Principles Of Art Research Articles

IMAGE OF THE AUTHOR IN MIRROR PROJECTIONS

The article deals with the importance of the author’s image of the in the composition’s artistic structure. The points of view of literary theorists (M. Bakhtin, Y. Lotman, J. Maritin) are determined on the location, forms of personification of the author’s consciousness, conceptual image author’s significance in the reader’s perception in the composition. The purpose of this article is to compare the views of literary critics and writers on the manifestations of the author’s consciousness in a composition using the miror’s symbolism.Comparison of the artistic principle of the author’s vision with the mirror surface (F. Dostoevsky, V. Korolenko) gave grounds for a new understanding of the author’s presence and the author’s comprehensive vision. The author analyzes the stages of approaching the image of the author to the reader’s understanding: ethical knowledge, author’s «discovery», his meeting with the reader. The reader is able to make spiritual efforts, emotional empathy, intellectual experience in order to achieve the highest level of understanding of the author’s in the composition. The value of the research is the theoretical substantiation and practical orientation of the reader’s perception based on narration forms and images, a conversation between an author and a reader.

Between small village and world: trilogy “Ost” by Ulas Samchuk

The paper considers the trilogy of novels by Ulas Samchuk “Ost” as a genre variety of a family chronicle. The main issues are its genre nature, correlation of the work with traditions of the classic Ukrainian novel and the modern novel forms, its relation to the concept of “high literature”, the ideological and aesthetic views of the author.
 The main point of the paper is the interpretation of Ulas Samchuk’s novel as an attempt to implement the idea of high literature substantiated by him. The concept of high literature in Ulas Samchuk’s sense is related to the concept of classical literature, and the very idea of literary work in exile is connected with the idea of the lost statehood.
 The realistic basis of Ulas Samchuk’s novels originates in his understanding of realism as an artistic style and principle of depicting reality, the “universal key to the door of reality”. At the same time, the researcher testifies to the blurring of style shapes in Ulas Samchuk’s postwar prose and points to the combination of realistic traditions and modernist tendencies in it.
 Focusing on the concept of generation and family in the novel, the author emphasizes the relations between the generations, because each one plays its significant role in the complex drama of the family and national histories. The family, as the subject of action and one of the main actors in the theater of history, becomes a symbolic embodiment of the trauma generated by history.
 The notion of idyllic chronotope is connected with the sacred space of family, the motive of searching harmony. The basic element of such chronotope is the topos of hamlet as a form of ideal national existence. The idea of destroying the hamlet during the revolution is related to the process of destroying the family idyll. In general, the history of Moroz’s family in Ulas Samchuk’s novel is a reflection of the national history, and the destroyed space of the family is a field in which the Soviet totalitarianism repressive mechanisms were tested.

Notion "collections" and "spectral type" in creative activity S.Kusevickij

The purpose of the article given studies is a separation of specifics intersection to activitywork of S.Kusevickij, beside which creative method his compositor style, noted by relationsymbolism eclectics, has determined projections on collection his performance, manager,organizing-propagandistic, etc. activity, differentiation integer which is indicated by term «spectraltype», in development of the ideas universality of creative personality XX century, declared "systemLeonardo da Vinci" P.Valéry. Methodology of the work is intonation approach of the schoolB.Asafiev in Ukraine with inherent him linguistics- culturology aspect of the interpretationmusicology method, with handhold on analyst-structured principle and handhold on comparativestylistic features, hermeneutics-interpretation foreshortening of the music semiotics " intonationdictionary of the epoch" on Asafiev and further developments in work A.Sokol, E. Markova andothers. Scientific novelty of the work is determined by originality of the taxonomic approach tofeature of the total creative look S.Kusevickij, beside which symbolism artistic principle, used instyle elements his contrabass Concerto, has determined structured analogies to «eclectic»installation joinings to activity work, inadmissible in epoch of the romanticism, but nature of suchjoining by noted term «spectral type». Conclusions. Creative-confirming line of Kusevickij-actor,contrabassist and conductor, subordinated presentations in performance work alternativesclassicists and modernist style that is combined in most corporeality of the bass viol, forms line of«counterpoint» to his mercantile-organizing work, which has taken the forms («spectrum» devicetheatrical enterprises, contest, publishing, fund and the other structures, called to create vital security and author, and in accordance with a partner on base commercial priority. Spectral type inmanifestations of universality by S. Kusevickij have defined the person of the sort «parcel eclectic»of facilities of the expression in compositions of the Concerto for contrabass by facility of theinadequate refraction in instrumental corporeality "in morsels" presented of the style models inthemes and composition decision; said allows to confirm combinatorial typicalness of Concerto asprojections spectral universality of the thinking determinations of the actor-manager.Key words: spectral universalism of activity, symbolism, stylistic eclecticism, instrumentalmateriality of double bass, style in music.

