20th-century Culture Research Articles

Una disputa de cos present. Controvèrsies en la mort de Josep Maria de Sagarra (1894–1961)

This article analyzes the different reactions that followed the death of the writer Josep Maria de Sagarra in 1961, one of the most popular authors in 20th-century Catalan culture, for his poetic and narrative work, journalism, and especially theater. In the context of the Franco dictatorship, Sagarra’s funeral became a large-scale political act, organized and used by the authorities to show their capacity to integrate an author who had written all of his significant work in the Catalan language. Sagarra lived between two worlds, with some links to the cultural resistance, but publicly signified by his willingness to adapt to the official sphere. For this reason, the Francoist authorities took a great interest in capitalizing on the funeral, which in turn left clandestine Catalanism without a civic-political reference. The article details the clear awareness of the official initiative, widely disseminated through the press, as well as the reactions of the opposition sectors, in restricted-circulation publications and on exile platforms. These controversies about Sagarra’s civic and political role were only on a few occasions translated to the evaluation of his work.

DANDYISM: TYPE AND IMAGE. CRITERIA OF CULTURAL IDENTITY

The article presents a cultural interpretation of dandyism, a notable phenomenon in Western culture of the 19th century. The scientific relevance of the article is determined by the polar assessments of dandies as a form of culture in bourgeois society. The article’s aim is to clarify the factors that mark the dandy identity, such as costume, accessories, manners, body language, norms of behavior in society. Their manifestations are considered in interaction: costume symbolizes material luxury and an idle lifestyle, while updating the new aesthetics of body; body language with the costume, provokes ways of communication and public behavior, allowing the dandy to become the standard of style. The subject of the article is not only the total view for dandyism, as a set of cultural norms and attitudes, but also its historically differentiated types. Thus, the dandy culture of the early 19th century was conditioned by the "game of aristocracy", a parody imitation of the lifestyle of high society. Late dandyism is identified as decadent, reflecting the alienation of man and his passive protest against capitalist values of the second half of the 19th century. The classic and decadent versions of the dandy lifestyle are personified by the example of two typical heroes, George Brummell and Charles Baudelaire. The first is presented as the personification of dandyism as a "form of culture", the second is an expression of its gradual marginalization. The results of the study can be used both in broad (cultural studies and history) and in specialized areas of humanitarian knowledge, primarily in everyday life culture studies and local history.

Introduction to New Book on Stravinsky

A new book is devoted to the work of Stravinsky follows and expands upon the tradition of Boris Asafyev’s 1929 monograph. The central analytical object of the new book is the sound fabric unfolding over time in the works of the Russian master. Content-related and semantic interpretations of this object are intended to expand upon, refine, and in some cases correct ideas about Stravinsky’s work that exist in the modern musical consciousness. The book relies on four methodological premises. The historiographical premise stems from an interpretation of Stravinsky’s artistic legacy as a musical universe resting on proto-elements formed during the early stage of his creative development. The methodological premise is based on emphasizing the differences between the dynamic-procedural creative method, which is characteristic of the classical and romantic branch of Western European music, and Stravinsky’s object-descriptive polymorphism, which is rooted in the traditions of 19th-century Russian music. The musical-imagery premise is conditioned on the expressive spheres within Stravinsky’s oeuvre which were new to the world of early-20th-century music. In these areas, the composer operates masterfully in realms of the human emotional universe which were previously unrepresented in music. Finally, the cultural and worldview-related premise originates with Stravinsky’s unique role in 20th-century musical culture as the most brilliant representative of a new, essentially dialogic, cultural type. The dialogical mental apparatus, the diverse forms of intercultural dialogue in his life and art, and the harmonization of European and non-European strategies for perceiving the world around us — a characteristic feature of Stravinsky’s life and work.

