The subject of the study is one of the main lines in the work of choreographer John Neumeier - the interpretation of literary works on the ballet stage. This article discusses his productions based on literature such as "The Lady with Camellias" (1978), "Peer Gynt" (1989/2015), "The Seagull" (2002), "Death in Venice" (2003), "Anna Karenina" (2017), "The Glass Menagerie" (2019). Neumeier's ballets reveal a special relationship between literature and choreography. The performances created by him are not just a fact of (...) illustrating the plot of the original source, but an attempt to penetrate into the essence of the author's idea, reflect and emphasize the details found in the text in the language of choreography. The novelty of the research lies in the fact that when analyzing several key performances from the choreographer's creative biography, the prospect of considering the literary line of his ballets as a separate phenomenon opened up. As a result of the study, the following conclusions were made. Firstly, an important feature of Neumeier's ballets, based on literary works, is a clearly structured dramaturgy of all components of the performance: action, music, choreography, set design. Secondly, when working with a literary source, most often the choreographer transfers the action to the modern world, while not going against the author's intention, but on the contrary, enhances the relevance of the themes embedded in the works, declaring the timeless existence of the meanings of the text. Thirdly, the interrelation of literature and choreography in Neumeier's work takes the choreographer's work with the text to an absolutely new level, which allows us to talk about the great possibilities of non-verbal interpretation in the ballet theater as a whole. (shrink)

The problem of the creation of artificial man and the creation of artificial intelligence are issues that have now become not just potential, but also actual scientific tasks. The original genetic kinship of philosophy and literature as forms of human culture and meaning formation made it possible to comprehend the most important problems in works rich in ideological content and beautiful in form. The subject of the research is the philosophical aspects of the problem of the creation of artificial man (...) in the classic works of fantasy literature of the XIX-XX centuries. This goal is achieved by consistent consideration and comparison of philosophical and anthropological ideas that can be isolated from the works of Johann Wolfgang Goethe, Mary Shelley, Herbert George Wells and M.A. Bulgakov. Hermeneutical method as interpretation and reconstruction of meanings, comparative historical analysis, philosophical comparative studies are used as the methodological basis of this historical and philosophical research. The novelty of the research lies in the historical and philosophical reconstruction of the problem of creating an artificial person, posed for the first time on the pages of the world art classics. The very idea of creating an artificial man was a continuation of the God-fighting aspirations of the Renaissance and the embodiment of the ardent desire to become not only on a par with the Creator, but also to surpass Him. When creating the image of the homunculus, Goethe also had in mind the contrivance, artificiality and fruitlessness of many enlightenment ideas, because the enlighteners questioned the very existence of God, putting a scientist-creator in His place. Goethe's idea of the futility and danger of experimenting with human nature was later developed by Mary Shelley, H. G. Wells and Mikhail Bulgakov. Wagner's homunculus and the creation of Dr. Frankenstein are the closest to the idea of man that prevailed in the philosophy of Modern times and educational pedagogy. Powerful notes of philosophical foresight of many plot moves of the coming history of mankind sound in the novel by Wells (the creation of Dr. Moreau) and the story of Bulgakov (Sharikov). (shrink)

The subject of the study is the purpose of man through the prism of the oldest occupation – hunting. The role of hunting in the development of human culture and the construction of its interaction with space is poorly spelled out by modern historians. In philosophical works, the discourse of the "hunting man" is presented as a form of violence, aggression, territorial expansion and cruelty towards oneself and nature. The lack of an adequate cultural conceptualization of hunting, its removal from (...) the framework of civilizational and cultural factors is also due to the new movement in defense of animal rights, which generally blocks conversations about hunting. Meanwhile, bringing this topic to the public forum is necessary precisely due to the fact that against the background of the decline of commercial hunting, other forms of it are flourishing, which also need to be discussed and evaluated. The authors put forward the thesis that the development of the hunting theme will allow a deeper understanding of the features of the relationship between a person and a territory, its features of its existence in socio-biological space and time. It should be recognized as a property of a living being to counteract another living being. However, not only in humans, but also in animals, there are examples of altruism and caring for the younger generations. Therefore, the origins of aggressiveness and the desire of civilized people to use such an extreme form of recreation as modern hunting becomes should be sought in the device of the artificial environment in which modern man is formed. The condition for solving this problem is a philosophical analysis of norms and codes of behavior that determine the codification of the ultimate grounds and drivers of hunting, as well as the synthesis of human rights and animal rights to preserve the biospheric integrity of the planet Earth. (shrink)

