Reception Of Art Research Articles

Cultural memory of Chornobyl in literature and fine arts (in case of a picturebook "The Flowers beside the Fourth Reactor" by K. Mikhalitsyna and paintings by M. Prymachenko)

From the category “cultural memory”, the paper compares the works of different arts – a picturebook <i>Kvity bilia chetvertoho</i> (<i>The Flowers beside the Fourth Reactor</i>) by K. Mikhalitsyna and paintings of a representative of naive art, an artist M. Prymachenko. The paper explores the interaction of various arts based on Chornobyl’s issue within the comparative interpretation. <i>The Flowers beside the Fourth Reactor</i> by K. Mikhalitsyna narrates the life of M. Prymachenko and refers to her paintings devoted to Chornobyl. From the reception of fine arts, the writer’s picturebook raises verbilised and visualised issues of generations, memory, and nature conservation.

The artistic reception of muth in Vaja- Pshavela's "Gvelismchameli"

       Mythology and showings have special place in Vaja-pshavela's various artistic inheritance. our interest  is defined about on the example of the writer's poem "Gvelismchameli" with the problem of mythological defination. we deem, that the issue about mythological functions view is  the most difficult in this poem. Its natural, that the depth  of  author's artistic inheritance caused many opposite point of views. some part of researchers think that mythology in Vaja-pshavela's poems have only esthetic function and others believe that the writer's artistic mentality based on  mythology. we think, that mythology in Vaja-Pshavela’s poem “Gvelismchameli” has author’s worldview function.

The Reception of Participatory Art. The Case of Documenta Fifteen

"Documenta fifteen in 2022 was par excellence the space for participatory art, so this edition can be seen as a touchstone for it. The research of the phenomenon of participatory art is based in this text on the one hand on the curatorial texts of ruangrupa, the collective that ensured the artistic direction of this edition of the documenta, and on the personal experience of the author as a visitor of the exhibition. Among the many issues raised by participatory art, the present text focuses on the aspect of reception of art in the case of the projects presented at documenta fifteen, and by extension, reflects on the experience of the receiver and the artistic value of participatory art projects. Keywords: participatory art, documenta fifteen, lumbung, reception of art, evaluation of participatory art "

Видеоклип как форма интерпретации поэтического текста

This article introduces the phenomenon of videopoetry as a hybrid product of mass media whose popularity is based on intermediality, i.e., the cumulative effect on different perception channels. Videopoetry is a productive form of verbal creativity in the contemporary media culture with its active reception of art. The research featured poems by W. B. Yeats, T. S. Eliot, and W. H. Auden presented as videos and the way they respond to someone else's poetic word. The authors analyzed 15 videos by comparing the original text and the video sequence in line with the method developed by N. V. Barkovskaya and A. A. Zhitenev. The analysis revealed several options for relaying a poetic work as a music video. Three videos provided a direct illustration of the source text, suggesting a complete or partial visual duplication of the original poetic imagery. Five videos offered an indirect illustration of the source text by using associative images in relation to the central images of the poem. Five videos gave a minimal illustration: the picture did not dominate the text of the poem, but its choice implied a certain interpretation. Two videos featured the video maker as a reciter. The video makers did not try to transform the poetic text but used the video sequence as a way to enter into a dialogue with the original poem or resorted to indirect illustration to generate occasional meanings. Thus, video makers keep the original text unchanged and see the video sequence and musical accompaniment as their responsibility but maintain a dialogue between the original text and its game reinterpretation.

