How to express inexpressibly complicated things in a simple way? In order to find the answer to this question, Art always comes up with the only solution, which means modifying its own expressional vocabulary, to alter and renew the language. As a rule, the reaction of the perceptive audience, rigidly philistine in the most cases, was stigma of the new art principles, its apologists and creators. In the 19th century, there was an opposing reciprocal reaction on the part of the artists, which manifested in the image of the unappreciated genius and his proclamation of the Art of future whereas sublimation of the genius phenomenon transformed from the concrete personality into abstract principles. They are often expressed in the characters’ names, and even through the names of mythological Gods which seemed to be so symbolic and collective that the process of their complete transformation is hidden behind each of them. This process has already become common practice in art, for instance, as it was in Franz Liszt’s demonic imagery.
The current article says that transference and entrenchment of information in the space and time is possible due to the appearance of a written language. A text is characterized by the function of memory, because it is not only a generator of new meanings, but it is also a guide of cultural memory. A written language can store and accumulate reminiscences about preceding contexts. Speaking about reminiscences of a text we should note that a text becomes meaningful. Such meaningful text enters into relations with cultural tradition (or cultural remembrance), which is born in mind of addressees. Texts which store cultural activity include the ability to condense the information, formulated differently; the ability of storing historical and cultural remembrances appear in such texts. Hence texts, which are transferred from one generation to another through centuries, don’t lose the information. This paper is devoted to the principles of replication of cultural information. In culture this task is performed by units of cultural information – memes. Mutations of memes are presented as transformation formulae. The current article deals with aspects of preserving non-genetic data. The subject of analysis is formulae and clichés of the Anglo-Saxon Chronicle and the Bible. The development of linguistic formulae is under scrutiny. The main types of transformation of formulae and clichés are defined. Different variants of formulae are given; they are registered on the basis of the Bible. The author describes four main types of transformations of formulae phrases, which demonstrate development of relations in the culture. These four main types are: type “A” which is reframing of conventional formulae; type “Б” which is lexical substitution of a key-term; type “B” which is production of new combinations and forms with new semantic structure, type “Г” is a description with substitution of a lexeme in the context of a formula, which denotes different events. The author demonstrates that formulae deal with innovative descriptions which are characterized with more detalization. Consequently, growth of information is described.
This is the first attempt ever made when the author investigates the culture of bell-ringing in orthodox Greece. The purpose of the work is to define the features of this tradition. The article considers the following issues: the types of the Greek bell architectural constructions, their bell arsenal, national specifics of bell-ringing, and the characteristics of the orthodox bell ringing. The Greek tradition was developing under the strong influence of the Byzantine empire with its periods of blossom and decline and then Greece was invaded by crusaders (and later by the Turks) and those invasions resulted in the great influence of the Catholic church. These events defined its national peculiarity. Turning to the post-Byzantine region broadens the geography of research to the new to the Russian campanology direction. The facts which had been earlier unknown were collected by the author of the article in his expeditions to Greece. The publication of these facts is a contribution into the research database. In the long run it will help to trace the signs of influence of the Byzantium culture on the art of the Russian bell-ringing.
The work of Alan Garner (b. 1934), one of the most significant contemporary English writers, consistently ranks the local myth of the writer's birthplace, Alderley Edge in Cheshire East. The evolution of the plot development can be seen well in the trilogy that began in 1960 (translated into Russian novel "The Magic Stone Brezingamena" and "Moon on the eve Gomrata") and completed in 2012 (untranslated novel «Boneland»). The story follows the adventures of a brother and sister who settled on a farm Alderley Edge. At an early stage story is built like a fairy tale, with contrasting humanized space truss wild woods and the hollow hill. Borrowing characters, motifs and themes of the epic tales leads to fragmentation and imposition of functions of heroes guarding different places. Chief among them, the magician fron the traditional fairy tale, Cadellin works within the boundaries of the Arthurian myth, protecting the cave with a sleeping king, the role of guardians of other places assigned to other heroes. In searching for the future integrity the author refuses to use ready-made fairy tale and epic models. In the final part of the trilogy keeper of the place becomes an "ancestral character" whose existence lasts until there is a race. The leading method of constructing the plot becomes a parallelism of events that occur with the personifications of the ancestral hero. Writer refuses to opposite locales (humanized and wild, positive and negative, and so on) and eras (ancient and modern, old and new magic, etc.), fusing them together and saying peculiar to primeval consciousness syncretism of perception, the only correct view of the world. Ancestral hero, shaman, guardian and creator of the myth controls all habitats, making all living space cultured at its mythological development. Bearing structures of the local myth becomes a kind of continuity, mastering the same place over successive eras.