Metamorphosis of Chamber-Vocal Cycle in the Work of M. Shukh (on the Example of the Meditative Performance "Songs of spring")

The purpose of the research is to identify the poetic and intonation uniqueness of M. Shuh's "Songs of Spring" in the context of the evolutionary paths of the development of the chamber-vocal cycle in the 20th century. The methodological basis of the work is the intonation approach in musicology, as well as the historical-cultural and interdisciplinary approach, which allow to investigate the peculiarities of the evolution of the chamber-vocal cycle in postmodern culture, in particular, in "Songs of Spring" by M. Shukh. The scientific novelty of the work is due to its analytical perspective, which takes into account not only the specifics of the existence of the vocal cycle in the culture of late 20th century, but also the peculiarities of their reproduction in the "Songs of Spring", defined by the author as a "meditative action" formed at the intersection of the cultural and historical traditions of the East and the West. Conclusions. The vocal-instrumental cycle "Songs of Spring" by M. Shukh, the genre of which the composer himself defined as "meditative action", combined the spiritual teachings of Eastern and Western cultures. The first is evident in the poetic basis of the work, which appeals to ancient Chinese poetry and its oriental images-symbols ("jasper flute"), while the Western tradition is revealed in the post-modern metamorphoses of the poetics of the chamber-vocal cycle, which in this case converges with a mysterious and meditative spectacle. The marked genre synthesis of M. Shukh's cycle also determines the author's innovative approach to his performance composition, which combines a solo soprano, flute, and a number of percussion instruments into a polyphonic whole, the timbre of which reproduces the oriental (Chinese) flavour of this opus (tam-tam, bells, triangle, bongo, vibraphone, and others). This timbre-polyphonic ensemble is also complemented by the part of the chant, which clearly speaks a significant part of the poetic text. The leading idea of the work, which has a single pentatonic intonation basis, turns out to be ultimately focused also on the idea of the inner spiritual transformation of a person through the contemplation of spring and its signs, filled with deep symbolic meaning.
 Keywords: "Spring Songs" by M. Shukha, "meditative action", chamber-vocal cycle, culture of the East and the West, postmodernism.

Adventures in Translation

(article forthcoming) Modern Romanian literature starts off at the end of 18th century in the Romanian Principalities with the assimilation of literary models offered by the contemporary phanariot (or “phanariotised”) élites, which acted also as an intermediary for Italian and French culture, and develops further from the mid-19th century under the auspices of the immediate contact with (mostly) French literature. The newfound enthusiasm for western European culture brought about in the Principalities a sharp increase in the publication of literary works, most of which were initially translations. For instance, the number of novels published in 1851-1860 was more than double of those published in 1831-1850, and of the 1.069 novels published in 1831-1918, 436 were by foreign authors. Of the latter, the most popular by far, with 49 titles and 17 editions to his name, was Alexandre Dumas pére. My intervention aims to outline the reception of Dumas’ work through translation in Romanian 19th century culture, with a special focus on the several translations of the Le Comte de Monte-Cristo.

A Pioneer of Connection: Recovering the Life and Work of Oliver Lodge—James Mussell and Graeme Gooday (Pittsburgh, PA, USA: Univ. Pittsburgh Press, 2020, 304 pp.)

There has not been a biography of Oliver Lodge published for decades—and with good reason. No one cares! That is the basic thesis of this biography. The editors observe that while Oliver Lodge was a physicist, engineer, spiritualist, science popularizer, university manager, and a key figure in late 19th- and early 20th-century culture, today he remains relatively neglected, largely because of the apparent contradictions between different aspects of his career. For example, Lodge was a physicist, but at the same time, he was also a spiritualist and psychic. Also, Lodge embraced new physics, including Einstein’s theory of relativity, which did not require the existence of the ether to explain wave motion through space, but at the same time, Lodge continued to embrace the presence and importance of the ether, even after experiments were unable to detect or measure it, and after the concept had fallen out of favor among mainstream scientists. The editors claim that Lodge often used the concept of the ether to “provide a ready explanation for what would otherwise be occult phenomena.”

