Problems of the interaction of reality and fiction in Russian literature in the 20s of the XX century

2021 ◽  
pp. 119-124
Author(s):  
Jyldyz K. Bakashova ◽  
Keyword(s):  
Twentieth Century ◽  
Russian Literature ◽  
Actual Problem ◽  
Artistic Creation ◽  
Works Of Art ◽  
The World ◽  
The Aesthetic ◽  
Creative Understanding ◽  
Artistic Image

The article is devoted to one of the important problems of literature at the end of the nineteenth and the first half of the twentieth century — documentary artistic creation. Writers, and later filmmakers, introduce real materials into their works that create a historical narration. Writers of different creative orientations are united in their attitude to the documentary trend. The article examines the actual problem of using prototypes by Russian writers when they create works of art. The views of Russian writers on the problem of interaction between reality and fiction in their work are considered on the example of the statements of L.N. Tolstoy, N.K. Hudzia, F.M. Dostoevsky, N.V. Gogol, V.G. Belinsky, A. Serafimovich, A. Todorsky, A. Blok. Russian writers believed that artistic truth is inseparable from the truth of life, real reality is the basis that feeds art. But no less significant is the creative understanding of the facts of life. The path from the prototype to the artistic image created by the writer in the work is closely connected with the figurative vision of the world, with generalization and individualization, with the aesthetic comprehension of real facts, there is a dialectical connection between art and life. Adequate reconstruction of events presupposes their aesthetic comprehension by the writer.

scholarly journals The role of a stylistic device in creating the image of the author

2020 ◽  
pp. 81-91
Author(s):  
N.V. Khalikova
Keyword(s):  
Main Subject ◽  
Artistic Style ◽  
The World ◽  
The Aesthetic ◽  
Subject Of Cognition ◽  
Artistic Image ◽  
Human Landscape ◽  
Stylistic Device ◽  
Book Culture

The purpose of the article is to compare the definitions of a stylistic device with modern philological ideas about the text and the image of the author as the main subject of cognition of reality in a feature. The methods of structural poetics make it possible to separate the stylistic means and methods as functionally different units of the artistic speech and the language of the writer. There is a steady connection between the worldview of the writer, their “image of the author” and their style. Autological and metalogical stylistic means are equally important for creating both an artistic and a non-artistic image (journalistic, scientific, everyday). Artistic means and techniques perform fundamentally different functions. Artistic means of image expressiveness contribute to the aesthetization of speech. Stylistic techniques organize the processes of meaning generation, preservation and transmission of meanings. The text records and reproduces artistic thinking, typical for this very writer, a set of ideas about a human, landscape, interior, ways of action and other classes of images. The artistic style is the same as the style of thinking, a level speech style of reflecting the perception of reality. The style can be adopted, it can be imitated and, thus, one can understand how the author thinks, what their manner of the aesthetic transformation of reality, forms of perception, is. The stylistic forms of the same author are reproduced from work to work, regardless of the plot and ideological content. To explain how the technique works is to identify the ways of the artistic thinking about the world (images). The stylistic device is closely connected with the intellectual book culture of society.

scholarly journals Cultural project «Soviet man»

2021 ◽  
pp. 36-45
Author(s):  
Tatyana S. Zlotnikova ◽  
Keyword(s):  
Cultural Practices ◽  
Human Experience ◽  
Works Of Art ◽  
The World ◽  
Cultural Project ◽  
Artistic Image ◽  
Empirical Material

The article actualizes the concept of «Soviet man» as a socio-cultural and philosophical-anthropological phenomenon. Based on a broad empirical material, the author substantiates the idea of the project «Soviet man» as a generalized artistic image, a set of social and moral characteristics, visual and verbal matrices. The integration of the cultural project with the world tradition (in particular, the ancient one) is established, and the artistic-aesthetic and socio-political aspects of works of art as cultural practices are substantiated. It is concluded that the considered concept incorporates human experience, which is in demand due to its diversity, tendentiousness, structural certainty, strangeness and recognizability.

scholarly journals Unity of the process of creating a fine art painting: ideal and material

2021 ◽  
pp. 1-41
Author(s):  
Denis Nikolaevich Demenev
Keyword(s):  
Fine Art ◽  
History Of Development ◽  
Works Of Art ◽  
Aesthetic Form ◽  
History Of ◽  
The Subject ◽  
Technological Means ◽  
The Aesthetic ◽  
Artistic Image ◽  
The Ideal

