High Art Research Articles

PECULIARITIES OF THE ARTISTIC LANGUAGE OF THE UKRAINIAN ARTIST YEVHENIA GAPCHYNSKA

The subject of the research is the developments of the modern Ukrainian artist Evgeniya Gapchinskaya, who is now successfully working in various fields of art and design, ranging from jewelry and book graphics to monumental mural art. The purpose of the work is to investigate the specifics of the artistic language of the named artist in the context of the development of modern mass culture. The methodology of the work is based on a combination of chronological and the principle of scientific comprehensiveness, art history, design and culturological approaches, ontological, axiological, hermeneutic, historical-comparative, cross-cultural and art history analysis methods. The results of the work allow us to understand the secrets of E. Gapchinskaya's success in the field of contemporary art and design. The scope of application of the results – artistic and design practices of the present, history, theory and criticism of art, teaching activities for students and graduate students of creative specialties. Findings. It was found that the artistic language of Yevhenia Gapchinskaya was formed under the influence of Ukrainian and German artistic traditions. Taking into account the one-year internship in Nuremberg at the beginning of the formation of the artistic language, the author was inspired in her artistic searches by the impulses of the high art of the Northern Renaissance and mannerism. In particular, the work of I. Bosch and P. P. Bruegel the Elder (Peasant), whose phantasmagoric language still has a significant impact on the work of young European artists. Also, the formation of the artistic originality of Evgenia Gapchinskaya's handwriting was significantly influenced by the Dutch and Flemish art of the 17th – 18th centuries, headed by Frans Halls and Rembrandt van Rijn, and individual searches for Baroque-Rococo artists from other European countries – J. B. Greuze and T. Gainsborough. In general, the specific artistic and figurative manner of E. Gapchinskaya was influenced by the artist's appeal to related areas of knowledge – nail design, creative work with plastic, environmental design, advertising, image-making, art gallery business, restoration, art management, marketing, logistics and the like.Key words: artistic manner of creativity, Evgeniya Gapchinskaya, Ukraine, the beginning of the XXI century.

Air and Ghosts

91 ERIKA VEURINK Air and Ghosts • nne Sexton called her relationship with the monk Brother Dennis Farrell “a love built on air and ghosts.” He told her he loved her. She told him he was haunted. It began with a fan letter he wrote her in 1961 after the publication of her first poetry collection. Fan mail is generally one-sided optimism, but who has ever written without the slightest hope of being the exception ? This is my understanding of prayer. Correspondence is inevitably imbalanced. ‘ Anne Sexton wrote back to Brother Dennis. She wanted to believe in God. Could he help her? She thought of God as “large, covering up the sky / like a great resting jellyfish.” I think God would rather be called a feeling than a sea creature. But if he created both, what’s the harm? ‘ Conversion is courtship of ideology. When Anne Sexton told the monk “for some reason I love faith, but have none,” she was offering a challenge. I have a theory. In every relationship one person releases a fantasy while the other enacts one. If timed perfectly, it’s compatibility. When we love the wrong things well, we are caught in the miscommunication of what it means to be human. ThefirsttimeIlovedarightperson,itfeltlikefallingasleepontime. ‘ Another theory: Pick a god. Hold it loosely. a 92 ‘ Brother Dennis mailed Anne Sexton a crucifix after the exchange of a few letters. He introduced something physical to the exchange. He braved a new dimension. The cross was something to sink her teeth into. ‘ My pastor growing up said, “We should all be wearing empty tombs around our necks. It’s the resurrection that matters, not the death on the cross.” But where is the romance in an empty tomb? The cross and Christ were soaked in blood and vinegar, lit by cracks of lightning. It was a seed then a tree then a vessel then a grave then a symbol. Sexton fashioned a necklace out of the crucifix with packing string and wrote that she would “never wear it without a feeling of humility and awareness.” As a kid, all I wanted was to know my salvation was set in stone. I bowed to false gods on the bathroom floor just to try things out. I fashioned plenty of crucifixes. ‘ All love is iconography. Worship is high art. ‘ The monk sent her a photograph of himself, which Sexton hung above her desk. “I am hunting for the truth,” Sexton wrote to the monk. “It might be a kind of poetic truth, and not just a factual one, because behind everything that happens to you there is another truth, a secret life.” ‘ 93 Sexton thought writing should be painful.1 Otherwise, leave it unsaid. She understood the way suffering glimmered in the right light. In this way, prayer and poetry come from the same place. Sexton said we are all writing “God’s poem.” ‘ In her confusion and visions, in her forty days in the desert, there was the monk, waiting, ready to apostatize, for a word, for a chance at his new religion—Anne. ‘ I imagine Anne Sexton swore not to write poems about flowers or spring, but then flowers and spring happened anyway. The planet shuddered and her private world spun in a neighboring orbit. We are the worlds we occupy. We are the worlds we leave behind. ‘ There is a surrender in the act of extension. ‘ “I wish we were real,” wrote the poet to the monk in their final correspondence . She died of suicide years later after the publishing of her last book, The Awful Rowing Toward God. The invocation read “For Brother Dennis, wherever he is.” 1. Interview with Patricia Marx. “Interview with Anne Sexton.” The Hudson Review. Vol. 18, No. 4 (Winter, 1965–1966), pp. 560–570. ...

