Culture and Art - rubric Debating club

Abstract: Every time we deal with art, we intuitively feel that true artists are free in their creation activity. Expression ‘free-lance artist’ has a mythological meaning (‘this is an indefensible and often repeated fantasy’) and the concept of the ‘miracle of art’ contains a mythological meaning of the other kind. Suggestion that we are strongly influenced by art just because it represents ideas, beliefs and world view of the other epochs and cultures seems rather doubtful. In the sphere of art we can understand and explain many things or almost everything except for one thing: why a master-piece is a master-piece and why it has such a powerful influence on us, our minds and spirits. This is the only thing we never understand about art but this is the essence of art itself.

Keywords: cultural studies, art history, creativity, artist’s freedom, cultural stereotypes, conformism, interpretation of an art work, mythology of a creative act, spirituality, masterpieces

DOI: 10.7256/2454-0625.2014.1.11908

DOI: 10.7256/2454-0625.2014.1.64234

Abstract: The article is devoted to the essence of art in general and special features of modern art I particular. The author differentiates between traditional art, Gestell art and post-modernity art. Gestell art has the following typical features: breaking of old bonds and relations of art with other spheres of life (for example, disruption of the ‘artist – audience’ communication and transformation of the ‘artistic reality – regular reality’ relation), the crisis of the classical concept of art (including the terms of artwork and esthetic subject), definition of functions of art in terms of Gestell, i.e. linking art to regular life (art as creating a special environment for working, as a special social optics and a form of organization of life and activity) and finally, technification of art when art is started to be perceived as a special semiotic and psychotechnical technology. An important mission of modern art is to help human to revive his feelings and emotions and the other mission of art is to create special conditions for his traveling through unusual and interesting worlds. The second part of the article is devoted to the analysis of the essence of the ‘Science Art’ work where art, technology and science increasingly interlock within the framework of modern alternative experimental art. In order to achieve the above mentioned goals, the author carries out problematisation, implements methods of comparative analysis of historical forms of art and performs conceptual analysis. As a result, he manages to differentiate between and define traditional art, Gestell art and post-modernity art as well as to touch upon the problem of responsibility of a modern artist. According to the author, the modern artist faces a principal choice: what life style and future will he work for? A new stage in the development of art assumes that we will review and build new relations with art, technology, science and ourselves.

Keywords: art, Gestell, post-moderity, interpretation, life-sustaining activity, implementation, reality, science, technology, imitation.

DOI: 10.7256/2454-0625.2018.7.26506

Abstract: In this article Rozin discusses the perception of life in modern culture. The question was first raised by the author in his article about death and resonse of L. Golubkova to that article. The results of the research demonstrate that this is a typical question for an individual. Ancient Greeks already related their concept of death to the concept of 'the right life', i.e. consciouss and unselfish existence. In addition, the author analyzes modern conditions and cultural environment that demand the question about human life to be asked in a different way. Based on his own experience, the author outlines his own version of the question. In his research Rozin has used the following research methods: problem statement, situation analysis, culture-historical comparison, construction of terms and schemes, and reinforcement of general provisions with historical examples. As a result of the research, the author has managed to define conceptual and socio-cultural conditions that allow to perceive life in our times (the concept of the right life, striving towards consciouss behavior and reduction of egoism, etc.). The other outcome of the research is the discourse that was developed by the author to discuss the topic of the research.

Keywords: reality, norm, culture, individual, personality, thought, life, death, problem, solution

DOI: 10.7256/2454-0625.2018.10.26710

Abstract: According to a number of critics, in her new novel Guzel Yakhina did not manage to naturally combine different artistic narrations and themes. Rozin analyzes the criticism and arguments based on his own concept of artistici reality. He demonstrates that the new novel of Guzel Yakhina is not traditional in terms of its narration. The writer used the method of artistic poetics that Rozin believes to belong to the phenomenological approach. The peculiar feature of the phenomenological approach is the description and expression of the reality outside the artist and performance of a complex subject content of the consciousness. For this regard, the author discusses the challenges that may be faced by the reader who tries to understand such artistic reality. Rozin has used the following methods: problem statement, comparative analysis, reconstruction of Guzel Yakhina's creative writing, positioning in polemics and axiological analysis. As a result of his research, Rozin demonstrates that it is necessary to differentiate between two different means of construction of the literary reality, wherein phenomenological discourse and aesthetics are very different from traditional ones. Even though the phenomenological approach provides new opportunities, it has certain drawbacks, too, especially in terms of understanding and thinking logic.

