Artistic Dialogue Research Articles

The Financial Commitment of Repository Countries: A Key Element of Reparation

The Financial Commitment of Repository Countries: A Key Element of Reparation

Community-Engaged Arts as a Tool For Social Change. A Case Study on the City of Philadelphia Mural Arts Program

This Study Aims to illuminate the correlation between civic engagement and community-engaged arts. As and politics often correlate to each other, in the early 1990's genre public art has developed out of the previous traditional public movements with decoration purposes (Lacy, 1995). These New genres have functioned as social intervention channels. this essay will carry out the study of the correlation between the new socio-political phenomenon and public practices as: (participatory art, dialogic art, community-based art, activist art). Using Art-based research methodology the researcher intends to investigate contemporary community-based practices and its contribution to local communities’ development. A case study on the city of Philadelphia’s Mural Arts Program is carried out in this research.

«Диалог искусств и арт-парадигм»: тенденции и перспективы научных изысканий в новых публикациях альманаха (описательный обзор)

«Диалог искусств и арт-парадигм»: тенденции и перспективы научных изысканий в новых публикациях альманаха (описательный обзор)

Аристотель Фьораванти: мастер эпохи Ренессанса в контексте средневековой Руси

The article examines the Italian architect Aristotele Fioravanti’s creative work through the lens of intercultural dialogue between the Italian Renaissance and medieval Russia. Scientific originality of the study lies in the fact that Aristotele is for the first time considered as a universal genius of the Renaissance. The researcher analyses Aristotele’s heritage perception in the Russian culture, describes a complicated system of social relations Aristotele get involved in during his stay in Moscovia. The research findings are as follows: the author proves that, in spite of differences in worldviews, artistic dialogue between the Renaissance genius and medieval Russia was successful.

L’enluminure syriaque à l’époque médiévale : entre tradition byzantine et innovation orientale, xie-xiiie siècle

The illuminated Gospel lectionaries produced during the so-called « Syriac Renaissance » (11th-13th century) give evidence of a dynamic artistic dialogue. The painter’s fidelity towards Early Christian and Byzantine iconography reveals the donors’ self-understanding as members of the One Church, as well as the appropriation of a shared late-antique patristic heritage. Various stylistic influences, such as the depictions of architecture, human beings or wildlife, reflect the Islamic visual environment of the Syriac communities and attest close contacts between Syriac and Islamic workshops. The decoration of the manuscripts then invites us to reconsider the relationship between two religious and artistic cultures, too often-and wrongly-considered in terms of confrontation and rivalry. Beyond these iconographic and stylistic considerations, it seems that the Syriac liturgical tradition itself had a certain impact on painters: subtle references to church architecture, chant and gestures unveil the specificity of Syriac book illumination.

The «Chateau of the Loire Valley» piano fresco as a representation of the artistic thinking of Lesia Dychko

The purpose of this represented scientific article is to reveal the specificity of piano thinking of L. Dychko as exemplified in the «Chateau of the Loire Valley» piano fresco. Methods. The methodological background of the study includes the integration of general scientific (historical, system-related, dialectic, culturological, comparative) and special artistic, in particular, music study methods and approaches of the scientific study. The application of the series of special methods of the music study research, characteristic to the historical, theoretical and performance musicology promoted the solution of the problems brought up in the article. Scintific novelty. The scintific novelty of the undertaken study is the revealing of the conceptual bases and intonational-stylistic specificity of the «Chаteau of the Loire Valley» piano fresco as the representation of the universality of L. Dychko’s creative thinking. Conclusion. The article reveals the form-forming and textural principles of the music mirroring of the masterpieces of French architecture in the text of the «Chаteau of the Loire Valley» piano cycle. The performed analysis enabled the distinguishing of L. Dychko’s piano piece as a model of the interspecific artistic communication and a manifestation of the artistic dialogue within «music - architecture» system, which is revealed on the graphically-associational, intonational and semantic, structural, texture and stylistic levels. The article proves that the «Chаteau of the Loire Valley» fresco of Lesia Dychko is distinguished by the immensity of the artist's intention, concert performance and stylistic direction and the high level of the pianistic technique, which is evidenced by the diversity of the piano texture, wide register coverage of the fingerboard, the predominance of the elements of octaval-chordal technique, the diversity of masterly performed passages and figured approaches, which are indued with formal and meaningful properties and acquire the value of the stylistic and graphically-semantic factors. There has been proved in the work the composer’s appeal to the music thesaurus of contemporary pianism, the established in the piano practice texture and expressive means and general types of movements, as well as the individualized performance approaches, endued in the context of the cycle with different functionally-semantic loads (coloristic background, representation of the sonic flow dynamics, graphical and emotional tension, disconcentrated figurative thematic invention, concert-virtuous style).

