Drama Of Ideas Research Articles

Prelude Op.3No.2 by S.V. Rachmaninoff and prelude Op.11No.10 by A.N. Scriabin : two facets of drama

The two considered dramatic preludes were written by the young S.V. Rachmaninov and A.N. Scriabin almost at the same time, with a difference of two years. The article examines the interrelationships and features of these two plays. The basis for the joint study of these miniatures is the same tonality (C-sharp minor), one genre definition, as well as a number of similar features in imagery (drama) and in the dramatic idea (the juxtaposition of the "fatal" beginning and the pleading voice). The interrelations are manifested in form, texture, harmony, and specific compositional techniques. On the other hand, distinctive features are also studied in the form, texture, harmony, concert scale, and features of the melodic relief of these compositions. An attempt is made to substantiate the specificity of the figurative and semantic content of the plays by the peculiarities of the musical language. S.V. Rachmaninov's prelude Op.3No.2 and A.N. Scriabin's prelude Op.11 No.10 are studied by comparison. The method of sequential comparison makes it possible to study in detail the interrelationships, as well as to clearly identify the features, individuality of the figurative and semantic content and musical language of each of the miniatures. For the first time, these two famous preludes are considered in comparison with each other in detail, sequentially in the context of each part. It can be argued that preludes have a number of similar features (dramatic, compositional, textural) that have not been discussed before. As a result of the comparison, both the peculiarities of imagery and the peculiarities of musical language are highlighted in a new way. A number of these features will later, in the course of the evolution of creativity, become distinctive features of the compositional styles of each of the authors. Due to these individual characteristics, one dramatic idea is embodied in each of these preludes in its own way: the idea of contrasting and further interaction of two contrasting images - "rock" and "supplication" is embodied in each prelude in its own way. These features emphasize the difference in the nature of the drama of each of the plays. This difference is related to the individuality of the emotional, figurative, semantic content of creativity and the specifics of the aesthetic positions of the two Russian contemporary composers.

Music, Pantomime & Freedom in Enlightenment France by Hedy Law (review)

Reviewed by: Music, Pantomime & Freedom in Enlightenment France by Hedy Law Annalise Smith Music, Pantomime & Freedom in Enlightenment France. By Hedy Law. Woodbridge, Suffolk: Boydell, 2020. [xvii, 265 p. ISBN 9781783275601 (hardcover), $95; ISBN 978178749374 (e-book), price varies.] Music examples, bibliography, index. Hedy Law's Music, Pantomime & Freedom in Enlightenment France stems from a single question: Why did Jean-Georges Noverre refer to pantomime ballet as "an offspring of liberty?" (p. 4). Law more than answers this question in her monograph, providing the reader with an in-depth exploration of how composers incorporated pantomime ballet into their operatic works in eighteenth-century France, and the various ways in which pantomime was seen to both reflect and cultivate ideas of moral liberty during the Enlightenment. Drawing on a multitude of primary sources, Law [End Page 599] traces pantomime from the early eighteenth century up to the French Revolution, bringing necessary attention to a medium of dance that is often overlooked in discussions of French opera. This exploration allows Law to address some of the best-known composers of eighteenth-century French opera—Jean-Jacques Rousseau, Jean-Philippe Rameau, Christoph Willibald Gluck, Antonio Salieri—while also bringing attention to less well-known works that nevertheless indicate the depth to which pantomime was embedded in eighteenth-century operatic practices. Pantomime is most frequently interpreted as a type of dance in which performers adopt more naturalistic movements in order to express emotion and dramatic action, as opposed to the more decorative steps of traditional ballet. Individual scenes or dances that utilized pantomime appeared at the Opéra de Paris in the 1740s, while fully independent pantomime ballets, often called ballet d'action, emerged in the 1770s (though these works were always performed alongside another work). Law frequently touches on pantomime as a type of dance and its shifting hierarchical relationship with more traditional forms of ballet. A significant portion of her argument and discussion, however, is bound up in pantomime as a style of acting. As Law notes, in the seventeenth century, pantomime was not a genre of performance but a type of performer. Though pantomime was often associated with lower forms of drama in the early eighteenth century, by the middle of the century it had gained traction as a serious genre, one in which the traditions of ancient Rome might be revived. We can thus consider pantomime an element of the dramatic reform taking place throughout Europe at this time, one that was increasingly integral to both spoken plays and opera. The fame of English actor David Garrick stemmed in no small part from his skill at pantomime, with the actor viewed as the inheritor of the Roman tradition. Not coincidentally, his performances in Paris in the mid-1760s served as a model for how French actors, even those at the Opéra, could embrace pantomime as an expressive tool. In the beginning chapters of her monograph, Law addresses how pantomime first manifested in operatic dance. Rousseau's Le devin du village serves as an example of how dance could be used to communicate a complete dramatic idea without relying on sung text to convey the plot (albeit with some reliance on a printed libretto). Yet Law's focus on pantomime as a style of acting means that many of the examples she discusses—particularly in the operas of Gluck and Salieri—are not dance pieces at all but instead relatively short moments of instrumental music in the middle of arias or recitatives in which the performer engages in pantomime acting. Law convincingly argues that these short moments were conceived of by the composer as an opportunity for pantomime, pointing to actions suggested by the lyrics, certain figurations in the music that suggested motions such as sudden pauses or expressive gestures, or even specific directions in the score that directed the actor to move in a certain way. Collectively, these moments highlight the degree to which expressive acting was increasingly seen as a requirement of good drama on the operatic stage. While pantomime embodied a general shift toward naturalistic movement and acting, it was not just this turn in dramatic practice that led some writers to promote it as a "dance...

