Artistic Worldview Research Articles

Symbolic-anthroposophic Intentions and interinfluence of literary texts in the works of Maximilian Voloshin

This article carries out a culturological analysis of the artistic worldview of the poet, artist, art historian, and art critic Maximilian Voloshin (1877–1932) – one of the prominent representatives of the Silver Age. The object of this research is the diversity of artistic space of M. Voloshin, while the subject is the interinfluence of his literary texts. The author aims to determine the symbolic-anthroposophic intentions in the artistic space of M. Voloshin as a complex semiotic formation that comprises the continuum of various texts: visual, verbal, nonverbal, and others. Maximilam Voloshin’s reasoning on the symbolic nature are reflected in his theoretical works and correspondence with cultural figures. In his articles, Voloshin advanced the idea that the artist refers to the spatial form of art by means intuition and inner consciousness. The poem “Rouen Cathedral” by M. Voloshin is vivid example of the synthesis of poetic and picturesque texts. M. Voloshin’s engagement in construction of the Goetheanum in Dornach headed by the German anthroposophist R. Steiner contributed to the development of the new worldview, which is reflected in the original watercolor “Dornach Album”. The novelty of this research lies in the fact that the personality of M. Voloshin is presented as a metatext, complex semiotic space that intertwined visual (iconic), verbal and other texts that embody the symbolic and anthroposophic intentions. It is established that the use of symbolic and anthroposophic intentions by M. Voloshin, as well as the synthesis of visual, verbal and other texts, characterize the diversity and synthetism of his worldview, although he did not fully apprehended the views of the symbolists and anthroposophists. All these principles formed the artistic space of M. Voloshin as metatext in a single guise – poet, artist, and philosopher.

Conceptual Foundations of Modern Mythology

The objective of the article is to analyze theoretical and applied myth studies, to establish the role of myth in the process of mythopoeia, to identify the artistic work’s mythopoetic peculiarities that combine imaginative and emotional thinking, subconscious achievements of general culture, auteur worldviews, mythological schemes, structures, motives, symbols, means of poetic speech, etc.Investigation of mythological structures in the poet's artistic worldview system is the key to deciphering the in-depth meanings of the author's myth-thinking. This includes both broader worldwide and more specific ethnic-national cultural achievements along with the individual worldview features, which are formed on rational experience and integrate both actual and imagined reality. All components of the mythic consciousness at the sensory level are most frequently implemented in the works of literature. The universe is explained through ancient ideas and beliefs reflecting ontological and axiological concepts at the mental-verbal level. The mythopoetic analysis of the artistic text allows a more profound understanding and interpretation of the author’s worldview. It deals with immersing into the dimension of poetic allusions, deciphering the implicit code of the poet’s speech, identification of objective and subjective reasons to appeal to ethnocultural sources.The results obtained can be practically employed in teaching such disciplines as: “Theory of Literature”, “History of Literature of the 20th Century”, “Mythological and Neo-Mythological Schools in Literary Science”, as well as in the development of manuals and textbooks, in the study of the mythopoetics of an artistic work.The scientific novelty of this work lies in an improved scientific approach to the interpreting paradigm ofmyth, archetype, archetypal image, and mythology. The said approach promotes analysis of the methods of implementing the myth in the art of the twentieth century, its impact on the formation of the artist's narrative, and transforming it into literature mythologism.

Функции этнонимов в произведении «Бабур-наме»

This article deals with ethnonyms and their role in the famous work Baburnama, written by the Turkic writer, poet and ruler Zakhiriddin Muhammad Babur. The text of a work of art reflects a unique, individual author’s picture of the world of the writer, his conceptual sphere, filled with a special artistic worldview. The relevance of referring to the study of ethnonyms in the text Baburnama is due to their insufficient research. Since ancient times, they have reflected various important social and spiritual phenomena in the life of the peoples of Central Asia. The study of ethnonyms will help the reader to imagine the history of that time, the genetic makeup of Babur’s empire; will tell about the relationship between peoples, about their language and culture. In addition to all this, ethnonymy can tell a lot about the author himself, about his socio-cultural and ethnicity. This work shows that the ethnonymic layer of the vocabulary of any language is especially valuable for research in the field of cultural history. The study of ethnonyms opens up ample opportunities for the study of individual linguistic characteristics that characterize a particular ethnos. Scientific works of V. V. Radlov and V. V. Bartold laid the foundation for various oriental studies, including the study of the Turkic languages, ethnography, folklore and archaeological heritage. Based on their works, we tried to reflect the interweaving of various cultural, ethnic and linguistic traditions in the studied material.