The subject of this research is the interaction of the ideal and the material, which ensures unity of the process of creating a fine art painting. The object of this research is the dynamics of this process, which gradually materializes the ideal through poetic transformation of the objective reality. In the course of creating a fine art painting, the author underlines the importance of ontological-phenomenological and socio-gnoseological aspects of human existence, which in many ways determine the technical and technological means of solution of the artistic and creative tasks. Special attention is given to contemplation of the objective world, purposive action of the artistic will, establishment of the artistic image as interrelated stages of objectification of the ideal. The novelty of this article consists in interpretation of the phenomenon of the ideal, reflected in painting via integrated will. The latter is the synthesis of artistic will and subjective will of the painter. The author describes a “shuttle principle” in objectification of the ideal in the works of art within the framework of the history of development of painting, as well as within a single process: 1) from the aesthetic form to the embodiment of universality of the content; 2) from the universal content to aesthetic embodiment. The following conclusions were made: 1) the objectively ideal in a painting is an aesthetically perceived (visually, mentally, and spiritually) boundary of beauty and beautiful depicted via perfect, absolute unity of the artistic form and content, artistically and graphically, adequate to its concept in its material outcome, in reality. It is of rare occurrence in the works of art, something to be sought for; 2) an artistic form should be correlated in the artwork with universality of its content, which results in the fusion of the ideal and the real, and forms their indifference; 3) the universal meanings, ideologically underlying the content of a fine art painting, deepen and broaden the possibilities of artistic matter for objectification of the ideal in aesthetic form.

scholarly journals Konstantin Leontiev’s “Ascetic Philosophy”: Thesaurus and Context

2021 ◽  
Vol 3 (2) ◽  
pp. 150-167
Author(s):  
Olga L. Fetisenko
Keyword(s):  
Personal Interest ◽  
Artistic Creation ◽  
Works Of Art ◽  
The World ◽  
Article Analysis ◽  
Close Study ◽  
The Church

A holistic and close study of journalism, works of art and letters of K. N. Leontiev allows the author of the article to show the formation of the writer’s views, designated by him at the end of his life with the words “my ascetic philosophy”, the context they existed in and his vocabulary changes. The work discusses Leontiev’s creative, philosophical and personal interest to the issues of life of the spirit, the dynamics of his views, it is shown, how in the 1860s Leontiev comes from an aesthetic interest in the Church and its political defense in consular posts to a thirst for faith. The author pays special attention to the idea and concept of obedience, which are associated with Leontiev's idea of ​​“transcendental egoism”, focusing on personal salvation. Behind the idea of ​​obedience, Leontiev thinks about self-condemnation. The writer and thinker clearly explains the interdependence and interdependence of two principles, the “world” and the “monastery”; for Leontiev, monastery culture becomes a synonym for Orthodox culture. Leontiev tried to introduce ascetic principles of discipline and “sobriety” into his own artistic creation, and not only into content, but also into “performance”, applying in practice the rules that he formulated later in his famous article Analysis, Style and Trends.

scholarly journals El arte y la desapropiación del mundo

2021 ◽  
Vol 18 ◽  
Author(s):  
Sergio Espinosa Proa
Keyword(s):  
Aesthetic Experience ◽  
Three Dimensions ◽  
One Dimension ◽  
Material Objects ◽  
Human Being ◽  
Works Of Art ◽  
The World ◽  
The Aesthetic