Science policy as implicit cultural policy: evaluation of the arts in Polish academia

ABSTRACT This paper is concerned with the evaluation of artistic production within the Polish science policy. It analyses the performance-based research funding system (PRFS) in Polish higher arts education and discusses the assessment techniques and value hierarchies underlying the evaluation model. We analyse data from the Integrated System of Information on Science and Higher Education, to examine the cultural activity of artists-academics in Poland and discuss the impact of science policy on the cultural sector. We also compare the Polish system with alternative solutions introduced in other countries (e.g. UK, Australia, Finland, Sweden) and consider possible consequences of different evaluation paradigms.

In-line embroidery technique for creative development and motor applicable in high school art education classes

Artistic education is composed of several techniques that lead to the development of logical thinking, creativity and motor coordination. The aim of this work is to describe an in-line embroidery technique for creative development and motor applicable in high school art education classes. The method described will be free embroidery – images, a technique that uses fabric, needle and threads, as well as images. The use of the technique of free embroidery – Images described may be able to provide high school students with a greater development in the capacities of concentration (focus, attention), motricity and creativity. The technique of respecting the individual in his individuality of learning and ludicity also seems to influence the increase of these capacities. The described technique can be quietly adapted to different regions, as happens in Brazil, a country of continental dimensions and unprecedented diversity.

The Russian Symbolist Viacheslav Ivanov on Aesthetic Experience as Religious

Viacheslav Ivanov (1866, Moscow–1949, Rome) is one of the most prominent Russian symbolist poets and a leading theorist of symbolism at the beginning of the twentieth century. The article demonstrates that Ivanov understood art (and, more broadly, aesthetic experience) as one of the most effective forms of contact between the human being and the spiritual world, as well as with its first cause. Ivanov distinguishes between three “aesthetic principles” of the universe, which all together constitute “the beautiful”—the sublime, beauty, and the chaotic—and links them to the three stages of being of the artist in the process of creative activity. The artist first passes through the chthonian, subconscious stage of demonic chaos. Next, artists undergo the process of ascent into the ideal, spiritual sphere, where they gain experience, which cannot be expressed in words. After that, the process of the descent of the artist towards the earth takes place, where artists attempt to express in the form of artistic symbols the experience that they have acquired. Ivanov sees the artistic symbol as a materially given structure, which nevertheless cannot be described in words. This structure not only expresses a spiritual essence, but also really and energetically manifests it. Hence, Ivanov sees the creator of high, symbolic art (“realist symbolism”) as an artist-theurge (theurgy is the art of the future, of the future mystery on the basis of a synthesis of the arts that receives divine assistance), who contributes to the augmentation of being. For the recipient, the artistic symbol is anagogical (from the Greek ἀναγογή, “leading up”). It leads one up from the real world to a more real one (a realibus ad realiora). According to Ivanov, both the symbol and its content, myth, are of divine origin; they are “embodiments of the divine truth.” Therefore, high art is one of the principal ways of one’s ascent to spiritual reality by means of sensory reality.

