scholarly journals On the Comparative Analysis of the Eurasian Region Cultures

2021 ◽  
Vol 4 (1) ◽  
pp. 34-44
Author(s):  
Rena Mamedova (Sarabska)
Keyword(s):  
Comparative Analysis ◽  
Art History ◽  
Historical Thinking ◽  
Semantic Meaning ◽  
Early Article ◽  
Sign Function ◽  
Collective Experience ◽  
Common Lines ◽  
Historical Movement ◽  
Eurasian Region

An early article is devoted to the study of the concept of Eurasianism in the  context of comparative art history. The presented article emphasizes that modern art history requires methodological innovations that will reveal the features not only of the national specifics of music, but also the parameters of its dialogue with other cultures. The article discusses the concept of musical genocide as an analogue of an innate program that determines the vectors of the artistic culture evolution. As a result, it is possible to determine both universal ethnocultural and the specificity of regional conditioned properties of culture. The purpose of the research is to determine the comparative parameters of the Eurasian culture. The research methodology lies in the method of historicism. Of fundamental importance, he can reveal the logic of historical thinking. The prospect of using the method of historicism lies in the possibility of approaching the complex whole of Eurasian culture in its historical movement, in the unity and development of its constituent parts. Behind the variety of manifestations, the main, common lines of the historical development of Eurasia are being built. The scientific novelty of the research undertaken in this article is to form a number of provisions of the comparative analysis. For example, the concept of a gene formula, a typological series. Conclusions. The category of the gene formula formulated in the article is a historically conditioned sign function of culture. The gene formula is generated by the collective experience of the ethnos and has semantic meaning. At the same time, the gene formula defines a specific type of pitch that ensures the vitality of the music and realizes the identity of the culture.

TERMINOPATIYA: COACH

2020 ◽  
Vol 12 (12) ◽  
pp. 48-52
Author(s):  
N.M. Kolokolova ◽  
Keyword(s):  
Higher Education ◽  
Comparative Analysis ◽  
Working Conditions ◽  
Semantic Meaning ◽  
Professional Characteristics

The article analyzes the lexico-semantic meaning of the term of English origin coach and coaching, the frequency of its use in speech of the Russian-speaking society. A comparative analysis of the professional characteristics of the coach and the teacher, their working conditions and working methods is carried out. It is concluded that extrapolation of the concept of economic term to the sphere of general and higher education in Russia is irrelevant.

scholarly journals Artistic and aesthetic principles of German expressive dance in the context of the development of modern dance in the XXI century

2021 ◽  
Author(s):  
Olha Babich
Keyword(s):  
Comparative Analysis ◽  
Art History ◽  
Modern Dance ◽  
Stylistic Analysis ◽  
Physical Movement ◽  
Movement Experience ◽  
Distinctive Features ◽  
System Method ◽  
The World ◽  
Artistic Values

The purpose of the article is to identify the artistic and aesthetic features and leading trends in the development of German expressive dance of the first half of the twentieth century. and determine their impact on the development of modern dance in the first decades of the XXI century. Methodology. The system method is applied, thanks to which the peculiarities of German expressive dance are considered; the method of comparative analysis, which helped to identify common and distinctive features in the central concepts of dance K. Joss, M. Wingman, and P. Bausch; method of art history and artistic and stylistic analysis, through which identified and substantiated trends in the development of German modern dance and modern dance). Scientific novelty. The artistic and aesthetic principles of German expressive dance are studied on the basis of the analysis of choreography, aesthetics, and discourse of movement K. Joss, M. Wingman, and P. Bausch; the basic theatrical concepts of the range of emotions of the leading representatives of the German expressive dance motivating physical movement are revealed; determined that P. Bausch, M. Wingman and K. Yosse work with emotional space, which is directly related to physical movement and configures their own unique aesthetics of movement experience - dancers aestheticize the human body, covered and subject to strong emotions. Conclusions. The characteristic interest of German expressionist dance to inconspicuous, accidental, or natural manifestations of corporeality, the focus on violating previously established boundaries of art, the search for innovative ways to approach the chaos of reality, causing the formation of certain models of corporeality, and others. can be clearly seen in the modern dance of the early XXI century – phenomena, representing a unique way of artistic and bodily modeling of the world, become one of the important dancers and generators of current cultural and artistic values ​​and meanings. Key words: German expressive dance, modern dance, artistic and aesthetic principles, K. Joss, M. Wigman, P. Bausch.