The article is devoted to the emergence and development of Yakut cinema. The object of the study is the Yakut cinema as a phenomenon of national culture. The first appearance of film installations in the Yakut region at the beginning of the XX century is considered. Attention is drawn to the process of mass cinematography in Soviet times. In parallel, the inclusion of Yakut people in the creative process of participating in the first filming at All-Union film studios in the (...) 1930s is traced. Attention is also drawn to the prominent role of the Yakutkino State Trust, which led the development of Yakut cinema. The author analyzes the reasons for the rapid development of Yakut cinema in the post-Soviet period, related to the appeal to the traditions of the Sakha people, the high level of development of theatrical art in Yakutia, artistic and aesthetic needs and spiritual demands of the audience. The article shows the role of "Sahafilm" in the history of Yakut cinema. The characteristic features of the formation of genres of journalistic cinema, the change of repertoire in the early years of Soviet cinematography and during the Great Patriotic War are revealed. The characteristic features of the post-war reconstruction of the technical equipment and training of personnel of the Yakut cinema are outlined. The genre diversity of films shot during this and subsequent times is shown, when, along with documentaries, feature films also begin to be shot. The development of Yakut cinema is traced against the background of all-Union and all-Russian processes. The formation and development of the main institutions of Yakut cinematography, the growth of the skill of its figures are examined through famous films created by them. For the first time, three stages of the development of Yakut cinema have been identified - from the very beginning to the present day: from "silent cinema" to the birth of the national film industry. (shrink)

The subject of the study is the Sonata for flute and piano "Pan's Flute" by J. Mouquet. The purpose of the study is to consider the traditional pastoral techniques that the composer uses in his composition. When writing the article, both general research methods (analytical, deductive, inductive, etc.) and musicological (holistic, intonation, harmonic, genre, structural and compositional) were used. Methodologically important in writing the article were the works of A. G. Korobova. Based on the works of the scientist in the (...) Sonata of J. Muke analyzed the pastoral topic of the composition, and also determined its pastoral model. The culturological approach was carried out on the basis of the research of V. V. Azarova, O. A. Gagarina, V. A. Zakharova. With the help of him, certain French traditions were derived in the article, which influenced the work of J. Flour. In the scientific article, for the first time, an attempt is made to analyze one of the most famous compositions of J. Mouquet – the Sonata "Pan's Flute". In this work, two aspects are considered in detail – verbal and actually musical. In both aspects, there are connections with the French pastoral musical and theatrical tradition, as well as a commonality in the symbolic interpretation of neoanticism and neobucolics with the works of C. Debussy. During the analysis, it was found that J. Muke applied an anti-politicized pastoral model. Pastoral topics are found at different levels of composition – intonation, tonal-harmonic, textural, timbre, formative, dramatic. This article can be used in the field of art criticism for further study of the work of J. Mouquet, French music of the turn of the XIX – XX centuries and in the study of pastoral musical works. Analysis of the Sonata by J. Muke will also be useful in performing practice for a better understanding of the composer's idea and the dramaturgy of the composition. (shrink)

