Vestnik Tomskogo Gosudarstvennogo Universiteta-Kulturologiya i Iskusstvovedenie-Tomsk State University Journal of Cultural Studies and Art History最新文献

{"title":"The metamorphoses of musical theater in the culture of pre-revolutionary Russian province","authors":"Vera I. Udina","doi":"10.17223/22220836/46/19","DOIUrl":"https://doi.org/10.17223/22220836/46/19","url":null,"abstract":"Article is devoted to system characteristic of the musical theater in the context of the culture of the pre-revolutionary Russian province. On the example of the opera genre top trends of historical development of provincial theater of Russia throughout XVIII - the beginnings of the 20th centuries are analyzed: the periodization of musical and theatrical process in the province, the social, cultural and historical conditionality of this process. According to the selected stages change of genre musical and scenic dominants (the early comic opera, the vaudeville, the operetta, the Russian and European classical opera) is traced. Transformation of different institutional forms of existing of opera art on the provincial stage (farmstead, city stationary theater, an enterprise, an opera partnership) in the context of socially historical development of domestic culture of the pre-revolutionary period is revealed. Important typological characteristic of a provincial opera scene is its character, “reflective” in relation to capital theater. It was shown in tour practice as the most mobile form of distribution of opera art across all Russia. In the article considerable attention is paid to such problems, methodologically important for characteristic of pre-revolutionary provincial musical theater, as territorial and geographical correlation of different Russian regions to capital cities, historically changing conditions of cultural interaction between the center and peripheries. On this basis some art features of opera culture of the prerevolutionary Russian province are analysed: the essence of the opera repertoire (national and foreign), performing forces, level and quality of opera settings, public relation to musical theater, etc. The conclusion is drawn that opera theater - an important component of musical culture of the Russian province. The opera studied the history of development which analysis significantly supplements an overall picture of evolution of domestic musical theater on the provincial stage.","PeriodicalId":41702,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta-Kulturologiya i Iskusstvovedenie-Tomsk State University Journal of Cultural Studies and Art History","volume":"61 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89598419","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":"Broadway musical commercial theater in the context of the socio-cultural environment of the 70s of the XX century","authors":"Kimol A. Breytburg","doi":"10.17223/22220836/46/15","DOIUrl":"https://doi.org/10.17223/22220836/46/15","url":null,"abstract":"Broadway musicals created in the 70s of the XX century are a reflection of many socio-cultural phenomena taking place in the USA at that time. Their dynamic, originally formed musical dramaturgy, an appeal to topical topics consonant with the public consciousness of the era of the 70s, makes this period of development truly unique. The works created during these years by Stephen Sondheim, Stephen Schwartz, John Kander, Fred Ebb, Marvin Hamlisch, Edward Kleban greatly influenced the development of the musical genre, enriching it with new musical and dramatic techniques, a fundamentally new worldview for that time. The 70s of the XX century were the heyday of the creative work of musical theater di- © К.А. Брейтбург, 2022 rectors such as Harold Prince, Bob Foss, Jerome Robins, Michael Bennett, whose work revealed the musical and dramatic features of musicals, created an atmosphere and a unique charm of entertainment, but at the same time a special psychological depth, for which such musicals as “Chicago”, “Corps de Ballet”, “Company”, “Little Night Music” became famous. Commercial theater is also professional management and non-trivial production solutions that promote artistic works to the market. Perhaps because of this, these musicals have become beloved by a huge audience and iconic in the history of the genre as a whole. The 70s were especially difficult for the life survival of Broadway theaters, because the conditions of the economic crisis in the United States were increasing. Society, on the one hand, became more and more divided, on the other hand, various racial and gender minorities united, intensifying the struggle for their civil rights, the women's movement for equality was gaining more and more strength. Since its inception in the middle of the XIX century and up to the beginning of the XXI century, the Broadway musical has been and remains a vibrant, viable entertainment form. The musical as a kind of musical theater has endured devastating economic and political crises, radical shifts in public consciousness and the development of much more modern, less expensive and supported mass entertainment media with enviable resilience. This type of musical and scenic art continues to live and develop steadily, and in recent years its importance in social and cultural life and popularity among the general population, including in our country, has increased significantly. The stage American musical is a constantly adapting commercial musical and theatrical entertainment form, which is the product of a dynamically developing socio-cultural environment. It is impossible to separate the processes occurring in the genre-stylistic evolution of the musical from the economic, socio-political and social phenomena occurring at each individual