Pub Date : 1900-01-01DOI: 10.34079/2226-2849-2022-12-23-155-165
Svitlana Kholodynska
The article reveals both the history of origin and specificity of existentialism philosophical movement development under the terms of French humanistics in the 1940–1980. The author traces the originality of the «European course» of this philosophical system, which, having been formed within the tradition of the Russian worldview between the 19th and 20th centuries, began to transform into philosophical-ideological or philosophical-ethical models in Germany and France. After the Second World War, existentialism was widely accepted among the Spanish and Italian philosophers, occasionally «capturing» the entire European cultural space. The study emphasizes that existentialism has common roots, although each of the existing models requires independent analysis, since they were chronologically formed in an interval of one or two decades, introducing marked changes into the orthodox model. The author finds out that existentialism played an important role in the development of French humanistics because it could rely on intuitivism and personnelism, which contributed to the renewal of philosophical thinking in the 1920–1940s. The paper demonstrates that the French model of existentialism was developed on the basis of inter-scientific approach, organically combining philosophy, natural science, psychology and literary studies, achieving significant success in the development of various types of art, in particular, literature and theater. The aim of the research suggests the following objectives: to reconstruct the history of existentialism formation, to identify the specificity of the French model of this philosophical system and to create the essence of possible transformational processes within the humanistic development based on application of existentialism. Methodology of the research is based on historical and cultural, biographical, analytical and comparative approaches. The scientific novelty of the article is defined by the possibility to use and exploit the potential of inheritance, which exists between existentialism and postmodernism, since, according to the chronology, the former determined by philosophical system in its logical development, came close to the latter in the logical sequencing. The author justifies the significance of the article considering works of French existentialists The obtained results make it possible to conclude: 1) the French model of existentialism should be evaluated as eclectic, because it was formed on the basis of the ideas of S. Kierkegaard and L. Shestov, demonstrating, at the same time, interest to its religious criterion (H. Marcel). 2) J.-P. Sartre's ‘transformational’ philosophical position: «Marxism – existentialism» should be taken into consideration. The article explains both his sympathy to politicalization of existentialism and his interest in the problems of «biographism», which strengthened the literary orientation of the philosopher's views, and his interest in «pathological» experiments of psyc
{"title":"Transformational processes within french existentialism development","authors":"Svitlana Kholodynska","doi":"10.34079/2226-2849-2022-12-23-155-165","DOIUrl":"https://doi.org/10.34079/2226-2849-2022-12-23-155-165","url":null,"abstract":"The article reveals both the history of origin and specificity of existentialism philosophical movement development under the terms of French humanistics in the 1940–1980. The author traces the originality of the «European course» of this philosophical system, which, having been formed within the tradition of the Russian worldview between the 19th and 20th centuries, began to transform into philosophical-ideological or philosophical-ethical models in Germany and France. After the Second World War, existentialism was widely accepted among the Spanish and Italian philosophers, occasionally «capturing» the entire European cultural space. The study emphasizes that existentialism has common roots, although each of the existing models requires independent analysis, since they were chronologically formed in an interval of one or two decades, introducing marked changes into the orthodox model. The author finds out that existentialism played an important role in the development of French humanistics because it could rely on intuitivism and personnelism, which contributed to the renewal of philosophical thinking in the 1920–1940s. The paper demonstrates that the French model of existentialism was developed on the basis of inter-scientific approach, organically combining philosophy, natural science, psychology and literary studies, achieving significant success in the development of various types of art, in particular, literature and theater. The aim of the research suggests the following objectives: to reconstruct the history of existentialism formation, to identify the specificity of the French model of this philosophical system and to create the essence of possible transformational processes within the humanistic development based on application of existentialism. Methodology of the research is based on historical and cultural, biographical, analytical and comparative approaches. The scientific novelty of the article is defined by the possibility to use and exploit the potential of inheritance, which exists between existentialism and postmodernism, since, according to the chronology, the former determined by philosophical system in its logical development, came close to the latter in the logical sequencing. The author justifies the significance of the article considering works of French existentialists The obtained results make it possible to conclude: 1) the French model of existentialism should be evaluated as eclectic, because it was formed on the basis of the ideas of S. Kierkegaard and L. Shestov, demonstrating, at the same time, interest to its religious criterion (H. Marcel). 2) J.-P. Sartre's ‘transformational’ philosophical position: «Marxism – existentialism» should be taken into consideration. The article explains both his sympathy to politicalization of existentialism and his interest in the problems of «biographism», which strengthened the literary orientation of the philosopher's views, and his interest in «pathological» experiments of psyc","PeriodicalId":145949,"journal":{"name":"Bulletin of Mariupol State University Series Philosophy culture studies sociology","volume":"44 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129951532","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.34079/2226-2849-2022-12-23-45-57
M. Zhavoronkov