scholarly journals Народное прикладное искусство номадов: тувино-калмыцкие параллели

2020 ◽  
Author(s):  
S. Batyreva
Keyword(s):  
Comparative Analysis ◽  
Cultural Heritage ◽  
Art History ◽  
Financial Support ◽  
Animal Husbandry ◽  
Museum Collections ◽  
Russian Culture ◽  
Applied Art ◽  
Increasing Process ◽  
Composition Of Products

Изучение культурного наследия в собраниях музеев призвано зафиксировать в описании художественные традиции народов России. В условиях глобализации, в усиливающемся процессе исчезновения наследия немногочисленных этносов приходит понимание необходимости его сохранения с целью дальнейшего исследования. Российская культура не может быть полноценно изучена вне ее локальных явлений, целенаправленно вводимых в научный оборот. В междисциплинарном музееведческом подходе, сочетающем методы искусствознания, истории и этнокультурологии, анализируется декоративно-прикладное искусство тюрко-монгольских кочевников из музейных собраний Калмыкии, Санкт-Петербурга и Тувы. Экспонаты войлоковаляния, рассматриваемые через призму традиций технической и художественной обработки шерсти, дают возможность выявить архетипы сознания в построении орнаментальной композиции изделий. В декоре войлока, древнейшего материала, созданного в кочевом укладе животноводческого хозяйства, отражены особенности пространственного мировидения номадов. Статья подготовлена при финансовой поддержке РФФИ, проект 19-512-44002 Народное декоративно-прикладное искусство ойратов Монголии и калмыков России: общее и особенное в сравнительно-сопоставительном анализе.The study of cultural heritage in Museum collections is intended to record the artistic traditions of the peoples of Russia in the description. In the context of globalization, in the increasing process of disappearance of minor groups heritage we come to understanding the need to preserve it for further research. Russian culture cannot be fully examined without its local phenomena, which are purposefully involved into scientific circulation. In an interdisciplinary Museum approach that combines the methods of art history, history, and ethnoculturology. The article analyzes the decorative- applied art of the TurkicMongolian nomads from the Museum collections of Kalmykia, St. Petersburg, and Tuva. Felting exhibits, viewed through the prism of traditions of technical and artistic processing of wool, make it possible to identify archetypes of consciousness in the construction of ornamental composition of products. The decor of felt, the oldest material created in the nomadic way of animal husbandry, reflects the features of the spatial worldview of nomads. The article is prepared with the financial support of the RFBR, project No. 19-512-44002 Folk decorative-applied art of the Oirats of Mongolia and the Kalmyks of Russia: The general and the special in comparative analysis.

scholarly journals Visual art as a form of individualization of collective experience: Renaissance discourse

2021 ◽  
Author(s):  
Olena Chumachenko
Keyword(s):  
Art History ◽  
Visual Art ◽  
Da Vinci ◽  
Leonardo Da Vinci ◽  
Cultural Development ◽  
Subject Field ◽  
Marsilio Ficino ◽  
Collective Experience ◽  
The Subject ◽  
Pietro Aretino

