Image of Kumgang Mountains (Geumgangsan) in Korean fine arts: tradition and modernity

В статье исследуются особенности корейской пейзажной живописи, развитие которой с начала XVIII века оказывается неразрывно связано со знаменитой горной цепью Корейского полуострова Кымгансан. Утвердившись как центральный образ в пейзажах «подлинного вида», горы Кымган со временем приобретают значение не только художественного феномена, но и знакового национального символа родной земли в корейском культурном сознании, оставаясь для художников воплощением естественных красот и сплетением разнообразной символики. Цель статьи — определить значимость образа гор Кымган в корейском изобразительном искусстве как выразителя национальной самобытности искусства Кореи и хранителя художественно-ценностных традиций. В статье изложен анализ произведений корейских художников с XVIII столетия и до наших дней. Исследуются произведения ряда современных северокорейских и южнокорейских художников, чьи работы, разные по стилю и технике исполнения, объединяет единство мировосприятия гор Кымган как духовного источника, репрезентируя стремление к этнической аутентичности, возрождение традиций и выражение патриотизма в современном искусстве Республики Корея и КНДР. Предлагается обзор тенденций в корейском изобразительном искусстве, где в данном образе проявился национальный подход, натурное видение природы родной страны и творческое переосмысление открытий великих корейских пейзажистов в контексте адаптации новых художественно-выразительных особенностей в рамках традиционной системы дальневосточной живописи тушью и творческих экспериментов с разнообразными техниками. В заключение делается вывод о важности художественного образа гор Кымган, который, утвердившись в корейском пейзаже в XVIII веке, стал прочной основой для развития корейской живописи современного периода, демонстрируя не только приверженность традициям, но и способность к новациям как в приобретении новых символических оттенков в его прочтении, так и в расширении творческих поисков для выражения его эстетического идеала в картине мира современности. The article examines the features of Korean landscape painting, the development of which since the beginning of the 18th century is inextricably linked with the famous mountain range of the Korean Peninsula Kumgangsan (Diamond Mountains). Having established itself as the central image in landscapes of “true appearance”, the Kumgang Mountains over time acquire the significance of not only an artistic phenomenon, but also an iconic national symbol of the native land in the Korean cultural consciousness, remaining for artists the embodiment of natural beauties and the interweaving of various symbols. The purpose of the article is to determine the significance of the image of the Kumgang Mountains in Korean fine art of past and present eras, as an exponent of the national identity of Korean art and a keeper of artistic value traditions. The main objective of the article is to study the image of the Kumgang Mountains based on the analysis of the works of Korean artists from the 18th century to the present day, with the definition of its role and place in the contemporary fine arts of Korea. The article analyzes the works of a number of modern North Korean and South Korean artists, different in style and technique of execution, but similar in perception of the Kumgang mountains as a spiritual source, representing the desire for ethnic authenticity, the revival of traditions and the expression of patriotism in contemporary art of the Republic of Korea and the DPRK. The article provides an overview of trends in Korean painting, where this image manifests a national approach, a natural vision of the native country and a creative rethinking of the discoveries of the great Korean landscape painters in the context of adapting new artistic and expressive features within the traditional system of Far Eastern ink painting and creative experiments with various techniques. It is concluded that the artistic image of the Kumgang mountains is important as it has established itself in the Korean landscape in the 18th century, and become a solid foundation for the development of Korean painting in the modern period, demonstrating not only adherence to traditions, but also the ability to innovate, both in acquiring new symbolic shades, and expanding artistic and expressive means to display its aesthetic ideal in the picture of the world of our time.

Olena Haleta, Joanna the Wife of Chuza by Lesya Ukrainka as a New Model of Communication in Modern Ukrainian Literature [Joanna, żona Chuzy Lesi Ukrainki jako nowy model komunikacji w modernistycznej literaturze ukraińskiej]re

This article examines the drama Joanna the Wife of Chuza (1909) by Lesya Ukrainka, who is one of the defining figures in the history of modern Ukrainian literature. This work is considered an example of creating a new communicative model, introducing the poetics of an open work in the Ukrainian literature and establishing a new relationship between writer and audience. The incompleteness of the central image of this work, and therefore of the corresponding behavioral model and worldview, leads to the absence of a plot ending which would be the final solution to the conflict. In this way, Ukrainka establishes a new reading practice, not limited to experiencing the ‘life world’ of the author’s work. As reference to the history of thetext shows, it corresponds to the author’s conscious instruction, with which the composition of the work agrees: the events take place in a special period of time, when the previous story has already ended and the new one has not yet begun (after the crucifixion of Christ, but not after the resurrection). At the same time, the spatial organization of the work emphasizes the position of readers, turning them from interested witnesses to active searchers. The example of Joanna is all the more telling because it undermines the hegemony of the novel in twentieth-century literature and draws attention to literary forms that correspond to a particular literary situation, especially that of ‘submerged population groups’ (Frank O’Connor). The change introduced by Lesya Ukrainka at the level of a separate work is also a change within the genre as a way of communicating between an author and a reader; it is also a change in the very notion of literature as a certain type of aesthetic experience and as a culturally established way of cognitive and rhetorical response to a certain type of situation.

