On the issue of the artistic integrity of Sergey Gorodetsky's cycle “Prison Songsˮ

This article is devoted to the characterisation of the main signs of integration, observed in “Prison Songsˮ by Sergey Gorodetsky, the presence of which testifies to the cyclical structure of the work. The work provides a detailed analysis of the core themes of the cycle, central motifs and images. The author points out that the leading role in the formation of the principle of textual construction of artistic unity is played by antithesis, through the use of which the development of the position of the lyrical hero is most clearly traced, which becomes identical with the position of the author himself. The article concludes that the poems that make up the structure of “Prison Songsˮ do reveal common artistic bonds that support the cyclical nature of the work, as well as maintain strong artistic ties with the entire structure of the collection “Unbound Freedomˮ. These include both a common title, a single lyrical hero, close to the very figure of the author, common motifs and images, and genre characteristics of individual poems of the cycle. In addition, conceptual meanings for understanding the work as a whole are born at their junctions rather than within individual poems, which makes it possible to get closer to comprehending the author's picture of the world, embodied by the poet in the text of the cycle.

Features of development of the violin art in the modern theatre

The foundation of the scientific basis for understanding the processes of development of modern violin art is relevant, since it allows discovering the foundations and results of transformations in the musical consciousness. The relevance of the study is determined by the decisive modifications that occur in the space of culture and affect the type of modern theatrical art. The purpose of this study is a comprehensive analysis of specific features of the violin art in the modern theatre. For this purpose, the following research methods were employed in this study: the method of analysis and the method of synthesis, induction and deduction, comparative historical and logical analysis, as well as the positions of scientific objectivity, systematisation in the study of works of violin art. The authors of the study analysed and summarised features of the development of the violin art in the modern theatre of the 21st century. The modern theatrical creativity with the use of violin art is considered from the standpoint of consistency, as a kind of artistic integrity, in which the manner of performance, repertoire, and the choice of the genre of performance play a certain role.

NEW READING OF THE PLAY “ABAY” (on the example of the state academic Kazakh music and drama theater named after K.Kuanyshbayev)

In the article was analyzed by the authors the staged performance of the tragedy of M.Auezov “Abay” from the repertoire of the state Academic Kazakh Music and Drama Theater named after K.Kuanyshbayev. It pays great attention to the value of Abai in the kazakh society and the importance of his work for each generation. The researchers, analyzing the stage and artistic solutions of the experienced director Alimbek Orazbekov, emphasize the search in acting games with convincing evidence. The article will focus on the most striking manifestations of the skills of Nurken Oteulov and Tlektes Meiramov in the role of Abai and the elder Abai. They comprehensively analyze the social realities of the time in which the poet lived, and contribute to the idea of a classic writer like Mukhtar Auezov. The authors did not ignore the fact that the theater team opened a new facet of the image of Abai, sought to prove his life position. Similarly, the games and statements of the creative ensemble are differentiated on the way to the artistic integrity of the performance.

About a B(r)and

In 1991, Nirvana’s Nevermind not only launched grunge and alternative rock into the mainstream but also helped launch the DGC imprint of Geffen Records. Following Nirvana singer/songwriter Kurt Cobain’s suicide in 1994, Nirvana’s recordings, and Cobain’s previously unreleased solo recordings, have continued to be a lucrative asset for Geffen and their corporate parent, Universal. They have regularly released and reissued Nirvana material, often with the promise of new songs and other bonuses. This chapter surveys Geffen/Universal’s strategies in packaging and marketing Nirvana, with a focus on the band’s posthumous releases. Geffen initially followed Cobain’s lead, striking a balance between underground credibility and mainstream promotion. However, Universal has increasingly lost that balance, raising questions about Nirvana’s and Cobain’s long-term marketability. This case study demonstrates the complex negotiation of industrial forces, legal concerns, fan demand, and artistic integrity involved in marketing a paradigm-shifting act.