Mykola Lysenko’s «Kupalo Case»: Concert and Choral Implementation of Folk Rite

The purpose of the article is to identify the peculiarities of concert and choral implementation of the cycle of Kupalo songs in the interpretation by Mykola Lysenko. Research methodology is based on the synthesis of the folkloristic and art-studying approaches, which enable us to prove the fruitfulness of complementarity of various types of the artist’s creative activities. Cultural-historical, system-analytical and didactical methods are used in order to study the ways of concert reinterpretation of the folk-rite performance presented by a mixed choir with piano accompaniment, as well as to generalise the cognitive and spiritual values of that type of the repertoire. The scientific novelty of the research lies in the first analysis of the conformity of the composer’s idea and its implementation through the selected set of the expressive means to the content and essence of the ancient ritual authenticity on the example of a specific choral work. Conclusions. The ritual-choral cycle «The Kupalo Case» is a synthesis of folk archaism and innovative ways of concert enrichment of music language. Three folk songs under the common title are united by a dramatic idea, based on folk philosophy of the summer fest of Kupalo, its symbolism of purification through fire, water, and pairing of youth. The general cyclicality of the composition is cemented by an optimistic idea of glorifying the life. The piano part plays an important formative role, makes the verbal text more detailed and enriches the choral score in figurative and meaningful aspects. The harmonious language of the work contributes to the preservation of the archaic coloration. The general homophonic and harmonic texture sometimes reveals the signs of polyphonic layers, differentiated by male and female voices. Their layering reflects the contrast of timbres, registers, and character of melodies. As a result a peculiar style of choral theatricalisation is achieved, which coincides with the syncretism of the primary calendar-ritual performance.
 Key words: composer, folklore, calendar ritual, Kupalo, choral texture, piano part.

"STOP TRYING TO WIN!" CONTINUITY AND REFRAMINGS IN A DOLL'S HOUSE, PART 2.

Under what terms can the twenty-first century stage bring Nora Helmer back into her husband’s house? Lucas Hnath’s A Doll’s House, Part 2 (2017) attempts the paradoxical exercise of re-opening the discussion between characters which the end of Henrik Ibsen’s play had irrevocably separated, as though to satisfy our postmodern appetite for sequels (Genette, Eco). This paper examines the form of Hnath’s play as both a continuation of the “drama of ideas” concept and as a modern reframing, with more abstraction, irony and immediacy, of Ibsen’s issues. It argues that Hnath’s play participates in an ambition to “declassicize” Ibsen (as encouraged by Fuchs), while reaffirming the Norwegian playwright as our “contemporary” according to Agamben’s conception of the term. Beyond its endlessly open discussion of gender issues, this paper also seeks to replace Hnath’s play within American theatrical traditions, questioning how far innovation can go within the bounds of realism.