The essay is devoted to an analysis of aesthetic views of one of the most distinguished German Romantics, which came through with particular fullness in his fiction. Hoffmann’s aesthetic views focus around his understanding of art. He is convinced that art has an anagagogical nature. It elevates the human being from everyday life to the sphere of the divine and thereby ennobles everyday life itself. Art draws the artist away from the world and manifests to the world his prophetic gift, (...) which is often perceived as “poetic madness.” The fantastic in art, as well as the terrible and the frightening, does not contradict artistic truth. The elements of the terrible give philosophical significance to the work of art and please the recipient. Art is cognitive to a high degree, because nature itself reveals its secrets to the artist and allows him to intuit the “truth of nature.” Hoffmann is convinced about the ontological status of art. It must “be something, and not mean it.” Artistic creativity takes place fully within the inner world of the artist as he aspires for his ideal. Hoffmann allows for a certain degree of vagueness in a concrete work of art, whose purpose is additional aesthetic effort on the part of the recipient, who must be internally ready for communication with art. Creative activity is based on imagination and reason. It is based on natural foundations and is inspired by the illuminating effect of divine energy. Hoffmann considers music as the highest form of art and the ideal for all the arts. According to Hoffmann, music is the truly Romantic form of art. He sees the meaning of music in its foundation in nature, its aspiration for the heavens, the fact that it includes the world of the spirits in its orbit, and that it incites a longing for the unattainable in the listener. Hoffmann paid much attention to irony as one of the features of Romantic art. (shrink)

The article offers a new interpretation of the technique and its evolution. The ideas about the technique of Aristotle, F. Bacon, P. Engelmeir, N.Berdyaev are analyzed, as well as the understanding of nature, on the basis of which the technique is comprehended and conceptualized. The author's hypothesis is that it is necessary to distinguish between two fundamentally different understandings of technology and the lines of its development: one, where technology is understood as engineering and conceptualized within the framework of the (...) first nature, and the other, technology as technology, conceptualized within the framework of the idea of the second nature. In addition, the author shows that in the twentieth century there is a convergence of both lines of technology development, entailing a synthesis of engineering and technology. The atomic project is given as an illustration. On the basis of the proposed ideas, an explanation of the peculiar explosion of the development of technology in the XIX and XX centuries and the emergence of technoprime is outlined. To analyze the features of the second nature, the work of Dmitry Efremenko is considered, who suggests the genesis of megamachines, distinguishing between their two main types and outlining the third. Another component of the second nature is technology, in which, in addition to the sequence of operations and the conditions that ensure them, the author highlights the division of labor, attitudes to economy, standardization and quality of products, research and optimization or restructuring of production activities. In conclusion, the article points out three consequences of the synthesis of engineering and technology, as well as the crisis of technology in modernity: the need to revise ideas about nature, technology and the modern project, as well as the importance of studying the second nature. (shrink)

The article is devoted to the actual problem of historically grounded performance of Baroque vocal music by academic vocalists. Listening activity, the demand for ancient music in Russia raises issues for performers that need to be resolved within the framework of historical performance practice. To fulfill all the conditions, it becomes important to receive an appropriate specialized education. In Russia, little attention is paid to the professional training of academic vocalists in the field of historical singing or baroque singing, whereas (...) in Italy and Germany independent faculties of ancient music are intensively working, including, along with instrumentalists, the training of singers. The author reveals the features of the content and organization of the educational process in universities in Germany and Russia. The purpose of this article is to identify possible ways to form a solo academic singer of historical specialization. The methodological basis of the work consists of historical, analytical methods that reveal the topic from various angles. Using the example of a number of educational institutions that train specialists in the field of historical singing, such as the University of the Arts Bremen, the University of Music and Theatre “Felix Mendelssohn Bartholdy” Leipzig, the Cologne University of Music and the Nuremberg University of Music, the article presents a comparative analysis of curricula, examines the studied disciplines within various modules. The conclusion is made about the prospects of using the experience of foreign countries in the training of specialists in the field of baroque singing. (shrink)

