Reflexiones acerca de la imaginería contemporánea: el origen de una nueva escuela

La imaginería procesional ha experimentado en las últimas décadas una evolución estética que ha sido ya puesta de manifiesto por diversos investigadores expertos en la materia. La intención de este artículo es profundizar en sus orígenes tanto desde un punto de vista geográfico como conceptual, para seguir indagando acerca de un nuevo estilo con proyección internacional. La antropología que hay detrás del fenómeno cultural y religioso de la Semana Santa tiene su reflejo en la manera en la que un determinado grupo de imagineros entendieron la escultura sacra, generando un estilo que ha terminado por fraguar gracias al surgimiento de una escuela con nombre propio. Si bien esta nueva imaginería ha sido ya objeto de algunos estudios que han intentado ofrecer una explicación formal y conceptual, se antoja necesaria una revisión estilística y antropológica para aportar nuevos argumentos. Todo ello mediante el análisis formal de la obra de los protagonistas de dicha tendencia, así como de su concepto de imaginería y la generación de artistas implicados. In recent decades, processional imagery has undergone an aesthetic evolution that has already been demonstrated by various researchers who are experts in the field. The intention of this article is to delve into its origins both from a geographical and conceptual point of view, to further investigate a new style with international projection. The anthropology behind the cultural and religious phenomenon of Holy Week has its reflection in the way in which a certain group of imagers understood sacred sculpture, generating a style that has ended up forging thanks to the emergence of a school with its own name. Although this new imagery has already been the subject of some studies that have tried to offer a formal and conceptual explanation, a stylistic and anthropological review seems necessary to provide new arguments. All this through the formal analysis of the work of the protagonists of this trend, as well as their concept of imagery and the generation of artists involved.

The Rise of Black Chicago’s Culturati

Chicago emerged two decades after its Great Fire of 1871 to host America's second world's fair, and with it witnessed the birth of a Black cultural movement along with the city's general rebirth. First in the performing arts, then progressing slower in the visual and literary arts, the next four decades beheld the rise of the foundational elements of a Black Chicago Renaissance somewhat paralleling that in Harlem but in an asymmetrical fashion. While the tempo of aesthetic evolution through two distinct periods was imbalanced, overall progress appeared: with a transformation in the class structure, bringing necessary Black patronage to the forefront; an intelligentsia to spur interest and appreciation in the fine arts; and impressive, awe-inspiring creative production in painting, sculpture, photography and music.

Genre specificity of the monodrama by the Mordovian writer A. P. Teryoshkin «The Whistleblower»

Introduction: the Mordovian drama genre paradigm develops constantly and is presently enriched with creative innovations that demonstrate the search for the new forms of interpreting reality and the ways to present individual and personal spirits of people. Innovative phenomena in drama update the ethnic art literature and make significant adjustments to its aesthetic evolution. The relevance of the article is determined by the need to understand the artistic processes taking place in Mordovian drama. The object of the study is the artistic particularities of A. Teryoshkin’s genre experiment in the monodrama «The Whistleblower». Objective: to analyze the genre specifics of the monodrama «The Whistleblower» by A. Teryoshkin. Research materials: the monodrama «The Whistleblower» by A. Teryoshkin. Results and novelty of the research: the scientific novelty of the article is due to the small study of the creative work of A. Teryoshkin as the dramatist. The author comes to the conclusion that the analysis of individual human destiny in the monodrama by A. Teryoshkin is carried out by means of self-reflection of the hero in the form of a monologue story revealing the inner motifs of actions. In general, all this reflects the complexity and multidimensionality of the surrounding reality. The fact that the playwright uses extraordinary artistic means within the genre form, innovative for the national literature, confirms his intention to develop the aesthetic framework of Mordovian drama.

Choreographing Kandinsky’s ‘Spiritual’ in Sergei Diaghilev’s Ballets Russes

The purpose of this article is to demonstrate that Wassily Kandinsky’s geometrical paintings were inspired by the ballet world, and by the body movements of the ballerina. Moreover, painting and ballet communicate with each other. And geometry has helped that. Then, the idea of this article starts with the necessity in relating Kandinsky’s Spiritual theory on non-materiality exposed in Über das Geistige in der Kunst with Sergei Diaghilev’s Ballets Russes brought on Parisian scene between 1909s and 1929s. Ballets Russes is the term which names all the ballet representations thought and designed by Sergei Diaghilev after his musical-cultural conflict with Nikolai Rimski Korsakov. Starting with 1907s, Kandinsky had initiated Der Blaue Reiter group and he starts with various drawing techniques. Were favourable years in which Kandinsky’s evolution from simple drawings to sophisticated Compositions got up. We are witnessing a cultural increasement. So, the ballet, the music, the theatre and the painting can not be separated any more or, at least, or, at least, cannot be thought of separately as systems of aesthetic theory. The aesthetic evolution from ballet and theatre had influenced the evolution in painting. What we will try to show as novelty in our investigation, is the kinetic and spiritual relation between Kandinsky’s Compositions and some representations from Ballets Russes by Sergei Diaghilev, especially with the «L’Oiseau de feu». In conclusion, we want to show how the lines designed by Wassily Kandinsky are describing ballet’s movements. The methods used in our research have consisted in the inter-artistic comparison between Wassily Kandinsky’s theory of painting and the ballets designed by Sergei Diaghilev. We also brought a philosophical and personal perspective on both worlds.

Reception of Hryhoriy Tiutiunnyk`s creativity by literary critics

This article explores the XX―XXI centuries scientific critical investigations devoted to the study of the Ukrainian writer`s Hryhoriy Tiutiunnyk creativity. Researchers of the 1960-1980s (P. Havrilov, Yu. Barabash, L. Volovets, etc.) keep focus primarily on revealing the relationship between the personality of the writer as a Soviet patriot and his work, as well as an analysis of such types of person represented by the writer as a Soviet man, a peasant man, a man-leader, a man-warrior and patriot-one, etc. Notwithstanding the prominent ideology of this period literary exploration, a number of important aspects related to the author`s style, problem content of works, peculiarity of the ideological and aesthetic evolution of the writer, originality of the artistic reproduction of the author's concept were analyzed. Most scholars focus on the analysis of the novel “Vir”. M. Lohvinenko, K. Volynsky, B. Chip, L. Volovets, I. Semenchuk, Y. Barabash draw attention to the lyricism of the narrative in the novel and to the peculiarities of scenery images as a way of revealing character`s inner world. L. Volovets P. Havrilov, I. Semenchuk emphasize the psychological representation of characters images of the novel. Y. Badzo, L. Volovets, K. Volynsky and P. Serdyuk distinguish the motive of finding the truth in the writer`s works. The aforementioned researchers place emphasis on the analysis of war factor as a mean of revealing characters` personalities in the novel “Vir”. M. Lohvynenko, K. Volinskyi, B. Chip, L. Volovets, S. Lisovska, I. Semenchuk, Y. Barabash draw attention to the narrative lyricism of author`s work. L. Volovets, P. Gavrilov, I. Semenchuk emphasize the psychological nature of character image in the novel. Recently, S. Lisovsky's works on poetry of his works have appeared. As well as O. Nezhyvyi, who outlines the history of novel publication and carry out a textual analysis of the first print, the modern version and the main text. It is proved that a comprehensive study of Hryhoriy Tiutiunnyk`s work of has not been accomplished yet.