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This article analyzes the theory, artistic practice, especially professional approach to choreography classes in order to avoid injuries, defined formal techniques of classic exercise, building balance and aesthetical performance of dance movements.
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The article is focused on the dramatic relation between a man and his portrait. In Oscar Wilde’s novel, the portrait plays a leading and decisive role as the objectification of conscience. In the name of beauty and youth impervious to time, a moral transfer of the human conscience is made. Instead of serving as an essential component in Dorian’s life, conscience is translated outside, to the portrait. The drama begins when the portrait begins to live the vice-ridden life of the literary character, while the latter remains eternally young and handsome...
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This article analyzes the reception of the figure of O. Wilde, the 19th-century English writer, and his works in the prose and criticism of Alexandra Mikhailovna Moiseeva (1874 1913), who entered the history of Russian literature of the Silver Age by the name of “Mire”. The study focuses mainly on her story Black Panther (1909), in which the author provides an original perspective on the tragic love episode in Wilde’s life. Attention is also paid to the thematic similarities between the works of Wilde and Mire in terms of genre, plot and literary image, as well as Mire’s interpretation of Wilde’s works in her critical reviews.
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Appeal to the spiritual-philosophical traditions of the East in a topical problem and closely connected with the act of entering to the European culture in the postmodern stage that led to nivelacii its spiritual value kernel and the dominance of the rizomnosimulativ ontology. The aim of article is the examination its aesthetico-philosophical, genrestylistic and institutional features, vividly reflected in historic music gagaku, its formation was occurred in the Koday period (592 – 1192). The author pays attention to the originality and the development of musical culture of Japan formed estheticophilosophical universalii Beaty (Be), Truth (Makoto), Harmony (Va), Void (Mu), Moment, Path (Dao), Heart (Kokoro).These universalii are the syncrezisy, which have become rooted on Japanese soil of Sintoism, Daossism, Konfutsism, Buddhism, Zen Buddhism perception of world. The main role Japanese musical metaphysics plays philosophema Moment, which shows the special position to every sound as an independent element in the musical form and an universalia Great Void (universal "life-giving" bosom – Mu). It was the result that a specific sensitivity to "living pause" as a semantically filling extension of the sound and the meditative type of music perception was formulated. National specificity musical thinking of the Japanese was vividly reflected in old palace music gagaku, which was a synthesis of borrowed musical forms from China, Central and South-East Asia (India, Mongolia, South Turkestan, countries Bohai and Lillii), the kingdoms of Korea – Koguryeo, Pekche and Silla. Gagaku was represented by two main kinds: instrumental music kangen, which was played during the ceremonies and the rituals, and the orchestral plays bugaku for a masquerade. The basic of ladotonalny organization gagaku forms musical five-stage constructions which in the philosophicoontological dimension is the display "duality" contrast beginnings Yin and Yang, that formulate Harmony (Va). To study the different types and genre music gagaku, its systematization and mastery of art of its rendering in the Nara period in 710, the first musical chamber Gagakuryeo was formed. Historical source tells, that musical education in Gagakuryeo had three directions Chinese (togacu style), Korea (komagaku, kudaragacu, siragigaku stule) and Japanese (vagaku stile); the classes vocal and dances were the most popular. Besides Indian music (riniyo:gagaku stile), Thai music (toragaku stile), dance and music genre Gigaku and etc. were studied. Educational process of musicians (gakunini) was occurred in an oral secret manner. For popularization of Japanese music’s segment proper, which is separated from the notion gagaku in the Heian period, O-uta-dokoro was organized in 816. Emperator Nimmyio madethe music’s reform. Compare the music of China, Korea, India (togaku, kogaku, singaku stiles) and other foreign countries with the role of Japanese vocal instrumental music (saybara, roey, imayo) and Japanese music for dance and ceremonies (Kagura, Adzuma-asobi, Goseti-no may) was strengthened. During the second musical chamber’s functioning the important attention was accentuated on the aesthetic mono-no avare (magic and changing beauty), peculiar to the views of Bugaku, music for them was borrowed, but both with stage act were popular. At the same time the instrumental structure of orchestras gagaku, which was formulated and it defined the music style. The most popular were the drums tayko, kakko, gong seko, wind instruments koto, biva, string instruments hitiriki, ryuteki, cimabue, wood palochki samebasi etc. Scientific fore-shortening of studying music gagaku was fixed in the list of musico-theoretical treatises, its formations were begun in the Koday period. Аmong them: "Dzinti joroku", "Sango joroku" Fudzivaro-no Moronaga, "Kjokunsjo" ("Enlightenment" in X c.) Koma Tikadzane etc. So, in the aesthetic and stylistic aspects the variety of genres in the system of music gagaku was the display a deep aesthetico-philosophical constant of art thinknig of the Japanese but the organization of the First Second musical chambers were contributed to its popularity and opened the traditions of musico-executive pedagogy in Japan.