Debussism as a Modernist Phenomenon: statement of the problem, musical approaches

The relevance of the study. Among the many artistic definitions aimed at encompassing and understanding the artistic phenomena of the modernist era, the concept of debussism was perceived rather ambiguously and remained incompletely defined during the lifetime of Claude Debussy and after his death. Moreover, it remains so even today, in the 21st century. Therefore, the problem of scientific adaptation of the mentioned concept and its gradual and deep research assimilation seems urgent and one that requires comprehensive attention and a step-by-step solution.
 The main objectives of the study are to review available scientific and journalistic sources regarding the ways of formation and features of the development of the phenomenon of debussism as an individual and stylistic phenomenon of the modernist era; trace the biographical and historical circumstances that preceded and accompanied the formation of debussism; and activate the concept of debussism in the interests of further terminological use in the field of domestic musicology.
 The research methodology combines historical and comparative methods to trace the moments of emergence and manifestations of debussism's functioning. The method of operationalization of concepts is used in the article to clarify the parameters of the definition of the concept of debussism as well as to formulate its own definition. The system approach ensures the complex interaction of different levels of manifestation of the phenomenon.
 Results and conclusions. Based on the study of scientific sources related to the work of Debussy, the author summarizes his analytical observations regarding the specific content of the concept of debussism. The identification of three levels of manifestation (compositional, social, and epochal) aids in understanding debussism's volumetric and multi-vector nature as a complex modernist phenomenon and a revealing marker of contemporary multidimensional culture. When his compositional features were masterfully integrated into the new artistic material of another author, the idea of following Claude Debussy (at all levels) became the real debussism. That is when Claude Debussy's imitation reaches the level of artistic reception. Otherwise, such an imitation is obviously feeble.
 The proposed periodization of debussism into lifetime and posthumous stages determines the universal division of the cohort of researchers and composers into those who knew C. Debussy personally (or at least lived with him at the same time) and those who were influenced by him already after the artist's death. Such a division allows us not only to emphasize the importance of practical imitation of compositional and technological techniques but also to confirm as a fundamental fact the impact of Debussy's social relationships on modernist musical culture. Furthermore, such a periodization helps to establish, albeit broadly but objectively confirmed, chronological boundaries for debussism.
 Taking into account the main events of the creative biography of the author of "Faun", the complex external and stylistic motivations of the development of his work, and the processes of formation and strengthening of the composer's popularity, as well as based on the presented research, it is arguable that debussism as a specifically modernist phenomenon, appeared on the predominant background of symbolism and impressionism, the combination of features of which in music served as the main impetus for supporters and followers of Debussy. Currently, the article presents its own working definition, which allows us to cover all three levels of detection of debussism: compositional, social, and epochal. Therefore, in the proposed study, debussism is defined as a personal musical and stylistic phenomenon of the modernist era, which is based on the synthesis of general signs of symbolism and impressionism and the individual innovations of Claude Debussy.
 Having reviewed the forms of existence, stages of history, and levels of functioning of the phenomenon of debussism, we can state that it delicately balances between personal and general musical trends of the time, as a result of which it appears as a vivid expression of modernist patterns.

Intellectual And Artistic Concepts of The Cultural Context And Their Impact On Contemporary Ceramic Sculpture

The current specialized research tagged (intellectual and artistic concepts of the cultural context and their impact on contemporary ceramic sculpture) paves the way for the emergence of the context in ceramics active in life, so that this relationship will indicate the development and presence of ceramics or not and the volume of its circulation in the joints of the culture of the Arab recipient. As a result, the researcher collected scientific materials to serve the subject of the research in four chapters: Chapter One (General Methodological Framework) To clarify the problem of the research, the importance of the research to achieve benefit in higher education and education for scholars and teachers, while the research aims to reveal the development of cultural contexts and their impact on the production and circulation of contemporary Arab ceramic art. They are the Arab countries, then the search terms were identified and defined. As for the second chapter (theoretical framework), it included three axes: the first: meaning Context. The second axis: thinkers' views of the context in language and linguistics. The third axis: the emergence of the context as representations in the artistic form, and in the third chapter (research procedures) the researcher reviewed the presence of ceramics in the Arab reality through the analysis of ceramic sculptural patterns. The researcher aims to select a sample that represents the boundaries of the research, its aim, and the framework of society. - Research tool: In order to achieve the goal of the research and to identify (the intellectual and artistic concepts of the cultural context and their impact on contemporary ceramic sculpture The researcher adopted the indicators concluded by the theoretical framework, and the researcher concluded in the fourth chapter a number of results: 1- The Arab audience formed a presence represented in the demand for works with peripheral contents in favor of types of cultural and artistic reception in addition to the factional and media. 2- Formal behavior in art. The contemporary Arab, the Arab recipient voluntarily accepts the forms within the ceramic sculptural work and its abbreviations brought by the postmodern culture other than what we have seen, as it simulates the forms through their symbols and meanings on the one hand and preserves their contents on the other hand. In addition to the conclusions, recommendations and proposals.

