Realistic Tendencies Research Articles

Душа как субстанция личности: феноменологическое pro et contra

Introduction. The article reveals some methodological aspects of the phenomenological discussion of the personal subject. The dispute is caused by realistic tendencies in phenomenology, according to which the totality of properties of a thing allows us to assert the existence of their ontological basis, which is contained in the essence of the thing. In the case of a human being, such ontological foundation is the soul, which determines the basic characteristics of the personality that exist prior to any constitution. Theoretical analysis. The article argues for the contradictory nature of such concepts by appealing to M. Heidegger’s method of work. Firstly, justification is associated with the absence of obvious givenness of any essence within immanent perception, secondly, ontological categories of the structure of the personal subject are a tribute to the previous philosophical tradition, not its criticism, and thirdly, postulation of the ontological basis of properties continue the naturalistic explanation of natural sciences. Conclusion. A conclusion is made about the closeness of Heidegger’s method of philosophising to the original beginnings of phenomenology, as well as to the requirements of the phenomenology of the spiritual world set out in the second volume of Husserl’s "Ideas". The hypothesis is put forward according to which further study of the personal subject can be continued beyond the framework of substantialist concepts.

A MAXIMUM ENTROPY PRINCIPLE MODEL FOR THE INITIALIZATION OF EULERIAN–LAGRANGIAN SPRAY SIMULATIONS

NOx emission regulations have become more and more restrictive for internal combustion engine-powered vehicles, especially for road transport applications. To minimize emissions and comply with regulations, selective catalytic reduction (SCR) systems are the most efficient deNOx technology thanks to the injection of a urea-water solution (UWS). State-of-the-art computational fluid dynamics (CFD) techniques employ Eulerian-Lagrangian frameworks to deal with the two phases of such problems. Still, the associated low velocities of UWS applications make it difficult to use standard breakup models (Kelvin-Helmholtz, Rayleigh-Taylor, Taylor analogy breakup) to generate initial drop size distributions. Hence, these specific studies end up needing experimentally characterized drop size distributions to initialize the CFD simulations or using expensive Eulerian-Eulerian simulations to obtain the outcomes of the primary breakup of the liquid jet. The maximum entropy principle (MEP) allows generating a droplet size-velocity probability distribution function (PDF) from initial injection conditions and injector characteristics while satisfying conservation equations. The most probable PDF curve is determined by the distribution that maximizes the entropy of the problem. A critical Weber number has been proposed to select which droplets will break up subsequently after the initial droplet break up. The model has been validated against experimental results obtained by high-resolution laser backlight imaging. Comparable results have been found and realistic tendencies were achieved, decreasing the expected droplet size with increasing injection pressures. The proposed model could help with introducing alternative breakup models for low-velocity applications without the need for prior droplet size knowledge.

Генезис образа ратного поля в поэтической баталистике периода Отечественной войны 1812 года

The aim of the research is to identify the literary genesis, semantic components, and artistic potential of the image of the battlefield in the poetic batalistics of 1812. The article explores the architectonics of the battlefield space and the symbolic content of the battle image, based on works from the “Collection of Poems Relating to the Unforgettable Year of 1812”, in comparison with folklore traditions and ancient Russian military tales. The research’s scientific novelty lies in clarifying the genesis of spatial topoi in the verbal batalistics of the Patriotic War of 1812, determining the mechanisms of transforming vivid images of military events into powerful artistic images, and expanding our understanding of visual poetics in the Russian literature of the early 19th century. The study reveals that within the context of battles, the field topos is realized in several meanings. It is not only a designation of the battlefield but also a generalized image of the entire Russian land, embodying the national character. It is found that alongside the vivid imagery inherited from ancient Russian military storytelling, the poets of 1812 infused the battle texts with romantic and realistic tendencies in the depiction of space. This is reflected in their praises of the military accomplishments of ordinary individuals on the battlefield, the gallantry of hussars, friendly sentiments, and portrayals of soldier life. This allows readers to visually perceive historical events and be engaged with the literary patriotic tradition.

