The Byzantine History of the Platonic Dialogue and Its Reception in Russia in the 18th and 19th Centuries

Bezzubova, Olga V.; Гончарко, Оксана Юрьевна; Mikeshin, Mikhail I.

doi:10.17223/15617793/456/9

Cited by 2 publications

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“…But, as historical experience shows, the apotheosis and absolutization of one attitude sooner or later leads to its stagnation and dogmatization. A sense of the crisis of the new European rationality at the beginning of the 20th century was obvious, and the culture offered revolutionary breakthroughs in all the fields: Einstein's science offered something new, fundamentally different from Newton's understanding of time, space and the world itself 2 ; philosophy, including such movements as existentialism, philosophy of life, and phenomenology, transcended the classical framework of rationalism, empiricism, and Kant's critique of human understanding; the literary works of Proust, Hofmannsthal, and Kafka developed a new understanding of the language; the paintings of Impressionism, Abstractionism, Cubism, and the avant-garde offered a radically new form of figurative understanding and representation of the world, etc.…”

Section: Introductionmentioning

confidence: 99%

“…This alliance allowed Umberto Eco to develop based on a medieval understanding of the aesthetics, semiotics of sound, light, and color in music, painting, and the theories underlying them [7], which permeated all Western European painting until the 15th and 16th centuries. The relevance of this approach manifested, particularly, in showing that the semiotic system of the visual image is fundamentally different from the order of construction of the semiotic system of the word, explained by F. Saussure (one of the 2 It should be noted that the most complete and profound overcoming of the Newtonian and, in general, the new European scientific picture of the world was realized and comprehended in the 20th century synergetics, both in relation to nature and man and society as a whole [8]. 3 And more clearly in everyday life, the close relationship between the visual, the acoustic and the narrative is revealed in consumer advertising, which we perceive daily in the media as well as in any public space, and this relationship requires serious reflection [9].…”

Section: Introductionmentioning

confidence: 99%

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A visual-acoustic duet of painting and music in medieval aesthetics

Gladkova

Dorofeyev

2021

E3S Web Conf.

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The purpose of this work is to study the visual and acoustic relationship of painting and music in the Middle Ages. When writing the article the authors focused on modern sources and used such important for the socio-humanitarian sciences methods of research as comparative, phenomenological, semiotic, art history, cultural studies and visual anthropology, which determined the interdisciplinary nature of the study, which focuses of the aesthetic specificity of the perception of the phenomenal image. The significance of the study lies in the fact that the results obtained allow to better understand the cultural foundations of the non-verbal way of perception, the peculiarities of medieval culture and aesthetics of Western Europe and its semiotic and symbolic forms, primarily in the perspective of the interaction of painting and music in the sacred and everyday spaces of the existence of medieval man.

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Section: Introductionmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

A visual-acoustic duet of painting and music in medieval aesthetics

Gladkova

Dorofeyev

2021

E3S Web Conf.

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Professor of the Moscow University I.A. Heim (Bernhard Andreas Von Heim) and His Life-World (According to the Materials of the Inventory of Rector’s House in 1821)

Кулакова

2023

Lomonosov History Journal

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The research is based on the analysis of the 1821 detailed description of the premises of the apartment of the Moscow University professor Heim, who had just passed away. From 1781 Heim, who maintained ties with Germany, rose to professor and then to rector of the Moscow University. His home environment provides material for reconstruction of the life of a “Russian German”, a representative of academic culture (with its academic everyday life). According to the inventory, the rector’s apartment near Mokhovaya Street contains four living rooms, a kitchen and a stable (on the lower floor). The room-by-room description of furniture, clothing, utensils and other household items, and information on the composition of the home library embody the anthropological characteristics of the professor’s subculture. The author of the article views a home item as a tangle of cultural practices, and the structure of the home and its contents as an embodiment of the professor’s way of life. The list of numerous kitchen utensils, a carriage, a droshky and several sets of harness in the stable indicate the complete autonomy of existence, and a large number of chairs and dining utensils allows us to speak about a certain degree of the publicity of the space. A set of clothes (casual and ceremonial), orders, letters of loan and idle money indicate a relatively high material and social status of Heim, demonstrate prosperity, the desire for domestic convenience of a “private man”. But the restrained style of apartment decoration, lots of desks, books, measuring instruments and stationery (attributes of routine academic writing) speak of the priority of the professor’s intellectual pursuits at home. The material of the inventory, considered against historical and cultural background, allows us to expand our views on understudied subculture of university professors as a specific layer of “middle-class people”, Russian intellectual elite of the late 18th and the early 19th centuries.

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The Byzantine History of the Platonic Dialogue and Its Reception in Russia in the 18th and 19th Centuries

Cited by 2 publications

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A visual-acoustic duet of painting and music in medieval aesthetics

A visual-acoustic duet of painting and music in medieval aesthetics

Professor of the Moscow University I.A. Heim (Bernhard Andreas Von Heim) and His Life-World (According to the Materials of the Inventory of Rector’s House in 1821)

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