MANSI POET ANDREY TARKHANOV: REALITIES AND PARADOXES OF THE ARTISTIC WORLD

The article comprehensively examines the poetry of the classic of Mansi literature Andrei Tarkhanov. The place of the national literature in the system of the vast interliterary community of the peoples of the circumpolar zone is determined, the genetic connection of the Mansi artistic tradition with mythological ideas and folklore is emphasized. The most common, creatively significant themes and problems are identified: a great author’s interest in the themes of time, history, cultural and civilizational identity of Russia is shown, the individual author’s artistic panorama of the post-Soviet era is analyzed, the socio-psychological contexts of the experience of the author / lyrical subject of modernity are considered. The plots of Tarkhanov’s appeal to Russian literature are studied, attention is paid to the study of the personological aspect. The focus of the reading falls on the poet’s numerous attempts to comprehend Christian narratives in poetry, to delve into the axiology and ritual practices of Orthodoxy. When we interpret the text corpus of the Mansi poet, we take into account his linguistic choice, which significantly reduces the associative and meaningful contexts with “his” Mansi literature. In general, the realities and paradoxes of A. Tarkhanov’s artistic worldview are identified, which are manifested at the figurative-symbolic level and in the author’s choice of themes, situations of poetic actualization and aesthetic guidelines. Andrei Tarkhanov was less a Mansi poet in his inner nature than the legendary Yuvan Shestalov. It seems that he wanted to break out of the Mansi “vicious circle” and at the same time understood that a creative break with his roots, ethnocultural origins would significantly affect the quality and originality of his texts.He constantly had to balance between the Russian and Mansi worlds, artistic mentality.

Иллюзия реальности как основа драматургического конфликта в творчестве А. Володина

The paper aims to provide an insight into specificity of A. Volodin’s artistic worldview by analysing dramaturgic conflict in his creative work. The study is novel in that it is the first to analyse content of the plays “The Factory Girl”, “Five Evenings” and “The Appointment” from the modal-evaluative perspective: such a semantic category as illusion of reality is considered as a basis for dramaturgic conflict in these plays. The research findings consist in identifying specificity of the axiological orientation peculiar to the author’s worldview of Volodin the dramatist, in revealing that modal frame of illusoriness highlights the issue of losing emotional and spiritual ties in the society whose representatives live in different realities.

NATURAL FORMS OF MINERALS IN JEWELERY WORKSHOP “VOOBRAZHARIUMМ”

One of the most interesting currents of modern jewelry art is the use of natural forms in mineral products – unprocessed in general or partially processed. For the most part, such techniques are used by independent artists and small jewelry workshops, while mass production of jewelry is based on established trends of equally faceted stones. The appeal to minerals of natural forms demonstrates a change in the worldview of artists – from the desire to adapt the natural material to their needs to the ability to find an artistic concept of the product that would reveal the beauty of materials without artificial interference with their shape and texture. An outburst of fascination with untreated minerals instantly engulfs jewelry artists around the world, and in different countries at the same time there are collections of jewelry, which emphasizes the beauty of natural form. Such visual concepts embody a powerful meaningful layer: the ideas of greening, awareness of the power of the elements and, at the same time, the insecurity of nature, are becoming more widespread in the civilized world. Barbaric consumption of natural resources is slowly giving way to recovery. The art of making jewelry, as one of the most common and most in demand around the world, has absorbed a kind of educational function – a demonstration of the beauty of nature in its wild, untamed state. It is worth noting that the principles of making frames have also changed and the arsenal of accompanying materials has been updated. In Western Europe and America, artists often use base metals, leather, wood, and acrylic resins for frames. Galvanic jewelry is very popular. The direction of making bead frames is becoming widespread. In Ukraine, the progress of attracting minerals of natural forms and inexpensive materials as frames began belatedly, but now it has become extremely widespread. This article offers to consider the products of domestic artists-jewelers who choose for their work unprocessed or partially processed minerals. The «VoobrazhariumM» workshop creates unique products that impress the imagination and embody the concept of the unity of the elements.

