Ideas and Ideals

The article examines the origins of the philosophical foundations of music in the artistic worldview systems of J. Xenakis and J. Cage, outstanding representatives of the Western musical avant-garde of the second half of the 20th century. Both authors started from a personal interpretation of the categories “nothing” and “non-existence”, leaving to being only the ontological status of “a specific something - a piece of music”. The unique interpretations of the substantial status of “nothing” and the process of “nothing” transitioning into something, as well as individual versions of the semantic system “nothing - creative personality - musical composition” are of interest for understanding the ways of forming creative initiative by each of the composers. Trying to synthesize their own artistic worldview on the basis of various philosophical teachings about nothingness, non-existence and existence, both composers proposed a radical rethinking of the creative process and new ways of justifying the existential status of a musical work, putting forward and defending new aesthetic ideals of musical art.

The article examines N. Leskov’s novel “Lady Macbeth of Mtsensk” and the setting based on it, performed by Peter Shereshevsky at the Novosibirsk State Academic Drama Theater “Red Torch”. The research methodology is based on a hermeneutical approach, as well as on comparative analysis techniques. As a result of the analysis, the naturalistic intention of the production was established, which required the genre form of the essay which the writer initially chose for his text. The resulting realistic nature of the work is also shown, correlating an impartial depiction of life with the obligatory horizon of the ideal. The psychology of the main Leskov’s character is interpreted as one of the manifestations of the Russian national character, when the human soul is engulfed by an all-consuming passion.

The article shows the author’s change in the staging by Semyon Sakseev of the original concept of the story, carried out by substituting the motivations of the main character. In Leskov’s novel, Katerina Izmailova succumbs to passion, pushing her to commit crimes, against the background of childlessness and the routine of a provincial existence. In Sakseev’s version, the heroine is presented as a limited modern limiter, whose main motive is the fear of returning to her hometown of Prokopyevsk. Russian realism is born out of love for the Russian province and the Russian character, which the writer has studied with conscientious attention. For Sakseev, provincial life causes a deliberate rejection, generating an ironic distance.

Such a change in motives affects the perception of the confl ict and creates the direction of staging. Since the psychology of Katerina Izmailova in Semyon Sakseev’s version is not so much investigated as constructed on the basis of the motive attributed to the heroine, the action of the production is transferred to the conditional modernity of the sleeping area. Peter Shereshevsky used a number of techniques inherent in his style of production which were borrowed from cinema, so that the stage action began to approach the nature of a reality show. The lack of full-fl edged psychologism provoked a weakness in the plot development of the staging, and the director replaced the denouement with a moralistic epilogue.

The advantage of staging is the desire to reproduce the language of the original source, which is an important element of Leskov’s poetics. But Leskov’s tale arose on the basis of careful observation of folk speech, which conveys the outlook and psychology of ordinary storytellers. For Sakseev, the elements of the tale perform only the role of stylization.

As a conclusion, the ineffectiveness of the postmodern approach to the stage interpretation of Russian classics is mentioned. In principle, this approach seems outdated, and in dealing with texts that create the basis of national identity, it leads to a displacement of important dominants of the viewer’s cultural outlook.

