Резюме опубликованных статей на английском языке
Сведения об авторах

Contents

THEORY AND HISTORY OF ART

L.E. Petrova, E.A. Fitmov
Reflection of historical memory in the retrospective of the theme of the Great Patriotic War in the works of artists of the North Caucasus
Abstract. This article examines the transition from "living memory" to "cultural memory" through art, which serves as an alternative source capturing the truth about the events of the Great Patriotic War. In the face of modern challenges, it is important to remember moments of the shared destiny of the peoples of Russia. The North Caucasus is a multiethnic region, and an analysis of the works of local painters, graphic artists, and sculptors "restores" the region's role as a subject of history. This demonstrates how the region's artists interpreted the war through the prism of national traditions. The article emphasizes the connection between the art of the peoples of the North Caucasus and their land and ancestry. It also highlights the fact that there is no single Caucasian perspective on the events of the Great Patriotic War, as some peoples were deported while others were not, creating a rich polyphony of memory in works of art. Art from the war years and postwar reflections was often created at the intersection of the Russian academic school and local traditions. Revealing this synthesis strengthens a pan-Russian civic identity.
Keywords: front-line artists, historical memory, art, heroism, thematic painting, image, traditions, understanding.

N.V. Nekrasov
Comparative analysis of the Russian science fiction films "The Mystery of Two Oceans" and "Kraken"
Abstract. The purpose of this article is to explore the plot lines of Soviet and contemporary science fiction films ("The Mystery of Two Oceans", "Kraken,") and to examine the changes in narrative, ideological, and visual strategies over the past 70 years. The object of this study is Russian science fiction films about the mysteries of the ocean depths. The subject of this research is the evolution of science fiction concepts, plot lines, and visual elements in these films, the specifics of the figurative and thematic representation of the underwater world, and the philosophy and ethics of engaging with the unknown. The study utilizes methods of comparative and hermeneutic analysis, narratology, and visual semiotics. It is concluded that allowing for hyperbole in science fiction films allows for a more in-depth examination of social and moral issues. The study of "Kraken" is relevant to film scholars and sociologists as an example of the adaptation of myth to modern science fiction, where classic horror meets industrial drama.
Keywords: Russian film industry, science fiction films, "The Mystery of Two Oceans," "Kraken," underwater world, kraken, monomyth, ecology.

Li Jian
Musical dramaturgy: experience of analysis of Isaac Schwarz's cinematography music
Abstract. Since the very birth of sound cinema, a duet has emerged - a director and a composer, who build the relationship between the frame and the music. Unlike autonomous musical works, film music has a strong connection with the plot of the film and its rhythm. Cinema music is characterized by logical fragmentation with a small number of complete numbers (songs, movie credits overture, and others), genre context (waltz, march, romance), and thematic relief (for variational development). The inclusion of a soundtrack in film is always artistically justified. Various spatial relationships (frame - off-frame) and emotional effects (from illustration to counterpoint and conflict) are built between the image and the musical accompaniment, which represents the musical dramaturgy of the film. The article examines the techniques of using Isaac Schwartz's music to create an atmosphere of the past, to convey the ideas of the hero's inner conflict, and to dramatically saturate the action of films adapted from literary works by Russian writers A. Pushkin, F. Dostoevsky.
Keywords: film music, the musical dramaturgy, movie credits overture, leitthematism, I. Schwartz.

Li Dongyu
Tradition and metaphor in Chinese poster art
Abstract. This article examines the mechanisms for conveying the values of traditional Chinese culture through metaphorical models in poster art. It analyzes the iconographic programs, symbolic codes, and visual-rhetorical strategies employed in Chinese poster production in the 20th and 21st centuries. Key conceptual metaphors (path, blossom, dragon, phoenix, hieroglyph) are identified, defining the understanding of the semantic nodes linking traditional culture with modern ideological and aesthetic concerns. A typology of metaphorical models with a pragmatic focus is proposed.
Keywords: China, poster, metaphor, symbol, traditional culture, visual rhetoric, iconography, Confucianism, Taoism, socialism, art.

Li Xinshuo
Cultural resonance of A. N. Scriabin's stylistic elements in the works of Chinese composers
Abstract. The article examines the reception of Alexander Scriabin's philosophical and aesthetic legacy in the works of Chinese composers at the turn of the 20th-21st centuries. In contrast to the traditional model of "influence," which implies a "center - periphery" hierarchy, the article proposes the category of "cultural resonance," which allows revealing deep ontological correspondences between Scriabin's sound system (mystic chord, synesthesia, trance temporality) and the fundamental categories of Chinese aesthetics (xu, qi, shen, "heaven-human interconnectedness"). Drawing on compositions by Tan Dun, Chen Qigang, Jia Daqun, and Ye Jun, the article demonstrates that Chinese composers do not borrow formal techniques but reinterpret Scriabin's aesthetics as an open semiotic system for expressing their own spiritual and artistic identity within the space of global musical modernism.
Keywords: Alexander Scriabin, intercultural resonance, Chinese school of composition, musical modernism, philosophy of sound, transcendental aesthetics, spiritual model.

