DOI: 10.7256/2454-0625.2021.10.36768

Abstract: This article carries out a culturological analysis of the artistic worldview of the poet, artist, art historian, and art critic Maximilian Voloshin (1877–1932) – one of the prominent representatives of the Silver Age. The object of this research is the diversity of artistic space of M. Voloshin, while the subject is the interinfluence of his literary texts. The author aims to determine the symbolic-anthroposophic intentions in the artistic space of M. Voloshin as a complex semiotic formation that comprises the continuum of various texts: visual, verbal, nonverbal, and others. Maximilam Voloshin’s reasoning on the symbolic nature are reflected in his theoretical works and correspondence with cultural figures. In his articles, Voloshin advanced the idea that the artist refers to the spatial form of art by means intuition and inner consciousness. The poem “Rouen Cathedral” by M. Voloshin is vivid example of the synthesis of poetic and picturesque texts. M. Voloshin’s engagement in construction of the Goetheanum in Dornach headed by the German anthroposophist R. Steiner contributed to the development of the new worldview, which is reflected in the original watercolor “Dornach Album”. The novelty of this research lies in the fact that the personality of M. Voloshin is presented as a metatext, complex semiotic space that intertwined visual (iconic), verbal and other texts that embody the symbolic and anthroposophic intentions. It is established that the use of symbolic and anthroposophic intentions by M. Voloshin, as well as the synthesis of visual, verbal and other texts, characterize the diversity and synthetism of his worldview, although he did not fully apprehended the views of the symbolists and anthroposophists. All these principles formed the artistic space of M. Voloshin as metatext in a single guise – poet, artist, and philosopher.

DOI: 10.7256/2454-0625.2021.10.33040

Abstract: The object of this research is the ecological-cultural concept, which is based on the theory of the noosphere. Special emphasis is placed on the ethical ecology. The author explores the essence and specificity of the noospheric reality, as well as the role of the new scientific direction – ecology of culture in development of the ideas of environmental safety in modern world. The subject of this research is the aesthetic education in the context of the ecology of culture, the concept formulated by the Academician D. S. Likhachev. The author believes that aesthetic education in the context of the ecology of culture is an irreplaceable instrument for the formation of environmental competencies of an individual. The concept of aesthetic education developed by B. T. Likhachev, as well as the latest approaches in art therapy are used as the examples. Analysis is conducted on the theoretical and practical literature that allows revealing the essence and specificity of aesthetic education in light of the ecological-cultural concept. The acquired results can be used in the development of academic programs and methodologies in the field of aesthetic education and art therapy for dealing with different population categories. The novelty consists in the fact that this article is  first to examine the essence and specificity of aesthetic education in the context of ecological-cultural concept based on the representations of the noosphere. The author's contribution consists in comparison of different, at first glance, concepts (the theory of noosphere, ecological-cultural concept, concept of aesthetic education) and obtain the results that are relevant for both, theoretical research and practical use. The main conclusions are as follows: 1. The development of ecological-cultural representations is fully implemented only in the context of the theory of noosphere. 2. The aesthetic education in the context of the ecology of culture is currently a powerful instrument for the formation of environmental competencies of an individual.

DOI: 10.7256/2454-0625.2021.10.36633

Abstract: The comprehensive analysis of Sergei Prokofiev’s operas “Maddalena”, “The Gambler”, “The Fiery Angel” reveals the peculiarities of personification of the image of the protagonist as femme fatale (Maddalena, Polina, Renata). Despite heightened interest to this topic, this article is first to view the listed operas from such perspective, which defines the scientific novelty. The fact that the libretto of these works was created by the composer himself can be considered as testimony that S. Prokofiev deeply intertwines with the psychology and personality traits of his heroes. The composer depict “femme fatal” a specific type of personality that combines self-worth and spiritual pursuit, desire to manipulate others and natural talent, no sense of guilt, and realization of self in another person. The use of comparative-historical, musical-culturological, and theoretical-analytical methods allow tracing correlation between the opera plot and their life context of creation, finding differences and commonalities in the means of expressing the image of femme fatal, and indicating the evolution and universality of the composer’s way of thinking on the early stage of creation. Attention is given to the synthesis of the principles of symbolist, romantic, realistic and expressionist musical drama, which S. Prokofiev uses in the opera under review.

DOI: 10.7256/2454-0625.2021.10.34933

Abstract: The subject of this research is the sociocultural conditionality of specific running practices of certain regions of the ancient and modern East, which reflect the basic worldview attitudes of the authentic religious-philosophical traditions and social patterns that are characteristic to the Eastern type of civilizations. In light of the crisis of Coubertin's Olympism as a social movement and ideology, civilization of the East vividly demonstrates the importance of comprehensive spiritual development, which prompts the extraordinary physical achievements. The running experience of the Buddhist monks proves that namely in the sphere of higher ideal values is the elevating source of the need for physical perfection, and the existential goal of a human lies in continuous improvement of own capabilities, development of spiritual and bodily unity, “enlightenment”, and pursuit of harmony with the cosmos. The following conclusions were made: 1. Specific running practices of the ancient East are not competitive in nature, being just one of the means for achieving spiritual liberation. 2. Running in the ancient East was often considered as a type of dynamic meditation, which defines its uniqueness. 3. The unique training techniques of the Buddhist monks were the true methods for fulfilling the higher levels of spiritual and physical potential, which proves their universal humanistic value. 4. The social significance of specific running locomotion found its reflection in performing by bhikkhu of the secular function of heralds and religious-magic functions of personal confirmation of attainability of moksha and incantation of evil spirits. 5. The peculiarity of running in the East in the modern context is substantiated by its large-scale involvement, nonreligious motivation, capability to unite cultural principles of the Western and Eastern civilizations, serve as the means of consolidation of people, as well as express the national spirit and be form of women's emancipation.