«LYSISTRATA’S PHENOMENON»: NEW SENSES OF THE ANCIENT PLOT IN THE CONTEXT OF SOCIO–POLITICAL CRISES OF THE 21ST CENTURY

The Peloponnesian war and the crisis of the police system of the end of the 5th – beginning of the 4th century BC became the historical context and stage chronotope for Aristophanes’ comedies. The article explores the peculiarities of the formation of modern «Lysistrata» receptions, in particular in cinematography and journalism. The premises of the «Lysistrata’s phenomenon» emergence and their interconnections with the reinterpretation of the ancient heritage are examined. In the 21st century «Lysistrata» serves as the source for the formation of the new mythologems. In the first years of New Millennium the plot of the Aristophanes’ comedy was considered as purely comic, fantastic, or even absurd. We consider the year 2003rd and the global culture initiative «Lysistrata project» to be the starting point for the «Lysistrata’s phenomenon». After «Lysistrata project» and, especially, events in Liberia global media cultivated neo-mythological concept of Lysistrata as the embodiment of political sex-strikes. Such simplification led to changes in artistic reception of the play, which could be traced in the theatre adaptation of the first decade of the 21st century. Spike Lee’s «Chi-raq» brought back complexity and multiple dimensions of Aristophanes’ play – juxtaposition of modern Chicago and ancient Athens opened plenty of senses and allows new optics for modern classic’s reception and for classical text itself. The Old Greek comedy «Lysistrata» became the optimal artistic focal point for the comprehension of the problems of war, peace, political order, race, and gender conflicts. The «Lysistrata’s phenomenon» demands further discussion based on multidisciplinary approach.

Brussels 1900 Vienna: Networks in Literature, Visual and Performing Arts, and Other Cultural Practices ed. by Piet Defraeye, Helga Mitterbauer, and Chris Reyns-Chikuma