Pu Zhong
Mythological motifs in the tomb of Tutankhamun: narratives of eternal life
Abstract. The article analyses mythological motifs preserved in the painted decoration and funerary assemblage of Tutankhamun's tomb (KV62) in the Valley of the Kings. Drawing on a systematic examination of the burial chamber's wall paintings, textual sources - the Amduat, the Book of the Dead, the Book of the Heavenly Cow - and sacred artefacts, the study identifies a consistent narrative strategy oriented towards eternal regeneration. It is argued that the tomb's space was constructed as a physical manifestation of the solar-Osirian ritual: the king was simultaneously identified with Osiris as the arbiter of post-mortem judgement and with Ra as the embodiment of cyclical renewal. Special attention is paid to the iconography of the four walls of the burial chamber, the Head of Nefertem statuette, the golden death mask, the canopic ensemble, and the unique copy of the Book of the Heavenly Cow inscribed on the outer shrine. The article concludes that the tomb's multiple narrative programmes form a coherent cosmological text in which the pharaoh's death is conceived as the precondition of his ontological transformation.
Keywords: Tutankhamun, KV62, ancient Egyptian mythology, eternal life, Osiris, Ra, Amduat, Book of the Dead, Book of the Heavenly Cow, afterlife narratives.

Xu Dandan
Principles of intertextual interpretation of Nizami's poem in Bright Sheng's chamber opera "The Song of Majnun"
Abstract. The study is devoted to the principles of intertextual interpretation of Nizami's poem "Layla and Majnun" in Bright Sheng's chamber opera "The Song of Majnun". The relevance is determined by the necessity of analyzing cross-cultural dialogue in contemporary music theatre. The aim of the article's research is to reveal the intertextual strategies through which the plot and the imagery of the Eastern poem are transferred into the Western European genre of chamber opera. The work employs intertextual, semiotic, and comparative-typological methods. Four levels of intertextual interaction are identified - verbal, musical, genre, and symbolic - and the principles of transposition, hybridization, allusion, and stylization are described. The conclusion is drawn that Bright Sheng's opera can be viewed as a multicultural palimpsest, and the intertextual approach is productive for the study of synthetic musical-stage works.
Keywords: intertextuality, chamber opera, Bright Sheng, Nizami, Layla and Majnun, cross-cultural dialogue, musical text, semiotics, East-West.

E.V. Svirskaya
"Island fauna"? On the musical dialogue between England and the continent in the fifteenth century
Abstract. The article examines the musical interaction between England and continental Europe in the fifteenth century. The relevance of the study lies in the need to reconsider the idea of English polyphony as an isolated "insular" tradition. The aim of the article is to show that the distinctive features of English music developed not outside the European context, but in constant dialogue with it. Using historical-cultural, comparative-stylistic and source-based methods, the study analyzes the main channels of Anglo-continental exchange: court chapels, ecclesiastical and diplomatic contacts, the Hundred Years' War, the Burgundian context and the transmission of manuscripts. Special attention is paid to English consonant sonority, the concept of contenance angloise, and the works of John Dunstable and Walter Frye. The article concludes that fifteenth-century English music was "insular" not in the sense of isolation, but as a tradition with its own artistic hearing, which significantly contributed to the formation of the musical language of the early Renaissance.
Keywords: English polyphony, fifteenth-century music, contenance angloise, John Dunstable, Walter Frye, Burgundian school, fauxbourdon, musical dialogue, manuscript sources.

Wang Kunhao
The Black Church on the academic stage: the Robbins farewell scene in George Gershwin's opera Porgy and Bess
Abstract. When studying the opera Porgy and Bess, researchers often focus on the African American community representation (Catfish Row community), which is depicted through jazz music. However, what is often overlooked is that many of the opera's musical solutions are not merely jazz "homages" to the life of African Americans, but a profound, tradition-rooted view on the history of the struggle for freedom. One of the traditions is the important role of music, including jazz, in the Black Church and its religious rituals, which is intertwined with the long history of racial oppression.
This article addresses the history and musical traditions of the Black Church and establishes a connection between these traditions and the use of jazz idioms and African idioms in depicting the Robbins's funeral scene. The study aims to demonstrate how Gershwin, with anthropological precision, brings the aesthetic of African American worship in the Black Church to the academic stage and, moreover, employs the means of classical orchestration to do so.
Keywords: George Gershwin, American opera, jazz music, Black Church, Porgy and Bess.