DOI: 10.7256/2454-0625.2021.10.36476

Abstract: This article analyzes the artistic reality of the popular TV series “The Marvelous Mrs. Maisel”. There author discusses the feedback of the viewers, including negative. The question is raised on the reasons of its series, as in terms of rigorous analysis it seems mosaic and contradictory. The article explores the artistic techniques (split mind of the hero, bringing modern problems to the past, which create the artistic reality). It is demonstrated that the TV series enjoys popularity namely for representation of the modern problems and situations, despite the use of historical records. Following the logic of comedy-drama streaming TV series, its creators my Sherman-Palladino and Rachel Brosnahan readjusted all historical and non-historical themes and plotline so it would be entertaining for the audience, rather than give knowledge of history. The reality of the series is not a stand-up story based on the example of Mrs. Maisel, but the artistic reality in the comedy-drama genre. Detailed analysis is conducted on the techniques of depicting split personality of the hero, as well as presentation of the actor’s personal life and problems as a skillful acting. The author wonders whether the TV series “The Marvelous Mrs. Maisel” reflects rather the structure of the mosaic mentality of the modern viewer, oriented towards entertainment and aesthetic experiences than the knowledge of life. At the end of the research, the author discusses how the producers managed to create a holistic and organic artistic reality of the TV series.

DOI: 10.7256/2454-0625.2021.10.36452

Abstract: This article analyzes the activity of the Art Nouveau artists of the late XIX – early XX centuries, and the reception of their works. The subject of this research is the works of both female and male artists, and their interinfluence. The article touches upon the topic of genders in art, difficulties of promoting the “female perspective” in the period of Art Nouveau. The article employs the comparative-historical, involving scientific materials on culturology, philosophy and art history; sociocultural approach towards historical events in the establishment of Art Nouveau. The relevance of this topic is substantiated by heightened interest to studying the phenomenon of Art Nouveau and the role of women in its formation. The novelty of this research consists in attempt to determine the specificity of female principle in Art Nouveau style, both as an artistic image that holds the leading place therein, and in the image of women artists who tried to implement their vision of female image in the art object. The conclusion is made that despite the shift in the worldview orientations and artistic paradigms of this period, women artists were experiencing major difficulties. The formation of the Art Nouveau style vividly manifested the features of the “new woman” in the works of women artists, emphasizing their uniqueness and artistic peculiarities. It is determined that the comprehension of multifacetedness of Art Nouveau style was greatly affected by women artists, whose works are still relevant today.

DOI: 10.7256/2454-0625.2021.10.36611

Abstract: This article formulates the task of constructing a new concept of art that corresponds with the challenges of time and the transformed artistic practice. The author aims to solve the problem relevant to his time, which is similar to the problem solved by Aristotle in the context of creating the “Poetics”. The theoretical provisions of the new concept are preceded by reconstruction of the work of the prominent Israeli writer Meir Shalev and the creators of the American TV series “The Marvelous Mrs. Maisel”. These examples demonstrate that although these works describe the events of everyday life, the latter are taken not as the facts typical for cognition, but are being transformed for the construction of artistic reality. Analysis is conducted on the techniques and expressive means used in creating the artistic reality. The hypothesis is advances that the comprehension of the nuances of artistic reality requires the analysis of artistic communication, as well as conceptualizations of art. Within the framework of artistic communication, the author examines the position, motives and activity of the writer and the audience. It is assumed that on the one hand, they live through their problems in the artistic form and create their works (writer, artist), or they enter the artistic reality and live through its events (reader, viewer). All these statements are supported by the results of the research of the genesis of art conducted by the author. In conclusion, the author lists the ground plan of the new concept of art, namely the introduction.

DOI: 10.7256/2454-0625.2021.10.36687

Abstract: The goal of this research is the comprehensive examination of precious framing of the bestowed royal figures in Russia during the reign of Peter the Great. The author explores the circumstances of emergence of such awards in Russia and creation of precious frames of this time, possible “prototypes” of the diamond frame pattern that are similar to Western European awards, the masters who design these frames, etc. The article is based on the combination of art criticism and historical-cultural approaches. The object of this research was the award badges – royal figures of the first quarter of the XVIII century (enamel and graphic miniature portraits of Peter the Great, as well as minted medals). The research employs the written (unpublished archival documents) and visual sources (portraits of the grandees of the Petrine period with such awards; images of the royal figures on lithographs of the mid XIX century). It is established that precious frames of the bestowed royal figures of the first quarter of the XVIII century had the same pattern. Most likely, in design of the framing of award badges in Russia, the masters relied on the appearance of the royal figures brought by Peter I from England and Holland after the Great Embassy. These Western examples, in turn, had the “design” characteristic to similar royal awards of the XVII century. The article list the names of the jewelers who manufactured diamond frames of the bestowed royal figures in Russia of that time. These are the "foreigners" J. Westfahl, K. Boldan, I. Jasper. A significant part of such frames (over a hundred) was created by J. Westfahl. The design of precious frame for the royal figures of the Petrine period remained in similar awards of the Russian rulers and in XVIII – XIX centuries.