View Of Art Research Articles

Art tourism: definitions, opportunities, and discussions based on a case study from Abu Dhabi

ABSTRACT By presenting the case of Abu Dhabi, with newly opened Louvre, the position of art tourism in the context of cultural tourism is discussed in this paper. Abu Dhabi, the capital of the United Arab Emirates, aims to position the city as the region’s arts and culture hub. Emirati artists and art-related projects play an important role in up-scaling the art experience for tourists in the region. To understand the views of Emirati artists, thirteen e-interviews were conducted to study the current role of art tourism and the levels of optimism observed among local artists. Interview questions focused on perceptions of art tourism, on the role of artists, and on the relation between art and culture in this fifty years old country. Findings exhibit a sense of optimism especially in relation to the newly opened Louvre, which has boosted art tourism in the UAE. However, the real art market is neglected and under-researched, but the predictions are generally auspicious.

Fermenting Futures: an artistic view on yeast biotechnology.

BioArt is a new discipline where artists employ materials and techniques of modern life sciences and create novel meanings of biology, often involving living organisms such as tissue culture, bacteria and yeasts, which may also be genetically engineered. The authors have engaged in a collaboration to develop 'Fermenting Futures', a project designed to explore the significance of yeast for early human history by enabling baking and brewing, all the way to industrial biotechnology and synthetic biology with their potential contributions to fight the climate change. Research in two of the authors' lab provides the materials and thematic lines for the artists to develop their installations. The two main pieces reflect on fermentation as a metabolic trait of baker's yeast and its enormous transformational power for human society, and on the application of synthetic biology to enable yeast to grow and produce materials from carbon dioxide. The role of BioArt to support public engagement and science dissemination is discussed, highlighting the importance of collaborations of scientists and artists on equal terms, as showcased here.

14. The Violin in L’histoire Du Soldat – A Metaphor of the Soul

Abstract From 1909, Stravinsky manifested a keen interest in composing theatre music, as proves the many and various dedicated scores. Almost all of his large works, from the ballet The Firebird (1909-10) to the one-act opera buffa Mavra (1921-22), are written for the stage. Stravinsky thus worked most of the time with scenic presentations, with questions on movement, dance, gestures or scenic tableaus. He develops a particular theatrical instinct: his works have a good scenic orientation, and the correlation with modernism and the new currents in theatre aesthetics is more than obvious. Critics have already analysed and discussed the parallels with such contemporary theatrical concepts as by Bertold Brecht (1898-1956) or Vsevolod Meyerhold (1874-1940). After three great ballets, whose new conception by Stravinsky and Sergei Diaghilev (1872-1929) brought about a fundamental revolution in dance aesthetics, the composer crystallises his notion of incidental music. The aesthetics of L’Histoire du soldat, a work “to be read, played and danced”, is opposed to that of Richard Wagner (1813-83) and his Gesamtkunstwerk (a work blending various arts, a total work of art): a new artistic idea, frozen in gesture and movement, compressed, finding its concentrated expression. Stravinsky establishes a brilliant draft of the issues of Opera, to which he would from now on dedicate himself. Stravinsky’s theatre music reveals a tendency to introduce new concepts in the works written between Sacre du printemps and Pulcinella. A quick look at his stage works before and after L’histoire is necessary in order to fit it in his artistic view.

Dendritic-Like Molecules Built on a Pillar[5]arene Core as Hole Transporting Materials for Perovskite Solar Cells.

Invited for the cover of this issue are the groups of S. Seki (Kyoto), G. Reginato (Sesto Fiorentino), J.-F. Nierengarten (Strasbourg), A. Abate (Berlin) and J. L. Delgado (San Sebastian). The image depicts an artistic view of a dendrimer-like hole transporting material at work in a perovskite solar cell. Read the full text of the article at 10.1002/chem.202101110.

