ARTISTIC FEATURES OF CHALCHIK CHUNIZHEKOV'S PROSE WORKS

В статье анализируется прозаическое наследие Чалчика Анчиновича Чунижекова, одного из ярких представителей соцреалистической литературы Горного Алтая. Выдвигается гипотеза о том, что профессия журналиста наложила своеобразный отпечаток на творчество писателя - в его очерках присутствуют имена реальных людей, называются факты, цифры, что позволяет говорить о документальной основе прозы Ч. А. Чунижекова. Основное внимание в работе уделено автобиографической повести «Мундузак», ставшей своеобразной рефлексией писателя на факты его собственной биографии. Главный герой повести, с одной стороны, близкий автору, с другой - типичный представитель поколения новой интеллигенции, рожденной советской властью. Доказано, что произведения писателя - это художественное отражение исторической эпохи с опорой на факты, события, истории реальных людей, в том числе и на собственную биографию. The articl analyzes the prosaic heritage of Chalchik Anchinovich Chunizhekov, one of the brilliant representatives of socialist realist literature of Gorny Altai. It is hypothesized that the profession of a journalist left a peculiar imprint on the writer's work, influencing the fact that the basis of his prose is essays, which contain names of real people, facts, figures, which allows us to talk about the documentary basis of his prose. The main attention is paid to autobiographical story "Munduzak" which became a kind of reflection of the writer on the facts of his own biography. The main character of the story, on the one hand, is close to the author, on the other - a typical representative of the generation of new intelligentsia, born by the Soviet government. It is proved that the writer's works are an artistic reflection of a historical epoch based on facts, events and stories of real people, including the writer's own biography.

ARTISTIC FEATURES OF CHALCHIK CHUNIZHEKOV'S PROSE WORKS

В статье анализируется прозаическое наследие Чалчика Анчиновича Чунижекова, одного из ярких представителей соцреалистической литературы Горного Алтая. Выдвигается гипотеза о том, что профессия журналиста наложила своеобразный отпечаток на творчество писателя - в его очерках присутствуют имена реальных людей, называются факты, цифры, что позволяет говорить о документальной основе прозы Ч. А. Чунижекова. Основное внимание в работе уделено автобиографической повести «Мундузак», ставшей своеобразной рефлексией писателя на факты его собственной биографии. Главный герой повести, с одной стороны, близкий автору, с другой - типичный представитель поколения новой интеллигенции, рожденной советской властью. Доказано, что произведения писателя - это художественное отражение исторической эпохи с опорой на факты, события, истории реальных людей, в том числе и на собственную биографию. The articl analyzes the prosaic heritage of Chalchik Anchinovich Chunizhekov, one of the brilliant representatives of socialist realist literature of Gorny Altai. It is hypothesized that the profession of a journalist left a peculiar imprint on the writer's work, influencing the fact that the basis of his prose is essays, which contain names of real people, facts, figures, which allows us to talk about the documentary basis of his prose. The main attention is paid to autobiographical story "Munduzak" which became a kind of reflection of the writer on the facts of his own biography. The main character of the story, on the one hand, is close to the author, on the other - a typical representative of the generation of new intelligentsia, born by the Soviet government. It is proved that the writer's works are an artistic reflection of a historical epoch based on facts, events and stories of real people, including the writer's own biography.

Rebranding of Ukrainian Art Museums: Design as a Cultural Strategy

The purpose of the article is to identify the features of branding campaigns of Ukrainian art museums and their impact on increasing the popularity of museum institutions; and finding out the effectiveness of design approaches in such campaigns. Research methods are based on the application of comparative, formal-stylistic, iconological analysis and deconstruction method. The novelty of the research is to analyze the branding campaigns of art museums in order to learn from their experience and effective design solutions. The article also reveals the problem of integration of the viewer into the museum environment and the attempt through design to go beyond the imposed stereotypes, to overcome the attitude to art as a field alien to the average viewer. Conclusions. As a result of the analysis of branding campaigns of iconic Ukrainian art museums we come to the conclusion about their efficiency both for separate establishments, and for all culture in general. Comparative analysis of different approaches has shown the importance of identifying the uniqueness of institutions and attempts to reflect it in the design of identity. And although today we can talk about the belated transformation of the museum environment in Ukraine, which has been shedding boring socialist-realist cloaks almost three decades after the restoration of independence, it is important to note that this process coincides with the global trend of renewal of world museums. Design is becoming a cultural strategy that aims more than changing the image: it must turn the museum into a subjective player in the cultural field, able to think not in terms of power but in terms of culture. Therefore, the rebranding of the country’s iconic art museums can be called without exaggeration one of the most important cultural achievements since the restoration of independence. This process also demonstrated the current demand for design as a cultural strategy that can establish visual bridges between art professionals and potential viewers, as well as change cultural codes, set trends and thus influence the change of image of the city and country.