Formation of Lang Lang's Musical-Perfomance Style

The relevance of the article is to investigate the formation of the performing style of one of the brightest and most popular pianists of our time, Lang Lang. Currently, there are no musicological researches dedicated to this subject.Main goal of the article is to trace gradual becoming of Lang Lang’s musical performance style starting from his early years till this day.Methodology of the research is based on biographical, interpretational and comparative analysis approaches. The study of individual musical performance style characteristics relies on the concept of “Musical creativity style” by V.G. Moskalenko.Main results and conclusions. Exploration of the famous Chinese pianist Lang Lang’s musical performance style was based on his gradual development stages. Autobiographical observations of the pianist were used as a factual basis.In order to determine the Lang Lang’s individual musical performance style characteristics, the logical “top-down” concept was used. As the “top” concepts of Lang Lang’s musical style development process such points were established: a) based on autobiographical data general specifics of Lang Lang’s worldview and musical thought were revealed; b) such musicological researches development style vectors of modern Chinese performing arts were introduced: national, romantic, virtuosic and globalistic.Three major stages of pianist’s style becoming were identified. Initial stage covers pianist’s time in China. During second stage (1996–1999) Lang Lang studies at Curtis Institute in the USA. He refuses to participate in piano competitions, strives to artistic cognition of the world, enriches his repertoire in stylistic and genre way. The main feature of the third stage, which starts at the moment when the pianist comes to the global concert stage and continues now, is his transition into professional musician status. Pianist starts an active artistic dialogue with broad public, famous symphonic orchestras, artistically cooperates with exceptional musicians exchanging musical and performing experience with them.A distinctive feature of the third stage of Lan Lang's performing arts is the special role of the phenomenon of publicity. His individual musical performing style serves as the natural ground of this phenomenon.Virtuosity is defined as the dominant in Lang Lang’s pianistic art style. Individual characteristics of this phenomenon manifestations were shown. As a depiction of one of the Lang Lang’s virtuous style characteristics the term of “musical performance picture” was introduced.

Дискурсивная личность персонажа

The discursive personality of the character is manifested in a set of fragments and text units that characterize the character’s speech style, expressed by a number of individual semantic and stylistic, communicative and pragmatic, cognitive, gender, socio-cultural and psychological characteristics. The discursive personality of a character is a complex structure and includes characteristics inherent in the character and the author. Speech units, expressed in the discursive personality of the character and the author, refer to artistic dialogue, graphic means, and non-linear speech.

Dialogue of arts in the novel “The Artist is Unknown” by V. Kaverin

Prose about the artist is fairly popular in the world and Russian culture, but the novel “The Artist is Unknown” by V. Kaverin holds a special place within the Russian literature, and the title itself is precedent for the philologists – it is mentioned each time when it comes to genre of the novel about artist. Kaverin not only creates a vivid image of the artist-painter, but also restores his manner via literary style. The pictorial beginning is prevalent in the text; however, orientation towards other types of art, namely sculpture and theatre, are also noticeable sculpture and theater, which is reflected in the character sphere and in the composition itself. In the novel “The Artist is Unknown”, theater and painting are deeply intertwined – and not only scenes of the play engage painting, but also the authorial “painting” involves theatrical aesthetics. However, namely the art of painting, is in the center of Kaverin’s attention, while the ekphrasis technique becomes the fundamental principle for arranging artistic material. It should be noted that the focus of attention of the audience falls onto imaginary ekphrasis, description of the image that exists only in the author's imagination, which allows revealing the features of Kaverin's original idiostyle that correlates certain literary techniques with the painter's technique (the author thinks in the categories of color, painting, texture, and perspective). In such way, painting becomes a metalanguage, the way of understanding the laws of art as such, and thus, the laws of literature, including such categories as narrative perspective and composition. The boundary between genres of the novel about artist and the novel about the novel in Kaverin's text is quite lucid: the fate of the artist is inseparable from the fate of his creation, and the questions of skill, purpose and designation of works comprise the very essence of conflicts of the novel.

