Artist Nikolay Simonovsky: a new image of St. Petersburg

Статья посвящена творчеству петербургского художника Н.Л. Симоновского, произведения которого находятся в известных государственных и частных собраниях. В основе методологии лежит комплексный подход: сочетание методов искусствоведения — иконологии, иконографии, герменевтики и формально-стилистического анализа. В центре внимания — рассмотрение петербургского урбанистического пейзажа в творчестве художника. Выявляется расширение образной характеристики петербургского пейзажа, где органично соединены противоположные начала, поэтическое и приземленно-бытовое. Таким образом, отмечается основное художественное завоевание Симоновского: продолжение и развитие темы поэтизации непоэтичного на примере пейзажного жанра. The article is devoted to the work of the St. Petersburg artist Nikolay L. Simonovsky, whose works are in well-known public and private collections. The methodology is based on an integrated approach: a combination of methods of art history: iconology, iconography, hermeneutics and formal stylistic analysis. The focus is on examining the urban landscape of St. Petersburg in the artist's work. The expansion of the figurative characteristics of the Petersburg landscape is revealed, where opposite principles, poetic and mundane, are organically combined. Thus, the main artistic achievement of Simonovsky is noted: he poetizes the unethical in paintings in the landscape genre.

AESTHETIC VALUES AND ITS IMPLICATIONS IN MODERN AMERICAN POTTERY

Aesthetic values have grown in light of the innovations and changes taking place in society that can be captured from the outside world, because they are textile creation composed of formal relationships that have produced shapes of aesthetic value. Therefore, it is necessary to realize the most important characteristics of the whole and the part in the context of designing the ceramic figure to highlight its aesthetic value, as it gave the artist a vision inspired by the creations of nature and was thus able to transfer the inner or latent knowledge in the core of artistic activity to the circle of consciousness and feeling, as it relates to the production of meaning and the regularity of lines and colors, as well On the nature of the physical environment that has the ability to achieve constructive relationships in the process of perception such as harmony, dominance, unity and diversity, an attempt to invest in visual art through the illusions that the sculptural work leaves on the eyes of the recipient through his perceptual system, and it is a result of the issue of the dialectical relations between objective vision and self-vision and their visual effects that arise Through the organization and the intermarried lines in the artistic achievement, the first chapter also reviewed a number of terms mentioned in the title of the research, and the second chapter dealt with two topics: the first was the aesthetic value, the concept and the meaning, while the second research concerned visual art and its role in contemporary American ceramics and concluded the theoretical framework by extracting indicators from it, and studies The precedent and its discussion, to be used in drafting the paragraphs of the research tool (the form of analysis of the Samples). The third chapter deals with the research procedures, as the current research follows the approach (descriptive - analytical), in which the research community was defined, "30" works of art were selected and "3" works were selected, where 4areas were identified for analysis to reveal the aesthetic value in the ceramic work. As for the contemporary, the fourth chapter includes research results, conclusions, recommendations and proposals, then sources, appendices and English

INDEPENDENT ENSEMBLES AND NEW DIRECTIONS IN THEATRICAL ART OF BELARUS OFTHE 2010S

The paper briefly describes creative activity of Belarusian independent theatre ensembles in experimental genres of stage art in the 2010s. Range of creative quest of Belarusian theatre of the second decade of the 21st century embraces various genres and directions: social, documentary, inclusive theatre, interactive baby theatre, puppet show, etc. The author points out on creative approach of Belarusian independent theatre figures to understanding and adaptation of conceptual and artistic achievement of directors' and actors' experiences f the world theatre, that exclude its blind taking.

Illustration

Growing interest in book and publishing history and the mass digitization of Victorian periodicals and newspapers has given increasing scholarly significance to the study of book and magazine illustration. While some print forms in the 19th century, notably books aimed at children, comic and satirical magazines and serialized fiction, were heavily dependent on illustration for both their popularity and their formal characteristics, the graphic elements of books have been largely ascribed to a subsidiary role in which illustration reiterated text. More recent scholarship has recognized the complexities of illustrative elements beyond the decorative and become increasingly interested in the way in which images extend, elaborate, or reimagine the textual elements they accompany. In order to begin a more self-consciously analytical account of illustration, scholars have had to engage with two previously dominant traditions of approaching the topic. The first has derived largely from an immediate 19th-century recognition that, in spite of being produced by mechanical reprographic processes, often in huge numbers, illustrations might show considerable aesthetic ambition and artistic achievement. The establishment of a canon of “major” illustrative work that embodies a perception of the most artistically successful images has informed responses ever since. The study of illustration is still limited by the inherited double assumption that illustrations merely decorate texts or else form the less interesting and more commercial work of artists whose major achievements lie elsewhere. More recent work has challenged these assumptions by showing the complex and often highly self-conscious ways in which images reinterpret, restate, or even reinvent the printed words they accompany. The second established response to illustration has been more historical and sociological in its interests: how far does illustration form an accurate or historically significantly account of the society in which it was produced? Until the last twenty years or so there was a general belief that aspects of British history could be “illustrated” from graphic images through a largely unmediated reading of pictorial content. More recent cultural and social historians, however, have turned their attention to the intersection between traditional modes of historical understanding and the history of representation in order to show, sometimes in a highly theorized way, the complex social dynamics of printed images and the various ways in which illustration has been used to influence or construct social attitudes. This listing seeks to bring together entries on the mechanics of reprographic media with sources of information about its practitioners, and to suggest the ways in which recent scholarship is engaging with the key questions raised by previous commentators.

