scholarly journals “CONSTRUCTIVE EXPRESSIONISM” BY EVGENIA TOLMASHOVA

2020 ◽  
pp. 203-213
Author(s):  
Tatiana Yu. Serikova ◽  
Keyword(s):  
World Order ◽  
Fine Art ◽  
Scientific Development ◽  
Work Of Art ◽  
Objective Reality ◽  
Subjective Reality ◽  
Interdisciplinary Approaches ◽  
The World ◽  
The Subject ◽  
Art Research

The relevance of the research topic is conditioned by the need to search for new interdisciplinary approaches to the problem of cognition of the world. The degree of scientific development of the subject covers the period from antiquity to modern times. Vasilyeva E.V., Khazieva E.V., Petrenko Yu.A., Shatilov S.F., Stoletov A.I. actively works on the problem of subjective reality. It should also be noted that the works devoted directly and directly to the study of subjective re-ality within the framework of the existence of a work of art exist relatively few in comparison with studies of other aspects of art. The object of research is the current issues of cognition of the world order. As the subject of re-search, the subjective reality that the author creates in the space of a work of art is chosen. The study is based on the material of the paintings of the Krasnoyarsk painter Tolmashov (1966–2014). The aim of the research is to reveal the essence, specificity and ways of forming subjective reali-ty in a work of art. In accordance with the purpose of the study, the following tasks are set: to deter-mine the motivation and principles of constructing a sub-reality in a work of fine art. The basis of the methodological base was laid as general scientific principles, as well as special art research methods, including: formal-stylistic, iconographic and structural. When working on the study, the determining method was a method of scientific cognition as an interpretation that allows us to reveal the principles of the construction and existence of subjective reality. Structural-functional and dialectical methods are also used. The empirical basis of the study is the experience of studying the paintings of the Krasnoyarsk artist E.N. Tolmashova. The scientific novelty of the research consists in the following statement: the subjective of reality in pictorial works is conditioned by the desire of the author of the work through the experimental con-struction of new, not previously existed realities, to understand the structure of objective reality exist-ing in addition to his consciousness. The obtained conclusions and generalizations of the basic principles of subjective of objective reality in a work of fine art can be used in the analysis of artistic creativity as a way of constructing an analog model of the world order. Also it should be said that the work of E.N. Tolmashova is not well studied in art history. The scientific material has been introduced not previously studied material, allowing expanding the under-standing of the art of painting in Siberia, as well as the trends and forms of its development at the turn of the XX and XXI century. The materials of the research were used in lecturing and conducting seminars on the discipline “Art culture of Siberia”, which is basic for the preparation of bachelors on specialty 54.03.01. The training was conducted on the basis of the Siberian Federal University.

scholarly journals The Absurd Man in camusiana philosophy and poetry drummondiana: language as a source of (trans)formation

2017 ◽  
Vol 27 (3) ◽  
pp. 361
Author(s):  
Sara De Castro Cândido ◽  
Nàvia Regina Ribeiro da Costa ◽  
Ruzileide Epifânio Nogueira
Keyword(s):  
Discourse Analysis ◽  
Interdisciplinary Approach ◽  
Albert Camus ◽  
Dialectical Materialism ◽  
Anglo Saxon ◽  
Work Of Art ◽  
Carlos Drummond De Andrade ◽  
The World ◽  
Poetic Text ◽  
The Subject

This article seeks to an approach between the poetry of Carlos Drummond de Andrade, in Feeling of the world (1940), and the philosophy of Albert Camus, in The Myth of Sisyphus - the work of art as adventure of a spiritual destiny (2012), for, to think through by the language praticed by Drummond in two poems – Poem of necessity and Holding hands –, the be in the world and the passing of the man's condition of the being ontic to the be ontological, using also Durand (2012) and another theorists. Making use, as methodology, by the bibliographical research, and theory express of poetic text, concepts and analysis based on the phenomenological critique. Still in an interdisciplinary approach, to reflect the subject and its constitution as speech, will use theories of French line of discourse analysis (DA) and the line Anglo-Saxon (ADC), whose leading exponents are respectively, Michel Pêcheux and Norman Fairclough, relying on the concept of dialectical materialism. O Homem Absurdo na filosofia camusiana e na poesia drummondiana: a linguagem como fonte da (trans)formação Este artigo busca aproximações entre a poesia de Carlos Drummond de Andrade, em Sentimento do Mundo (1940), e a filosofia de Albert Camus, em O mito de Sísifo – a obra de arte como aventura de um destino espiritual (2012), para, por meio da linguagem praticada por Drummond em dois poemas – Poema da necessidade e Mãos dadas –, pensar o estar no mundo e a passagem do homem da condição de ser ôntico para ser ontológico, valendo-se, também, de Durand (2012) e de outros teóricos. Utiliza, como metodologia, a pesquisa bibliográfica e expressa teorias do texto poético, conceitos e análises com base na crítica fenomenológica. Ainda, numa atitude interdisciplinar, para refletir sobre o sujeito e sua constituição como discurso, baseia-se nas teorias da Análise de Discurso de linha francesa (AD) e de linha anglo-saxã (ADC), cujos principais expoentes são, respectivamente, Michel Pêcheux e Norman Fairclough, apoiando-se na concepção do materialismo dialético.