Las obras de arte son objetos materiales que al mismo tiempo y de modos misteriosos son objetos espirituales (a saber: inmateriales). Utilizando a Kant y a Schiller, en este artículo se opone a la calificación platónica y aristotélica una concepción distinta del arte, que sería una manufactura humana no sometida a la lógica de la apropiación, sino de su contraria. El hombre es un ser racional, pero Kant le otorgó tres dimensiones a esta idea: la razón es conocimiento, mas también compasión y contemplación. Un ser humano tiene intereses teóricos, intereses prácticos... y desintereses múltiples. El "temple estético" al que Schiller hace referencia apunta a esta facultad de no hacer nada, a este aflojamiento de las tensiones, ocupaciones y preocupaciones, al puro deleite (o pavor) de estar meramente en el mundo. La experiencia o la emoción estética aflora cuando no esperamos nada —ni bueno ni malo— de las cosas. Es paradójico que una dimensión de nuestra racionalidad sea la facultad de no esperar, de no buscar, de no modificar o sustituir, de no mover un dedo, de simple y llanamente no hacer nada: es la facultad de dejar llegar, de dejar aparecer (y desaparecer), de dejar ser a las cosas; es la facultad de desactivar —momentáneamente— nuestras otras facultades. Works of art are material objects that at the same time and in mysterious ways are spiritual objects (i. e. immaterial). Using Kant and Schiller, this article opposes the Platonic and Aristotelian qualification with a different conception of art, which would be a human manufacture not subject to the logic of appropriation, but of its opposite. Man is a rational being, but Kant gave this idea three dimensions: reason is knowledge, but also compassion and contemplation. A human being has theoretical interests, practical interests… and multiple interests. The “aesthetic temper" to which Schiller refers points to this faculty of doing nothing, to this loosening of tensions, occupations and worries, to the pure delight (or dread) of being merely in the world. Aesthetic experience or emotion comes to the surface when we expect nothing —neither good nor bad— from things. It is paradoxical that one dimension of our rationality is the faculty of not waiting, of not seeking, of not modifying or substituting, of not moving a finger, of simply doing nothing: it is the faculty of letting come, of letting appear (and disappear), of letting things be; it is the faculty of deactivating —momentarily— our other faculties.

scholarly journals “Although he was not equal to Karamzin and Derzhavin, in the society of Russian artists he was not unfamed” (review of the monograph by A. N. Pushkurov “M. N. Muravyov and the culture of literature: a dialogue of perceptions”. Kazan, 2019)

2021 ◽  
Vol 61 ◽  
pp. 357-364
Author(s):  
Sergey N. Travnikov ◽  
Elena G. Iyulskaya ◽  
Elena K. Petrivnyaya
Keyword(s):  
18Th Century ◽  
Russian Literature ◽  
Scientific Study ◽  
Artistic Creation ◽  
The Past ◽  
Creative Personality ◽  
The World ◽  
Special Value ◽  
Methodological Problems ◽  
Literary Myth

The new monograph by A. N. Pashkurov is a serious scientific study that goes beyond the scope of the work of M. N. Muravyev, raising important methodological problems in the study of Russian literature of the 18th century. A talented historian and theorist of literature, Professor Pashkurov provides an example of the methodology for mastering the literary myth and the system of views of the writer on the world around him and artistic creation. This book marked the beginning of a series of works by philologists on the comprehension of the creative personality in its relation to the past, present and future of literature. This is the special value of the monograph.

scholarly journals THE ROLE OF THE SYMBOLIC IMAGE IN THE INTERPRETATION OF THE NATIONAL PICTURE OF THE WORLD (ON THE EXAMPLE OF ANALYSIS OF THE IMAGE OF BAMBOO IN CHINESE LINGUOCULTURE)

2021 ◽  
pp. 111-120
Author(s):  
Синхуа Ван
Keyword(s):  
Chinese Philosophy ◽  
Actual Problem ◽  
Main Research ◽  
Chinese Speakers ◽  
The World ◽  
The Aesthetic ◽  
Poetic Texts ◽  
Symbolic Image ◽  
Linguistic Means

