Search results

The purpose of the article is to study the interpretational possibilities of Dante's code in artistic samples of various types of art. Methodology. Methods of observation, modeling, comparison, analysis, and synthesis were used in the methodology of the work. The scientific novelty of the work lies in the fact that the analysis of interpretations of Dante's code on the example of fine art, computer games, cartoons, musical arrangement in a ballet performance is carried out. Conclusions. Dante's code is a kind of cultural code that contains common information. The observation method was applied to fix the perception of works of art in order to study Dante's code. Modeling and comparison methods allowed us to determine the features of Dante's code in different genres and types of art. In the history of the visual arts, Dante's code is interpreted both in the works of artists and becomes a creative process with a generalized content of D. Alighieri's works, but with the exact use of the code name (S. Dali). Comparing the use of Dante's code in computer games, cartoons, we state that in the visual arts and modern video series, Dante's code is reproduced in accordance with the content of D. Alighieri's works. In the history of music, in the musical design of a ballet performance, Dante's code is reproduced in a generalized form, where the reference to the name and title of D. Alighieri's works dominates. In the libretto of the Kyiv ballet of the same name, Dante's code is embodied in two appeals: to a love story and fragmentarily and generally to the work "The Divine Comedy". The musical series of the ballet "Dante" is not directly related to Dante's code, but there are attempts by the authors to find allusions, reminiscences in the music of composers (A. Dvořák, R. Wagner, Ezio Bosso).
Keywords: Dante's code, interpretation, ballet, fine arts, musical arrangement of a ballet performance, computer game, cartoon.

The article emphasizes the relevance of considering cultural codes in a number of modern humanitarian disciplines, characterizes the main approaches to the definition of the term "cultural code". First, at the language level. Secondly, an approach that is based on the semiotic concept of culture, when the concept of a cultural code borders on the concepts of an archetype, symbol, sign. Thirdly, the concept of "cultural code" is considered together with such concepts as "national worldview", "peculiarities of the national worldview" and "national-analytical idea".The study considers the classifications of cultural codes by V. Krasnykh, G. Bagautdinova, M. Kovshova, T. Leontieva, N. Stepanova, S. Sanko, V. Maslova, M. Pimenova and others. In the studies, there are from four to several dozen types of cultural codes: anthropomorphic, astranomic, biomorphic, spiritual, zoomorphic, calendar-chronological, quantitative, landscape, food, object, spatial, vegetative, somatic, temporal, physical-geographical, phytomorphic, floristic and etc. In general, cultural codes as carriers of culturally marked information make it possible to identify the features of the system of views and values of a certain group of society. The use of cultural codes by writers is aimed at conveying their thoughts to the recipient most clearly and, conversely, ignorance of cultural codes hinders the interpretation of a work of art.

Women and Power at the French Court, 1483—1563 explores the ways in which a range of women "as consorts, regents, mistresses, factional power players, attendants at court, or as objects of courtly patronage" wielded power in order to advance individual, familial, and factional agendas at the early sixteenth-century French court. Spring-boarding from the burgeoning scholarship of gender, the political, and power in early modern Europe, the collection provides a perspective from the French court, from the reigns of Charles VIII to Henri II, a time when the French court was a renowned center of culture and at which women played important roles. Cross-disciplinary in its perspectives, these essays by historians, art and literary scholars investigate the dynamic operations of gendered power in political acts, recognized status as queens and regents, ritualized behaviors such as gift-giving, educational coteries, and through social networking, literary and artistic patronage, female authorship, and epistolary strategies.

Women and Power at the French Court, 1483—1563 explores the ways in which a range of women " as consorts, regents, mistresses, factional power players, attendants at court, or as objects of courtly patronage " wielded power in order to advance individual, familial, and factional agendas at the early sixteenth-century French court. Spring-boarding from the burgeoning scholarship of gender, the political, and power in early modern Europe, the collection provides a perspective from the French court, from the reigns of Charles VIII to Henri II, a time when the French court was a renowned center of culture and at which women played important roles. Crossdisciplinary in its perspectives, these essays by historians, art and literary scholars investigate the dynamic operations of gendered power in political acts, recognized status as queens and regents, ritualized behaviors such as gift-giving, educational coteries, and through social networking, literary and artistic patronage, female authorship, and epistolary strategies.