Case in a hat: Aprilian conference

Conferences in the humanities are increasingly requiring severity, verification of movements, abandoning everything that does not apply to the case. On April 1, at the RSUSU they decided to hold a completely different conference, a “hat in a hat”. According to the rules of the game, it was necessary to sit in hats, talk about hats, explore hats. The semiotics of the hat was supplemented by the research of festive scenarios, social rituals and the history of emotions. The conference was attended by representatives of the Russian State University, the RANEPA, Moscow State University, IMLI RAS, MOSU, PSTU and other educational institutions.

The hat, as the participants showed, is not just a conditional part of the clothes. She is a measured behavior in the culture: an aristocrat in the cylinder, Queen Elizabeth and her hat for every case of life, looking from the sneaky melancholic and a hooligan with a hat of the slap, participants in the Easter parade and people with a full parade - all these bearers of hats, owners of impeccable posture, know what liberties they can afford and when.

As a hat from domestic affiliation turned into a fashion accessory, said Lyudmila Mashanskaya. It turns out that the hats came into fashion several times: until the twentieth century - as unique works of art, and in the twentieth century - as unique technological solutions. Schiaparelli does not understand, not knowing how the language of avant -garde art was technological.

Mary Krotovskaya told about hats, such as the rules for lifting various hats. From this point of view, the hats were not a matter of technology, but a matter of creative solutions: a cylinder, a pot, Fedor, Homburg, Trilby - all these models embodied the habits of buyers, the customs of holidays, the dexterity of the fingers of the owners and the hard work of manufacturers.

The electors of officials and writers were considered: Ekaterina Bocharova spoke about the Chinese hat hierarchy, which regulated the decision -making and to some extent the implementation of a written culture. The cultural universal of the hat of the highest priest, the only one who may not remove the hat in front of the deity, is also suitable for explaining Chinese hats.

Gogol, whose birthday is April 1, with his grotesque image of the bureaucratic written culture, as it turned out in the report of Maria Akimova, very well understood the significance of the hat: the headdress - the top of the public body, including the writer's body; Gogol even at home worked in Ermolka.

Idillic shepherds go in the skins, but at the same time we all heard about "shepherd hats." The skins, with their softness, color and smell, created an exemplary emotional illusion of well -being in ancient eloquence, but recognizable people act in the Renaissance idyll, for whom the hat is decorating their shepherd dignity. Alexander Markov tied the transformation of a hat from a sensory object into a plot detail with an important discovery of medieval philosophy. In addition to conceptual absurdity, such as “Kozlolet” (an example of Aristotle), a plot absurdity was opened, a model of which was the expression “categorical hat”, which made a sensual hat only a reason for philosophical abstractions.

Inna Lisovich showed that the characters of the XIX centuries, women with huge feathers of the 19th century, are serious participants in the scientific process, visitors to the “theaters” of the most important scientific experiments, including experiments using funny gas then in the treatment. The culture of laboratory assistants was born from the culture of the spectators.

We are accustomed to a hat pushed over his eyes as a gesture of contempt, but Vladimir Makarov showed that in the Elizabethan era in England this is the image of a melancholic: hypersensitive and thoughtful. Melancholic is an attentive reader, an experienced person, his own solitude and the temple, so the hat can close part of the face.

The concept of “transgression” of Batai, Blancho and Todorova, the transition of impenetrable subjective borders, leading to phantoms and irrevocable change in the world, opens in the report of Victoria Malkina in a variety of “hats” plots: the magic hat of the muri-trolls, the “living hat” of Nikolai Nosov, the comedic hats of Woodhaus (and April 1-and the day of memory of the memory of the memory Natalia Traumberg, the great translator of Woodhaus) and John Khmelevskaya. The hat turns out to be a magical object that transforms reality and makes the world harmonious and excitingly interesting.

From the report of Yulia Shapchenko, we learned how unexpected the fate of the Russian style of modern world fashion designers turned out to be: creating Russian on the basis of the most recognizable symbols of Russia, from balalaika to space flight, they choose not only earflaps or scarves, but also large shawls and grotesque fur or brocade products. The idea of ​​excess is important here, as well as the contrast between half -naked arms or legs and an expressive cap in its far -fetched.

The style of Ar-Deco, as shown by Jeannat Idrisova, is a large style of a new women's hat in the costume era: business, sports, automobile.

Anastasia Evdokimova traced the fate of the image of a crazy hatchman in Alice films: how gradually a magical creature, seductive or, conversely, almost incorporeal,-an eccentric simply clothed into the costume.

Evil clowns, harlequins, jokers are the topic of the speech of Sergei Lavlinsky. The image of the clown/jester historically rises to the carnivals, the rituals of taming death with laughter: the clown wears a mask of death. The hat seems to normalize the plot, since the clown is needed in the plot; But this is the hellish cap, a frightening attribute of the conspiracy of the clowns, trusting the death mask, enhancing the frightening static of makeup. An insoluble mystery immediately arises: why do the most evil clowns of hats are not worn? (In this regard, the participants expressed hypotheses one more bolder.

Arkady Severny’s song about a hat and Anapa, as Anton Borovikov showed, is the shortest abstract of a failed courteous love, with its languishing and threat of death, with its male companies, like those of medieval rhymes (drinking beer with a free in Anapa) and hiding from their own view of the singer’s pride, resort novels as a sort of courteous adventures with their courtes True and false love. The courteous knightly novel “Erek and Enid” by Chretien de Trua turned out to be the key to the seemingly uncomplicated song with Latin American musical motifs. A dance with the hats of Tatyana Bogdanova, Alina Vinogradova and Alice Koknaeva demonstrated all the grace of hats in a virtuoso dance.

The conference showed: yes, it's all about the hat. After all, a hat is not just a beautiful accessory, "trifle and a rag." The hat is an important tool for cognition and creativity, it is the last touch in the outfit as a work of art, a symbol of educators, the most important witness to a change in gender roles in society. The hat decorates, humanizes, acquires the properties of the owner, in the end, the hat is a super -headed!

Everyone liked to measure science with hats: to understand together when social plots are important to explain the phenomena of culture, when - dominant emotions, when - the poetry of customs. Such a science cannot be reduced to listing details, and now any hat can be appropriate not only at the royal wedding or Easter parade, but also in the scientific audience. April 1 - it's time to walk hats in scientific meetings!

Victoria Malkina,
deputy. Dean of the Historical and Philology Faculty of the RSUSU
Alexander Markov,
deputy. Dean of the Faculty of History of Art of the RSU, Vedas. scientific. sore. Moscow State University
Photo by O. Timoshuk