Subject playing with flat images: Transmedia spreadability of anime and manga character images

Anime and manga characters are so ubiquitous in Japan that people see them anywhere, regardless of public or private. The two-dimensional flatness of line drawing allows the character images to straddle the boundaries of the worlds of works and media. The analysis of individual artworks needs to be revised to understand the transmedia spreadability of characters and our living conditions. This paper, thus, overviews the preceding discussions of anime and manga scholars on human-character relations and compares them with the theory of subject formation in film studies, whose realist tendency once emphasized the three-dimensional space and time. While psychoanalysis-influenced theories such as suture and male gaze model after one-point perspective and subordinate two-dimensionality, Thomas Lamarre formulates a de-unified perspective in relation to the multilayered image field of Japanese anime. In conjunction with the orientation of cultural and fan studies to emphasize audience agency, this article discusses the de-unified perspective on flat images which has the potential for understanding the complexity of subject formation through the interplay with two-dimensional images.

Forms and Functions of Description in the (New) Weird

Abstract This essay discusses how and to what effect Weird and New Weird fiction use description in unique and genre-defining ways. Using H. P. Lovecraft’s “The Call of Cthulhu” and China Miéville’s The City & The City as examples, it shows how the Weird relegates a comparatively large part of the text to description and attempts to elicit dread as an aesthetic effect. The essay argues that the Weird breaks with the traditional use of description by employing formally realist tendencies which it defies functionally, and by combining over-description with the failure to describe, whereas the New Weird is more concise in its use of description, ties it more closely to the narrative, and is less reliant on descriptive failures. Both the Weird and the New Weird demand more active reader participation in their creation of aesthetic illusion, which they encourage through the frames they create around their descriptions, thus preparing readers for the potential of aesthetic distance in the reception process and diminishing its effect. The analysis emphasizes the potential of description to be more than a subordinate to the narrative mode and to be a central component in the formation of a text’s implied worldview.

TRADITION AND MODERNISM IN THE SACRED ART OF IGOR ZILINKO

The article explores the directions of contemporary Ukrainian sacral art in the work of the painter I. Zilinkо, his contribution to the development of sacred art of the temples of Ternopil region. The main directions of stylistic orientation in the formation of modern sacral art, the evolution of paintings from realistic tendencies of Ukrainian sacral painting of the seventeenth century to experiments with stylization of iconic figures in search of greater spirituality of the face, the introduction of our own modern iconography, based on tradition. The article explores the directions of contemporary Ukrainian sacral art in the work of the painter I. Zilinkо, his contribution to the development of sacred art of the temples of Ternopil region. Sacred art is the object of study of many scientists, historians, archivists, art historians, local historians, journalists. Among them, in particular, D. Stepovyk, M. Golubets, K. Moskalets, V. Sventsitska. However, the issue of the development of the modern sacred art of Ternopil region (1990–2018) requires additional study. The purpose of the article is to highlight the main directions in the work of Igor Zilinka, to specify the formation of the sacral and artistic environment of the churches of the city of Ternopil, to study the temples with modern interiors, to analyze the observance of traditions in icon painting and the search for modern aesthetic forms. After the revival of the Ukrainian Church, the construction of new temples began. The construction of churches led to the search for masters who could carry out their interior decoration. Famous Ternopil painter Igor Zilinko has become a “sacred” artist who has been successfully working in this field for many years. One of the first works of Igor Ivanovich was the decoration of the church of the Sacred Heart of Christ in the village of Veluky Gai, Ternopil district (1920). The murals of the church are classic paintings that date back to the works of the famous master of Ukrainian icon painting of the seventeenth century Ivan Rutkovych. It is the only church that reflects the realistic trends of Ukrainian sacral painting of the seventeenth century. Here the traditions of folk art are combined with creative bold search for new content and form. Next was the work on painting the temples in the villages of Petrykiv, Pronyatin, Kupchintsy, in the Ternopil region. On the initiative of Fr. Pavel Repely, the parish priest of the church of the village of Petrykiv, the painter was oriented to the heritage of Byzantine-Ukrainian icon painting. It is the first church in the Ternopil region that depicts the Eastern traditions of icon painting. Igor Zilіnko later managed to form his own style in the contemporary Ukrainian icon, following the Byzantine iconographic tradition. Particularly noteworthy is the iconostasis created by Igor Ivanovich for the Cathedral of the Archangel Michael in Ternopil in 2007. The artist very responsibly approached the choice of plots, taking as a basis the traditional composition of Ukrainian iconostases. The author has preserved the foundations of Ukrainian church traditions and has reflected the saints of the Ukrainian Church. An interesting development in the decoration of the spatial environment of the temple is the Church of St. Sophia of the Wisdom of God in Ternopil. For the decoration of the church, the parish priest Fr. dr. Vitaliy Kozak invited the already known master of sacral painting Igor Ivanovich Zilinko, who at that time developed his own iconographic style. The figures of the saints are exaggerated, unnatural in height, reflecting the idea of an invisible celestial world, without a realistic image. Creativity of Igor Zilinko is one of the most striking pages of contemporary Ukrainian art culture, evokes joyful aesthetic experiences, encourages contemporaries to creative pursuits to create monumental images that combine tradition with the actual spiritual needs of modern society.