The Institutionalization of the Bulgarian Circus between 1944 and 1957

This article analyzes the process of institutionalization of the Bulgarian circus be-tween 1944 and 1957. The appreciation of circus as “an equal member of the large family of socialist arts” was rooted in a belief that it was a democratic spectacle which transcended social divisions and classes. The source of the perception of the circus as an instrument of social change can be traced to pre-war Soviet tradition, when the circus became not only a tool of state cultural policy, but also inspired the most important creators of literary and theater avant-garde. In post-war Bulgaria, in order to improve the quality of performances, interinstitutional cooperation of the circus with literary and theater circles was initiated, and with the purchase of circuses by the state, numerous regulations were introduced in the profession of a circus artist. This purchase was not synonymous with nationalization: the state bought the circuses from the hands of their pre-war owners, allowing them to continue to perform strategic functions in the circuses.At the same time, despite deep institutional changes, the circus after 1944 main-tained its semi-peripheral status of an entertainment spectacle, not worth considering on the part of intellectual elites and unfit for the project of national high art. It is this peripheral potential of the circus as a spectacle not shaped by the refinement of the elites, that opens up new research perspectives which allow us to view the circus as a laboratory of social and cultural change. As a nomadic travelling institution, the circus crossed geographical boundaries and communicated with viewers from cities and villages, as well as representatives of various social groups and strata. On the other hand, multiethnic, international environment of the circus was a space for inten-sive transfer and intercultural dialogue, both in the artistic dimension and in the sphere of everyday interpersonal practices.

The Application of Inquiry Learning in Senior High School Art Teaching

Inquiry learning has been a main content of the current basic education reform, and art teaching is the main part of ordinary senior high school teaching. For a long time, due to the single pursuit of enrollment rate, the art teaching methods in senior high schools in China are relatively simple, students are basically forced to learn. This makes students’ logical thinking restricted, and makes them lack their own thinking and expression skills, which leads to rigid learning style and low learning efficiency of students. In this article, through the application of inquiry learning theory, , the author explores the goals and significance of developing inquiry learning in senior high school art teaching. Combining with some existing problems in senior high school art teaching, the application countermeasures of inquiry learning in senior high school art teaching are proposed, this paper proposes how to apply inquiry learning in senior high school art teaching in order to improve the teaching effect of senior high school art drawing and color teaching.

Судьбы русской интеллигенции в XX в. Перечитывая «Вехи»

The article provides an analysis of historical events in Russia in the 20th century from the point of view of the influence of the Russian intelligentsia on them, its the­oretical and practical activities. The starting point for the author is the collection Milestones (1909) and the criticism of the intelligentsia, which is the main meaning of the articles in this collection. The author shows that, despite the great influence of the intellectuals on the fate of Russia, they was not able to fully realize its ideals, and the fate of many of them was tragic. Their ideals were in contradiction with the real life of Russia, and later of the Soviet Union, they did not take into account the peculiarities of the development of the Russian and then the Soviet state and society. Their attempts to go against social practice inevitably ended in failure, while the de­sire to act in accordance with social practice often led to results that were contrary to their ideals. According to the author, the fate of the Russian intelligentsia in the 20th century confirmed the correctness of the materialist understanding of history, according to which, in the absence of ideals, movement forward has neither a driv­ing force nor a direction, and without reliance on practice, all ideals turn into utopia. Therefore, the correct solution to the problem of connecting excellent ideals and ob­jective practice is a matter of high political art. In the process of modernizing a backward state, the intelligentsia has a special mission.