Reflection of Early 20th Century's Japanese Society and Culture: Perspective of Bengali Women

Reflection of Early 20th Century's Japanese Society and Culture: Perspective of Bengali Women

Cultural Deposits of the Latest Time in the Context of Archaeological Research: Stratigraphic ‘Ballast’ or Historical Value

The article is written in the scientific polemic genre and it is a continuation of the discussion that began earlier in the professional environment. The author defends the position to give more attention to culture layers of the 20th during conducting an archaeological excavation. The problem is the uncertainty of the cultural deposits’ status of the 20th century. The purpose of the article is to determine the 20th century culture deposits historical value. Research methodology. Common-scientific methods are used. The typological method is also used, in particular, for 20th century culture deposits classification. The scientific novelty lies in the first, in Ukrainian historiography, attempt to argue a historical value of the 20th-century cultural layers. Conclusion. The modern culture deposits' historical value is in that they are at least a historical source and also an epoch monument. In addition to scientific, individual artifacts or complexes on cultural layers of modern times can have artistic, aesthetic, museum, tourist, anthropological, ethnographic, national, political, ideological, economic, social value.

Metropolitan Opera Archives; Traveling Culture: Circuit Chautauqua in the Twentieth Century; Re-envisioning Japan: Japan as Destination in 20th-Century Visual and Material Culture

Review| December 01 2021 Metropolitan Opera Archives; Traveling Culture: Circuit Chautauqua in the Twentieth Century; Re-envisioning Japan: Japan as Destination in 20th-Century Visual and Material Culture Metropolitan Opera Archives. URL: https://www.metopera.org/discover/archives/Traveling Culture: Circuit Chautauqua in the Twentieth Century. Iowa Digital Library, University of Iowa Libraries. URL: https://digital.lib.uiowa.edu/tc/Re-envisioning Japan: Japan as Destination in 20th-Century Visual and Material Culture. JoanneBernardi, Project Director. University of Rochester, River Campus Libraries. URL: https://rej.lib.rochester.edu/ C. A. Norling and Marian Wilson Kimber C. A. Norling and Marian Wilson Kimber C. A. NORLING is a PhD candidate in Musicology at the University of Iowa, where he studies topics related to opera production and reception in the United States. He is currently undertaking dissertation research regarding the civic density of operatic cultures in 1920s Chicago. His work can be found in Opera Journal and a forthcoming volume from Kent State University Press. He was the 2016 recipient of the National Opera Association’s Scholarly Paper Award. MARIAN WILSON KIMBER is Professor of Musicology at the University of Iowa. She is the author of numerous publications on Felix Mendelssohn, Fanny Hensel, and women in music. Her book The Elocutionists: Women, Music, and the Spoken Word (University of Illinois Press, 2017) was the recipient of the Society for American Music’s H. Earle Johnson Subvention. Her current research focuses on the roles of women activists and women’s organizations in American music. Search for other works by this author on: This Site PubMed Google Scholar Journal of the American Musicological Society (2021) 74 (3): 689–701. https://doi.org/10.1525/jams.2021.74.3.689 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Twitter LinkedIn Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation C. A. Norling and Marian Wilson Kimber; Metropolitan Opera Archives; Traveling Culture: Circuit Chautauqua in the Twentieth Century; Re-envisioning Japan: Japan as Destination in 20th-Century Visual and Material Culture. Journal of the American Musicological Society 1 December 2021; 74 (3): 689–701. doi: https://doi.org/10.1525/jams.2021.74.3.689 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search nav search search input Search input auto suggest search filter All ContentJournal of the American Musicological Society Search The ever-growing body of topical research websites ranges from seemingly passive repositories of singular items with varying degrees of description to carefully curated sites that are in themselves acts of digital scholarship. The three sites considered in this review contain digitized artifacts that date primarily from the late nineteenth century through the present, though their contents are more significant for historical understandings of American musical life during the first half of the twentieth century. At the same time, all three collections transcend perceived boundaries, either through their transnational nature or the wide variety of their materials, or because the historical activities associated with their content have fallen between disciplinary fields. While the Metropolitan Opera Archives website highlights the history of a well-known cultural institution and is thus the most predictable in the kinds of comprehensive information it provides, Traveling Culture and Re-envisioning Japan, whose usefulness for music scholars is perhaps... You do not currently have access to this content.