Xie Mengyuan
Musical poetics as an analytical framework for the study of Alfred Schnittke's creative work
Abstract. The purpose of this article is to outline the methodological foundations of the poetological approach in the field of musical art. Examining various approaches to the interpretation of the term "musical poetics" within Russian musicology, as presented in the works of V. Nazaykinsky, S. I. Savenko, N. S. Gulyanitskaya, and S. S. Ermakova, the author also analyzes Igor Stravinsky's approach, as set forth in his lecture cycle entitled "Poetics of Music." The article also formulates an expanded interpretation of the term "musical poetics" suited to the analysis of A. G. Schnittke's vocal works. The practical applicability of the poetological approach is demonstrated through the example of the cantata The History of Dr. Johann Faust.
Keywords: poetics, musical poetics, musicology, Schnittke.

Liu Tiancong
The "formula" of ecstasy in Scriabin's eponymous poem
Abstract. Ecstasy is the central concept of A. N. Scriabin's creative work. This article addresses the problem of defining ecstasy through the example of his "Poem of Ecstasy. Based on T. N. Levaya's "formula" of ecstasy - which comprises psychological "going outside of oneself", spiral like ascent, polarity of static and dynamic, active and passive, and the presence of the Silver Age context of extremity, - the author supplements this concept with a detailed musical and analytical analysis of the piece. As a result of the study, the specific expressions of the "formula" of ecstasy are identified in form and themes, pitch-harmonic and harmonic organization, orchestration and voice-leading, rhythm, and performance remarks. It is proven that the "formula" of ecstasy has a tangible musical embodiment and is not merely a philosophical concept or a metaphor, but an immanent property of Scriabin's writing.
Keywords: Scriabin, Poem of Ecstasy, symbolism, Silver Age, ecstasy.

Xiao Jingrui
Genre and style features of Oscar Merikanto's piano works
Abstract. The article examines the piano works of Oscar Merikanto. It is noted that Merikanto reflected the main features of Finland's national musical culture in his chamber music. The artistic aspects of his compositions are focused on everyday life and the feelings of ordinary people, and it is this natural melodiousness, sincerity, and accessibility that have made him one of the most beloved composers in Finland.
The genre and style features of his piano works are determined by several factors: a focus on chamber genres, primarily lyrical miniatures and dances; a synthesis of European romantic traditions with the national Finnish intonation system; an emphasis on melody as the primary means of expression; and a desire for accessibility and clarity in the musical language.
A comprehensive analysis of Oscar Merikanto's piano works reveals their genre and stylistic features, innovative solutions, and national significance in the context of the development of the Finnish piano school at the turn of the 19th and 20th centuries.
Keywords: Finnish School of Composition, Oskar Merikanto, piano, piano repertoire, "Pages from an Album".

Wang Yishan, E.O. Nazarova
The influence of Borodin’s romances on the development of Russian chamber-vocal music in the late 19th and early 20th centuries
Abstract. The purpose of the research is a comprehensive multi-faceted study of the artistic and stylistic features of A. P. Borodin's vocal romances and the identification of their multifaceted impact on the formation and evolution of Russian chamber vocal music of the late 19th - early 20th centuries. The paper solves the task of revealing the specifics of the synthesis of folk song intonations, symphonic polyphonic thinking and philosophical lyrics in the composer's romance heritage; an expanded comparative analysis of Borodin's creative approaches with representatives of The Mighty Handful and leading Silver Age composers is carried out. The novelty of the research lies in a systematic examination not only of the stylistic techniques of Borodin's romances, but also of their long-term institutional influence on vocal pedagogy in Russian conservatories and the formation of canons of professional performing interpretation of chamber vocal works. Three key groups of results were obtained through multi-stage musical and archival analysis: three fundamental authorial innovations of Borodin in the chamber romance genre were identified - symphonization of piano accompaniment, deep transformation of folk melody without direct quotations of folk tunes, filling miniature vocal texts with profound philosophical content; the unbroken stylistic continuity of Borodin's solutions in the romances of Rachmaninoff, Scriabin and Gliere is proven; the central role of Borodin's romances as mandatory educational and concert repertoire of Moscow and St. Petersburg Conservatories at the turn of the centuries is established. The materials of the article can be used in the educational process of music universities when studying the disciplines "History of Russian Music" and "Chamber Vocal Literature", as well as by vocalists and accompanists when compiling performance programs.
Keywords: Alexander Borodin, Russian chamber romance, The Mighty Handful, chamber vocal music, stylistic innovations, musical continuity, Silver Age composers, vocal pedagogy, piano accompaniment, folk melody, performing interpretation, conservatory repertoire.