Essence Of Art Research Articles

Към елиминиране на догматичната естетика

The process of liberation of Bulgarian culture from the orthodox aesthetics founded on class politics began in 1956 as an integral part of the general process of destalinisation and developed thanks to the formation of another generation of researchers in the field of aesthetics and criticism. This process developed mainly along the following lines: a) a search for a new answer to the question of what the essence of art is, an emphasis on its humanistic significance and critical social role; b) a decisive move closer to the current problems of artistic creation and to the innovative artifacts of modern Western art; c) the autonomous presence of art in social life requires a fundamental rethinking of form in relation to artistic content.

“ORNATUS DIFFICILIS” STYLE IN “THE TALE OF IGOR’S CAMPAIGN”

The opinions of scientists about the extent to which the text of “The Tale of Igor’s Campaign” was comprehensible to its contemporaries are divided. Some believed that “The Tale of Igor’s Campaign” was a folk work in the deepest sense of the word; its artistic essence was widely accessible to everyone. Others insisted that the refined and figurative style of the work required cultured readers, which made it a work for a select few. D. I. Chizhevsky, R. O. Yakobson and other scientists compared the style of “The Tale of Igor’s Campaign” with the “ornatus difficilis” style of Western European poetry of the 12th–13th centuries. According to R. O. Jacobson, it was characterized by riddle techniques, a concise hint instead of a detailed narrative, a deliberate heterogeneity of linguistic means, the use of neologisms, a complex game of tropes and figures, a deliberate combination of unrelated genres and sources, and a combination of pagan and Christian elements. According to the V. V. Kolesov’s reasonable remark, this overly broad characteristic of the style of “The Tale of Igor’s Campaign” still requires argumentation. In order to confirm the hypothesis that “The Tale of Igor’s Campaign” is a work in the “ornatus difficilis” style, this article examines some still partially unresolved readings of the monument, the understanding of which is complicated by stylistic techniques associated with the use of vocabulary and phraseology: individually authored or rare words, dialectisms, polysemous words and phrases that generate ambiguity (amphibolism) in the text, as well as phraseological occasionalisms.

Метод стилизации как способ формирования визуальной грамотности и образного мышления у художника, дизайнера

The article describes the method of artistic stylization. The issue of stylization as one of the methods of organizing an artistic image is considered. The essence of the styling method is defined. The importance and substantiation of the role of artistic stylization in the system of art education is revealed. The positive aspects of the stylization method are revealed. It is proved that the basis for the formation of the professional qualities of an artist, designer is drawing. Academic drawing is the main tool in solving creative problems. The relationship between drawing from nature and stylization is analyzed. The definitions of “Style” and “Stylization” are given. The necessity of searching for and introducing new, effective methods, techniques and techniques into the system of art education is described. The importance of systematic analyzing activity in the performance of tasks is revealed. The problem is considered and the importance of the development of figurative thinking among artists and designers is substantiated. Scientific works on style and style formation, methods and techniques of stylization, development of artistic and figurative thinking are analyzed. The essence of style was formulated by E. Gombrich. G. Wölfflin characterizes the style. The value of the integrity of the stylized composition is revealed by V. Shestakov. A statement about the essence of art by A. Bogomazov is presented. The concept of pictorial representation as a process of rethinking N. Kosenko is disclosed. E. Ignatiev reveals the essence of the usual “vision” and the artistic “vision” of an object. The stylization of G. Logvinenko is characterized. It is proved that stylization can be created on the basis of previously seen and stored information about the surrounding reality. It is described what is necessary to develop a decorative vision. The conclusion is made about the importance of the stylization method in the learning process and for the development of the professional qualities of an artist, designer.

REPETITION OF SOUNDS IN THE WORKS OF THE POET U. ESDAULETH

The article deals with the use and repetition of sounds in the works included in the collection of U. Esdaulet "Gumyr zhas". A word in versification is not only an element of a sentence, designed to complement or decorate a lyrical image. The word itself, and more specifically, the letters and sounds of which it is composed, can form a picture or its details in a poem. U. Esdaulet often uses this property of speech, using a number of phonetic devices in his works, such as anaphora, epiphora, various refrains, assonance and alliteration. The latter is one of the most common ways to create a special sound pattern of U. Esdaulet's speech. Analyzing the frequency of words in the poet’s works, their specificity, there was an attempt to reveal their artistic essence. Through a poetic text, he added to the treasury of the national language, creating new colors, new phrases brought a new poetic spirit. Demonstratinga high poetic skill through accessible words and phrases, he created new epithets, thereby singing the high aesthetics of the language. Choosing the most suitable means of language in the development of artistic poetry, he creates a unique work of art. Here the poet can skillfully choose the possibility of changing the aesthetic meaning of words. Thus, the poet creates original artistic images.

