DOI: 10.7256/2454-0625.2021.8.36248

Abstract: This article explores the classical terms and concepts of cultural anthropology, which have found practical application in the performances, paratheatrical experiments and actions of the Polish experimental stage director Jerzy Grotowski (1933–1999) and collectives of the modern anthropological theater that continue the pursuits of Grotowski of the late XX century. The methods and terms of cultural (social) anthropology by A. van Gennep, V. Turner, M. Eliade, B. Malinowski and structural anthropology by C. Levi-Strauss give a better perspective on the specific terminological apparatus of Grotowski, unique practical discoveries of his works, and conceptual basis of theatrical anthropology as one of the paramount phenomena in the development of modern art. This article is first to discuss the problems of the emergence and formation of anthropological methodology as the framework for creating a scientific apparatus for understanding ritual-theatrical forms, as well as practical tool for artistic expression in the theatrical and paratheatrical experiments. Based on the fundamental works of the school of cultural anthropology, the author reveals the key terms of modern anthropological theater. As a result of studying the methods and approaches of cultural anthropology, the author determines the new unique technique of the modern Polish theater ensembles based not on the reconstruction of theatrical forms of the past, but rather reactualization of the mythological structures in the process of creating ritual-theatrical action.

DOI: 10.7256/2454-0625.2021.8.36335

Abstract: In recent decade, modernism as one of the varieties of post-postmodernism, draws interest of the researchers. It is suggested that modern culture has transgressed the situation of postmodernism, gravitating towards conceptual and semantic sustainability. As a language of self-description of the new era, the foundations of metamodernism are reflected in various forms of art. The opera house, overcoming the inertia of conservatism, perceives these trends, refracting them in a characteristic oscillation between the extreme semantic poles, which formed during the period of antiquity. The subject of this research is the correlation between the ancient musical heritage and metamodernistic trends in the modern opera theater. It is determined that translation of the principles of musical score of the ancient cult within the framework of the works of modern opera directors implies the characteristic to the supporting music of the cult forms of Ancient Greece and Rome oscillation between the poles of monophony – polyphony, instrumentality of accompaniment – a cappella, improvisational – preset of musical pieces. Paradigmatic assimilation of the fluctuations inherent to the cult of antiquity, as well as the absence of intentionality in their manifestations (which partially reflects the religious-ecstatic procedurality of art), largely determine the specific attributes of metamodernism, emphasized in the works of R. Castellucci, P. Sellars, R. Wilson, and D. Chernyakov.

DOI: 10.7256/2454-0625.2021.8.36280

Abstract:   The object of this research is the religious sphere, apprehended as a fragment of the cultural worldview. The unit, which allows conducting the analysis and studying the structure of cultural worldview alongside other, is the frame of cultural phenomenon. Cultural invariants are referred to as basic frames. The subject of this research is one of the major cultural phenomena, the basic frame of the Christian culture – “sin”. The author focuses on the structure of cultural phenomenon, analyzing its levels, vertex nodes (slots) and optional nodes (terminal slots). The key research method is the frame analysis. The commonly used in sociological, linguistic, and cognitive research frame analysis is a universal tool, effective and adequate to the goals and tasks of culturology. The novelty of this study is define by the lack of works on the frame analysis of cultural phenomena in the context of its relevance for the scientific community. This article is a contribution to the discussion that has unfolded in recent years on the capabilities of frame analysis in culturology. The conducted analysis demonstrates that the frame correlated with the concept of sin has a multi-level structure. The main attributes of the frame are the slots or vertex nodes – quality inherent to human, grounds for punishment, enemy, evil, evil spirit, illness, mistake, and misfortune. The terminal (optional) slots include the atoning sacrifice and forgiveness.  

DOI: 10.7256/2454-0625.2021.8.36146

Abstract: During the period of globalization, various social strata comprise a new conceptual system. This ongoing transformational process prompts reconsideration of the fundamental concept of religious tolerance: it disintegrates and accretes with extraneous connotations. The worldwide growing religious fanaticism makes the problem of religious tolerance exceedingly acute. Its comprehension becomes relevant not only on the examples of countries, but also on the legacy of prominent representatives of different eras. The object of this research is the literary-philosophical heritage of L. N. Tolstoy, F. M. Dostoevsky, and N. N. Pirogov. The subject is the principle of religious tolerance in the worldview of the listed philosophers. Each of them demonstrates a superior example of humanism in the era of close interaction of various ethnic groups. The analysis of works of the three cultural figures indicates that despite the difference in worldviews, they all agreed upon the general humanistic essence of religious tolerance. The recognition of religious tolerance as a general cultural universal is based on their perception of the world as a single organism that does not unify various religious traditions, but rather constitute them into the “unity of diversified”. If L. N. Tolstoy elucidates humanistic nature of religious tolerance on the level of the individual, communities and entire humanity, then F. M. Dostoevsky has such reflections due to theme of war and peace. In combination with the “cosmic” worldview of N. N. Pirogov, these three views reveal different edges of religious tolerance based on the principle of complementarity. The study of humanistic ideas of the Russian philosophers may contribute to the creation of the methodological concept of religious tolerance as one of the fundamentals of the state domestic and foreign policy of the Russian Federation during the globalization era.

DOI: 10.7256/2454-0625.2021.8.36126

Abstract: This article compares two approaches: scientific, which is oriented towards the ideals of natural science; and holistic, which is oriented towards humanities. The author attributes the work of L. S. Vygotsky “Psychology of Art” to the first approach, however notices that the founder of Soviet psychology implements humanistic approach in addition to natural scientific. The object of this research is the aesthetic response; Vygotsky shows that art is the so-called machine of human development. In contrast to this, within the framework of holistic approach, the author outlines the two basic patterns that should encompass the wholeness and essence of art. On the one hand, this is artistic communication, while on the other – artistic reality. Artistic communication has ambivalent characteristics: as a special non-utilitarian environment of human life and communication, as well as historically formed semiosis of art. Both characteristics are explained using a brief genesis of establishment of art, simultaneously demonstrating the role of philosophical reflection, which is the key in determination and description of the artistic reality of artworks. The author aims to show that although artistic reality represents an artifact created with the use of expressive means, it is perceived by the audience as the world of natural events. The latter allow the audience to live to the fullest and fulfill their personality. The article discusses the alternative concepts of the purpose of art, as well as the role creativity, and realization of the writer's worldview.

DOI: 10.7256/2454-0625.2021.8.36071

Abstract: This article analyzes the activity of female artists and the problems of their relationships in the society during the period of Viennese Art Nouveau of the late XIX – early XX centuries. The subject of this research is the works of female artists of the Vienna Secession and the materials of the Belvedere art exhibitions. It is noted that the problem of gender relationship during the period of Viennese Art Nouveau was given considerable attention; the cultural and artistic creativity were viewed from the perspective of the impact of this problem upon the mentality and minds of the society. The relevance of the selected topic is substantiated by the heightened interest in studying the specificity of the phenomenon of Viennese Art Nouveau and the role of woman in its formation. The novelty of this research lies in the attempt to determine the specificity of the impact of female beginning upon the culture of Viennese Art Nouveau, both as an artistic image that is the centerpiece, and in the image of female artists who supported its development. The conclusion is made that despite the shift in worldview orientations and artistic paradigms fin-de-siècle, the problem of gender relationship and apparent competition between female and artists for their position remained strongly pronounced. The author determines the considerable impact of female artists (many of whom were of Jewish descent immigrated or deceased during the World War II) upon comprehension of the phenomenon of Viennese Art Nouveau.