
Hypotheses:
THEORETICAL REVIEW
E.A. Orlova. Concepts of identity/identification in socio-scientific knowledge
Discussions:
IN SEARCH OF THE MEANING OF HISTORY AND CULTURE (A.Ya. Flier's rubric)
A.Ya. Flier. Culture as the basis of identity
N.A. Khrenov. The Russian Revolution from the point of view of the transitional situation in the history of culture. Rehabilitation of the Imperial complex as a consequence of the period of reaction in the history of the Revolution (continued)
V.M. Rozin. From the views of L.S. Vygotsky to the modern concept of development
Analytics:
CULTURAL REFLECTIONS
A.Ya. Flier. Accumulation and transmission of social experience. Socio-cultural reproduction
N.A. Khrenov. Culture and Technology: from the organ projection of E. Kappa to the objectification of Hegel's spirit (Semiotic turn in the culture of the twentieth century) (continued)
V.M. Rozin. Personality formation: the role of the social environment and the work of the individual's consciousness
VIEWS
A.Ya. Flier. Culture as a survival system and its 5 strategies
A.P. Markov. Traditional Values – "New Ethics": the Global Conflict of Logos and Chaos
Announcement of the next issue
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Shapinskaya Ekaterina Nikolaevna,
Doctor of Philosophy, Professor,
Deputy Director of the Expert-Analytical Center
for Development of Educational Systems
in the Sphere of Culture,
the Lykhachev Russian Research Institute
for Cultural and Natural Heritage
e-mail: reenash@mail.ru
Tsodokov Yevgeny Samsonovich,
Editor-in-Chief
E-Journal “OperaNews”
e-mail: tsodokov.es@mail.ru
Opera Paradox-2. Transformations of Cultural Forms: Historical Development of Opera
Abstract. The authors trace the history of opera as a cultural form, focusing on its contextual transformations, changing of ratio between musical, verbal and visual elements depending on cultural dominant ideas of a certain epoch. A special attention is given to the peculiarities of this genre in the Renaissance era, as well as to Wagner’s “revolution” and the destruction of artistic traditions in modern art, including musical theatre. The article also discusses a question of preserving cultural form amid full destruction of its traditional characteristics and shifting accents to stage’s visual elements.
Key words. Cultural form, opera, genre, art, history, creativity, Romanticism, context, transformation
[1] Jameson, F. Postmodernism, or, the Cultural Logic of Late Capitalism. London-N.Y.: Verso, 1991.
[2] See: Tsodokov Ye.S. Turandot’s Forth Riddle // Culture and Art. 2014. № 4; Tsodokov Ye. Turandot’s Forth Riddle // Three Ages of Opera Comique. 2015. № 4-5.
[3] Kierkegaard S. “The Immediate Stages of the Erotic, or The Musical Erotic” // Kierkegaard S. Either/Or. A Fragment of Life (2 Parts). St. Petersburg: RHGA, 2011. P 97.
[4] Shapinskaya E.N., Dobrenkova O.P. Dialogues On Christmas Night: Tales, Music, and Other Things… // Culture of Culture. 2014. № 1. [e-resource] URL: http://cult-cult.ru/dialogi-v-rozhdestvenskuyu-nochi-o-skazkah-muzyke-i-ne-toliko/
[5] Ferman V.E. The Opera House. Articles and Studies. Moscow: Muzgiz, 1961. P. 70.
[6] Konen V.D. Theatre and Symphony. Moscow: Musika, 1975.
[7] Encyclopedia of Music (6 Volumes). V. 4. Moscow: Sovetskaya Entsyklopedia, 1978. P. 20.
[8] Konen V.D. Op. cit., p. 99.
[9] Schubert F. From the Notebooks of Maestros Raro, Florestan and Eusebius. St. Petersburg: Izdaniye Frindeizena, 1896. P. 21.
[10] Cited after: Gorovitch B. The Opera House. Leningrad: Musika, 1984. P. 11.
[11] Ibid., p. 11.
[12] Tick L. Love Songs of German Minnesingers // Literary Manifestos of German Romantics. Moscow: MGU, 1980. P. 108.
[13] Franz Shubert. Letters. Notes. Diaries. Poems. Edited by Yu. Khohlov. Moscow: Knizhny Dom LIBROKOM, 2015. P. 100.
[14] Rand А. The Romantic Manifesto: A Philosophy of Literature. Moscow: Alpina Publisher, 2011. P. 104.
[15] Tsodokov Ye.S. Vanishing Opera [e-resource] URL: http://WWW.operanews.ru/history54.html.
[16] Schuré E. Richard Wagner et le Drame Musical. Moscow, Enigma, 2007.
[17] Ibid.
[18] Ibid, p. 305
[19] Tchaikovsky P.I. On Opera. Moscow, St. Petersburg: Muzgiz, 1952. P. 180.
[20] Shapinskaya E.N. Identity Crisis in Modern Art: Tragic Elements in Tchaikovsky’s “The Queen of Spades” and Berg’s “Wozzeck” in the Context of Contemporary Challenges // Culture of Culture. 2014. № 2. [e-resource] URL: http://cult-cult.ru/problem-of-identity-crisis-in-modern-art/
[21] Jung C. G. The world started to be determined by evil. (from C. G. Jung. Memories, Dreams, Reflections. New York: Vintage Books, 1963) // C. G. Jung. M. Foucault. The Matrix of Madness. Moscow: Algorytm, 2013. P. 78.
[22] Ferman V.E. Op. cit., p. 38.
[23] Interview with Maria Biyeshu. [e-resource] URL: http://www.operanews.ru/biesu.html
[24] Ortega y Gasset J. The Dehumanization of Art. St. Petersburg: Piter, 2005. P. 233.
[25] Naletova I.N. Opera as a Wholeness: a Systematic Approach. St. Petersburg: the Herzen RPHU, 2013. P. 9.
[26] Ibid, p. 60
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ISSN 2311-3723
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Official registration № ЭЛ № ФС 77 – 56414 от 11.12.2013
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