The article deals with the images of children in the Dutch family portrait of the XVII century. The infl uence of Protestantism was refl ected in the fact that in the Netherlands the family was considered to be the most important social institution, the basis of the state and the Church. Relationships within the family were to set an example of love, trust and mutual support. The task of the parents was to raise responsible citizens of the Republic and faithful Christians. The upbringing of the children was the responsibility of both parents: young children up to the age of seven were mostly with their mother; older children, especially boys, were under the greater educational supervision of their father. In family portraits, artists emphasized the hierarchical structure of the family, the distribution of duties between husband and wife, and also paid much attention to children, whose images were supposed to testify to their good upbringing. With the help of individual motifs with symbolic meaning, Dutch artists revealed the peculiarities of family relationships and pedagogical ideas underlying the system of child education based on Christian and humanistic texts. Child mortality was high in the seventeenth-century Netherlands: only half of all children born lived to the age of twenty-fi ve. The large number of family portraits, especially of young children, shows that parents rejoiced at the addition to the family, loved their children, and tried to keep their memory alive if the children passed away early. This is evidenced both by the large number of portraits of children under one year of age and the emergence of the genre of family portraits depicting deceased children. The article deals with the images of children in the Dutch family portrait of the XVII century. The infl uence of Protestantism was refl ected in the fact that in the Netherlands the family was considered to be the most important social institution, the basis of the state and the Church. Relationships within the family were to set an example of love, trust and mutual support. The task of the parents was to raise responsible citizens of the Republic and faithful Christians. The upbringing of the children was the responsibility of both parents: young children up to the age of seven were mostly with their mother; older children, especially boys, were under the greater educational supervision of their father. In family portraits, artists emphasized the hierarchical structure of the family, the distribution of duties between husband and wife, and also paid much attention to children, whose images were supposed to testify to their good upbringing. With the help of individual motifs with symbolic meaning, Dutch artists revealed the peculiarities of family relationships and pedagogical ideas underlying the system of child education based on Christian and humanistic texts. Child mortality was high in the seventeenth-century Netherlands: only half of all children born lived to the age of twenty-fi ve. The large number of family portraits, especially of young children, shows that parents rejoiced at the addition to the family, loved their children, and tried to keep their memory alive if the children passed away early. This is evidenced both by the large number of portraits of children under one year of age and the emergence of the genre of family portraits depicting deceased children.

A monument is one of the most stable cultural forms, it shows resistance to historical changes and preserves a unique complex of cultural and anthropological functions throughout its long existence. However, today the position of a monument and memorial zones is becoming a subject of discussions about the future of these objects in the urban environment. These discussions arise on the wave of modernization, which characterizes modern urbanism. In the article, the author examines a number of arguments that are used in the critical assessment of traditional forms of memorial culture. Some of these arguments are aimed, among other things, at justifying the reasons for the oblivion of memorial sites. These are such arguments as the “outdated aesthetics” of monumental works, the ordinariness of their perception, the remoteness of memorials from people’s daily routes, etc. The author also provides counterarguments that confi rm that the problem of the unpopularity of monuments among the general public has a deeper level. The author puts forward and substantiates the hypothesis that the loss of the skill of narrative perception (contemplation) by the modern viewer is the reason for the indifferent attitude towards the monument. A monument is always a symbol that points to a meaning that has supreme value for the cultural community. Contemplation of a monument is a condition for experiencing aesthetic experience as a transcendental experience, because contemplation is an extrasensory, intuitive perception. Such perception involves peering, listening, immersion in the narrative. Without contemplation, the monument-symbol is “closed” to a person, consciousness simply does not grasp its highest meaning and value. German philosopher Byung-Chul Han writes about the “narrative crisis” in an essay of the same name. Han found a successful metaphor that characterizes the state of a signifi cant part of today’s society. Today, information replaces narration, the absence of distance replaces remoteness, and quick switching of attention becomes more important than concentration. All this leaves no opportunity for a person to develop the skill of contemplation. In the article, the author places the monument in the context of a narrative crisis in order to consider the problem of the lack of demand for monumental symbols from an anthropological perspective. From an anthropological perspective, the interaction of a person with a monument acquires the meaning of a transcendental and sacred experience.

“Lifestyle” is a concept that intuitively means everything and nothing at the same time. For philosophical work, this becomes a big problem when the concept used by various social sciences and humanities does not have a clear defi nition. Therefore, this article is aimed at exploring the problem of the concept of “lifestyle”. For a deeper understanding of the concept, in the fi rst part of the article, “lifestyle” is examined through the prism of various social sciences and humanities. This helps us isolate the possible elements that a concept may include. The second and third parts of the article are aimed not only at analyzing research on the concept of “lifestyle”, but also at identifying different approaches to working with it, which correspond to two traditions: analytic and continental. Thus, the second part of the article analyzes the works of two researchers (M. Sobel, A. Veal) of “lifestyle”, in which the authors work with the concept in the analytic tradition. Both researchers come to the conclusion that the concept of “lifestyle” inevitably raises questions related to choice, integrity, value, the problem of human identity, etc., but they fail to fully close these issues. The third part of the article analyzes the work of P. Bourdieu, which differs markedly from the works of the previous two researchers. Bourdieu works with the concept of “lifestyle” in the tradition of continental philosophy. He embeds the “lifestyle” into his concept of habitus, which not only gives us an understanding of what a “lifestyle” is, but also gives the concept a logical and complete form. Bourdieu also focuses on problematic issues related to “lifestyle”, but he manages to provide answers to them. Bourdieu sees the emerging issue of choice, and in some cases its absence, not as a problem and an obstacle to the existence of a person’s lifestyle, but as an opportunity to understand the lifestyle as such.