АВТОГЕОГРАФИЯ ТЕОДОРА ДРАЙЗЕРА: ТРИ ТРАВЕЛОГА О ЧЕТЫРЕХ МИРАХ

The article provides a comparative analysis of the three travel books by Theodore Dreiser: A Traveler at Forty (1913), A Hoosier Holiday (1916), and Dreiser Looks at Russia (1928). The last one is also correlated with the publication of Theodore Dreiser’s Russian Diary by the University of Pennsylvania in 1996. The history of writing the book about the USSR and publishing it in Russia has been studied and commented on in sufficient detail by modern researchers. This article is the first attempt in literary criticism to compare the three books. The study presents not only a comparative but also a textual analysis of these travelogues, discovers patterns linking the books both chronologically and stylistically and turning them into a kind of autobiographical trilogy. For Dreiser, the study of three worlds (European, American and Soviet) is inseparable from the study of the fourth world – the world of his own consciousness. The analysis of the three travel books is provided in a biographical context, which allows a deeper and more thorough analysis of their factual and emotional content. The focus of the study is the problem of Theodore Dreiser’s self-identification as a writer and as American, which formed being influenced by travel impressions received during trips to European countries, including Germany – Dreiser’s historical homeland, America, including his native state Indiana, and across Soviet Russia on the eve of the so-called ‘great turning point’. Based on the study conducted, there are expressed some theoretical considerations regarding the interaction between the concepts of stereotype and reality in the space of literary text, and also the correlation between documentary and artistic principles in a travelogue. The article presents excerpts from A Traveler at Forty and A Hoosier Holiday translated into Russian. These travelogues have never been translated and published in Russia.

FEATURES OF THE EPIC NARRATIVE IN THE NOVEL «ANNA KARENINA» BY LEO TOLSTOY: FROM AUTHOR TO HERO

The article is devoted to the analysis of the epic nature of the novel «Anna Karenina» by Leo Tolstoy. Artistic concept dedicated to the crisis era of the 1870s as the most important milestone in Russian history, the wide coverage of the events contemporary for the author, the depiction of representatives of different estates - testify to the scale of the creative task. The article examines the originality of Leo Tolstoy’s epic narrative, which is largely determined by the choice of the protagonist. Endowed with a sensitive heart and a troubled conscience, seeking his true destiny, such a man always goes the same path – from egocentrism to understanding of folkish life, realising himself as part of a common «swarm» life. Nikolenka Irteniev, Dmitri Nekhlyudov, Pierre Bezukhov are a complex reflection of Leo Tolstoy himself, each at a certain stage in his spiritual biography. In the gallery of Leo Tolstoy’s heroes, Konstantin Lyovin occupies a special place, since he reflects a writer who is on the verge of a serious worldview revolution. Understanding the biographical and artistic principles in the image of Konstantin Lyovin is given in the context of epistolary and memoir sources in the article. The story of Konstantin Lyovin with his uneasy search for the meaning of life, with religious doubts, embodied the author’s innermost thoughts repeatedly expressed by him in letters to Nikolay Strakhov. Not only the most important page of Leo Tolstoy’s biography is revealed in the fate of Konstantin Lyovin, but the fate of a person of transition time closely related to the life of the country, is planned.