Applications of Realism and Idealism in foreign policy (American foreign policy as a model)

The study aims at identifying the most prominent features of idealistic and realistic American foreign policy through highlighting three Arab issues, namely the American occupation of Iraq, the American position on the Syrian Libyan uprisings. To achieve this goal, the study used the decision-making approach, and the comparative approach in accordance with their relation to the nature of the case-study. 
 It is revealed that there is a difference in US foreign policy towards each issue separately, and that there is a difference in managing the issue itself. This is related to the difference in the personal aspects of the American president in that period, and the idealistic or realistic tendencies that governed his vision.
 The occupation of Iraq in 2003 could be seen as indicators of realism in US foreign policy. With the succession of US administrations, those realistic indicators changed to ideal ones after the US withdrawal from Iraq in 2011, and the attempt to establish normal relations with Iraq and focus on developing the strategic partnership between the two countries.
 The American position on the Libyan revolution also varied between realism after the direct military intervention in to eliminate Muammar Gaddafi’s regime, and idealism through the presentation of the Obama’s administration to programs and plans related to issues of democratic transition, human rights, development of informal organizations and the provision of necessary support to them, and the establishment of Trump administration high-level diplomatic activity on Libya in mid-2020 to intensify efforts to stabilize the political situation in Libya. In addition, the positions of the US administration have fluctuated on the Syrian revolution of 2011. There are realistic features, most notably the operation that the Trump administration directed at the Syrian army’s Shayrat Airbase in April 2017, and ideal features represented by the Obama administration’s attempts not to directly interfere in the Syrian revolution and to stay away from military action, and overlooking Russia’s incursion into Syria to avoid the United States of America entering new wars, or getting directly involved in Middle Eastern conflicts.

Critical Review of Visual Anthropology

This article aims to develop a critical overview of visual anthropology by exploring the main obstacles and pivotal challenges throughout its evolution. It explores the ongoing representational and logocentric orientations of mainstream anthropology that have caused the rejection of acknowledging audio-visual anthropology as valid academic work. Furthermore, by singling out the ocular-centric and visual realist tendencies that exist in visual anthropology, it is argued that, to some extent, it validates those criticisms and even has its roots in those representational and logocentric orientations. Within this article, a position is taken besides those who consider the 'sub-discipline' of visual anthropology as a critical approach to mainstream (social or cultural) anthropological studies. The arguments lead to the conclusion, suggesting that by distinguishing between ethnography and anthropology (Ingold: 2014 & 2017) a more diverse, creative, and comprehensive idea of audio-visual (multimodal) anthropology is probable.

Subject playing with flat images: Transmedia spreadability of anime and manga character images

Anime and manga characters are so ubiquitous in Japan that people see them anywhere, regardless of public or private. The two-dimensional flatness of line drawing allows the character images to straddle the boundaries of the worlds of works and media. The analysis of individual artworks needs to be revised to understand the transmedia spreadability of characters and our living conditions. This paper, thus, overviews the preceding discussions of anime and manga scholars on human-character relations and compares them with the theory of subject formation in film studies, whose realist tendency once emphasized the three-dimensional space and time. While psychoanalysis-influenced theories such as suture and male gaze model after one-point perspective and subordinate two-dimensionality, Thomas Lamarre formulates a de-unified perspective in relation to the multilayered image field of Japanese anime. In conjunction with the orientation of cultural and fan studies to emphasize audience agency, this article discusses the de-unified perspective on flat images which has the potential for understanding the complexity of subject formation through the interplay with two-dimensional images.