Digitalization of the music industry: trends and prospects

The purpose of the article is to analyze the main trends and trace the prospects of the music industry’s digitalization. The research methodology is based on the application of methods of scientific knowledge and systems analysis (deduction, induction, analysis, and synthesis). The scientific novelty of the obtained results is identifying and analyzing the main trends in the digitalization of the music industry and outlining the prospects for its further development and issues of its cultural research. Conclusions. It is emphasized that the technologies of social media, augmented and virtual reality, and artificial intelligence, streaming have radically transformed the ways of interaction between performers and listeners. Advances in music technology have stimulated the emergence of know-how in the creation of music, which, after all, is the essence of art. Emphasis is placed on the obvious need to study trends in the music industry – the irreversibility and unpredictability of technological change; also, the ambiguity of their evaluation encourages a thorough study of the digitalization specifics, which benefits of balanced implementation lead to its rapid spread and provide a growing impact on the entire music industry. It is noted that the principles of the music industry, new opportunities for music creation, options for interaction between performers, musicians, listeners and intermediaries, tactics of music consumption, as well as other transformations deserve special research attention. The culturological consequences issues of digitalization of the music industry also require consideration, including assumptions about the possible disappearance of the specialties of composer, conductor, performer, musicologist and others. The description of the transformations taking place in the industry can indicate the line of actions necessary to maintain balance in the situation caused by digitalization.
 Ключові слова: music, music industry, virtual reality technologies, digitalization.

Константин Коровин в воплощении своего литературного наследия

The subject of the article is the literary heritage of the outstanding Russian artist Konstantin Alekseevich Korovin (1861–1939): memoirs, stories, and letters at the turn of the 19th–20th centuries. The article represents an attempt to supplement the studies of the artist’s work, drawing attention to his literary heritage. It reveals the broad socio-cultural context of the works under analysis, as well as a wide range of problems that had an impact on Korovin’s life. The emphasis in the article is on issues directly related to the development of artistic culture. In this regard, within the view of the author are the philosophical and psychological reasons for turning to the genre of memoirs as an important component of the functioning of the artistic and cultural space. The author analyses how in his literary works Korovin constantly addressed himself to the questions of the nature and essence of art, its inexplicable mysteries, the meaning and purpose of the creative process. The article deals with such concepts as artistry, intuition, the inherent value of beauty and artistic creativity. It is emphasized that for Korovin, as well as for many of his like-minded friends, the intuitive characteristics of art and artistic inspiration did not mean abandoning the issues of skill, careful study and accurate knowledge of the depicted subject. In this regard, discussions about the creation of musical and theatrical images by the artists’ contemporary, the outstanding singer Fyodor Chaliapin, which are contained in Korovin’s memoirs, are of particular importance. It is significant that Korovin combines reflections on the essence of art with descriptions of the everyday life in prerevolutionary Russia. The artist pays particular attention to events related to the social and cultural crisis against which his work unfolded. A special place in the article is given to the artist’s attempts to comprehend the complex social processes of the early 20th century, and the relevance of addressing the issue for the development of modern culture.

Паратекстуальність роману М. Продановича «Колекція»: авторська концепція, історико-культурний к