The purpose of the article consists of exploring visual arts in the context of Renaissance discourse as a form of individualization of collective experience. The methodology consists of the application of analytical method – to determine the theoretical and methodological foundations of the study of visual art as a form of individualization of collective experience in the works of the Renaissance theorists: Alberti, G. Vasari, Marsilio Ficino, Lorenzo Valla, Pietro Pomponazzi; Renaissance artists – Giotto, Masaccio, Michelangelo, Leonardo da Vinci, Raphael Santi, Titian; formalization method – to clarify visual art within the subject field of art history in the context of the culture of the Renaissance; method of comparative studies – for analyzing approaches to understanding the visual art as a form of individualization of collective experience. The scientific novelty of the work is that for the first time the essence of visual art is a form of individualization of collective experience in the context of the Renaissance discourse. Conclusions. The article explores visual art in the context of the Renaissance discourse as a form of individualization of collective experience. Clarified the meaning of the concept of visual art and painting in the framework of the subject field of art history (concepts of A. Gabrichevsky, M. Kagan, V. Vlasov, A. Hildebrand). In the socio-cultural development of the Renaissance, there is an intensive process of individualization of the artist, and there is also a tendency to intensively turn to samples of ancient art, which testifies to the visual art as the brightest form of individualization of collective experience. In the context of comparative analysis, the concepts of Cennino D'Andrea Cennini, G. Vasari, Alberti, Lorenzo Ghiberti, Filarete, Piero Della Francesco, Leonardo da Vinci, Jean Peleren, Albrecht Dürer, Pietro Aretino, who described all the advantages of painting based on color, are considered; the Venetian artist Paolo Pino, author of Dialogue on Painting; Lodovico Dolci, author of Dialogue on Painting; the Tuscan writer A. Doni, who in his dialogue "About drawing" explained the priority of the Florentine tradition, in which the emphasis was on drawing, and not on coloring. Key words: visual art, renaissance, painting, collective experience, individualization

Ethnocultural Specificity of Phraseological Units with Zoocomponent in German and Ukrainian Languages

2021 ◽  
Vol 12 (4) ◽  
Author(s):  
V Ostapchenko ◽  
Keyword(s):  
Comparative Analysis ◽  
National Culture ◽  
Syntactic Structure ◽  
Semantic Meaning ◽  
Distinctive Features ◽  
The Third ◽  
Social Traits ◽  
Mental Abilities ◽  
The Common ◽  
Semantic Parameters

Abstract. The article presents a comparative analysis of phraseology with zoonymic components in the German and Ukrainian worldviews, which are closely related to national culture. In most phraseologies with the component-zoonym there is a type of metaphorical transfer, which uses the names of animals to describe the characteristics of man, the designation of certain qualities, appearance, character, mental abilities. In addition, zoonyms are often symbols of moral and intellectual qualities of man. The purpose of research is to study phraseological systems with zoomorphic components in a pair of German - Ukrainian, which allows to identify important values of each nation. Results of research. During the study of zoonyms in phraseology, it was noted that the metaphorical nature of zoomorphic phraseology, their inherent subjective-evaluative connotation, the specificity of their semantic parameters and syntactic structure is largely due to their scope, based on their expressed anthropocentrism as a manifestation of traditions of attributing to animals certain traits of human character. In the ethnoculture of different peoples, phraseology, including the names of animals - is primarily a statement about man, his spiritual and social traits. Thus, phraseology with the names of animals can reflect: physical qualities, capabilities; appearance; mental qualities (character traits); intelligence; habits, abilities, skills. Also, the paper explores the common and distinctive features of phraseology of the Ukrainian and German languages, namely the zoocomponents that form complete equivalents. Such phraseological units are equivalent, ie their lexical volume, semantic meaning and meaning are symmetrical. The second group includes partial equivalents. In German and Ukrainian, such phraseological units have the same meaning, but differ in the composition of lexical components, and, consequently, the internal form. The third group includes phraseologies that have no equivalents in another language and are characterized by the fact that these concepts do not have a common object. Such phraseological units often remain outside the scope of bilingual phraseological dictionaries, which is why it is only possible to explain the meaning. Originality is determined by the fact that our study makes a contribution to the development of phraseology in terms of studying phraseological units, namely the animalism of the German and Ukrainian languages. Conclusion. The presence of common and distinctive features in the structures of phraseology of the studied languages, the nature and content of associations are determined not by the properties of animals, but by their life in the national folklore-mythological and literary contexts of each nation, its worldview, human existence.

