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TO THE QUESTION OF THE MORAL RESPONSIBILITY OF GERMANY IN KARL JASPERS’ PHILOSOPHY 论雅斯贝尔斯哲学中德国的道德责任问题
Pub Date : 1900-01-01 DOI: 10.46340/ephd.2021.7.4.6
Andrii Pykalo
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引用次数: 0
ANTINOMY OF WRITING – VOICE IN “THREE MOMENTS” BY LESYA UKRAINKA 乌克兰卡“三个时刻”的写作二律背反
Pub Date : 1900-01-01 DOI: 10.46340/ephd.2022.8.3.3
O. Haidamachuk
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引用次数: 0
THE ROLE OF LITHUANIA IN STRUGGLE OF UKRAINE FOR A EUROPEAN FUTURE AND TERRITORIAL INTEGRITY IN 2013-2021 2013-2021年立陶宛在乌克兰争取欧洲未来和领土完整的斗争中的作用
Pub Date : 1900-01-01 DOI: 10.46340/ephd.2023.9.1.2
Lesia Kotsur
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引用次数: 0
MUSIC FESTIVAL AS AN OPEN SYSTEM OF COGNITION 音乐节作为一个开放的认知系统
Pub Date : 1900-01-01 DOI: 10.46340/ephd.2022.8.2.6
Oleksandra Kuzmina
associated the performance of masterpieces and past present, performances of eminent and talents. The article offers a new understanding of the socio-cultural functions of the international music festival. The current established practice testifies to the fact that festivals cease to be events closed in the system of “musicians – listeners”. During the festivals, there is an exchange of professional experience and knowledge, more broadly – traditions; such events contribute to the emergence of new musical trends, artistic and aesthetic performances, and creative projects. Festival activities at the present stage are similar to such a phenomenon as school, since not only educational and enlightening tasks are solved, but also professional experience, knowledge, and national traditions are exchanged. In this article, the concept of “school” implies a creative hierarchical system of energy-information exchange. Since creativity is a state of dynamic constancy inherent in musical art and its components, the school is in continuous development and transformation. Another indisputable manifestation of the initial principle is openness to both the results of creativity and new, more perfect knowledge. The systematic nature of these processes, their hierarchical subordination contributes to the emergence of the school. The gradual build-up of a kind of energy-informational network leads to the creation of a multi-level structure in it. The approach chosen by the authors is supported by factual material.
联袂演出古今名作,演出名家才子。本文对国际音乐节的社会文化功能有了新的认识。目前的惯例证明了这样一个事实:音乐节不再是封闭在“音乐家-听众”体系中的活动。在节日期间,有专业经验和知识的交流,更广泛的-传统;这些活动促进了新的音乐趋势、艺术和美学表演以及创造性项目的出现。现阶段的节日活动类似于学校这样的现象,不仅要解决教育和启蒙任务,还要交流专业经验、知识和民族传统。在本文中,“学校”的概念意味着一种创造性的能量-信息交换等级系统。由于创造力是音乐艺术及其组成部分所固有的一种动态恒常状态,因此音乐流派处于不断发展和变革之中。这一最初原则的另一个无可争辩的表现是对创造力和新的、更完善的知识的结果都持开放态度。这些过程的系统性质,它们的等级从属关系促成了学校的出现。一种能源信息网络的逐步建立导致了多层次结构的形成。作者选择的方法是由事实材料支持的。
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引用次数: 0
DECOLONIZATION AS INITIATION: THE HERO’S PATH TO FREEDOM THROUGH THE DESERT OF THE EMPIRE IN THREE GENERATIONAL NOVELS BY SERHIY ZHADAN 作为启蒙的非殖民化:谢伊·扎丹三代小说中英雄穿越帝国沙漠的自由之路
Pub Date : 1900-01-01 DOI: 10.46340/ephd.2021.7.1.11
Hanna Kostenko
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引用次数: 0
ROBERT PIPPIN AND REACTUALIZATION OF THE HEGEL’S CONCEPT OF ACTION 罗伯特·皮平和黑格尔行为概念的再实现
Pub Date : 1900-01-01 DOI: 10.46340/ephd.2021.7.4.7
Yuliia Tereshchenko
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引用次数: 0
EDUCATIONAL AND UPBRINGING WORK AT THE VOLYN THEOLOGICAL SEMINARY OF THE UOC OF THE KYIV PATRIARCHATE (1990–2011) 在基辅宗主教区uoc的volyn神学院从事教育和养育工作(1990-2011)
Pub Date : 1900-01-01 DOI: 10.46340/ephd.2021.7.1.5
M. Tsap
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引用次数: 0
THE CONFLICT OF CO-EXISTENCE: CHURCH VERSION OF THE HISTORY AND TEACHING OF ARCHEOLOGY & HISTORY OF PRIMITIVE SOCIETY IN KHARKIV UNIVERSITY (XIX – BEGINNING OF XX CENTURY) 共存的冲突:哈尔科夫大学考古与原始社会史的教会版历史与教学(十九世纪至二十世纪初)
Pub Date : 1900-01-01 DOI: 10.46340/ephd.2021.7.1.1
Oleh Kaluhin
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引用次数: 0
SOCIOCULTURAL APPROACH IN THE STUDY OF THE URBAN ENVIRONMENT. ON THE EXAMPLE OF THE CITY OF UMAN 城市环境研究中的社会文化方法。以人类城市为例
Pub Date : 1900-01-01 DOI: 10.46340/ephd.2022.8.2.5
Nataliia Voitsiakh
The purpose of the article is to substantiate the theoretical and methodological features of the socio-cultural approach in the study of urban environments, to conduct a socio-cultural analysis of the city of Uman, and to deepen the value and semantic integration of its cultural environment. The research methodology is related to the development of sources for the analysis of sociocultural resources of the city, and also involves the use of a structural method for the development of strategies for urban modernization. The scientific novelty of the work is in the application of a socio-cultural approach to study the problems of modern polyethnic urban spaces and a biotic-cultural model of development of the Ukrainian city of Uman. Conclusions were made that a sociocultural analysis of the city of Uman is focused on the development of pilgrimage tourism of Bratslav Hasids. The analytical model includes three factors: 1) the concept of the multicore city of C. Garris and E. Ullman; 2) analysis of biotic and cultural resources of the urban environment according to R. Park; 3) the concept of F. Jamison, which highlights the trends of "cultural production" of the postmodern era of 20th-21st centuries. Their consideration allowed us to comprehensively assess the attractive tourist resources of the city. We analyzed the biotic and cultural characteristics of the city of Uman, which is characterized by a significant seasonal influx of Hasidic pilgrims and a decline in tourist demand during the rest of the year. To solve the problem of low level of service in the season of high supply, we propose to strengthen the biotic (infrastructure component), and to maintain year-round high tourist demand and return on infrastructure investment – to strengthen other cultural and semantic cores of the city, such as Sofiyivka Park or an excursion map of modern Uman architecture of the early 20th century.