The article analyzes the specific features of the festival movement of illusion art its impact on sphere of intercultural interaction. The author puts emphasis on the transformational processes of the phenomenon, identifies the problem area of the aforementioned socio-cultural process by means of comparison. The aim of the study is to reveal a clear mechanism in the sequence of functioning of festivals of illusionism to reproduce the independent dynamics in the middle of the country, which provides undoubted prospects of socio-cultural, economic nature. The study highlights the significance of this process, which incorporates the main modern trends of the art market ащкьштп a common system of both verbal and non-verbal communication around the world. The methodological bases of the study are historical, hermeneutic and structural-functional. The scientific novelty research is that for the first time in the problematic field of culturology, the paper describes festivals of the art of illusionism. The research methods are: the comparative method, which made it possible to establish the difference between historical phenomena in the festival process of illusionism; the analytical method contributed to the coverage of the specifics and features of festivals of illusion art; the typological method helped to determine the main subtypes of festivals of illusionism and formed the dynamics of this festival movement in the problem field of Ukraine. The article sheds light on the Ukrainian School of Art "Illusions and Manipulations" showing its features and role in the integration path to cooperation with the international space of the institute, which provides clear opportunities for cooperation and symbiosis of intercultural exchange through the festival process of illusionism. In conclusion, the author emphasizes that the festival action is a targeted phenomenon, promotes the country's development, creates a number of dialogic systematic intercultural dimension.
{"title":"Configuration of the festival process of the arts of illusionism in the dialogues of intercultural interaction","authors":"M. Zhavoronkov","doi":"10.34079/2226-2849-2022-12-23-45-57","DOIUrl":"https://doi.org/10.34079/2226-2849-2022-12-23-45-57","url":null,"abstract":"The article analyzes the specific features of the festival movement of illusion art its impact on sphere of intercultural interaction. The author puts emphasis on the transformational processes of the phenomenon, identifies the problem area of the aforementioned socio-cultural process by means of comparison. The aim of the study is to reveal a clear mechanism in the sequence of functioning of festivals of illusionism to reproduce the independent dynamics in the middle of the country, which provides undoubted prospects of socio-cultural, economic nature. The study highlights the significance of this process, which incorporates the main modern trends of the art market ащкьштп a common system of both verbal and non-verbal communication around the world. The methodological bases of the study are historical, hermeneutic and structural-functional. The scientific novelty research is that for the first time in the problematic field of culturology, the paper describes festivals of the art of illusionism. The research methods are: the comparative method, which made it possible to establish the difference between historical phenomena in the festival process of illusionism; the analytical method contributed to the coverage of the specifics and features of festivals of illusion art; the typological method helped to determine the main subtypes of festivals of illusionism and formed the dynamics of this festival movement in the problem field of Ukraine. The article sheds light on the Ukrainian School of Art \"Illusions and Manipulations\" showing its features and role in the integration path to cooperation with the international space of the institute, which provides clear opportunities for cooperation and symbiosis of intercultural exchange through the festival process of illusionism. In conclusion, the author emphasizes that the festival action is a targeted phenomenon, promotes the country's development, creates a number of dialogic systematic intercultural dimension.","PeriodicalId":145949,"journal":{"name":"Bulletin of Mariupol State University Series Philosophy culture studies sociology","volume":"385 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134315128","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.34079/2226-2849-2022-12-23-143-149
Anastasiia Tormakнova
The article outlines the role of art in the context of culture. It is noted that it is constantly changing. The development of art is determined by various political, ideological, economic, and technological factors. Worldview and religious components that determine the theme and nature of artistic practices play an equally important role. The emergence of technologies affects the emergence of new types of art or changes in existing ones. Moreover, the level of technological innovation is extremely different. On the one hand, the appearance of other paints is possible, which will affect the use of a different surface, change the nature of strokes, and the duration of preservation of the finished art product. On the other hand, the formation of certain innovations in technologies can become a reason for a global change not only in the external, but also in the design features of products. The change of art, the appearance of new types and styles is also accompanied by the genre transformation of already existing works. If we trace the functioning of artistic practices in the context of culture, it can be noted that priority was given to those that had a synthetic nature. The appeal to various senses became a guarantee of audience interest. The spectacle took various forms in human history, from the first syncretic acts to full-fledged theatrical performances. In this series, such musical and theatrical genres as opera and ballet, later operetta, musical, rock opera, etc., were formed. Their functioning was due to the growing need to create more effective and fashionable forms. Even long before the emergence of the postmodern worldview, the process of adapting genres to the needs of society took place. It was accompanied by a number of transformations of works from one genre to another. This process has a permanent character, because art reflects everything that happens in society. At the same time, it is ambivalently aimed at other cultural factors, because art influences the formation of a new worldview, often determines the vector of economic development, etc. Artistic practices cannot exist separately from other cultural components. Being a tool of propaganda or acting as a recorder of historical events, art has a significant level of involvement, in which the freedom of the artist is quite relative. Therefore, art should be considered not only as a certain self-value that exists by itself, but as part of a single process of human development.