“If Music is Not a Memory, then what is it?”: on the Modern Approach to Musical Memory in Azio Corghi’s Creations

The article draws attention to the music of Azio Corghi (b. 1932), a modern Italian composer, hardly known in Russia. His artistic world is organically integrated into one of the characteristic features of modern culture: its inextricable link with the memory of the past. The composer demonstrates his own, original approach to musical memory – an artistic dialogue with it through the use of excerptions from various works of the past. According to the composer it allows him to “re-discover and re-read the past in the spirit of modernity”. This Corghi’s method is defined in the article with the help of the term riletture (Ital. re-reading), invented by the Italian musicologist Raffaele Mellace. Among a large number of works of this kind, as a specific example, the author considers the dramatic cantata “...fero dolore” – on Pianto della Madonna and Lamento d’Arianna by Claudio Monteverdi, for female voice, viola (oboe d’amour), percussion and string instruments

В. ШУКШИН И М. ТАРКОВСКИЙ: АВТОРСКИЙ ДИАЛОГ

Statement of the problem. The article is devoted to the problem of artistic continuity as fundamentally significant in contemporary literary criticism. The features of the literary dialogue are examined for two writers – V. M. Shukshin and M. A. Tarkovsky whose works are inscribed in the traditionalist world system. The attention is focused on the image of the hero and the problem of the chronotope. The purpose of the article is to identify the features of the poetics of M. A. Tarkovsky through the prism of artistic dialogue with the cultural tradition and with the works of his predecessor – V. M. Shukshin. Research materials and methods. On the material of early and mature texts of the writers, the author’s model of literary hero and the features of the chronotope are analyzed. The method of comparative typological analysis is chosen for the analysis of literary works. Research results. The study concludes that M. Tarkovsky’s works are generally associated with V. Shukshin’s artistic tradition, inherit his imagery and mythopoetic chronotope as a whole.

“Face the cow”: reconnecting to nature and increasing capacities for pro-environmental agency

ABSTRACT Arts-based practices can support sustainability, combined with research that points out needs for intervention. We practiced environmental sensitivity and dialogic art with fifth-grade school pupils as part of an International Socially Engaged Art Symposium (ISEAS2019). Using arts-based action research methodology, our case study focused on the opportunities of arts-based environmental education in advancing the management of meadows and wood-pastures. We explored nature connectedness and pro-environmental mindsets and behaviors among the pupils and artists/researchers. The artistic results encompassed the dialogic interactions of the intervention, exhibited artworks, and audiovisual documentation. Using the leverage points framework, we detected key levers in conservation of meadows and wood-pastures, based on literature and the current study through a content analysis on the collected reflective materials. The participants emphasized engaging with agricultural nature in multiple ways, through doing and feeling. Arts-based practices allowed participants to recognize their corporality and develop an experiental, expressive, and informed connection with nature. Based on discussions on the general ideologies and values underlying the intervention, we conclude that promoting a stewardship philosophy towards agricultural nature would benefit its conservation. Arts-based environmental education has great potential in advancing such transition, if the multidimensionality of the interaction between people and nature is acknowledged.

