WAR POETICS IN TS - ZH. ZHIMBIEV'S NOVEL "THE YEAR OF THE FIERY SNAKE"

В статье рассматриваются этнопоэтические истоки сюжетостроения в прозе Бурятии 2 - й половины 20 века. В основу обзора положен анализ романа «Год огненной змеи» Ц. - Ж. Жимбиева. Выявляются особенности использования символов и понятий этнопоэтики в названии произведения, сюжетной структуре романа и художественный опыт самого писателя в осмыслении начала Великой Отечественной войны, совпавшей по восточному календарю - литэ с годом огненной змеи. Автором статьи смысловое наполнение образа змеи, в мифологии монголоязычных народов выступающей символом врага, опасности, рассматривается в связи и противопоставлении с понятиями «война» как пожирающий огонь (пожар) и «враг» как змея, от которого страдает «народ». На основе анализа сюжетно - композиционной структуры романа доказывается, что чередованием глав «День» и «Ночь» Ц. - Ж. Жимбиев актуализирует смысловую логику понятия «война» как противоестественное состояние жизни, когда всё меняется местами: день становится мрачным и беспросветным проявлением темного, а ночь позволяет уйти от дневного мрака будней в сказочно - загадочное со звездами и небом. Обоснован вывод о том, что соединение реального и мифологического придает сюжету романа особую художественную полноту и национальный колорит, способствует усилению трагического смысла событий года «змеи», раскрывает характеры, моральные качества литературных героев. The article deals with the ethnopoetic origins of plot - building in prose of Buryatia of the second half of the twentieth century. The review is based on the analysis of Ts-Zh. Zhimbiev's novel "The Year of the Fiery Snake". It identifies the features of the use of symbols and concepts of ethnopoetics in the title, the plot structure of the novel and artistic experience of the writer in understanding the beginning of the Great Patriotic war, which, according to the Chinese calendar, coincided with the year of the fiery snake. The meaning of the snake's image, which in the mythology of Mongolian - speaking peoples serving as a symbol of an enemy, danger, is considered by the author of the article in connection and opposition with concepts "war" like a consuming flame (fire) and "enemy" like a snake that oppresses "the people" Based on the analysis of the plot - compositional structure of the novel, it is proved that alternating chapters "Day" and "Night" Ts-Zh. Zhimbiev actualizes the semantic logic of the concept "war" as an unnatural state of life, when everything swaps over: the day becomes a dark and gloomy expression of darkness, and the night allows you to escape from dark daily routine into a fabulous mystery with the stars in the sky. The conclusion is proved that the conjunction of real and mythological essence gives the plot of the novel special artistic completeness and national character, enhances sense of tragic events of the year of the "snake', and reveals literary heroes' tempers and moral qualities.

WAR POETICS IN TS - ZH. ZHIMBIEV'S NOVEL "THE YEAR OF THE FIERY SNAKE"

В статье рассматриваются этнопоэтические истоки сюжетостроения в прозе Бурятии 2 - й половины 20 века. В основу обзора положен анализ романа «Год огненной змеи» Ц. - Ж. Жимбиева. Выявляются особенности использования символов и понятий этнопоэтики в названии произведения, сюжетной структуре романа и художественный опыт самого писателя в осмыслении начала Великой Отечественной войны, совпавшей по восточному календарю - литэ с годом огненной змеи. Автором статьи смысловое наполнение образа змеи, в мифологии монголоязычных народов выступающей символом врага, опасности, рассматривается в связи и противопоставлении с понятиями «война» как пожирающий огонь (пожар) и «враг» как змея, от которого страдает «народ». На основе анализа сюжетно - композиционной структуры романа доказывается, что чередованием глав «День» и «Ночь» Ц. - Ж. Жимбиев актуализирует смысловую логику понятия «война» как противоестественное состояние жизни, когда всё меняется местами: день становится мрачным и беспросветным проявлением темного, а ночь позволяет уйти от дневного мрака будней в сказочно - загадочное со звездами и небом. Обоснован вывод о том, что соединение реального и мифологического придает сюжету романа особую художественную полноту и национальный колорит, способствует усилению трагического смысла событий года «змеи», раскрывает характеры, моральные качества литературных героев. The article deals with the ethnopoetic origins of plot - building in prose of Buryatia of the second half of the twentieth century. The review is based on the analysis of Ts-Zh. Zhimbiev's novel "The Year of the Fiery Snake". It identifies the features of the use of symbols and concepts of ethnopoetics in the title, the plot structure of the novel and artistic experience of the writer in understanding the beginning of the Great Patriotic war, which, according to the Chinese calendar, coincided with the year of the fiery snake. The meaning of the snake's image, which in the mythology of Mongolian - speaking peoples serving as a symbol of an enemy, danger, is considered by the author of the article in connection and opposition with concepts "war" like a consuming flame (fire) and "enemy" like a snake that oppresses "the people" Based on the analysis of the plot - compositional structure of the novel, it is proved that alternating chapters "Day" and "Night" Ts-Zh. Zhimbiev actualizes the semantic logic of the concept "war" as an unnatural state of life, when everything swaps over: the day becomes a dark and gloomy expression of darkness, and the night allows you to escape from dark daily routine into a fabulous mystery with the stars in the sky. The conclusion is proved that the conjunction of real and mythological essence gives the plot of the novel special artistic completeness and national character, enhances sense of tragic events of the year of the "snake', and reveals literary heroes' tempers and moral qualities.

