Ideas and Ideals

The work examines the contemporary art scene of Novosibirsk from 2009-2019. In the first part of the article we carry out a sociological analysis of the artistic life of the city and highlight such features as: the prevalence of self-organized forms of art presentation over institutional forms, non-publicity and “diffusivity” of a significant part of art practices. We also analyse the influence of these factors on the perception of art and discuss what kinds of methodological challenges they provoke. Further we give a brief overview of some significant exhibitions of the past decade (such as “Siberian Underground. 20 Years Later”, “Repetition of the Untrodden” etc.), examine artistic circles of the city and their transformation from 1990 to our time, discuss principles of their formation and the nature of interactions among them. We also propose a schematic representation of the artistic circles under consideration, their interactions and attractions from a historical point of view. The second part of the article examines the aesthetic features of contemporary art in Novosibirsk from 2009-2019. The transition from the art of the 00s and early 10s to the art of younger generations of the late 10s is characterized by a change in the emotional tonality: from vitality and expressivity to fragile and melancholic sensitivity, from political irony and grotesque to ethical complexity and vulnerability. When considering art of individual artists of the specified period we outline two possible ways of their analysis based on the allocation of a common motive: neo-expressionist and post-conceptual. The first of these is united by the motive of “toys” as a way of working with corporeality and doubleness (for example, in the works of Konstantin Skotnikov, the Cosmonauts art group, Denis Efremov, Alexei Grishchenko, Mayana Nasybullova, etc.). The post-conceptual line is presented through the works of such artists as: Alexander Limarev, Mikhail Karlov, the BERTOLLO art group, Irca Solza. Here we propose a unifying motive of “a game” as a dichotomy of rule systems and their failure that is viewed as an opportunity to conceive another world. In the conclusion of the article, we suggest that such an integrated approach to the analysis of regional art of the last decade is promising.

The article applies K. Geertz scientific approach of ‘detailed description’ to a modern urban wedding. The work is based on materials of field research into the marriage practices among young Perm families. The research techniques included semi-formal interviews and case-studies of 26 persons (13 families) during the period 2016-2020. These qualitative methods were necessary to get information about an important life event: from the first meeting a future partner to the wedding ceremony. Such methods helped identify cultural bases for the bride and groom’s practices. The paper provides a detailed interpretation of only one case, consisting of several narrative sections. Every narrative is a personal view of the participant at the wedding ceremony. The narrative “wedding as a drama” shows a woman’s interpretation of the celebration. The bride’s story has some negative connotations. The bride expresses rejection of the wedding procedure and some of its attributes. The narrative “wedding as a holiday” represents the man’s view. The groom’s comments contain mostly positive connotations. His story highlights the status elements of the celebration. He stresses his family’s contribution to the wedding ceremony. Analyzing both narratives, an additional aspect of the topic was explored: “wedding as a parents’ project”. It shows the older generation’s role in the organization of the wedding. In addition, the paper describes some stories which are repeated in the narratives, including various forms of objectification, gender roles in the young family, and shifting of social roles.

This study is devoted to outlining the influence of Platonism on Orthodox theology.

Platonism, understood in a broad sense, is traditionally associated with Orthodox theology, but this connection itself remains not described sufficiently, which creates a number of difficulties. The last is represented by a scientific tendency to build historical and philosophical concepts, which do not correspond to facts, but also create such perspectives that lead to further misconceptions. This includes the idea that Platonism is more expressed in Eastern theology, and Aristotelianism in Western (or vice versa), the idea of theological disputes as conflicts of philosophical traditions, etc.

The influence of the Platonic tradition was expressed in the works of many famous authors, for example, Origen, Evagrius Ponticus and Pseudo-Dionysius, but this fact still did not receive proper analysis in the scientific community. So, although all these authors adopted some of platonic conceptions - they were condemned by the Orthodox Church, then their concepts were adopted and modernized, and only then they were written in Orthodox theology. Platonism is definitely connected with Orthodox theology, but primarily because of the philosophical language and in lesser degree due to Platonic concepts.

In Russian religious thought Platonism is becoming more and more popular thanks to Soloviev’s sophiology and German idealism, however, this philosophical and theological conceptions were condemned by Russian orthodox councils, remaining mostly in writings of individual philosophers and researchers.

Thus, we believe that reference to “Christian Platonism” in order to explain the whole system of orthodox theology is unjustified. But, on the other hand, philosophical and theological systems (such as, for example, the philosophy of S. N. Bulgakov or Gaius Marius Victorinus) may well have this name.

The article considers the controversy between philosopher V.S. Solovyov and Antony (Khrapovitsky) on the relationship between the Kingdom of Heaven and temporal kingdoms, i.e. about the relationship between the church and the state. The study touches upon certain biographical moments – the circumstances of the acquaintance and the first meeting of Solovyov and Antony, as well as the history of their personal communication. The article analyzes in detail Antony’s criticism of the book “Russia and the Universal Church”, written in French, which was banned in Russia, examines the dispute between the philosopher and the future church hierarch about the nature of the church, about the essence of Christian love, true Christianity, the essence of papist teaching and the truth and untruth of Catholicism.

