Ideas and Ideals

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.

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.

One of Plato’s dialogues, the Timaeus (ca 370 BCE), describes an abstract numerical pattern that is said to have guided the creative work of an artisan, the Demiurge, who designed both the soul that animates the material world as a whole and the souls of each of the sentient beings that live within this world. Any artist or artisan who took this creation story seriously might reasonably be motivated to take guidance from this same numerical design in his or her own creative work, hoping thereby to mirror the macrocosm in the microcosm of a work of art. Have any artists in history tried to do that? Three likely candidates will be examined here. The first is Plato himself (in a short narrative of the generation of the pantheon of Greek gods, which he recounts in the Timaeus). The second is an unknown Medieval author of an epic poem about Charlemagne (The Song of Roland, ca. 1100 CE). The third is Iris Murdoch (in a novel, The Unicorn, 1963).

The article proposes to consider the concept of nonlinearity as a metaphor performing the function of acquiring new knowledge, using this concept as a tool in the strategy for reading, understanding and interpreting texts, regardless of their national, language or temporary affiliation. The current situation of uncertainty and unexpected changes that affect all walks of life form challenges that make us look at the future of mankind in a new way. The questions, set today, inevitably make you wonder if today’s events are so unique. Has mankind previously encountered something similar? Namely: were there in the history such situations, the era, in which people had to react to the fact that “overnight”, by historical standards, rebuild and change radically their life, break the habitual foundations of society, revise them on a global scale? Similar events to the contemporary ones were observed in the first century after the discovery of America, in which epidemics were one of the “actors”, causing irreparable damage to the indigenous people of the New World and practically destroyed it. This process was reflected in the texts of the chronicles, as it was understood by contemporaries, both winners and losers. Is it possible to learn from this experience and how to project this knowledge onto a new possible reality? The author considers texts, fragments from chronicles of the XVI century, which describe epidemics that erupted in New Spain at the height of the conquest and the first decades after it. The purpose of the article is to show the relationship of processes between the predicted end of globalization nowadays and the technogenic civilization transformations. Various aspects of this relationship identified through the application of non-linearity metaphors allow us to reconstruct and interpret the historical reality as a complex continuous process. This, in its turn, gives an opportunity to formulate and set new tasks for research in various areas of knowledge.

The article is devoted to the image of a woman constructed by the government discourse in the early Soviet period. The government’s propaganda imposed the social role of a woman as a social controller in addition to the social role of a worker, a social activist and a mother. In particular, this study is dedicated to the transformation of a female image in the anti-alcohol policy. The author uses content analysis investigating this complex image and the ways of its reflection in the mass literature. The sources of the study were articles showing the editorial Board ideas and “the reader’s letters” published in the “Rabotnitsa” magazine dated from 1925 to 1936, the articles from “Revolution and Culture” magazine dated from 1928 to 1930 and the propaganda brochures.

The study showed that soviet propaganda began to change their messages recipients during realization of “cultural alcohol-drinking program”. This anti-alcohol propaganda turned its attention from the men’s to the women’s audience. The anti-alcohol articles’ characters appeared as innocent victims of their alcoholic husbands. But at the same time the propaganda stressed the idea that women had great potential to fight against alcoholism. Gradually, the woman’s image began to acquire more and more positive features. Often female fates stories evoked compassion and pity or even admiration. Along with this tendency their husbands’ images turned more and more pathetic, helpless and infantile.

The governmental discourse of the 30-s strived to transfer the family responsibility and social control to women considering them to be a reliable support for the propaganda projects implementation. Consequently, the constructed working and mothering woman’s image was enriched with socio-educational and socio-regulating functions. Thus, anti-alcohol propaganda caused the change of the previously existing gender order when a man played a dominant role in a family and put a woman to the priority position implying that she is more conscious than a man.

The article raises the problem of a methodologically correct variable description of sociocultural transformations models as the basis for effective models regulating the corresponding processes. In the paradigmatic field of sociocultural research, there is a whole range of interpretations of the sociocultural approach put forward in connection with the analysis of the socio-cultural dynamics and sociocultural transformations of various world regions. On the basis of highlighting various interpretations of the sociocultural approach, the authors explicate different models of sociocultural transformations. The importance of the methodological heritage of P.A Sorokin for the analysis of this process is emphasized. The authors offer their vision of this prominent Russian-American sociologist’s research on the description of sociocultural transformations, and an assessment of its possible use in relation to contemporary Russia.

According to the authors, in the terminology of P.A. Sorokin pre-revolutionary Russian and Soviet cultures should be identified as ideational cultures that developed in the paradigm of Orthodoxy and its reformation. The history of Russia can be viewed as a series of successive and growing tides of ideational culture that were occasionally held back by the temporary rise of sensual culture. The post-Soviet period is viewed as a controversial process of planting sensual culture. In the future, another tide of ideational culture is possible.

It is concluded that in the diagnosis of the sociocultural dynamics of modern Russia, it is possible to use various interpretations that provide an empirically-specific description of the course of sociocultural transformations. The use of competing methodological interpretations and model typologies can provide a diverse and panoramic analysis of sociocultural dynamics, which is an important theoretical prerequisite for determining the optimal models for its regulation at different levels of social organization in the perspective of sociocultural integration of Russia. Taking into account its wide regional and ethnocultural diversity, it is possible to implement various phase models of sociocultural transformations depending on the type of region, characteristics of the ethnocultural and ethno-confessional landscape.

