Keyword: «искусство»

The Relevance of the topic is related to new methodological approaches in the study of modern culture of Yakutia in the early XXI century. The authors tried to apply the method of an interdisciplinary approach in the study of the figurative geography of Yakutia beginning of the XX Century for example, the project "Figurative map of the route Latinskog ulus". The main concept of figurative (imaginative) geography is the geniuses of place, the poetics of space. City and village in the twentieth Century are different environments of modern man. In the first environment, creative culture is born, and in the second – traditional culture is preserved longer. Transformation of traditional culture in the beginning. The twentieth century in the city of Yakutsk led to the birth of a new creative type of culture, and at the end of the twentieth century, in the post-Soviet space, a figurative geography of a specific region is formed, pulling together the space of the landscape and cultural heritage monuments, which is clearly seen on the material of the Tattinsky ulus.

This paper analyzes art as a means of communication through the works of Marlene Dumas. Linguistic and cultural differences between languages can be considered a serious obstacle to communication. It highlights the complicity of the goal and the difficulties that can occur for various reasons – such as problems of determining the meaning of a word to a misunderstanding of the structure of a sentence. To answer this question, we compared three approaches to translation: Bell R.T.'s, Douglas P.'s and Newmark P.'s and established that each of the approaches is unique in its own way. But we concluded that Newmark's efficient point of view, in this case, is more appropriate. As for Marlene Dumas, she has an astonishing connection with language. From the beginning, language was an important part of her work. Dumas' writing focus on her own work, discussing subjects like politics, her own ideas and way of thinking, as well as her own cultural position as an artist. Reading her texts, of course, raises questions, just like her paintings. The fact that image and word are inextricably linked with each other is also clear through her exhibitions, where the visitor faces the alternation of painting and aphorism. In fact, Dumas' texts do not give answers; they formulate the same dilemmas as those that her paintings present in visual form. At her most intimate moments of realization, Dumas speaks for herself as a woman who is from different continents; moved from South Africa, where apartheid dominates, to a liberal and tolerant Holland, has a surname of French origin and loves contemporary American art. Clearly she is a woman with a complex personality. She sometimes feels that she is losing herself, her concentration, her personality and her place in this world. And here a question rises once more, what is man without a goal, without a task, and if they are not part of a society or a social group? No one can deny that art is a language free of external and racial features, nationalist symbols, from all sorts of psychological restrictions. It is a language that provides ways of communication for people and nations, but also emphasizes and reveals the true feelings and the purest emotions of man. It is a language that reveals the world of the human essence.