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«Violin» characteristics of Édouard Lalo’s «Symphonie Espagnole»

Statement of the problem. An arsenal of technical performance means can act as an indicator of the novelty of a work at a certain historical stage, opening the way to understanding both evolutionary processes in the field of performance, in particular violin, and the patterns of development of certain genres. The purpose of the article is to highlight the issue of “violin” and “non-violin” specifics on the example of É. Lalo’s «Symphonie Espagnole» (Violin Concerto No. 2, op. 21), which belongs to a number of violin concertos of the last third of the 19th century marked by the influence of a new wave of virtuosity. The question of “non-violinism” became relevant in the late 70s of the 19th century, when the concert repertoire was replenished with works that went beyond the performance ideal as a result of the composers’ rethinking of the principles of musical dramaturgy and, accordingly, the functions of the soloist and the orchestra. Subordinating technical tasks to the dramaturgy of the work, rather than showing the virtuoso capabilities of the instrument and the soloist, raises a number of issues related to the objective perception of the new sound artistic model. Thus, in the concert works for the violin of the last third of the 19th century, two approaches are evident – traditional and innovative. É. Lalo’s concert works, despite the presence of his name in scientific research, remain understudied. In particular, the approach to the analysis of the «Symphonie Espagnole» from the viewpoint of “violin” and “non-violin” characteristics has not been used before. Results and conclusions. The analysis of É. Lalo’s work according to several parameters proposed by us (the balance of solo and orchestral parts; the implementation of tessitura and dynamic tasks; the choice of strokes; techniques of playing – passage, chordal technique; fingering) with the purpose of identifying the specific “violin” nature in the musical text allowed us to come to the conclusion that the spread of the latest trends did not turn É. Lalo away from using purely violin techniques and artistically expressive means that maximized performance comfort. The evolution of the concert genre in the last third of the 19th century contributed to the emergence of a new format of the relationship between the soloist and the author, when the dramatic idea, the artistic content of the work became a priority in the composing process, and the transformation of the performance approach towards the subordination of the soloist to certain semantic dominants expanded the limits of performance possibilities. However, musicians did not reject the traditional approach; they preserved the continuity of performance traditions, which is proved by the works of É. Lalo, A. Dvořak, C. Saint-Saëns.

The Problems of Viewing Performance: Epistemology and Other Minds by Michael Y. Bennett