Введение. Эпоха глобализации и расширения межкультурной коммуникации формирует новые вызовы и ставит их на разрешение ученым, осуществляющим свои изыскания в различных научных областях. Актуальной проблемой гуманитаристики является описание национальных картин мира посредством моделирования их фрагментов. В лингвистике особую значимость сегодня имеет изучение вербальных средств объективации концептуальных смыслов. В числе последних выделяются поэтические тексты. Их эстетическая направленность позволяет исследовать в качестве лингвокультурологических и когнитивных средств образы, присутствующие в этих текстах. Цель – исследовать роль образных символических средств в интерпретации фрагмента китайской картины мира, связанного с осмыслением образа бамбука в древних поэтических текстах. Материал и методы. Материалом исследования послужили поэтические тексты древних китайских авторов. В качестве единиц выступили языковые средства, воплощающие один из наиболее распространенных в китайской лингвокультуре образов ‒ образ бамбука. Основные методы исследования ‒ контекстологический и лексико-семантический. Результаты и обсуждение. Особенности биологического строения бамбука и разноаспектные возможности его применения в жизни носителей китайского языка определяют богатейший образный потенциал лексемы-номината. Включенность данной лексемы в широкий контекст значительно обогащает процесс смыслопорождения. Языковые средства, объективирующие толкование образа бамбука в китайской лингвокультуре, в текстовой перспективе получают возможность своей концептуальной интерпретации. Последняя развертывается на основании рассмотрения символических компонентов смысла, вписанных в национальную картину мира на уровне ее фрагментов. Направления символизации значения языковых единиц, номинирующих образ бамбука, выявляются путем рассмотрения речевой структуры древних поэтических текстов китайских авторов. Заключение. Ключевыми проявлениями символичного значения образа бамбука в китайской лингвокультуре можно назвать варианты интерпретации данного образа как символа высокой нравственности, чистоты, покоя, гармонии и умиротворенности. Такое символичное толкование не противоречит основным догмам китайской философии, в его основе лежит ассоциативная перекличка, возникающая в сознании носителей языка, как результат сопоставления свойств растения и характеристик человека. Introduction. The modern era of globalization and the expansion of intercultural communication creates new challenges and puts them to the solution of scientists carrying out their research in various scientific fields. The actual problem of the humanities is the description of national pictures of the world by modeling their fragments. In linguistics, the study of verbal means of objectifying conceptual meanings is of particular importance today. Among the latter, poetic texts stand out, the aesthetic orientation of which makes it possible to investigate the images present in these texts as linguoculturological and cognitive means. Aim and objectives. Explore the role of figurative symbolic means in the interpretation of a fragment of the Chinese picture of the world associated with the interpretation of the image of bamboo in ancient poetic texts. Material and methods. The material of the research is poetic texts of ancient Chinese authors. The units are linguistic means that embody one of the most common images in Chinese linguoculture – the image of a bamboo. The main research methods are contextological and lexical-semantic. Results and discussion. The peculiarities of the biological structure of bamboo and the diverse possibilities of its use in the life of native Chinese speakers determine the richest figurative potential of the nominated lexeme. The inclusion of this lexeme in a broad context significantly enriches the process of generating meaning. Linguistic means that objectify the interpretation of the image of bamboo in Chinese linguistic culture, in the textual perspective, get the possibility of their conceptual interpretation. The latter unfolds on the basis of considering the symbolic components of meaning inscribed in the national picture of the world at the level of its fragments. The directions of symbolizing the meaning of linguistic units nominating the image of a bamboo are revealed by considering the speech structure of ancient poetic texts of Chinese authors. Conclusion. The key manifestations of the symbolic meaning of the image of bamboo in Chinese linguistic culture, judging by the results obtained, can be called the options for interpreting the image of bamboo as a symbol of high morality, purity, peace, harmony and serenity. Such a symbolic interpretation does not contradict the basic dogmas of Chinese philosophy; it is based on an associative roll call that arises in the minds of native speakers as a result of a comparison of plant properties and human characteristics. Keywords: linguistic picture of the world, symbolic image, Chinese linguoculture, poetic text, bamboo image, lexical means, linguocultural analysis.

Environmental aesthetics

2018 ◽  
Author(s):  
Allen Carlson
Keyword(s):  
Twentieth Century ◽  
Eighteenth Century ◽  
Aesthetic Experience ◽  
Aesthetic Appreciation ◽  
Environmental Aesthetics ◽  
Large Measure ◽  
The Public ◽  
The Core ◽  
The World ◽  
The Aesthetic