Masters of None? How Cultural Workers Use Reframing to Achieve Legitimacy in Portfolio Careers

This article examines how cultural workers interpret and respond to reputational challenges they encounter when leading portfolio careers. Specifically, the portfolio career model involves the cultivation and signalling of adaptability through broad competencies and diverse portfolios comprised of boundary-spanning work. These practices conflict with standards of artistic legitimacy and highlight specialist-generalist tensions, since they can make workers appear to be ‘jacks of all trades, masters of none’ – unskilled, opportunistic dabblers, lacking expertise and artistic integrity. The article draws on 56 interviews with cultural producers working as filmmakers, fashion designers and musicians. Findings show how workers engage in ‘reframing’ to reinterpret the symbolic meanings attached to their behaviours and, in the process, carve out new positions and standards for legitimacy within their fields. Reframing is structured by field and labour market conditions, but also represents the possibility of change as a form of culture in action.

Transcribing Greece, Arranging France: Bourgault-Ducoudray’s Performances of Authenticity and Innovation

Louis-Albert Bourgault-Ducoudray (1840–1910), composer, folklorist, and long-time professor of music history at the Paris Conservatoire, dedicated intense energies to the propagation of ancient Greek modes as a modern resource for French composition. Instigated by his 1875 folk-song collection mission in Greece and Anatolia, Bourgault-Ducoudray’s attraction to Greek modes was bolstered by ideological commitments to Aryanism (nourished by his relationship and correspondence with philologist Émile Burnouf), and further reinforced by his observation of “Greek modes” in Russian and Breton folk song. This article examines how Bourgault-Ducoudray translated his quasi-philological analyses into an artistic agenda through techniques of transcription, arrangement, and composition. Beginning with a close reading of his important collection, Trente mélodies populaires de Grèce et d’Orient (1876), a continuity is established between his transcriptive and compositional practices, with particular attention paid to Bourgault-Ducoudray’s performances of authenticity through calibrated scientific and artistic rhetoric. I then turn to the reception of Bourgault-Ducoudray’s collection by two composers—Alfred Bruneau and Camille Saint-Saëns—who rearranged his Greek songs in different contexts. Treating the songs with remarkable plasticity, they appropriated Bourgault-Ducoudray’s authority to enhance representations of “oriental” and “ancient” worlds, negotiating a balance between scholarly research and artistic integrity. The article concludes by returning to Bourgault-Ducoudray’s work in the 1880s—a period during which the musical and ideological ambitions of his song arrangements were magnified to an operatic scale—culminating in a rereading of his Thamara (1891) in light of his ethnic nationalism.

“Volodymyr Vynnychenko’s Play The Law: The Principle of the Genre and Stylistic Complexity

The main character of Volodymyr Vynnychenko’s play entitled The Law, a young woman eager to have a child, programs her life the way she desires and solves a difficult life situation, as if she were acting as her own life’s stage director. The play is a chamber family play of five characters. However, Vynnychenko’s family collisions always have a global dimension. The play expresses concern about a totalitarian mindset that tends to achieve a higher goal without considering objective laws of nature and society. The genre of the chamber play and the tragic monumentality of the plot are peculiarly combined in the work allotting it with a sort of artistic integrity. A psychologically compelling story ultimately turns into an intellectual drama and reaches the verge of tragedy. A unity of generic and stylistic aspects is to emphasize the element of play, the use of the “theatre-in-the-theatre” method while the theatre is presented as a prerogative not only of art but also of life.

Author's position in the peasant cycle of poems by I.A. Kuratov

The monograph is a study of subjective forms of expression of the author's consciousness in the peasant cycle of poems by I.A. Kuratov. The peasant cycle of Kuratov's works is considered as an ideological and artistic integrity, characterized by the specificity of artistic depiction and subjec-tive organization. On the basis of a detailed analysis of the poems, the prevailing types of the lyrical subject are determined, the principles of creating an image of the people's world in the poetry of the first Komi poet are highlighted. The book is of interest to specialists in the field of philology. It is addressed to researchers of the literature of the peoples of the Russian Federation, graduate students, undergraduates and stu-dents.