{"title":"Art practices in the context of culture","authors":"Anastasiia Tormakнova","doi":"10.34079/2226-2849-2022-12-23-143-149","DOIUrl":"https://doi.org/10.34079/2226-2849-2022-12-23-143-149","url":null,"abstract":"The article outlines the role of art in the context of culture. It is noted that it is constantly changing. The development of art is determined by various political, ideological, economic, and technological factors. Worldview and religious components that determine the theme and nature of artistic practices play an equally important role. The emergence of technologies affects the emergence of new types of art or changes in existing ones. Moreover, the level of technological innovation is extremely different. On the one hand, the appearance of other paints is possible, which will affect the use of a different surface, change the nature of strokes, and the duration of preservation of the finished art product. On the other hand, the formation of certain innovations in technologies can become a reason for a global change not only in the external, but also in the design features of products. The change of art, the appearance of new types and styles is also accompanied by the genre transformation of already existing works. If we trace the functioning of artistic practices in the context of culture, it can be noted that priority was given to those that had a synthetic nature. The appeal to various senses became a guarantee of audience interest. The spectacle took various forms in human history, from the first syncretic acts to full-fledged theatrical performances. In this series, such musical and theatrical genres as opera and ballet, later operetta, musical, rock opera, etc., were formed. Their functioning was due to the growing need to create more effective and fashionable forms. Even long before the emergence of the postmodern worldview, the process of adapting genres to the needs of society took place. It was accompanied by a number of transformations of works from one genre to another. This process has a permanent character, because art reflects everything that happens in society. At the same time, it is ambivalently aimed at other cultural factors, because art influences the formation of a new worldview, often determines the vector of economic development, etc. Artistic practices cannot exist separately from other cultural components. Being a tool of propaganda or acting as a recorder of historical events, art has a significant level of involvement, in which the freedom of the artist is quite relative. Therefore, art should be considered not only as a certain self-value that exists by itself, but as part of a single process of human development.","PeriodicalId":145949,"journal":{"name":"Bulletin of Mariupol State University Series Philosophy culture studies sociology","volume":"58 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129509414","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.34079/2226-2849-2022-12-23-75-85
Nataliia Marakhovska
The present study aims to explore the educational potential of Ukrainian contemporary sacred music which has its unique development trajectory in the Ukrainian culture. Being incorporated into academic curriculum Ukrainian contemporary sacred music is an essential component of the transformative learning. The phased implementation of the transformative learning process within the STAR Framework (Sensitising, Taking Action, and Reflection) designed by M. Mcallister, has been carried out for Humanities Majors of Mariupol State University. The results of qualitative research show positive effect of such integration on constructing transformative competencies (creating new value, reconciling tensions and dilemmas, taking responsibility) of students with war-related experience.
