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divine souls are expressions of symmetry" - quoted it SergeyVolkonsky (ibid.P.173). Attention to rhythm was due in the beginning of the century with the works of JacquesDalcroze, about ideas which, however, A. Kugel comments likeabout scholasticism. About facial expressions and gesture Dalcroze says that in some serious circlesthese external funds are recognized theatrical and ugly. "Not to beno doubt that if you'd ever burned suddenly all the theaters and all the plays --the study of facial expressions and gestures immediately became a regular thing for allpublic figures and no one would find this strange. (...) The Alliance betweengesture and word, between plastic and musical rhythm would inits entirety," (J. Dalcroze, E. Rhythm. - M: b.g. P. 102; see alsoJ. Dalcroze The eurhythmics. -- London, 1912). Sergei Volkonsky also introduces the axioms, which are thenbe required, for example, to such areas as public relations,which can also be defined as a field of applied semiotics. "Makesilent your body -- as much of an art as to force to say,sometimes even more difficult. (...) The verbal language consists of alternatingwords and silence. Language bodily -- from the mainstreammovement and posture. But we do not know how to own itbodily language -- we don't even know how to read it. If you knew how to read andto understand, we would not have been as supportive, undemandingthe audience what is happening on stage; if we understood the meaningbodily language, we would suffer at the sight of bodily nonsense, we wouldadmired... (Volkonsky S. The man on stage. SPb., 1912.P. 171). Semiotic awareness that language is not passed in realpossession and today, and only in the case of key questions such astheater and political figures, it is given special attention. A. Kugel in different dances sees the symbolism of sexuality differenttypes. "In tango (I mean graceful tango "salon" dance) sexythere is only the dance content, and the forms it expressed the mostself-restrained manner. Kankan, e.g., believe and believed "obscene" dance.(...) The manner Kankan offensive, but not sexual. When cancanada persondetects your "dessous", the bending and raising high the knee as if it weresaying, "look how funny it is".
new state of mind, and, consequently, a new direction inthe fine arts" (ibid. P. 119). Interestingly, in every wayobjecting to formal analysis as reducing the role of such factorsas an ideology, he at the same time can not deny its importance: "we installed the unity of form and content (as a principle) inart should constantly remind us all of the importance of the studyformal party works, in any case, without limiting oura Marxist history of fine arts a social analysis of the plot oreven the contents" (ibid. P. 79). This is due to the fundamentallythe correct interpretation of it just communicative, semiotic factart. Starting from the "content", he argues as follows: "Desiringto emphasize its importance, many artists do neglect the form. Butthis case, it turns out that the work of art ceases to bethem, as it is a characteristic feature of the expression is pushed on the back hereplan. The art expresses the same ideas as other parts of the ideology(literature, music, journalism, science, etc.), but differs from all of themfeatures of their transfer, and these features are different in paintingthe sculpture and architecture" (Ibid. P. 73). In principle this problemthe untranslatability of the languages of art, later developed by YuriLotman's. Taking the path of "a new society -- the new art -- the new theory", wecome to formal theory, which deserve a great love in the Westthan in Russia itself. These ideas grow, not only within science, but also themselves becomethe method of this or that direction of art. We can demonstratethis is the first novel of Ilya Ehrenburg (1891-1967)"JulioHornito", released in 1922, Several arguments attract ourattention, as if removing it from the realm of pure prose. Ilya Ehrenburgwriting a novel in the same 1921, when his book "And yet shemoves", which he calls "boisterous and naive, reminiscent of the Declarationlipovtsev" (Ehrenburg People, years, life. FOTS. in 3 vols. -- vol. 1. --M., 1990. P. 270). And Julio Hornito brings to the absurd Declaration of thebooks. Ehrenburg he speaks of his book with the following words: "I love"Hornito", because I wrote it by inner necessity: I'm stillnot
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