Микробиота кишечника спортсменов

The intestinal microbiota, due to new data on its functions obtained in the last decade, has become a new target point of influence on the organism. However, nowadays knowledge about the possible impact of physical activity and sports on the composition of the gut microbiota and, as a result, on the organism is limited. The aim of this review was to summarize current knowledge about the gut microbiota of healthy people with different levels of physical activity (from athletes to physically inactive people), and to identify patterns in the composition of the microbiota of various surveyed groups. Material and methods. A systematic search was carried out in electronic databases including EMBASE, MEDLINE, Web of Science, Google Scholar and eLIBRARY. The search process was carried out using keywords and logical operators. We included the following studies in our review: a) crossover studies comparing the gut microbiome of subjects with different physical activity; b) studies involving healthy adult women and men (18-45 years old); c) studies written in English and Russian. We excluded studies containing dietary changes, consumption of probiotics or prebiotics, and studies of physical activity in sick people. Results and discussion. Total 743 articles were received, of which 14 articles fully met the search criteria, and 101 articles partially corresponded. An analysis of the data from these studies indicated noticeable differences in the microbiota between athletes and people leading an sedentary lifestyle: the athletes had a greater α-diversity of the microbiota, while the level of microorganisms of the phylum Bacteroidetes was reduced; Akkermansiaceae and Faecalibacterium bacteria are elevated in athletes and people with active lifestyles. Different levels of physical activity in physically active people according to the levels of cardiorespiratory endurance did not affect the level of α- and β-diversity. When analyzing the effect of loads on the microbiota in various sports disciplines and skill levels, a connection was found with an increase in α-diversity in professionals and highly qualified athletes, with the relative content of series of bacteria (Methanobrevibacter smithii in professional cyclists; Parabacteroides, Phascolarctobacterium, Oscillibacter, Bilophila, Megasphaera in athletes of high martial arts qualifications of wushu; Eubacterium rectale, Polynucleobacter needarius, Faecalibacterium prausnitzii, Bacteroides vulgatus, Gordonibacter massiliensis in athletes of international level of various sports), and certain genera of bacteria have been identified (Parabacteroides, Phascolarctobacterium, Besilibacterium). Conclusion. The data obtained indicate a higher relative proportion of microbiota effective members, which are involved in the fermentation of complex polysaccharides and the production of short-chain fatty acids such as Faecalibacterium prausnitzii, Eubacterium hallii, Phascolarctobacterium, Eubacterium rectale, and Methanobrevibacter smithii, which increases the fermentation efficiency of many bacterial taxa in the gut by using hydrogen gas (H2) and formate to reduce carbon dioxide (CO2) to methane. There is a need to study other members of the microecological community, leading to a better understanding of the adaptation of the gut microbiota to levels of physical activity and its potentially positive effects on metabolism and endurance.

William Blake and the Age of Aquarius ed. by Stephen F. Eisenman

Reviewed by: William Blake and the Age of Aquarius ed. by Stephen F. Eisenman Jade Hagan Keywords William Blake, Romanticism, American counterculture, 1960s', 1970's, art history, cultural studies, abstract expressionism, the Beat Generation, psychedelic subculture, utopianism, millenarianism, the Age of Aquarius, Maurice Sendak, occultism, esotericism stephen f. eisenman, ed. William Blake and the Age of Aquarius. Princeton: Princeton University Press, 2017. Pp. 248 + 137 color illustrations. Perhaps the most striking fact about the English poet and artist William Blake (1757–1827) is that until the middle of the twentieth century, almost no one had heard of him. Stephen Eisenman's edited collection William Blake and the Age of Aquarius makes significant headway toward recovering and revaluing the popular origins of Blake's current celebrity and mainstream status. In particular, it focuses on Blake's pivotal influence on the American counterculture [End Page 433] of the 1960s and '70s, which, as this collection convincingly demonstrates, was as much a visual culture as it was a political movement.1 The book forms the catalogue for the exhibition of the same name that ran from September 2017 to March 2018 at Northwestern University's Block Museum of Art, and features 137 high-resolution images of works in the exhibition.2 Together, the book and exhibition aim to explore the art and ideals of key figures in the 1960s through the lens of their engagement with Blake (vii). More specifically, the essays in the collection examine how Blake shaped the era's struggles against oppression and the various ways that he was understood and misunderstood in the process (viii). The collection is significant for its recovery of Blake's place in the visual culture of the 1960s and the ways in which Blake's imprint reshapes traditional categories of art history. Tracing Blake's influence on this culture brings together high and low art, placing psychedelic concert posters for The Doors and the formal experimentation of abstract expressionism on a continuum of responses to the same figure and the same political and cultural moment. This is fitting for a figure who himself bridged so many divides—between, for instance, text and image, marginal and mainstream, copyist and visionary. This collection grapples with three divides in particular: the past and present, politics and religion, and Blake's academic and popular reception. Although the authors have varying degrees of success in complicating these divides, the book's treatment of these issues expands our understanding of Blake and his proper historical location. The collection consists of a lengthy introductory chapter, a chapter on the historical contexts of Blake's work and life, four chapters that serve as case studies of Blake's influence on specific figures and coteries, and a final chapter that offers a methodological reflection on what it means to conduct the sort of trans-historical study laid out in the book and exhibition. Some of the [End Page 434] chapters offer a new interpretation, through the prism of Blake, of an artist or writer we thought we knew. But many of the artists and writers discussed in these pages will be new to most readers outside of the academic study of art history or postwar American cultural studies. Some of these figures will be new or surprising even to those who do study the 1960s. This is by design. In fact, one of the book's innovations is to suggest a new way of structuring or defining the counterculture vis-à-vis a new pantheon of countercultural figures. The chapters oscillate between panoramic overviews of Blake's impact on postwar American popular culture on the one hand and more focused studies of Blake's influence on specific movements and figures on the other. The four case studies narrow in focus as they progress, moving from Elizabeth Ferrell's chapter on a group of seven San Francisco-based writers and artists, to Jacob Henry Leveton's chapter on four abstract expressionists, to John Murphy's chapter on avant-garde artists Æthelred and Alexandra Eldridge, and finally to Mark Crosby's chapter on Maurice Sendak. At the same time, each of these four chapters speaks to a broader trend or cultural context of the '60s. The...