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Research of the book culture field is an important factor in modern plastic art. The concept of «book art» covers a big area of belles-lettres and professional publishing. Any publication is a specific spatial system with its own laws of internal organization. The concept of «architectonics» reveals correlation of book elements into their logic and meaningful relations. The plastic system of a work of art is essentially the whole complex of its expressive means, united by its inner style, rhythm and colouring. In short, the plastic approach of literary images does not mean their mechanical reproduction on papers but involves the entire sophisticated system of artistic thinking in terms of images and means of expression. Therefore, the personal tastes and predilections of the graphic artist play an especially important role. The great importance of them is research and analysis of kinship illustrations and text in the publication. Compositionally combined, they create in our imagination the image is not visual and not verbal, and embodied, separated from both its media constructed at some distance from the artistic nature and specific means of art. It is in its relative autonomy and integrity - meaning the creation of architectonics edition. The principles of composite construction steel tool organizing temporal and spatial characteristics to create a new work. It is well known that our perception of reality as well as works of art, takes place in time. We do not take large items or surfaces once and a while it gradually moves to look first and see them vividly, generally, and only then consider in detail, in parts. It is very important for composite construction elements group, symmetry, proportion, rhythm, and other organizing base. Spread compositional requirements of balance, unity, contrast and nuance, proportion and scale, texture and color, material and design, clarity, volume-spatial relations are more confirmed as a necessity of modern scientific research. Book composition also formed all the listed facilities. Publishing art has long been confident in their performance. The concept of «architectonic edition» aims to reveal the relationship of elements in their publications logically meaningful communication. But the concept of «design edition» line reflects the functional and utilitarian relations. The concept of composition books logically fits into the definition of different elements into a single art form. A book art form involves parallel of the challenges figurative spatial-plastic, material, functional and decorative contents. As a result, the reader can perceive the book as a whole object from an artistic point of view and content. Using the artistic means realizing harmonious relations elements of any composition, symmetry and asymmetry are statics and dynamics, meter and rhythm, contrast and nuance, proportion and scale, texture and colour, material and design. The term «design» line reflects the functional and utilitarian relations. That text edition is not formless content arbitrarily squeezed into the appropriate cover and real structural basis of the body edition, largely determines its dynamic rhythm and book building space. Semantic text design must receive expression in the spatial composition of the publication. From the design and structure of the publication is the first general emotional idea that appears when you view the publication to read, sets the (happy, pathetic, lyrical) mood. Along with the signs, lines, spots, and other graphical forms, a major role in the publication of figurative elements play a row – illustration. Even through such simple means as placement and font figurative elements in the format specified proportions, the composition is capable of transmitting edition features style literary work, its emotional structure. Illustration is not only a graphic object as integral shaped model of a certain art world. It explains not only text, but also the reader asks a rather difficult task his decoding and reading, its relation to the text turns away ambiguous. The composition is primarily the spokesman’ harmonious combination of elements in the book and cannot be abstracted from the content and functional relationships. Retreat, space, drop cap are the signal to change the rhythm; heading, footnote, header are a signal to search and orientation in the middle of the publication. In fact, all compositional elements of the book are linked and form a single functional system. Thus, investigating and analysing of the interaction of the book composition are the coherent unity, which is the overall spatial and expressive figurative composition book ensemble
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The purpose of the article is a realization of tradiтionalism as mеtаdirection of art in XX century that historically comparable with mеtаdirection of styles modern-vanguard, jointly forming artistic paradigm of the past century, then the last becomes firmly established in nеоrеnaissаnce world-outlook according to with "system of Leonardo da Vinci" P. Valéry. The methodology of the study is a historian-cомpаrаtive approach, as this demonstrates works of A.Losev, also culturology foreshortening of musicology analysis, as this is given in "Symphonic etude" and others beside B.Asafiev. The scientific novelty of the work is conditioned, first, that that for the first time in specified foreshortening is presented analysis composition of V.Vlasov, but, secondly, original is a theoretical idea about cultural intrusion in style-typology life length Neo-Gothic that impossible was in classicist of music creative activity to XIX-XX cent. Conclusions. Traditionalism forms mеtаdirection since in base this style unity prescribed expressiveness of romanticism-pоstromanticism and realism XIX century that forms analogies to mеtаstyle forming of the modernism (vеrism at the end XIX - at the beginning initially XX century, "hard" type of the neoclassicism I. Stravinsky and P. Hindemith, others), in which vanguard took place as focus of the symbiosis of the styles-directions expressionism, futurism, primitivism, having formed new unity of the vanguard of the second wave in the manner of nеоexpressionism.