Keywords: content, form, thinking, understanding, text, phenomenology, product reception, author, reader, reception, author, reader

DOI: 10.7256/2454-0625.2021.7.36093

Abstract: This article reviews the polemic of the author with a number of well-known psychologists who consider L. S. Vygotsky a humanities scholar, and that the book “Psychology of Art” introduces psychologists to the humanities. The author clarifies his position, trying to show that in his methodological projects L. S. Vygotsky adheres to the natural scientific approach; however, in some works he actually does think as a humanist. The author also casts doubt on Vygotsky's concept of art, demonstrating that the offered mechanisms of aesthetic response and interpretation of literary works are problematic or unsatisfactory. In this regard, analysis is conducted on the position of V. Sobkin, which differs significantly from the views of L. S. Vygotsky. The author offers the original interpretation of art, which implies the three aspect: sociocultural that analyzes artistic communication; related to the philosophy of subjectivity (life from the perspective of an artist, viewer, or reader); and analysis of artistic reality, which includes consideration of the literary language and events. The author elucidates the corresponding concepts and problems that appear in such art task. For better understanding of the proposed ideas, the author reviews the examples from the “Psychology of Art” by L. S. Vygotsky, and cites a case from the own works. The discrepancy with L. S. Vygotsky he views as an motive to continue his research and the need for their critical reflection.

Keywords: understanding, catharsis, personality, thinking, affect, reaction, psyche, art, activity, imagination

Abstract: The article provides an assessment of the humanistic role of art as well as its role in the development of humanism. Art unites people, helps a better understanding between nations and creates the spiritual foundation for human. The author of the article describes the two elements of the crisis of modern culture (and art as an important part of it): material part (insuffi cient budget) and spiritual part. Spiritual crisis is related to the loss of the spiritual dominant of the epoch. The author’s arguments say: the art becomes small and insignifi cant; there are major artists but it would be too early to speak of any epoch-making creations. The author underlines the role of the Russian Academy of Fine Arts in preservation of professional art school. Academy successfully realizes target programs and implements the principle of high art. The author also touches upon the opposition between traditional and so called modern art as well as expansion of the horizons as a consequence of globalization.

Keywords: cultural studies, history of art, technological civilization, industrial civilization, human sciences, humanism, avant-garde, crisis of culture, leftover principle of culture fi nancing, classics, world culture.

Abstract: The article is devoted to the interpretation of Nikolay Gogol’s poetics form the point of view of the ‘vision of the absent’ and in comparison with Chavchavadze’s creative works, modern animation (Yuriy Norshteyn) and Osip Mandelstam’s poetry (‘I toast to military asters’).

Keywords: cultural studies, poetics, N. V. Gogol, physics of existence, metaphysics of existence, ‘everyday life’, life, symphony of life, ‘exposure of the invisible’, caesura is not a mere pause.

DOI: 10.7256/2454-0625.2015.2.14112

Abstract: The article analyzes and compares two methods (Natural science and Humanities) reconstruction of spatial representations of past eras, including the idea of artistic perspectives (linear, inverse and mixed). Criticizes the presentation of the work of academician B.Raushenbaha natural science approach to the explanation of these concepts. If Rauschenbach wrote that "man does not see his eyes, and the brain", the author argues that we see not only the eyes and the brain as cultural schemes. In this connection we introduce the concept of "scheme" and in the framework of the doctrine of the schemes and culture is discussed, as in the story evolved linear perspective and based on it the other two. Considering all these stories, the author implemented a humanitarian approach carries problematization and cultural-historical reconstruction, using comparative analysis methods. In general, his discourse can be attributed to the methodology based on cultural studies and humanitarian approach. The study was able to show the problems associated with natural science approach, demonstrate the benefits of humanitarian way of explanation, introduce the concept of "scheme", explained in terms of the humanitarian reconstruction of the emergence of artistic perspectives.

