Poetyka wideoklipu muzycznego

Music video as a specific genre of audiovisual arts, deriving directly from tradition of film, television and music programs, became massive promotion and visual communication tool for artists at the turn of 70’s/80’s. Mentioned many times in articles about music videos, its dependence on other art fields, such as film, musical, theater arts, plastic arts etc., only strengthens us in belief that music video is an enormous hybrid form, being heir to aforementioned forms. At this intertextual base, music video has developed its own language. Cognizance and description of its components, understanding of connection rules and the essence of its individual elements is the main aim of this article. By pointing to coexistence and correlations of components such as rhythm, tempo, tone, editing etc., the text also emphasizes similarity of the music video language to the language of literature and other arts which use the same tools.

The Systematization and Preservation of Cultural Heritage of National Minorities in the Context of the Postmodern Philosophy

The article studies the Jewish cemetery which provides a significant amount of historical information about various aspects of the life of the Jewish community which have long been out of focus. The objective of the research lies in proving the relevance of marginal culturally significant objects in the context of postmodern philosophy, as well as explaining and analyzing the compositional ways and peculiarities of plastic images of the facades of the gravestones in Kremenets, one of the Volyn areas of the Jewish culture in the 18th century – the early 19th century. The article focuses on the most common method of studying the monuments of Jewish gravestone epigraphy. The methodology of the research is based on the regionalist approaches to the problem and the application of culturological, retrospective comparative-historical methods and the use of critical analysis. For the first time, the artistic and style peculiarities of the memorial plastic arts of Jewish cemetery in Kremenets are analysed and the historical factors that influenced them are explicated. It was proved that the historical and cultural value of the Jewish necropolis in Kremenets lies in its originality. The cemetery is one of the oldest in Europe and contains unique information on the history, customs and culture of the Jewish people. It can become a promising object of visit for postmodern consumers, interested in unpopular and marginal tourist artefacts.

FORMATION OF THE NEW HERO IMAGE IN RUSSIAN ART OF THE 1920’S AND 1930’S

The art of the Soviet era attracts more and more attention of researchers and the public year by year. The exhibitions held over the past decades in Russia and abroad, the published monographs dedicated to works of art of the era and particular artists, the international creative contacts in cultural field — all of that has introduced previously unknown works into art history studies, which has allowed to re-evaluate the objectives and tasks of the art of the period and the development of the artistic process in general. That is why it is of great interest to study the ways the plastic arts formed and developed in the 1920’s and 1930’s. The 1917 revolution in its foundations had not just a change in social and political reality, but also a change in the very essence of man. The new era demanded a new hero, shaped his appearance in its works. The soviet man, thought of as a new man, became a fundamentally new object of art. If the 1920’s became the time of the search in proletarian art and the flourishing of avant-gardism, then in the 1930’s the objective of art in building the lifeworld of a new man began to be understood much narrower and stricter, and this Man who perceives art began to be described as a “normal” (that is, average, “ordinary”) consumer of cultural tradition. The “New Man” in the plastic arts of the 1920’s and 1930’s was formed as the new hero of society; avant-garde artists sought his originality in the images of generalized and abstract aviators, peasants, women; artists of socialist realism began to form the images of “typical” heroes of the time (military men, athletes, rural workers, scientists) as new “Renaissance people”, equally ready for work and defense. At the same time, two main tendencies, two directions that correspond to the two tasks of socialist realism, clearly lie in the image of the “new” Soviet man: the depiction of reality (that is, the new Soviet man that really exists) and the depiction of the ideal (that is, the ideal man).

Public Sculpture and Social Practice in the Roman Republic

This chapter examines the production, function, and social use of public sculpture during the Roman Republic (509–27 bce). After an historical introduction, it focuses on the active interaction of plastic arts with the viewer and the different levels of meaning and understanding, surveying the types, subjects, and materials and the intent (honorary, commemorative, votive, funerary, or cult images) of republican sculpture. The state-regulated management of statues in public places—mainly honorary portraiture, which spread from the fourth century bce onward—is also discussed. Space is devoted to the viewing and reception of a portrait, which was a system of visual and material signs. Besides, statues “functioned” in a specific topographical setting. The chapter then discusses the urban scenography for statues along the triumphal route in Rome; the impact of the new Greece-oriented artistic tendencies in marble sculpture and acrolithic cult statues with respect to the conservative perception of the traditional terracotta plastic; and the ideological and religious meaning of the temple coroplastic art, which followed the spread of sacred buildings constructed both in Rome and in Italy.

INTERIOR DESIGN IN THE RESTORATION OF THE NATIONAL MUSEUM OF PLASTIC ARTS OF MOLDOVA

This paper presents a scientific analysis of interior design in the restoration process of the National Museum of Arts of Moldova. The interior design segment is historically researched through the genre of architecture, from the historical compartment of the XIX-XX century. In the same context, several works of various architects who designed important constructions in Kishinev are analyzed. The study highlights the role and responsibility of interior design in the process of restoration and capitalization of the national cultural heritage. It also analyzes the correspondence or synchronization of new implementations in design with the stylistic concept achieved in the historical period.