“Harvest” by Denis Tretyakov: modeling the image of the world through historical, metaphysical and receptive transcendence

The author turns to the synthetic (intermediate) analysis of the musical composition Harvest by Denis Tretyakov. Two interpretative and semantic layers of the song text are identified and analyzed. The socio-historical (external) level of the text is realized through a decipherable event-plot code. The second (internal) level of the text is much more implicit, since it correlates with its metaphysical semiotic component. It is here that the key to an adequate interpretation is hidden. The song Harvest is connected with the ode To Joy (Beethoven / Schiller) both musically / melodically and textually. Moreover, the correlation of different levels can be traced with individual texts of other authors, in turn, conceptually correlated with this work. These are primarily Gnostic apocrypha (The Apocrypha of Johan, The Walk of the Virgin in Torment), the involvement of which serves to a certain extent the correct analysis of the central image (Misha Gorlikov). He can be identified with both Michael the archangel and the fallen angel Samael, which allows us to speak about the ambivalence not only of the image itself, but also of the picture unfolded in the text, represented as a universal model of the world. There are at least two ways of receiving the ode To Joy by Denis Tretyakov: embodying the original idea and rethinking it. Both solutions receive voluminous, multi-valued implementations, although it is the second way (reinterpretation) that is obviously semantically representative and dynamic. Thanks to the original explication of the musical and verbal sides of the composition, a new author's concept is born, a new own text, at the same time understood as a kind of gesture of art / anti-art.

METHODS OF TARGET RECOGNITION BASED ON CENTRAL IMAGE CHORD TRANSFORMATION

In the article the analysis of different approaches to invariant target recognition was made, such as based on the support vector machines, deep learning techniques, neural networks, generation of moment features, etc. It was determined that one of the perspectives approaches in target recognition suppose the use of the central and logarithmic central image chords transformations. There have been described the new methods of the target recognition, based on the central image chords transformation. Tasks of target recognition were formulated. New 4 methods of target recognition were described. It is presented the comparison of the different target’s recognition methods regarding the processing stages number, realized operations, target’s image normalization’s operation, the operations realized in parallel, kind of the target’s scale and rotation determination sequence, target’s rotation determination approach.

An Analysis on The Chrysanthemums based on the Perspective of Archetypal Criticism

The Chrysanthemums is a short story written by John Steinbeck, a modern American writer. The short story reveals the heroine’s inner pain and spiritual pursuit by taking the chrysanthemums as a central image and clue. The paper aims to analyze the short story based on the perspective of archetypal criticism. It mainly includes three parts: the first one is about archetypes of images and characters, the second part is to analyze the archetype of motif, and the third part is about the archetype of narrative structure.

“IMPATIENT MAN” RASKOLNIKOV AND MYSTERIOUS RUSSIA (ABOUT LITURGICS OF “CRIME AND PUNISHMENT” BY F.M. DOSTOEVSKY)

The article regards “Crime and Punishment” from the perspective of temple-related poetics which encompasses a universal pattern of both dogmatic and mystic Orthodox teaching about the Universe. It has enabled us to trace the connection between the novel itself and the Orthodox church service. Liturgics of the novel reveals itself through poetization of church services and sacraments. Among the sacraments mentioned above Confession and the Blessed Sacrament reflected in the Marmeladov’s storyline are of symbolic nature. Christ proves to be the most mysterious central image of the novel. Dostoevsky reproduces the Evangelic Image of Christ through the liturgic “listening” of the paroemia about the resurrection of Lazarus. The image of the priest which penetrates through the whole novel is associated with the iconography of the image of Christ. Liturgics of “Crime and Punishment” is supported by numerous evangelic images, in particular by the analogy of coffin-like room of Raskolnikov with shelters of the possessed, with the poetics of the New Testament related names and objects. The image of the Orthodox Church with its gleaming dome (the Church Raskolnikov is trying to sever all ties with) is regarded as a substantial image of particular relevance associated with the “Crime” of the novel. Exacerbation of the “spiritual impatient man” fades away in the Divine love which is reflected in love of his family and dear ones, in liturgic support of Christian symbols up to Epilogue (the most repeated symbols include images of cross, icon, grave candle, pray), motives of the sign of the cross, his mother’s blessing, cheerful acceptance of other’s person guilt. The studying of “Crime of Punishment” in the context of temple-related poetics has allowed us to define trans-historic nature of liturgic storylines. A striking point in this case could be “zaraisky storyline” which is connected with the colourman Mikolay, a native of Ryazan who reproduces the image of the Cup as Unity in Christ and as self-giving love. “Zaraisky storyline” connects “Crime and Punishment” with tragic events of the 13th century, with the cycle of stories about Nicola Zaraisky which tell about the invasion of Batu Khan and about the destruction of natives of Ryazan for the sake of faith as a reflection of the national ideal. Liturgucs of “Crime and Punishment” is strengthened by the hidden autobiographic storyline which turns the first of the Dostoevsky’s five novels into the novel-penitence.