Environmental aesthetics is one of the major new areas of aesthetics to have emerged in the last part of the twentieth century. It focuses on philosophical issues concerning appreciation of the world at large as it is constituted not simply by particular objects but also by environments themselves. In this way environmental aesthetics goes beyond the appreciation of art to the aesthetic appreciation of both natural and human environments. Its development has been influenced by eighteenth-century landscape aesthetics as well as by two recent factors: the exclusive focus of twentieth-century philosophical aesthetics on art, and the public concern for the aesthetic condition of environments that developed in the second half of that century. Both factors broadened the scope of environmental aesthetics beyond that of traditional aesthetics, and both helped to set the central philosophical issue of the field, which is due in large measure to the differences between the nature of the object of appreciation of environmental aesthetics, the world at large and the nature of art. These differences are so marked that environmental aesthetics must begin with basic questions, such as ‘what’ and ‘how’ to appreciate. These questions have generated a number of different philosophical positions, two of which are the engagement and the cognitive approaches. The first holds that appreciators must transcend traditional dichotomies, such as subject/object, and diminish the distance between themselves and objects of appreciation, aiming at multi-sensory immersion of the former within the latter. By contrast, the second contends that appreciation must be guided by the nature of objects of appreciation and that knowledge about their origins, types and properties is necessary for serious, appropriate aesthetic appreciation. Each approach has certain strengths and weaknesses. However, although different in emphasis, they are not in direct conflict. When conjoined, they advocate bringing together feeling and knowing, which is the core of serious aesthetic experience and which, when achieved in aesthetic appreciation of different environments of the world at large, shows just how rewarding such appreciation can be.

The Woman in Red and the Man with the Chrome-Plated Wheels

2018 ◽  
Author(s):  
Henrik Hogh-Olesen
Keyword(s):  
Well Being ◽  
Artistic Creation ◽  
Everyday Object ◽  
Internal Indicator ◽  
The World ◽  
The Aesthetic ◽  
The Right

Chapter 4 looks at how key stimuli and brain programming affect our own species’ aesthetics and determine which shapes, colors, and landscapes humans are attracted to and consider beautiful. Like other animals, people are predisposed to respond to certain key stimuli, which have been associated with an expectation of functionality, fitness, and increased well-being. In other words, the perception of beauty represents a strong internal indicator, which it pays to be guided by in order to gain various benefits. In this investigation, the chapter enters the micro-processes of artistic creation. It looks at the aesthetic effects that make up an artwork and at the understanding of why something captivates and fascinates people. The right embellishment can transform a trivial everyday object into an overwhelming power object—a kind of fetish that means the world to us and costs a fortune. How does something like this happen?

Environmental aesthetics

2018 ◽  
Author(s):  
Allen Carlson
Keyword(s):  
Twentieth Century ◽  
Eighteenth Century ◽  
Aesthetic Experience ◽  
Aesthetic Appreciation ◽  
Environmental Aesthetics ◽  
Large Measure ◽  
The Public ◽  
The Core ◽  
The World ◽  
The Aesthetic

Environmental aesthetics is one of the major new areas of aesthetics to have emerged in the last part of the twentieth century. It focuses on philosophical issues concerning appreciation of the world at large as it is constituted not simply by particular objects but also by environments themselves. In this way environmental aesthetics goes beyond the appreciation of art to the aesthetic appreciation of both natural and human environments. The development of environmental aesthetics has been influenced by eighteenth-century landscape aesthetics as well as by two recent factors: the exclusive focus of twentieth-century philosophical aesthetics on art and the public concern for the aesthetic condition of environments that developed in the second half of that century. Both factors have broadened the scope of environmental aesthetics beyond that of traditional aesthetics, and both have helped to set the central philosophical issues of the field, which are due in large measure to the differences between the nature of the object of appreciation of environmental aesthetics, the world at large, and the nature of art. These differences are so marked that environmental aesthetics must begin with most basic questions, such as ‘what’ and ‘how’ to appreciate. These questions have generated a number of different philosophical positions, which are typically classified as either noncognitive or cognitive approaches. Positions of the first type stress various kinds of emotional and feeling-related states and responses, which are taken to be the more noncognitive dimensions of aesthetic experience. By contrast, positions of the second type contend that appreciation must be guided by the nature of objects of appreciation and thus that knowledge about their origins, types and properties is necessary for serious, appropriate aesthetic appreciation. Each of these two kinds of approach has certain strengths and weaknesses. However, recent work in environmental aesthetics, especially in the aesthetics of human environments and everyday life, demonstrates that although different in emphasis, they are not in direct conflict. When conjoined, they advocate bringing together feeling and knowing, which is the core of serious aesthetic experience and which, when achieved in aesthetic appreciation of different environments of the world at large, demonstrates just how rewarding such appreciation can be.

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