Art Nouveau in the context of realism: Ilya Repin at the turn of two centuries

The main subject of this research is the specificity of I. E. Repin's perception of the dynamics of artistic-aesthetic tasks formed under the influence of changing modernity. In view of this, one of the compositional centers of the research is the history of relationship that developed between I. E. Repin and the artists of the “first wave of symbolism” – members of the association “The World of Art” (primarily, the editor-in-chief of the eponymous journal S. P. Diaghilev, A. N. Benois, K. A. Somov, Y. Y. Lanceray). Special attention is given to the question of perception of I. E. Repin by certain representatives of the avant-garde in 1910s. Developing in the range “attraction – negation”, full of dramatic and comic moments, the dialogue between Repin and younger generation indicates the hastiness of univocal view of realism and Art Nouveau as opposing imagery systems. For the first time, on the current level of scientific comprehension of the aesthetics of symbolism and neo-romanticism, the article analyzes the attitude of I. E. Repin towards the innovative imagery pursuits of the Art Nouveau artists. At the same time, the very concept of Art Nouveau is interpreted in two dimensions: as a certain milestone in the context of the development of the history of art of the late XIX – early XX century; and as an inner dynamic potential embedded by I. E. Repin in his works since the beginning of his creative path. Based on systematization of the artistic and documentary sources and  the method of complex reconstruction of the views of Peredvizhniki and symbolist artists upon the objectives and nature of art, the author concludes that the poetics of art of Ilya Repin, synthesizing the ideas of time, tends to reflect a complicated and distinctive artistic image formed by realistic and idealistic principles.

Anthropological turn in the Music of the Twentieth Century

The purpose of the article is to determine the cultural and historical determinants of the anthropological turn in the music of the twentieth century when the civilizational desire to create an artificial environment led to the invention of new forms of compositional structures (twelve-tone system, aleatorics, etc.). The methodology consists of theoretical and interpretive models of analysis of mechanisms of cultural creation to determine their narrative orientation, systemic and comparative approaches to determine the specifics of the musical reality of modern culture to understand the interconnectedness with world social processes. The scientific novelty is to reveal the features of the interaction of social perceptual and artistic image in music at the turn of the XIX-XX centuries as a reality of musicological reflection, as well as to characterize the interaction of globalization processes and ethnic background in the music culture of late XX - early XXI centuries. Conclusions. The musical culture of Ukraine of the twentieth century is becoming one of the priority factors in the dialogue of cultures of both the post-totalitarian "Soviet" space and world music culture, due to the intensification of the search for new ways of human development. Expansion of spheres of interaction, integrative and globalization tendencies are not fixed as restoration of cultural-historical potential, on the contrary, polystylism as a general platform of formation is presented by appeals to Ukrainian baroque culture, the renaissance of sacred music, the revival of the ethnic component in art, search for new ones. Keywords: musical culture, anthropological turn, globalization, dialogue of cultures.

Foreign accent as a means of creating the language features of a character

The purpose of the article is to identify the peculiarities of the actor's linguistic characterization using a foreign accent in the process of working on the role and to establish the dependence of the actor's ideas about the character's personal characteristics and social status on the degree of accent color. The methodology of researching a foreign accent as a means of creating a linguistic characteristic of a character is complex. The method of theoretical-conceptual and theoretical-linguistic analysis of special literature on accent issues, features of comparison of intonation systems of different languages are applied; typological method and method of system analysis, which contributed to the study of acting tools in the process of working on the linguistic characteristics of the character, etc. Scientific novelty. The foreign language accent in the context of the specifics of the actor's work on the creation of the image is studied; it is stated that the actor's imitation of a foreign accent involves the use of special phonetic tools with the addition of grammatical and/or lexical factors in order to enhance the effect; the complexes of articulation-acoustic features inherent in the Ukrainian language with French, English, British, Italian, Estonian, Jewish and Caucasian accents, as well as the peculiarities of the actor's work on their imitation are analyzed. Conclusions. Foreign language accent as a linguistic characteristic of a character is one of the most important means of identifying his personality because a person's speech skills create an idea of ​​the environment to which he belongs, can provide information about his origin. In stage speech, a foreign accent is used to give the character's language a sharp character, vivid imagery, and truthfulness and realism of his behavior - the accent is part of the character's "I", a familiar form of expression related to national and family life. Foreign accent, as well as the territorial type of pronunciation, is perceived by the viewer stereotypically and is an indicator not only of personal characteristics, but also a marker of his social status, and its level is associated with education, intelligence, leadership, and self-confidence. The actor’s strategies for developing foreign accents in the process of working on the linguistic characteristics of the character are to use appropriate deviations from the phonetic, lexical, and grammatical norms of the Ukrainian language. Keywords: stage speech, foreign accent, actor, artistic image, character, linguistic characteristic.