M. Maeterlinck’s Art in F. Sologub’s Reception

This paper deals with the history of the artistic dialogue between F. Sologub and M. Maeterlinck and singles out stages of Sologub’s perception of the Belgian author’s oeuvre. The article refers to writings by Maeterlinck (the original physiophilosophical essay The Life of the Bee , poems translated by Sologub, and The Blue Bird play) and by Sologub (articles and reviews, plays The Gift of Wise Bees , The Night Dances ). The first step of reception included reading and translating original texts into Russian. In Sologub’s personal library, there were volumes by Maeterlinck in French and in Russian; in his archives, there are unpublished translations of poems; in addition, there is a probability that Sologub participated in the translations of plays made by his wife An. Chebotarevskaya. The next stage implied references to Maeterlinck’s art in journalistic works (including the article The Wisdom of Maeterlinck ). In Sologub’s opinion, one of the fundamental principles of Maeterlinck’s art was the idea of an inseparable connection between love and death. The intertextual links between Sologub’s The Gift of Wise Bees and Maeterlinck’s The Life of the Bee are allusions to the images of bees, honey, and wax, which become metaphors of life, love, and art, respectively in the Russian play. The concept of “dialogue” was particularly important for Sologub’s art: according to him, a genuine writer can only create within the scope of previous works of art, and his primary task is to be selective and able to “see” and use the material of their own. In this paper, the author suggests the idea that Sologub started writing plays under the influence of Maeterlinck’s writings and his concept of the new theatre. Then there was a new level of artistic communication: almost simultaneously two plays were created and staged in Russia (one by Sologub and the other by Maeterlinck). The two plays are typologically similar: both have a symbolic central image, life-affirming spirit, magic assistants, and a circular plot structure. The author of the article puts forward a hypothesis that translation can become a catalyst of interconnection at such a sophisticated level when two writers have a similar worldview and tend to create within the same aesthetics, as The Blue Bird and The Night Dances resemble tendencies within a common paradigm of creative thinking.

Titian and Lorenzo Lotto: From the History of Art Dialogue by the Example of the “Collector’s Portrait”

The article explores various aspects of the practice of collecting works of classical art in Renaissance Venice, as well as its influence on the content program formation of the so-called “Collector’s Portrait”, a typological kind of portraiture common in the art of the 16th century. The most interesting examples of it are the “Portrait of Andrea Odoni” by Lorenzo Lotto and the “Portrait of Jacopo Strada” by Titian, considered in this article. The study is relevant because of its connection with the research attention, outlined in recent decades, to the history of collecting, antique trade and the role of socio-economic factors in the development of art history. The article aims to investigate, on the basis of written sources, the matter of how the content of such paintings reflects the moral and ethical ideas about the meaning of antique collecting, as well as to identify its characteristic features on the Venetian grounds. One of the features was that a significant proportion of the artistic material in private collections was composed of works of Greek-Hellenistic art. The interest in collecting these works speaks about the special aesthetic predilections of collectors, their sensitivity to the actual artistic merits of antiques, and not only about their desire to possess antiquities. In addition, the practice of collecting was intended to express the moral virtues of the collector, the greatness of their spirit and the nobility of their thoughts. On the other hand, it served as an important way of social self-assertion for those who were not part of the exclusive elite of Venetian society (patricians), but sought to approach it in their social ambitions. First of all, the article is of interest to historians, art historians, culturologists, museum specialists and antique trade specialists.

Imagem, memória e tempo na visualidade da história da infância

Philippe Ariès (1960) foi o precursor do estudo da história da infância como categoria isolada, sendo a imagem a sua principal fonte de pesquisa. Depois disso, inúmeros outros estudos se dedicaram a interrogá-la, utilizando diferentes fontes e perspectivas. Procurando dar continuidade à observação da relação entre infância e sua representação visual, este estudo tem por objetivo refletir sobre a imagem e sua complexidade, isto é, sobre a forma como também é portadora de memória e de diferentes temporalidades. Para tanto, serão utilizados os estudos empreendidos por Aby Warburg, Georges Didi-Huberman e outros intelectuais que se dedicaram ao tema. Esse debate será perpassado pela análise da visualidade da história da infância, especialmente pela configuração da exposição Histórias da Infância, ocorrida no Museu de Arte de São Paulo Assis Chateubriand (MASP) no ano de 2016, em que duas obras dialogaram de maneira especial: a pintura Rosa e azul, de Pierre-Auguste Renoir, e uma das fotografias da série Brasiliana Teimosa de Bárbara Wagner.