Reviewed by: The Problems of Viewing Performance: Epistemology and Other Minds by Michael Y. Bennett Brice Ezell The Problems of Viewing Performance: Epistemology and Other Minds. By Michael Y. Bennett. Routledge, 2021. Cloth: $160.00, eBook: $48.95. 150 pages. Michael Y. Bennett occupies a near-solitary place in what he rightly calls the "philosophical turn in theatre and performance studies in the new millennium" (3). This "turn" has to do with the philosophical tradition in which Bennett anchors his work: analytic philosophy. There are now numerous studies of other philosophical entanglements with drama and theatre that feature philosophers dating from the ancient tradition (Plato, in Martin Puchner's The Drama of Ideas) all the way up to twentieth-century thinkers like Hannah Arendt (in Minou Arjomand's Staged). But although analytic philosophy has been the dominant academic mode of philosophy in the United States and Great Britain for the bulk of the twentieth century and up to the present, it has received little engagement from the world of drama and theatre studies. In a 2018 special issue of Anglia on drama, theatre, and philosophy, Laura Cull Ó Maoilearca goes so far as to argue against the legitimacy of an analytic approach to theatre. A recent uptick in literary interest in the analytic tradition, particularly in the work of Ludwig Wittgenstein, has not, it seems, encouraged drama and theatre scholars to look in that direction. Except, that is, for Bennett. His latest monograph, The Problems of Viewing Performance: Epistemology and Other Minds, follows and builds upon his Analytic Philosophy and the World of the Play (2017). Where the latter offers a broad analytic approach to the events of a theatrical production, this new book applies a specific analytic subfield, epistemology, to a core theatrical "problem"—namely, the question of whether the experience of being in an audience is shared. As he does in World of the Play (where, for example, he argues that the events of a play occur in the past subjunctive rather than the present), Bennett advances some unorthodox positions. Chief among these is his claim that "viewing performance is not a shared experience," but is instead an "intersubjective" experience "often modified by other viewers" (3). To elucidate his position, Bennett brings together theatrical concerns with numerous philosophers and examples from analytic epistemology that will be familiar to philosophy undergraduates, such as Edmund Gettier's famous "Gettier cases." For many in theatre and performance studies without traditional philosophical training, however, this philosophy can be a useful new resource. The Problems of Viewing Performance initiates an intriguing conversation. [End Page 93] He is perhaps too quick to dismiss a good deal of scholarship on audience studies when he says that the "performer-audience model of theatrical production and reception is based on a largely unproblematized and simple conceptual structure of an audience at the theatre" (15); the aforementioned Staged is just one recent example of many monographs that theorize the nature of a theatrical audience. But Bennett wisely outlines the myriad ways that the questions raised by analytic epistemology bear upon our notions of audience, examined or unexamined. These questions include: "What is the nature of our own mind?" "What is the relationship between my mind and the minds of others?" The Problems of Viewing Performance utilizes a bipartite structure. These halves are neatly organized, as is the volume itself. Bennett writes clearly and precisely and is careful to define terms. Part I, spanning chapters 1–3, focuses on Bennett's analytic epistemological approach to the theatre, in which he troubles the commonsense notion that theatrical audiences have a "shared" experience. Part II, chapters 4-8, surveys a wide range of plays, including two medieval vernacular plays, Shakespeare's Hamlet, and some well-known works by contemporary playwrights such as Tony Kushner and Maria Irene Fornés. The topics explored in these stand-alone chapters frequently call back to The Problems of Viewing Performance's theoretical first half, yet at times the book drifts. The argument presented in chapter 5 about the medieval plays Le Jeu de Saint Nicolas and The Castle of Perseverance highlights the traditionally drawn boundaries between stage and audience, which naturally impact how audiences gather knowledge...

Doctus Amyclas. I presagi della tempesta in Luc. 5.539‒560 tra epica, poesia didascalica e retorica

Abstract In response to Caesar, who intends to reach Antonius in Italy, the boatman Amyclas sets out the celestial and terrestrial signs that foretell a storm and advises against putting out to sea (Luc. 5.539‒560). In this speech Lucan draws on the treatment of such phenomena in the didactic poems of Aratus and Vergil, but the allusions are remodelled in epic language and adapted to the narrative context of the episode. Further, in the story of Amyclas Lucan develops dramatic ideas mentioned in the specific passages in which Aratus and Vergil reflect on the utility of their teachings. Thus the boatman’s meteorological doctrina is highlighted, though he is unable to gain any advantage from it. In fact, in contrast to Palinurus with Aeneas in Aen. 5 and to the rector ratis with Pompey in Luc. 8, Amyclas does not try to dissuade Caesar from the voyage and agrees to accompany him. His speech shows affinities with declamations on the theme of sailing and the presence of adverse omens; however, the speech of Amyclas sounds like a suasoria that has been interrupted. This aspect focuses the impossibility of communication between the two characters: Amyclas, powerlessly external to the civil wars, can only appeal to the force of nature, which Caesar impiously defies.