Image of Kumgang Mountains (Geumgangsan) in Korean fine arts: tradition and modernity

В статье исследуются особенности корейской пейзажной живописи, развитие которой с начала XVIII века оказывается неразрывно связано со знаменитой горной цепью Корейского полуострова Кымгансан. Утвердившись как центральный образ в пейзажах «подлинного вида», горы Кымган со временем приобретают значение не только художественного феномена, но и знакового национального символа родной земли в корейском культурном сознании, оставаясь для художников воплощением естественных красот и сплетением разнообразной символики. Цель статьи — определить значимость образа гор Кымган в корейском изобразительном искусстве как выразителя национальной самобытности искусства Кореи и хранителя художественно-ценностных традиций. В статье изложен анализ произведений корейских художников с XVIII столетия и до наших дней. Исследуются произведения ряда современных северокорейских и южнокорейских художников, чьи работы, разные по стилю и технике исполнения, объединяет единство мировосприятия гор Кымган как духовного источника, репрезентируя стремление к этнической аутентичности, возрождение традиций и выражение патриотизма в современном искусстве Республики Корея и КНДР. Предлагается обзор тенденций в корейском изобразительном искусстве, где в данном образе проявился национальный подход, натурное видение природы родной страны и творческое переосмысление открытий великих корейских пейзажистов в контексте адаптации новых художественно-выразительных особенностей в рамках традиционной системы дальневосточной живописи тушью и творческих экспериментов с разнообразными техниками. В заключение делается вывод о важности художественного образа гор Кымган, который, утвердившись в корейском пейзаже в XVIII веке, стал прочной основой для развития корейской живописи современного периода, демонстрируя не только приверженность традициям, но и способность к новациям как в приобретении новых символических оттенков в его прочтении, так и в расширении творческих поисков для выражения его эстетического идеала в картине мира современности. The article examines the features of Korean landscape painting, the development of which since the beginning of the 18th century is inextricably linked with the famous mountain range of the Korean Peninsula Kumgangsan (Diamond Mountains). Having established itself as the central image in landscapes of “true appearance”, the Kumgang Mountains over time acquire the significance of not only an artistic phenomenon, but also an iconic national symbol of the native land in the Korean cultural consciousness, remaining for artists the embodiment of natural beauties and the interweaving of various symbols. The purpose of the article is to determine the significance of the image of the Kumgang Mountains in Korean fine art of past and present eras, as an exponent of the national identity of Korean art and a keeper of artistic value traditions. The main objective of the article is to study the image of the Kumgang Mountains based on the analysis of the works of Korean artists from the 18th century to the present day, with the definition of its role and place in the contemporary fine arts of Korea. The article analyzes the works of a number of modern North Korean and South Korean artists, different in style and technique of execution, but similar in perception of the Kumgang mountains as a spiritual source, representing the desire for ethnic authenticity, the revival of traditions and the expression of patriotism in contemporary art of the Republic of Korea and the DPRK. The article provides an overview of trends in Korean painting, where this image manifests a national approach, a natural vision of the native country and a creative rethinking of the discoveries of the great Korean landscape painters in the context of adapting new artistic and expressive features within the traditional system of Far Eastern ink painting and creative experiments with various techniques. It is concluded that the artistic image of the Kumgang mountains is important as it has established itself in the Korean landscape in the 18th century, and become a solid foundation for the development of Korean painting in the modern period, demonstrating not only adherence to traditions, but also the ability to innovate, both in acquiring new symbolic shades, and expanding artistic and expressive means to display its aesthetic ideal in the picture of the world of our time.