scholarly journals CONTAMPORARY GLOBAL DEVELOPMENT’S FACTORS

2019 ◽  
pp. 7-14
Author(s):  
Irina Afanasyeva
Keyword(s):  
World Order ◽  
Subject Area ◽  
Global Development ◽  
Foreign Economic Policy ◽  
Economic Relations ◽  
Contemporary World ◽  
The World ◽  
World Economic ◽  
The Subject ◽  
Global World

At the turn of the third Millennium, significant changes have affected the global world. The contemporary world economy, the world order, international organizational and economic relations are all involved in the intensive process of global development. There is no country in the world that is able to form and implement foreign economic policy without taking into account the behavior of other participants within the world economic system. Scientific and practical analysis of the subject area of the existing research has predetermined the key objective of this article – to determine the factors of contemporary global development.

My Dad. Life and Art of Teacher and Artist Sergiy Solodovnyk

2021 ◽  
Vol 2021 (02) ◽  
pp. 329-344
Author(s):  
S. Solodovnyk ◽  
Keyword(s):  
Personality Traits ◽  
Subject Matter ◽  
Fine Arts ◽  
Work Of Art ◽  
Artistic Creation ◽  
Talented People ◽  
The World ◽  
The Subject ◽  
Life Path

This article dwells upon the life path and the art of an artist and teacher, professor of Kharkiv Art and Industrial Institute (now Kharkiv State Academy of Design and Fine Arts) – Sergiy Solodovnyk (1915–1991) – my Dad. It is described in what way important events or important meetings with talented people can influence the development of personality, the formation of the artist’s and teacher’s views upon the methods of teaching and drawing and imagery in Arts, also the choice of the subject matter and genre. In artistic creation, both innate personality traits and those acquired in the process of studying the world, through which the artist passes in the process of creating a work of art and his formation as a person, as a lecturer or Teacher, are of great importance. The influence of his personality upon the students of several generations. His great importance in my life as a wise, delicate and caring dad. It is underlined in this article that good, honest deeds, love to people, homeland and to his direction in Art, sensitive attitude to the youth will always find reflection in human souls.

METHODOLOGICAL FOUNDATIONS OF THE CONCEPT OF GENERAL THEORY OF LAW J.-L. BERGEL

2021 ◽  
pp. 14-23
Author(s):  
Вадим Леонидович Афанасьевский
Keyword(s):  
General Theory ◽  
Scientific Knowledge ◽  
Legal Discourse ◽  
Scientific Methodology ◽  
Existential Philosophy ◽  
Objective Reality ◽  
Methodological Basis ◽  
The World ◽  
The Subject ◽  
Theory Of Law

Предметом статьи является экспликация методологического базиса разработанной французским правоведом Жаном-Луи Бержелем концепции общей теории права. Автор фиксирует, что методология этой конструкции отличается принципиальной спецификой от классического рационализма научного знания. Бержель для разработки проблем теории права использовал импрессионистский метод, принципиально выходящий за рамки научной методологии. Это приводит к тому, что читатель превращается в соавтора, выстраивая свое представление о предмете теории права. Причем фантазия автора и читателя ничем не ограничена, ибо она уходит от исторических трансформаций развития правовой реальности и традиций теоретического правового дискурса. В статье показано, что предложенная методология привела Бержеля к размытости и непроясненности понятийного аппарата и «терминологическому анархизму». Представив свой анализ его концепции общей теории права, автор статьи приходит к выводу, что основанием методологии Бержеля являются характерные для французской социогуманитарной мысли принципы экзистенциальной философии и постмодернистских штудий. Именно в этом коренится отсутствие целостности в теоретических построениях, наличие эклектизма и туманности употребляемых терминов и понятий. В эту парадигму прекрасно укладывается импрессионистский метод, используемый французским правоведом. Если читатель сам определяет понимание читаемого текста, то смысл уже не определяется объективной реальностью. Он выступает проблемой изолированного индивида, находящегося в произвольно выстроенном им фрагментированном мире, в том числе и мире права The subject of the article is the explication of the methodological basis of the concept of the general theory of law developed by the French jurist Jean-Louis Bergel. The author notes that the methodology of this construction differs in fundamental specificity from the classical rationalism of scientific knowledge. Bergel used the impressionist method to develop problems in the theory of law, which fundamentally went beyond the framework of scientific methodology. This leads to the fact that the reader turns into a co-author, building his own idea of the subject of the theory of law. Moreover, the imagination of the author and the reader is not limited by anything, for it moves away from the historical transformations of the development of legal reality and the traditions of theoretical legal discourse. The article shows that the proposed methodology led Bergel to a vague and unclear conceptual apparatus and «terminological anarchism». Having presented his analysis of his concept of the general theory of law, the author of the article comes to the conclusion that the basis of Bergel's methodology is the principles of existential philosophy and postmodern studies that are characteristic of French socio-humanitarian thought. This is the root of the lack of integrity in theoretical constructions, the presence of eclecticism and the vagueness of the terms and concepts used. The impressionistic method used by the French jurist fits perfectly into this paradigm. If the reader himself determines the understanding of the text being read, then the meaning is no longer determined by objective reality. It acts as a problem of an isolated individual who is in a fragmented world arbitrarily built by him, including the world of law