historical stage of the development of society. That is why the materials presented in the article are interdisciplinary. They are connected not only with the musical as a kind of musical and scenic art, but, wh","PeriodicalId":41702,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta-Kulturologiya i Iskusstvovedenie-Tomsk State University Journal of Cultural Studies and Art History","volume":"50 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86574928","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 imprinted memory: sociological analysis practician of a kommemoration","authors":"L. Zubanova, M. Shub","doi":"10.17223/22220836/47/4","DOIUrl":"https://doi.org/10.17223/22220836/47/4","url":null,"abstract":"Article is devoted to judgment of a phenomenon of cultural memory as steady system of the significant ideas of the past broadcast in generally - symbolical forms and generating social valuable behavioral models. Cultural memory acts as the central semantic kernel of a large number of both foreign, and domestic researches which all variety can be divided into three types conditionally: “archival” (memory understanding as conservative of socially demanded information in a format of social experience); “active” (memory understanding as mechanism of the translator of social experience); “integrative” (the uniting both approaches to interpretation of essence of memory). One of forms of an objectification of content of cultural memory is the commemoration understood as set public collective the practician, the values and behavior models directed to formation through ritually issued deduction and reproduction in the relevant culture of the significant for group, symbolically expressed ideas of the past. Intrinsic lines of a commemoration it is possible to call: collective character, publicity (representation of interests of a certain group), institutionality (purposeful organization), emotional involvement of participants into memorial action. Structurally the commemoration can be presented as follows: commemorative kernel (reason for the act of commemoration), commemorative symbol (valuable “loop” of a commemorative kernel) and commemorative function (target vector of a commemoration). Functions of integration, maintenance of identity, socialization, visualization, compensation act as commemorative functions. The variety commemorative practician can be systematized by their tipologization on various to the bases: on existence duration: short-term and long-term; on subject of a commemorative kernel (personalized, it is event - procedural, topographical); in a form (a parade, a procession, assignment of a name, opening of a commemorative plaque, erection of a monument, etc.); on chronological localization of a commemorative kernel (retrofocused and updated); by origin (authentic and borrowed); on distribution scale (global, local, regional, subcultural); on an emotional message (constructive and destructive); on the nature of action (procedural and static); by the origin nature (natural and artificial), etc. The sociological analysis three commemorative practician - names of streets, opening of commemorative plaques and monuments on the example of Chelyabinsk is presented in this article (the analyzed period from 1991 to 2016). Authors compare the territorial and chronological bases of names, types of their representation (the personality, an event, the place), reveal the most popular subject and figurative and symbolical designs of commemoration. As the general conclusion following the results of a research it is possible to note the following. In terms of territorial localization commemorative practicians are mainly connected with local history (the re","PeriodicalId":41702,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta-Kulturologiya i Iskusstvovedenie-Tomsk State University Journal of Cultural Studies and Art History","volume":"30 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84101938","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":"“Enslavement” and “liberation” art in nicolay aksharumov'es aesthetic criticism","authors":"A. Kozlov","doi":"10.17223/22220836/45/12","DOIUrl":"https://doi.org/10.17223/22220836/45/12","url":null,"abstract":"The article analyzes the key papers and referents of the critic and writer Nicolay Akhsharumov, who appeared in the Russian press as one of the first theoreticians of “enslaved art”. The research concludes tracing the evolution of his views from the “program” article “On the enslavement of art” (1857) to art criticism and abstracts written specifically for the periodical edition of the “Vestnik of Arts” (1884-1885). At the same time, the descriptive-interpretation method, chosen by the critic, is closely connected with Sh. Sainte-Beuve and I. Taine (on whom, in particular, his contemporary, P.D. Boborykin was oriented), but also to F. Schleiermacher, who put forward the idea of the hermeneutic circle, built on a constant return from part to the whole, from the whole to a part. A special attention is paid to the article “ The Tasks of Painting in the Period of the Formation of the Russian National School”. Based on his own memories, testimonies of contemporaries and program articles published earlier in the “Bulletin of Europe”, Akhsharumov recreates the evolution of plastic art in Russia in the XIX century. Following V.V. Stasov, he connects the first triumph of Russian painting - the art paintings of Bryullov - with “blossoming time” A.S. Pushkin, “the first significant successes” Lermontov and Gogol. Talking about the false path of the artist Fedotov and the catastrophe, which, in the opinion of the critic, befell Ivanov'es picture, Akhsharumov draws a parallel with Gogol, recalling the “glory and sense of friends about his great significance,” who so quickly managed to “turn his head”. Akhsharumov shows how literature “outstripped painting” by solving the question of depicting Russian life through the works of Gogol, Ostrovsky, Turgenev and Saltykov-Shchedrin. The central subject of the study is the interpretation by Ahsharumov of N. Ge's “The Last Supper” (1863). Highlighting the canvas Ge in a note reflecting the impressions of 1863, among other paintings of his contemporaries, Akhsharumov differently estimates the picture in the 1880th. In both cases, referring to the meaning of the picture, the critic carries out a revision of his own views, constantly conceptualizing and clarifying the essence of the “enslaved” and “liberated art”. Thus, the Aksharumov'es aesthetic criticism his articles on the history of Russian painting, on the whole correlating with similar works of V.V. Stasova, A.I. Somova, P.D. Boborykin, etc., constitute not only an important testimony of his literary and critical activity spanning more than 30 years, but also open a forgotten page in the history of Russian art criticism. Of course, Akhsharumov was not alone in his aesthetic search. The description of new figures and the reconstruction of a number of articles by critics and art historians constitutes a perspective of interdisciplinary studies that unite the history of Russian criticism and art history.","PeriodicalId":41702,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta-Kulturologiya i Iskusstvovedenie-Tomsk State University Journal of Cultural Studies and Art History","volume":"56 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74626587","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":"“Complex simplicity”: from metaphor to concept","authors":"Elena P. Martynenko","doi":"10.17223/22220836/47/8","DOIUrl":"https://doi.org/10.17223/22220836/47/8","url":null,"abstract":"The artistic culture of the 20th century is characterized by complex processes that have affected the aesthetics, philosophy of art and technology of creating works of art. The search for common patterns that unite different types of contemporary art is an urgent problem. The notion of “complex simplicity” is increasingly common in the cultural sphere as a generalized view of various artistic phenomena. The purpose of the article is to determine the conceptual status of “complex simplicity” and the specifics of its manifestations in the artistic culture of the 20th century. In the first half of the 20th century Prokofiev declared “new simplicity” as an alternative to the intentional complication of the musical language. Similar phenomena emerged in foreign musical culture: the anti-romantic orientation “Les Six”, the rational ideas of the “Second Viennese School”, the harmony and simplicity of neoclassicism. The fundamental difference of creative positions has been outlined: the desire for simplicity “in general” (as accessibility, primitivism) - and the desire for simplicity of the new quality, combined with the complexity of internal organization. In the painting the idea of a simple form was elevated to the level of a complex aesthetic concept - a new philosophy of color and form (Rayonism, Suprematism, etc.). The idea of “emptiness and simplicity” and the slogan “Less is more” (Ludwig Mies van der Rohe) dominated in architecture and interior design. The following factors actualized the interest in “complex simplicity”: 1) the complexity of the internal organization was an opportunity for the Creator not to fall into primitivism and simplification. So the masters separate themselves from the amateurism generated by the mass culture of the 20th century; 2) quality of simplicity allowed to protect the person from event and information oversaturation of modern life; 3) socio-cultural situation and artistic ideology of socialist realism has become an important factor in the domestic art. “Complex simplicity” in contemporary art is represented by two options: either an artistic text has a complex idea and content with simplicity of form and perception; or a simple concept is combined with a complex structure. This problem is actively manifested itself in the 20th century due to the increased attention to the communicative functions of culture and its texts. “Complex simplicity” implements the most important principles of postmodernism: it gives the opportunity to speak a professional and complex language in the “era of lost simplicity” (U. Eco), allows the recipient of any level of training to perceive the literary text as far as possible (pluralism of meanings). “Complex simplicity” can be considered as a property of the text of culture that characterizes its communicative functions. Despite the metaphorical nature of “complex simplicity”, it can become a full-fledged concept due to the specificity of the terminological apparatus of cultural scien","PeriodicalId":41702,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta-Kulturologiya i Iskusstvovedenie-Tomsk State University Journal of Cultural Studies and Art History","volume":"93 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86487124","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":"Organization of the regional olympiad for high school students in information culture (analysis of the experience of the Republic of Buryatia)","authors":"E. A. Kuchmurukova, G. A. Shanginova","doi":"10.17223/22220836/45/5","DOIUrl":"https://doi.org/10.17223/22220836/45/5","url":null,"abstract":"The Department of Library and information resources of the East Siberian state Institute of culture (VSGIK), since 2011, holds an annual Republican olympiad among high school students in information culture. Over the entire period, more than ten