ГЕНДЕР В ХУДОЖЕСТВЕННОМ УНИВЕРСУМЕ Н. А. НЕКРАСОВА

The article offers a discourse of N.A. Nekrasov's artistic worldview from the positions of a cultural, philosophical and anthropological approach to the gender issues. The main task is to identify and study the gender-determined intentions of the universe formed by Nekrasov. The scientific significance of the article is determined both by the integrative culturological algorithm of gender analysis in N.A. Nekrasov's artistic universe and by the established (and compensated) paradox: the gender-oriented discourse of N.A. Nekrasov's heritage, who is known in the Russian mass consciousness as a singer of «miserable woman's life», has so far been realized only occasionally and almost without considering the masculine specificity. The article presents the results of cultural, philosophical and anthropological analysis, systematizes various manifestations of femininity and masculinity in Nekrasov's texts and describes the experience of studying both the names and the composition and organization of the character system. «Overcrowded» and colorful Nekrasov's universe correlates with the gender differentiation of the characters. The authors of the article present the diversity of the Russian world, which is based on an interdisciplinary understanding of Nekrasov's artistic worldview, including such theoretical positions and relevant empirical experience as literary tradition (romantic heroes and realistic types), conventional-symbolic, national-cultural, sociological, as well as mundane and professional ones.

Жан Барраке: путь к сериализму и эстетические взгляды первой половины 1950-х годов

The article examines the aesthetical views of French composer Jean Barraqué during the period of the formation and development of the principles of serialism. The roles of Schoenberg and Beethoven in the formation of the master’s artistic worldview are singled out. The path towards the new conception of sonar thinking for Barraqué were determined by Olivier Messiaen’s music analysis courses, the familiarization with the books of René Leibowitz devoted to the serial technique created by the representatives of the Second Viennese School, as well as artistic contacts with the leading composers – Pierre Boulez, Karel Goeyvaerts and Michel Fano. On the basis of an overview of Barraqué’s articles from the 1950s the key musical figures (Webern, Berg, Schoenberg, Messiaen and Stravinsky) and issues that interested the composer during the researched period of time are disclosed, and a comparison is made between the composer’s utterances with the discourse of Boulez. Notice is drawn to the fact that the questions of serial technology proper were of little interest to Barraqué. His attention was focused on the historical needs of musical practice and its ontological essence. The composer attributed special significance to the concept of musical dialectics, considering it to be defining for the concept of serialism. Barraqué’s familiarization in the mid-1950s with Hermann Broch’s novel “The Death of Virgil” stipulated the further development of his music. The center of the composer’s interests turned out to be questions related to the nature of art and artistic creativity, the true expression of which were served by the oppositions between life and death, creation and destruction. In the article’s conclusion the connection between Barraqué’s viewpoints with the romantic aesthetics is demonstrated. Keywords: Jean Barraqué, integral serialism, musical dialectics, Anton Webern, Arnold Schoenberg, Alban Berg, Olivier Messiaen, Pierre Boulez, Igor Stravinsky, Hermann Broch.

Synthesis of Arts in the Artistic Worldview within the Baroque Period

Synthesis of Arts in the Artistic Worldview within the Baroque Period

ОСОБЕННОСТИ СТИЛИСТИКИ РОССИЙСКИХ АРТ-ФИЛЬМОВ НАЧАЛА XXI в.