Total War System and Youth Culture in East Asia Looking at 20th Century Culture from the Changes of Mobilization Mode

In recent years, the relations between the governments of Japan, China and South Korea have been very tense. The Chinese government often sends military aircraft or warships to the Senkaku Islands (the Diaoyu Islands), and the South Korean government stationed its troops on Takeshima (Dokdo). Their domestic media also reported daily on Japan's right-leaning. An atmosphere of opposition to Japan is slowly brewing in the societies of the two countries. The media in Japan also daily report the "airspace and territorial water violations" of Chinese military aircraft and warships, as well as anti-Japanese trends in China and South Korea. The societies of the three countries are slowly permeating an atmosphere of mutual hatred. It seems that the entire East Asia lies in a vortex of opposition. In a sense, the government’s declaration and media reports, as well as the dissemination of literature and art, are all modes of mobilizing the public. But looking at the current situation in East Asia, the results of the two mobilizations are completely opposite. Behind it are mobilization changes.

Ghevond Alishan's Literary Activity Through the Light of Russian

The history of Russian-Armenian literary relationships is one of the brightest and most significant events of the time. It undoubtedly enhanced the mutual cultural heritage and left a profound mark on the worldview, moral and aesthetic values of Armenian and Russian writers, translators, and literary critics. Since the beginning of the 20th-century Armenian culture, mainly Armenian literature, aroused great interest among such outstanding classics, as M. Gorky, V. Bryusov, A. Blok, O. Mandelstam, A. Bely, A. Akhmatova and others who not only appreciated its aesthetic and stylistic texture but also embarked on the laborious work of translating its best achievements into Russian. In this sense, the anthology "The Poetry of Armenia from Ancient Times to the Present" in 1916 can be considered a significant cultural event. It was edited by Valery Bryusov, who also wrote the introductory part of the work. The publication was carried out with M. Gorky's direct assistance and support. It should be noted that many Russian translations done by V. Bryusov and A. Blok are still brilliant samples of the artistic heritage of translation. The present work focuses on the evaluations and interpretations of Russian critics (V. Bryusov, Y. Veselovsky) of the creative heritage of Gh. Alishan, his poetic individuality and the influence on the development of the literary process of that time. It also reveals the role of Russian poets, translators and literary critics in promoting the publication and popularization of Bryusov's anthology as a significant cultural event of the time. The section of the anthology "Poetry of Western Armenians" includes the most famous poems of Gh. Alishan, M. Peshiktashlyan, P. Duryan, Sipil, L. Shant, and others are parallelly illustrated by the excellent translations of V. Bryusov, S. Shervinsky, V. Khodasevich, K. Balmont, S. Bobrov and others. The scientific research has shown that among Russian poets and translators, Bryusov was one of the first interested in Gh. Alishan's literary works and his bright poetic individuality. It can be explained by the fact that Alishan was a well-known representative of Western Armenian poetry and a comprehensive creator of his time, a man with encyclopedic knowledge. In addition, he was a historian, philosopher, translator, philosopher, geographer who devoted his whole life to science and enlightenment. Bryusov was also a gifted man. He had a poetic talent; he contributed to improving the Russian dialect, elevating it to a new, higher level. Consequently, there are many common features between Bryusov and Alishan. These are the breadth of the intellectual range, brilliant knowledge of languages and world literature, devotion to scientific activities, profound love for their Motherland, its cultural values and the highest level of humanism. Undoubtedly, they were outstanding figures of their era who made a significant contribution to the development of culture, science and literature. This article is an attempt at a comprehensive study of the principles of the Russian translation theory used in the translation of Armenian literature, with particular reference to the poem "Hrazdan", an extract from Gh. Alishan's patriotic lyrics. The proficiency of Russian translators and the revelation of Armenian linguistic and national characteristics helped them interpret the linguo-stylistic peculiarities of the original and recreate their equivalent counterparts.