The Reality of Using Modern Technology in Teaching Plastic Arts as Perceived by Female Art Teachers in Oman

The purpose of this study was to explore the actual usage of modern technology in teaching plastic arts as perceived by school art teachers in Oman. The sample consisted of 108 Omani female teachers. In order to answer the study questions, the researchers used the descriptive approach. A questionnaire was developed consisting of 26 items divided into three subscales. The results of the study showed a moderate usage of modern technology by art teachers. The results also revealed some main obstacles related to the use of modern technology including the overloaded teaching tasks handled by these teachers and the lack of classrooms equipped to use modern technology in school. The results also showed that there were no statistically significant differences in the teachers’ usage of modern technology due to their academic qualification, years of experience, and the location of the school. Keywords: Usage of modern technology, plastic arts, Oman

The Reality of Developing Innovative Thinking Skills in The Plastic Arts Curriculum from Point of View of Third-Grade Primary Teachers: واقع تنمية مهارات التفكير الابتكاري في منهاج الفنون التشكيلية من وجهة نظر معلمات الصف الثالث الأساسي

The study aimed to identify the reality of developing innovative thinking skills in the plastic arts curriculum from the point of view of third-grade primary teachers in the Wilayat of Sohar, Sultanate of Oman. The study was based on the descriptive and analytical approach, and the study sample consisted of (30) teachers from public and private schools in the state of Sohar, who were chosen randomly during the second semester of the year 2020/2021 AD, and the study tool consisted of a questionnaire consisting of (15) items in three axes, namely: ( Originality, flexibility and fluency) and after making sure of the validity and stability of the tool, it was applied to the sample, The results of the study showed that the skill of originality and flexibility got an arithmetic average at the high level, and fluency obtained an arithmetic average at the intermediate level. The results also showed that there are no statistically significant differences at (0.05) attributable to the school classification variables (government - private) and the years of experience variable in the reality of developing innovative thinking in the plastic arts curriculum for third-grade primary teachers. In light of the results, the researcher recommended that female teachers of plastic arts be subjected to training courses and workshops in innovative thinking skills in the third primary grade. And the inclusion of innovative thinking skills in the artistic concepts, objectives, activities, evaluation and artistic works of the plastic arts curriculum from the early stages of the study; And adding electronic curricula and content in innovative thinking to the curricula of plastic arts for the third basic grade, and benefiting from the plastic arts classes in deducting a part of it in the work of workshops in the basics of drawing and coloring that help students to develop innovative thinking skills, enrich the curriculum with images of Omani heritage, and more broadly inculcate the values ​​of valid citizenship in the curricula. Fine Arts for the third year of primary school.

ARTIFICIAL LIGHT SOURCE AS A COMPONENT CONSTITUTING THE SCULPTURE

Light, which is the main source in which plastic arts produce meaning by processing it, indirectly takes place in all works of art with its different colors and tones throughout the history of art. With the use of new materials and techniques in art with the modern period, it is seen that the light itself, that is, the light source, is also included in art works as a medium. This situation allowed the artists to create brand new perceptions and effects. With the second half of the 20th century, the use of artificial light source in sculpture as an element belonging to the sculpture is encountered. Some of the artists selected as examples in this study were chosen in terms of being the first example in terms of the material they used, the way they used the light source and the diversity of the content they produced with these materials. Light, which is one of the primary conditions for perception in sculpture; In this study, the material forming the sculpture, such as transparency and reflection, is not based on its interaction with its structure, but as an element that forms a part or whole of the sculpture. It is aimed to show the effect of using artificial light source in sculpture on expression and perception through selected examples.

Claude Levi-Strauss and the myth Anamorphoses

The article intends to demonstrate that, when building his science, Claude Lévi-Strauss abandons the categories used by the traditional studies of the myth and creates singular epistemological tools, suggested by the music, by the natural science and by the plastic arts. These tools, which we can denominate aesthetic operators, light up, in exemplary way, the dissolution process that suffers the mythical matter when transforming in the time and in the space. When establishing that new form of thinking, the myth, that reconciles the sensitive experience with the intelligible, Lévi-Strauss proposes to overcome the permanent dichotomy between knowing archaic and modern, between magical and scientific thought, between magic and Science.

Content of the concept of “ethnic painting”: articulation of the problem

This article analyzes the concept of “ethnic painting”, Russian and Western sources on the topic, as well as controversial approaches towards its interpretation. It is established that the Russian science avoids using the concept of “ethnic painting” to ambiguity of its content. The most commonly concepts in sphere are “national art”, “ethnocultural manifestations”, “territorial-ethnic nature of painting”, “national peculiarities”, and “national distinctness of art schools”. In Western literature, the concept of “ethnic painting” is attributed to both, folk art and professional art. Parallel is drawn between the concept of “national culture” and “ethnic culture”. The research is based on the painting of Circassians (Adyghe) of Russia and Turkey. Using the methods of comparative studies, comparative typology and art analysis, the article explores the works of contemporary Circassian painters of Turkey and Russia, revealing the specificity and universal characteristics of their paintings. The works of professional artists, which meet certain characteristics, should be referred to as “ethnic painting”. The author describes the key attributes and functions of plastic arts that allow classifying it as the concept of “ethnic”: 1) figurative characteristics (visualization of mythological and epic heroes and plotlines, ritual and common culture); 2) translation of ethnic mental characteristics and values; 3) design of ethnic identity and solidarity by means of painting; 4) introduction the art of painting not only to the elite, but other social classes as well; 5) usage of public instruments for proliferation and popularization of painting through education and enlightenment; 6) comprehension of ethnic art as a crucial element of national art; 7) development of ethnic art through various contaminants (ethnocultural content and modernist form or technique; modern content in the traditional genre or form).