Человек и культура最新文献

{"title":"Artistic image in animated cinema as an integrative multilevel dynamic phenomenon","authors":"Aleksei Yakovlevich Zaitcev","doi":"10.25136/2409-8744.2023.5.29996","DOIUrl":"https://doi.org/10.25136/2409-8744.2023.5.29996","url":null,"abstract":"This article discusses the specific features of the artistic image, the artistic form of the screen, including animated works. The artistic image in animation is a complex and multilevel phenomenon that takes the expressive and visual form of the director's vision and conveys the content through the artistic form. The aim of the work is to attempt to define the \"artistic image\" in animated cinema. The object of the study is the form of an animated work as the integrity of its artistic concept, combining various audiovisual elements, involving a laborious technological embodiment on the screen, combining the expressive and visual form of the director's vision, his creative interpretation of the chosen plot. The author of the article suggests considering the animated image as an artistic phenomenon as one of the most important aspects characterizing the integrity of an animated film. The novelty of the work lies in an attempt to define such a concept as \"the image of an animated film\". The new empirical material presupposes the updating of the terminology of art criticism, including the film-making tools in the process of theoretical analysis of screen culture. In this perspective, it is necessary to clarify, expand and update the traditional terminology (in particular, the definition of an artistic image in animation) used in the artistic and aesthetic analysis of screen works. The results of the study can have both scientific and theoretical, and creative and practical application. The materials and conclusions of this article can be used as a conceptual and methodological basis for further scientific research.","PeriodicalId":333566,"journal":{"name":"Человек и культура","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135563035","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Potentials of computer graphics in development artistic abilities of students","authors":"Yulia Vasilievna Nikolovskaya","doi":"10.25136/2409-8744.2023.5.43950","DOIUrl":"https://doi.org/10.25136/2409-8744.2023.5.43950","url":null,"abstract":"\u0000 The subject of research in this article is the use of such a type of computer art as computer graphics in the artistic development of children studying in secondary educational institutions, from the point of view of pedagogy. When analyzing the potential of two-dimensional computer graphics, its means that exist from the point of view of art history and computer science are taken into account. Particular attention is paid to the technical potential of computer graphics in the development of artistic abilities of students and includes hardware and software, and art history is focused on the artistic and expressive potential formed by the artistic and expressive means of computer graphics (dot, silhouette, color, etc.). The main conclusions of the study of the topic are the detailed disclosure of the potentials of computer graphics. We are talking about its properties, which, combined with each other, ensure the development of the artistic abilities of children. This article characterizes such properties and considers the developing possibilities of each of them. The author's special contribution to the study of the topic is the formulation of theoretical aspects, thanks to which in the future it is possible to develop effective methods for teaching people belonging to different age categories, computer graphics and fine arts within the framework of art education.\u0000","PeriodicalId":333566,"journal":{"name":"Человек и культура","volume":"29 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115209153","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Chemical pollution of the human environment and issues of the development of ecological culture","authors":"N. Stozhko, N. Sudakova","doi":"10.25136/2409-8744.2023.4.43897","DOIUrl":"https://doi.org/10.25136/2409-8744.2023.4.43897","url":null,"abstract":"\u0000 The subject of the study is the need to form a modern ecological culture in the conditions of growing macroeconomic turbulence and systemic ecological crisis. The object of the study is the state of the modern environment, in general, and its chemical pollution, in particular. The authors consider in detail such aspects of the topic as the currently growing chemical pollution of the environment, the cumulative effect of such pollution, issues of ensuring environmental (chemical) safety and ways of forming an ecological culture. Special attention is paid to the institutional and legal aspect of the development of ecological culture in the \"nature – society\" system and the conditions necessary to prevent further chemical pollution of the environment. The main conclusions of the study are proposals to create a promising strategy (program) for the prevention and elimination of chemical pollution of the environment, to complete the preparation and adoption of an appropriate regulatory framework for dealing with chemical pollution and related risks, to increase public literacy in the field of chemical safety, to develop a new methodology for monitoring, assessment and relief of chemical pollution at enterprises and organizations that are sources of such pollution, as well as on the revision of some principles and norms of modern environmental policy in the field of combating chemical pollution, adjusting its main direction related to the preservation of the \"status quo\" of the environment towards its reclamation and reproduction. The novelty of the research lies in the development of organizational aspects related to the culture of chemical safety in modern conditions.