Asian Canadian Minor Transnationalism: A Method of Comparison

2018 ◽  
Vol 4 (1-2) ◽  
pp. 65-88
Author(s):  
Victoria Nolte
Keyword(s):  
Comparative Analysis ◽  
South Asian ◽  
Art History ◽  
Nation Building ◽  
Cultural Discourse ◽  
Fair Play ◽  
Canadian Art ◽  
Chinese Canadian

This article provides a comparative analysis of Howie Tsui’sCelestials of Saltwater City(2011) and Ali Kazimi’sFair Play(2014), two art installations that centre the histories of different Asian Canadian communities (Chinese Canadian and South Asian Canadian, respectively), but are underscored by paralleled experiences of racism, exclusion, and indenture. I bring these works together to propose a rethinking of Asian Canadian art history through Françoise Lionnet and Shu-mei Shih’s concept of minor transnationalism, a framework which helps map historical formations of “Asian Canadian” that rupture dominant cultural discourse. By comparing the ways in which Asian Canadian artists tell their own stories, drawing attention to narrative and aesthetic resonances not always immediately apparent, minor transnationalism brings into critical focus the subjective connections and experiences of diaspora that are already present but have been obscured through processes of historical erasure and settler colonial nation-building.

scholarly journals The materiality or ‘thingness’ of words and their effects: Some examples from the Book of Proverbs

2020 ◽  
Vol 41 (1) ◽  
Author(s):  
Hendrik Viviers
Keyword(s):  
Media Studies ◽  
New Testament ◽  
Old Testament ◽  
Art History ◽  
Literary Studies ◽  
Reference List ◽  
Textual Studies ◽  
Semantic Meaning ◽  
Ultimate Source ◽  
Material Turn

Words are more than vehicles for semantic meaning; they can also be regarded as ‘things’ with an ‘agency’ of their own. This happens when they are seen (iconic to legitimise) or heard (performative to inspire). According to S. Brent Plate, a key researcher on materiality (see reference list) ‘words are bodies, full of power’. Words, along with many ‘things’ (fetish, ritual, book, nature, place, etc.) mediate between the material known and the immaterial unknown; they make the invisible visible or experienceable. Birgit Meyer , the pioneer of the so-called material turn in the study of religion, says, words ‘effect the transcendental’ for the initiated. Not inherently potent but through ascribed or endowed meanings they in turn affect their creators. The so-called material turn in the study of religion has rediscovered that matter or ‘things’ really ‘matters.’ Words as powerful ‘things’ or agents are also attested to in Proverbs. When wisdom words are externalised (e.g. through ornaments, Pr 1:8–9), they legitimise their users; when they are internalised (in the heart or mind, Pr 2), they persuade almost like ‘powerful personae’ to follow the wise lifestyle; and when they are personified (Pr 8), they become the ‘mediatrix’ to the thought-world of wisdom, and its ultimate source, Yahweh.Intradisciplinary and/or interdisciplinary implications: The material turn in the study of religion (anthropology) emphasises the appreciation of materiality or ‘things’. It questions an exclusive mentalistic or inward approach in cognate disciplines, such as Religious Science, Theology and Old Testament and New Testament textual studies. It also stimulates a dialogue with other humaniora such as philosophy, psychology, literary studies, media studies and art history.

scholarly journals Underway to suprematism: comparative analysis of the works of Kazimir Malevich of 1913–1914

2021 ◽  
pp. 33-42
Author(s):  
Ekaterina Mikhailovna Tolstikhina
Keyword(s):  
Comparative Analysis ◽  
Art History ◽  
Scientific Methods ◽  
Avant Garde ◽  
Large Group ◽  
History Analysis ◽  
General Scientific ◽  
The Subject ◽  
Geometric Elements