Bad parrhesia: the limits of cynicism in the public sphere

Bad parrhesia: the limits of cynicism in the public sphere

A PICTURE OF THE WORLD IN THE SPIRITUAL ODES BY MIKHAIL LOMONOSOV

The research is based on the analysis of Mikhail Lomonosov’s poetic works, which he himself designated as the general genre of ‘Spiritual Odes.’ In the beginning of the work, the authors reveal the differences in the interpretation of the “benefits of sciences” by the great Russian poet and scientist and his European predecessors (Francis Bacon, René Descartes). The originality of Lomonosov’s response to this question becomes evident when compared with the prior assessments that had emerged in the Russian literary discourse. All these differences are explained by the conceptually new solutions offered by Mikhail Lomonosov in the world modeling process. A detailed analysis of his spiritual odes from the viewpoint of the spatial organization of their artistic world indicates the emergence of a completely new subjective position, which is absent in the works of both his literary predecessors and contemporaries (Vassiliy Trediakovskiy, Alexander Sumarokov). This is the position of a scientist, the emergence of which leads to significant adjustments to the artistic description of the spatial positions of God and man (an ordinary “mortal”). This results in a radical change of the artistic view of the world itself, presented in Mikhail Lomonosov's spiritual odes. This event is considered to be one of the most important in the Russian literary history of the 18th century.

ЎЗЛИК ЙЎЛИ

The article examines the views of Alisher Navoi on the importance of human life. It contains the deep poetic ideas of the genius creator that it is most difficult for a person to understand himself, attitude and analysis. It also analyzes and draws conclusions about the human title of a thinker, his views on his position as the viceroy of Allah, and also that a person should be worthy of this title. In addition, here is an interpretation of the views of the genius creator on the need for people to feel responsible for their holiness and, accordingly, strive to acquire spiritual and moral quali-ties. The article examines the views of the great scientist on genetic and biological factors in the formation of a person's personality, as well as the role of education. At the same time, the views of His Majesty Navoi on how to make the people happy and the state prosperous were presented and commented on. In a word, the study is devoted to the scientific study of the artistic and theo-retical views of Navoi, serving the formation of national spirituality from the point of view of the requirements of the time.

Вечные образы в романе Д. Юлтыя «Кровь»

The purpose of the study is to shed light on the images of hell and paradise in the context of archetypes of the Bashkir consciousness, using the novel “Blood” by Daut Yulty as an example. Scientific novelty of the work lies in undertaking a comprehensive study of two layers of the Bashkir worldview archetypes, pagan and Muslim, which became means for embodying Daut Yulty’s artistic view of the world. The attained results for the first time prove that the specified episodes of the novel “Blood” reveal secret writing of archetypes in the mind of the author of the work. Thus, statements of some researchers about one-dimensional nature of this novel are refuted.

The Image of the Orthodox Clergy in Russian Genre Painting of the 19th and Early 20th Century

The article traces the transformation of the artistic public's view on the clergy and their place in the life of Russia on the basis of the images of priests created by domestic masters of the genre in the 19th – early 20th centuries. Genre painting originated in Russia in the second quarter of the 19th century and allowed artists to move away from symbolic academic themes and turn to subjects from the everyday life of their contemporaries. However, as a rule, there was no place for the clergy in those works. The exception was the work of A.G. Venetsianov, who was at the root of the creation of genre painting in Russia. In the period of liberal reforms, the church was viewed as something reactionary and clergy was often portrayed in sharply satirical or comic situations (V.G. Perov, F.S. Zhuravlev). In the post-reform period and with the development of realistic worldview, the images of the priest lost their comic focus on the canvases of K.A. Savitsky, G.G. Myasoedov and I.E. Repin. Late 19th and early 20th centuries for the Russian culture was the period of searching spirituality and coming to understand approaching social upheavals in Russian culture, which was clearly demonstrated by M.V. Nesterov's turn to depicting the image of a priest. His disciple P.D. Korin, who witnessed active persecution of the church in the early 1920s, emphasized in his famous, but unfinished portraits of priests the heroic resistance of the clergy to impending persecution. It is important to say that after decades the artist did not get back to the unfinished canvas, since the situation in the country changed, and the genre of the painting changed to historical.