Keywords: culture, reconstruction, scheme, painting, space, vision, evolution, explanation, art, technology

DOI: 10.7256/2454-0625.2015.2.66076

Abstract: The article analyzes and compares the application of the two approaches (natural scientific and humanitarian) to the reconstruction of spatial representations of the past eras including the idea of artistic perspectives (linear, inverse and mixed perspectives). In his article Rozin criticizes the natural scientific approach to the explanation of these concepts presented by the member of the Academy B. Raushenbach. Rauschenbach wrote that “man does not see with his eyes but his brain”. The author of the article argues that we see not with our eyes or brain but rather with the ‘cultural schemes’. In this regard the author introduces the concept of “scheme” and within the framework of the doctrine of the schemes and culture discusses how the linear perspective was established and the other two perspectives developed on the basis of the former. Considering all these facts, the author implements a humanitarian approach, carries problematization and cultural-historical reconstruction using comparative analysis methods. In general, his discourse can be attributed to the methodology based on cultural studies and humanitarian approach. The results of the study show the problems associated with the natural science approach, demonstrate the benefits of the humanitarian way of explanation, introduce the concept of “scheme” and explain the development of art perspectives in terms of the humanitarian reconstruction. In addition, the material and discourse presented in the article can be viewed as an example of the humanitarian research.

Keywords: Culture, reconstruction, scheme, painting, space, vision, evolution, explanation, art, technology.

DOI: 10.7256/2454-0625.2015.3.13848

Abstract: In his article Rozin examines peculiarities of the humanitarian, semiotic and schemological approaches (the latter is based on the theory of schemes). The first approach views cognition more than just a subject-and-object relation. According to this approach, a researcher and a phenomenon under analysis are the two subjects whose interaction create art texts. The semiotic approach analyzes the meanings of signs and symbols and interprets semiotics and its relations with other disciplines and concepts. Based on the reconstrution of schemes in Plato's 'Symposium' and generalization of other cases, Rozin offers his definition of 'scheme'. The results of the analysis of semiotics show that semiotics can be used to understand particular aspects of art. Schemology is quite promising but still needs to be proved in actual practice. The following methods have been used to carry out the research and obtain the results: problematisation, case study and comparison analysis, construction of concepts, generalization and discursive reasonings. The results of the research described in this article have allowed to differentiate between these three approaches, describe them, give a definition of 'scheme' and demonstrate that the implementation of the humanitarian, semiotic and schemological approaches involve methodological understanding and analysis. These results are quite new and therefore create the novelty of the research.

Keywords: semiotics, schemology, humanitarian approach, text, sign, scheme, reconstruction, object, research, concept, definition

DOI: 10.7256/2454-0625.2015.3.66377

Keywords: semiotics, schemology, humanitarian approach, text, sign, scheme, reconstruction, object, research, concept, definition

DOI: 10.7256/2454-0625.2015.5.16119

Abstract: The article discusses the new book by Ekaterina Shapinskaya. The book consists of the two logically composed parts: the first part introduces a new understanding of art as the part of contemporary mass media communication and practice which the author calls "cultural production (industry)." In this context, great importance is gained by presentation including construction of interpretations of artwork and implementation of these interpretations into life (staging and performance). The author analyzes such central concept as "presentation" and "artistic production". The author also touches upon the problems that require further research: features of successful and questionable modernizations and differences between various types of cultures (Romanticism, Modernism, Postmodernism, Post-culture, etc.) and the nature of generalizations. The second part of the book is devoted to the analysis and intepretation of classical operas based on the proposed terms and differences. Shapinskaya analyzes both foreign and Russian sources and shares her own impressions regarding the matter. The methodological basis for Shapinskaya's research includes problematisation, comparative analysis of cultures, critics, creation of new terms and interpretations and implementation of the interdisciplinary approach based on philosophy of art. Rozin has used very similar methodology but applied these research methods to Shapinskaya's research. The research has allowed to define new concepts and problems described by Ekaterina Shapinskaya in her book. The author of the present article has emphasized the following two groups of such concepts and problems. The first group refers to a new understanding (picture) of art and the second group deals with particular reconstructions and commentaries of classical operas. The other result of the research is the statement of problems that require further research.

Keywords: methodology, representation, interpretation, presentation policy, culture, post-culture, cultural production, modernization, generalization, lyrics

DOI: 10.7256/2454-0625.2015.5.66916