Фильм Фрица Ланга «М» (1931) в контексте научной, социальной и культурной жизни Германии в 20-30-е годы ХХ века

The article deals with the specifics of the social, political and cultural life in the Weimar Republic at time of the making of Fritz Lang's movie “M”. While showing the connection between the historic events of the time and the ideas conveyed in the movie, the author rejects the traditional interpretation of “M” as a pamphlet reflecting the problems in Germany before the national socialists came to power. The cooperation of the police and the criminal elements making attempts to catch the maniac is considered to be a logical continuation of the spiritual unity of the upper and lower classes shown in Lang's “Metropolis” four years before. The movie was banned by the Nazis in 1934, which can be explained by the inappropriateness of such ideas in the society where criminal behaviour is associated with biological deficiency - the question of criminal liability of the mentally deficient raised in “M” loses its relevance for the same reason. © С.Н. Роман, 2022 In the first place the movie is analyzed from the perspective of the artistic evolution of the detective genre, caused by the gradual strengthening of the realistic tendencies in cinema and the weakening of the influence of expressionism on the artistic life in general and Lang's style in particular. A criminal act is no longer shown by Lang - as opposed to his earlier works - to be an act provoked by unexplainable mystical forces; now it receives psychological explanation. The rejection of romantic traditions typical of the German cinema of the twenties, the appeal to pseudo-documentary filming, the arrival of sound in cinema - all this leads to the simplification of visual imagery, later on a characteristic feature of the movies of the thirties. A special focus is made on Lang's application of suspense, which is the key to understanding the whole composition of the artwork and becomes an integral part of detective movies made popular by Alfred Hitchcock for dozens of years to come.

Vojislav Ilić: The Poetry of Contradictions and Synthesis

This article deals with the correlation of the work of Vojislav Ilić, the most signifi cant Serbian poet of the late nineteenth century, with various literary trends: classicism, romanticism, realism, and the Parnassian-Symbolist school. Various points of view have been expressed on this issue for a number of years. V. Ilić is recognised mainly as a romantic with some authors noting inherent features of classicism, aestheticism, and symbolism in his work (Dragiša Živković and Dragiša Vitošević), some noting a closeness to realism and a break with romanticism (Jovan Deretić), and others recognising and at the same time denying Ilic’s belonging to any of these trends (Milorad Pavić). The syntheticity of Ilic’s talent is also noted, although the question of its nature is not considered (Regina Friedrikhovna Doronina). In this article, the starting point is the romantic principle in Ilić’s poetry and, owing to the spirit of the times, the further gradual overcoming of his romantic aspirations. Rejecting the subjectivity of romanticism, the poet turns to the early experience of his father, the famous poet Jovan Ilić, that is, to the experience of “objective lyrics” of the 1820s–40s. The appeal to antiquity, to the cult of tangible beauty, the perfection of the art form brought V. Ilić closer to the Parnassians, which naturally led the Serbian poet to symbolism. At the same time, V. Ilić, in the spirit of the modern development of national literature, also turns to realism, including “folkloric”, to a critique of the social foundations of the surrounding reality, to the social landscape. However, in general, the landscape descriptive lyrics of V. Ilić, often perceived as a manifestation of realistic tendencies, mean at the same time a return to the ancient idyll, and thus the approach to poetry of the Parnassians, who were close to the static idyllic landscape. In the landscape poetry of V. Ilić, his highest creative achievement, a synthesis of subjective and objective principles, modernity and antiquity, national traditions and experience of modern Western European literature, is manifested.