Theatre Criticism in Lithuania in the [Late] Soviet Era: From Ideological to Aesthetic Guidelines

The article analyses the institution of Lithuanian theatre criticism in the Soviet period and its connection with the ideological requirements of the time. The resolutions of the Communist Party during the Stalinist and post-Stalinist periods, theatre repertoire, reviews, and the concept of social realism in the theatre are also discussed. The 1946–1948 resolutions of the Central Committee of the Communist Party of the Soviet Union that regulated the development of culture and art, as well as the doctrine of socialist realism influenced both the practice of theatre and its critics. In the 1950s and 1960s, theatre criticism became a tool of ideology and propaganda, to such an extent that it ‘itself created a socialist realist text’. It is also important that during this period, the names of interwar critics disappeared from the press; critics were represented by party functionaries, party-owned directors, actors, and writers. The ‘return’ of criticism is related with the Thaw period and a new generation of both theatre creators and critics. It can be said that the independence and autonomy of criticism started taking shape in the late 1960s, especially with the performances of director Jonas Jurašas. Writing about the Jurašas’s productions, directed between 1967 and 1972, critics came to reflect on the nature of theatre, theatrical creation or creative freedom, and the disguised and false reality. The discourse of criticism not only freed itself from previously obligatory normative criteria and depersonalised style, but also started representing the subjective gaze of the critic, who not only tried to cover the aesthetic/artistic whole of the performance, but also to establish direct contact with both creators and readers, to capture and convey the impact of the performance on the viewers of their time. In summary, despite external (censorship) and internal (self-censorship) circumstances, the discourse of theatrical criticism changed only at the end of the 1960s, and began to approach artistic discourse: the ideological criteria for understanding and evaluating a performance theatrical production were replaced by artistic and aesthetic ones.

The song genre in the work of Ukrainian composers of the first half of the ХХth century: through the prism of folklore, kitsch, and hit

The purpose of the article is to consider the development of the genre of the song of the first half of the twentieth century. The methodology of the research is based on the historical and cultural and artistic methods of studying the genre of the song. The scientific novelty is to consider the genre of the song at different stages of its development (from folklore, amateur level, Kitsch, Biedermeier to a mass song, samples of socialist realist kitsch, pop culture, hits, etc.). Conclusion. The genre of songs during the first half of the twentieth century became one of the binding links of the "low" and "high" culture and due to its availability and easier perception, with frequent use of techniques and methods of Kitch, which later fallen the basis of pop culture, enabled the birth of such a The phenomenon as a hide, separate samples of which became a "classic", are popular today, taking their niche in the treasury of national musical culture.

A Slap in the Face of Socialist Taste: The Novel "Nikolai Nikolaevich" by Yuz Aleshkovsky As a Contestation of the Rules of Socialist Realism

Yuz Aleshkovsky wrote the novel „Nikolai Nikolaevich” in the 1970s. For a long time, the work was disseminated in samizdat and it appeared in print for the first time only in 1980. Composed under the censorship conditions of socialist realism dominant in the arts, this work violates strict taboos imposed on subjects related to sexuality and stylistic solutions which exclude sub-normative vocabulary. In many aspects, the composition of the novel resembles the pattern of the production novel. At the same time, the writer negate the values propagated in the art of socialist realism: the main character is a former pickpocket, who built a comfortable life for himself as a sperm donor in a laboratory and talks about his professional achievements in a language saturated with profanity and elements of criminal jargon. The plot of the work is based on an amalgamation of components characteristic of ideologized literary texts with elements that were unacceptable in such texts. The introduction into the novel of the theme of corporality, and human sexuality, which was a taboo topic in socialist realist literature, introduces a major dissonance and induces produces a comic effect.