The author considers spatial forms of everyday culture of Siberian merchants. The aim of the article is to show the possibility of applying research tools of environmental approach in cultural studies. The article is based on the materials of investigations of the Russian urbanists, historians of architecture and design, art and cultural studies, as well as photographs, which preserved the image of Siberian trade arcades. The author analyzes the shopping passages in Siberia from the point of view of urban interior categories. Passages vertically stood out from the surrounding buildings of commercial organizations. They dominated other buildings in size and architectural design. The formation of the visual image of the passage as a special space contributed to the architecture of the building, and the angular accents of the main entrance, and substantive design of urban parterre. The interior method was used to create the atmosphere of homelike place. The size of the windows corresponded to the size of the flight of the building, that created the image of arcades. Different signs in the form of labels, names and emblems of small shops shaped the perception of a definite business establishment in its integrity. Thus, shopping arcades of Siberian merchants in the context of cultural studies are treated not just as a professional space, but also as an open space for buyers, their everyday interactions in the structure of everyday routine of the Siberian merchants, where there was space for a merchant city, merchant's house etc.
The article continues the earlier begun research in «Ideas and Ideals» (№ 19, 21, 23, 27). Now the author examines the aesthetic aspect of the function. The particularity of its study is to define the object of the transforming process, not the logic mechanism of action (like in other aspects). The object is music taste. Transforming of music taste implies the development of abilities to understand and to value the beauty in music. It is absolutely possible, Russian scientists have proved this thesis. Transforming goes either individually or with the help of more effective social means (enlightenment, education and mass media). The aesthetic aspect includes two subaspects – aesthetic (referring to music itself) and aesthetizing, which means “working” for the final purpose – to lead people to the world of Beauty through music taste development. Understanding of beauty in music morally transforms a man, who is perfecting the surrounding life. “Beauty will save the world” (Dostoyevsky). Aesthetizing subaspect is close to the ethical one – vectors of their functioning are parallel. Aesthetic subaspect represents the unity of means and purpose. The actions of two subaspects may be simultaneous and separate. In the final part of the article the author sums up the results of the research of the music transforming functions.
The XIX century is an era that gave birth to Genius not without a reason and praised him not without an intent. The article studies the phenomenon of Genius from the moment of formation and to the apotheosis point in Nietzsche’s works, he achieved in less than a hundred years.A starting point, is considered to be the aesthetic positions of Sturm and Drang era which signified artists’ interest to the human person and determined the difference of all 19-th century between ordinary people and chosen ones. The elite were seemed to be conducted by Christ’s prototype who was overestimated as a Genius living personification that is God’s and a person’s Oneness, or more precisely as a charismatic person. Finally, the Genius as the art creator and greatness as His representing point were “crowned” in Nietzsche’s philosophy, who raised up the Genius to the rank of a Superman. Christ’s prototype was rejected, God died and incarnated in the idea of a Superman. The Superman’s features which were endued by Nietzsche made Him just the idea which is incapable to exist in the real form of a specific person.
For this reason the Genius in Nietzsche’s philosophy transformed steadily into mythologem of his time.
Representatives of the Russian Neo-Eurasianism, trying to root this intellectual tradition, turned to the identification and analysis of the Eurasian motives in the Russian classical literature of XIX century. This research assumes the presence of the structural components in literary texts that correspond to the Eurasian vision of Russia as the "Middle World" in the East-West dichotomy. The author of the article, using the method of structural analysis, reveals the presence of such components in Nikolai Chernyshevsky novel "What Is to Be Done?" One of them is represented in the structural core of the novel in the form of clear anthropological oppositions using two narrative functions: appearance and character (temperament) of the heroes. Another component is Rakhmetov, one of the main characters of the novel. The author comes to the conclusion that Rakhmetov is the first image of a Eurasian in Russian literature. At the same time, the ideology of this image, imposed to the reader by the author, appears to be inconsistent with the art material used for its construction.This is due to the fact that Chernyshevsky himself was not a Eurasian, he was a typical Westerner, who believed that oriental components in Russian culture hinder the development of Russia and they have to be suppressed.