At the present stage of comparative research, a solid theoretical and methodological basis for the phenomenon of intertextual relations has been developed, which allows for a differentiated approach and maximum response to the diversity of intertextual phenomena. Special attention is paid to various forms and genres of intertextual relations, and in particular paratextuality. According to its definitive qualities, it is obviously prone to heterogeneous figurative combinations and modifications, in particular, with discourses for which the primary definitive criterion is semiotic-sign morphology. The modifications made possible by this format, of course, are relevant in highlighting the diverse experience of literary poetics. From the perspective of this combinatorial tendency, the work of Mileta Prodanovich ‒ a contemporary Serbian artist, art critic, writer, winner of national and international awards in the field of literature, attracts more and more research attention. One of the iconic works of the artist is the novel “Collection”. The work is a response to current events in the field of culture ‒ both its modern conceptualization and special phenomena that shape today`s national and world cultural paradigm. In the scientific discourse a significant experience of understanding the poetics of Serbian great prose has been formed, as evidenced by published during the 20th and early 21st century works of domestic and foreign scientists. Accordingly, the expression in the work of M. Prodanovich “Collection” of the modification of paratextuality, realized in interaction with other manifestations of intertextuality, is relevant. The aim of this article is to focus on the figurative content of the paratextual component of the work in relation to poetics in accordance with other strategies of comparative studies, to determine the priorities of formal, semantic and contextual dimensions, the historical and cultural fate of the reality. The research is based on the productivity of comparative-historical and genetic-typological methods in combination with structural analysis and cultural-semiotic approach. The figurative content of the paratextual components of M. Prodanovich`s novel “Collection”, realized in the format of the title and a number of epigraphs, testifies to the existing threshold function, diversified by the original author’s improvisation. In its formal implementation it is necessary to distinguish a kind of complementary combination with figurative solutions that meet the definitive requirements of intertextuality, in particular allusions, as well as ekphrasis. The figurative actualization of the phenomenon of the ancient silverware collection Sevso plays a decisive role in the pronounced configuration. There are two supplementary lines in the system of complementary combination at the level of meaningmaking. The historical and cultural dimension of the reality, whose allusive and referential power proved to be decisive for the poetics of the novel, reveals in the work semantic reflexes related to such a prospective line as the humanization of the aesthetic. At the same time, the allusive actualization of the real context of this reality highlights a powerful semantic and meaningful plan. It should highlight the situation in which, because of unworthy violations of civilizational conventions derived from ethical norms, beautiful works of art, as the top embodiment of beauty, full of good inspiration, can’t fulfill its noble mission, provided by the essence of art: to bring good and joy to people. In the general sense-making, the trajectory of the postulation of the idea of the aspiration of humanity is announced by the semantic projection from the paratextual position in the figurative world of the “Collection”. Thus, in accordance with the contextual prospectus and the author`s concept, a set of priorities essential for the meaning of the novel is consolidated. They define the contours of the need for responsiveness and justice, and it turns out that the desire for good and humanity is potentiated.

Introduction. Confronting the Challenges of the 21st Century

Introduction. Confronting the Challenges of the 21st Century

A Puzzle for Readers of Arthur Danto’s Aesthetic Theory

A Puzzle for Readers of Arthur Danto’s Aesthetic Theory

The essence of art: cultural and psychological discourse

The author starts from the concepts and understanding of the art of M. Bakhtin and L. Vygotsky, which he analyzed in his other works. For a better understanding of the theses, three cases are examined and analyzed — the novel by Israeli writer Meir Shalev “Two bears came out of the forest”, a poem by Marina Tsvetaeva and the process of opening an artistic image by a small child. Several issues are discussed: problems that could worry Shalev and his readers, some features of the author's work that made it possible to create the artistic reality of this work, the features of artistic reality, the mental mechanism that generates strong emotions of readers. The techniques and means of expression used by Shalev in the course of creating his novel are analyzed. The factors (semiotic, personal, cultural) that determine the independent existence of artistic reality, as well as the naturalness and realism of its events are analyzed. These events are more real and natural because Shalev opens the way for the reader to the events of artistic reality, allows him to see the whole, emphasizes the most important. An important role is played by the genius of Shalev as a storyteller, his wonderful language. It is concluded that the necessary conditions for the creation of artistic reality and the living of its events are the semiosis of art and a special form of human life in art (leisure according to Aristotle, “non-utilitarian form of life” according to the author).