„Die Moskauer Sonne scheint überall“. Die sowjetische Hauptstandt als Raum der Utopie in Das neue Moskau (1938) und Die Schweinepflegerin und der Hirt (1941)

Basing on Aleksandr Medvedkin’s New Moscow and Ivan Pyryev’s The Swineherd and the Shepherd, this case study analyses the way the “new” Moscow was represented as a space of realised utopia in the Soviet socialist realist films of the 1930s and at the beginning of the 1940s. Functioning as a supranational centre of the Soviet “affirmative action empire” (Terry Martin), the cinematographic Moscow casts off all constraints of ‘Russianness’ in order to become a pan-Soviet model which, both in its architecture and semantics, could epitomize the perfect city and the perfect state. The comparative analysis of both films demonstrates that, although both directors show Moscow through the lens of the so-called “spaces of celebration” (Mikhail Ryklin), ‘their’ Soviet capital does not compensate for the “traumas of the early phases of enforced urbanization”, as Ryklin supposed. Rather, it operates as a transformation machine whose impact pertains only to periphery and can be effective once the representatives of this periphery have left Moscow. The complex inclusion and exclusion mechanisms resulting from this logic turn the idealised Soviet capital into a space which only the guests from peripheral regions can perceive as utopian. The ensuing suppression ofthe inner perspectives on ‘utopian’ Moscow is interpreted here as a manifestation of the “cinematicunconscious”, which accounts for the anxieties of the inhabitants of the capital concerning both Stalinist terror and their own hegemony in a society haunted by the purges.

TECHNOLOGICAL UTOPIA AND ARTIFICIAL INTELLIGENCE: REPRESENTATION IN THE LITERATURE OF THE EARLY 21st CENTURY (BASED ON THE LIBRETTO OF THE ELECTRONIC OPERA “2032: THE LEGEND OF THE UNFULFILLED FUTURE” BY V. ARGONOV)

Problem statement. Scientific and technological progress associated with the ubiquitous spread of automation and development of the Internet entailed a transformation in the methods of production and perception of information, which outlined new ethical problems associated with technology and artificial intelligence, represented in fiction.Thus, the purpose of this article lies in identifying the elements of the phenomenon of techno-utopia in literature (based on the libretto of the electronic opera by V. Argonov “2032: The Legend of the Unfulfilled Future”), in determining the place of artificial intelligence in it, as well as in consider-ing options for resolving ethical issues related to this issue.Methodology (materials and methods). The paper demonstrates both traditional literary research methods (literary hermeneutics, analysis of mythopoetics) and philosophical methods (the author relies on the philosophy of technology, the philosophy of transhumanism).Research results. The results of the study are the identification of the genetic connection between techno-utopia and the Soviet utopian project, based, among other things, on Gnosticism, as well as identification of the central place of artificial intelligence in the artistic world of the emerging tech-nological utopia.Conclusions. Reading the text at the profane and religious-mystical levels provides a key to un-derstanding one of the vectors of development of socialist realist literature as utopian. It reveals how Soviet mythology is being transformed, for example, the myth of a large Stalinist family, the image of a leader on the basis of post-Soviet culture.As a result of the interdisciplinary complex analysis of the text, it can be concluded that there is a contradiction between the ideology of the new techno-utopia and the postulates of socialist realism.

Artist of «troubled silence.» Mykola Bezdilny

The purpose of the article is to highlight the peculiarities of the paintings of the amateur artist of the period of socialist realism Mykola Bezdilny and to draw parallels with the professional art of the 1970s and 1980s. Methodology. Methods of systematization, art analysis, historical and comparative methods are applied. The scientific novelty is to identify the influence of centralized creative structures of the second half of the twentieth century for the self-realization of artists who acquired creative skills in their own way. In particular, the figure of the artist Mykola Bezdilny was chosen for the analysis as a bright representative of the amateur Ternopil region, who showed the ability to admire not only different genres and types of fine arts but also constantly analyze other interpretations of the painting, "try", "move" in technical and philosophical and aesthetic terms. The obtained results are important for further research of the problems of amateur and amateur fine arts in Ukraine. Conclusions. It is determined that M. Bezdilny, as a bright representative of socialist-realist amateur art, reached a high level of painting due to systematic work and interaction with professional painting. It focused on the true essence of the work, its depth, the transfer of harmony of nature, rather than the external beauty of the picture. Against the background of features that are characteristic of the work of many amateur artists and amateurs revealed a clear tendency of M. Bezdilny to his favorite plot, composition, constant change of sound of paint, attempts at impressionistic dynamic brushstroke, and complex color.

Pro-Regime Posters in the Democratic Republic of Afghanistan

The article discusses three Afghan posters as a source of information on the political system between 1978 and 1992 and its internal dynamics. The posters are an integral part of Afghan visual culture and at the same time they are an inseparable element of the broader propaganda culture developed by communist parties. Consequently, such categories as unity, utility and wishful thinking characteristic for the socialist realist art and propaganda put the posters in the broadly understood phenomenon of Orwellian newspeak. To discuss their Orwellian dimension theoretical tools developed by Umberto Eco have been applied.