Search

The purpose of the article is to clarify the main trends in modern research on the semiotics of advertising. The peculiarities of semiotic models of modern media advertising as a kind of visualized marketing communication are highlighted and the prospects of formation of semiotics of advertising as an autonomous direction in the stream of semiotics as a general discipline are determined. Modern advertising is interpreted as an artifact of mass culture. It is a cultural product of the postmodern aesthetics, which is special in terms of semantics and semiotics. The article proposes to consider it as a separate direction in the context of semiotics as a science. The presented research is mostly theoretical and generalizing. The authors used the logical method of integrative cognition to analyze the approaches to interpreting the semiotics in the advertisement field and the descriptive analysis to show how signs transformation influences on the final perception of advertising text. The main thesis of the article is the need to consider the semiotics of advertising as an excellent signing system.

The article analyzes the features of formation of instrumental performance of the romantic period and the main factors of this process revealed on the example of Niccolo Paganini’s violin work. The methodological basis of the article is a comprehensive review based on historical-theoretical and music-performing approaches to the research of the stated problems. The main methods of work are historical-comparative, structural-functional and theoretical generalization. The main principles of performance and repertoire of the Italian violinist are determined. The influence of the Italian maestro on the performing arts of prominent representatives of musical romanticism – H. Berlioz, K. Lipinsky, F. Liszt, F. Chopin, R. Schumann and others – is defined.

В статье рассматриваются классико-романтические тенденции ранних фортепианных концертов композитора, пианиста, дирижера, лауреата международных конкурсов Антона Лубченко. Отмечаются жанровые предпочтения, стилистика, гармонические средства, мелодическая выразительность тематизма. Стилевые особенности концертов раскрываются в ориентации автора на тему-мелодию как основной носитель образного содержания, классические способы организации формы, тональное мышление в условиях двенадцатитонового звукоряда