The main scope of this study is the metamorphosis of the set of objects into the set of symbols in fine arts and literature of Art Nouveau. This article overviews the use of artifacts in the literature of Art Nouveau, in particular, in critical essays and literary works by Oscar Wilde. The study intends to elucidate why the process of “sacralization” of beauty expressed in specific artifacts is reflected in the literature of Art Nouveau in the form of “aesthetic game.” The main objectives of this study are: to provide a brief background behind the emergence of “neomythological” aspirations in the culture of Art Nouveau, to show how the pursuit of aestheticizing life and turning it into art leads to destruction of traditional boundaries of the aesthetic space, since canons and rules of high creative art are being transferred to everyday objects, to identify the main principles of the “aesthetic game” in the literary texts of Art Nouveau, and to explain how the “destruction” of the artifact, that is, the transition from describing a real thing to the emblem-symbol which expands the semantic boundaries of artistic space, occurs in the literature of Art Nouveau. The article provides a brief overview of the aesthetic movement in England in the context of the general development of European “panaesteticism.” The author shows how the cult of beautiful things constitutes the basis of the worldview of Art Nouveau and results in the desire of writers and artists to endow everyday objects with aesthetic functions. The majority of the writers and artists, striving to rich “aesthetic autocracy,” created the space (of text, canvas, or real room), which was oversaturated with the description of beautiful things. Such space very quickly begins to be perceived as aestheticized banality. Objects of everyday life, perceived as the objects of art overwhelm not only the real space, but also the artistic space. Their ekphrasis becomes an important part of the literary text. The literature of Art Nouveau quickly came to exhaustion of the expressive capacities of such an ekphrasis which was based on the external quality of things. The example of J.-K. Huysmans can be a good illustration of this point. Oscar Wilde was one of the few writers of Art Nouveau who continued to provoke a continuous interest on the part of the following generations. Considering himself to be a disciple of Huysmans, Oscar Wilde also gave great importance to describing things, but at the same time he insisted on the fundamental importance of the symbolic (secret, profound) meaning, inherent in things. This is why the ekphrasis of Oscar Wilde does not lose its literary relevance, since in addition to aesthetic autocracy it is saturated with the interplay of various meanings of the thing, extending and deepening the artistic space of the text.
The article studies cultural processes of immense complexity at the turn of the millennium on the example of academic musical practice. In Western philosophy this period is specifically described as 'a farewell to the era of New time'. The author emphasizes the dominant character of shocks and losses in modern culture and scarceness of positive, creative tendencies. In artwork it has resulted into open rejection of the foregoing tradition, at the basis of which there is an understanding of discrepancy between the traditional conceptual and technical framework and the demands of the modern age. In the article the author attempts to single out, describe and evaluate a positive vector of searches in the sphere of musical art, confronting powerfully destructive tendencies of the era. It is shown that this vector appears at the intersection of mythological and reflective impulses of modern cultural self-consciousness. The author shows how close it is towards the phenomenon of 'non-classical rationalism' (M. Mamardashvili's term) and, basing on the concept of 'new mythologem', analyses the process of formation of adequate tools in art. Finally, on the example of different genre layers (symphony and 'new ritual') the non-classical patterns of the newest academic music are demonstrated. The article defines the essence of the 'new mythologem' as a special testing of classical rationalism by a new myth giving a new aesthetic result. The variants of its artistic repetition unfold in different genre conditions. Kancheli's Symphony No. 4 is a mythopoetic allegorical novel containing genetic memory of classical drama-symphony in its 'intonational consciousness'. A different algorithm of mythologem connected to the author's understanding of a ritual element is formed in the scores of the 'new ritual' dramas. As a result, two modes of mixing modernization and archaization become apparent; they are: archaic modern (symphony) and modern archaics ('new ritual').