thousand three hundred high school students from various municipal educational institutions in Ulan-Ude and the Republic of Buryatia took part in the Olympiad. According to the “regulations on the national contest in information culture”, the winners at the threshold of unified state examination on the subjects “Literature”, “Russian language”, “Social Studies” guaranteed credited in FGBOU VO VSGIK on a budgetary place in the direction of training 51.03.06 “Library information activities” bachelor profile “Information-analytical activity”. The main results of previous years' Olympiads in terms of content criteria are revealed. Starting in 2016, the Olympiads were held in conjunction with the Buryat Republican Institute of educational policy, which allowed more schools in Buryatia to participate. One of the last Olympiads for the first time was included in the number of National Olympiads in the subjects of the ethno-cultural component. It included 3 stages: school, municipal and Republican. For a more accurate assessment of different types of questions, six assessment scales were developed that take into account the correctness of the answers to the proposed questions and a detailed algorithm for its implementation. The analysis of high school students ' responses to blocks of Olympiad tasks is presented, typical errors that occurred among participants are considered, and problems of preparation for the Republican Olympiad are identified. The characteristics of the answers allow us to state that the majority of students - participants of the Olympiad: 1. they do not have the skill to formulate a query or define keywords when working in Internet search engines; 2. they do not know how to analyze the results of search engines and choose the correct reliable source from the found ones; 3. they are not able to analyze the content of a particular site, to search for information in its sections; 4. not trained to work in electronic catalogs, do not know their search capabilities; 5. they have an insufficient level of use of reference literature, use wikipedia as the main source, replacing it with Internet versions of classic reference publications; 6. they demonstrate a lack of skills in analytical and synthetic processing of information, do not know how to make annotations, plan an abstract on a given topic; 7. they do not know how to make lists of literature on given topics, do not understand what sources to choose for this purpose, how to form them and design them. Analyzing the results of the Olympiad and the level of readiness of participants to work with Internet resources, you can make the following recommendations. To better prepare students in general education institutions, a joint program on informat","PeriodicalId":41702,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta-Kulturologiya i Iskusstvovedenie-Tomsk State University Journal of Cultural Studies and Art History","volume":"35 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81055092","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":"Color in the art of the traditional costume of the indigenous small nations of the tyumen north (on the example of the analysis of museum exhibits)","authors":"O. A. Bakieva, O. Popova","doi":"10.17223/22220836/46/20","DOIUrl":"https://doi.org/10.17223/22220836/46/20","url":null,"abstract":"Research objective: The authors set a goal to analyze the color symbolics in the folk costume of indigenous ethnic groups of North (Nenets, Khanty and Mansi) of the Tyumen region on the example of authentic sources, museum pieces and compare it with the main functions of the Luscher personality color analysis, to reveal the “collective subconscious”, nature of ethnic groups, their mentality. Sources: The basis of the article was the works of many researchers in various fields of science and culture (I. Newton, I.V. von Goethe, M. Lomonosov, N. Volkov, V. Kandinsky, I. Itten, M.O. Surina, R.G. Gadiyeva, O.Yu. Evseeva, O.A. Bakiyeva and others). In the course of the color analysis of the traditional folk costume and the identification of the color mentality of the ethnic group, color diagnostics according to M. Luscher was used. Content: The research of color was associated with the cultural activities of the peoples of the North of the Khanty (Ostyaks), Nenets (Samoyeds) and Mansi (Voguls). The color system was examined in traditional folk costume, it was developed over many centuries and carried information about the views of the people about the world around, their psychological characteristics (national character) and mentality. The novelty of the research is the relation of color preference, which the masters used in the manufacture of traditional clothing, and psyche features of these ethnic groups. Considering the color concept of Max Luscher and its relation with the psychological characteristics of a person and ethnic group, we developed criteria of color analysis of products of cooperative creative thought of ethnic groups (traditional costume): dominant (fundamental colors), subdominant (color in ornamental symbols), tonic (color emphasis in details), which would correspond to the main functions of color diagnostics in order to determine the color mentality of each nation individually. The article analyzes the color symbolism in the costume of the northern, eastern and southern Khanty, Nenets, Mansi on museum pieces in Tyumen, Tobolsk, Khanty-Mansiysk. The analysis obtained was compared with Luscher's color diagnostics and the results were verified according to the characteristics of textbooks on ethnopsychology. All this proves the certain intention in choice of the color scheme in a traditional costume, as well as provide the opportunity to highlight the features