Reviewed by: Brussels 1900 Vienna: Networks in Literature, Visual and Performing Arts, and Other Cultural Practices ed. by Piet Defraeye, Helga Mitterbauer, and Chris Reyns-Chikuma Mathias Meert Piet Defraeye, Helga Mitterbauer, and Chris Reyns-Chikuma, eds., Brussels 1900 Vienna: Networks in Literature, Visual and Performing Arts, and Other Cultural Practices. Leiden, Boston: Brill Rodopi, 2022. 453 pp. Metropolitan reality plays a key role in the study of modernity: the development of urban life in turn-of-the-century Europe affected literary and artistic movements across the continent and facilitated mobility and cultural [End Page 79] exchanges in and through various networks. Research has highlighted the importance of the major European capitals in this regard, often strengthening the view of Paris as the centre of Europe's rapidly evolving cultural life at the end of the nineteenth century. Nonetheless, other centers also existed and contributed significantly to the development of European modernism. In their edited volume Brussels 1900 Vienna, Piet Defraeye, Helga Mitterbauer, and Chris Reyns-Chikuma focus on the importance of networks, dispositions, and connections between Brussels and Vienna, seeking to deepen and extend the research that has been done on the internationalism of the Belgian-Austrian axis. As the editors emphasize in their highly informative introduction, the complexity of European development of the fine arts in modernity cannot be grasped through a binary, center-periphery model: relations and developments in literature, music, and the visual and performing arts ultimately take shape in "networks with many ties of diverse quality" (2). The central concept of the network informs the research perspective of the overall volume and several of its collected contributions, both on a thematic and methodological level. The volume brings together sixteen contributions on various aspects of the Brussels-Vienna axis, which are divided into five sections. Besides the introduction, the volume also features a handy index with names, topics, and places. The first section ("Staging Modernisms") brings together research on key figures from European Modernism such as Maeterlinck, Hofmannsthal, and the retheatricalization movement (Anke Bosse), the critical reception of Maeterlinck's plays in Vienna (Sigurd Paul Scheichl), and the understudied reception of Schnitzler's plays in Belgium (Piet Defraeye). The second section ("Transpositions") focuses on aspects of reception and literary exchanges (Hubert Roland), Stefan Zweig's translations of Emile Verhaeren's poetry (Norbert Bachleitner), concepts of exoticism in Brussels and Vienna (Szilvia Ritz), and the relationship between Musil's novel The Man without Qualities and Art Nouveau (Aniel Guxholli). The third section ("Transformations") shifts the focus to visual arts and architecture, with contributions on the reception of Belgian art in the Viennese Secession (Inga Rossi-Schrimpf) and the role of the Belgian "other modernity" in Viennese art criticism (Sylvie Arlaud). Contributions on the understudied topic of child art, primitivism and partronage (Megan Brandow-Faller), on the Belgian symbolist painter Fernand Khnopff (Clément Dessy), and Frans Masereel's transnational visual narratives (Chris Reyns-Chikuma) also showcase the importance of [End Page 80] the various transformations taking place in the arts at the time. In the fourth section ("Resonances"), the research focuses on Vienna and Brussels as cities of music, with contributions on La Jeune Belgique and Arnold Schoenberg's well-known Pierrot Lunaire (Alexander Carpenter) and the strong tradition of violin music in Brussels, Liège, and Vienna from the nineteenth century onward (Guillaume Tardif). In the final section ("Café and Psyche"), the contributions touch upon the broader cultural networks that inform the rapidly urbanizing societies in Brussels and Vienna, respectively, with a focus on fin-de-siècle café life in Vienna and Brussels (Hans Vandevoorde) and on the international expansion (and professionalization) of psychoanalysis through translated works of Julien Varendonck and Anna Freud (Birgit Lang). While the titles of some of the sections may conceptually overlap (transposition, transformation, resonances), the various case studies nonetheless showcase a broad, complex, and diverse panorama of Belgian, Austrian, and European art. The studied corpus covers the era from the late 1880s to the early 1930s and performs multiple crossings: it not only crosses political, national, and linguistic borders but is also fundamentally intermedial, involving among others magazines, translations of (literary) texts, performances, reproductions of art, concerts, exhibitions, and so...

‘Maker of exhibitions’: the curatorial practice of Cordelia Oliver

ABSTRACT The artist, critic and curator Cordelia Oliver (1923–2009) was an integral figure in the cultural life of Scotland from the late 1950s to her death in 2009. A graduate of the Glasgow School of Art, Oliver gave up her career as a painter to become a freelance critic and curator, a dual role which allowed a unique perspective on the production and reception of contemporary art from Scotland over five decades. Her curatorial work aimed to showcase and develop the reputation of Scottish art in a British and international context. A member of the Scottish Committee of the Arts Council of Great Britain (later the Scottish Arts Council) and a founding member of Glasgow's Third Eye Centre, Oliver curated a large number of exhibitions throughout the 1970s and 1980s which reveal an implicit yet sustained effort to foreground and champion art by women. A close associate of the gallerist Richard Demarco, she contributed to projects which introduced avant-garde, experimental and cross-disciplinary practices to the relatively staid art institutions of 1970s and ‘80s Scotland. This article focuses on Oliver's activities as a ‘maker of exhibitions’ as an artist-curator and a polymathic ‘participant observer’ of the artists she critiqued and exhibited.