Further exploration of anti-realist intuitions about aesthetic judgment

ABSTRACT Experimental philosophy of aesthetics has explored to what extent ordinary people are committed to aesthetic realism. Extant work has focused on attitudes to normativism – a key commitment of realist positions in aesthetics – the claim that aesthetic judgments/statements have correctness conditions, invariant between subjects, such that there is a fact of the matter in cases of aesthetic disagreement. The emerging picture is that ordinary people strongly and almost universally reject normativism and thus there is no strong realist tendency in ordinary people’s thinking about the aesthetic. This has been taken to dissolve the traditional puzzle in aesthetics of how to best account for the fact that (a) aesthetic judgments seem intersubjectively valid, while (b) aesthetic experience seems subjective. This paper presents studies which further enrich our understanding of ordinary thinking about the aesthetic: ordinary thinking about the aesthetic may not be so vehement in its rejection of normativism; and where previous results suggested that, in many cultures, the dominant trend is to reject correctness conditions for aesthetic judgments, the current results suggest participants think aesthetic judgments have correctness conditions (albeit perhaps very finely relativized to specific circumstances of judgment).

Lens revealing power in Antonioni’s Blow-Up

The conflict of the image, which historically oscillates between realist and formative tendencies, is invested by the power that the lens offers the photographer as a means of scrutinizing the captured physical reality and producing an appearance of material reality as not perceptible to the naked eye. This tension between a monstration device whose function of revelation passes through the lens of the camera-cinematograph and the physical reality will guide the reflection. To this end, I will take charge of the treatment of this specific capacity of the cinematographic camera in Blow Up by Michelangelo Antonioni. My problematic will consist in showing how Blow-up gives shape to the concept of the “cinematographic approach” through the disposition of a “medial photo-cinematographic” constellation, which considers together photography and cinema as “technical recording material device, optical-mechanical vision devices recording on a physical matrix (by chemical revelation)”. This link between image and physical matrix deploys in Blow-up photographic technical transfers such as “enlarging” and “cropping”, producing an enlightening towards the unlimited “endlessness” of the technical capacity of enlarging (to blow up) and cropping (to crop), paradoxically opacifying the “readability” of the cliché. This impossibility to “make-see” or “see-true” comes up against the “truth of the instantaneous”, singling out oneself the photo-cinematographic approach via the unstaged. Both of these photographic practices are invested by Antonioni in the manner and style of revealing a usually “voyeuristic” viewpoint in the face of the technical configurations and the photographer’s own work in his reading of the image. The tension between “desire to see” and “impossibility to read” is resolved by the intensification of the unstaged as the presence of “that which is not staged” releasing the energy of the raw material of the physical reality captured by the technical expertise of the filmmaker - mediated by the character of the photographer. This is how I will show that Blow-up is not simply a film, but the shaping of a concept.

Nikolay Karazin’s Graphic Series for the Amu Darya and Samara Expeditions of 1874 and 1879

The article examines the drawings and watercolors by the artist Nikolay Nikolayevich Karazin (1842—1908), based on the materials of the Amu Darya and Samara expeditions of 1874 and 1879. The paper aims at reviewing the graphic series “Amu Darya Scientific Expedition”, published in the magazine “Niva” in 1874—1875, and a series of watercolor portraits made during the Samara expedition, in comparison with the pencil portraits by Vasily Vasilyevich Vereshchagin (1842—1904) in the album of photographs “Russian Turkestan”, published in 1874. This collection of artworks has not previously been the subject of a special art history study. Their examination introduces into the field of specialists’ view a significant stage of Nikolay Karazin’s creative path. The relevance of the article, in view of the investigations of recent years, lies in the representation of the image of an artist-traveler, a draftsman during expeditions in the second half of the 19th century.The study of the first series is based on the nature and national types of the Amu Darya delta. The analysis of individual examples of journal graphics is accompanied by a description of some of the author’s simultaneous graphic originals, as well as works of other artists interested in Central Asian ethnography. The article uses a comparative methodological principle, with the analysis of fragments of N.N. Karazin’s literary works — travel essays with a pronounced ethnographic component.The artist’s series of watercolors based on the Samara expedition also presents several images of the ethnotypes of Russian Turkestan, a region of Central Asia in its western part. As a result, there are identified the similarities and differences in the artistic methods and manners, as well as the conditions of creative work, of the two artists — Nikolay Karazin and Vasily Vereshchagin. The analysis is carried out using a comparative method and a socio-historical background.The Amu Darya and Samara graphic cycles represent N.N. Karazin as a mature creator who intuitively used the means of the approaching new time and modern style. At the same time, he did not leave the boundaries of the literary and artistic genre “voyage pittoresque”, overall successfully combining realistic tendencies with the vision of a romantic.