ФЕНОМЕН ГОЛОСА В МАЛОЙ ФРАНКОЯЗЫЧНОЙ ПРОЗЕ С. БЕККЕТА

The article deals with the specific features of the voice phenomenon representation and the peculiarities of its functioning in French-language short stories written by Beckett, namely in Premier amour (First Love), Le calmant (The Calmative) and Au loin un oiseau. The abovementioned texts allow us, on the one hand, to demonstrate the genesis of the writer’s artistic and aesthetic principles of representing the studied phenomenon, which were later reflected in theatrical, radio and television plays, and, on the other hand, – to shed light on the specificity of the literary world of these texts. The research conducted allows us to conclude that in all the analyzed texts the voice is captured in different forms of representation and has a varying (from text to text) functionality. In Premier amour, there is a feminine voice asking to restore the corporeality and individuality of its origin. However, the stamp of convulsiveness in the heroine’s voice paradoxically has its source not in the corporeal but in the ideal. In Le calmant, the protagonist’s feebleness, expressed by the signs of his corporeal conditions, is doubled by his aphony, which thus transcends one of the most important motifs for Beckett’s writing – that of human weakness. This motif also reveals here another shade of meaning – weakness as a ‘respite’ from the suffering which human existence bears. Finally, in Au loin un oiseau we see a ventriloquist character. Due to the ‘I’ living inside, the ‘He’ is becoming similar to ventriloquists. Unlike them, however, his speaking capacity is under control of the narrator.

Artistic principles of symbolism in the vocal music of the French composers as an object of music pedagogical practice

Вивчення камерно-вокальної творчості французьких композиторів є обов’язковим елементом сучасної му­зичної освіти, який має широкі можливості всебічного розвитку учнів – як естетичного, загальнокультурного, так і музичного в спеціальному значенні. Під час вивчення музики французьких композиторів виникає проблема адекватного роз’яснення учням образного змісту музичного твору і музичної поетики камерно-вокального жанру відповідно до основних установками французького символізму. Тому звернення до педагогічних аспектів освоєння вокальних творів французьких композиторів у семіотичному контексті є актуальним для сучасної музичної пе­дагогіки, орієнтованої на комплексний підхід до музичної освіти. Тим більше це актуально для китайських учнів, навчання яких направлено сьогодні на вивчення музичної спадщини європейської культурної традиції і прилучення до її музично-мовного лексикону. У даному випадку на перший план виходить проблема семіотичної компетент­ності самого педагога, основним завданням якого є повноцінне роз’яснення художнього сенсу музичного твору. Мета статті – визначити основні принципи педагогічного підходу до символістської образно-змістовного комп­лексу камерно-вокальної музики французьких композиторів (на прикладі творів Е. Шоссона і Г. Форе). Педагогіч­ний процес освоєння вокальних мініатюр французьких композиторів повинен спиратися на художньо-стильові уявлення, які утворюють основу естетичного сприйняття і здатності виявляти образно-смислове наповнення музично-поетичного тексту. Адекватність цього сприйняття забезпечує принцип семіотичної інтерпретації, заснований на комплексній взаємодії теоретичних і практичних навичок педагога, що забезпечують адекватне розкриття художніх значень знакових форм поетичного і музичного тексту в процесі освоєння учнями музики французьких композиторів.

The influence of the artistic principles of the XIX century Russian romance on the chamber and vocal work of S. Slonimsky: traditions and innovation

The influence of the artistic principles of the XIX century Russian romance on the chamber and vocal work of S. Slonimsky: traditions and innovation

Западно-восточные поэтические сочинения первой трети XIX в.: от «Дивана» Гёте до «сонета-газели» Мицкевича — Топчи-Баши

The article is concerned with reciprocity between Western and Eastern literatures of the 19th century, when Orientalist motives began to take hold in European writings. Goethe, in his “West-Östlicher Divan” (1819), attributed this interest to the everlasting excellence and value, which the Eastern masterpieces hold for the West. However, as it is clear nowadays, the ‘West-Eastern’ compositions cannot be seen as truthfully retaining the spirit of the Eastern classics, which was based on a different system of meanings and values. On the other hand, it became clear that the Eastern reception of these European works in the 19th century could not be true to the Western original, either, since even most progressive Eastern literatures of the time kept to artistic principles and system of genres of the Late Middle Ages. Against this historical and critical background, the article investigates the outcome of one venture — the emergence of a Persian translation of Adam Mickiewicz’s poem, commissioned by himself for his “Sonnets” (1826). Dzafar Topczi-Baszy adjusted the sonnet for an Eastern audience. Having presented his translation as a sample of the medieval genre of tadhkira (which has to contain both biographical and anthological features), Topczi- Baszy supplied the Persian version of the poem with facts about Mickiewicz; he cast the poem into a Persian poetic form — ghazal; he replaced the elements of Romantic imagery with the Eastern ones.

