Inter-artistic theory of modernism: reflections on the book by Elena Korchova "Musical modernism as terra cognita"

The purpose of the article is to analyze the theoretical aspect of the concept of musical modernism O. Korchova, to identify debatable aspects important for the creation of the inter-artistic theory of modernism. Methodology: used historical, cultural, and comparative methods, with the involvement of philosophy and psychology. The scientific novelty of the study is that the musicological concept of modernism is compared with the literary, which proves the need to create an inter-artistic theory of modernism, necessary in the practice of stylistic analysis of modernist works. Conclusions. An important achievement of O. Korchova's research is the search for a "stylistic formula" of each composer of the epoch. The artist is looking not just for a consonant style or form, but for himself and his style. Individual style does not arise from simple combinations of borrowed. Styles of modernism conflict with each other, to combine them, to avoid eclecticism, you need to find a way and a reason to combine. The way to find your style is never purely artistic, it is always vital. Modernists, putting art in the first place in aesthetics, discovered the concept of life creation, which distinguishes the modernist from the artists of previous eras. Life-creation is a special way of an artist into art, movement simultaneously in two dimensions, external and internal, their constant coordination and gradual transformation of oneself, with life and works together, into a cultural phenomenon. And if this happened - then something unique was formed, unique, completely individual, and at the same time universal, something original and holistic, something that will become a value for contemporaries and descendants, that is, the author's style. Just as it is not easy for every artist to find his style, so it is not easy for a researcher to find a formula for this style. But without such a goal, the study of creativity will be historiographical, descriptive, and rhetorical. It is important for every scholar who studies specific texts of culture to understand the trends of the era and the psychology of the creative process, all the laws that unite.

Li Pittori Parlano con l’Opere: Visualizing Poetry in Practice in Early Modern Italian Art

The relative sophistication of artists in the early modern era is contested, especially with regards to their educational backgrounds. On one hand, Dempsey-esque intellectual history is vested in touting the structured, literary curricula in art-educational institutions; while on the other, a complete rejection of the “artist-philosopher” as historical fiction seeks to undermine this hegemonic construct. This study argues that the lack of early formal education in the cases of artist like Annibale Carracci and Nicolas Poussin, who, unlike Peter Paul Rubens, did not have a firm foundation in the classics and languages that would allow them to engage directly with source material, would later be supplemented through their relationships with literary figures in the circles of Torquato Tasso, Giambattista Marino, and the Accademia dei Gelati. In addition to such relationships, informal exchanges, gatherings, and supplemental materials like Giovanni Paolo Gallucci’s Della Simmetria could be called upon when treating poetic subjects. With intimate knowledge of vernacular poetry, literati themselves participating in lectures and studio visits, and, finally, quick reference guides for subject matter, these artists were able to produce works that spoke to both poetic and artistic theory of the day, as one naturally informed the other.

A Brief Discussion on the Construction of Artistic Theory Subject from the Perspective of Cultural Research

Through the past years of development, Chinese native art theories have formed a relatively stable discipline system. In the continuous development process of art, theories for cultural studies have become highly significant. As a matter of fact, since culturalstudies has not had a significant impact at present, itstill has a strong reference significance for the theoretical development of art theory. Combined with the author’s practical experience, it is mainly discussed in this study how to construct the theory of art from the perspective of cultural studies, so as to provide reference for all scholars and readers.

The transformation of methodological guidelines in a scientific research in the context of art education

The article examines the methodological guidelines in scientific research based on scientific reflection, their changes connected with the growth of science selfconsciousness and widening the forms of its reflection, the priority of axiological, anthropo and cultural centeredness in the educational and scientific environment, the transformation of the whole style of thinking based on the new paradigm of cognition, which is characterized by a general tendency for synthesis, interdisciplinarity, integrativeness, methodological pluralism. The new ideals of scientific knowledge as a combination of certain conceptual, value and methodological strategies, which form the basis of the new methodology of scientific knowledge acquisition in the context of artistic theory and practice are outlined.

Another Form of Blindness – a Symptom of an Artistic Viewpoint: Glossing the Work of Marcel Duchamp

Not blindness itself, but blindness as a symptom for an inner seeing and as a counterforce against a one-sided fixation on beauty and taste were the reasons why Marcel Duchamp from 1916 onwards was occupied with the theme of blindness. Two volumes of The Blind Man were displayed in 1917 on the exhibition of the Society of Independent Artists in New York. The second volume contained comments about the fact that Duchamp’s contribution of a Fountain, his now so famous ready-made Urinoir, signed “R. Mutt”, was rejected by the apparently jury-less committee. This means that the theme of blindness was expressed twice: no one could see the work and so his theoretical opposition against beauty and taste could not be illustrated by the Urinoir either. How Duchamp from then on also challenged the other senses, so as to avoid focusing only on the eyes, will be dealt with in this article as well. Arguments from the biography, philosophy, mythology, and iconography will be used to underpin the article’s main thesis. In this sense the question may be asked whether Duchamp was inspired in this group of his works by humorous etymological and literary references. In the end it will become clear that the theme of blindness in his work and artistic theory is highly paradoxical.