Suchergebnisse

Scientific illustration as an independent genre represents the specifics of the concept of "scientific" that has developed over three centuries of the development of the scientific method of European classical natural science. The basic characteristics of the scientific method and its private tools (including illustrations) are impartial, non-judgmental, non-subjective, emotionless modeling of the objects being studied and depicted. Illustrated popular science publications for children, as a tool of non-formal education with a supposed dual addressing, find themselves on the boundary line between scientific and educational illustrations. The complexity of the format is that it must be scientific, children educational, entertaining and popular at the same time. In handdrawn illustrations for such books, two very different ways of presenting the material can be distinguished. The article discusses the status of illustrations in terms of the possibility of classifying them as scientific in a children's guidebook, made in a sketchy manner.

The article provides a primary analysis of the Russian corpus of illustration studies as a systematic theoretical understanding of illustration. The author emphasizes the interdisciplinary nature of research on illustration as a sociocultural phenomenon. The presentation of the topic in Russian dissertation research, in periodical scientific and theoretical journals of various cultural and scientific institutions (universities, libraries, museums, research institutes), in thematic collections and monographs devoted to illustration as a media, artistic practice and visual research is studied. The necessity of studying and including educational projects and activities of independent researchers into the analyzed resources is additionally substantiated. The author draws attention to the ambiguity of the situation. On the one hand, there is a regular appearance of new events (exhibitions, conferences, articles, collections, dissertations) related to book, magazine and web graphics. On the other hand, most of the publications and studies are directed to historically remote objects, only a minimal number of scientists work with the present. The author records the disunity of the scientific community and weak interdepartmental communication in Russian illustration studies. The author also speaks about the need to create an interdisciplinary and international publication platform, uniting researchers of illustration of all forms of its modern existence, about the need for Russian specialized scientific and theoretical.

The author explores ways to visualize the everyday life of the Brezhnev period's soviet childhood in a Eugeniya Dvoskina's drawings cycle «#forthosewhoremember». Comparing the artist's work with other modern visual nostalgic projects, the significance of the selected source is justified: this cycle allows us to give an idea of the visual environment of the child, typical kinds of the children's territory, public and private areas in the collective memory of the generation. Based on the methodology of visual sociology (P. Shtompka, O.V. Gavrishina), the author analyzes the reasons for the cycle's perception of the older generation as uniquely "Soviet" and raises the question about markers of "Soviet childhood". The universality and heritability of many children's practices makes them timeless, so the design of the material world and symbols of Soviet ideology are main signs of the historical era. Compositional and graphic solutions of images play an important role for the viewer's perception. Knowledge of nature and artistic skill allows the artist to create heroes with accurate behavioral characteristics and evokes, in addition to visual, almost all types of sensory memory (tactile, motor, audio). The use of accompaniment text, often in the form of speech formulas, is crucial for this effect. If we consider this cycle in the logic of S."Boym's reasoning about nostalgia, drawings about soviet childhood can be attributed to the procedural type of nostalgia, which is characterized by irony and contradictory attitude to the past. Eugeniya Dvoskina's work provides a complex multi-faceted visualization of the everyday life of Soviet childhood in the 60–80s of the XX century.