About the Originality of the Manifestation of the Aesthetic Function in Modern Dramatic Discourse

The article focuses on one - the key, in the author’s opinion - aspect of the analysis of the modern dramatic work, which allows to demonstrate the peculiarities of the aesthetic function in the works belonging to this literary genus: the consideration of the principles of the organization of the playwright of the compositional and speech zone of the characters. It is this part of the dramaturgic discourse, leading in the content-conceptual plan and prevailing in the spatial relation, that is seen as the most significant for the interpretation of the play as a fact of verbal art with the unconditional consideration of the syncretic character of dramaturgic form. The relevance of this topic is due to the fact that, despite the significant success of modern philology in the study of the specifics of artistic speech, dramatic speech is still the least studied of its sphere. The purpose of research - analysis of dialogical spheres of contemporary plays versus not artistic dialogue and partly as a dialogue in prose, allowing you to set the number of features forming the identity of contemporary dramatic dialogue speech. The material for the observations was the play of the modern author E. Cherlak «Mortgage and Vera, her mother» (2011). In the interpretation of the materials used methods: observation, compositional, contextual and semantic-stylistic analysis. In addition, the conducted observations suggest that the analysis of the manifestations of aesthetic function in the works of drama should be carried out taking into account the textual nature of this compositional and speech sphere, as well as paying special attention to the author’s principles of its system organization, since this approach helps to identify not only the distinctive characteristics of dramatic speech, but also the features of the individual author’s handwriting of the playwright.

Уникальный проект: первые издания

The review analyzes the first two volumes of the collective collection “Dialogue of Arts and Art Paradigms” (Saratov, 2018), created based on the materials of the Center for Comprehensive Art Studies at the Saratov State L. V. Sobinov Conservatory, under the leadership of the chief researcher, doctor sci. (arts) history, professor, full member (academician) of the Russian and European academies of natural sciences, honored worker of art of Russia, honored worker of science and education Alexander I. Demchenko. Keywords: Center for Comprehensive Art Studies, art history, Alexander I. Demchenko

“Jazz Slide” by M. Tovpeko – A. Strilets: Aspects of the original source interpretation

“Jazz Slide” by M. Tovpeko – A. Strilets: Aspects of the original source interpretation

Exhibition Review: Sandra de la Loza: Mi Casa Es Su Casa

Sandra de la Loza: Mi Casa Es Su Casa . Armory for the Arts. Pasadena, California: January 27–May 12, 2019. Southern California artist Sandra de la Loza describes herself as a performative archivist. Her ongoing collaborative project, the Pocho Research Society of Erased and Invisible History, is perhaps the most direct reflection of how her work melds the functions of historian, curator, and scholar. Her practice extends to a long-time involvement as an activist and supporter of spaces that are platforms for artistic production, community action, and critical dialogue concerned with the histories of people of color. Recently on view at the Armory Center for the Arts in Pasadena was a one-person exhibition of de la Loza’s immersive installation Mi Casa Es Su Casa . It was first exhibited in 2002 for her graduate exhibition at Cal State University, Long Beach, and then again in 2003 in a group show, Finding Family Stories, at the Japanese American National Museum in Los Angeles. The Armory revisited this important body of work by the artist during this critical time when the raw political debates over immigration and conversations about decolonization dominate our current political climate. De la Loza, who is Chicanx, interrogates power in California, where the history of discrimination toward …

Intersections between Corporeal Performance and Distributed Digital Audiences: Casey Jenkins and Remediated Artistic Practice

Juxtaposed against the negative dialectics of digital culture and social media, Casey Jenkins’s performance practice demonstrates the artist’s agency to transmute the destructive potential of digital remediation and social media commentary into a productive and constructive internal and external artistic dialogue, moving beyond the traditional art historical discourse toward a creative practice that embraces the unwieldy culture of the internet.