О СТАНОВЛЕНИИ НЕМЕЦКОГО РЕАЛИЗМА

The relevance of research. In German literary criticism, there is no unambiguous definition of the phenomenon of literary realism, however, at the empirical level, it is understood as a literary system based on a mimetic-oriented depiction of reality, often critically comprehended and subjectively colored due to the norms and ideas that are taking shape in society. Research methodology. Complex and systematic methods of literature analysis are applied. In this article, the author comes to the conclusion that the realism of the turn of the XIX - early XX centuries. retains its main principles of artistic comprehension of the world, and at the same time the signs that do not allow talking about its dissolution in the eclectic picture of the emerging modernity. The main thing remains the disclosure of "the essence of life phenomena through their individualized generalization (typification)", analysis and specific historical logic of presentation Realism at the turn of the 19th - early 20th centuries. closely associated with such phenomena as regional literature, "new business-like", historical novel. On its basis, workers' and proletarian-revolutionary literature developed in many ways. In German literature of the twentieth century. realistic tendencies intensified in the times following the historical and political catastrophes, primarily after the two world wars lost by Germany. Realism played a significant role in the literature of the Weimar Republic (the works of E.M. Remarque, L. Feuchtwanger, L. Frank and others), while in contact with modernist and avant-garde trends (for example, with "new business-like"). Realism turned out to be no less significant after 1945, having equally influenced the formation of the literatures of West and East Germany (writers of the "group of 47", Erwin Strittmatter, "socialist realism", etc.). German realism, which emerged in the middle of the 19th century, was able to demonstrate its flexibility and ability to enter into alliances with other natural artistic directions, without losing its main specificity - the desire for materiality, the authenticity of personal and collective experience, as well as symbolizing the "obvious" with the goal of approaching the "true".

COMPARISON OF VILLAGE REALITY IN REALISTIC TURKISH CINEMA WITH THE VILLAGE DOCUMENTS (1961-1971)

Rus edebiyatında görülen realizmin Rus Devrimi’ne giden süreçte de etkili olduğu söylenebilir. Çünkü realizm insanları kendi gerçekliğiyle yüzleştirmektedir. Bu durumun insanları harekete sevk ettiği düşünülebilir. Rus devrimi sonrası aynı realist çizgiyi erken dönem Rus sinemacıları da göstermiştir. Türkiye’de realist eğilimler öncelikle edebiyatta başlamıştır. Bu durum 1961 anayasasının getirmiş olduğu nispi özgürlük ortamında Türk sinemasına da yansımıştır. Gerçekçi Türk sineması denilen bu dönemde önemli filmler çekilmiştir. Makalemizde bu sinema çerçevesinde çekilen köy filmlerinde sunulan gerçeklik o günkü köy belgeleriyle karşılaştırılmıştır. Yöntem olarak söz konusu sinemayla ilgili çalışmalar incelenmiştir. Ardından o döneme ait bir film seçkisi oluşturularak bu filmler izlenmiştir. Köy belgeleriyle dönemin kimi gazeteleri taranmış, buralardan elde edilen bilgilerle okuma ve film izleme sonucu elde edilen bulgular karşılaştırılmıştır. Sonuç olarak filmlerde sunulan gerçekliğin köy evraklarındaki gerçekliğe yakın olduğu görülmüştür. Bu filmlerin o dönemi anlamak için birer kaynak olarak kullanılabileceği düşüncesi oluşmuştur.

Az újrealisták szépprózája: Alekszej Varlamov és Alekszandr Sznyegirjov művei alapján

The paper calls attention to the realist tendency in contemporary Russian literature, which intensi‰fied in the past two decades, highlighting the “new realist” trend. The author also points out that the realist tendency is not homogeneous, it includes various writing methods which may differ greatly. To illustrate this the paper introduces two contemporary authors, Alexey Varlamov and Alexander Snegirev, and through their most characteristic works two realist, but markedly different writing methods: Varlamov converges his realist point of view towards an archaic-mythological aspect, Snegirev’s method is ruthlessly honest, describing the dehumanisation and superficial nature of people.

