DOI: 10.7256/2454-0625.2023.5.40639

EDN: ZCBDTF

Abstract: The article deals with the problems of preserving the Ossetian cultural heritage in the context of globalization. The purpose of this article is to analyze the main challenges to the Ossetian culture and practical recommendations aimed at preserving it. Special attention is given to the objects of cultural and natural heritage located in the territories of both North Ossetia-Alania and the Republic of South Ossetia. The methodology is based on a generalization of empirical data and comparative analysis related to cultural heritage in a state that does not have a generally recognized status. Particular importance is attached to a number of important documentary sources, in particular, UNESCO conventions and declarations, along with expert assessments. The novelty of the study is due to considering, indeed, for the first time, the problem of cooperation between the international organization that deals with the preservation of cultural heritage on the global scale, viz. UNESCO, and the state only partially recognized. The author comes to the conclusion that the Ossetian culture, on the whole, successfully resists the challenges of globalization: the national way of life, language and traditions are preserved despite the division of the ethnos by the Caucasus mountain range. However, there is a problem of preserving tangible cultural heritage on the territory of South Ossetia due to existing geopolitical situation that has resulted in the republic remaining underrepresented on the international platforms.

DOI: 10.7256/2454-0625.2023.5.40716

EDN: ZMSHAD

Abstract: The subject of the study is the Spanish-Moorish Mudekhar code in the cultural landscape of the Crimea. The object of the study is the Spanish-Moorish stylistics in the decor of the architecture of the Crimea. The following methods are used in the work: culturological (ontological and semiotic) analysis in determining stylistic elements, the method of analysis of previous studies, the method of synthesis in identifying stylistic features of the Crimean architecture of the Modern period. The article reveals the following aspects of the topic: the features of the Spanish-Moorish Mudejar style and its application in the architecture of the Crimea of the Art Nouveau period, as well as the reasons for the popularization of this code in the cultural landscape of the Crimea are identified. The main conclusions of the study are: 1. The multiethnic Crimean cultural landscape is represented by the cultures of ethnic groups that inhabited the Crimea from ancient times to the present day. The main factor in the identification and self-identification of ethnic groups is religious affiliation, reflected in folk traditions. Folk art is the most characteristic example of the manifestation of ethnic identity. 2. The spread of the Spanish-Moorish Mudekhar style in Crimean architecture is not accidental, since the synthesis of eastern and Western features is organic for Crimea, which has been lying on the way "from the Varangians to the Greeks" since ancient times, at the intersection of trade routes from Europe to Asia. The Moorish style has become part of both the geographical and cultural landscape of the Crimea, organically entering the architecture of summer palaces and mansions. 3. A special contribution of the authors to the development of the topic is the identification and justification of the Mudekhar code as one of the most popular in the Crimean Art Nouveau style. The scientific novelty of the research consists in the identification and stylistic analysis of the Mudekhar code in the Crimean cultural landscape.

DOI: 10.7256/2454-0625.2023.5.40737

EDN: XTVDNK

Abstract: This article is devoted to the study of the ancient Balinese temple Pura Luhur Uluwatu, which belongs to the circle of the six most revered sanctuaries of the island (Sad Kahyangan). The purpose of the article is to analyze the features of the spatial organization of the temple complex, the main types of structures on its territory, the motives of sculptural decoration. Based on the methodology of the regional approach, the author pays special attention to the study of the identity of this architectural ensemble as an example of the pura public temples of South Bali. In the course of the research, the methods of compositional analysis of the planning structure of the temple, morphological, iconographic and artistic analysis of decor motifs, full-scale study of the cult object and others were used. The scientific novelty of the article is that the architectural composition and plastic decoration of Pura Luhur Uluwatu are considered for the first time in the aspect of the relationship of regional-typological and local-individual characteristics. The study also concretizes the list of architectural forms within each spatial zone of the main sanctuary and its satellite temple Pura Dalem Jurit, clarifies their structural and functional characteristics, outlines a holistic picture of the decorative decoration. As a result of the conducted research, it was concluded that Pura Luhur Uluwatu is a striking example of the sacred architecture of the southern region of the island with typological features inherent in it: variability of planning development, closeness, economical use of temple space, free interpretation of individual decorative motifs. The uniqueness of the temple is manifested in its spectacular location on the edge of a sheer cliff protruding into the ocean, the elongated plan of the main sanctuary, the contours of which repeat the outlines of the southwestern protrusion of the Bukit Peninsula, the extreme minimalism of structures and the means of decorative design used, the simplicity of architectural forms. The creative imagination of local craftsmen was reflected in the original configuration of the entrance gates Candi Bentar and Candi Kurung, as well as in the articulation of individual decorative elements (kasar mascarons, kalasa vessels, etc.).