Contemporary Russian theater and cinema are approving a new aesthetic paradigm that implements such principles of postmodernism as deconstruction, relativism, a mixture of various types, genres, and stylistic devices. The purpose of this article is to identify the most characteristic stylistic features of Russian arthouse films of the 21st century. The author’s task was to show that this style is not something radically new, as some art critics and cultural experts try to present. Using the methods of hermeneutic, art history and comparative analysis, the author identifies the methods and techniques of creating a special art space that are characteristic of modern Russian arthouse. These are combining real and conditional, concrete and symbolic, psychology and parable, recognition of everyday realities and explicit functionality of the characters. Based on the idea expressed by a number of scientists that there is much in common between the state of the modern world (that is, what is now called postmodernism) and the public consciousness of the Middle Ages, the author of the article puts forward a hypothesis about the similarity of the stylistic techniques of the Russian arthouse with the aesthetics of the Middle Ages. First of all, arthouse films bring closer to the literature and art of the Middle Ages such a characteristic as hybridism, i.e. combining different styles in one work, in particular, combining a realistic image with a parable form and symbols and an artistic interpretation of space as a background that weakly interacts with characters. First of all, Russian arthouse films brings closer to the literature and art of the Middle Ages such a characteristic as hybridism, i.e. combining different styles in one work, using, along with a realistic depiction of the parable form and symbols and artistic interpretation of space as a background that weakly interacts with characters. One of the reasons for the emergence of a new aesthetic interpretation of art space in modern Russian literature and cinema was the radical changes that took place in Russia in the 1990s. The disappearance from the world map of a huge country called the USSR and the loss of familiar landmarks and stereotypes could not but affect the worldview of artists, writers and filmmakers trying to artistically comprehend what is happening. The conclusion that follows from the analysis is that many principles of the aesthetics of postmodernism were reflected in the style of the arthouse films of 21st century, with the exception of such traits inherent in the best postmodern examples as humor, irony, game element and non-linearity of narration. The coexistence of real and clearly conditional art space in such films contributes to the fact that the cinematic texture contradicts conditional situations and characters, causing the viewer to feel art inorganic. Analyzing the perception of art films by experts and the audience, the author concludes that the assessments of art critics and viewers are largely diverging for the same reason: viewers mostly perceive author films as works of a realistic style but can not find in them psychological characteristics of the heroes and the motivation of their actions, i.e. the traits inherent in realism; experts evaluate these films based on the presence of the elements of symbolism and metaphorism and metaphysical and universal image of reality.

The Role of Central European Avant-garde Reviews in the 1920s (Hungary, Poland, Czechoslovakia, Romania, Bulgaria and Yugoslavia)

After the collapse of four empires during World War I, several new European states emerged, with new energy, anti-military and progressive attitudes among the youth, and shared optimism for a peaceful future. A new generation of writers, poets, artists, theorists, philosophers, architects, musicians, and film makers helped revitalize the cultural life in Central European countries (Poland, Czechoslovakia, Hungary, Romania, Yugoslavia and Bulgaria) in the early 1920s by publishing a variety of reviews that promoted new ideas and radical forms of expression, often linked to progressive social positions and leftists political influences. In spite of different orientations and local historical, cultural, social and political conditions, they often had similar objectives and clearly expressed attitudes about multinational and cosmopolitan culture, new forms and fresh approaches, with an ideological commitment to considering culture as primarily a social issue. The review editors exchanged articles, manifestos, poems, reproductions of plastic and applied arts, methods and practices in theatre, film, music, photography and architecture. They invented new media, organized international exhibitions, performances, conferences; participated in provocative activities and discussions and often shared similar artistic worldviews. Some were successful; others were banned for political reasons, but all were important elements in avant-garde movements of the time.

Military and peace weekdays of the “merry soldier” in the great Patriotic war. V.P. Astafiev

The article regards the image of the «merry soldier» through its significance for understanding the features of V. P. Astafiev’s artistic worldview. The story «The Merry soldier» is examined in the context of the evolution of the military theme in the writer’s work, shows how Astafiev creates on the autobiographical material the national scale image, containing self asking questions primarily related to the theme of the great Patriotic war.