Genre poetics of R. Wagner’s “Parsifal” in the context of Gesamtkunstwerk idea

Background. Over the course of the last decades, musicology was marked by a revival of interest in the phenomenon of artistic synthesis. This paper considers it in view of “general unity” as one of techniques of understanding the 19th century culture. Such a mindset can be defined by various terms, including Gesamtkunstwerk. The scholars today do not narrow this term down to a mere synthesis of arts, but add immersion into cultural history to it. This allows us to view Gesamtkunstwerk as a way of cultural memory existence, and genre poetics of R. Wagner’s musical drama as a bearer of this memory. In this context, special place belongs to “Parsifal”, which in this article is presented as an absolute embodiment of the idea of Gesamtkunstwerk. The aim of the article is to reveal compositional devices, through which references of “Parsifal” poetics and other genres of different arts create “general unity” under the sign of “Gesamtkunstwerk”. A genre method, a systematic method based on interdisciplinary approach, and a comparative one are chosen as methods of research. Research materials used in the paper relate to different branches of Humanitarian knowledge, including theatre arts (S. Mokulsky), literature (M. Bakhtin), medievistics (A. Gurevich), musicology (M. Veremiova, N. Vieru, E. Makhrova, K. Richter, A. Philippov etc.). It is noted that the definition of “Bühnenweihfestspiel” indicated in the score speaks of the relatedness of this work to the genre of medieval mystery. We have detected some common features of “Parsifal” like slow-paced events, their rather low concentration in time and meticulous development of verbally-acoustic matter. In the musical drama under consideration both a word and a system of leitmotifs function as an instrument for the above-mentioned scrupulosity; thus, poetics of a mystery is transformed into poetics of musical drama. The references of “Parsifal” to medieval epics are noted. Its plot contains only essential for the main storyline events. Cumulative method is chosen as the basic one which defines the algorithm of compositional movement, making it somewhat discrete. At the same time, the continuous flow of leitmotif development contributes to endless disclosure of the sense and its symbolization. Duality of time contributes to appearance of spatiality in genre poetics of “Parsifal”, which also corresponds to the epic poetics. There are some references between genre poetics of “Parsifal” and such types of novel as “Erziehungsroman” and “adventure novel”. The features of “Erziehungsroman”, based on a choice of constantly evolving protagonist as a plot-creating device are embodied to the fullest extent in a presentation of the main hero of “Parsifal”. In the work he passes the way from a naïve youth to the saviour of The Holy Grail, doing the deed of all-embracing love, thus the portrayal of his image is done according to the principle of development. At the same time, there have been revealed differences between the last work of the composer and “Lohengrin”. Unlike Elsa, with her gradual transformation, Parsifal undergoes this process almost instantly. But R. Wagner, using leitmotiv system, reveals subconscious psychological development, thus using it as a nonverbal explanation of one of the essential plot events in the work. The links between “adventure novel” and “Parsifal” lie in the type of intrigue, localization of space-time, due to which it is differentiated into adventurous, legendary, psychological etc. The hero, shifting into another spacetime dimension, transforms his image. This paper shows it on example of Kundry. This heroine in her cyclic “death – resurrection” transformations completely belongs to poetics of the myth, although the composer here does not use it as an example, as he fills musical characteristics of Kundry with all the traits of opera character. The article explores references of “Parsifal” to Passions by J. S. Bach. It is pointed out that in this case R. Wagner does not follow their specific traits, as he chooses the most essential features of poetics of this genre. A сonclusion is made that genre poetics of “Parsifal”, reflecting the features of poetics of another genres, incorporates their essential traits, which are then intertwined into general texture of musical drama, creating inseparable fusion, according to the Gesamtkunstwerk idea.