Problematizzazione, contesa e rivalutazione del bello nell’arte, tra relativismo filosofico, pratica artistica e senso comune

Aesthetic perception is today a confused and controversial experience. In common sense relativistic conception of beauty, coexists with the consideration of the so-called “masterpieces” as works in which there is a stable aesthetic value. Philosophical and scientific relativism seems to have definitively set aside the conception of beauty not only as a universal value, but also as the essence of art, as it is counted among those universal metaphysical values, which have long been questioned. But some philosophers, such as Severino, say the opposite. Today seems to be a tendency to rediscover beauty above all in art, as a contemplative perception. Would the eventual return of art to beauty mean a return to universal metaphysical values? The difference between Kantian adherent beauty and free beauty is analyzed. The first is linked to metaphysical values, as an expression of an idea. The second, free beauty, on the other hand, has no metaphysical characteristics because it is not linked to a concept, therefore an expression of empirical harmonies. But also with regard to free beauty, the Kantian idea that sentiment can perceive its universality as an intersubjective value, is today difficult to accept both theoretically and empirically. This happens because today sentiment is no longer cultivated in the perception of beauty through canons, which are also disqualified for the pretense of universality in determined forms. Here, too, a distinction must be made between classical anthropometric canons and archaic non-naturalistic canons. We discover that the former are affected by a metaphysical foundation, while the latter reveal a different structure with other functions. According to Florenskij, the canon is not oppressive but liberating. On these suggestions and on empirical evidence we theorize that the (non-naturalistic) canon constitutes a guide for the recognition of a polyvalence of expressive language in which feeling coordinates with the other functions of consciousness, leading to transcend language itself in a non-metaphysical dimension. This suggests that this polyvalent structure that emerges from the canons is associated with beauty, as aimed at its realization.

PHILOSOPHY OF THE ART OF LAND ART

Land art is an artistic activity, the object of which is a real fragment of the natural environment, which is interpreted by the artist not so much as the location of the work, but as the context in which his idea is concentrated. The landscape is understood as a reflection not only of ecology, but also of philosophy, sociology, history, anthropology, mythology, symbolism, and cultural history. Philosophical reflections on time and space, the importance of contexts, the understanding of fluidity, the temporality of any human intervention in nature were the original sources of many land art concepts. The purpose of the article is an attempt to determine how the philosophical practices that nourished the creativity of land art artists influenced the essence of this artistic direction. Using the method of analysis of literary sources and examples of land art, the connection that can be seen between the considerations of R. Smithson, an American artist, one of the first and leading practitioners and theorists of land art, whose texts became programmatic for many successors, and Martin Heidegger, one of the more famous philosophers of the 20th century, who considered the essence of art in the concepts of existence and truth. Smithson turned to phenomenological practices from the 1960s until the end of his life. Acquaintance with the artist’s philosophical thoughts along the lines of phenomenology of perception, a unique attitude to work with the land and forms of art representation, as well as an attempt to determine the importance of contexts for art – provides an opportunity to understand his works in a new way. Land art as an art is, first of all, work with an idea, a symbol. Philosophical background gives a special elitist taste to such works, it seems that their authors know something beyond the average vision of the world. And this approach, in our opinion, sharply separates land art from design practices, on which it undoubtedly has a great influence.

About One Cinema Ekphrasis of Sh. Abdullaev

The results of the study of the genre form of ekphrasis in the context of the “visual turn” in the 1990—2000s are presented in the article. A particular case — Shamshad Abdullaev’s poem “Two Films”, which combines the impressions of two films by Spanish director Jose Luis Guerin “En la ciudad de Sylvia” (2007) and “Tren de sombras” (1997) are examined in the article. It has been established that this text is both a narrative about reception and an experience of “poetological” utterance, in which the poet speaks about his understanding of the essence of art, the nature of the creative act, connections between poetry and visual imagery. This is a “complex ekphrasis”, involving the alignment of motives and plots of different works in a single semantic series. Ekphrastic description includes both the reproduction of plot-significant scenes and the peculiarities of the film language. It is proved that the reception of cinema is mediated by other artistic codes (photography, literature), complicated by reflection on the language of philosophy and aesthetics (“mono no aware”, “nunc stans”). The semiotics of the visual, therefore, arises at the intersection of different cultural codes and contexts.