The interaction of theater and cinematography in Uzbekistan culture in the first half of the xx century

The form, typology, essence and causes of the interaction between theater and cinema in the world is one of the priorities in the field, and a number of scientific studies have been conducted on the subject. In world experience, during the development of cinematography, it has been used the help of theatrical figures in overcoming the problems of acting, directing and dramaturgy. The study of theater and cinema as the main types of artistic worldview, in which the relationship between the two independent arts, exchanges of actors, process of interaction, individual characteristics were assessed, and it was considered as a new phenomenon. The article studies issues, causes and factors of influence of the same process in 1920–1930. The interaction of Uzbek theater and cinema, the study of creative ties, see it as a scientific problem has attracted attention in recent years. The article examines the role of Uzbek stage leaders in the development of screen art as a separate process, as well as the phenomenon of interaction between theater and cinema. The author explores a new creative life, a biography of a stage actor in cinema, opened for theater actors on the eve of the twentieth century. The art of filmmaking, which has been fighting for the actor for half a century, studies on facts that have attracted theater performers. Theatrical art has proven to be a model for cinematography in terms of decorating, makeup, music, lighting, and acting. Keywords: theater, actor, cinema, director, genre, image, type, role, phenomenon, screen art, character.

Ethnic Motives in Designer Collections of Clothing by Lyudmyla Semykina

The aim of the article is to clarify the role of ethnic motives in the development of L. Semykina’s clothing design models. Research methodology. The article uses a comprehensive analysis of the collection of costumes by L. Semykina, in which she acts as a designer, artist and theorist. The original samples of costumes on historical themes were analyzed through the prism of the artist’s creative method. The novelty of the study lies in identifying the features of the artistic and plastic worldview of L. Semykina, the nature of the formal techniques inherent in her artistic style. Conclusion. As a result of the research we come to the conclusion that the artist’s creative developments in the field of costume are a synthesis of plastic, ornamental and color solutions. Turning to the inexhaustible source of ideas, images and forms of cultural heritage of Ukraine, L. Semykina finds new forms of spiritual and aesthetic continuity. Her original costumes are an innovative form of design approach to the problem of rethinking the ethnic features of the costume, from historical stylizations to mythopoetic reconstructions.

Специфика авторского художественного мировоззрения в немецкоязычной прозе XX века

The article aims to present the genre-heterogeneous German-speaking writers’ creative work and to determine specificity of expressing the author’s position, artistic worldview in F. Kafka’s, J. Bobrowski’s novelistic work. Scientific novelty of the study lies in considering the synthesis of artistic devices, methods of the German expressionism and early postmodern literature, realised in their creative work and promoting expression of a XX-century man’s worldview and world perception. As a result of the conducted study, the researches have revealed specificity of F. Kafka’s and J. Bobrowski’s worldview principles and their transformation into text’s fabric in works of different genres in the contrastive aspect.

The image of Judas in the new and the newest fiction

The purpose of the article is to answer the question: why did the uncompromising condemnation of the traitor disciple become a thing of the past, and why did writers begin to understand and then justify the actions of Judas in their own manner in the second half of the 19th century? To solve the problems, caused by this goal, the authors refer to the ideas of philosophers of the new time, who significantly influenced the worldview of artists of the word, especially G. Hegel, A. Schopenhauer, S. Kierkegaard, and in more detail - F. Nietzsche. Special attention was paid to the writers, who lived at the end of the new time and at the beginning of the modern time and who created the most striking works on this biblical theme. The philosophy and poetics of the Swede - T. Gedberg and the Russian - L. Andreev are analyzed in detail. This is the first such a detailed appeal to the famous Swede in a detailed comparison of his story about Judas with Andreevs story about this character from the New Testament in Russian literary studies. It is proved that both writers reacted to the crisis of consciousness that was revealed at that time and that Nietzsche had the strongest attention on both prose writers, while in Andreevs case Judas appears as a type of the superman.