The Novel “Beyond the Blue Border”: Insight into the Past of the “Ossis” for the Modern Teenagers

The article analyses the debut historical juvenile novel by the German writer Dorit Linke (b. 1971) “Beyond the Blue Border” (“Jenseits der blauen Grenze”, 2014) in the aspect of the literary, historical and pedagogical potential of the text. The main events take place in the Baltic Sea in August 1989 when youths tried to escape from Rostock to West Germany with flashbacks into their life in the GDR. The connection between the periods of the late 1960s and 1980s is emphasized. It was a time of formation or changing the worldview of the main novel’s characters, which belong to three different generations: 1933 (grandfather), 1968 (parents) and 1989 (teenagers). The title of the book points to a kind of marine locus, representing the key stereotypes about the element of water and the inner state of the heroes. The sea is regarded as a constitutive topos, which not only performs the traditional background function of nature but also turns into an artistic image of a literary text. The narrative from the perspective of a teenage girl makes it possible to explain better to the reader of the appropriate age the motives of the incredible act of their peers and helps to get insight into the everyday life of the “Ossi” (residents of East Germany) in contrast to the “Wessi” (West Germans). In this way, the modern German historical juvenile literature demonstrates the relevance for its recipients, performing the cognitive and didactic functions without aggressive interference in the minds of adolescents.

Symbolism of the image of love in the poem “La steaua” by M. Eminescu as an object of linguo-cognitive research

This research is devoted to the study of the linguo-cognitive specifics of the linguistic nominations of manifestations of love in the poem “La steaua” by M. Eminescu. The study of linguistic representations of the concept of love as multifaceted and ambiguous from the point of view of its emotional nature of feelings on the material of a poetic work is interdisciplinary by its nature, being at the junction of such scientific disciplines as: cognitive linguistics, literature and psycholinguistics. The purpose of the study is to identify and study the verbalized fragments of the image “love” in the poem “La steaua” by M. Eminescu and to establish their associative-figurative potential. To achieve the above-mentioned goal, a number of tasks were outlined: to identify and classify the key conceptual dominants of the poem “La steaua” by M. Eminescu; to establish the structure and semantic content of the image of love in the poem by describing its frame structure; to determine the individual author’s specificity of the interpretation of the artistic image of love on the material of the analyzed poem. As a result of our research, we identify frame structures that are activated by verbal units and convey a specific stereotypical situation. We come to the conclusion that the features of the verbal embodiment of frame structures are directly related to the individual author’s perception of the image of love, his personal and emotional characteristics, as well as culturally determined associations with the concept of love.

The combination of artistic and technical techniques in creating decorative elements of the interior

The methods of interior decoration are not only technologies that contribute to the uniqueness and completeness of the conceptual idea of the interior, but also a number of constructive, technological, emotional, psychological and even marketing tasks that must be solved by design methods, and in particular by methods of interior decoration. In this regard, the objects of study are the principles of perception of space, factors that stimulate the study of the architectural environment, ways of recognizing it as an element belonging to a particular object and corresponding to the image of the architectural object. Any interior is a kind of method of communication between an object and a person, it is achieved in various ways that the author – designer models at the stage of project work. In this article, the university is considered as an object and, in order to form the necessary artistic image, the possibilities of synthesizing materials capable of revealing the designer's conceptual idea in an art object are considered. Purpose – in this connection, the goal was set to reveal the technological and artistic features of various objects, in which the combination of different materials makes it possible to convincingly interpret the artistic and figurative tasks of the interior. To implement the research tasks, structural and logical methods were used, which made it possible to conduct experiments at various stages of collecting and processing information and classify various data in the author's tables, diagrams and clusters, which are given in this article. In addition, the article considers the university as a real object of design, and the data formulated in the article can be used in the future as methodological material for the formation of the concept of the artistic image of such educational institutions. The result of this study was the classification of decorative materials used in interior design, analysis and comparative characteristics of various objects that allow analyzing the psycho-emotional aspects of various combinations of materials and their significance for the formation of the artistic image of the interior.