Message from the Business Office

It's been a very hard and different year for all of us and we hope that everyone comes out on the “other side” stronger. ASLO continues to move forward with several new and adaptive plans, including a stronger commitment to diversity and inclusivity. We hope you plan to attend the 2021 Aquatic Sciences Meeting (ASM). The 2021 ASM will be held virtually, but with plans to bring out 2023 ASM to Palma de Mallorca. ASLO is the lead for the 2022 Ocean Sciences Meeting and we are definitely planning on meeting in person in Honolulu, Hawaii. Session submission is open and we have several new and innovative ideas planned as well as the presentation of great science and, most important, the opportunity to gather together! We recognize that climate change and greenhouse emissions weigh heavily in our minds as we start to think about travel. Unfortunately, much is needed to be done. Carbon trading or carbon taxes have not done much to put a deep cut in emissions. We cannot meet our needs with solar or wind energy, so new and dramatic ideas are needed. Bill Gates presents many ideas in his book, How to Avoid a Climate Disaster. He even admits to being a large factor in carbon emissions, but does show how he has tried to combat his usage. Making the transition to low carbon in our economy will be difficult and challenging. Regulations will not do it—major reforms will be needed. Stay safe and well—and we hope to see you soon.

Lesya Ukrainka’s creativity in the aesthetic parameters of modern national puppet theatre

Problem statement: topicality, novelty, methodology of the research. The logical grounds of this article are a requirement of the scientific understanding of specific of Lesya Ukrainka’s work in the national puppet theatre and absence of articles from the marked question. Based on the comparative, diachronicsynchronic, historical, evolutional methods and principles of analytical and culturological approaches, the aim of the article – creation of panorama of the works by Lesya Ukrainka in the Ukrainian puppet theatre of last XX – early XXI century, with the exposure of specific of their interpretations, – is realized as an innovative element of the reseach. The results of the study. Lesya Ukrainka’s work, as a representation of the Ukrainian culture polyphony and Ukrainian nation’s mental horizons specificity, purchased sign status and meaningfulness of the modern scale conceptual, vivid, thematic and expression field for the intensive creative searches of modern representatives of national puppet theatre. Meaningfulness of the creative inheritance by Lesya Ukrainka in the context of the Ukrainian puppet theatre is certified by it representation on the All-Ukrainian festivals, and also activation of it introducing to the modern repertoire of puppet theatre. Research of aesthetic parameters of the specific versions of Lesya Ukrainka’s works allows to establish the presence of certain repertoire dominants – such as the “Forest song”; gravitation to implementation of the earlier not typical for the puppet theatre works as the “Old fairy tale”, and the creation of original presentations, such as the “Lesya Ukrainka. Woman fate”, “Lesya’s letters” (in particular, on the base of epistolary inheritance by authoress). The specifics of embodiment of Lesya Ukrainka’s works in the Ukrainian puppet theatre of last XX – early XX century lays in their inter-textual modification, gravitation to creation of associative artistic space and to use the unconventional systems of dolls (plane- silhouette paper doll in presentation the “Old fairy tale”). In accordance with originality of conceptual foundation of Lesya Ukrainka’s works – drama of ideas – the modern stage directors appeal to the dramaturgical type that marked by secondariness of eventfulness relatively to poetics based on updating of palette of facilities of expressiveness and ideological concepts. Such innovations in “re-reading” of works by the authoress is a dialogue of doll and living acting, that creates two dimensions in development of action (“Stone Lord”, “Forest song”), the symbolic manipulations with the piece of paper (“Lesya’s letters”), creation of synthetic artistic space of the spectacle, that combine light, color, elements of shadows theatre and theatre of reader, living acting, work with the dolls of different constructions and like other, and also intention to the conscious limiting of facilities of expressiveness (monochrome and maximum narrowing space of scenic action in interpretation of the“Forest song”). An innovative touch in the puppet versions of Lesya Ukrainka’s works is the accentuation of mental markers of the national worldview, saturation with the national attributes and folk rites, which to the attraction of contemporary artists to revive the sources of national spiritual culture. In the pluralism of puppet representations, Lesya Ukrainka’s work is marked by a general tendency to philosophical and innovative affirmation of the national foundations of the worldview and the creation of a synthetic artistic space. Conclusion. Lesya Ukrainka’s work is an open and inexhaustible thematic line for the modern national puppet theatre not only due to the lack of an established tradition of its embodiment. Philosophical, symbolic, appealed to the foundations of the national worldview the contents of her work and unbreakable connection of it with world art culture – the attributive features of the creative world of the writer, which determine its timeless relevance for contemporary artists, the conceptual and expressive diversity of its interpretations.