Kazimir Malevich in Avant-Garde Discussions in 1928–1930

The article is devoted to the figure of Kazimir Malevich as an artist and art critic, who introduced new tendencies and approaches to the depiction of objects into traditional art; representation of the artist in avant-garde discussions in the period of his teaching at the Kyiv Art Institute in 1928–1930; searches and experiments of the artist, which were closely connected with the feeling of modernity and new impulses in culture. Malevich’s activity on creation of a unique history of art of Modernism is revealed. It is shown that the scientific controversy between artists over traditional approaches and pictorial methods acted as a catalyst for the development of a new direction in modern art. Discussions between Kazimir Malevich and Mykhailo Boichuk became fundamental for an artistic discussion which continues among contemporary artists and art critics. The artist based his work on objectlessness, which became a method of interpreting art. In this way, he shifted the emphasis from defining the content to defining the form, the very essence of art. Being a theorist, Kazimir Malevich discovered the patterns of development of art form, explaining the importance and sequence of emergence of each new direction: Suprematism, Cubism, Cubofuturism. Artistic discussions with contemporaries were of great importance. Malevich’s ideas continued to spread thanks to students and like-minded people who developed them and developed new approaches to painting techniques. The experience embodied by the artist at the Kyiv Art Institute showed the peculiarity of the artistic space that was formed in Kyiv in the late 1920s. Kazimir Malevich’s ideas are a promising scientific research for both historians and art historians as they show new facets of the avant-garde style.

Inderendence: art word and cultural code

The independence of each country determines the unique values of that nation. Independence is reflected in the politics, social status and spirituality of the people. From time immemorial, the Kazakh people through the art of words conveyed in their minds the idea of freedom, patriotism and independence. The article analyzes the national and cultural nature of art of speech in the period of independence on the basis of te[ts. The purpose is to determine the value of a literary work of the new era in the nature of free thought, national cognition. It is known that in the period of growing integration between the sciences, the nature of speech, philosophical and mental peculiarities prevailed.The ancient heritage of the people – from folklore to the desire for independence – is highly respected. Folklore is a special art. Folklore, going beyond philology, includes such disciplines as ethnography, ethnology, music, psychology. Folklore is a phenomenon of artistic creation, it arose and developed on the basis of everyday life and in connection with many other manifestations of worldview syncretism. Therefore, folklore develops in connection with the history, culture and life of the people and testifies to the worldview of a person. The concept of tradition is widely used in both folklore and literature. But they are different from each other. Folklore is a part of everyday phenomena, the totality of which is studied by ethnography; fiction is part of social and cultural phenomena. Together, these two concepts determine the characteristics of the art of speech of each nation, the artistic essence, the national idea and structural-figurative features. This feature of the art of the word constitutes a cultural code. The cultural code is a mental, national feature of the people. Its origins have stabilized the idea of independence. Key words: independence, nation, value, code, folklore, fiction.

A Hermeneutic Exercise of the Convergence between National Features and the Modernity of the European Spirit

However ungrateful the situation of Romanian writers who express themselves by means of a language with a limited circulation – the Romanian language – may remain, quite a few of them are European writers. This is reflected in the role they play in their national literature, the modern contents and artistic expressivity of their works and, last but not least, their commitment to the active conscience of human community. The present article is aimed at undertaking a hermeneutical exercise of a centuries-old, fruitful history of cultural and literary Franco-Romanian relations from the beginning until the second half of the 19th century. We will mainly address the topic of Vasile Alecsandri and his generation, who struggled with all responsibility for the development of these relations. This study proves how the Romanian writer, truly European by character, knew that the convergence between national specificity and the modernity of the European spirit is the basis for literary success, the longevity of his works and the cultural relations between his nation and France. Literature has always meant a value of human equilibrium, civilization and humanization. Taking into account all that has been mentioned above, we believe that dwelling at some length upon the exemplary demonstration of the Romanian Europeanism carried out by Vasile Alecsandri in his human and artistic essence, cannot be anything but legitimate, opportune and useful.

