No 5 (2025)

The article analyzes the semiotic concepts of sign, knowledge, scheme, model, artwork, project. Three levels of reconstruction of these concepts are indicated: structural (for example, the concept of a sign is defined as a structure containing the actual "sign", its "meaning" and, "denotation"; moreover, in different semiotic concepts, the structure of the sign is different), communicational (communication participants, creation, transmission and understanding of the text), modal in relation to a certain reality of being (linguistic, conditional, virtual, as a simulacrum or, conversely, real). The author implements the stated approach based on a fragment of Mark Twain's work "A Yankee at the Court of King Arthur." In this piece, the listed semiotic concepts are consistently highlighted and reconstructed. The result of the reconstruction is shown in tables for operational purposes and for better visibility. The author discusses the conditionality of the formation of semiotic concepts by time and culture, while semiotic technology differs from humanitarian and historical research involving the reconstruction of the socio-cultural context of semiotic concepts. Considering the conditions for the formation of these concepts, which also include the nature of European culture and its development, the author comes to the hypothesis that the socio-cultural context of semiotic representations that has developed in history is inseparable from their essence, that when it is eliminated, these concepts are reduced to the level of semiotic technology, which Mark Twain used in the novel "Yankees at the Court of King Arthur". The writer has conducted a social experiment in an artistic form to see what happens if the future invades the past, ignoring traditions and people's capabilities. At the end of the article, using the example of a teenage experience, K. Jung illustrates the need to analyze the life context of the concept of a schema. And in many other cases, when it comes to humanitarian research and practice, it is necessary to reconstruct the socio-cultural context of semiotic concepts.

The subject of the research is the reflection of the image of the Moscow metro in works of visual art from the period of 1955-1991, as well as the evolution of artistic representations of urban above-ground transport during this time. At the same time, the task of this article can be considered as the analysis of the space of the capital's metro in works of visual art. The visual material will be examined, including through the prism of the artists' personal attitudes towards the late Soviet metro. Works by artists such as Leonid Soiferits, Alexander Labas, Vladimir Stozharov, Dmitry Zhilyinsky, and Natalia Nesterova have been used as sources. The works of lesser-known authors, such as Heinrich Stopa, Boris Kazakov, and Olga Yanovskaya, are also considered. Written sources include works of fiction and memoirs by Ilya Glazunov. The study employs an iconographic method and a method of stylistic and artistic analysis. Also significant for this article will be the historical-comparative method, which will allow for the discovery of the continuity of artistic images of the 20th century and the art of the past. The main conclusions of the conducted research highlight two main trends in the depiction of the metro in Soviet art during the examined period: lyrical and critical. They emerged at the same time, but by the 1970s, a predominance of critical perception of the metro became apparent. Some artists took the position of an external observer. The novelty of this research lies in the fact that the Moscow metro is viewed not in an architectural and monumental context, but as a space in the works of easel artists. The practical application of the research findings lies in the potential to awaken interest in the study of artistic images of the Moscow metro in a non-architectural context. Additionally, this article may stimulate interest in the history of public transport as a whole.

