Suchergebnisse

The purpose of the article is a theoretical under-standing of the conceptual sphere of "heroic" cinema-tography as a genre formation. The subject of research in this article is the conceptual sphere of "heroic" cinematography.
The research methodology is based on the morpho-logical approach in art criticism and those ideas in the theory of film studies, which are contained in the works of H. Batalina, V. Horpenko, R. Cohen and others. We use the idea of V. Horpenko that "the specified problems of terminology demonstrate the complexity of their solution, and, in the end, from many options, you need to take one general direction, which should determine the system-forming methodology" (Horpenko, 2013, p. 77), it is the morphological approach that is the system-forming methodology for the subject of our research. Methodological approaches of Ukrainian media studies researchers outlined in the study "Media studies in the European integration discourse of Ukraine" are also used (Media studies, 2022).
The result of the research presented in this article. 1. Formation of the conceptual sphere of a specific scientific problem is a necessary and multifaceted pro-cess. It requires not only the definition of the "title" research concepts, but also the levels of their use as scientific tools. 2. The basic principles of the formation of the conceptual sphere of the "heroic" film research are outlined and the semantic connections of the "title" concepts "hero" and "heroism" with the subject of the study are defined. The levels and vectors of the use of these concepts as a working toolkit for the study of "heroic" cinematography are characterized. 3. The polymorphism of "heroic" cinematography as a special morphological formation of modern cinematography is indicated.
The scientific novelty of the study lies in the understanding of the basic principles of the existence of the conceptual sphere of the study of "heroic" cinematography as the newest polymorphic formation of Ukrainian cinematography.
The practical significance of the results of the study based on the intelligent use of the specified scientific tools in the future research of modern Ukrainian cinematography.

In Site-writing: The Architecture of Art Criticism Professor Jane Rendell explores what happens when discussions concerning situatedness and site-specificity enter the writing of art criticism. The sites explored in the book are the material, emotional, political and conceptual settings of the artwork's construction, exhibition and documentation, as well as those remembered, dreamed and imagined. Through five different spatial configurations - both psychic and architectural - "Site-Writing" explores artworks by artists as diverse as Jananne Al-Ani, Elina Brotherus, Nathan Coley, Tracey Emin, Christina Iglesias and Do-Ho Suh, aiming to adapt such psychoanalytic ways of working as free association and conjectural interpretation to art criticism. Works by Al-Ani referred to in the second chapter, Configuration 2 - Back and Forth, include The Visit: Echo and Muse (2004), Untitled (2002) and She Said (2000)

Day-to-day art criticism and art theory are qualitatively distinct. Whereas the best art criticism entails a closeness to its objects which is attuned to particularity, art theory inherently makes generalized claims, whether these claims are extrapolated from the process of art criticism or not. However, this article argues that these dynamics are effectively reversed if we consider the disparity between the criticism of so-called political art and attempts over the last century to elaborate theory which accounts for the political in art qua art. Art theory has located the political force of art precisely in the way that its particularity opposes or resists the status quo. Art criticism, on the other hand, tends to treat artwork as a text to be interpreted whose particularity may as well dissolve when translated into discourse. Drawing from the work of Theodor W. Adorno, this article argues that political art theory calls for art criticism more attuned to experience if it is to elucidate art's critical valence.

Now definitively liberated from the enduring legend that the publication of L'Œuvre (1886) ended Zola and Cézanne's lifelong friendship, that relationship needs to be explored from a number of other perspectives. This article argues that the Dreyfus Affair, during which the writer and painter were on opposite sides, was a major determinant of their parting of the ways. Ideological differences were exacerbated by the dynamics of the art market and Zola's writing on Cézanne. For it was in the interests of Ambroise Vollard, the art dealer launching Cézanne's career with his 1895 retrospective, as well as those of contemporaries sharing the artist's right-wing views, to disassociate the painter from the defender of Dreyfus. Zola's contrasting championing of Manet may have added a personal dimension to the rift. But Zola's art criticism was also strategically exploited by an anti-Dreyfusard discourse effecting a separation between writer and painter. The latter's acolytes and acquaintances invidiously brought to his attention Zola's critical ambivalence and the ex post facto identification of Cézanne with the fictional Claude Lantier of L'Œuvre. Both the novel and his art criticism offered further evidence of Zola's failure to recognize the painter's greatness, thereby paradoxically validating it at precisely the opportune commercial moment. As well as illuminating the vicissitudes of the Zola–Cézanne relationship, the article thus elaborates the political and critical context without which L'Œuvre itself continues to be misread as a roman-à-clef.