The research methodology involves a comprehensive historical and philosophical analysis of sources. In order to analyze the basic concepts discussed in polemics (“church”, “state”, “love”, etc.), to trace the ideas of thinkers, it is necessary to see the integrity of their worldview and views, and for this to carry out a certain synthesis based on the corpus of works, as well as public letters and personal correspondence of the authors. At the same time, philosophical and categorical analysis is required to clarify the discussed ideas and concepts. In addition, the research involved the methods of historical and philosophical reconstruction, comparative analysis, systematization of conclusions and results, as well as historical and biographical analysis.

As a result of the study, the author examines personal relationships between Solovyov and Antony, which remained respectful and friendly, despite the worldview and ideological differences, as well as the controversy of the philosopher and the hieromonk about the Kingdom of God and the temporal kingdoms, about common good and personal salvation. Solovyov’s theocratic project, which presupposes the transformation of the Christian state into a universal church, was unacceptable to Anthony, who believed that church and state should be separated in order to avoid the redemption of the church. If Solovyov is convinced that individual salvation is impossible without concern for the common good, that salvation is carried out in the collective organism of mankind, Antony comes to the conclusion that for a Christian concern for his own soul is primary, and the common good by itself grows around the righteous

Abstract

The subject of the article is the text-mentative and its functioning in the Russian literature of the XX-XXI centuries. The concept of ‘mentative’ (which appeared in linguistics since the beginning of the XXI century by analogy with ‘narrative’) means a text with a mental reference, dialogically responding to the word and thought of the other. In linguistics, there is a typology of communicative strategies of the mentative in relation to the speech of the other. There are 8 strategies, they are equal logically, but unequal in dialogical and, consequently, heuristic relations.

In Russian fiction, the text-mentative was established in the middle of the XIX century. That was due to the beginning of the stage of convergence of the artistic and non-artistic word in Russian literary evolution. The novel “War and Peace” by L. Tolstoy, containing multiple mentative fragments and entire chapters, became a clear sign of the mentative appearance in fiction. The stage of convergence of the artistic and non-artistic word continued until the end of the XX century, and all this time the specific weight and importance of the mentative in Russian fiction were steadily increasing.

The article shows functioning of the mentative in the ideologically and artistically most important works of Russian literature of the mid – late XX century. These are novels by B. Pasternak “Doctor Zhivago”, A. Bitov “Pushkin’s House”, V. Pelevin “Generation ‘P’”, A. Chudakov “The Mist Falls on the Old Steps”, texts by A. Solzhenitsyn, V. Rasputin, V. Makanin. In all these works, the mentative allows us to formulate the key thoughts for the self-consciousness of the XX century Russian literature: morality, truth, the meaning of life and the danger of consumerism. In the XXI century, in the works by M. Kucherskaya, E. Chizhova, E. Vodolazkin, the mentative also occupies a large place, appearing in ideologically important fragments of works.

As a result of the above, it is concluded that the role of the mentative in Russian literature of the XX century was steadily increasing. The authors of the article suppose that we witness starting of the stage of mental thematization of writing in the Russian literary evolution in the XXI century.

The knightly ideal of N.A. Berdyaev is one of the major components of his creativity: “the spirit of chivalry” is a unique alternative to “the spirit of the bourgeois”, to “world philistinism” and total, self-sufficing, godless statehood. Berdyaev believes in the great historic mission of Russia – to become a connecting link between the East and the West, to unite two streams of world history. The First World War adds an urgency to these themes. The Russian thinker interprets this war as an epoch of great tests, hopes that it will lead to spiritual awakening of Russia, will give courage and nobleness to the Russian people, provide the Russian person with attributes of the knight. Berdyaev is convinced of the necessity of qualitative changes of Russian national consciousness and being. War as a phenomenon of a spiritual order shows that only spiritual power can eradicate violence in the world. According to the well-known concept of “the new Middle Ages”, the barbarity of war overcomes bourgeois decadence and opens the potential of the humane person; war expands culture horizons, opens new resources. Russia needs people of dignity and honour, people who realize the greatness of divine power. Russian society should join the world civilization; internally accept Christian revelations about humanity. Berdyaev confirms that the idea of knightly service is anticipated in Christian morality, it’s crucially important for the history of personal formation. The precondition of success of the historic world mission of Russia is the liberation of the ‘Russian soul’ from domination of womanly, natural, potentially chaotic elements. The problem of choosing between the East and the West, declares Berdyaev, defines the fate of Russia. Russian national consciousness should accept the cultural heritage of the West imminently. Only focusing on the self-forged knightly courage and responsible creative personality will allow Russia to change spiritually, and successfully solve problems on a global historical scale.

