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character icons, symbolism, the symbolism of the follicles of the temples. HeE. Trubetskoy calls these fundamental differences: asceticnotmerely iconographic faces, their subjection to architectural temple,a Cathedral burning to the cross as a feature of Russian Churcharchitecture (E. Trubetskoy, the Meaning of life. M., 1994. P. 247). System,hierarchical element E. Trubetskoy finds and Christiansaints from pagan chelovecheskogo is their subordination to the whole temple,architectural unity. "Each of them has its special, but alwayssubordinate place in the iconography of the temple staircase, which dates back toChrist. In the Orthodox iconostasis of this hierarchy of the saints aroundChrist has the characteristic name rank. In fact, in the templeall the angels and saints are added to the same or a different order" (ibid.P. 248). Semioticist this approach to the visual language of iconography is notdoubt. On the other hand, E. Trubetskoy does not less attentionpaid verbal sphere -- the Russian fairy tale and its heroics, revealingthe semiotic nature of the structure of Russian fairy tales. We have considered the languages of visual and verbal, and musical languagehad such a powerful effect on E. Trubetskoy, as a result, hetouched a revelation of God and received faith. It happened whenthe performance of Beethoven's ninth Symphony orchestra under the baton of AntonRubinstein: "In a startling Scherzo, with its three-fold, violent andhard tones, the soul tries to find a way out of the deepening darkness. Somewhererings trivial melody bourgeois fun, and again, the same threedry, hard tone interrupted the melody and swing it. Down with itunworthy imaginary release! In the shower should not be a place for bourgeoisof self-satisfaction. Again, the dissonance and chaos. Space combat soundsfills the soul with despair... And all of a sudden, when you were already on the edgethe dark abyss, you hear the majestic call from the height of another planbeing. From the infinite distant pianissimo can be heard until now naslyshanamelody of joy. The orchestra's first whispers to her. But these sounds growexpanding and closing. This is not only a promise for a distant future, is alreadyhear a live human voice -- chorus, And suddenly you rise abovethe stars above the world, above all the sorrow of existence..."
rhythmic records. Here, put before you public places.Unless life offices has its specific rhythm?Does the tapping of typewriters, the scratch of the pen, the steps the petitioners and couriers, gaitofficials no particular rhythm, which expressed precisely the publicplace and not the hospital and not belosnejnaya and not a University? I mentioned aboveChekhov as a guesser of the rhythm of the twilight characters. Art theatre withgreat art this rhythm is embodied on the stage" (Ibid. P.171). The rhythm he considers as a new method of generalization of the art of living asone of the semiotic coordinates of this process. "I see a real life, sad, sometimes cheerful, sometimes accompanied by generalized noises, sometimesgeneralized words. And I want to guess, past, present, and futuresome are extremely subtle, rhythmic lines. I knowthere is a rhythm of silence, meetings, drink tea, love languor, businessconcentration, etc. All of this is served sometimes on stage now, but withgreat addition of descriptive words and detail" (Ibid. P.172). The rhythm in this concept becomes a word of the mass and of the collective. Whenindividual character is valid by using basic words, the hero collectiveexpresses itself in rhythm. As writes A. Kugel, "the usual form of expressiontheatrical character -- word, speech -- is almost non-existent for the collectivehero. For it required a special language, he needs a special form of expression.(...) The goal of the theatre having in mind a collective character, to highlight the rhythm,to detect it, to capture its properties. (...) To catch the rhythm-it means to findthe observation point, focus it, similar to how finding focusis the task of the photographer taking the picture" (ibid.P. 174-175).
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