Matrix-assisted laser desorption ionization mass spectrometry based quantitative analysis of cordycepin from Cordyceps militaris

Cordycepin, which has great immunomodulatory activities such as anticancer, antifungal, antivirus, antileukemia and lipid-lowering ones, is the secondary metabolite of Cordyceps militaris (C. militaris). Liquid submerged fermentation is the common cultivation process to produce cordycepin. To optimize the fermentation process and improve production, monitoring the cordycepin secretion in the fermentation is essential. The measurement based on chromatography-mass spectrometry methods is generally involved in the complex sample pretreatments and time-consuming separation, so more rapid and convenient methods are required. Matrix-assisted laser desorption ionization mass spectrometry (MALDI-MS) is more attractive for faster and direct detection. Therefore, MALDI-MS detection combined with isotope-labeled internal standard was applied to the measurement of cordycepin content in the fermentation broth and mycelium. This method made accurate quantification of cordycepin in the range of 5–400 μg/mL with a relative standard deviation of 5.6%. The recovery rates of fermentation samples after the 1, 13, and 25 days were 90.15%, 94.27%, and 95.06%, respectively. The contents of cordycepin in the mycelium and fermentation broth were 136 mg/g and 148.39 mg/mL on the 20th culture day, respectively. The cordycepin secretion curve of the liquid fermentation of C. militaris was real-time traced over 25 days.

Piano in the land of unsaid love – musical contexts of emotional lives of married female characters in Thomas Mann’s Buddenbrooks and Sándor Márai’s Embers

In The Sorrows of Young Werther, an epistolary novel by J.W. Goethe, we can find a literary portrait of a beloved woman playing a keyboard instrument. This is the motif Adam Mickiewicz referred to in his Dziady, Part 4. Both texts describe unrequited love to a woman belonging to another man. Belles-lettres reflect repertoire issues – at the turn of the 19th century girls from a proper home performed simple pieces, often dances. Subsequent decades of the 19th century came with the development of piano methodics, and composers wrote pieces which today constitute part of concert canon, whereas the piano became the perfect musical tool. The plot of Thomas Mann’s Buddenbrooks is set in the second half of the 19th century. Music plays an important role in that novel. Mann depicts the problem of clashing views in the marriage of Thomas, who was fond of “pretty melodies”, and Gerda, a magnificent violin and piano player who performed ambitious compositions and showed no mercy in criticising her husband’s musical taste. An important motif is the appearance of a young officer who visits Gerda in order to perform chamber works together. Thomas fears the mysterious bond between his wife and the lieutenant on the one hand and people’s opinions on the other. The motif of music as a platform for communication between a man and a woman can also be found in the novel Embers by Sándor Márai. Here as well it is a connection unavailable to the husband of the main heroine. At the end of his life, Henri, Christine’s husband, refers to music as the “melodious and obscure language” which allows “certain people” to communicate. Both novels include the motif of the end of an era and death of the characters for whom music was extremely significant and who performed compositions of the highest artistic value. Texts by Mann and Márai reflect a decline of a certain stage in the history of culture. It is also the end of the typical ways how burgesses and aristocrats spent their leisure time, how they treated the sphere of emotions and communed with the widely understood art. The result of these changes is the dethronement of the piano, which no longer was one of the most important pieces of furniture in a drawing room nor the most important instrument – as it used to be in the 19th century culture.

Lesia Ukrainka, Don Juan and Europe: ideology and eropolitics in the Stone Master

The article is focused on Lesia Ukrainka’s famous drama The Stone Master (Kaminnyi Hospodar), her remake of the Don Juan legend. The author of the article, Ukrainian philosopher Volodymyr Yermolenko, localizes Lesia’s masterpiece in a broader European tradition of the legend. He compares The Stone Master with the previous version of the Don Juan legend, by Tirso de Molina (The Trickster of Seville), Moli re (Dom Juan), Mozart (Don Giovanni), Hoffmann (Don Juan), Grabbe (Faust and Don Juan) and others. He analyzes Lesia’s originality within this tradition. He also reads The Stone Master in the context of the dialogue between different epochs: the Baroque, Classicism, Rococo / Enlightenment, Romanticism, Post-Romanticism. Each of the epochs develops its specific version of Don Juan legend, according to Yermolenko, which reflects a specific concept of human being and human relations developed at each particular period. While the “Baroque” Don Juan of Tirso de Molina marks the crisis of the culture of honor, the “Classicist” Don Juan of Moli re shows the development of a culture of knowledge and general concepts, and the “Romantic” Don Juan of Byron and Hoffmann is a symptorm of a new 19th century culture of will and transformation. In this respect, it is important to look at Lesia Ukrainka’s text as a battleground of “Romantic” will to freedom and “Post-Romantic” (or fin de siècle) will to power. In this context, Yermolenko reads The Stone Master (written in 1912) as a criticism of the fashionable topic of “will to power”, and as a political warning, with Lesia Ukrainka showing the upcoming horrors of the 20th century’s authoritarianism and totalitarianism. With the help of the concept of eropolitics, the author shows how, through the erotic topic, Lesia Ukrainka passed a major political message to her epoch — and ours as well.