   The article analyzes two pictures by the Dutch artist Arent de Gelder (1645-1727) “Edna Entrusting Tobias with Sarah” (circa 1690, Leiden Collection, New York) and “Tobias Welcomed by His Mother Hanna” (circa 1705, Museum of the Monastery of St. Catherine in Utrecht). The subject of these paintings is associated with the book of Tobit written in Palestine in the II century BC. This book is a part of the Catholic and Orthodox biblical canons; in Protestantism and Judaism it is considered to be apocryphal. The central role in these paintings (by de Gelder) is played by mothers - Edna and Anna, which is uncharacteristic of the works by other Dutch artists who turned to the book of Tobit. It seems that the interest of Arent de Gelder in these female images is related to his (or his unknown patrons) comparison of the texts of the book in the Vulgate of 1592 and the Dutch Bible, published in 1637, and based on the part of the book of Tobit on the Septuagint. In the text of the Vulgate, where there is a difference between the behavior and feelings of the father and mother, the closeness of the position of the spouses is emphasized, that is, the feelings and actions of the fathers of the family are shared by their wives. In the text of the Septuagint, on the contrary, in several places there is a juxtaposition of the behavior of men and women. A careful reading of the Bible in the 17th century Holland was dictated by the idea of reformers that every believer had to read the Scriptures and interpret them to the best of their understanding. The image of the Old Testament characters during this period gained great popularity in the visual arts. The interpretation of biblical scenes and individual images was notable for its direct perception and individual approach to the depiction of the theme of work.

The paper analyzes the problems of interpersonal relationships such as matchmaking, the relations between men and women; in other words, the authors describe manifestations of the biological “axioms” in human behavior. Besides, domination can also be viewed as an expression of the biological in interpersonal relationships. The object of study of the present research includes the problems of matchmaking, gambling games, entertainment, and feasts.

As empirical material for the given description, the authors consider literary texts from the Armenian literature of the XIX-XX centuries (M. Nalbandyan, S. Shahazis, G. Sundukyan, A. Ayvazyan and others). The paper is an essential part of the “Tbilisi Text of Armenian Literature”, which adds something new to the “Tbilisi Text of the Georgian Literature”. Those two discourses, in their turn, show a certain commonality with the “Caucasian Text of the Russian Literature».

The authors apply a semiotic meta-language; implicitly, they use the theory of the French sociologist P. Bourdieu together with a typological approach, since the analysis is conducted on recurrent motifs, aiming at the identification of general semantic units.

The main thesis of the present paper is the “elevated” Armenian literature of Old Tiflis (XIX c.), which represents one of the central discourses for the critical presentation of the biological in the middle and the lower class of Old Tiflis. The biological and the principles of “wild capitalism” were destroying the families of small and medium tradesmen not only in the horizontal, class dimension (family, interpersonal), but also in the vertical dimension (inequality of social roles).

The analysis of the empirical material demonstrated that money-hunger guzzles spiritual and social values, such as national identity; the idea of statehood is lost, and the center of aspirations of city inhabitants becomes idle lifestyle: food, feasts, building houses, entertainment (home carnivals), matchmaking, etc. Of course, in the paper, the biological is contrasted to the cultural as well. The Armenian society of Old Tiflis had strategically thinking cultural figures, Armenian princely families, patrons, philanthropists (the Bebutovs, Tumanovs, Arguntinians, Alikhanovs, Yevangulyans, Mantashevs, Tamamshevs), who invested enormous financial means for the multiplication of national values (Nersisyan Seminary of Tiflis). Noteworthy is also the investment by great Armenian philanthropists (the Mantashevs) in the education of gifted Armenian minds abroad (Germany, Russia, etc.), who already in the 1920-ies formed the intellectual basis for the establishment of a national university in Yerevan (1919). 

The article discusses the relationship of the need for privacy with the development of the individualism. The right to privacy as the autonomy of the self first appeared in Western European culture basing on the idea of individualism. Privacy protects an individual from the unwanted interference of society and the state. The realization of the right to privacy depends on the social environment - the norms and customs of society. The process of individualization took place as a result of the transition from the traditional society to the modern society, which gave a person both the right and the duty to make decisions regarding his own life. An individual received a chance to become the creator of his own destiny, which had previously been socially predetermined. The development of privacy and individualism requires an appropriate sociocultural foundation that emerged during the evolutionary process, which originated in the High Middle Ages and accelerated during the transition to the New Age. Individualization is associated with the development of the inner world as the basis of subjectivity, which was particularly influenced by the Catholic confession, which prompted the analysis of one's own spiritual motives and the teachings of Protestantism with its idea of personal responsibility. The reflection of the growth of the individuality of consciousness is reflected in the art of portrait and self-portrait, depicting a human face in its originality. Increased interest in one’s own self, in one’s own emotional life, is expressed in introspection, analysis of one’s own feelings and motives, as evidenced by the growing number of autobiographical sources. The growing literacy of the population led to the popularity of literary and philosophical societies, which discussions created a platform for bourgeois publicity. Industrialization, which entailed the separation of the place of work and home, served to create a home as a closed private space and a nuclear family as one of the most important values of bourgeois society. Individualization brought for a person both new chances in the form of the right to self-determination and self-development, as well as certain risks and contradictions: the fear of loneliness, the feeling of being thrown out into the world, the need to make an independent choice and solely responsible for its consequences.

  Abstract The paper deals in detail with the biographies of three women representing three consecutive generations in computing and programming. All the three have firm personalities and work with commitment and perseverance towards the objectives set in their academic career development. They have displayed a high level of competence and ability to strategize in various social, political and economic situations. In addition to reconstructing the biographies of these three scholars on the basis of documents, we have done some research (using the microanalytical strategy) to determine how general and specific gender imperatives have influenced their view of the world and life quality. The general gender imperatives derive from the patriarchal or feminist picture of the world, and specific gender imperatives become apparent in problem situations related to career, self-realization, double standards, etc. All the three women are/were affiliated with Soviet/Russian Academy of Science, have a degree in mathematics and computation and specialize in programming.