Meisterstreich - formiranje pojma genija i kraj normativne estetike

The concept of beauty, based on the criterion of taste, marks the boundary that separates the era of normative aesthetics of classicism from the time when rejected elements played a decisive role in art. These elements include the subjectivation of experience, individual feelings as the driving force in the reception of art, and the individualization of criteria for judging artistic values. A new term emerges as the equivalent of rationalist sensus communis and classicist raison. This term can be tentatively defined as moderation (bon sens) or more narrowly, as politeness. While ancient art embodies unchanging and universal norms of artistic creation, leading to a historico-philosophical dualism, pre-romanticism, with its emphasis on sentimentality, demands a conceptual differentiation and nuancing of rational rules, taking into account cultural-philosophical and collective-psychological factors that modify those rules to fit specific creative contexts. Within sentimentalist-romantic theories of artistic creativity, the problem of genius arises, countering the rigid prescriptionism of pseudo-Horacian poetics and notions of mimesis as the constant imitation of immediate events and actions, and their 'possible' or 'probable' variants. An ingenious work of art in this context, relies not only on the strength of feelings and the immediacy of the artist's experience, but also on their ability to shape a flawless paradigm in their mind through unreflective, imaginative transposition. This paradigm is then brought to life using relevant materials. A genius artist does not oppose the rules in their creation; on the contrary, they understands them more deeply and reliably than someone who, in a fervent pursuit of innovation, abandons the safe and shortest path to artistic truth. Abbé Du Bos, Denis Diderot, and Johann Georg Hamann have delved into thisissue, shedding light on it and interpreting it from different angles, making lasting contributions to the aesthetics and theory of pre-romantic and romantic art.

Review: Forming Abstraction: Art and Institutions in Postwar Brazil, by Adele Nelson

Review: <i>Forming Abstraction: Art and Institutions in Postwar Brazil</i>, by Adele Nelson

«У последней черты…»: апокалиптические мотивы в теоретическом и музыкальном наследии Николая Метнера

The paper is devoted to the consideration of apocalyptic motifs in the theoretical and musical heritage of Nikolai Karlovich Medtner, one of the greatest Russian composers and pianists of the early XX century. The aim of the study is to shed light on the features of N. K. Medtner’s reception of the musical art of the late XIX – early XX century. The scientific novelty of the study lies in revealing the aesthetic position of the composer in the context of the surrounding musical space. As a result of the study, it has been found that the topic of the present and future of music was a source of serious concern for N. K. Medtner, who was aware of the sharp edge between musical epochs, the shifting of huge artistic plates, the change of values and language. Searching for the main pressure points of the new art, he remained faithful to the ethical essence of music, warning composers against artistic madness, flush of novelty and lack of faith, which made Nikolai Medtner a unique and even prophetic figure in the history of global musical culture.

Identification of Attitudes of Early School Education Teachers towards Contemporary Art in Early School Education – Construction of a Research Tool by Design

This document is a continuation of the reflections on issues related to the phenomena surrounding the reception of contemporary art, initiated in the scientific study Around Art Reception. A Model of Empirical Cognition of Early School Education Teachers’ Attitudes to Modern Art – A Project Study. The article presents basic assumptions regarding the exploration of attitudes of early school education teachers towards contemporary art, and its main part is an attempt to present the author’s research tool in the form of a measure to identify the attitudes of early school education teachers towards contemporary art in the early school education process. The presented research tool consists of 50 test positions grouped in three dimensions: thoughts and beliefs about the characteristics of the object of an attitude, sensations and emotions associated with the object of an attitude, as well as actions and behaviours towards the object of an attitude, aimed at determining the attitudes of early school education teachers towards contemporary art in the early school education process within the following system: acceptance – ambivalence – rejection. The projected research tool is the initial proposal for further attempts by researchers of the subject to create their original tools for identifying audiences’ attitudes towards contemporary art.