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The article deals with the phenomenon of postmodern transgression ballet theater. For example, the interpretation of the ballet "Sleeping Beauty" Р. Tchaikovsky – M. Ek transgression is investigated as a mean of going beyond the accepted genre structure , including innovative artistic forms and new senses in the current cultural context. The modifying source, choreographer approaches and techniques, interpretation of textbook characters’ tempers and stage choreography authoring solution concept.
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The article is focused on the complex relations between the double – the dark side of man – and the devil as the purest form of this dark side. The two concepts are related to the crisis of human identity. When the Self begins to doubt its own integrity, then dark motives, suspicions and insecurity come out into the light of day. Several impressive images, in which the Devil plays the main role, will illustrate his intervention in the life of the Self.
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The purpose of the presented article is to analyze the specifics of the translation of a modern Russian literary text — the story-memoir of Oleg Pavlov Pupils into Czech. The authors presented the translation as a transfer of non-equivalent vocabulary, realities into another language while maintaining semantic and formal-aesthetic equivalence. The article considers controversial or ambiguous solutions for translating selected realities that carry national connotations based on specific adaptation techniques (transcription, analog, description, generalization, tracing, omission).
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The purpose of the article is to study the change of ideological paradigm, which influenced the transformation of the axiosphere of the Early Modern. It is equally important to define the utopian project as an essential cultural practice, which was formed in the Early Modern culture and significantly influenced the transformation of the axisosphere of European culture of the Modern era. The methodology is based on the dialectical interconnection of such research methods as the axiological, for the thorough analysis of the axiosphere of the Early Modern ideological culture, and the historical one, which provided an opportunity to analyze Utopia retrospectively as a cultural practice of the Modern era. The scientific novelty of the paper is to identify the relationship among the transformational processes in the values of the Early Modern, which formed the axiosphere of the Modern era, and such a cultural practice as utopia. Conclusions. It is proved in the article that the Early Modern ideological paradigm shift radically changed the axiosphere of the European Modern culture, based on rationalism, scientific knowledge, understanding of the future due to the ability to project this future. Therefore one of the dominant cultural practices of that period is utopia.
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The transformation the idea of "the mirror" gets in the non-classical philosophical and aesthetic discourse – new modes of " the mirror" in modern philosophical reflections, new semantic of "mirror" metaphors, new areas of the principle of "reflectivity" in humanities research – is revealed in the article.
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Purpose of Article. Identification of the nature of artistic and compositional characteristics influence of the national costume in the design of modem clothing and determine the criteria for assessing the aesthetic expressiveness of a fashionable dress in ethnic style. The methodology of the research is to apply the comparative-analytical apparatus of pre-design studies. As a result of the literary-analytical method, a comparative analysis was carried out in which the compositional structure of the traditional outfit was analyzed and systematized, and the means of their transformation were determined in the conditions of the modem fashion industry and costume design. Scientific novelty. In the course of the analysis, the means of transformation and synthesis of artistic-compositional elements of ethnic style during the formation of a design image in the fashion industry have been identified. Conclusions. In the modern fashion, there is no quotation of certain ethnic motives, designers carry out the transformation of certain folklore elements, preserving their semantic value and combining with contemporary fashion trends. Ethnic style does not cease to be relevant in the new fashion seasons because it has already enveloped virtually all the main and colorful peoples. According to such topical trends of the modern fashion industry as globalization and personalization of design images, leading designers create collections of various stylistic solutions, but ethnic cultures have conquered them the heart. In the design of clothing, this is found in search of inspiration in the traditional costume and the creation of models with ethnic notes. In addition to the costume designers also turn to decorative and applied arts and oral folk art. Therefore, one can safely say that traditional folk traditions continue to live in the models created by world-renowned designers and consumers of the mass market segment of the fashion industry
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Purpose of Article. The purpose of the article is to identify the characteristic features of the transformation of creativity in the context of the development of virtual reality technologies. Methodology. The author uses complex approach that considers the virtual reality as a cultural phenomenon, in particular genetic (the study of the phenomenon, based on the analysis of its origin) and comparative (comparison of the effects of socio-historical order) methods. Scientific novelty. The author makes an attempt to identify the characteristics of the new forms of creativity from the perspective of cultural studies. Their appearance makes virtual reality technologies develop quicker. Conclusions. The author pays attention to the need for understanding of virtual reality, not only as a factor in modern changes, but also as an manifestation of contemporary cultural trends. It becomes a metaphor that allows to outline the contours of the realities of cultural, anthropological and philosophical nature.