\u0000","PeriodicalId":333566,"journal":{"name":"Человек и культура","volume":"260 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123471805","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The “subjective microphone” technique in M. Khutsiev’s film “I am Twenty”","authors":"Daniil Vladimirovich Bliudov","doi":"10.25136/2409-8744.2023.4.43674","DOIUrl":"https://doi.org/10.25136/2409-8744.2023.4.43674","url":null,"abstract":"\u0000 The object of research in this article is the actor speech in the cinema of the \"Khrushchev Thaw\" period. The subject of the research is the artistic specifics of the recorded speech in the film \"I am Twenty.\" The article analyzes the use of \"subjective microphone\" technique in the sound landscape of the film \"I Am Twenty\" by Marlen Khutsiev. The aesthetic and technical aspects of the use of the above technique have been analyzed in detail. \"Subjective microphone\" is considered by the author as part of the updated speech style that appeared in Soviet cinema in the era of the \" Khrushchev Thaw.\" The author pays special attention to the influence of the updated speech aesthetics of cinema of the 1950s and 1960s on theatrical art and acting. The novelty of this research lies in the study of the phenomenon of acting speech in the cinema of the \"thaw\" from an aesthetic and technical standpoint. The term \"subjective microphone\" was first introduced into scientific circulation in application to sounding speech in screen arts. The term \"cross-diegesis\" is proposed for inclusion in scientific circulation to determine a special sound space formed in screen arts when using the technique of a \"subjective microphone.\" The article scientifically substantiates a special place that is occupied by the \"subjective microphone\" technique in the concept of dividing the sound space of the film into diegetic, non-diegetic and methadiegetic layers. Separately, the author dwells on the inclusion of the reception of the \"subjective microphone\" in the general documentary-poetic artistic style of Marlen Khutsiev. In conclusion, the author says that the appearance of magnetic sound recording in the 1950s had a powerful effect on the aesthetics of film monography and, in particular, the sound of acting speech.\u0000","PeriodicalId":333566,"journal":{"name":"Человек и культура","volume":"32 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117191580","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The ideology of the \"right-wing threat\" in Soviet Art of the turn of the 1920-1930s","authors":"I. Rutsinskaya","doi":"10.25136/2409-8744.2023.4.39840","DOIUrl":"https://doi.org/10.25136/2409-8744.2023.4.39840","url":null,"abstract":"\u0000 The object of the study is the Soviet practice of transferring the ideology of the \"right-wing threat\", widely spread at the turn of the 1920s-1930s, into the space of fine art. This concept, which arose thanks to Stalin's purposeful efforts, was his effective weapon in the fight against the opposition. It was assumed that its existence would be limited by the factional struggle in the CPSU(b). However, the logic of public life in the country has made it inevitable that a purely political ideologeme will be transferred to all areas of culture. Based on the material of art magazines, newspapers, yearbooks published from 1929 to 1932, the chronology, main stages and features of the adaptation of the ideologeme in relation to fine art are considered for the first time. It is shown that accusations of belonging to the \"right opposition\", \"right deviation\" were made not only to creative associations or to individual artists, but also in relation to genres of fine art (for example, to still life and landscape). Manifestations of bourgeoisness were found both in the content of the works and in their form. It is revealed that the initial publications contained sincere attempts to understand what the \"right threat\" in art is, how its manifestations in this area can be determined. However, very soon such attempts were almost completely abandoned, and the phrase \"right-wing threat\" turned into a formal cliche, a political label.