Ut musica poesis: Music and Poetry in France in the Late Sixteenth Century

1994 ◽  
Vol 13 ◽  
pp. 1-63 ◽  
Author(s):  
Howard Mayer Brown
Keyword(s):  
Sixteenth Century ◽  
Subject Matter ◽  
Ancient Greece ◽  
World Order ◽  
Pierre De Ronsard ◽  
Ideal Form ◽  
Literary Sources ◽  
The World ◽  
The Subject ◽  
Crucial Part

By praising rulers, whose magnificence formed a crucial part of the world order, Pierre de Ronsard and his French colleagues in the second half of the sixteenth century often depicted the world not as it was but as it ought to be. This idea informs Margaret McGowan's book on ideal forms in the age of Ronsard, in which she explores the ways poets and painters extolled the virtues and the theatrical magnificence of perfect princes following the Horatian dictum ut pictura poesis: as is painting so is poetry. McGowan demonstrates the virtuosity of the painters and poets of the sixteenth century in shaping their hymns of praise from the subject matter and ideals of ancient Greece and Rome by following Horace's advice to regard paintings as mute poems and poems as speaking pictures. McGowan shows how artists and intellectuals pursued their goals by creating four kinds of ideal form: iconic forms, sacred images derived from classical literary sources offering princes some guarantee of immortality; triumphal forms that evoke the heroic imperial past; ideal forms of beauty to be found in contemplating the beloved; and dancing forms that mirror rituals of celebration. McGowan claims that such ideal forms were intended to enlighten the ruler himself as much as they celebrated his grandeur in the eyes of others.

scholarly journals Contribution to art history: Ornament and its regulations

Sinteze ◽  
2020 ◽  
pp. 79-85
Author(s):  
Tamara Žderić
Keyword(s):  
Visual Culture ◽  
Art History ◽  
Personal Experience ◽  
Fine Art ◽  
Art Practice ◽  
Human Race ◽  
The World ◽  
Long Time ◽  
The Subject ◽  
Complex Forms

The ornament is a part of every visual culture in the world. Its history goes back to early ages of human race. It is one of the most important fine art categories. The ornament was less important fine art category for a long time. The subject of this paper are various types of ornament altogether with personal experience in creating ornaments. The main aim was to reveal basis of ornament, its features and also to put in focus the importance of our attention in art process. Ornament has four categories determined by its appereance. Its complex forms, mathematical approach and lots of details are features I found similar in my art practice (paintings or drawings with various themes). The conclusions derived from comparison of this two various types of ornaments are contribution to examinations of its history through the eye of the artist.

scholarly journals Mechanisms of Generating the Arabic Term: آليات توليد المصطلح العربي- دراسة في المعجم الموحد لمصطلحات اللّسانيات-

2019 ◽  
Vol 5 (3) ◽  
Author(s):  
Najat Amhamad Hussein
Keyword(s):  
Arabic Language ◽  
Scientific Development ◽  
Scientific Concepts ◽  
The West ◽  
The World ◽  
The Subject ◽  
The Creation ◽  
Complex Subject

