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3PROBLEMS OF GRAPHIC CULTURE FORMATION IN THE KABARDINO-BALKAR REPUBLIC
Abstract
The relevance of the studied problem is caused by the cultural importance of studying and careful preservation of all processes of art culture formation as a tool of knowledge and transfer of ethnic heritage. The article is directed on updating problems of ethnic-cultural space, which became priority, because it creates prospects for the synergetic theory. The priority research method was interdisciplinary approach, as the most adequate to the syncretic nature of art creativity. The article deals with the problems of genesis and aspects of formation of fine arts of the Kabardino-Balkar Republic. The role and influence of the Russian artists on process of formation of the fine arts of the republic are analyzed. The article can be useful for further research of art and esthetic experience of the Kabardino-Balkar Republic; they can be applied at educational institutions for training specialists, connected with problems of humanitarian and cultural wealth.
Keywords
the Kabardino-Balkar Republic, spiritual culture, fine arts, interdisciplinary approach, humanitarian values
AUTHOR
Nailya Vagizovna Galimova
PhD student, Department of Cultural Science, North Caucasian State Institute of Arts, Nalchik,
Russia. E-mail: hudshkolanal@mail.ru
Recently, problems of interference of various cultural phenomena within the multiethnic state are defined as the sharpest and debatable ones. Another actual task is interdisciplinary studying, careful preservation and organization of synergetic model of culture, which became priority today, because "Modeling allows to unite the available information, in both humanitarian, and natural and technical science" (Sanzheeva, 2011).
Thus, the culturological base of synergetic researches creates the base for studying the phenomenon of arts. Scientific innovations of synergetrics give the chance to open new foreshortenings in cultural development as forms of social heredity. Studying all phenomena and processes in art-esthetic foreshortening is impossible without preservation and transfer of historical and cultural experience, without studying the ethnic heritage forming cultural and historical orientation of society and personality. In modern discussions on problems of cultural identity, the most important orientation is orientation on careful maintenance and development of ethnic-cultural heritage in its complete set.
The gene of creativity is put in a person since his birth, and it can reveal unexpectedly. Biographies of the well-known artists Vincent Van Gogh and Paul Gauguin can be an example. Both of them in the beginning of their creativity were engaged in kinds of activity, remote from painting: Van Gogh was going to become a priest, Paul Gauguin - an exchange broker.
The Ancient Greek playwright Aeschylus in the tragedy "The Chained Prometheus" told that the mighty titan brought fire to people and taught them to craft, read, write and, obviously, paint. I doubt that somebody trained people drawing, most likely, they learned it.
I often happened to observe people of different social and age groups, being in a condition of relative physical inaction, having found before itself a piece of paper and a pencil, involuntarily start creating. Even the persons, who are very far from creative professions tried to express the state of mind on a paper - some of them by abstract scribble unclear at the first sight; others by some signs-symbols, and the most experienced in drawing by quite complex subject compositions.
According to M. S. Kagan theory (Kagan, 1996), culture as the sphere of life creates the ideas and values defining activity of a person. These ideas and values form art-esthetic knowledge on the basis of creative process of perception and reflection of the world.
Art as the system of consciousness of culture defines standards of knowledge in the context of scientific discourse. In this regard, application of a synergetic paradigm is capable to open new foreshortenings in a nonequilibrium of creative activity. Such characteristics give the chance to create effective ways for development of the art language problems, which are an important and complex challenge of culturological processes.
From time immemorial, art approved the value of the nature and its communication with a person and the value of a person himself and all that was created by his reason and creativity. "... We can tell that the ability to catch and transfer the special spiritualized difficult atmosphere of time in the works can be considered as pledge of a right way of life cognition" (Chegodayeva, 1974).
The best progressive artists opened originality of feelings and destinies before people, demanded attention to a person and respect to his spiritual life. Inconsistent ways of art always put before our artists the same tasks of a new quality, and demand their decision.
We know that each region of multinational Russia is unusual edge of sociocultural space with the unique ethnic-cultural features, rich with art-esthetic and material traditions with deep roots in centuries. In an unconditional measure, it concerns the Kabardino-Balkar Republic.
The ethnic people living in the Kabardino-Balkar Republic had no fine arts in the past. It was connected with the general backwardness of professional art and, to some extent, with a ban of Sunni Islam on the image of living beings. Only applied art developed, such as woodcarving, stone-carving, stamping and application on skin, embroidery, golden-weaving, weaving, production of pattern mats and felts-kiyizs.