本文旨在充实社会文化方法在城市环境研究中的理论和方法特点,对人类城市进行社会文化分析,深化城市文化环境的价值和语义整合。研究方法与分析城市社会文化资源的资源开发有关,也涉及使用结构方法来制定城市现代化战略。这项工作的科学新颖性在于应用社会文化方法来研究现代多民族城市空间问题和乌克兰乌曼市发展的生物文化模式。结论:对乌曼市的社会文化分析侧重于布拉迪斯拉发哈希德朝圣旅游的发展。该分析模型包括三个因素:1)C. Garris和E. Ullman的多核城市概念;2)根据R. Park对城市环境的生物和文化资源进行分析;3) F. Jamison的概念,突出了20 -21世纪后现代时代的“文化生产”趋势。他们的考虑使我们能够全面评估这个城市有吸引力的旅游资源。我们分析了乌曼市的生物和文化特征,其特点是哈西德派朝圣者大量季节性涌入,而在一年中的其余时间旅游需求下降。为了解决高供应季节服务水平低的问题,我们建议加强生物(基础设施组成部分),并保持全年的高旅游需求和基础设施投资回报——加强城市的其他文化和语义核心,如索菲亚公园或20世纪初现代人类建筑的游览地图。
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引用次数: 0
UKRAINIAN MODEL OF POSTDRAMATIC THEATRE: CONTEXT AND PRAXIS 乌克兰后戏剧戏剧模式:语境与实践
Pub Date : 1900-01-01 DOI: 10.46340/ephd.2022.8.2.7
Olga Lachko
The article characterizes the Ukrainian model of the postdramatic theater in the framework of global culture of modern times. As new historical realities prescribe changes in artistic pathways of modern art development, the issue related to processing of the specific features of postdramatic stage business becomes relevant. The author defined the particular characteristics of the Ukrainian postdramatic theater as illustrated by artistic experiments of such Ukrainian directors as O. Apchel, O. Seredin, A. Mai, R. Sarkisian, S. Brama, A. Vusyk. The result of the research conducted is the disclosure of the specific features that the Ukrainian postdramatic performance acquires: total hybridization with the dominated visual component; understanding of the text as a multivariable use of signs; deconstruction, deformation, multi-code nature and pluralism as a communicative space; the audience as a co-author of the performance etc. It is established that the postdramatic theater as a cultural phenomenon of the postmodern era is the newest form of stage representation and an intermediate between the permanent institution of the classic Ukrainian theater and theatrical practices of the twentieth century. According to the art history analysis the author proved that in the postdramatic theater there was a permanent hybridization: from types and genres to template formations, causing transformation of the morphological theatrical system into autonomous theatrical practices. Generation of the textual basis of the postdramatic theater during the very performance ensures an availability of the interactive system, a frame in which the personality of the performer, being a “performative” representative, is actualized. The relevance of the article has emerged due to a need in advanced study of the very Ukrainian model of the postdramatic theater.
文章将乌克兰后戏剧模式置于近代全球文化的框架中加以表征。随着新的历史现实规定了现代艺术发展的艺术路径的变化,与处理后戏剧舞台商业的具体特征相关的问题变得相关。作者通过乌克兰导演O. Apchel、O. Seredin、A. Mai、R. Sarkisian、S. Brama、A. Vusyk等人的艺术实验,定义了乌克兰后戏剧戏剧的特点。研究结果揭示了乌克兰后戏剧表演的具体特征:与占主导地位的视觉成分完全杂交;将文本理解为符号的多变量使用;解构、变形、多码性与作为交流空间的多元性观众作为演出的合作者等。作为后现代时代的一种文化现象,后戏剧戏剧是舞台表现的最新形式,是乌克兰经典戏剧和二十世纪戏剧实践之间的中介。通过艺术史分析,作者证明了后戏剧剧场中存在着一种永久性的杂交:从类型、流派到模版的形成,导致形态戏剧系统向自主戏剧实践的转变。在表演过程中,后戏剧剧场的文本基础的生成确保了互动系统的可用性,在这个框架中,作为“表演”代表的表演者的个性得以实现。这篇文章的相关性是由于需要对乌克兰的后戏剧戏剧模式进行深入研究而出现的。
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引用次数: 0
期刊
The European philosophical and historical discourse
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