{"title":"The role of ukrainian contemporary sacred music for constructing transformative competencies of students from war-affected areas","authors":"Nataliia Marakhovska","doi":"10.34079/2226-2849-2022-12-23-75-85","DOIUrl":"https://doi.org/10.34079/2226-2849-2022-12-23-75-85","url":null,"abstract":"The present study aims to explore the educational potential of Ukrainian contemporary sacred music which has its unique development trajectory in the Ukrainian culture. Being incorporated into academic curriculum Ukrainian contemporary sacred music is an essential component of the transformative learning. The phased implementation of the transformative learning process within the STAR Framework (Sensitising, Taking Action, and Reflection) designed by M. Mcallister, has been carried out for Humanities Majors of Mariupol State University. The results of qualitative research show positive effect of such integration on constructing transformative competencies (creating new value, reconciling tensions and dilemmas, taking responsibility) of students with war-related experience.","PeriodicalId":145949,"journal":{"name":"Bulletin of Mariupol State University Series Philosophy culture studies sociology","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126587182","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.34079/2226-2849-2022-12-23-96-104
I. Petrova
The article attempts to reveal the peculiarities of the formation and functioning of cultural practices of the Middle Ages in the dichotomous system of «heavenly» and «earthly»; to substantiate the prerequisites for the emergence of new forms of festive culture (religious and secular); their functional and content load. The basis of the scientific research methodology was the historical and cultural approach, which allowed, on the one hand, to take into account the specifics of this historical stage of human development, and, on the other hand, to trace the interdependence of social, political and ideological conditions with the festive culture. As a result, the author proves that medieval holidays depended on the natural and church calendars, which controlled and adjusted the cultural activities of society. In order to strengthen its ideological influence on public opinion, the church resorted to the direct prohibition of certain holidays; synthesis of Pre-Christian beliefs and theological dogmas; introduction of a new system of holidays. During the Middle Ages, a knightly culture was formed, saturated with multifaceted festive practices and a culture of entertainers; urban holidays were born and developed, the main consumer of which was the burgher with the corresponding lifestyle and system of behavior; the carnival and folk square holiday practices that combined the binary oppositions of medieval consciousness arose. Festive culture became a factor capable of synthesizing the medieval society into a single integrity. It solved a number of social tasks, among which the prioritized were the functions of competitiveness, entertainment, social solidarity and formation of public opinion. Religion, permeating all spheres of medieval society, was profaned in the need to express the Absolute and the Divine. Therefore, even church events (temple days, mysteries, sotie), gradually enriched with entertainment elements, were perceived as festive leisure. In the festive culture, full of emotional pleasure, positive energy and complimentary communication, a sense of one's own meaning and creative freedom, independent of conventional categories, was born.
{"title":"Inversion of «heavenly» and «earthly» in celebration practices of the european middle ages","authors":"I. Petrova","doi":"10.34079/2226-2849-2022-12-23-96-104","DOIUrl":"https://doi.org/10.34079/2226-2849-2022-12-23-96-104","url":null,"abstract":"The article attempts to reveal the peculiarities of the formation and functioning of cultural practices of the Middle Ages in the dichotomous system of «heavenly» and «earthly»; to substantiate the prerequisites for the emergence of new forms of festive culture (religious and secular); their functional and content load. The basis of the scientific research methodology was the historical and cultural approach, which allowed, on the one hand, to take into account the specifics of this historical stage of human development, and, on the other hand, to trace the interdependence of social, political and ideological conditions with the festive culture. As a result, the author proves that medieval holidays depended on the natural and church calendars, which controlled and adjusted the cultural activities of society. In order to strengthen its ideological influence on public opinion, the church resorted to the direct prohibition of certain holidays; synthesis of Pre-Christian beliefs and theological dogmas; introduction of a new system of holidays. During the Middle Ages, a knightly culture was formed, saturated with multifaceted festive practices and a culture of entertainers; urban holidays were born and developed, the main consumer of which was the burgher with the corresponding lifestyle and system of behavior; the carnival and folk square holiday practices that combined the binary oppositions of medieval consciousness arose. Festive culture became a factor capable of synthesizing the medieval society into a single integrity. It solved a number of social tasks, among which the prioritized were the functions of competitiveness, entertainment, social solidarity and formation of public opinion. Religion, permeating all spheres of medieval society, was profaned in the need to express the Absolute and the Divine. Therefore, even church events (temple days, mysteries, sotie), gradually enriched with entertainment elements, were perceived as festive leisure. In the festive culture, full of emotional pleasure, positive energy and complimentary communication, a sense of one's own meaning and creative freedom, independent of conventional categories, was born.","PeriodicalId":145949,"journal":{"name":"Bulletin of Mariupol State University Series Philosophy culture studies sociology","volume":"114 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128203618","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.34079/2226-2849-2022-12-23-110-120