The national and international in contemporary mexican architecture

The article analyzes national and international features in the architecture of modern Mexico. In accordance with the stated task, it presents the main stages of development of Mexican architecture, taking into account the influence of both global trends and Spanish architectural styles. The work notes the special influence of the Baroque (Mexican ultra-Baroque), which was manifested primarily in the cult construction. The article emphasizes that Mexican architecture at all stages of development formed its own national features. In the early colonial period, this was manifested in the appeal to the local version of aboriginal art-tequitqui art, primarily in the design and decoration. The author reveals the origins and features of various ethnically colored elements associated with pre-colonial cultures (the shape of the pyramid in different angles, "Mexican color" in a colorful palette of external and internal design, landscape accounting, etc.). The article presents examples of the work of some of the most famous Mexican architects of the last decades, the artistic principles of their work. The paper also provides examples of spontaneous "folk" use of images and forms of pre-Columbian cultures in the typical architecture of modern Mexico. The author believes that the modern stage in the development of Mexican architecture will get its recognizable, international, national-colored name, just as it happened with the so-called "new Russian style".

Реінтерпретація «Записок божевільного» М. Гоголя в оперній творчості Го Веньцзіна: від літературного першоджерела до оперного твору

The aim of the article. The article is devoted to the consideration of the principles of reinterpretation of “Diary of a Madman” by N.V. Gogol and the comparison of the range of images and artistic solutions with the “Diary of a Madman” by Lu Xin, which became the basis for Guo Wenjing’s opera. Various aspects related to the creation of the image of the protagonist and the peculiarities of its embodiment in the works of N.V. Gogol, Lu Xin and Guo Wenjing are researched. The methodology of the work is determined by literary, textological, musicological analytical and comparative approaches that provide a detailed and comprehensive analysis of the works of N.V. Gogol, Lu Xin and Guo Wenjing as problems of the original source and its reinterpretation, which helps to determine the artistic and culturalhistorical originality of the image of the protagonist. The scientific novelty is to draw attention to the opera of the famous Chinese composer Guo Wenjing and his contribution into the development of modern musical Gogoliana. Conclusions. Identifying the parameters of reinterpretation of a particular literary work opens wide opportunities for creating new artistic circumstances of its existence in other cultural contexts. The drama of the hero’s soul of “Diary of a Madman” by Lu Xin, the evolution of his psychological state go a long way from nightmares to a tragic surge, which indicates the continuity of artistic principles of N.V. Gogol, who always paid special attention to the psychological state and the movements of the hero’s soul. However, the use of this method by Lu Xin has a direct connection with the national and cultural traditions of the composer, as exemplified by the depiction of the lyrical feelings of the hero, which are embodied through artistic and associative parallels with the moonlight. This is a characteristic feature of the Chinese cultural tradition, in which nature is always associated with the soul: the light of the moon, the murmur of the river, the branches of reeds – all these are symbols of the states of the human soul. In Lu Xin’s work, and later in Guo Wenjing’s opera, it is possible to reinterpret and translate the plot and content of the primary literary source into a non-national cultural context.

Синтез искусств в контексте формирования французского музыкального модернизма периода 20-х годов XX века