НЕ ДЕКОДОВАНА ТРАГЕДІЯ НАЦІЇ В ДРАМАТИЧНІЙ ПОЕМІ “КАССАНДРА” ЛЕСІ УКРАЇНКИ

The article highlights Lesya Ukrainka’s authorial interpretation of the ancient Greek plot of the Trojan War through the worldview of the soothsayer Cassandra, which foresaw the tragedy of her hometown, doomed to die by the Achaean invaders. In her dramatic poem, the author did not emphasize battle scenes, but psychological conflicts related to the problem of adequate vision and decoding of reality as it is, and not as it is thought or imagined, so the main character inevitably comes into conflict with others. characters who tend to be manipulated while living in an illusory world, unable to verify the information offered to them by the demagogue and pragmatist Helen, who paralyzes the trust of short-sighted Trojans. Parallels with the Ukrainian reality in which Lesya Ukraine lived and the beginning of the XXI century. – quite obvious. History has taught no one anything. However, the playwright did not fall into didactics and moralization, did not illustrate the past, as contemporaries believed, so she had to explain the essence of the dramatic poem, only showed a script-metaphor not so possible as an inevitable national tragedy, but Ukrainians will trust charming simulacra, not harsh. reality. She proposed a “drama of ideas” inherent in the “new drama”, a tense intellectual agon of the Priam House, developed the plot dynamics on the existential border, which is inherent in her dramatic poems, which failed then and current theaters, because they did not find, mistakenly fitting them into the genre category Lesendrama.

ПОЕТИКА МІФУ В ДРАМАТИЧНІЙ ПОЕМІ ЛЕСІ УКРАЇНКИ “КАССАНДРА”

The article deals with the original author’s interpretation of the myth of the Trojan prophetess Cassandra in Lesya Ukrainka’s drama of the same name. It is observed that the reproduction of the ancient myth is based on the aesthetics of neo-romanticism, artistic tragedy and psychologism. It has been proved that Lesya Ukrainka’s dramatic poem “Cassandra” is a “drama of ideas” in which important issues of human existence are raised. The artistic embodiment of the myth of Cassandra occurs through the understanding of the problems of human destiny, choice, faith / despair, truth / falsehood, freedom / slavery, fidelity / betrayal, life / death, and so on. It is noted that Lesya Ukrainka’s Cassandra is an intellectual philosophical drama with deep psychologism, intense external and internal conflicts.

CULTURAL INTERTEXT IN G.B. SHAW’S PLAY “CANDIDA”

The article explores cultural intertext and forms of intertextuality in G.B. Shaw’s play “Candida”. The cultural intertext in the play was influenced by the author’s life circumstances, namely his position as an art critic, and his social stance alike. G.B. Shaw studied H. Ibsen’s legacy extensively and developed the Norwegian playwright’s views in his own works – which resulted in Shaw developing his own art theory and the principles of “drama of ideas”. “Candida” is a vivid example of “drama of ideas”, wherein the conflicts are determined not by external circumstances, but rather by ideas and philosophies expressed by the characters. Cultural intertext plays an important role in characters’ descriptions. In his play, G.B. Shaw uses different kinds of cultural intertext: artistic and literary (Titian, R. Browning, E.T.A. Hoffmann, Voltaire, the legend of Tristan and Isolde), religious (F. D. Maurice, the Virgin Mary, archangel Zadkiel), social (S. Grand, K. Marx, Fabian Society). It was determined that the name ‘Candida’ has been widely employed in culture, both in biblical stories and classical works of literature (Voltaire, E.T.A. Hoffmann etc). However, G.B. Shaw’s reception of this literary context is critical. While associations can be drawn between “Candida” and “Little Zaches, Great Zinnober” (in terms of plot, imagery, symbols and motives), it is clear that the British playwright seeks to enrich classical images with modern meaning. Therefore, he turns to the genre of mystery play, which allows for use of biblical imagery while also securing a tight bond to reality. The plot is based around the framework of a love triangles. As to how the conflict is resolved, on the surface level (text), the status quo pertains and societal norms are reinforced; however, on a deeper level (subtext), deciphering intertextual allusions and reminiscences changes perception of the conflict by the reader and allows to connect it to a broader cultural realm.

