Suchergebnisse

The article deals with the genre features of L.I. Gaidai "The Diamond Arm". It is noted that in this fi lm, in addition to a satirical denunciation of various shortcomings of Soviet reality, L.I. Gaidai gives a parody on numerous foreign and domestic fi lms, primarily fi lms about James Bond, foreign parodies of Bond and other spies, detective and crime comedies and individual comedy roles. The connection in the fi lm of numerous echoes with parodied prototypes required the director to turn to a special genre – the mockumentary fi lm, which began to actively develop in those years in Western cinema. Perhaps Gaidai's "The Diamond Arm" turned out to be the fi rst domestic example of this genre. It is based on the technique of bricolage, which is expressed in a special combination of many borrowed plot situations and actors' characters. The result is a believable story with easily recognizable intrigues and plot moves, made in the manner of realistic fi lming, without exact quoting of material borrowed from other fi lms, but with a recognizable reliance on it. Thanks to the layering of parodied plot details embedded in everyday situations that were widespread in the Soviet reality of those years, the director creates a story that is outwardly simple and understandable to the general public, unfolding in the frame. Thus, Gaidai managed to form a script, consisting entirely of parodied borrowings. The director offers not only to laugh at the so-called 'individual shortcomings', but also draws attention to conceptual criticism of the vulnerable aspects of the Soviet mass consciousness of the 1960s – over the main value priorities of the many-sided domestic bourgeoisie, focused on the life for 'personal benefi t'. Accordingly, he criticizes precisely this ideal of false self-assertion, both by direct satirical denunciations of the negative aspects of Soviet reality, and by parodying models of acquisitiveness and personal comfort borrowed from the West, to which Soviet seekers of an easy life were committed.

This text discusses the argumentation of the authors of the article "Carnival Time: Russian Higher Eductaion and Science in the Postmodern Era" by Doctor of Economics, Professor P.A. Orekhovsky and Doctor of Philosophy, Professor V.I. Razumov, where they analyze the situation in modern Russian higher education. It is noted that the desire to expand the boundaries of scientific discourse on this urgent topic leads researchers to search for non-traditional methods of analysis of the current situation in education. In this case, the author considers the modern problems of domestic education through the prism of the literary theory of the carnival developed by M.M. Bakhtin for the analysis of artistic phenomena of a completely different order. It is argued that the experience of a critical understanding of the problems of education in the artistic works of various authors and eras leads to obvious parallels both among themselves and with the current situation in the domestic higher education, which is confirmed by a comparison of P.A. Orekhovsky's and V.I. Razumov's observations and conclusions, with texts by Lao She, Jean Baudrillard, Yuval Noah Harari, with the statements of the President and Chairman of the Board of Sberbank of Russia G.O. Gref and Assistant to the President of the Russian Federation, previously the Minister of Education of the Russian Federation, A.A. Fursenko. On the basis of multiple comparisons of a number of texts and statements, it is concluded that the progressive stratification and destruction of the system of domestic education reflects a global trend due to a change in the global social assessment of the meaning of truth and the scientific knowledge needed to find it, and the practical use in the interests of all mankind, or part of it. The author supports the forecasts by P.A. Orekhovsky and V.I. Razumov about the upcoming change in the types of institutions of science and education, as well as about imminent changes in the field of goal-setting and the organization of intellectual activity in states with developed scientific and educational potential.

The article discusses the methods of constructing an invariant in musical art. The problem of the invariant in its final form is formulated as the problem of the limits of music. The answer to the question "what is music?" requires the formulation of its invariable properties, which are preserved in any form of acoustic realization of a musical concept. The comparison of three influential models of the invariant of music presented in the works of E. Kurt, G. Schenker and Yu.N. Kholopov allows us to draw a conclusion about a unified method for constructing the invariant of music. It is based on the idea of primary energy, which reveals itself in the course of the embodiment of an artistic conception and appears to us through the acoustic realization of a piece of music. Invariant properties permeate the structure of the musical fabric and then ascend to the most important principles of musical expressiveness, which allow the very possibility of perceiving music as a meaningful sound, in contrast to acoustic phenomena of a different origin. Therefore, the construction of the invariant of musical art requires taking into account its features at hierarchically correlated large-scale levels of organization of musical creativity, perception and thinking. This requirement remains the most general and conventional, uniting strategies for finding an invariant even in those cases when they try to search for the area of limiting invariant properties in various existential and conceptual spheres.