The purpose of the work is to consider the concept of “modernism” in the historical aspect of its formation, to analyze the key artistic tendencies of the formation period of French modernism according to the example not only of the musical works of modernist composers, but also the works of representatives of other types of arts who lived and worked during the 20s in the XX-th century in France. Also, the task of the research is to identify those innovative ideas and creative methods that contributed to the renewal of musical art. The methodology is based on historical-contextual, comparative and system-analytical methods. The scientific novelty of the research is in the fact that the formation of French musical modernism is considered in the context of general artistic ideas that were formed in the unique society of representatives of the artistic Parisian bohemia, who lived and worked in the Montmarnas region of Paris. This perspective allows to study deeper the innovative trends in musical works in the period of the 20s of the XX-th century, which arose on the basis of creative interchange. There were analyzed such works of French modernist composers as chamber-vocal cycle by J. Auric “Eight Poems by Jean Cocteau”, chamber-vocal cycle “Bestiary or Orpheus Cortege” by F. Poulenc and chamber-vocal cycle with the same name by L. Durey, ballet by E. Satie “Parade”, rondo ballet “The Bull on the Roof” by D. Millau. The analysis of the artistic, literary and musical works of this period gave the possibility to identify common themes, ideas and concepts, as well as the creative methods and cross-cutting images and symbols inherent in works of different types of art. Conclusions. The article examines the concept of “modernism” in historical, philosophical and artistic senses. As a result of this historical period studying, as well as the analysis of the works of different representatives of the art, that were selected by the author, the general ideas and artistic trends which were identified in the works of the period of the 20s of the XX-th century. The interchange of innovative “inventions” between representatives of different kinds of arts is justified by a common desire to renew art and to friendly co-creation. An analysis of the musical works of the 20s showed that composers embodied the ideals, trends and artistic methods which were inherent in the general avant-garde movement of that period. There are the associative and allusive method, the ready-make method, the metaphorical writing, the idea of “new simplicity”, the idea of “purifying art”, personnel drama among them. These definitions fit such streams as modernism, surrealism, cubism, orphism. As a result, the synthesis of the arts and the interpenetration of artistic principles and methods in works with genre specificity are identified as key characteristics of French modernism.

Ограничение как творческий принцип в вокальном цикле Ханса Абрахамсена «Let me tell you»

The article focuses its attention on the vocal cycle “Let me tell you” (2013) by Danish composer Hans Abrahamsen composed on texts from the novel with the same title by Paul Griffiths. The composition is examined through the prism of a special type of artistic principle initiated by the Oulipian strategy of the writer, who constrained the verbal space of his book to the 483 words pronounced by Ophelia in Shakespeare’s “Hamlet.” The technique of “formal constraints” turned out to be accordant to the composer’s poetics. The work makes study of the multilevel connections between text and music and discloses the particularities of the composition’s dramaturgy. Special attention is focused on analysis of the musical material, the compositional structure and the technique. The cycle shows the synthesis of historical and contemporary compositional techniques, the former including the turn to the concitato style and to the traditions of the cantus firmus technique, and the latter including the techniques of repetition, addition and subtraction. The effects of the principle of formal constraint are traced in their reliance on the use of a set of chosen intervals (octaves, fifths and major thirds in songs Nos. 1, 4 and 6), organizing the composition on one single melodic model, as expressed by a descending hexachord, in the application of palindromic constructions and the use of numerical sets. During the course of the analysis the intonational-thematic connection between the different numbers of the cycle is disclosed, it is demonstrated how the combination and transformation of the initial material takes place, a semantic interpretation of the structural conversions, and parallels are brought in with experiments in the field of literature. Keywords: 21st century music, Hans Abrahamsen, Paul Griffiths, “Let me tell you,” OuLiPo, formal constraints, addition, subtraction.

«Огненное кольцо» Авета Тертеряна в определении индивидуально-композиторской концепции оперного жанра