Socio-Cultural Aspects of the Standard Model in Elementary Particles Physics and the History of Its Creation

The article соnsiders the socio-cultural aspects of the standard model (SM) in elementary particle physics and history of its creation. SM is a quantum field gauge theory of electromagnetic, weak and strong interactions, which is the basis of the modern theory of elementary particles. The process of its elaboration covers a twenty-year period: from 1954 (the concept of gauge fields by C. Yang and R. Mills) to the early 1970s., when the construction of renormalized quantum chromodynamics and electroweak theory wеre completed. The socio-cultural aspects of SM are explored on the basis of a quasi-empirical approach, by studying the texts of its creators and participants in the relevant events. We note also the important role of such an “external” factor as large-scale state projects on the creation of nuclear and thermonuclear weapons, which provided personnel and financial support for fundamental research in the field of nuclear physics and elementary particle physics (the implementation of thermonuclear projects took place just in the 1950s, and most of the theorists associated with the creation of SM were simultaneously the main developers of thermonuclear weapons, especially in the USSR). The formation of SM is considered as a competition between two research programs (paradigms) – gauge-field and phenomenological, associated with the rejection of the field concept. The split of the scientific community of physicists associated with this competition is going on during this period. It’s accompanied by a kind of “negotiations”, which in the early 1970s lead to the triumph of the gauge field program and the restoration of the unity of the scientific community. The norms and rules of the scientific ethos played the regulatory role in this process. The scientific-realistic position of the metaphysical attitudes of the majority of theorists and their negative attitude to the concepts of philosophical relativism and social construction of scientific knowledge are emphasized. Some features of the history of SM creation are also noted, such as the positive role of aesthetic judgments; “scientific-school” form of research (in the USSR), its pros and cons; a connection to historical-scientific “drama of ideas” with “dramas of people” who made a wrong choice and (or) “missed their opportunities”.

Krapp's Last Tape and Breath as Algorithmic Performances: A Heuristic

Samuel Beckett's Breath and Krapp's Last Tape feature stage directions as algorithms that show basic human processes or actions as amenable to programmatic interpretation. Both texts highlight repeated actions and inscribe this repetition into the language and/or the looping behaviors of the characters. Emphasizing the inchoate algorithms these texts contain underscores the connection between Beckett's dramatic ideas and contemporaneous discourses on the computability of physical and mental states.

Interconnectedness of the Philosophical and Aesthetical Views and Principles of Polyphonic Thinking in the Time of Baroque

The article “Interconnectedness of The Philosophical and Aesthetical Views and Principles of Polyphonic Thinking in The Time of Baroque” is focused on the combinatorial method as the key compositional idea of polyphonic music of J. S. Bach; it emphasizes parallels between the scientific and artistic ideas of the time. The article also explores the interconnectedness of the philosophical-aesthetic, mathematical, and artistic cognition of the world in the Baroque period and its reflection in the music of J. S. Bach. Polyphonic thinking is viewed as a creative phenomenon in the larger context of the historical development of Western European music. The article employs a complex method, a synthesis of various structural approaches ranging from the traditional methods of theoretical musicology to those of other sciences, structural linguistics in particular. Aria No. 3 from Bach's “Magnificat” and canon in four from his “Musical Offering” are brought into discussion as the works, which feature combinatorial method in Bach’s instrumental and vocal-instrumental writing. J. S. Bach uses combinatorial technique of two types - permutation and combination. Tones, motives, and larger thematic constructions could become subjects to permutations. The criterion for the selection of elements that participate in the combinatorial game is the principle of similarity and difference and the contrast between repetition and non-repetition, variability and immutability, which, in their turn, become manifestations of Ars combinatoria. The combinatorial method in Bach's music is not only its key compositional idea (at the level of operating with a limited number of intonational motifs-symbols in the infinitely large number of their combinations through different spatial relationships), but also the main factor in the continuous development of the dramatic idea, which corresponds to G. W. Leibniz’s principle of “maximum and minimum.