DOI: 10.7256/2454-0625.2023.5.40775

EDN: QMFCJT

Abstract: The subject of the study is the forms of manifestation of timbre expressiveness in the program orchestral compositions of N. A. Rimsky-Korsakov. The object of the study is the peculiarities of the composer's symphonic creativity on the example of program compositions. The practical significance of the study lies in the fact that the results of the study can be in demand by professional musicians of various specialties and serve as a source of educational and methodological materials for general and special courses of higher and middle-level music education. The following methods were used in the study: a historical and stylistic method aimed at considering the evolutionary processes that took place in the orchestral work of N. A. Rimsky-Korsakov; a method of comparative analysis and analogy, thanks to which it was possible to identify common and distinctive features in the use of timbre expressiveness in the works of the composer of different periods of his work. The relevance of the article is connected with the little-studied issues of timbre dramaturgy and the peculiarities of instrumentation dictated by them in the symphonic scores of N. A. Rimsky-Korsakov's program compositions. In modern Russian musicology, there is an actualization of research attention to the field of studying the specifics of timbre expressiveness. Therefore, the appeal to the work of N. A. Rimsky-Korsakov, as a composer-discoverer of many techniques of timbre development, seems relevant. The novelty of the research lies in the holistic coverage of issues devoted to the specifics of timbre expressiveness in the composer's program orchestral works. The peculiarities of the use of such techniques of timbre dramaturgy as timbre personification, mixing of timbres are considered from the standpoint of the manifestation of the composer's unique timbre hearing and in the context of the general stylistic trends of Russian music of the late XIX century. Conclusions: N. A. Rimsky-Korsakov's orchestral program compositions reveal a number of innovative solutions dictated by the program design. The revealed means of timbre expressiveness: the abundance of orchestral solo instruments of the woodwind group, techniques of timbre personification and timbre mixes, testify to the manifestation of the composer's unique gift — timbre hearing.

DOI: 10.7256/2454-0625.2023.5.38241

EDN: CPMBUP

Abstract: The subject of this article is subjects on the military theme in the paintings of European artists of the first half of the twentieth century.The object of the study is the stylistic and artistic features of painting by British military artists and painters of totalitarian states of the first half of the twentieth century. For the first time in domestic practice, the author offers to consider the unique phenomenon of British military painting of the First World War. She compares Italian aerofuturism, a style adopted by the fascist regime during the Second World War, which is close to her in spirit and connected with her modernist roots. The research was based on the provisions of the domestic author Igor Golomstock, who took the principle of the megamachine of the American historian and philosopher Lewis Mumford as a criterion for determining totalitarian art. The main conclusions of this study are the confirmation of the effectiveness of the Mumford formula in determining the criteria for the belonging of paintings to totalitarian art. At the same time, the considered example of English military painting, created in a democratic state, but bearing obvious features of totalitarian art, raises the question of the unambiguity of the correlation of the latter with the authoritarian form of government. The novelty of this work is the very possibility of familiarizing the domestic reader with the most interesting artistic and spiritual phenomenon - English military painting, closely related to Vorticism, the national trend of modernism, also insufficiently familiar to our public In addition, a wide range of issues related to the art history problem of identifying criteria for totalitarian art is considered

DOI: 10.7256/2454-0625.2023.5.37762

EDN: CDSVWP

Abstract: The object of the research of the article is an actual topic for a modern designer – the forms of representation of a sound/musical image by visual expressive means. The subject of the study are examples of information and accompanying materials developed for cultural events related to music. The projects of contemporary authors Duan Zhihua and Rocio Galarza (Rocío Galarza) are analyzed. The purpose of the work is to consider the specifics of creating a visual image of a musical/sound composition, as well as the design approach of conducting project work on creating a composition in which visual and sound contexts form a structural unity. The research method in this work consists in applying an analytical approach to the analysis of design projects dedicated to music, which is based on the synthesis of iconographic and semantic analysis of compositional solutions, and can be used in the design, research and educational activities of the designer. The scientific novelty of the research lies in the introduction of new empirical material into circulation, in which the creation of a project compositional form is considered as the creation of a communicative system based on the combination of expressive means encoding information about visual and sound content. The study showed that the musical image perceived, as a rule, through the performer, in creating its visual equivalent implies its interpretation by the designer. The analysis of the projects of modern designers posted on the web confirmed that in a visual image that carries information about a musical and artistic event, visual and sound contexts form a structural unity, becoming a unique subject for study, contributing to the development and improvement of design methods. In the works of modern designers Duan Zhihua and Rocio Galarza, there is a desire to develop compositions that differ in an easily readable semantic connection of artistic and expressive elements with a broad socio-cultural context.

DOI: 10.7256/2454-0625.2023.5.40629

EDN: FGNFVP

Abstract: The author of the work raises the question of the role of humor in the context of David Lynch's work. The author argues that the director's humor is one of the few conventional director's tools that can be categorized and studied in detail. The author explains this degree of “simplicity” of the director’s humor phenomenon by the author’s conscious strategy of introducing “known” elements into the works to establish communication with the viewer and their subsequent deconstruction to break the automatic perception and create a situation of “anxious viewing”. The author also explains the emergence of a situation of "anxiety" in Lynch's works by the fact that in the process of deconstruction the director mixes various discourses, connecting "funny" and "creepy", "known" and "unknown", "sublime" and "base". The key thesis of the work is the idea that humor, as Lynch's directorial tool, is used not only to entertain the audience or relieve them after dark scenes, but also to challenge their expectations, question classical narratives and explore taboo aspects of the human being experience. The object of the study is the cinema of David Lynch: films, series and short films of the director. The subject of the research is the phenomenon of humor in the context of David Lynch's creativity. The purpose of the work is to answer the question of how humor contributes to the processes of demythologizing a number of phenomena in American culture, deconstructing classic Hollywood narratives in the director's films and creating a sense of "anxiety" in the viewer. The novelty of the study lies in the conclusion of humor in a separate category and its separation from other strategies of the director: hyper-narratives, the process of absurdization of screen action, postmodern intertextuality.