СОЛОСПІВИ ГЕОРГІЯ МІРЕЦЬКОГО ЗА ПОЕЗІЯМИ ОЛЕКСАНДРА БОГАЧУКА: ХУДОЖНІЙ АСПЕКТ

Розглянуто камерно-вокальну творчість волинського композитора ІІ пол. ХХ ст. Г. Мірецького за поезіями сучасника О. Богачука. Результатом співпраці митців є солоспіви «Засвіти мені в серці», «Мені приснилося», «Перечекай усі чекання», «Заспівай мені, мамо моя», «Спалена пісня». Проаналізовано вибрані солоспіви: «Засвіти мені в серці» («Відвертість») і «Перечекай усі чекання» («Надія») з циклу «Три романси на слова О. Богачука», а також пісню «Заспівай мені, мамо моя».Солоспів «Засвіти мені в серці» вирішений у пізньоромантичному лірико-патетичному дусі, монолог укладений у форму наскрізного розвитку. У творі «Перечекай усі чекання» поетичний текст інтерпретовано у вигляді елегії у куплетній формі, сповнену просвітленої мрії, тихої радості, впевненості у незворотності найсильнішого почуття – кохання. У пісні «Заспівай мені, мамо моя» змальовано любов до найріднішої людини, що проявляється у показі щирого, сильного почуття героя. Вказані твори осмислено як художній здобуток Волині ІІ пол. ХХ ст..Ключові слова: українська камерно-вокальна музика, солоспів, музична культура Волині, творчість Г. Мірецького, творчість О. Богачука. The chamber vocal work by Volyn composer of the second half of the ХХth century H. Miretskyi based on the poetry by contemporary O. Bohachuk is considered. The solo songs «Light in My Heart», «I Dreamed», «Wait for All Expectations», «Sing to Me My Mom», «The Burned Song» are became a result of the artists’s cooperation. The selected solos songs, namely, «Light in My Heart» («Honesty») and «Wait for All Expectations» («Hope») from the series «Three Romances by O. Bohachuk», as well as the song «Sing to Me, My Mom» are analysed in the article. In the course of the analysis it is established that the solo song «Light in My Heart» is solved in a late-romantic lyric-pathetic spirit, an agitated monologue concluded in the form of cross-development. The poetic text is interpreted in the form of an elegy in a couplet, filled with enlightened dreams, quiet joy, confidence in the irreversibility of the best and strongest feelings as a love in «Wait for All Expectations». The song «Sing to Me, My Mom» depicts the love to the most native person, it is manifested in the display of a genuine, strong hero’s feeling. These works are conceived as Volyn artistic achievement of the second half of the ХХth century, and their didactic features are indicated. Key words: Ukrainian chamber-vocal music, solo song, Volyn musical culture, creativity by H. Miretskyi, creativity by O. Bohachuk.

Erotical Signs in The Poetry of Ismail Kadare

The motive of love, not only Kadare's poetry, but generally throughout the contemporary Albanian and world poetry, is one of the fundamental, general and extremely universal motifs. Such a motive has also prompted the poet Kadare to write poems that propose the aesthetics of one of the most general motives of man - the motive of love. The first and the first love in the verses of Kadare is described and emerges as a part of human life and as such comes out of special dimensions. Kadare, being a good builder of a full and complete poetry, would say, even if his poetry, if we can say erotic, we have a remarkable use of such signs, although in general the poetry of love does not occupy any remarkable place in Kadare's poetry, naturally in comparison to the poetry of other motifs, though it is quite manifested. But, however, love in Kadare's poetry marks, among other things, a particular poetic word in general, and even in this regard, it is also a multiple pluralist expression, using words, expressions and figures unused by others, also giving different words and meanings, from everyday life, to various functions, marking high aesthetic and literary uplift, but also figurative. He is a good builder of various artistic figures, an innovator of creating new words and expressions, and a sublimant of the ideas he poses and realizes in his poetry. Although it is a whole set of signs that Kadare uses in his poems, which are motivated by the feeling of love, we will in this case stop the signs he uses most, as well as those signs which make a special significance for his poetry. On this occasion, we will dwell on the signs, coinciding with the poetry, which appears as a poem of love, and which in Kadare occupies a place, though not deserved, we would say, like love, moon, flower, bride , the heart, the lips, the eyes, the cheeks, the throat, the heart, the soul. There are also a number of other signs that reinforce and sublimate the poetic ideas of Kadare's love motifs, but we believe that these are the signs that strengthen our conviction of the artistic achievement of his poetry as well as those that make up innovation in Albanian poetry generally, whether in terms of poetry, or in terms of the breadth of poetic figuration. Key words: Poetry, Kadare, Love, Signs, Figure, Poet, Structure, Verse, Aspect, Erosion, Devotion, Sublimation, Heart, Eyes, Soul, Flower, Wax.