WAYS OF THE PIANISTS-PERFORMERS TRAINING IMPROVEMENT IN ART INSTITUTIONS OF HIGHER EDUCATION OF CHINA

Based on the analysis of the existing problems, the article highlights the ways of improving the pianists-performers training in art institutions of higher education in China. The main recommendations that will help improve the quality of pianists-performers training in art institutions of higher education, include: increasing the level of music-theoretical knowledge, historical thinking and auditory experience of European music perception by students; improving the mechanism of performance mastering of the sound space by musicians; forming students’ ideas about musical drama; guiding students’ independent work through special tasks aimed at expanding the artistic worldview, the general thesaurus; developing and creating a specialized resource on the Internet to promote advanced methods of training pianists

REPRESENTATION OF FEMININITY IN MODERN UKRAINIAN NOVELS

The paper deals with the main tendencies of the artistic reception of women images in modern Ukrainian novels. The principles of modeling femininity in literature have been considered from the positions of the gender studies, postcolonial and psychoanalytic theory. It is proved that the peculiarities of this modeling are determined by stylistic and genre tendencies of the Ukrainian literature. The interpretation of feminine images typical for the national literary tradition (mother, family-keeper, demonic woman) has been demonstrated in numerous examples. These images correlate with the fundamental artistic principles of the turning points in history (actualization of the archetypes, attention to the irrational manifestations of human psychics). They display the ‘masculine’ literary tradition (representation of a woman as an external object), but at the same time demonstrate a new accent in the understanding of the gender roles (woman as a mentor of a man). The alternative types of the feminine identity represented by feminist and culturological women’s writing have been explored as well. Special attention has been paid to procreation as the main woman’s ability, which forms different models of feminine mentality – from the essentialist mother-type to the image of a child-free woman. The modeling of a feminine artistic worldview becomes an actual strategy in overcoming the postcolonial trauma. It is explained by the peculiarities of the postcolonial literatures, which fulfill their historical reflections in the local family stories. In this context, feminine conscience gets the status of a memory-keeper and shows the ability to trace the development of national history in its everyday dimensions. Based on the large-scale generalization of the last decades’ artistic practice, the researcher determines the main worldview intentions of modern novels, in particular the tendency to achieve gender parity, the full-fledged dialogue of men and women as the equal subjects of culture creation.

The role of categories of space and time in creation of artistic worldview in the works of Buryat writers (on the example of tales by Baradiĭ Mungonov “Call of the Ancestors and Sounds of the Forthcoming” and Dorji Erdyneev “Toonto”

This article explores the worldview in tales of the Buryat writers. The subject of this research is the role of categories of space and time in the architectonics of artistic image of the world in tales “Call of the Ancestors" by B. Mungonov and “Toonto” by D. Erdyneev. These works have not previously become the object of research in Buryat literary studies from perspective of significance of space-time interrelation. This defines the novelty of this article, and allows revealing other aspects of artistic vision in the works of Buryat writers. The key methods for studying the categories of space and time in a literary text include descriptive, comparative, and mythopoetic. It is demonstrated that the categories of space and time are localized in various artistic images, symbols and meanings, contain the concepts of endlessness, infinity, relativity and discreteness, as well as allow creating a vivid unique palette of artistic vision of the world in tales of the Buryat writers. Analysis is conducted on the artistic architectonics through the prism of correlation between the categories of space and time in tales of B. Mungonov “Call of the Ancestors and Sounds of the Forthcoming” and D. Erdyneev “Toonto”. Peculiarity of the categories of space and time in the artistic picture of Buryat writers is reflected in Eastern outlook upon the world, which is based on the models of cyclicity and substantiality. In the tale of B. Mungonov prevails the category of time. In the artistic worldview, one stems from the other. In the tale of D. Erdyneev “Toonto” dominates the by category of space. Toonto is translated from Buryat as a particular space, birthplace of a man, where him and his ancestors have roots. Tales of B. Mungonov and D. give thoughts on the value of life and chances to repair past mistakes.

Костюмные аксессуары в романах И. С. Тургенева 1850-х годов и в автобиографической трилогии С. Т. Аксакова

The paper aims to reveal the role and functions of costume items in I. S. Turgenev’s artistic worldview and in S. T. Aksakov’s slice-of-life narrative. Scientific originality of the study is conditioned by the fact that the researcher for the first time provides a comparative analysis of I. S. Turgenev’s and S. T. Aksakov’s individual styles paying special attention to description of personages’ clothes. The conducted research allows identifying specificity of the authorial meaning formation. The research findings are as follows: the analysis of I. S. Turgenev’s and S. T. Aksakov’s artistic conceptions reveals different authorial intentions determined by peculiarities of artistic and moralistic discourses.