STRUCTURAL AND SEMANTIC ASPECTS OF METAPHOR IN THE POETIC DISCOURSE OF PETRO SOROKA

The article investigates the metaphorical space of poems collection «Frankincense of Autumn» by Ternopil artist, writer and literary critic Petro Soroka. The research subject is structural and semantic aspects of metaphorical constructions. The aim of the article is to determine structural and semantic features of metaphors in Petro Soroka’s poetic discourse. To achieve this, the author defines and specifies semantic and stylistic types of poetic metaphors; identifies image units structural features in the writer’s work. The analysis is based on descriptive method (selection and systematization of relevant material, observation of linguistic facts, their interpretation and generalization), semantic and stylistic method, contextual-interpretive method and also quantitative technique (to establish a frequency of different groups of metaphors). The study of Petro Soroka’s poetic discourse demonstrates complexity of associations that underlay individual authorial metaphors, and functioning of complex, extended metaphorical structures with authorial intellectualism. Poems present all of the semantic and stylistic types of metaphors. However, the factual material analysis indicates rareness of objectifiment and synesthetic metaphors. 87% of all metaphors are personifications, among which the most frequent are anthropomethaphors (79 %). Other personifications are zoometaphors (7 %), botanometaphors (13.5 %) and chimerometaphors (approximately 0.5 %). High number of anthropometaphors is caused by a person as a central image in Petro Soroka’s artistic world and focusing on feelings, emotions, experiences and inner state in general. Other lexical and phraseological features in the artist’s language world demand further research.

Madonna in flower garlands in Flemish painting of the XVII century

The subject of this research is Flemish painting the XVII century in the spiritual and cultural context of the Counter-Reformation, which created remarkable decorative and religious images to counter the iconoclastic trends of the Reformation movement. The object of this research is Flemish paintings of the Baroque Period of the XVII century with flower garlands edging the central image of Madonna. Special attention is given to the variety of iconographic patterns of the image of Virgin Mary framed in a flower garland, which was widely popular in painting of the Baroque period. Some artists use the pattern of “painting in a painting”; others imitate sculpture, the color of which accentuates the brightness of garlands. The article employs iconographic, iconological, and artistic methods, as well as stylistic analysis. The scientific novelty consists in proving the fact that Virgin Mary appears in painting not only as an individual image, but in paintings of flower garlands as well. The acquired results demonstrate that in the XVII centuries, the artists used different iconographic patterns for creating the image of Virgin Mary. The masters were able to combine different types of flowers, reaching the harmony of floral motifs and balancing them with the image of Madonna. The artists demonstrated the beauty of flower garlands by adding different living creatures in their paintings, such as birds and animals, to make them look more colorful, peaceful and vibrant. Thanks to these works, the image of Madonna remained extremely revered in the XVII century.

Literary Arrangement of Folklore Plots into the Language of Fiction: The Poem by G. Tukay «SU Anasy» through the Prism of the Folklore and Mythological Basis of the Work

The article is the first attempt to determine the peculiarities of the perception of folklore and mythological plots, with the image of Su Anasy in the center, by Tatar fiction. The relevance and significance of the present research is determined by the lacunarity of this scientific topic in the modern Turkology research. The investigation reflected in this article is based on the use of comparative, systemic, functional and genetic methods, as well as the reconstruction method. The use of these methods is determined by the desire to present a comprehensive analysis of the multifactorial influence of the folklore and mythological specifics of the Su Anasy image on its plot, ideological, ethical and aesthetic adaptation to the field of fiction, that is the aim of the present work. In the course of the analysis, it was established that the central image of the poem of Tatar classic G. Tukay is a kind of quintessence of the traditional worldview of the Tatar ethnos, accumulating the most archaic, basic epistemological and axiological constants. The revealed fact of the dialogue between folklore and imaginative literature, forms an ethnically marked consonance between the two varieties of verbal creativity, and we can claim that this very statement explains the fact that several generations of literary scholars assess the Gabdulla Tukay’s «Su Anasy» as a truly folk work.