A Private Person and A Plural Human Vision from Fantasy: Alice’s Adventures in Wonderland and Sen to Chihiro No Kamikakushi

Alice’s Adventures in Wonderland by Lewis Carroll and released in 2001, Miyazaki Hayao’s animated film entitled Sen to Chihiro no kamikakushi (Spirited Away) allegorically describe human beings in a capitalist civilized society whin a mythological narrative structure and fantasy. This paper will mainly focus on Spirited Away and partially analyze Alice’s Adventures in Wonderland. First of all, this paper includes two works in the category of fantasy in a broad sense. This is because both works do not ignore fantasy as unrealistic but relate it to the real world. Next, I recognize that the 19th-century British and the 20th-century Japanese capitalist society and culture are the background of these two works, and the standardization, means, statistical methods of reason, and the selfishness of civilization in natural science are making a human being a kind of private person, and I will explain it in the view of Theodore Adorno’s instrumental reason and homogenization. Lastly, I hope to perceive the well-known line, in Hannah Arendt’s The Human Condition, “men, not Man, live on the earth and inhabit the world” (HC:7) and “plurality is inherent in every human being” in “Philosophy and Politics” (Arendt 1990:86), and develop human identity, understanding and co-existence with others from a plural human perspective.

Nostalgia for “Golden Age” in Soviet-era culture

The prerequisites for the study are the relevant trends in modern humanities that study the “era of nostalgia”, the “demand for the past” in the culture of different regions of the world (Z. Bauman, S. Boym, D. Lowenthal and others), and the interest of the global science in the processes that occur in Russian culture. The “taboo on nostalgia” (S. Boym) should be overcome in the Russian intellectual milieu (the consequence of revising the Soviet sociocultural experience) as a factor that introduces subjectivity into research. The purpose of the study is to identify the prospects for the comprehensive study of the mythologization of the Russian “Golden Age” and the functions of the neomyth in Russian culture of the 20th century; the goal is to define the specific features of the key stages in nostalgic mythmaking (from pre-Soviet to post-Soviet). The initial hypothesis: although different generations have their motives for seeking the ideal in the “Golden” 19th century, each stage can only be interpreted in the context of the single mythmaking process. Research methods are based on the interdisciplinary approach; the authors summarize research data in the field of literature, cultural history, and cultural sociology. The result of the analytical review in the study is the significant elaboration of the notions of the most important nostalgic “plot” of 20th-century Russian culture: 1) over the previous century, the neomyth of the Russian “Golden Age” is actualized almost continuously; 2) the latent stages of the neomyth have been the time of creative individuals’ personal searches, their fruits being later in demand by society; 3) a long cycle of the retrospective search for Russian culture ends with a complete change in the meaning-making social context in the post-Soviet era. In the conclusion, the prospect for scientific discussion is outlined.