In the course of studying of rather poor and separate materials on art culture, we concluded that the professional fine arts in the Kabardino-Balkar Republic start being formed at the beginning of the XX century. The first professional artists (M. V. Alyokhin, I.G. Bryumer), who arrived to the republic at the end of XIX - the beginning of the XX centuries, laid the foundation for fine arts development. Later, in the thirties, N. N. Gusachenko, M. A. Vannakh, I.V. Balitskiy, N. Z. Tryndyk managed to lay the foundation of modern painting and bring up the first masters from the environment of indigenous people of the Republic. "They taught drawing and painting at schools, societies, studios; exhibited the works at different exhibitions" (Sundukova, 1998).
The concept of spiritual sense is interconnected with the concept of spirit, spiritual need, esthetic ideal, harmony of person and human relations, a ratio of spiritual and corporal in person, highest appointment of person, i.e. it is beyond purely humanitarian tasks, it contains moral and ethical problems.
In this regard, we conclude that humanitarian values remain in all social spheres, where person has to realize modern situation in society, to define the course of life. The first Russian artists mastering the new ethnic-cultural environment carried out the integrating functions in culture of the Republic. They helped to form professional fine arts of the Kabardino-Balkar Republic. They learned and at the same time they studied: expressional and decorative plastic forms, bright melody of a color palette and figurative depth of local traditional culture.
"The mountain country with purity of people's customs, with the many-sided culture, with deep historical links to Russia and other countries, with the nature, marvelous on beauty has serious impact on the artists and expand their creative palette". (Sundukova, 1998).
Mitrofan Vasilyevich Alyokhin, the native of the Kursk province, brought the invaluable contribution to formation of the Republican fine arts. In 1888, he graduated from the Petersburg Academy of Arts with a silver medal. He became the active follower of L.N. Tolstoy doctrine. He was exposed to police prosecutions and he was compelled to move to Nalchik in spring 1894. At that time, there was already a group of "Tolstoyans" here. He lived here for forty years and died here. Mitrofan Vasilyevich was not personally familiar with Tolstoy, but for many years corresponded with him.
In the letter to L.N. Tolstoy, Alyokhin argues on art: "What is the art? Art is born essence of a person. Animals' essence is to adapt. A person, except the essence of adaptation, has the highest one - to be spiritualized and spiritualize ... Nalchik, 30 March, 1898" (Penner, 1993).
Studying the phenomenon of graphic culture of the Republic, we revealed that today, in the conditions of integration of different types of arts, there is the new system approach to the real problem and to the complex analysis of the considered problems (V. Shlykov, A. Kuznetsova, N. Sundukova, Zh. Appayeva, G. Baziyeva, V. Penner, G. Mambetov, N. Shafiyev, V. Gardanov, B. Malbakhov).
Needless to say that the modern international culture is formed by self-development, by interaction with other cultures and by loaning. Interaction assumes the exchange of cultural values between the different people, between different estates in the same people or society.
"Complication of interactional forms of traditional culture with all palette of modern integration processes, its active role in development of these processes is generated by new problems of both theoretical, and practical character" (Baziyeva, 2004).
Many things changed from the first exhibitions in 30-ies of the XX century, where etude works were mainly exhibited, to nowadays: political system, social structure, creative position of an artist. Today, there are prestigious exhibitions of the Russian and international levels, which expositions include works of the artists working in the most various directions (from traditional realism to vanguard and pointless composite decisions).
The analysis of fine arts condition in the Republic showed that new generations of professional shots which graduated from art schools of Saratov, Rostov-on-Don, Moscow grew on the foundation laid in the fortieth and fiftieth years of the XX century. These artists are Muayed Aksirov, Aslanbi Zhereshtiyev, Vladimir Temirkanov, Fyodor Kalmykov, Ruslan Hazhuyev, Mikhail Tkhakumashev, the Guide Bzheumykhov and others. To Kabardino-Balkaria there come artists Vsevolod Slavnikov, Vladimir Ovchinnikov, Alexander Glukhovtsev, Pavel Ponomarenko, Alexander Durnev, Nikolay Efimenko.
In the 60th years, the creative organization is replenished by the graduates of Institute of Painting, Sculpture and Architecture after I. E. Repin (Alexey Denisenko, Nikolay Dorofeyev, Oleg Vukolov, Anatoly Sundukov), the Riga Academy of Arts (Nikolay Tatarchenko, Nikolay Kanchuk), Tbilisi Academy of Arts (Victor Abayev), the Ukrainian Printing Institute after Ivan Fyodorov (Herman Pashtov) and Krasnodar Teacher Training College (Mukhadin Kishev).