THE MAIN MOTIVES OF THE ARTISTIC PROSE OF P. LAGERKVIST (BASED ON THE NOVEL “BARABBAS “)

The article analyses the main motives of the artistic prose of the famous Swedish writer Par Fabian Lagerkvist. The purpose of the article was a comprehensive analysis of the motive organization of the entire work of Pаr Lagerkvist and in particular his most famous novel “Barabbas”. The article analyses the main motives, genre and style constants, and dominant, chronotope. In particular, the novel “Barabbas”, which represents the author’s worldview, is being researched in detail. The individual style of Pera Lagerquist is characterized by allegory, symbolism and the presence of an individual author’s myth. The writer interprets mythological, historical scenes through minor characters who witnessed epochal events. For example, Barabbas watched the death of Christ. The article analyses Biblical (human endeavours to find God, the motive of faith, hope, love, etc.) and existential (loneliness, amount, anxiety, etc.) motives. The article investigates the author’s symbols (cross, mountain, injury of characters, etc.), which project the mythological vision of the writer. The paper analyses the main motives of the writer in different genres of literature. The dominant genre of the 50s of the twentieth century in the work of P. Lagerquist is a novel, anti-myth, which has a powerful philosophical and religious reason. The constant motifs of the artistic prose of Lagerkvist are the motives of life and death, of good and evil, of faith and of despair, of suffering and of redemption. The stylistic feature of this author is the combination of modernist and realistic tendencies. In the detailed analysis of the real chronotope, the motives of doom, loneliness, alienation, and fear become dominant, and the characters represented by the author try to orient themselves in the chronotope and find a way out of the impasse.

TRANSFORMATION OF THE KYIV MURALS AND MOSAICS AT THE TURN OF THE 1950–1960S AND THEIR IMPACT ON THE MONUMENTAL PAINTING DEVELOPMENT

During twentieth century monumental painting has undergone numerous changes in iconography, stylistics and figurative-plastic language itself. An important milestone was the turn of the '50–'60s. When the artists resorted to active decorative searches and the ways of plane expression.In the 1930–50's, socialist realism became the main pointer for the monumental artist, which was the dominant artistic method at that time. For the most effective use of this method, the artists have been oriented on the realistic and academic principles, filling classical forms with Soviet meaning. Panels become burdensome and suffocated by architectural decoration, the expressiveness of the monumental painting was lost.However, at the end of the '50s monumental painting began to move away from realistic tendencies. A search of new ways of expressions have been proceeded. A search of new ways of expressions proceeded. The impetus for rethinking styling was widely known resolution of November 4, 1955 "About the elimination of redundancies in design and construction. "The document became the peculiar starting point in Soviet architecture as well as monumental painting.According to this resolution aesthetical side had to be solved by organically linking the architectural form to the purpose of the building and established proportion. The task of architects was to work on the creation of standard buildings in simple economic forms.Thus, new opportunities for development in the monumental painting appear. With the formation of new architecture, murals and mosaics are gaining ground for experiments both with materials and figurative-plastic solutions.At the turn of the 60's significant projects were created in Kyiv, among them Kiev River Station (1961), Kiev Bus Station (1961), Shulyavska Subway Station (1963), Metro Restaurant (1963), interior design at The Institute of Plant Physiology and Genetics, NAS of Ukraine (1962), exteriors of the Institute of Plant Protection of the UAAS (1962).

Figurative art in Bulgaria from the 1920s and 1930s: The School of Kyustendil, Kiril Tsonev and Boris Elisayeff

The aim of this paper is to present those realistic tendencies in Bulgarian painting from the 1920s and 1930s, that echoe contemporary West European ones, like the New Objectivity in Germany. Among others, it will be shown how Bulgarian artist’s paintings are inspired by the folklore primitive from the past and reflect the assiduity of cultural administration to renew the idea of a modern artistic school of art with a defined national character.