This article explores the development of Orientalism in the works of Sergei Rachmaninoff, who, infl uenced by both Russian and Eastern musical traditions, creates a unique synthesis of cultural elements. Here, the expression of national identity is refl ected through the lens of personal experience. The music of one of the greatest Russian composers of the 20th century represents a complex intertwining of cultural infl uences, emphasizing the uniqueness of the Russian character, which is marked by a pursuit of infi nity and freedom through the concept of “elemental forces”, as well as through symbols of rebellion, space, and solitude. The article highlights the importance of understanding Russian culture not merely as a collection of customs and traditions, but as a valuable mosaic piece of the global cultural palette, unique in its multifaceted nature and depth of meaning. The author analyzes how Eastern motifs in the composer’s works become not just exotic insertions, but vital structural components that refl ect the musician’s inner world and personal experiences. Through an examination of pieces such as “Piano Concerto No. 2”, “Symphony No. 2”, “Études-Tableaux for Piano, Op. 39”, and “Alexander Nevsky”, it is shown how Rachmaninoff transforms Eastern melodies, adapting them to his artistic language and creating multilayered musical textures. The article emphasizes that Orientalism in Rachmaninoff’s music serves not only as a means of self-expression but also as a philosophical tool for contemplating questions of human nature and identity.

In conclusion, it is underscored that the composer shapes a musical space where personal and national experiences intertwine, creating a profound emotional revelation that mirrors the complex nature of the Russian spirit, refl ecting its quest for self-understanding and comprehension of the surrounding world. It concludes that through his artistry, Sergei Vasilievich Rachmaninoff advocates for the preservation and understanding of Russian culture as an integral part of the world’s cultural heritage, which is crucial not only for maintaining historical memory and spiritual legacy but also for enriching humanity as a whole.

The article highlights the key principles of organizing exhibitions in the USSR and their implementation in the projects of the national pavilion at the Venice Biennale. At the beginning of the period under study, the Soviet pavilion is organized according to the principle of all-Union exhibitions: the national and cultural diversity of the country and the continuity of generations are demonstrated in the group exhibitions. Various types of fi ne art are presented, glorifying the ideals of socialism. Subsequently, political changes in the country are refl ected in the exhibition of the national pavilion. The promotion of Soviet realistic art occurs through cultural policy, with an increased focus on the tastes of the audience and adjustment to the format of the Biennale. Criticism becomes less harsh, and solo exhibitions of once banned avant-garde artists are held. There is an increasingly noticeable integration into the pan-European artistic context. This trend reached its culmination in 1990, when a Russian exhibition was devoted to pop-artist Robert Rauschenberg. 

The article also explores the question of who performed curatorial functions in the Soviet Union. The Venice Biennale is examined as an artistic, economic and political event, based on an analysis of its most striking projects and scandals. Based on archives, interviews and articles, a curatorial system is recreated. The need for a non-binary approach to the study of Soviet culture is noted, in which the offi cial and the private or underground cannot be opposed, just as the artistic and ideological aspects of the exhibition cannot exist in isolation.

The article discusses the institution of presidency, which has a signifi cant impact on the cultural policy and ‘cultural sovereignty’ of Pridnestrovie. It is noted that the development of the culture of the republic is directly related to the personality of the leaders of the PMR, their involvement in the cultural and historical processes taking place in the state.

It is noted that the institution of the presidency acts as the effective imperative for the development of the country’s cultural policy under the infl uence of the legal status, territorial location of the republic and the established educational and award system. Collectively, these form a creative community and cultural leaders, determining the content core of their functioning, the intentionality of the socio-cultural functioning of the region, preserving its uniqueness and “cultural sovereignty”. Using the prism of educational, enlightening and leisure activities, and the correlation of the functioning of national-cultural associations and creative unions, three stages are considered; a different stage for when the young republic had different leaders. It is demonstrated how a change in the socio-moral differentiation of priorities, due to a change in the course pursued by the institute of presidency, leads to certain “swings” in society, a violation of the parity of multicultural interests, and an imbalance in the spiritual consciousness of cultural elites. And it is proven that it is the personal involvement of the head of state, especially in a presidential republic, under the infl uence of internal political events, that infl uences the content core and accents in cultural policy, the pace of fulfi llment of the designated tasks, and the degree of their implementation.