STAVOVI STUDENATA, UČESNIKA LETNjE UMETNIČKE ŠKOLE LUŠ 2017 O KONCEPCIJI, ASPEKTIMA I OBRAZOVNIM DOMETIMA PROGRAMA NA NjIHOV LIČNI KREATIVNI RAZVOJ

This article presents the process and impacts of interdisciplinary approach to education of students of arts. The project has been implemented during 2017/18 as Summer Art School (Let- nja umetnička škola) of the University of Arts in Belgrade. Starting from the idea of a holistic approach in education, the concept of the school was based on interdisciplinary teaching and connected art, science and technology. It was implemented as a type of educational experiment, which was conducted in specific conditions and methodically designed the way that the focus was on the synergistic action of various formal as well as implicit stimulating factors in the teaching process. The main goal of the Program was to apply those methodological approaches for supporting and up-grading the performance of students, especially in terms of developing cognitive and creative potentials and intrinsic motivation. In accordance with the basic idea of integrative teaching and interdisciplinary competences, the findings of quantum physics have been used as initial problem material for discussion and analysis. The program was attended by 22 students from four faculties of the University of Arts in Belgrade and seven university professors in the role of teachers-mentors (workshop leaders) who implemented the contents, methods and activities defined by the program. Project was placed in the Research Center Petnica in Valjevo. During the implementation of the project, various elements were observed, such as students attitudes toward the program and its effects, toward workshop leaders and working atmosphere and toward personal artistic development. Comparisons between initial and final phases showed that students noticed some positive qualitative changes as results of the project activities. In the last phase of the Program, an evaluation was conducted through a survey which examined the attitudes of students about the concept of the program and the conditions in which the program was implemented. According to the respondents, this form of integrative teaching, methodical approach of teachers and stimulating environment, appeared as an incentive for students. Regarding their learning, motivation and development of ideas, they unanimously report positive impacts on their creative production. Some of the most important issues reported by students were: they find initial learning material (findings of quantum theory by David Bohm) as very inspiring; methodological approach and team work have been recognized as important; research centre and it’s capacities have been seen as motivating; integrative workshops, psychological work and friendly atmosphere allowed deeper and more productive art work; the interrelation between art, science and technology appeared as stimulating field for exploration; concept of the project allowed broad and inte- grative ideas to appear; the teaching process has been perceived as very well organized and stimulating. In general, students opinions confirm that this educational concept is more than welcomed in the field of high art education, and is in a functional and conceptual sense, inher- ent to the needs and challenges of contemporary society.