    The discussion of the term issue is a complex subject that requires a lot of effort and time. It has provoked controversy among the various researchers for which they will try to solve these problems. In fact, terminology is the key to science, and we can never discover a science and its logic if we do not master its terminology. As a result of the explosion of knowledge in the world on the various fields of science, we find that the Arabic language is forced to keep pace with this scientific development and this wealth of terminology. This will only be achieved with the investment of specialists in this language by creating terminologies to name the scientific concepts that come from the West every day. For this, we will try in this study to address the subject of the creation of the Arabic term and the mechanisms to introduce it into the dictionary for all that is derivation, sculpture, translation, Arabization and renaissance of heritage. In addition, demonstrate the ability of the dictionary of linguistics in the unification of the latter between Arab scholars and attempt to eliminate the confusion in the dictionary and gaps that have been neglected by the Arab Organization.   ، ،،،،، 

scholarly journals Decolonisation, Identity, Neo-Colonialism and Power

Phronimon ◽  
2019 ◽  
Vol 20 ◽  
Author(s):  
Bert Olivier
Keyword(s):  
South Africa ◽  
Identity Construction ◽  
World Order ◽  
Related Question ◽  
The Third ◽  
Neoliberal Capitalism ◽  
The World ◽  
Hardt And Negri ◽  
The Subject ◽  
Manuel Castells

This paper explores the implications of “decolonisation,” first by focusing on the work of African thinker, Frantz Fanon’s work in this regard, particularly his insistence that decolonisation entails the creation of “new” people, before moving on to the related question of “identity.” Here the emphasis is on the work of Manuel Castells, specifically his examination of three kinds of identity-construction, the third of which he regards as being the most important category for understanding this process in the 21st century, namely “resistance identity.” It is argued that this casts the decolonisation debate in South Africa in an intelligible light. An interpretation of E.M. Forster’s paradigmatically “decolonising” novel, A Passage to India, is offered to unpack the meaning of the concept further, before switching the terrain to the question of the urgent need for a different kind of decolonisation, today, pertaining to the economic neo-colonisation of the world by neoliberal capitalism. The work of Hardt and Negri on the emerging world order under what they call “Empire” is indispensable in this regard, and their characterisation of the subject under neoliberal Empire in terms of the figures of the indebted, securitised, mediatised and represented, stresses the need for global decolonisation in the name of democracy. This part of the paper is concluded with a consideration of what decolonisation is really “all about,” namely power.

Empirical Methodologies and the Value of Subjectivity in the Analysis of the Experience of Contemporary Experiential Art

2020 ◽  
pp. 1-20
Author(s):  
Sadia Sadia
Keyword(s):  
Empirical Data ◽  
Data Gathering ◽  
Affective States ◽  
Biometric Data ◽  
Objective Reality ◽  
The Core ◽  
The Subject ◽  
Art Research ◽  
Cultural Constructions

Current neuroscientific methods for the investigation of art experience are circumscribed by the researcher’s own cultural constructions of gender, art and beauty, and these present difficulties in the production of unassailable empirical data. Gathering biometric data of viewers or participants’ responses to artworks remains equally problematic as a consequence of the anticipation or arousal brought about by the act of preparing the subject for the collection of data. Much of the methodology that has been designed to study aesthetic psychological and affective states is based in classicism, a convention which contemporary experiential art defies. There is a group of contemporary experiential artworks, defined herein as ATRIA (Affective Transcendental Revelatory Immersive Artworks), which report a significantly higher rate for profound, life-changing, epiphanic, transcendent experiences, and the study of the experience of these artworks defies current methodologies. An understanding of these works and states requires a re-evaluation of the value of subjective reportage and the personal truths that are central to these experiences of art. Research artists understand that objective reality does not lie at the core of the experience of art, and that practice-based artist-led research (PBR) must as a consequence critically inform any neuroaesthetic or neuroscientific endeavour or study. The article is an opinion paper by a practising artist, academic and researcher.

Introduction

2020 ◽  
pp. 171-182
Author(s):  
Gillian Knoll
Keyword(s):  
Dynamic Process ◽  
Creative Process ◽  
Daily Life ◽  
Collaborative Work ◽  
Kenneth Burke ◽  
Work Of Art ◽  
Twelfth Night ◽  
The World ◽  
The Subject

Part III studies characters who conceive of desire as a dynamic process of mutual creation. These introductory pages explore the world-making capacities of the metaphor ‘Love is a Collaborative Work of Art,’ which conceptualises love as artfully creating a reality. This creative process often invites a third entity—a filter, a buffer, or an instrument—that mediates between the subject and object of desire. When Kenneth Burke writes about the role of instruments in daily life, he emphasises the instrument’s ontological connection, its potential fusion, with the subject who deploys it. This section explores this dynamic connection in the collaborative work of art that is Shakespeare’s Cesario. In Twelfth Night, Cesario is an ongoing process rather than a finished product. An erotic subject, object, and instrument, Cesario keeps becoming Cesario through his/their continued exchanges with Orsino and Olivia.

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