STAGE REFLECTION ON RUSSIAN CLASSICS (A CASE STUDY OF PERM THEATRES)

Ongoing socio-cultural transformations have influenced the fact that the problem of stage reflection on Russian classics is becoming one of the major trends in the Russian humanities. The relevance of the problem under question is determined by general changes in artistic consciousness at the turn of the centuries and innovations dynamics in theatrical art (of the centre and regional culture) opening up new paths of cognition and interpretation of increasingly sophisticated reality through semantics and symbolism of Russian classics. The novelty of the study is a comprehensive culturological approach combining categories of philosophy, art studies, aesthetics, and semiotics. The most representative methodological grounds within the framework of this part of the research are general semiotic conceptions aimed at analysis of culture text, its logic-symbolic and semantic structure (R. Barthes, Yu. Lotman). The hermeneutic tradition (M. Heidegger) and post-structuralism (J. Kristeva) play a special role in reflection on the text of the performance and its semantic depth. The purpose of the article is to examine the nature of artistic reception as a dialogue and intensification of the spectator’s subjectivity in terms of the drama synthetism. The data are presented by Perm theatre directors’ creative practices. The analysis of the data reveals a directors’ trend not just to refresh relationships with the audience through an active dialogue between the theatre and literary classics (a remake, “postmodern classicism”) but primarily to consciously bridge the boundaries in facing new challenges of modernity.

Dostoevsky and Pisemsky: The Calligraphic Inscription “Nevedomov” in the Draft Notes for the Novel “Demons”

The article is devoted to the analysis of the calligraphic inscription “Nevedomov” in the drafts for Fyodor Dostoevsky’s novel “Demons” and contains new facts of this work’s creative history related to the artistic reception of the work of Alexey Pisemsky and, in particular, the novel “People of the Forties” (1869). In addition to textual issues, the paper examines Dostoevsky’s attitude to the works of Pisemsky, the literary images created by both authors in the context of the theme of the Forties, key aspects of the study of this topic in literary criticism. A comparative analysis of the motif and figurative structure of the novels “Demons” and “People of the Forties” is proposed, allowing to identify the specifics of the artistic narrative in both works and the peculiarities of the creative perception of the problems in Pisemsky’s novel during the period of Dostoevsky’s work on “Demons.”

Literary Translation as One of the Main Tools of Artistic Reception: On the Example of Kazakh-Russian Literary Interaction

The literary interactions are the result of intercultural communication based on the ancient history of mankind, which marked the beginning of the globalization process. The article explores the historical foundations of the Kazakh-Russian literary interactions and the peculiarities of their development. The literary translation becomes the main tool of artistic reception of the Russian writers’ creative work in Kazakh culture. This is the subject of the research of the article. The study of the interactions between Kazakh and Russian literatures is important in the context of comparative literary studies, which shows the common history of the two peoples. The article uses chronological and typological methods to identify the stages of establishment and development of cultural relations between the two nations. The cultural-historical method was used to identify the origins of the tradition of literary translation between two cultures, the national characteristics, the historical factors that served as the basis for the intercultural integration.

Dealing and Collecting in Balzac’s Last Novel

Recent studies of the reception and collection of pre-Revolutionary art in nineteenth-century France have centered on real-life historical examples and individuals such as the celebrated collector Louis La Caze. But what can the destiny of a fictional art collection tell us about the metamorphoses of the mid-nineteenth-century Parisian art market and the very essence and nature of collecting? Honoré de Balzac was an author with his own pretensions to be a great collector and this essay focuses on the complex and often contradictory representation of the art collection in Le Cousin Pons (1847)—one of the last works of La Comédie humaine to be published before the novelist’s death in August 1850.

Review: Art and Material Culture in the Byzantine and Islamic Worlds: Studies in Honour of Erica Cruikshank Dodd, edited by Evanthia Baboula and Lesley Jessop

Review: <i>Art and Material Culture in the Byzantine and Islamic Worlds: Studies in Honour of Erica Cruikshank Dodd</i>, edited by Evanthia Baboula and Lesley Jessop

Urban Art and Cosmopolitanism

In this special issue on urban art and cosmopolitanism, we explore emergent inquiry and explorations into the role of arts, artists and the reception of arts in the urban public space as cosmopolitan articulations, interventions and methodologies. Based on case studies we demonstrate how the hybrid city can be re-imagined by art interventions. However given the unprecendented pace of changes in cities across the globle more empirical investigations and theoretical reflections are needed to address the multi-faceted role of artists, arts and the reception of arts in the urban space.

A Letter from the Museum Reviews Editor

A Letter from the Museum Reviews Editor