\u0000","PeriodicalId":333566,"journal":{"name":"Человек и культура","volume":"29 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132943957","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Glazovo estate and other estates of the Bazhenovs near the town of Kashira in the first third of the 19th century.","authors":"Dimitry Valeryevich Bezverkhy","doi":"10.25136/2409-8744.2023.4.43719","DOIUrl":"https://doi.org/10.25136/2409-8744.2023.4.43719","url":null,"abstract":"\u0000 The Glazovo estate in Kashirsky uyezd, Tula province (now the village of Staroye Glazovo, Venyevsky district, Tula Oblast) holds a special place in the biography of the great Russian architect and painter Vasily Ivanovich Bazhenov (1738-1799). It was here that the architect regularly lived during his disgrace after his removal from the construction of the Tsaritsyno estate in the second half of the 1780s and in the early 1790s, and it was in the village of Glazovo that Vasily Ivanovich was reburied from the Smolensky cemetery in St. Petersburg in 1799 according to his will. In the present article the author continues the study of the estate's history and aims to highlight the history of the Bazhenov's estates near the town of Kashira in the first third of the 19th century until their complete sale in 1837, finally clarifying a number of important issues of the Glazovo estate's history. The novelty of the study lies in the publication of many previously unknown facts and documents, which the author discovered during his work in the archives of Tula, Nizhny Novgorod and St. Petersburg. For example, for the first time an inventory of the Glazovo estate's buildings (1823) is given, the fact of V. I. Bazhenov's burial in the Glazovo cemetery is finally confirmed and the fate of the estate stone St. Nicholas Church, which the architect founded in 1784 and could not complete, is also clarified. Clarification of these issues is important both for the study of Bazhenov's life and work and for the history of Russian art and architecture.\u0000","PeriodicalId":333566,"journal":{"name":"Человек и культура","volume":"401 3","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121006444","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Historical portrait of the first prima donna of Baroque opera: Vittoria Archilei","authors":"Elena Kruglova","doi":"10.25136/2409-8744.2023.4.43644","DOIUrl":"https://doi.org/10.25136/2409-8744.2023.4.43644","url":null,"abstract":"\u0000 The name of Vittoria Archilei has entered the history of vocal art as the first opera prima donna in a new style of singing for the turn of the XVI-XVII centuries. During her lifetime, the singer enjoyed great popularity. Outstanding composers G. Caccini, J. Peri, S. D'India, E. de’ Cavalieri, etc. they admired her skill, noting the extraordinary tenderness of the sound of her voice, combined with its bright virtuosity. Archilei performance was significantly different from other singers, her contemporaries. It is not by chance that J. Peri calls the prima donna the Euterpe of his time. The article presents a creative portrait of Vittoria Archilei, the first brilliant interpreter of monodic music, an outstanding singer who created a new method of singing women. The methodological basis of the work is the principle of historicism. The cultural and historical research method was used. The biographical reconstruction was made on the basis of source studies with reviews of the singer's contemporaries, letters, music-critical articles. In Russian musicology, this article is the first special publication dedicated to the creative path of Vittoria Archilei. This material will be useful for musicians, singers performing old music, for its stylistically correct interpretation, as well as in training courses on the history of vocal performance at vocal departments of music colleges and faculties of universities.\u0000","PeriodicalId":333566,"journal":{"name":"Человек и культура","volume":"44 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127602806","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Recollection of the Parisian painters in 1650–1800","authors":"Elena E. Agratina","doi":"10.25136/2409-8744.2023.4.40752","DOIUrl":"https://doi.org/10.25136/2409-8744.2023.4.40752","url":null,"abstract":"\u0000 The article is dedicated to research of sources and documents linked with recollection of Parisian painters of 1650–1800 by contemporaries and scholars. Since the origin of the Royal Academy of Painting and Sculpture appeared regularly a sum of biographical essays devoted to French academic masters. The texts were created by historiographer of Academy until the middle of the 18th century. Later it were connoisseurs of fine art who continued to produce these writings. The authors were recruited from members of Academy as well as friends and relatives of an artist. After research of such sources and documents, the author strives to define a role of memory and posthumous glory for the most eminent artists and representatives of artistic milieu. The author takes in consideration an image of a Parisian painter displayed before his descendants. The article also treats an idea of personal glory connected with artists’ aim to make the Academy and its pictorial school flourish and rule throughout Europe. The research novelty is based on the lack of fundamental publications on the topic in Russian and Western historiography. The relevance of this study is caused by recent trends of social art history interested in everyday life and worldview of a real artist in the real world. Author’s careful work with authentic documents helped to trace a certain scheme used in such biographical writings. They contain biographical data, a tribute to personal qualities of the late artist and, finally, a scrupulous description of his works. The texts written by artist’s friends and relatives are usually more sentimental and have a touch of biographical novel. Virtually, both of these genres were intended not only to keep memory of artist’s creative heritage but also to represent his individuality. In doing so the biographers of any artist not only aimed to compose several individual vitae but also to create a panoramic view of French school of painting as the leader of artistic progress of the time.