CRITERIA FOR EVALUATION OF THE LEVEL OF FORMATION OF ART VALUES IN A CHILD OF SENIOR PRESCHOOL AGE

The problem timeliness is caused by the need to form artistic values in older preschool children and insufficient methodological support aimed at educating the child’s aesthetic values in art schools. A separate issue is an analysis of the artistic values formation in older preschoolers and the criteria for their evaluation.There is a brief description of the standard curriculum content “Conversations about Art”, purpose, organizational features, description of criteria for assessing the artistic values formation in older preschool children, a description of the achievements characteristics in acquaintance with artworks of “Conversations about Art”, elementary level of primary art education in this research work. Research methods: study, analysis of psychological-pedagogical, philosophical and educational-methodical literature in order to determine the state and scientific substantiation of research problem; generalization and systematization of methods for diagnosing the formation of artistic values in the older preschool-age child, pedagogical analysis, the method of expert evaluation.The content of the first-year study is aimed at acquainting the child with the art around us, during it, we form in the older preschool-age child emotional and value attitude to art and introduce it to the artistic image in art. The content of the first-year study is divided into two modules: “Conversations about Art” and “Diversity of images in art”. Each of these training modules has its own tasks and performance indicators. According to our research, the program aims to acquaint the child with the emotional and value of art, artistic image and language of expression during its creation in each of arts; formation of artistic values in older preschool children by means of visual art and synthesis of art in general. For the elementary level of primary art education, it is appropriate to take into account the psychophysiological characteristics of the child and the developmental and playful nature of learning.Keywords: pedagogy of preschool age; art education; aesthetic education; artistic values; senior preschool child; criteria; levels of achievement; visual arts.

Creative Environment in the Context of Coworking Center Design

The article is devoted to identifying the features of the creative environment in the context of the specifics of the space of the coworking center and to determine the basic design principles and means of its creation. The concept of "creative space" in the context of the specifics of the design of the coworking center has been clarified and supplemented. In this study, the concept of creative environment is considered by us as a subject-spatial environment, in the process of development and creation of which the designer takes into account not only the specifics of the philosophy of self-realization, but also tools to meet this need in anthropocentric approach. The study found that modern coworking centers, thanks to unique design approaches, are positioned as a favorable creative environment for the work of the creative class in the context of the implementation of new creative ideas. It is proved that functionality, artistic image, providing the necessary conditions for efficiency, ease of use, safety and aesthetic pleasure from being in the space of the coworking center and interaction with objects is achieved only through a systematic approach to design, which takes into account functional and technological and social -cultural factors. It is determined that the creation of a creative environment of a coworking center by a designer is the result of complex design - joint technical, aesthetic and artistic activities, the main property of which is anthropocentrism, ie human orientation. Accordingly, in the design process, the designer proceeds solely from human needs (in this case during work) to avoid unwanted adaptation of visitors to the coworking center to the environment created by him.

Chinese Gretchen in Russian Literature: on the Genesis and Attribution of M. Shkapskaya’s Poetry Book Tsa-Tsa-Tsa

This article examines in detail Maria Shkapskayas poetry book Tsa-Tsa- Tsa (1923) and its handwritten genesis. It explains the role and significance of ancient Chinese poetry for this literary piece of work. The problem is to attribute the texts that make up the book and find out their translated or stylized basis. The general thesis is that all the poetic texts of the book are translations: the names of Tao-Yuan-Ming, Du Fu, and Bo-Juyi indicated by Shkapskaya in the manuscripts are reported. One of the texts in the book is attributed as the Sixth Poem from the Shi ju gu shi ( Nineteen Ancient Poems ). The removal of the names of Chinese authors (not only in the book published in 1923 but also in the manuscript of 1921) and the alignment of the thematic word series silk, crane, thousand, spring that organize the book into a single text indicate a tendency to blur the border of the own-alien text (even though the book was treated by the author as translation from the Chinese, in autobiographies and correspondence). This trend leads to the appearance of a central artistic image of the book (it is a feature of M. Shkapskayas poetic books). It is the image of a lonely, longing woman. The mention of the spinning wheel connects this image with the popular (especially in Western European literature) image of Gretchen. This way the poetry book Tsa-Tsa-Tsa goes beyond the narrowly translated work and reveals some features of chronologically later literary trends (such as postmodernism and metapoesis).