Оksana A Shtayn
Biographic Data
| ID | 4471135 |
|---|---|
| NAME | Оksana A Shtayn |
| GIVEN NAMES | Оksana A |
| FAMILY NAME | Shtayn |
| SIGNATURE | SHTAYN О A |
| AFFILIATIONS | B.N. Yeltsin Ural Federal University, Yekaterinburg, Russian Federation |
| ORCID | 0009-0004-1701-3147 |
| VERIFIED | Yes |
| TOTAL WORKS | 5 |
| TOTAL CITATIONS | 0 |
| AUTHOR COUNT | 5 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2024 |
| LATEST PUBLICATION YEAR | 2026 |
| H-INDEX | 0 |
The Visual Gavagai
This article develops and introduces into scholarly discourse the interdisciplinary concept of the ‘visual Gavagai’, extending Willard Van Orman Quine’s famous thought experiment on the radical indeterminacy of translation into the realm of visual perception and art. The proposed concept allows for transcending the traditional art-historical dichotomy between the search for an immanent authorial intention and the subjective arbitrariness of inter…
Apophatic Stylistics as a Version of the Ontology of Art
This article proposes an ontological revision of the foundations of art historical analysis, which has traditionally relied on the hermeneutics of style expressed through a system of binary oppositions (from Wölffl in to Baxandall). In contrast to this relational model, which defines an artistic phenomenon through its difference from another style, the theory of apophatic stylistics is put forward. Borrowing its fundamental gesture from negative …
Autocommunication and Puppet Theater
The article explores the role of autocommunicative practices, tracing shame as cultural intuition, such as puppet theater, buffoonery, and holy foolishness, in Russian culture as elements of carnival tradition, subverting social norms and exposing hidden mechanisms of interactions. The puppet, the jester, and the holy fool act as mediators, unmasking societal vices and transforming worldviews. Puppet theater creates distance between the viewer an…
Hypatia of the 21st century
The Imagery of M.V. Dobuzhinsky’s Illustrations to Yu.K. Olesha’s The Three Fat Men
Mstislav Dobuzhinsky’s illustrations to the tale by Yury Olesha The Three Fat Men have not received a convincing interpretation. It is suggested to read these illustrations as a special work with the social imaginary that expands the participation of the fairy tale’s characters in revolutionary events through a special gaze technique. Two types of imagination are distinguished: the narrative imagination, implying the acceptance of the structure o…
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The Imagery of M.V. Dobuzhinsky’s Illustrations to Yu.K. Olesha’s The Three Fat Men
Mstislav Dobuzhinsky’s illustrations to the tale by Yury Olesha The Three Fat Men have not received a convincing interpretation. It is suggested to read these illustrations as a special work with the social imaginary that expands the participation of the fairy tale’s characters in revolutionary events through a special gaze technique. Two types of imagination are distinguished: the narrative imagination, implying the acceptance of the structure o…
Autocommunication and Puppet Theater
The article explores the role of autocommunicative practices, tracing shame as cultural intuition, such as puppet theater, buffoonery, and holy foolishness, in Russian culture as elements of carnival tradition, subverting social norms and exposing hidden mechanisms of interactions. The puppet, the jester, and the holy fool act as mediators, unmasking societal vices and transforming worldviews. Puppet theater creates distance between the viewer an…
Hypatia of the 21st century
The Visual Gavagai
This article develops and introduces into scholarly discourse the interdisciplinary concept of the ‘visual Gavagai’, extending Willard Van Orman Quine’s famous thought experiment on the radical indeterminacy of translation into the realm of visual perception and art. The proposed concept allows for transcending the traditional art-historical dichotomy between the search for an immanent authorial intention and the subjective arbitrariness of inter…
Apophatic Stylistics as a Version of the Ontology of Art
This article proposes an ontological revision of the foundations of art historical analysis, which has traditionally relied on the hermeneutics of style expressed through a system of binary oppositions (from Wölffl in to Baxandall). In contrast to this relational model, which defines an artistic phenomenon through its difference from another style, the theory of apophatic stylistics is put forward. Borrowing its fundamental gesture from negative …
Art (2 works) · Psychology (2 works) · Vladimir Nabokov Literary Studies (2 works) · Aesthetics (1 works) · Arbitrariness (1 works) · Contemporary Sociological Theory and Practice (1 works) · Dialectic (1 works) · Digital Education and Society (1 works) · Discourse Analysis and Cultural Communication (1 works) · Economic Theory and Institutions (1 works)