КОСМИЗМ В ИЗОБРАЗИТЕЛЬНОМ ИСКУССТВЕ: ИСТОКИ, СУЩНОСТЬ И ПЕРСПЕКТИВЫ

This work is devoted to cosmism in art, as it has become a particularly significant artistic style, clearly identifying high art as one of the ways of conceiving the world and man. It reveals the deep essence and the philosophical foundations of cosmism in visual arts. All that is presented in the context of those new views that were carried by artists-cosmists and which are associated with the symbolism of otherness and other states of matter, the inevitability of the spiritual evolution of mankind and, in general, with the ideas of the New World, New Man and New Beauty.

Некоторые замечания o происхождении женских божеств БМАК

The article deals with the question of the origin of the BMAC deities found in the high art of Margiana and Bactria especially in glyptic art, for which there are no local precursors in Turkmenistan or Afghanistan. By analyzing the art of the Kerman or Jiroft culture of Southeast Iran, especially the seal finds from Konar Sandal and the intercultural style objects, the direct antecedents of the BMAC pantheon in Southeast Iran could be demonstrated. Both regions have an almost identical pantheon of female deities with similar attributes, same stylistic features and identical attitudes, and they share a common myth that is depicted in the art of both regions. Nevertheless, the goddesses in the BMAC undergo modifications in representation, which concerns hairdo and costumes, but which is particularly evident in the altered depiction of attribute animals, which are now often fused together, and the increased depiction of winged gods and attribute animals.

Evolving Images of Women Religious in Nineteenth-Century American Art

Robert Walter Weir’s Taking the Veil (1863) is perhaps the best-known depiction of a woman religious in American art. Hailed as a masterpiece, the painting received an outpouring of public enthusiasm during a period characterized by its antipathy to the emerging Catholic Church, especially its convents. As a historical artifact, Taking the Veil reveals much about attitudes toward women religious in the United States, Protestant fascination with Catholic rituals, and a new understanding of the place of religion itself in American art. Women religious were objects of fascination in the emerging American art scene and appeared at every level of the marketplace, proliferating in catch-penny dime novels, children’s readers, genteel gift books, and even high art oil paintings like Weir’s. Inspired by Weir’s own encounter with Catholic art during his studies in Italy as a young man, the artist intended his piece to be a testament to “the value of art as a handmaid of Religion.” Rather than view Taking the Veil in isolation as one painter’s private encounter with Catholicism, it is more useful to see it as part of an evolving understanding of both women religious and religious art.