\u0000","PeriodicalId":333566,"journal":{"name":"Человек и культура","volume":"107 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124797290","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Decorative Features of the Temple Complex Pura Beji (Sangsit, the Island of Bali)","authors":"M. Ratko","doi":"10.25136/2409-8744.2023.4.40853","DOIUrl":"https://doi.org/10.25136/2409-8744.2023.4.40853","url":null,"abstract":"\u0000 The author examines the sculptural decoration of the Pura Beji temple – a vivid representative of the style of sacred architecture and decorative plasticity of northern Bali. This temple complex is the sanctuary of the subak irrigation association. It is unique with a peculiar vocabulary of decor, rich texture of stone carvings, masterfully executed in a “pink” paras. The purpose of the article is to use the example of analysis of the decorations of temple buildings (Candi Bentar gates, Candi Kurung, Candi Laras altars, Apit Lawang) and samples of round sculpture to identify the characteristic features of the decorative desing of Pura Beji, to reveal the features of the iconographic reading of individual motifs and images, their spatial configuration. The work is based on empirical material from field studies conducted in April 2019 (Desa Sangsit, kabupaten Buleleng). The study of the temple decor was carried out using the methods of full-scale research, non-standardized interviews; comparative analysis; iconographic, compositional, artistic analysis of images. For the first time, the diverse repertoire of Pura Beji's plastics was analyzed through the prism of the leading iconographic program related to the cult of fertility and the specifics of Balinese Hinduism (with its rich mythopoetics, metamorphoses of the divine and demonic worlds). This predetermined the abundance of floral ornaments and chimerical, fantastic images in the decoration of the temple, their organic fusion. The role of active contacts of the northern coast of Bali with the cultures of Eastern civilizations and Western Europe in the formation of the original style of carving by Sangsit masters is also taken into account. The author comes to the conclusion that the decorative design of Pura Beji is characterized by: rethinking the codified patterns of decor, the use of original motifs and borrowed replicas; compositional freedom of ornamental constructions; continuous filling of the wall surface with sculptural decoration in relief, the applicative manner of applying the ornament. Also noteworthy is the hyperbolized way of articulating decorative elements, manifested in the reception of emphasized grotesque in the interpretation of zoomorphic images and the dominance of a large pattern of leaves and flowers.\u0000","PeriodicalId":333566,"journal":{"name":"Человек и культура","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127664545","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The development of circus art in Russia until 2035 in a cultural aspect","authors":"Anatolii Andreevich Ganin, T. Bushkova","doi":"10.25136/2409-8744.2023.4.43817","DOIUrl":"https://doi.org/10.25136/2409-8744.2023.4.43817","url":null,"abstract":"\u0000 The role of the circus in the formation of the socio-cultural environment is determined. The aim of the work is to study the circus art in Russia in a cultural aspect. The subject of the study is the culturological aspect of the development of circus art until 2035; an analysis of two models of circus art: domestic and foreign is presented. The tasks and prospects in this area are outlined, the direction of further creative development of the Russian circus system until 2035 should be the creation of qualitatively new circus programs and performances using the capabilities of related arts (theatre, cinema, stage, etc.) and the use of modern technologies. The novelty of the study lies in the definition of the main trends in the development of circus art, the definition of global and domestic trends, a description of their features. The Russian circus industry is less segmented, unlike the Western one, which is distinguished by world-class high-tech shows, traditional circus troupes, circus performers with individual numbers. In Russia, the second segment is part of the circus system due to its demand among children and families. Recommendations are proposed for improving the circus business and its popularization: popularizing the circus as a form of family leisure, improving the human resources base, providing comprehensive support to the circus sector, etc.\u0000","PeriodicalId":333566,"journal":{"name":"Человек и культура","volume":"184 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121038412","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}