A historiographical review of the cultural policy of Transnistria is presented, examining the identifi cation of the main directions of development at the end of the 20th and the fi rst quarter of the 21st centuries. The author uses promising methodological approaches to conducting cultural research based on a synthesis of practical, experimental methods and theoretical understanding of scientifi c results.

In many of his works, the great Russian writer and thinker F.M. Dostoevsky depicted the boundary between sleep and reality, reality and hallucination as fl exible, which was noted by many researchers of his work. However, most attempts to comprehend this led to the idea that Dostoevsky’s lack of such a boundary was caused by the madness that struck his characters (K.V. Mochulsky, D.R. Khapaeva, I.I. Evlampiev). With this interpretation of the problem, the idea that reality exists in itself is accepted as a starting premise, and a healthy person sees it as it is, and a mad person sees it as it appears in their altered consciousness. Indeed, in this case, there is a gap in the thesis bequeathed to us by Parmenides about the identity of being and thinking about it. Thus, we are talking about an ontological interpretation of the problem. According to N.A. Berdyaev, Dostoevsky was the most important anthropologist ever before and after him. And F.M. Dostoevsky himself wrote that he was ready to spend his whole life dealing with what a person is, because he wanted to be one. This means that the problems posed in his works need an anthropological interpretation, and in this article philosophical and anthropological analysis is used as the main research method. If we approach this problem from a philosophical and anthropological point of view and raise the question of what reality is for a person, then we should conclude that a person does not know what reality itself is if it is not preceded by a sense of reality for him. Accordingly, we can assert that the plasticity of the boundary between reality and hallucination, dream and reality is not caused by human disease. It is not given to him at all to fi nd out what reality looks like in itself, for a person it is a side of the imaginary. Thus, we understand that a person does not live in the world, but in a picture of the world, and no reality in itself exists for them.

The article examines A. Varlamov’s novel “My Soul Pavel” and its production at the Russian Academic Youth Theater (RAYT). The research methodology is based on the hermeneutical approach, and also relies on the techniques of narratological and intertextual analysis. As a result of the analysis, the features of the genre nature of the work are established; its mythopoetic basis; the functioning of the intertext in the novel; the ratio of the author and the hero. The author shows a change in the dramatization of the original conception of the novel by his grandmother.

In the structure of the novel, the author refers to the artistic possibilities of such techniques as intertextuality and autocitation. These techniques are aimed at an educated audience and connect the text with routine postmodern poetics. Varlamov’s scientifi c erudition and writing professionalism are manifested in a demonstrative reliance on a liminal plot and an initiation scheme. The genre characteristic of the work given by the author is ‘the novel of growing up’. In addition, the novel uses the plug-in genre of vision. In the image of the main character Pavel Nepomiluyev, such important features of the Russian mentality as the traditional idea of wandering and the cult of power formed by the Soviet era are combined. The relationship between the author and the hero is considered through the prism of M. M. Bakhtin’s concept and is classifi ed as characteristic of romantic literature. The hero’s growing up implies his discovery of the negative aspects of Soviet reality: such as irresponsible management, theft, national problems, and the death of the village. The novel establishes an understanding of the elite of society as people who are fi rst and foremost distinguished by their love for their Motherland.

In the play “My Soul Pavel” in RAYT, playwright Polina Babushkina changed the concept of the novel, shifting the focus to criticism of the Soviet way of life. The mystical storylines of the text have been eliminated from the production, including an important episode of the vision for the meaning of the whole. However, there are interesting staging solutions in the play: reading a fragment of “The Tale of Igor’s Campaign”, an independent musical series involving a variety ensemble. As a conclusion, it is said about the modernity and artistic independence of the novel, as well as that the play is able to live on the stage of the theater, having internal resources for modifi cation.