Visualization in Song and Poetry Culture
Bibliographic Data
| ID | 22040557 |
|---|---|
| Authors | V A Gavrikov (0000-0002-7410-8714, The Russian Presidential Academy of National Economy and Public Administration, corresponding author) |
| Year | 2023 |
| Issue | 4 |
| Pages | 604-627 |
| Publication date | 2023-12-01 |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Art & Culture Studies (JOURNAL) |
| Journal identifiers | ISSN: 2226-0072 • E-ISSN: 2226-0072 |
| Publisher | Federal State-Financed Scientific Institution State Institute for Art Studies (PUBLISHER) |
| DOI | 10.51678/2226-0072-2023-4-604-627 |
| OpenAlex | W4390339198 |
| Language | EN |
| References cited | 2 |
On the one hand, the article is of an overview nature. It deals with modern ideas of Russian and foreign science on the role of visuality in modern culture. The popular thesis that modern culture is primarily visual is questioned. The visual component is shown to have already played a significant role in relict pre-literature forms. Many branches of knowledge, such as the philological profile, still study the intermedial arts without taking into account their complex nature. The article presents the history of the study of this problem in the context of research on author’s songs and rock culture. On the other hand, the article has got a practical part, where the theses stated are illustrated with specific material. According to the author’s hypothesis, the bards have devised various strategies for developing visual space over the decades of the existence of this phenomenon. The work with visual content within a music video is illustrated on the materials of two takes of the song “Morning Gymnastics” by Vladimir Vysotsky (the videos were made by the Hungarian Television in 1974). The poet employs two “types” of sign and scenographic visualization, i.e. the ones with theatrical and sports connotations. The strategy of developing the visuality in rock poetry is presented by the example of the concert by Alexander Bashlachev taken place at Boris Grebenshchikov’s* in 1986. Due to the poet’s performance without accompanists, the emphasis is made on gestures, primarily on the eye ones, appealing to the top of the ontological vertical. The deep and diverse connections to the Bashlachev’s poetic text are shown. * Recognized by the Ministry of Justice of the Russian Federation as a foreign agent
Aesthetics · Art · Feminism · Gesture · Linguistics · Literature · Painting · Philology · Poetry · Sociology · Visual arts · Visual culture · History · Language, Communication, and Linguistic Studies · Philosophy
| Highly cited | No |
|---|