THE PORTRAIT OF THE AMERICAN WOMAN IN MARGARET MITCHELL'S NOVEL "GONE WITH THE WIND"

This theme, The Portrait of the American Woman in Margaret Mitchell's Novel " Gone With The Wind " is broad, challenging, interesting and among many contradictory to one another's point of view, at different social grounds , periods of time simply or merely of the fact that a female writer of this tremendous saga read mostly by women represents multi dimensional themes. It is an interweave of tradition, history , war, social classes, Reconstruction, transition and more. All these and many other themes written with a masterful disciplined imagination put in the longest novel in history. A masterpiece of 1037 pages published in 1939 and subsequently in the greatest and longest motion picture on screen. Piling up records and building it's own history and legends. The novel has sold in more than 25 million copies in at least 27 languages in thirty countries and in more than 185 editions according to the research conducted in 2004. These figures continue to increase, not to mention that the film is seen by more individuals than the total population of the USA. GWTW has grown and conflated into a phenomenon of American and later into a phenomenon of levels of basic appreciation after international popular culture. Thus criticism was attested at the levels of basic appreciation , often in the opposite poles of love and /or hate , the evaluation again in bipolar terms of praise and / or scorn. On the popular level the book was lauded and in the literary world it was defamed. Mitchell's novel " Gone With The Wind " was seen as important symbols of American culture forces. A serious biography in 1965 sparked reconsiderations simply by the assumption of Mitchell's importance as a writer. Other re- evaluations followed which asserted the literary quality of the work, notably in feminist terms. Attesting the qualities that critics wrote such as Michener who said: " The spiritual history of a region". Many other scholarly papers have been undertaken to attack it and completed to praise it. Because of the enormous popularity , readability , embodiment of the heroine woman character Scarlett O'Hara with many other women who saw themselves in those situations or experienced the same then or even nowadays. These multi themes to discuss about, issues primarily of women, the novel is defined as a woman's literary artistic achievement, seen through the eyes off a woman Scarlett herself and many other women characters. Is seen the distinction of the past and present of the old and new society. Mitchell herself says it is about courage and gumption to change as a necessity in order to survive war, reconstruction and transition. The search of survival by poor and nearly defeated young women who had no control or capacity to understand these tensions. Indeed this novel has become an icon of the US culture.

Coś więcej niż filozofia sztuki. Wokół Simmlowskich rozważań o Michale Aniele

More than philosophy of art. Simmel on MichelangeloGeorg Simmel’s interest in Michelangelo’s art is present in all stages of his academic carrier. He published only two works exclusively on this artist but his name frequently appears through Simmel’s lifework. In 1899 he published a short article on Buonarroti’s poetry and in 1910 a longer piece appeared where Simmel interpreted his artistic achievement as a philosopher of culture. A year later Simmel published The Concept and Tragedy of Culture where his earlier remarks on Michelangelo are included in the context of art’s autonomy and the relation between art, ethics and modernity. Max Weber and Ernst Cassirer argued against Simmel’s allegedly emphatic and aesthetic conception of culture.

Di Yunge

Di yunge is a group of American Symbolist Yiddish writers and critics that achieved prominence during the first two decades of the twentieth century and remained active through the mid-century. The name of the group is Yiddish for ‘the young ones’, referencing not only the youth of its founding members but also the sense of newness and dramatic change that they intended to bring to Yiddish literature of the period. The group was made up largely of Eastern European immigrants to the United States who had experienced the failed Russian Revolution of 1905 and the pogroms that followed in its wake. These young writers arrived in America disillusioned with socialist and nationalist politics and instead sought out new forms of cultural expression that focused on artistic achievement in Yiddish rather than any political purpose. Taking European and Russian forms of Symbolism as models, Di yunge is the first movement in Yiddish literature to emphasize the importance of the aesthetic, focusing on the poetic potential of the everyday and on the inner life of the individual writer. Di yunge was comprised of several of the most important Yiddish writers of the twentieth century, including the poets Mani Leib, H. Leivick, Zishe Landau, I.J. Schwartz, Yoysef Rolnik, and Moyshe-Leyb Halpern and the prose writers David Ignatoff, Joseph Opatoshu, Isaac Raboy, and Lamed Shapiro. Members of Di yunge were among the first to infuse Yiddish literature with the forms and themes of international modernism.