From the Carracci to Joseph Beuys — on the principles of dissent in art education

Dissent has its own special place in art education. It has two stereotypical, polarized faces. The first is a classical institution modelled on Italian and French academies. As official places, they aimed at elevating art to the rank of science and making it an expression and instrument of power. The opposite image of the school is an oasis of intellectual freedom, a space for inventiveness, a place for applying unusual teaching methods and organizing the academic community. The most famous examples are avant-garde acctivities. This historical division is unreliable in fact. Dissent or even rebellion can be an instrument of morality and principles that could be followed. Quite unexpectedly, a peculiar anarchism can be found in the first art academy run by the Carracci. The name ‘academy’ popularized among the Italian humanists and Marsilio Ficinno, drew attention to the informal nature of scientific associations, opposing the fossilized formula of the university existing since the Middle Ages. It is surprising then that Joseph Beuys just created the Free International University. The very name of school and its understanding indicate a significant dichotomy not only in art education, but also in art theory. The point is not that the model of education has simply loosened over time. The above-mentioned facts reflect great disputes about the essence of art, about its relationship with science, everyday life, and practical application. An analysis of specific programs will allow us to see the sense of the mutual connections between rebellion and principles in modernizing artistic education.

The experience of holistic analysis of art

This article compares two approaches: scientific, which is oriented towards the ideals of natural science; and holistic, which is oriented towards humanities. The author attributes the work of L. S. Vygotsky “Psychology of Art” to the first approach, however notices that the founder of Soviet psychology implements humanistic approach in addition to natural scientific. The object of this research is the aesthetic response; Vygotsky shows that art is the so-called machine of human development. In contrast to this, within the framework of holistic approach, the author outlines the two basic patterns that should encompass the wholeness and essence of art. On the one hand, this is artistic communication, while on the other – artistic reality. Artistic communication has ambivalent characteristics: as a special non-utilitarian environment of human life and communication, as well as historically formed semiosis of art. Both characteristics are explained using a brief genesis of establishment of art, simultaneously demonstrating the role of philosophical reflection, which is the key in determination and description of the artistic reality of artworks. The author aims to show that although artistic reality represents an artifact created with the use of expressive means, it is perceived by the audience as the world of natural events. The latter allow the audience to live to the fullest and fulfill their personality. The article discusses the alternative concepts of the purpose of art, as well as the role creativity, and realization of the writer's worldview.

SPECIFICS CHRONOTOPE IN THE MODERN PROSE OF KAZAKHSTAN

The chronotope issue has been relevant in literary criticism for several decades. Furthermore, Plato argued that the essence of art is an imitation of real life. Aristotle pointed out that art creates its own world as something possible or probable and thereby reveals the essential properties of the real world. This article attempts to summarize the main research results on the problem of spatial images and the chronotope as a whole and thereby determine what is the specificity of the image of space, what is its role in a particular work. The purpose of the study is to establish the role of the chronotope in the recreation of the artistic image of Kazakhstan. In modern prose, chronotopic parameters are traced, the topography and symbolism of urban space are examined and its essential characteristics are given. In our opinion, the chronotope is an important modeling tool of literature. The appeal to this problem is due to the fact that the organization of the chronotope in the modern literature of Kazakhstan has become much more complicated in comparison with the traditional space-time paradigms. Anel Meken and Anastasia Skripnikova demonstrate their virtuoso «play with time and space». Time and space set the parameters of the artistic world of the work. Their relationship in prose reflects the structure of the author's consciousness, their worldview, and the system of philosophical ideas and, therefore, their interpretation is a search for means of expressing the author's idea. The study of the categories of time and space allows one to penetrate deeper into the «fabric» of a work of art, to reveal the specifics of its construction, to determine the concept of the writer's world. However, despite such different positions of researchers, controversy continues to this day in literary criticism.

Methodology of studying art: sociology, culturology, and art history

This article describes the capabilities of methodology of studying art in the three interrelated scientific fields – sociology, culturology, and art history. Emphasis is placed on determination of the key criteria of comprehensive approach towards the analysis of art: each of the three scientific fields may have its own unique criteria for such analysis, but there also universal criteria that allow most fully assessing the essence and purpose of art, considering the general trends of its development in modern reality. The subject of this research is the methodology of comprehensive analysis of art using the instruments of sociology, culturology, and art history. The main conclusions are as follows: 1) disclosure of the content of the methodology of studying art; 2) determination of various criteria for comprehensive analysis of art within the framework of sociology, culturology, and art history; 3) demonstration of capabilities of using certain criteria in analyzing the essence of art and artworks; 4) focus on the social dimension of art, touching upon the heuristic value of the methods of applied sociological research; 5) characteristics of the capabilities of studying the symbolic nature of art in the context of culturology; 6) assessment of the development trends of the methodology of modern art history.