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The article is dedicated to the juxtaposing of the interpretations of Kant’s Analytic of the Sublime (Critique of the Power of Judgement) made by two important postmodern teoreticians – Paul de Man and Gilles Deleuze. What is common between them is revealed in the concept of surface and hencem, of materialism. Materialism should be understood as a one-plane ontology, absence of all transcendence, while the concept of surface – as a suspicion to everything interior, to everything „hidden“, and privileging the linguistic over the conceptual. De Man finds in Kant a version of the Sublime that is materialistic, close to the Deleuzian ontology. The text finally presents its own hypothesis of the conceptual difficulties Kant stumbles upon.
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The article examines three crucial implications of the term “classical”. The first meaning is defined as epochal, and it is primarily presented in view of the brief history of the concept of classicus, but also considering the Baudelaire’s idea of “universal beauty”. The characteristics of the classical art are confronted with Friedrich Schlegel’s criticism of the romanticism, which reminds that the idea of a time-resistant art form is nothing realistic, but rather a mere fantasy or a chimera of abstraction. For a romanticist, being out of touch with the present no longer had a particular merit, but rather was a symptom of the absence of awareness what the crucial sense of the works of art really is. If the classical divulged the cosmic harmony, the integrity of the natural order, the romanticism prefers to be the art of mediation, the dynamic transition, the unstoppable process. In the second part of the article, the author analyzes the motives of anti-classical tendencies in the European art, demonstrating that onslaught on the classical could have primarily been expected in the environment where it was neither too strong nor too weak.
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In this article we`ve been explored the features of the, probably, one of the most character universes in the classicist period – binary logic. This elements have been analyzed in the three magnificent levels such as philosophy (dualism, dialectic etc.), mathematics (the binomial theorem, the G. Leibnitz`s binary scale system), musical analysis, where a period has been an etalon of this logic. The era that combines the second half of the XVII and beginning of XVIII century, entered the history as being endorsed rationalist and scientific philosophy. Any phenomenon is explained by the use of scientific methods and conventional logic operations. In this context, the era of classicism evolved to such an attitude as that again revived the ancient knowledge of world harmony ideas through scientific methods and precise measurements. However, this is a something new, more materialistic level (which is not always implies the existence of God). As a result, while the formation was launched up to date picture of the world. The development of natural sciences, computer science, new discoveries in physics, astronomy, and geography significantly have expanded the frontiers of understanding the surrounding world and the laws by which they operate.
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The article describes the question of the actualization of the phenomenon of the triune chorea as a part of modern educational process of the universities of art.
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The text comments on the reflections of the Russian thinker Sergei Bulgakov on death, presented in the light of his doctrine of Σοφία. The article traces in chronological order the development of the theme of death in his works, beginning with the pre-revolutionary works “Philosophy of Economy” (1912) and “Unfading Light: Contemplations and Speculations” (1917), and ending with “Sophiology of Death” (1940). The author describes Bulgakov's three meetings with death, which gave rise to his special sophiology of death. The notion of death is analyzed as included in the divine kenosis, and not as an ontological misunderstanding. Death is also seen as a moment present in the dialectic of life – It does not disturb the beauty of creation.
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The article deals with the meaning of Kant’s metaphor of free play of faculties in aesthetic judgment, discussed in the perspective of Schiller’s contrasting of work (labour) and play, which gave rise to a peculiar fictional, but conciliatory, status for the aesthetic. The article then traces some articulations between the realms of alienated labour and of free creativity in Hegel and Marx, and concludes with notes on the lasting social significance of this contrastive aesthetic metaphor.
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