The subject of this research is Russian feature films from the 1990s that represent the image of Russia amid social and cultural changes, while the focus is on the artistic features and semantic mechanisms of shaping the image of Russia in the film "Everything Will Be Alright." The article examines key aspects of this image's formation: the state of social and cultural uncertainty, moral guidelines during a transitional period, the motive of emigration, the transformation of the family institution, the loss of trust in the state and society, as well as the resilience of the "little man" in an era of the destruction of the familiar world structure. Special attention is given to the analysis of visual and narrative solutions through which the director captures the traumatic experience of transitioning from Soviet to post-Soviet reality. A comparative approach is employed, comparing the image of Russia in "Everything Will Be Alright" with its representation in other social dramas of the 1990s: "Promised Heaven" (1991), "You Are the Only One for Me" (1993), "Window to Paris" (1993), "Brother" (1997), and "The Sharpshooter" (1999). Research methods include the interpretive method (analysis of symbolism, imagery, dialogues, and the film’s dramaturgy), the cultural-historical method (considering the film in the context of the sociocultural situation of the 1990s), the comparative method (comparing Astrakhan's film with other cinematic works of the era), and the hermeneutic method (revealing hidden meanings, tonal nuances, and the author's ethical position). The main findings of the research indicate that Astrakhan's film represents not only an artistic fixation of post-Soviet reality but also an important ethical document of the time, in which the "little man" becomes a central figure of national consciousness. The author's contribution lies in a comprehensive examination of one of the key cinematic works of the 1990s as a representative cultural artifact capable of reflecting and interpreting the sociocultural trauma of the era. The scientific novelty of the research is in the systemic analysis of the presented film as an artistic work that forms an original and underexplored image of Russia in the 1990s, as well as in identifying Dmitry Astrakhan's authorial position, which differs from the dominant narratives of violence, cynicism, and social hopelessness in the cinema of the 1990s.

The study is devoted to the influence of Soviet aesthetics on design in China and North Korea. The relevance of the study is due to the growing interaction between China and Russia, including in the field of design, and the influence of "Soviet aesthetics" is the common design past of our countries. The design of North Korea is also an equally vivid example of the "Soviet aesthetics" in design. The aim is to use the example of the influence of Soviet aesthetics on design in China and North Korea to show how the understanding of design was influenced by the planned economy and the ideology of Marxism. The "Soviet aesthetics" in the article refers to a system of views on design, as well as a set of stylistic techniques determined by these views within two approaches that were originally formed in the USSR – analytical (avant-garde) and socialist realism. The authors of the article rely on the comparative method, analyzing common approaches to design that determine the stylistic features of design products in the USSR, China and North Korea during the period of domination of the planned economy and the influence of Marxist ideologies. Based on the reasoning of VNIITE representatives, the authors formulate the Soviet understanding of design as an activity having a single "invariant" that can be successfully developed in a planned economy "from above", forming a socialist "non-commercial" design model, an alternative to the "commercial" Western model. And although the "Soviet aesthetics" is not without charm, as the experience of the USSR, China during the time of Mao Zedong and North Korea shows, propaganda turns out to be one of the most important promotion mechanisms for the "non-commercial" model, and design functions are sharply narrowed (in graphic design, this is propaganda and labeling). Due to the fact that the customer is the state, a characteristic feature becomes "monostylistic", which limits the creative potential of designers. In addition, due to the fact that under the influence of ideology, the "former basis" was destroyed, and with it the centuries-old culture, art for the masses, although it was based on folk culture (in socialist realism and after it), often acquired the form of "amateur activity".

The object of this study is Chinese engraving. The subject of the research is the path of the formation of Chinese engraving. The author examines in detail aspects such as the regional specialization of this art form (engraving of Yangliuqing, Huizhou, Suzhou, Yangjiabu, etc.), as well as its social, artistic, and political significance in the history of China. The study also explores nianhua, traditional images produced through printing. The aim of the research is to identify specific features and patterns in the historical development of engraving in the country. The following methods were used in writing the article: historical, historical-comparative, as well as methods of art analysis. Over time, Chinese woodblock printing developed a pronounced regional specificity, and the range of depicted themes became quite broad. The 20th century marks a completely new stage for Chinese engraving, as during this historical period it was first recognized by the world of high Chinese art. In the early 21st century, engraving continues to develop actively. Moreover, in recent years, increasing attention has been paid to traditional woodblock printing techniques. The successful engagement of young artists in this art form currently allows for the assertion that in the coming years, engraving will continue to play a significant role in the culture of modern China. The scientific novelty of this study lies in the formation of a hypothesis about the future of Chinese engraving, based on the analysis of the historical path of this art and its contemporary trends.