Кинематограф XII века: традиционалистские теории кино в Японии 1930-х – 1940-х годов
This book examines shifts in the meaning of montage in different historical situations and in various artistic media, including literature, cinema, theater, and visual arts. Its scope includes literature and art of Soviet Russia (both official and unofficial), Germany, France, and the United States from 1910 to the 2010s. While this book does not provide a cohesive historical sketch, it delivers comparative studies on artists whose works problematize common understandings of the avant-garde in art history.
This study argues that different types of artistic montage correspond to different conceptions of history, dividing the history of montage aesthetics and techniques into three periods: (1) constructing, (2) post-utopian, and (3) historicizing or analytic montage. This book intends to demonstrate how the revolutionary montage aesthetics of the 1920s was reinterpreted and adapted for critical analysis of utopian consciousness in unofficial literature and art of the 1960s and 1970s. This change became possible because unofficial art, unlike Soviet socialist realism, was connected with the experiments of European and American radical modernism and postmodernism.
This study used basic personal values to elucidate the motivational meanings of “left” and “right” political orientations in 20 representative national samples from the European Social Survey (2002–2003). It also compared the importance of personal values and sociodemographic variables as determinants of political orientation. Hypotheses drew on the different histories, prevailing culture, and socioeconomic level of three sets of countries—liberal, traditional, and postcommunist. As hypothesized, universalism and benevolence values explained a left orientation in both liberal and traditional countries and conformity and tradition values explained a right orientation; values had little explanatory power in postcommunist countries. Values predicted political orientation more strongly than sociodemographic variables in liberal countries, more weakly in postcommunist countries, and about equally in traditional countries.
Selected haiku by one of the best disciples of Masaoka Shiki and the only classical poet from Akita.
The article deals with the poetical principle fushimono ("distribution of things")which was widely employed in renga as a compositional device. Other forms of poetical means which served as precursors to fuhimono in waka poetry (mono-no na, kakushidai, kutsukammuri-uta etc.) and their Chinese roots are thouroughly analyzed and demonstrated on numerous examples translated by the author.