Noir as Affect

Noir as Affect Christopher Breu (bio) Like most forms of popular fiction, crime fiction is known to produce affective responses in its readers. One of the defining features of most genre fiction is that it produces effects in the body, whether it is the excitement of adventure, the fear produced by horror, the arousal of pornography, or the sense of longing and fulfilment produced by romance. Indeed, popular fiction is often denigrated precisely because it produces such “vulgar” bodily affects, in contrast to the complex and distanced contemplation instilled by capital “L” literature. The production of such forms of embodied affect may be lamentable for the guardians of high art, but for scholars interested in questions of affect, popular fiction can be seen as a privileged medium. Popular fiction does not just instill affects in the reader, it also narrativizes them. Put simply, affect can be defined as that which affects a body in a given cultural, communicative or intersubjective context. They are bodily and intersubjective states that are both conscious and unconscious and are often experienced consciously as emotions or moods. Affects attach not only to characters and spaces but to the very workings of narrative itself. As psychoanalytic critics have demonstrated, central to the drive of detective fiction is the desire to know. In conventional detective fiction, this desire to know often manifests itself as a will to mastery. Thus, the classical detective narrative is premised on the movement from fear, suspense, and disorientation to mastery, clarity, and order. While the hardboiled detective story may forego much of the conventional resolution associated with the classical narrative, it too is predicated on a sense of mastery, even if this mastery is proven to be more about the toughness or endurance of the protagonist rather than any restoration of justice. Similarly, crime fiction that narrates the exploits of the master criminal, from the Memoirs of Vidocq forward, is predicated on the daring and mastery of the criminal. Whereas detective and crime fiction are finally about mastering affects (as well as mastery as an affect), noir, as a reworking of these other genres, is about the opposite. Noir is predicated on the inability of the protagonist to master the affects dramatized by the narrative. Instead, the affects typically master the protagonist (who is unmastered by them) and define the coordinates of the fictional world. Noir thus has a privileged position in understanding affect in relationship to crime and detective fiction. It demonstrates the power of affect to both shape individual actions and the larger landscape in which such actions take place. Noir takes shape as a specific affective mood or atmosphere. Central to noir is the staging of negative affects. Negativity clings to the very bones of the noir crime story. Noir works via the staging of negative affects such as guilt, sadness, (often murderous) rage, cynicism, loss, resentment, fear, anxiety, destructive desire, often including an erotic attachment to death. Initially, this definition of noir may seem counterintuitive. Noir is often associated in popular culture with a certain kind of nostalgic image of mid-twentieth-century life, featuring tough guys, femme fatales, shadows, crime, and a dangerous yet alluring urban demimonde. It is also usually associated with film, with such actors as Humphrey Bogart, Lauren Bacall, Veronica Lake, Robert Mitchum, Barbara Stanwyck, Edward G. Robinson, and others. Indeed, it has only been in the past thirty years or so that the category of the noir novel has gained critical currency in the work of Christopher Metress, James Naremore, William Marling, myself, and others. Yet, many film noirs were adaptations from crime novels that shared many of their thematic concerns and narrative structures. Moreover, the novels often were resolutely darker and more disturbing than many of their filmic counterparts, since the latter had to negotiate the Hayes code. Thus, the term noir seems to fit the novels even more fully than the films, even if the naming was belated and the films were named first, if also retrospectively, as Marc Vernet has noted. If we focus just on the noir crime novel (leaving to one side the detective novel), we can construct a timeline that begins with the writings of James M...

Intercultural musical dialogue in St John Passion by Sofia Gubaidulina

Sofia Gubaidulina is one of the most important composers living today. Among her many works acknowledged and awarded prizes on the international forum, the diptych St John Passion and St John Easter [The Resurrection of Christ according to St John], the opus magnum of that outstanding Russian composer, occupies a special place. This work focuses the most important features of her music, such as a profound theological message based on a compilation of fragments from the Old Testament, Gospels and the Apocalypse of St John, as well as her musical rootedness in the cultural tradition of the churches of both East and West. Gubaidulina adapts the achievements of the artistic avant-garde in new and original ways, while at the same time she is an ardent champion of traditional universal values grounded in the message of the Bible and Christian cultural tradition. This paper presents St John Passion by Sofia Gubaidulina in the context of its theological and intercultural dialogue, as well as attempting to characterise the phenomenon represented by this composer, who raises anew reflection on the fate of humankind in the context of existential questions, while remaining faithful to the idea of high art, exquisite and open to various understandings of the idea of beauty.

Psychological knowledge in Tatar theological heritage

The article presents the results of the study on how the Psychological issues were reflected in Tatar literature and in book-composing traditions, in textbooks and works of Tatar scientists, teachers, religious and public figures of the early 20th century. Ideological, aesthetic and artistic features of the works of Tatar literature representatives developed in accordance with Sufi traditions, with the domination and prevalence of didactic and humanistic principles. Without losing its eastern roots, which go deep into Sufi philosophical and aesthetic thought, Tatar literature in the early twentieth century becomes susceptible to the perception and creative rethinking of new, modernist experiments. Publications by Musa Bigiev, M. al-Gaffari, and others, which appeared in the early twentieth century, devoted to the problems of creating high art, in which religious ideals of Islamic society would be expressed and which would contribute to religious reform, were an important factor that played a role in the development of Tatar theoretical and literary thought in the early twentieth century, where there is a special interest in the psychological direction in Russian literature studies. At the same time, translated essays devoted to the issues of Psychology appear on the pages of Tatar periodicals; a number of educational institutions of a new type begin to teach these subjects. Some authors of tutorials seek to use language and speech techniques in their texts to influence and convey information to students, in the form of Psychological Pedagogy methods such as observation, conversation and analysis.