Juliia Sabadash, Nataliia Marakhovska
The aim of the study is to explore the peculiarities of obtaining the qualification of a museum studies expert and educator by higher education seekers within the framework of the integrated certificate program “Museum pedagogy”. The article describes domestic and foreign experience of training specialists for the integrated field of museum pedagogy. The analysis of the scientific literature shows that while defining a museum educator researchers give primary importance either to museum or pedagogical component of their work. Therefore, the authors provide a comprehensive definition for a specialist in the field of museum pedagogy in the paper. It is shown that a museum studies expert and educator is able to combine cultural and pedagogical expertise and skills, develop teaching technologies through museums, design a museum-educational environment, experiment with museum and pedagogical methods and techniques. The content of the two-year certificate programme designed and implemented on the basis of Mariupol State University is comprised of ten three-credit academic disciplines, inter alia,“Museum Studies”, “History of Arts”, “Cultural Studies”, “Preservation of Historical Monuments of Ukraine”, “Practicum on Perception of Contemporary Art”, “Modern Museum Communications”, “Museum Didactics”, “Methodology of Museum Education”, “Art Pedagogy” and “Pedagogical Practicum”. In the focus of the programme are: acquisition of theoretical knowledge in museum studies, familiarisation with museum development in Ukraine and all over the world; enhancing the understanding of cultural and art orientations; development of skills to design and organise the educational process in institutions of general secondary education by means of museum pedagogy, and create a museum-educational environment. The paper gives rationale for the core competencies for a prospective museum studies expert and educator, enumerates the learning outcomes of the integrated certificate programme. The authors provide the requirements for text and visual content of the programme presentation.
{"title":"Training of museum studies experts and educators: design and implementation of the integrated certificate programme","authors":"Juliia Sabadash, Nataliia Marakhovska","doi":"10.34079/2226-2849-2022-12-23-110-120","DOIUrl":"https://doi.org/10.34079/2226-2849-2022-12-23-110-120","url":null,"abstract":"The aim of the study is to explore the peculiarities of obtaining the qualification of a museum studies expert and educator by higher education seekers within the framework of the integrated certificate program “Museum pedagogy”. The article describes domestic and foreign experience of training specialists for the integrated field of museum pedagogy. The analysis of the scientific literature shows that while defining a museum educator researchers give primary importance either to museum or pedagogical component of their work. Therefore, the authors provide a comprehensive definition for a specialist in the field of museum pedagogy in the paper. It is shown that a museum studies expert and educator is able to combine cultural and pedagogical expertise and skills, develop teaching technologies through museums, design a museum-educational environment, experiment with museum and pedagogical methods and techniques. The content of the two-year certificate programme designed and implemented on the basis of Mariupol State University is comprised of ten three-credit academic disciplines, inter alia,“Museum Studies”, “History of Arts”, “Cultural Studies”, “Preservation of Historical Monuments of Ukraine”, “Practicum on Perception of Contemporary Art”, “Modern Museum Communications”, “Museum Didactics”, “Methodology of Museum Education”, “Art Pedagogy” and “Pedagogical Practicum”. In the focus of the programme are: acquisition of theoretical knowledge in museum studies, familiarisation with museum development in Ukraine and all over the world; enhancing the understanding of cultural and art orientations; development of skills to design and organise the educational process in institutions of general secondary education by means of museum pedagogy, and create a museum-educational environment. The paper gives rationale for the core competencies for a prospective museum studies expert and educator, enumerates the learning outcomes of the integrated certificate programme. The authors provide the requirements for text and visual content of the programme presentation.","PeriodicalId":145949,"journal":{"name":"Bulletin of Mariupol State University Series Philosophy culture studies sociology","volume":"316 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122782884","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.34079/2226-2849-2022-12-24-7-14
H. Boryshpol
The study is considered as a continuation of the search for cultural content-forming components of the phenomenon of the social ideal as a basis for the formation of a new concept of humanism, the understanding of a new system of cultural and spiritual values. The author gives reasons for the significance of further search for the origin of the phenomenon of the social ideal in the chronotope of Ukrainian culture of the 20th - beginning of the 21st century. Emphasis is placed on the innovation of studying the phenomenon of the social ideal of the cultural network society of Ukraine in terms of its fundamental cultural dimensions. The research methodology is based on the systematic approach, which made it possible to apply the comparative, analytical and typological methods, as well as the approach of a historical and cultural commentary. Key words: social ideal, the public good, values, bifurcation, archetype, archetype rebranding, cultural network society.