The subject of this research is the works of Kazimir Malevich of the period 1913–1914. Despite numerous scientific works and articles dedicated to the works of K. Malevich, the period of his becoming requires clarification. The object of this research is the Russian avant-garde art of 1913 – 1914. The author dwells on the compositional principles in the painter’s works of this period. Special attention is given to the colorful shapes and geometric elements underlying the compositions of his paintings. Analysis is conducted on the the path of Kazimir Severinovich, the transition from Futurism and Cubo-Futurism through Fevralism to the original style – suprematism. The philosophical and art history analysis in combination with the general scientific methods of research allowed developing a representation on the transformation the artistic pursuits of Kazimir Malevich towards the dominant of the black geometric colorful shape, which subsequently led to the creation of the “Black Square” and the formation of suprematism. The article examines and compares the paintings of the period 1913–1914, when Malevich had moved from being a mentee to creating his own artistic language. The study of the paintings by Kazimir Malevich and determination of large group of works similar in the techniques and colors used allows broadening and complementing the knowledge on the period prior to suprematism.

scholarly journals Contemporary art as a tool for shaping the consciousness of society

2020 ◽  
Author(s):  
Bogdan Mazur
Keyword(s):  
Comparative Analysis ◽  
Contemporary Art ◽  
Art History ◽  
Cultural Environment ◽  
Way Of Life ◽  
Cultural Consciousness ◽  
Theoretical Methods ◽  
Cultural Approach ◽  
General Scientific ◽  
The Individual

The purpose of the article is to analyze contemporary art as one of the tools of the system of forming the consciousness of society. The methodology includes general scientific theoretical methods of analysis, synthesis, and abstraction, which made it possible to trace the formation and development of art, as well as the use of the method of comparative analysis and the historical and cultural approach, which will help to identify the main tools for the formation of the consciousness of the individual and societies. The scientific novelty of the article is determined in the study of the theoretical and practical aspects of contemporary art of its development, its influence on the formation of the consciousness of society, social and cultural consciousness, and the development of the cultural environment in general. Conclusions. As a result of the study, it was found that contemporary art seeks to shape fashion, fashion affects the way of life of a person and the worldview of consciousness of society and consumption. Contemporary art, and the author of the work himself, in turn, can engage in artistic labeling, demonize some and extol others, and part of the audience accepts his views, without even being interested in the history and theory of art. Contemporary art is most often a protest, an author's revolt, a response to established norms, stereotypes, a test of public morality, and the bulk of citizens still adhere to conservative views and are far from studying art history subtleties. Accordingly, figures of contemporary art in Ukraine at different periods of its history were singers and artists of revolutions, even if some later understood the tragedy of such a path, the advancement of a new and obscure one. Today, a modern person lives as if he is immersed in a certain artistic atmosphere, which is one of the tools for the formation of his psyche, worldview (conscious and unconscious, which complement their actions), and the formation of the consciousness of society as a whole.

scholarly journals Discuss about Foucault’s Method: Interpretative Strategies of Verbal and Visial

2020 ◽  
pp. 39-48
Author(s):  
E. N. Ishchenko
Keyword(s):  
Comparative Analysis ◽  
Art History ◽  
Traditional Art ◽  
Visual Objects ◽  
European Culture ◽  
Sociocultural Practices ◽  
Per Se ◽  
The Aesthetic

The problem with M. Foucault’s method, foundations and limits of applicability is one of the central issues in the discussions of his many followers. Reconstruction of the method, per se, involves various strategies for working with his texts. The article proposes a comparative analysis between the interpretations of R. Descartes’s philosophical ideas and Manet’s artistic paintings in the works of M. Foucault. Such an approach through a collision of analysis of visual and verbal objects allows us to identify the general contours of Fucoldian methodology. Interpreting Cartesian ideas, M. Foucault actively uses the metaphors of light and darkness and refers to the possibilities of verbalized visibility. R. Descartes’s ideas turned into a basis for switching to a new register of attitudes towards madness in European culture. In turn, the interpretation of E. Manet’s paintings, proposed by M. Foucault, is based on an analysis of the revolutionary changes in the understanding of art introduced by an outstanding French artist. It affects not only the aesthetic context itself, but leads to new relations between a painting and an audience and also helps to establish new sociocultural practices. Foucault’s verbalization of visual is radically different from approaches of traditional art history. Thus, in Foucault’s work, verbal and visual are closely intertwined with each other and his method can be successfully applied when working with verbal and visual objects.

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