The purpose of the article is to determine the genre and style parameters of A. Terteryan’s opera, which form the specifics of the individual composer’s concept of the opera genre. The research methodology is based on source study, analytical and genre-style approaches. The scientific novelty of the article lies in the musicological development of the theoretical aspects of A. Terteryan’s individual composer style and its representation in the genre-style concept of the opera “Ring of Fire”. Conclusions. The article examines the genrestyle specifics of the outstanding work of the classic of the Armenian musical art of the 20th century A. Terteryan in the aspect of the representativeness of the individual-composer concept of the opera genre. Taking into account the little-knownness of “Ring of Fire” in Ukraine, the study of opera from the standpoint of a composer’s interpretation of the leading genre principles of European opera of the twentieth century in connection with the national traditions of its culture, it is relevant both for modern national musicology and for vocal performance practice. In terms of genre and style, A. Terteryan’s opera demonstrates the dialogical principle of composer’s thinking. On the one hand, the manifestation of the mysterious artistic-figurative complex and types of vocal intonation that have developed in the European opera tradition is evident in it. On the other hand, it is the inheritance and creative rethinking of the national traditions of Armenian music. The stylistics of the vocal parts of the leading characters are specially highlighted, which reflects the indicated principle of dialogicity. “Ring of Fire”, in its genre and style characteristics, is in many respects correlated with the aesthetics of chamber opera (the type of drama and opera characters, the principles of compositional logic and musical characteristics of the characters, vocal stylistics). The semantics of the central characters of the opera, in accordance with its dramatic concept, indicates the correspondence to the stylistic indicators of “statuary” opera as a genre variety of chamber opera. The artistic principles of the “epic theater”, which are relevant for the opera aesthetics of the twentieth century, are also essential for the operatic poetics of the Armenian composer: they determined the transpersonal concept of the main characters of the opera and the principles of their musical embodiment associated with the original creative interpretation of Armenian musical folklore and style traditions of European opera.

Особливості розвитку сучасного мистецтва і кінематографу у Китаї, Кореї та Японії

The article analyzes the conditions and factors that influenced the formation of contemporary art and cinema in China, South Korea and Japan. We can determine the peculiarities of the development of Chinese contemporary art, such as the desire of the first artists, after the Cultural Revolution, to reflect its flux and effects as much as possible. Further, artistic tendencies become diverse: the commercial component and a certain element of the state of affairs are viewed in the works of art by Chinese authors, but the desire for self-expression in different ways testify to the progressive phenomena characteristic of art. Modern Korean art proves that the scientific and technological revolution and the dominant avant-garde component of mass culture in general cannot supplant the ultimate traditional artistic creativity. One of the characteristic features of contemporary Korean art is a demonstration of belonging to the culture of the country. First of all, this is the influence of the traditions of Confucianism, Buddhism, along with the painful memories of war and long-term colonization by Japan. One can note the simplicity, orderliness, harmony of colors and shapes as an inalienable feature of Korean contemporary art, but modern tendencies show the striving for the discovery of individuality of the artist, which manifests itself in non-standard artistic forms. Japanese visual art combines the works of autochthonous traditions and European artistic principles. Considerable attention is paid to the issue of the relationship between nature and man, reflected in the work of adherents of the synthesis of Japanese traditions and Western variety of forms. Particular attention is paid to contemporary artists in Japan with the latest technology – video art, 3D painting, interactive installations and installations-hybrids. Chinese cinema with the generation of directors, known as the Fifth Generation, reveals new trends. These artists initially sought to convey events and tragedies during the Cultural Revolution, but over time they turned to other themes and genres. Directors of the "Sixth Generation" paid special attention to social problems, the place of action in their films is unknown China – small settlements or cities. Modern Korean cinema covers two large areas: cinema for women – melodrama, and for men – adventure. Today the adventure genre is oriented mainly to teens, and the melodrama genre has been transformed from the problems of the middle-aged women's interest towards the youth audience, therefore, it is more likely to come closer to the romantic comedy. The tragedy of Korea, which is split up into two parts, worries the movie-makers. In recent years there have been changes in South Korean position in exposing North Korean residents. If the previous decades in South Korean cinema was cultivating the image of the enemy: North Korean could be either a spy or killer, but now the inhabitants of North Korea are perceived and presented in films differently, not embodying exclusively negative features. In Japanese cinema, the emphasis is on the visual array, which allows you to bring forward contemplation and the deep meaning is transmitted by artistic images typical of the oriental art in general. In films, much attention is paid to the smallest details; certain asceticism along with the aesthetization of the frame is a reflection of purely Japanese features – minimalism as the meaning of existence. Familiarity with the peculiarities of the development of contemporary art and cinema in China, Korea and Japan is a necessary component for further dialogue between the cultures of East and West in terms of balanced interaction and artistic transformations of the modern world.