This review examines the main problems of the XX International Likhachev Scientific Readings held in June 2022 at the St. Petersburg Humanitarian University of Trade Unions. The readings took place after a two-year break and their problems shifted from the traditional question of the dialogue of cultures to the question of modern conflict tension in the world. Within the framework of the Readings, a number of breakout sessions were held on various aspects of humanitarian knowledge in the context of the (...) current political situation. The subject of the study is the discussion held during the plenary session, as well as the topic of the section, in which ethical and cultural issues were analyzed. The author of the review paid special attention to the opinions expressed by foreign participants of the conference regarding the conflict situation in the world and their assumptions about the ways to resolve it. The general idea of these reports is the idea of a desirable political multipolarity of the global space and criticism of changes in the structure of understanding of liberal values in the modern Western world. The topics of the reports of domestic researchers, humanities scientists dealing with these value transformations were also described. The author made critical remarks about the general tone of the discussion and the conclusions drawn by the speakers, since, criticizing the Western "cancellation culture", the participants mostly tended to the idea of a mirror response - and thus also to the idea of "cancellation", which makes this answer indistinguishable from what he criticizes, and only contributing to the escalation of tension. (shrink)

The object of the study is atheism and theism as important ideological components of two opposing solutions to the "main question of philosophy" – materialism and idealism – forming two systems of human life navigation. The subject of the study is two ideological paradigms – Soviet atheism and Orthodox Christianity. Materialism and atheism are the fundamental elements of the Marxist doctrine underlying the philosophy and culture of the Soviet period of Russian history, opposing theism, creationism and providentialism of the Christian (...) understanding of the world and man, characteristic of the ideological paradigm of pre–revolutionary Russia. The purpose of the study is to clarify and substantiate the ideological intersection of these seemingly incompatible ideological positions. One of the objectives of the study is to substantiate their vertical semantic and value orientation. The novelty of the research, in particular, lies in the substantiation of the statement that two incompatible ideological poles represent varieties of the classical philosophical tradition with its vertical value-semantic orientation, and together oppose the main orientation of non-classical philosophy based on a horizontal scale of meanings and values. One of the main conclusions is that the vertical of Soviet materialism and atheism is a paradox and at the same time its tragedy: surprisingly, due to the vertical orientation of Soviet culture – formally atheistic – it is actually permeated with religious intuitions, questions, problems, ideas and plots disguised as secular concepts and terms, which finds its manifestation in various works of Soviet artistic culture. (shrink)

Within the framework of this study, the transformation of anthropomorphic images in Medieval and Renaissance painting is analyzed. The visual art of this period is considered as a specific space of "conversation about man", which existed in parallel with discourses about God-man and Man-god. As a means of communication between man and God, the icon, using anthropomorphism in the image of the archetype, represented to the medieval man a certain path and a guide to his own salvation. Along with individual (...) anthropomorphic and naturalistic features, areal ones were also used in iconography, for example, reverse perspective, halo, "twisting of figures" and a number of others that set the symbolic content of the religious image. В В According to the author, the transformation of the icon into a painting in the XIII-XIV centuries was associated not only with the technical development of fine art (the widespread use of direct perspective, the use of camera obscura and oil paints), but also with significant changes that occurred in the intellectual space of Europe. The narcissistic turn in Renaissance art, expressed in the dissolution of the boundaries between the human and the divine, the maximum naturalization of religious content, as well as in the development of self-portraits, is, first of all, a turn from the discourse about God-man to the discourse about Man-God. Relying on philosophical sources, two independent positions (Ficino and da Vinci) on the nature of metamorphosis and the place of pictorial images in the description and definition of man are considered. (shrink)

The article is devoted to illustrations by V. Yankilevsky for the popular science publication "Knowledge is Power" during its special heyday in the 1960s. The research aims to discover the conceptual and artistic specifics of these works and at the same time to fit them into the broader context of the artist's work, while solving the task of determining their place within the author's world of images. The author paid special attention to the consideration of the main topics with which (...) V. Yankilevsky worked, and the ways of their implementation. In particular, these are such author's conceptual codes as: energy tension, the antithesis of "living-dead", images of breakthrough and infinity. This problem has not yet been covered in the scientific literature, since the focus of attention in it is mainly focused on the painting and easel graphics of the master, while V. Yankilevsky's illustrations remain a marginal phenomenon for discourse. This article will serve as a beginning to fill the gap that has formed. The main result of the conducted research is the discovery of the consonance of the images of the artist's main creative work and the commissioned illustration in the popular science publication "Knowledge is Power", which was possible thanks to the topics raised there that go beyond everyday experience and are weakly amenable to the laws of established censorship. At the same time, significant differences were found: in particular, the absence in the illustrations of the most important problem for easel painting and graphics by V. Yankilevsky of the interaction of male and female archetypes. (shrink)