РОМАН Г. ФЛОБЕРА "ГОСПОЖА БОВАРИ": ГОРИЗОНТЫ ЭСТЕТИЧЕСКИХ ТРАНСФОРМАЦИЙ

The article examines the peculiarities of the poetics of Flaubert’s novel Madame Bovary which occupies a central place in French novelism of the 1850s and is associated with the literary trends of the time in many ways. The article discusses the transformation of Balzac’s canon of realism, the differences in the artistic principles of depicting contemporary reality between Flaubert and such representatives of the school of realism as Chanfleury and Duranty; the proximity of certain elements of poetics of the novel and the portrayal of heroes to naturalism (the role of social motives, temperament and environment); the typological similarity of Flaubert with the principles of aestheticism of the Parnassian school. The main attention is paid to the peculiarities of Flaubert’s realism, to the role of romantic motives and allusions, their ironic interpretation in the novel. Romantic traditions, even in their mass psychological refraction, retain their value semantics, contribute to the formation of a halo around Emma, typical to the eternal images of world literature. The semantics of Bovarism is opposed to the vulgarity of the commonness, at the same time almost coinciding with it. As a result, bovarism appears as a sociocultural analogue of such significant and large-scale phenomena of the 19th century culture as Byronism and Georgesandism. Transforming, rethinking the existing and emerging strategies of artistic writing, Flaubert in his novel creates an innovative, unique aesthetic synthesis, including the interaction of various literary trends, aesthetic impulses and ideas. The new non-romantic dual world arises on the basis of the contrast between the vulgarity of life and the artistic perfection of its embodiment, in that approaching the antitheses and antinomies of Baudelaire’s Flowers of Evil .

Leonardo Mosso: the poetry of structure

Leonardo Mosso (1926-2020) was able to combine art and architecture. He was a collector and an interpreter of 20th century culture that he shared and passed on to succeeding generations of students and collaborators who attended the Alvar Aalto Institute. For many, he was an unsung Maestro, a generous polymath, who maintained an extraordinary curiosity and child-like enthusiasm throughout his long life.

Chilean Guitarron as an Instrument of Folk and Religious Usage

The relevance of the study is the need to deepen the analytics of Chilean guitar music by studying the influence of Guitarron as an instrument of folk and religious usage on the development of academic guitar art.Main objectives of the study is to identify the historical and genre aspects of the musical life and development of the Chilean guitarron as well as its influence on modern guitar practice.The methodology involves the use of historical, systemic, structural-functional methods (for a comprehensive analysis of historical events, studying of genre-stylistic elements of Chilean musical traditions), comparative and phenomenological approaches (for comparing Latin American and European instruments and their organological features). The combination of these methods and approaches provides a wide panorama of the consideration of Chilean Guitarron as a phenomenon and its impact on the processes of developing Chilean musical culture in 20th century and strong relations with national guitar art.Results and conclusions. The history of the Chilean guitarron as a unique variety of Latin American guitar-like instruments is considered. Its belonging to the sound symbols of the Andean culture is determined. The information on ancient national instruments and musical traditions of Chile of the pre-colonial and colonial periods is systematized. The pedigree of the instrument from the European Renaissance and Baroque guitar is traced. Organological specificity (significantly larger sizes, wide neck, 25 strings in five rows with the addition of diablitos paired trebles) and timbre features were determined. The modern ideas of Chilean researchers about the continuity of the aesthetics of guitar sound associated with the pre-Columbian Andean sound concept, which was formed much earlier than the appearance of European chordophones in Latin America are presented. The discrete character of the guitarron’s development process is outlined, due to the regional isolation of the centers of its occurrence and existence. The specifics of solo and ensemble music playing are determined. The genre-communicative functions of the guitarron as a “Catholic” instrument, involved in Chilean church ceremonies along with the organ, bassoon, harp and vihuela are revealed. The practice of accompanying the sacred, liturgical chants of Canto a lo Divino is considered. The connection with the poetry of the ancient Chilean folk genres Canto a lo Poeta as a source of modern guitar traditions of Chile is determined. The involvement of the guitarron in the creation of the song-dance genre of cueca, as well as socially oriented song culture, is indicated. The process of reviving a forgotten instrument in the twentieth century is associated with restoring the traditions of guitar building, improving the playing technique, forming centers of folk music making and organizing annual guitarronero festivals, concerts and scientific and methodological seminars.