ОБРАЗ ГРАНДКОРТА В РОМАНЕ ДЖОРДЖ ЭЛИОТ «ДЭНИЕЛ ДЕРОНДА» И ФИЛОСОФИЯ АРТУРА ШОПЕНГАУЭРА

For the first time in Russian studies of George Eliot, one of the central characters of her only novel about contemporary English life, Daniel Deronda, is under analysis. The character of Grandcourt is looked at as the writer’s distinctive reflection on her reading and comprehension of Arthur Schopenhauer’s book Die Welt als Wille und Vorstellung (1818). The author of the essay gives the facts of the very serious, profound and critical reading of this book by George Eliot. The essay shows in what ways this kind of reading influences the ideological and artistic structures of the novel. It is specially demonstrated how George Eliot’s thorough knowing of Schopenhauer’s book and the thoughts this knowing generates reflects on the image of Grandcourt. It is stressed in the article that the character of Grandcourt is not simply to illustrate some passages of the philosophical system of the German thinker. It is argued that Schopenhauer’s concepts of Man, his role and place in the world cause George Eliot’s deep ontological thinking of human existence and its meaning; the German philosopher’s speculations lead Eliot to the indirect dialogue and dispute with Schopenhauer as it happens in some works by Dostoevsky, Leo Tolstoy and other authors of the end of the 19th – beginning of the 20th centuries. The author of the article demonstrates artistic principles and means with the help of which George Eliot reconsiders the main notion of Schopenhauer’s system – Wille (Will), which transforms into rampage of subjectivity, unrestrained egoism and egotism, despotism, aggression, disdain of Other, moral violence and rapture of it, rejection of common sense and practical logic, the triumph of ‘nature’, seen merely as an instinct, deletion of such notions as self-analysis and self-criticism, human sympathy, compassion, friendship, love to others. Some special emphasis is put on Eliot’s arguing against Schopenhauer’s gender anthropology. It is stressed in the article that, parallel to ontological disagreement and with the help of this polemics, Eliot through the image of Grandcourt both ironically and dramatically sharpens some moral ill-being of contemporary English high society.

Research of composition characteristics And fabric structure of the azerbaijani national kerchief kelagai

The publications present the characteristic features of the Azerbaijani national costume - kelagai shawls. The analysis of the current state of the problem of the artistic and compositional principles of designing women's clothing based on the national and ethno-artistic traditions of Azerbaijan is carried out. The main ornamental motifs that are used in the Azerbaijani costume are revealed. The frequency of occurrence of different types of ornamental counterpoints is determined. To determine the characteristic features of the national costume, literary sources are analyzed where ethnographic, historical, and artistic features of folk art are reflected. The tectonic structure and peculiarities of coloring and ornamentation of women’s costume in different regions of Azerbaijan were studied for a number of indicators. The color and ornamental organization of the form includes an analysis of the overall color, appearance and structure of the ornament. A historical analysis of the development of kelagai shawl production in the city of Ganja, Sheki, Baskal is carried out. The purpose of the research work is to create an up-to-date collection of women's clothing and to identify means of harmony of the modern female image based on the analysis of the features of the historical costume in the context of the specifics of art. Proposals for the use of kelagai in the design of modern fashionable women's clothing have been developed, the features of the manufacture of kelagai shawls have been investigated and factors affecting the structure of the kelagai shawl have been identified. Traditional folk clothing is not only a rich manifestation of national culture, but also a deep creative and emotional source in the development of modern design.