Musical iconography of Annunciation: personal experience

Musical iconography of Annunciation: personal experience

Piano quartets by F. Mendelssohn as a phenomenon of the Romantic era

Piano quartets by F. Mendelssohn as a phenomenon of the Romantic era

ТВОРЧІСТЬ ҐЕОРҐА КАЙЗЕРА В РЕЦЕПЦІЇ ЮРІЯ КЛЕНА

The given article deals with Klen’s research of the German dramatist George Kaiser. The main parameters of artistic universe of this author are presented in the article. There are also outlined the methodological strategies of research the German dramatist’s creativity by Yuri Klen – a well-known Ukrainian literary critic. Georg Kaiser is one of the brightest representatives of theatrical and literary expressionism. His plays are the unique phenomenon in the 20th century drama. His expressionism appeared to be the special one and the global and scope of plots allowed scientists to call G. Kaiser a «new myth creator». Among world scientists, who comprehended the features of author manner of this sign artist for history of world drama, a main place belongs to the Ukrainian literary critic – Yuri Klen. In his scientific work there is the article «George Kaiser», which an author compositionally divides into seven parts. Its pre-condition is an original metaphorical lineation (vivid registration of which is adopted from astronomy), structural-semiotics assertion that every writer creation has a basic idea or favourite main image, that can be found in many writings of the author. However, in the Ukrainian literary critic’s opinion, it is not impossible to say it on the first sight about George of Kaiser because every work of this author has a new incarnate idea, new and unexpected development of a plot, new and original interpretation of that problem which has been solved in his previous works. In the article “George Kaiser” by Yuri Klen the biographic approach can be highlighted while analyzing creative works of the German dramatist. The Ukrainian literary critic also outlines the secrets of psychology of the German artist creation in expressionism manner. Expressionism drama is always drama of ideas; therefore acting persons of this drama are not individuals, but types which helps writer to lead the general action of the characters. Yuri Klen asserts transformation of images in dramas by George of Kaiser, their original reduction up to separate characters and allegories: his characters lost the outlines of people and become symbols of idea, super individual creatures, typical samples, and logic of acting can be sacrificed for the sake of the higher logic – logic of composition and dramatic construction. Few times a researcher accents on closeness an artistic world view of the German dramatist to cubism: characters mainly don’t have the names, but appear on the stage under the names: a «father», «multimillionaire», «black», «yellow» – they are structural formulas. Summarizing these the structural-semiotics searches, Yuri Klen marks once again that in George Kayiser’s works can be found: 1) central idea of man renewing which is peculiar for all his creative work; 2) leading motive of escape-chasing and 3) element of contingency which manages events, that is a case-shove which suddenly gives dynamic of action and sets fire before a man as a distant lighthouse – dream about renewal. It is also possible to assert that researches of expressionism by some authors whose creation correlates with expressionism views demonstrates complete maturity of Yuri Klen to be a serious literary critic armed by the newest methodological approaches to study literature as theoretician and practician of literature studies.

El guionista chileno: análisis cuantitativo sobre el oficio de escribir para cine

The study describes the methodology used to construct the script in the Chilean cinema of the last decade. The results come from questionnaires applied to more than sixty filmmakers (screenwriters, directors and producers), and confirm the existence of guidelines or ways of working for writing in the stages of preproduction and editing, noting the coexistence of various creative processes in those involved in the writing, both in the generation of the dramatic idea and in composition. The paths are as varied as filmmakers exist; thus, the script seems to be seen more as a methodology than as a finished text.