The Court Culture in France, Italy and England in 16-17th Centuries: Interaction and Mutual Influence

<p>The article examines the traditions of French court ballet, which are rooted in early medieval Italian musical and theatrical performances, as well as the traditions of the medieval carnival. The functional features of the French court ballet are revealed. French ballet is viewed through the prism of a synthesized art form: dance, music, poetry and complex scenography. It is specified that French ballet as an independent genre was formed in the era of Queen Catherine de Medici.</p><p>It was revealed that thanks to the skill and professionalism of choreographers of both French and Italian descent, the French court ballet reached its peak in the first half of the seventeenth century.</p><p>It was determined that the court ballet was becoming a cultural and political instrument that raised the status of France in Europe, served to strengthen the authority of the French monarch, and was a means of uniting the French monarchy and the people. Despite significant financial costs, the political and cultural feasibility of staging court ballets exceeded the economic feasibility.</p><p>An analogy is drawn with the English court Мasque. It is substantiated that the English court Masque was based on the traditions of Italian intermedio and French court ballet. Thus, English stage designers adopted the experience of Italian stage designers. Dances of Italian origin were an integral part of Masque in England. Choreography in Masque was created by French and Italian choreographers.</p><p>It has been proven that English culture was influenced by continental culture, which contributed to the formation of a common cultural space.</p><p>It is substantiated that the genre of French ballet, Italian intermedio and English Masque were not a high art, but over time, having undergone a transformation, they evolved into new forms and genres.</p>

АКТУАЛЬНІ ПРОБЛЕМИ ВИЩОЇ МИСТЕЦЬКОЇ ОСВІТИ

The purpose of the article is to determine the special features of the formation of higher art education in Ukraine at the present stage and identify the main ways of their implementation. Research methodology. The article, along with general scientific methods – analysis, synthesis, induction, deduction, generalization, applies cross-cultural and systematic analyses, which makes it possible to characterize the ongoing challenges of higher art education. The scientific novelty of the research lies in the following priorities: peculiarities and current state of higher art education are described, distance education as one of the forms of translation of knowledge and skills and a methodological challenge to teachers of art educational institutions are investigated, ways of introducing the educational and creative degree of Doctor of Arts and accreditation of the academic councils (specialized councils for awarding the degree of Doctor of Arts) are outlined in three areas of creative artistic activity: 1) the music sphere, 2) the visual, decorative and applied, design and restoration, 3) stage and audio-visual arts. The regulations by the National Agency for Higher Education Quality Assurance sets out the requirements for the competence of members of the specialized councils for awarding the degree of Doctor of Arts. Conclusions. Today’s art and education market is characterized by a tendency when the provision of educational art services is forced to take place in conditions of fluctuations in state educational strategies, reinforced by some uncertainty of work in the conditions of global quarantine. But if the conditions of quarantine have external force majeure circumstances and cannot continue indefinitely, the lack of a clear state strategy in the field of higher art education remains an obstacle to the formation of its overall structure. However, the steps that have been taken in the recent years thanks to the collective efforts of the National Agency’s specialists allow us to see the prospects for moving towards the creation of such a structure.

Everyday Photography? Politicizing a ‘vernacular’ photo album of the San Francisco Earthquake and Fire of 1906

The San Francisco earthquake and fire of 1906, defined as the most-photographed event of the early twentieth century, overlaps with the beginnings of vernacular photography. Drawing on the vast output of the disaster, this article politicizes the notion of the vernacular. As art institutions have championed an aestheticized vernacular, many anonymous photographs have been stripped off their sociopolitical context. A host of related practices, such as amateur or club photography, have thus become marginalized. This perspective has reinforced a narrative of American photography ca. 1900 as either “vernacular” or “high art.” The heterogeneity of sources produced in San Francisco runs counter to this binary reading. They require a historiographical revision and a politicization of photo-collections. Exploring a personal photo album, this article retraces the visual, discursive, and material uses of “everyday” photography in extraordinary conditions. It points out how photo-practices were marked by extreme seismic events and domestic politics. The aim is two-fold: drawing attention to the complexity of archival materials and proposing a counter-narrative to the aestheticized vernacular.