The article is devoted to the new poetry that entered the Russian musical culture with the Khrushchev "thaw". A special perspective of the study is the "female" chamber vocal cycle of the 1960s and 1970s. The wave of interest of Russian composers in chamber and vocal music that arose during this period is associated with a hitherto unprecedented wealth of poetic themes and images, the emergence of modern literature. Spiritual horizons expanded rapidly, original texts entailed fresh genre and technological solutions. (...) The new poetic "information", as well as scientific information, liberated the creative forces of musicians, demanded a new language, style, form. Poetry turned out to be one of the most important incentives for the renewal of compositional concepts. The main conclusion of the study is the idea that the development of vocal music, the figurative and thematic expansion of "female" chamber vocal cycles is primarily associated with the modern poetic tradition, with the expansion of the spiritual horizons of Soviet cultural life in the second half of the last century. Russian chamber and vocal music is being studied for the first time in such a perspective and this direction must be recognized as fruitful, more fully revealing the most important vectors of the development of the musical and poetic tradition. It is quite obvious that the modern literary preferences of composers became the basis for a radical renewal of the chamber-vocal genre in the 1960s and 1970s. (shrink)

The subject of the study is carnival and laughter forms in the traditional life cycle rites of the peoples of the Middle Volga region before 1917. On the basis of archival materials collected by the author and local history literature, a typology of variants of the manifestation of carnival and laughter forms in the ritual practices of the population of the region is carried out for the first time. Based on specific historical examples, the analysis of the selected variants ("noisy (...) performance", "antics", "censure" and "imitation") is carried out. The article uses systematic and culturological approaches that allow to explain the reasons for the stability and semantic content of the rituals, as well as their role in the translation of spiritual and moral values of the inhabitants of the region. The scientific novelty of the research lies in the interpretation of the traditional life cycle rites of the peoples of the Middle Volga region as the focus of carnival and laughter forms that help overcome fears of an unknown future and create an atmosphere of optimism. The main result of the research is a new understanding of the traditional life cycle rites of the peoples of the Middle Volga region as a means of psychotherapy due to their inherent carnival and laughter forms that help a person adapt to various conditions of existence. The material of the article can serve as a basis for scientific research in the field of psychology of ritual activity, for the preparation of educational courses on the history of everyday life and cultural studies. (shrink)

The subject of the study is the problem of the integrity of the development of national culture and the spiritual continuity of historical epochs, which raises the question of how the same philosophical and ideological concepts pass from one century to another, influencing artists of different generations. The purpose of the work is to study to what extent the ideas and artistic images of F. M. Dostoevsky acted for M. M. Prishvin as a context for comprehending the essence of Soviet (...) reality, as well as his philosophical and ideological assessment of the ideology and policy of the ruling Bolshevik party. The article uses the method of historical reconstruction of the ideological and political context of the life of Soviet society and the state. The method of hermeneutics is used, the application of which directly follows from the specifics of the writers' artistic discourse. The comparative study of texts and worldview views recorded in the diaries of Dostoevsky and Prishvin acts as a kind of hermeneutic circle, i.e. the analysis of the worldview makes it possible to better understand the text, and the text, in turn, makes it possible to clarify the features of the author's conceptual worldview ideas. The novelty of the research lies in the introduction into scientific circulation of new facts from the 18-volume Prishvinsky Diary (1905-1954), published only in the post-Soviet period, hidden for many years, allowing to discover additional facets of the artist's work. The study revealed the main determinants of the evolution of Prishvin's worldview from categorical rejection of the October Revolution and Bolshevism to reconciliation with the Soviet state. The results obtained contribute to the development of Russian studies, allowing us to better understand the patterns of the evolution of the worldview and the features of the writer's artistic world, as well as his place and role in the history of Russian and Soviet culture of the XX century. (shrink)