DEPICTED AND DEPICTING WORD: A.N. OSTROVSKY, N.S. LESKOV, I.S. SHMELEV

The article considers artistic principles of representing folk speech reflected in the creative works of three Russian canonical writers such as A.N. Ostrovsky, N.S. Leskov, I.S. Shmelyov. Images of people’s life stem from speech activity. Critical literature about the writers mentioned above focuses on speech as a subject matter and on its objective status. However in the creative works of the writers under discussion the word proves to be both depicted and depicting, while claiming iconicity as the key principle of text structuring. Literary works of these writers are affected by the genre concept of the ancient Russian literature as well as by the temple and liturgic ontos of the Orthodox Church. The paper highlights Ostrovsky’s constituent efforts to create dramaturgy as a national poetic epos reflected in the temple and litulrgic and iconic symbols, in the aspiration of the national playwright to portray ideal images and concept of the Ideal shared by the people. Referring to Leskov’s creative works the author emphasizes his focus on ecclesiastical discourse, on the Sacred Writings. Therefore Leskov’s poetics is saturated with visual iconic images and liturgic images and is marked with ecphrasis, iconography of sainthood referred to the phenomenon of foolishness for Christ. Leskov’s writings are regarded as a vocal icon of Russia, as a narration with its typical “Russian nesting doll” (“matryoshechnaya”) structure reflecting Orthodox code of Russian culture. Iconic principles of representation are reflected in all Smelyov’s writings: in the plots, compositions, motives, images-symbols. The author refutes an opinion about Shmelyov as a writer-ethnographer, portrayer of pre-revolutionary way of life. The paper proves symbolism and material sacralization of Shmelyov’s poetics, his contribution to develop principles of non-verbal narration, principles of visual iconic symbolism.

Збагачення традицій чоловічого виконавства у балетній творчості Миколи Прядченка

The aim of the article is to identify the features of the leading soloist of the National Opera and Ballet Theater named after T. Shevchenko Nikolay Priadchenko in the 1970–1990s. Methodology. To carry out scientifically objective research, we used analytical (analysis of literature and sources, events), comparative-historical means (conducting research in chronological sequence, comparing various stages of creativity, taking into account the historical context) and biographical methods (analysis of the reflection of his personal life events in the creative work). Scientific novelty. The scientific novelty lies in the fact that for the first time the features of M. Priadchenko’s artistic style were analyzed, which contributed to the traditions’ enrichment of the domestic choreographic school of male performance. Conclusions. An analysis of the problem’s historiography showed considerable attention on the part of ballet critics and scientists to the work of M. Priadchenko, however, a comprehensive study of the characteristics of the performing style and the role in enriching the school of domestic male ballet performance were not found. Features of the performing manner of M. Priadchenko in the roles of academic heritage consisted in the fact that he introduced a personal understanding of the images of his heroes into the traditional classical parties, a subtle sense of romantic academic choreographic style. In ballets on Ukrainian themes, M. Priadchenko convincingly reproduced the necessary artistic images, often endowed with a mythological nature. A universal dancer, M. Priadchenko was equally convincing in the ballets created by his contemporaries (A. Shekero, H. Maiorov, B. Eifman, etc.). In them, for each character, he found unexpected acting details that emphasized the individuality and significance of their characters. The stage achievements of famous Ukrainian dancers require further research attention, because an analysis of stage heritage will help to identify and understand the basic artistic principles of the male ballet school in Ukraine.

THE ROLE OF SYMBOLS IN “THE KITE RUNNER” BY KHALED HOSSEINI

The main focus of this research work is to analyze the symbols and their role in interpreting the novel “The Kite Runner” by Afghan-born American writer Khaled Hosseini who has widely used artistic signs in his novel. With the help of symbols the essence of the work has been conveyed to the reader through the sensitivity of artistic principles. The symbols in the novel were analyzed being divided into categories as characters, places, things and complex symbols. The introduction of the symbols in the novel, as the secret information of the author to the reader, is a masterpiece of the artistic idea that has not been provided in the text but intended for it. Moreover, it is a figure of speech through which any author is able to express in an indirect way a certain mood, concept, a political ideology, a period or emotion in a work of literature using a physical object, character, event or word. Symbols in the literary work are of great importance to help readers visualize complex concepts and central themes, and track their development; afford writers the opportunity to communicate complex ideas efficiently and artfully; invite readers to interpret a text independently; add emotional value to a text; conceal themes that are too controversial to state openly; imply change or growth in characters or themes through shifts in the way that characters interact with particular symbols, or ways in which the symbols themselves change over time. The catastrophic events connected with the World Trade Center that occurred on September 11, 2001, caused a surge of interest in a little-known Central Asian country Afghanistan. Consequently, most people around the world discovered a new, yet soon stereotyped face of Afghan people as terrorists and their allies. Thus, Khaled Hosseini along with other compatriot authors endeavored to reshape the overlooked image of his nation and his native land once he abandoned, in different perspectives, social and moral angles.