Unconventional And Nonclassical Stylistics In Modernism

This article examines the history of the entry of modernism into world literature and the stories which based on a literary-theoretical process that took place in Western European and American literature. The article first analyzes how fiction and the international literary process developed in the twentieth century, as well as which currents took the lead in this direction. It is stated that the main goal is that this movement, which changed the socio-political and artistic views in the twentieth century, was opposed by critics and developed and has maintained its original place to this day. This article summarizes the existence of the direction of modernism as the style of the general description of Western literature and art in several dimensions in the twentieth century and the meaning of it.

MAXIMO LAURA: A TAPESTRY ARTIST FROM PERU

There are cultural traces of many civilizations in Peruvian territory. Looking at the historical examples in terms of textile, we encounter a rich textile history with the use of vivid colors and figurative expressions. These textiles with pictorial expressions are considered as the first examples of Tapestry weavings. The reason why weaving artist Maximo Laura was chosen as the subject in this study is that the artist is nourished by the values of the land he was raised in and reflects his own culture in contemporary art works with original expressions. By combining the traditional production method of tapestry rug weaving with the technique developed by himself, strong use of colors and figurative expressions, he has become internationally recognized and accepted. In this research, in addition to the verbal and written communication with Maximo Laura, many sources were reviewed, the articles and exhibition catalogs published in the international field were examined, the data obtained from the Maximo Laura Museum archive, which contains the works and information of the artist, were evaluated, and this study was completed. The traditional techniques used by the artist and the weaving forms developed by him were discussed in detail, the colors and symbolic approaches he used, the new and different applications he made, and his future thoughts were discussed with him. The aim is; to convey the artist from all aspects, who produces and has international recognition, to the reader who is interested in different textile fields, to establish a bridge between cultures while introducing today's tapestry art, artist's works and world view in the context of Peruvian culture. Keywords: Maximo Laura, Tapestry, Peruvian Textiles, Andean Textiles

АЛИШЕР НАВОИЙ ЛИРИКАСИДА БАДИИЙ САНЪАТКОРЛИК МАСАЛАЛАРИ

The article discusses the artistic skill of Alisher Navoi and the problems of the poet’s lyrical style. The author analyzes the originality of the poet’s lyrical style on the material of his own collections of poems composed and edited by his own - “Badoy ul-Bidoya” (“Rare Beginnings”), “Navadyr un-nihoya” (“The Beginnings of the End”) and “Khaza’ine ul-Maani” (“Treasure of Thoughts”). The poet’s artistic and aesthetic views are most vividly reflected in his artistic techniques to create the image of the lyrical hero, in the application of aruz technique, also in the verses of social content. In the collections of Navai poems, the Great Creator’s ghazal praises, reflecting the advanced ideas of Eastern religious thinking, occupy a wide place. In them, the poet expresses his humane reflections, which go beyond national, racial, primitive-religious, ideological barriers and praise the person, serve for his spiritual perfection. One of the main criteria of Navai’s poetry is its reflection of the positive ideas of Sufism, the poet’s belonging to the Sufi Naqshbandia

The clinamen principle in the poetics of Alfred Jarry

The article examines the specificity of the aesthetic programme of one of the most extraordinary writers in the turn of the 20th century, in whose creative activity the features of the transition period are concentrated, and the gap with previous traditions is clearly visible. The basics of Alfred Jarry's artistic views are studied. The main attention is paid to the principle of «clinamen», which is the foundation of his artistic system. Taking this into consideration, we analyse such his works as «Les Minutes de Sable mémorial», «Exploits and Opinions of Dr. Faustroll, Pataphysician», «Absolute Love» and the others, in which the features of Alfred Jarry's writing style are reflected most obviously. It is stated that Alfred Jarry's artistic system, based on the «clinamen» principle, approves the power of universal relativism that connects oppositions. The limits of knowledge, the limits of meaning in Alfred Jarry's work are constantly being pushed back – Alfred Jarry's absolute subjectivism is the result of disappointment in metaphysical thinking. In this connection, it is concluded that the strategy of knowledge, determined by such coordinates as truth, God, centre, universal meaning, loses its value. The faceless «clinamen» replaces the God-meaning. Alfred Jarry’s word, which acts on the principle of «clinamen», is the only way to withstand the chaos of existence. Willfully rejecting the original existing order, it creates its own world, which is built on semantic despotism, resulting from the deviation of meaning from the original meaning of the word.