of the art of folk costume in different northern ethnic groups. Conclusions: In general, the color designation in the ornament of the indigenous small peoples of the Tyumen North (Khanty, Mansi and Nenets) disclose information about the way of life, folk traditions, rituals, the world outlook of the people who nomadized, was engaged in reindeer herding, hunting, fishing, and also the nature of the ethnic group, color mentality. The distinctive character traits of the small indigenous people can be identified by analyzing the color codes in the clothes: red-activity, blue - res","PeriodicalId":41702,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta-Kulturologiya i Iskusstvovedenie-Tomsk State University Journal of Cultural Studies and Art History","volume":" 10","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72384040","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":"Problems of research synesthesia: theory and practice Visual practices in the activities of Tomsk urban eco-communities","authors":"S. N. Loseva, T. I. Pozdnyakova","doi":"10.17223/22220836/45/7","DOIUrl":"https://doi.org/10.17223/22220836/45/7","url":null,"abstract":"Onsideration of a problem is based on the analysis of the diverse data devoted to the description of historical aspect of formation of scientific knowledge about structure of musical endowments and a concept of a sinesteziya. In the course of research the sinesteziya in which the most significant trends of formation of complete idea of all semantic measurements of this phenomenon are defined is given the analysis of various approaches to definition of the term. Some of the most ancient mentions of a sinesteziya can be considered mentions in philosophy of the East and Ancient Greece. In particular, in ethic and religious exercises of India and China there is an idea of communication of body of knowledge with qualities of an object of knowledge. Philosophers sensationalists made a powerful contribution to understanding of interaction of elements of a perceptual system of the person. D. Yum's concept with enthusiasm was apprehended by the philosopher -the educator I.G. Herder (1778) who considered that by means of one body of perception it is impossible to penetrate into a phenomenon essence. The French materialist E.B. de Condiliac in “The treatise about feelings” (1754), resorting to D. Yum's ideas and developing them, asks a question of the general nature of all feelings and indissoluble communication between them. Sinesteziya is considered as the concept reflecting a form of perception, communication between feelings in mentality, results of their manifestations in the concrete fields of art. In modern science classification of the touch sphere is defined by division of feelings into five modalities: touch, taste, sense of smell, hearing and sight. According to given classifications today several forms of a sinesteziya are revealed: acoustical, flavoring, color, each of which received the name according to the nature of the arising additional feelings. Information of the detailed analysis of researches of a definition of a concept a sinesteziya is provided. The structure of a periodic system of arts and intersensual associations developed by B. Galeyev is analyzed. Initial position of a system is division of arts according to polar signs “visual - acoustical”, “graphic - expressive”. In the center of a system there is an indivisible syncretic art as the beginning in genesis of arts. In the course of specialization of art activity there is a division of arts into music (1), an architecture/ornament (2), a paint-ing/sculpture (3) and art of word (4). The description of sinestetichesky methodology in the context of musicology of the Novosibirsk scientist N. Kolyadenko is submitted. The scientific base of concepts of the author studying the mental mechanism of intersensual associations is considered; a sinestetichnost as “the system property of nonverbal art thinking determined by existence in it of intermodal associations”, and the associative sinestetichesky mechanism which fills with polymodal power formation of pointless images in music and adja","PeriodicalId":41702,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta-Kulturologiya i Iskusstvovedenie-Tomsk State University Journal of Cultural Studies and Art History","volume":"50 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78266613","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":"Another in a postmodernist concept “differance” Jacque Derrida","authors":"E. A. Usovskaya","doi":"10.17223/22220836/47/11","DOIUrl":"https://doi.org/10.17223/22220836/47/11","url":null,"abstract":"Postmodernism as a paradigm of culture in the 1960s-90s offers his own view on the problem of plurality. Plurality in the form of differences has an ontological character, which makes it possible to see in each phenomenon, culture, person, community an individual, constantly revealing itself and its own capabilities. The part, not the whole, the identical, the total, is declared primordial and equal. Differences and plurality become possible as independent constructs as a result of a cultural worldview turn in relation to the understanding of the Other. European culture and the whole world have done a great job of overcoming stereotypically negative views on the phenomenon of being different, other, going beyond the socio-cultural, biological, gender norms or what is commonly considered as such. The category of the Other is complex and is interpreted differently by scientists. Moreover, it is diversely represented in cultural models and national forms of thinking. Otherness, on the one hand, is individuality, distinctiveness, which allows you to be original, individual. On