Zarys ewolucji kultury popularnej tworzonej przez muzułmanów w wybranych krajach Zachodu. Od „Le thé au harem d’Archi Ahmed” po „Madina Oh na na!”

Muslims have been living in Western countries for several generations, and since the mid 1980s they have been creating their own culture, which is a syncretism of Western trends with their cultural and religious background of Muslim countries. Different forms of artistic expression are used to define or strengthen the creator’s religious identity in the Western public space. Simultaneously, Western Muslim spectators create new forms of religiosity, based on consumerism and artistic experience.

Search for Harmony in the Works of Multimedia Artist Mariia Kulykivska and Photographer Mark Neville

The article examines the concept of “harmony” as a state of contradictions and its role in modern art, particularly, in actionism, as well as the theories of the inner “man” and “self”. The works of artists Mariia Kulykivska and Mark Neville, who form a creative format of modern Ukraine, are studied. It is analyzed how “the art of action”, despite its somewhat revolutionary and pretentious nature, can embody the unity of opposites. It is argued the phenomenon of modern art is precisely in harmony that creates “higher” values and generates a positive assessment of reality, suppressing its flaws and problems. The author concludes actionism has completely integrated with its multifaceted form into Ukrainian sociocultural space, and therefore it gradually frees itself from outdated stereotypes and formalized approaches, adapting to the best examples of world artistic experience.

Cultural and artistic education strategies

The relevance of this study is conditioned by the dual standards of institutionalisation of artistic and educational practices, must meet the principles of creating cultural objects as material products of high culture and aesthetic level, but, at the same time, must meet the requirements of the time, standards and educational tendencies of its time. Thus, a conflict of artistic vision and the standards of accumulated artistic experience is formed, which must be resolved in a process of dialogue and permanent collaboration of the two practices: educational and artistic. The purpose of this article is to investigate the basic vectors of the institutionalisation of educational and artistic practices, identifying priority ways of institutionalising both practices and the space for their interaction in scientific research. The main scientific methods for researching the topic are the basic general scientific theoretical methods of analysis, synthesis, induction, deduction, comparative to deduce the main regularities and characteristic features in the processes of institutionalisation of artistic practices, as well as systematisation and classification methods to form the structure of the main educational artistic strategies based on common and unique features.

Where to draw the line?

We often take people’s ability to understand and produce line drawings for granted. But where should we draw lines, and why? We address psychological principles that underlie efficient representations of complex information in line drawings. First, 58 participants with varying degree of artistic experience produced multiple drawings of a small set of scenes by tracing contours on a digital tablet. Second, 37 independent observers ranked the drawings by how representative they are of the original photograph. Matching contours between drawings of the same scene revealed that the most consistently drawn contours tend to be drawn earlier. We generated half-images with the most- versus least-consistently drawn contours and asked 25 observers categorize the quickly presented scenes. Observers performed significantly better for the most compared to the least consistent half-images. The most consistently drawn contours were more likely to depict occlusion boundaries, whereas the least consistently drawn contours frequently depicted surface normals.

About Artistry in Art

The phenomenon of artistry is investigated as a special expressive quality that manifests itself in different types and genres of art. The author comprehends the variations of the artistic principle as the most important ontological component of art, generating “meaning over meaning”, bringing a new dimension to the artistic content. The subject of the analysis is a variety of aesthetic profiles of artistry: from the dominance of virtuosity, playfulness, maestria, improvisation to the ability to paradoxically remove the antinomic tension of the elements of the art form. The value of the momentary artistic experience is studied simultaneously with the discovery of the facets of the inner, hidden artistry of the work. The peculiarities of the manifestation of artistry are investigated not only in ways of artistic expressiveness, but also in special forms of life creation.

Bunin's Plots in "Another Life" by Yuri Trifonov

The article deals with the influence of Bunin's works on a novel by Trifonov "Another Life" («Другая жизнь»). In addition to direct and implicit reminiscences from verse and prose by Bunin, the plot of the story "Cold Autumn" («Холодная осень») is especially significant to the novel. The poem "What a cold Autumn!" («Какая холодная осень!») by Fet is a kind of a mediator between the two works, the first two lines of which are quoted in both writings by Bunin and Trifonov. The story and the novel correlated in terms of their theme, plot, composition and characters, are conceptually close in understanding the problem of "a person's private life and history". The correlation of the heroes' fates with epoch-making events taking place in these texts, as well as other concordances, bring us to the conclusion that the inclusion of Bunin's works supports Trifonov's concept of the world and the person – the uniqueness of individual human existence in the context of History. The writer, who like his hero Sergei Troitsky overcomes the formally ideological understanding of history, is attracted by Bunin's artistic experience of comprehension of memory, love, and nature metaphysics.