These years absorbed many things connected with historical destinies of Russia and the Kabardino-Balkar Republic. They are filled with aspiration to keep identity of spiritual culture of the people of the Republic. They are painted by that difficult period of formation, when prerequisites to association of talented people in the uniform creative organization were created on particles.
"There are the materials with the aspiration of governmental institutions to promote this process in the archives of the Kabardino-Balkar Republic. The documents are designated 1936, 1939, 1940, 1941, 1943, 1945. These years reflected preparation and holding art exhibitions, creation of Organizational bureau on formation of the Republican Union of artists" (Sundukova, 2007).
It should be noted that within the provided article it is impossible to analyze a state of spiritual and "ethnic-cultural shift" of the whole generation. The motivation to knowledge, especially to art knowledge, as a result bears in itself more and more utilitarian qualities. Along with the general tendencies, each national culture has specific problems connected with ideological, political, religious and social-economic problems. The tradition of classics to represent eternal truth revives new approaches. The immemorial need for beauty is ineradicable for a modern person.
The materials and conclusions of the article can be useful in educational and methodical activity for preparation of programs and training courses on cultural science, ethnography, esthetics and etiquette. They can be used in educational institutions for training specialists concerning the problems of humanitarian and cultural wealth.
REFERENCES
1. Baziyeva, G. D. (2004) Fine arts of Kabardino-Balkaria: traditions and present. Nalchik: El-Fa
2. Kagan, M. F. (1996) Philosophy of culture. St. Petersburg.
3. Penner, V. Ya. (1993) Nalchik in eyes of contemporaries. Nalchik: El-Fa.
4. Sanzheeva, L.V. (2011 ) Modeling of culture: research prospects. Society. Environment. Development: the scientific-theoretical magazine No. 3. St. Petersburg: Asterion.
5. Sundukova, N. S. Artists of the Kabardino-Balkar Republic. Nalchik: "Elbrus", (1998). ISBN 5-7680-11722.
6. Sundukova, N.S. (2008) 50 years to the Union of Artists of the KBR. Nalchik.
7. Chegodayeva, M. A. (1974) Easel graphics and art criticism. Soviet graphics. M. Soviet artist.
"NON-AGENT" SYNONYMIC CONSTRUCTIONS
Abstract
The article presents the results of the analysis of the deep semantic structure, namely the short-passive form and the generic construction with a dropped subject in Russian, which greatly differ in their abstract structure of configuration. Being identical in the expression of thematic relations and the topic-comment structure, they have subtle distinctions in pragmatic factors - reference and deixis. Scholars also pay attention to the differences in register, i.e. language variations: the passive voice in Russian is often used in formal writing, whereas the null-subject construction tends towards an informal setting. The problem of synonymic syntactic structures concerns frame semantics as well as psycholinguistics since the paired association task makes the speaker to produce sentences spontaneously and therefore enables to highlight the speaker's motives who is choosing one of two models. The experiment performed with the use of the paired association task verifies the results obtained in the course of linguistic analysis. The article might be interesting for specialists in the fields of semantics, second language teaching, translation and interpreting.
Keywords
the short-passive, the generic null-subject construction in Russian, abstract structure of configuration, the deep semantic structure, the semantic role of patient / recipient, topic-comment structure, pragmatic reference, deixis, register, (language variations), the paired association task
AUTHOR
Irina Mikhailovna Nekrasova
PhD, Associate Professor, Foreign Languages Department, Perm State Humanitarian Pedagogical University, Perm, Russia. E-mail: nekrasova142008@yandex.ru
Considering synonyms at the level of syntax as units that have the same meaning but differ in their abstract structure of configuration usually refers the examples of several word combinations [Rosenthal 1985]. The problem of synonymic sentence models remains a less investigated area, mainly due to the description of the sentence models themselves, even in one and the same language, e.g. from 4 [Roberts 1962] to 25 [Hornby 1992] in English. Nevertheless advancements in semantics made in the second half of the passed century, provided a basis for investigation of the deep semantic structure of sentences which greatly differ in their surface structure. The problem of synonyms at the level of syntax is significant in the practice of the second language teaching as well as in translation or interpreting. Russian, belonging to so called pro-drop (or null-subject) languages and English, tending to a fixed order of all sentence constituents make the investigation of problem more interesting. The research carried out from contrastive point of view brings to light both the similarity and subtle distinctions of the short-passive construction (PC) in English and the generic null-subject construction (NSC) in Russian, which can be used as correlating means of translation. In both structures the agent is omitted as it is in some sense pragmatically inferable. The text of "Animal Farm" by G. Orwell and its Russian
