as presentation of the actor’s personal life and problems as a skillful acting. The author wonders whether the TV series “The Marvelous Mrs. Maisel” reflects rather the structure of the mosaic mentality of the modern viewer, oriented towards entertainment and aesthetic experiences than the knowledge of life. At the end of the research, the author discusses how the producers managed to create a holistic and organic artistic reality of the TV series.