the other hand, it can be imperceptibly constructed by socially powerful practices. In any case, the Other undermines the totality by incorporating differences into it, or, in the language of Jacques Derrida, differences. “Difference”, includes several semantic constructions-words, simultaneously present in it. This is “difference” - difference, distinction, dissimilarity, inconsistency, differentiation; as well as “differe” - to postpone. postpone; “fero” - to carry. wear. The result of being in constant motion and mutual transition of meanings is the understanding of “difference” as a neologism. including “distinguish. delay. bear”. Its content casts doubt on the legitimacy of identity as the main mental construct of Modern culture. since it includes the plurality of Others. The phenomenon of the Other in “difference” overcomes the metaphysical nature of logocentrism. The term itself indicates the initial presence of otherness in a person. society. culture. more precisely. the procedure for replacing “e” with the letter “a” (“differance” instead of “difference”). “A” - “Other” is designed to make the construction of in “difference” mobile. ambiguous. revealing potential differences in a word. concept. person. etc. The other makes “difference / distinction” different from the meanings and contexts present in it. as well as from other objects and processes. In this sense. “difference” cannot be reduced to any one of the meanings. This does not mean. however. that difference denies connection. interaction as such. The Other decomposes the homogeneity of the European and daughter civilizations. resorting to a variety of methods and benefits. most often using marginalized practices. escaping from unambiguity and absolutizing totality. In this regard. the Other in “difference” is aimed at including diversity. plurality. recognition of different ways and models of the development of","PeriodicalId":41702,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta-Kulturologiya i Iskusstvovedenie-Tomsk State University Journal of Cultural Studies and Art History","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81436392","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":"Peculiarities of Karl Marx street formation in the historic center of Krasnoyarsk city","authors":"Iana V. Osadchai, M. V. Saveliev, N. Unagaeva","doi":"10.17223/22220836/46/18","DOIUrl":"https://doi.org/10.17223/22220836/46/18","url":null,"abstract":"The authors of the article address the problem of organization of Karl Marx Street in the historic center of Krasnoyarsk as an open public space, located in the cultural heritage objects influence zone. The focus of this article is on the historic part of the street. The relevance of the study is due to several factors. Firstly, Karl Marx Street is a connecting communication axis, uniting territories of such significant and large public spaces as: Red Square, Central Park, Historical Quarter, Revolution Square, Peace Square and part of the central embankment. In this regard, the street is considered as a linear recreation, adjoined by the largest open recreational areas of the historic center of Krasnoyarsk which also form its view. Secondly, Karl Marx Street houses objects of cultural heritage. There is a clear need for further development and improvement of Karl Marx Street as a connecting pedestrian axis between historically significant spaces and objects of cultural heritage. The purpose of the study is to identify the peculiarities of Karl Marx Street formation in the historic center of Krasnoyarsk and develop recommendations for making additions to the regulation of special use zones related to cultural heritage protection. In the course of the study the following results were achieved. 1) Three largest conventional culturally-significant open public spaces adjacent to Karl Marx Street with were identified by analyzing the interactive map of Krasnoyarsk called “Special Use Zones related to the protection of cultural heritage objects”. 2) The current condition of the street was assessed on the basis of analysis of photofixation. 3) Historical documents containing information on lost objects of cultural heritage and the stages of formation of Karl Marx Street were analyzed. 4) The following documents on the regulation of Special Use zones related to the protection of objects of cultural heritage were analyzed: “Government Decree of the Krasnoyarsk Region № 569-p dated 15.11.2016”. “On the Approval of the Boundaries of Protection Zones of Cultural Heritage Objects of Federal, Regional and Local (Municipal) Importance, Located in Krasnoyarsk, Special Regimes of Land Use and Requirements for Urban Planning Regulations Within the Boundaries of These Protection Zones”; Order of the Krasnoyarsk Region State Protection of Cultural Heritage Objects № 487 from 05.10.2020 “On the Approval of Boundaries and Regime of Use of the Cultural Heritage Object Territory”; Order of the Krasnoyarsk Region Ministry of Culture № 314 dated 01.07.2013. The influence of these documents extends within the boundaries of the three conditionally designated locations and along Karl Marx Street in the historic center. The recommendations on the formation and improvement of Karl Marx Street proposed by the authors can be considered the main result of the study. On the basis of these recommendations the authors propose to make additions to the regulation of areas with special","PeriodicalId":41702,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta-Kulturologiya i Iskusstvovedenie-Tomsk State University Journal of Cultural Studies and Art History","volume":"20 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80740411","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}