In connection with the growing manifestations of the systemic crisis of civilization – ideological, ecological and socio-economic, there is an urgent need for a holistic spiritual and psychophysical picture of the world, called ‘the plot-game’ by the author. The author investigates the concept of ‘causality’ within the frame of this paradigm, and then shows the expediency of generalizing it to the concept of ‘plot coherence’, which opens up new possibilities for applying the plot-game methodology. The methodology and methodology of the research are based on the categorical apparatus of the story-game paradigm, the main feature of which, the novelty, is the proposal to add a third parameter to the space-time model of the world – the individual, who at each moment perceives the first two aspects – space and time – in his own way as a certain plot. Thus, the art-historical concepts of plot, scenario and game are generalized to the level of ideological universals and at the same time natural-scientific terms – ‘cross-cutting’ units of Being.

It is shown that we see each object under study as a participant in the flow of story cycles, and its essence is the roles that it ‘played’, can play and will play in them, and which are reflected in its genetic and acquired scenarios. The plot stream of events is formed as the resultant of the attempts of all its participants to implement their own behavior scenarios, generated mainly automatically with the help of programs for processing all incoming information, which are formed from the moment of birth in each individual. On the basis of the story-game paradigm, the concept of causality is expanded to plot coherence, and it can be applied both in natural science and in the humanities. In the proposed model of communal reality, the rigid opposition of science and art is removed, since both there and here, as in ordinary life, we not only learn, discover, and observe something ‘from the outside’, but continuously reproduce, create the world and ourselves in it, regardless of our awareness of this fact; and the story-game picture of the Universe and its corresponding approach make it possible to realize the dependence of the ‘world plot’ on our ‘scenarios’ and games, to feel the responsibility for the future in each of our steps.

The article considers the problem of correlation of aesthetic form and social content in contemporary poetry through the prism of contemporary poetry criticism, in particular, the New Lyric Studies of 2008 (M. Perloff, Y. Prins, R. Terada, V. Jackson, etc.). A representation of the lyrics as a genre of poetry, in which historically structured subjectivism and identity of author are interrelated with poetic writing, is at the center of the New Lyric Studies. In this context the lyrics is relative and volatile but also is the closest genre to the poetic nature, that allows to merge an autonomous entity of poetry with ‘agendas’ in the poem, which were difficult to connect in either too formal or too contextual critical approaches to the poetry in the 20th century. This became possible in the conditions of New Lyric critics speaking up against a substitution of poetry and literary criticism for historical, anthropological and cultural criticism because of the high popularity of cultural studies in the 1990s and the ensuing incorporation of interdisciplinarity in literary studies. Despite the objective of New Lyric critics to revitalize a theoretical study of poetry in the spirit of academic criticism of the New Criticism, the modifications in the methods for producing, existence and broadcasting of poetry and therefore in poetry of the last 50 years, poetry itself prevented the New Lyric from becoming the regressive movement. Some representatives of the New Lyric Studies subsequently expressed the need to study poetry in terms of new historical poetics and to create different methods capable to analyze the relations between culture and poetic form – between the social and the aesthetic.

Having considered advantages and limitations of the New Lyric studies in the context of contemporary poetry discourse, reflecting not only the nature of contemporary criticism, but also perhaps the history of poetry criticism of 20-21th centuries, which is the dynamical coexistence and the mutual succession of different movements, the author draws a conclusion that this movement defines the right vector for the reconciliation of the long-standing struggle of formalism and contextualism in the poetry criticism as well as social and aesthetic components which poetic work includes.

The article considers the erotic genre of traditional Chinese art, chun gong hua (‘spring palace paintings’), which was developed in painting. The study uses comparative - historical, cultural and historical methods, as well as methods of systematization, analysis and synthesis. The author traces the formation and evolution of the genre, reveals its specific features. The paper analyzes the system of artistic images of the works of chun gong hua, reveals that they are based on the ideas of Taoism, which are visualized through painting, which made it possible to reveal a second, meaningful plan of paintings filled with metaphors and allegories. Particular attention is paid to the characterization of expressive means, specific techniques and visual techniques of the genre.

The study shows that due to the richness of images, artistic and expressive means and techniques, juxtaposition of the conditional and the real, double transformation of nature, the first impression of seemingly pornographic images of naked bodies and erotic scenes is subdued. The high artistry of the ‘spring palace paintings’ allows us to attribute them to the unique works of Chinese traditional art.

The article is devoted to the analysis of the functioning of metamodernism in the field of Russian contemporary art. Researchers of metamodernism talk about the revival of historicity, depth and affect that were lost with the era of postmodernism. Metamodernism is characterized by oscillation, metaxis, new sincerity, neo-romantic sensuality, reconstruction, etc. In this paper, the author attempts to analyze markers of metamodernism in the visual arts using the example of the artist Vitaly Pushnitsky (St. Petersburg). The material for the study was a research interview with the artist V. Pushnitsky, as well as a semiotic and formal-stylistic analysis of his works (2015-2020). The author comes to the conclusion that through such markers of metamodernism as oscillation, reconstruction and appeal to new sincerity, the artist V. Pushnitsky seeks to show the reality in which the artist is at the stage of searching for new artistic means of expression. Along with this, through certain compositional and color features, V. Pushnitsky pays tribute to such artists as Pierre-August Renoir, Claude Monet, Leonardo da Vinci, Francis Bacon, as well as the Japanese poet I. Kosugi.