«Бог умер» как апофатический текст рубежного сознания

The main theme of the article is the borderline conscious-ness; the subject is the novella «God Is Dead» (1922) by S. D. Krzhizhanovsky as a reflection of the borderline consciousness. The purpose of the article is to reveal the specifics of the borderline conscious-ness in general and its features in the culture of the late 19 th and early 20 th centuries using the example of the analysis of the novella «God Is Dead», as well as of other texts similar in content and the time of writing. The main methods are ontological, historical-cultural, analytical, and com-parative. The introductory part defines the main characteristics of the bor-derline consciousness and also clarifies the etymology and the immanence of the process in development of the human society. Further, the author of the article identifies the substantive aspects in the concept of «apophati-cism», draws on the names of philosophers that are relevant to the thoughts of S. D. Krzhizhanovsky, (F. Nietzsche, A. Schweitzer, M. Heidegger), emphasizes that negation has nothing to do with God, from the point of view of Dionysius the Areopagite. The common and different aspects of philosophical and artistic views on apophaticism are also analyzed (F. Nietzsche, K. K. Sluchevsky). Further, the researcher carries out a de-tailed analysis of the novella «God Is Dead»by S. D. Krzhizhanovsky: the compositional structure is examined, an overview of the characters and their peculiarities is given, biblical and artistic allusions, their correlation with the specificity of the Soviet regime are revealed. The author of the article specially emphasizes that S. D. Krzhizhanovsky resorts to apophaticism as a characteristic of this time. The polemic part designates different approaches in the modern interpretation of apophaticism in the novella by S. D. Krzhizhanovsky, which do not coincide with the understanding of the author of this article. In the final observations, it is emphasized: the border-line consciousness thinks within the boundaries, which is reflected in art and outlook on the world.

ЕПІСТОЛЯРНА СПАДЩИНА І. КАРПЕНКА-КАРОГО ЯК ФОРМА ВИРАЖЕННЯ АВТОРСЬКОЇ ПОЗИЦІЇ

The article deals with special epistolary as ways of artistic expression of I. Karpenko-Kary’s author’s position. Private letters of writers are considered, author’s points of view in the world are revealed. Based on the analysis, we can say that the letters of I. Karpenko-Kary contain important interesting material for understanding the psychological portrait and creativity of the playwright. The author’s views expressed in the letters can be grouped as follows: philosophical (views on the meaning of human life, harmony, work, its importance in human life); literary and artistic (views on famous contemporaries, attitudes to cultural events, the importance of translation, evaluation of their own theatrical and literary activities); national (views on the native language, the importance of Ukraine, the role of education for youth). Research of the writer’s epistolary allows delving into the artist’s creative laboratory. The analysis of the author’s visions of the world, expressed in letters, helps to reveal the character of the author and serves as a form of expression of literary-critical assessments of his own work and activities of the cultural process in Ukraine in the late nineteenth – early twentieth century. According to I. KarpenkoKary’s correspondence, the playwright was an active participant in this process.

LANGUAGE MARKERS OF CITY SUBCULTURE IN SERHIY ZHADAN’S NOVELS

The article is dedicated to the linguostylistic study of the language markers of city subculture – an under system of the national culture and verbalization of the specifics of human life in the modern urban space. The article highlights verbal realizations of the city as an agent in Zhadan’s novels “Anarchy in UKR and “Big Mak” – language markers of subculture, and it singles out his lexical and textual components: lexical-semantic groups of infrastructure names, notions of everyday culture, abstract notions, etc. The article follows up the creation of language markers of the city subculture in the space that is a city – time, historic memory, such as language markers of the totalitarian era. Language markers of the modern city are being explored – names of food and drinks, groceries and clothes which are losing their ethnographic function thus recreating an artistic view of globalization in the modern world. The article points out idiostylistic parameters of the author’s narrative in his forming of the depiction of the city, namely the depiction’s psychological course in the space journey – recalling – personal memories. The accent is made on the author’s language strategy- writing about his present and past experiences (memories, associations, personal retrospective), on the author being a part of the youth subculture, syntactic structures, free indirect form questions, questions-introdactions and his orientation towards dialog style. The article proves that the city in Zhadan’s novels functions as his linguocultural and signature feature.

