Multidimensionality as a property of art: on the example of the creativity of M.I. Glinka (on the 220th anniversary of the composer’s birth)
UDC index:
УДК 785.11
DOI: 10.31773/2078-1768-2024-68-118-123
Article ID in the RSCI:
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Information about authors: Stachinsky Vladimir Ivanovich, Ph.D. in History of Arts, professor at the Military University named after Prince Alexander Nevsky, Ministry of Defense of the Russian Federation, professor of Lugansk State pedagogical university
Annotation: Abstract: The methodology for analyzing both an individual work of art and an entire creative movement is based on the principle of multidimensional artistic content. Its presence is especially clearly revealed at turning points of changing artistic eras, styles, and trends. A scientific analysis of any artistic phenomenon requires a methodology for its research fr om the point of view of inconsistency, antinomy, and paradox. Fr om a psychological perspective, the cathartic effect of a work of art on the perception of the recipient is explained by the collision of multidirectional affects programmed in its content. As a technique of figurative dramaturgy, localized in the composition of a single work of art, paradoxicality reveals its presence in the individual characteristics of ideological and figurative embodiment, in particular, as polysubjectivity and monosubjectivity. An example is the work of M.I. Glinka, wh ere the opera “A Life for the Tsar” can be attributed to the first type due to the external opposition of figurative spheres: the Polish conquerors and the Russian people, and “Ruslan and Lyudmila” - to the second type, wh ere the very genre of the opera, born as a musical drama, is combined with another a kind of art - epic, as the presence of internal contradiction. Innovation M.I. Glinka’s pedagogical work was manifested in the combination of the Western European singing tradition of bel canto and an individual approach to the performer with the obligatory requirement to understand the artistic idea of the composition being performed. Thus, the dichotomy “traditional - innovative” as a property of the multidimensionality of art is found in the composer’s work from various angles and forms the basis of his artistic position. In general, any artistically significant phenomenon that has left a mark on the history of art can be considered as a unique synthesis of parties that previously existed separately.
Keywords: Key words: multidimensionality of artistic content, antinomy, affective contradiction, figurative-associative space, M. Glinka’s operatic work, M. Glinka’s pedagogical activity, dichotomy “traditional - innovative”, catharsis.
DOI: 10.31773/2078-1768-2024-68-118-123
Article ID in the RSCI:
Article file: Download
Information about authors: Stachinsky Vladimir Ivanovich, Ph.D. in History of Arts, professor at the Military University named after Prince Alexander Nevsky, Ministry of Defense of the Russian Federation, professor of Lugansk State pedagogical university
Annotation: Abstract: The methodology for analyzing both an individual work of art and an entire creative movement is based on the principle of multidimensional artistic content. Its presence is especially clearly revealed at turning points of changing artistic eras, styles, and trends. A scientific analysis of any artistic phenomenon requires a methodology for its research fr om the point of view of inconsistency, antinomy, and paradox. Fr om a psychological perspective, the cathartic effect of a work of art on the perception of the recipient is explained by the collision of multidirectional affects programmed in its content. As a technique of figurative dramaturgy, localized in the composition of a single work of art, paradoxicality reveals its presence in the individual characteristics of ideological and figurative embodiment, in particular, as polysubjectivity and monosubjectivity. An example is the work of M.I. Glinka, wh ere the opera “A Life for the Tsar” can be attributed to the first type due to the external opposition of figurative spheres: the Polish conquerors and the Russian people, and “Ruslan and Lyudmila” - to the second type, wh ere the very genre of the opera, born as a musical drama, is combined with another a kind of art - epic, as the presence of internal contradiction. Innovation M.I. Glinka’s pedagogical work was manifested in the combination of the Western European singing tradition of bel canto and an individual approach to the performer with the obligatory requirement to understand the artistic idea of the composition being performed. Thus, the dichotomy “traditional - innovative” as a property of the multidimensionality of art is found in the composer’s work from various angles and forms the basis of his artistic position. In general, any artistically significant phenomenon that has left a mark on the history of art can be considered as a unique synthesis of parties that previously existed separately.
Keywords: Key words: multidimensionality of artistic content, antinomy, affective contradiction, figurative-associative space, M. Glinka’s operatic work, M. Glinka’s pedagogical activity, dichotomy “traditional - innovative”, catharsis.