Psychological approach towards studying the naive art: practice of art brut

The subject of this research is the peculiarities of the psychological approaches of European experts of the late XIX – early XX centuries (psychiatrists of the so-called “historical psychiatry”), art historians and painters of the XX century, specializing in collection of the works of mentally ill people (or art brut). The historical-comparative method is applied for determination of the specifics of the naive art of Western Europe in the XIX – XX centuries and its comparison with other areas of amateur art of this period. The psychological approach is essential for studying the works of mentally ill people (or art brut) and its key peculiarities. The comparative method allows analyzing the modern forms of art brut and naive art. The novelty consists in outlining the principal psychological approaches of foreign experts with the art brut, the interpretation of which contributes to decoding of all amateur art. Evolution of views stems from determination of similarities between genius and mental disorders, tracing patterns in creative process of the patients, assessment of the ability of a person with mental disorder to creative thinking and invent the object of art prior to learning the artistic beginning. In this regard, the psychological approach revealed the key trends in studying amateur art: from the perspective of Marseille Rege (with his “embryonic” view) to the point of view of Morgenthaller (with his realization of creativity of the patients), and artistic views of Prinzhorn and Dubuffet, who focus on the art criteria: vision of form, color, composition and other formal attributes of an artwork. Thus, the interpretation of art brut becomes a certain “bridge” for understanding the sphere of the naive art.

Varia: Art creates peace in times of war. Alexander Bozhinov’s Murals at Svishtov Academy of Economics

The article presents, analyzes and systematizes the nature and problems related to Alexander Bozhinov’s murals at D. A. Tsenov Academy of Economics, Svishtov. The relations between Alexander Bozhinov and his uncle – the donor Dimitar Tsenovich – are considered in order to clarify the creative process and the aesthetics of these works. The historical context and the artistic views of the artists are elucidated on by drawing a comparison between Nikolai Pavlov and Alexander Bozhinov; the murals are compared to what was achieved in the Bulgarian fine arts by that time – 1941. The idea is that the work of art created in times of war saves the spirit of the people after the war.

Maurice Ravel : Le Tombeau De Couperin – Part II. The Reminiscence of Baroque Dance Forms

"According to Alfred Cortot, the suite Le tombeau de Couperin could be divided into two main units. The first part presented in the previous volume of this journal, analyses the structural arch of the suite: the first two and the last part, which uses specific compositional technics of the Baroque era. This second part presents the middle section of the suite, the reminiscence of baroque dance forms, through the three contrasting dances: Forlane, Rigaudon, and Menuet. The fusion between the elements of the French baroque keyboard music and the characteristics of the modern piano music transforms this suite into a real and unique masterpiece. By analyzing the Forlane, the Rigaudon, and the Menuet of the suite we can understand the view of twentieth-century artists on the music of the Baroque era. Keywords: Ravel, Suite, Baroque, Reminiscence, Baroque dance forms, Piano, Forlane, Rigaudon, Menuet"

PREREQUISITES AND PLOT-COMPOSITIONAL FEATURES OF THE DIRECTION OF SURREALISM IN THE VISUAL ARTS

The article reveals the preconditions for the emergence and features of surrealism as an artistic direction. The rejection of the traditions of realism, the autonomy of the artist's personality, irony, playfulness in creativity, the scandalous and shocking nature of his presentation are due to the turning point of the era. The study of surrealism is aimed at forming a systematic, holistic view of the art of the past century in the reader, developing his own position in relation to its diverse innovations.
 The influence of scientific art criticism in the field of surrealism on the formation of aesthetic views of modern Kazakhstani artists is considered. Philosophy, art or the real sciences: life, death, time, memory, war, love - these topics are always relevant for all areas of humanity and worldview. Describes traditional and modern artistic techniques used in the author's works of art based on the symbolic texts of surrealism. In today's era of globalization, when the country seeks to rethink its original culture and form a national idea and ideology, one of the most pressing problems of the modern era is the study of the origins and nature of our national traditional art.