{"title":"CULTURAL PHENOMENON OF UKRAINE’S SOCIAL IDEAL OF THE XXth – THE BEGINNING OF THE XXIst CENTURY","authors":"H. Boryshpol","doi":"10.34079/2226-2849-2022-12-24-7-14","DOIUrl":"https://doi.org/10.34079/2226-2849-2022-12-24-7-14","url":null,"abstract":"The study is considered as a continuation of the search for cultural content-forming components of the phenomenon of the social ideal as a basis for the formation of a new concept of humanism, the understanding of a new system of cultural and spiritual values. The author gives reasons for the significance of further search for the origin of the phenomenon of the social ideal in the chronotope of Ukrainian culture of the 20th - beginning of the 21st century. Emphasis is placed on the innovation of studying the phenomenon of the social ideal of the cultural network society of Ukraine in terms of its fundamental cultural dimensions. The research methodology is based on the systematic approach, which made it possible to apply the comparative, analytical and typological methods, as well as the approach of a historical and cultural commentary. Key words: social ideal, the public good, values, bifurcation, archetype, archetype rebranding, cultural network society.","PeriodicalId":145949,"journal":{"name":"Bulletin of Mariupol State University Series Philosophy culture studies sociology","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129861826","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.34079/2226-2849-2022-12-23-104-110
R. Poleshuk
The article compares the filmmaking of S. Eisenstein and O. Dovzhenko, from the point of view of Hegelian concepts, including the modern understanding of concrete and abstract unity. The work revealed the cultural content of Hegel's concepts "spirit of the people", "spirit of the time" and "spirit of the world", "progress" and "freedom", as well as the modern understanding of Hegel's dialectics. The work offers a cinematic context of Hegel's concrete and abstract unity. According to our conclusion, the philosophical context of O. Dovzhenko's filmmaking has fundamental differences from the cinema of S. Eisenstein's school. We came to the conclusion that the philosophy of O. Dovzhenko's films offers the meanings of abstract unity, which determine the evolutionary development of society, with the help of the institution of individual freedom. At the same time, the cinema of the Eisenstein school is limited to a concrete Hegelian unity, which aims to mythologize a certain historical period according to the patterns of Soviet propaganda.
{"title":"Applying categories of H.V.F. Hegel’s philosophy for cultural study of soviet cinematography of the 20-30's of the 20th century","authors":"R. Poleshuk","doi":"10.34079/2226-2849-2022-12-23-104-110","DOIUrl":"https://doi.org/10.34079/2226-2849-2022-12-23-104-110","url":null,"abstract":"The article compares the filmmaking of S. Eisenstein and O. Dovzhenko, from the point of view of Hegelian concepts, including the modern understanding of concrete and abstract unity. The work revealed the cultural content of Hegel's concepts \"spirit of the people\", \"spirit of the time\" and \"spirit of the world\", \"progress\" and \"freedom\", as well as the modern understanding of Hegel's dialectics. The work offers a cinematic context of Hegel's concrete and abstract unity. According to our conclusion, the philosophical context of O. Dovzhenko's filmmaking has fundamental differences from the cinema of S. Eisenstein's school. We came to the conclusion that the philosophy of O. Dovzhenko's films offers the meanings of abstract unity, which determine the evolutionary development of society, with the help of the institution of individual freedom. At the same time, the cinema of the Eisenstein school is limited to a concrete Hegelian unity, which aims to mythologize a certain historical period according to the patterns of Soviet propaganda.","PeriodicalId":145949,"journal":{"name":"Bulletin of Mariupol State University Series Philosophy culture studies sociology","volume":"40 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121632980","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.34079/2226-2849-2022-12-23-131-143
Andrii Sendetskyi
The paper gives an analysis of articles, reports, and reviews of specialized Polish periodicals from 2000 to 2010, which include interviews, reviews, impressions, and comments of theater experts about contemporary cultural and artistic events in Poland in which Ukrainian artists participated. To fulfill the tasks set in the research, the author considers the main theatrical magazines of Poland “Dialog. Miesięcznik poświęcony dramaturgii współczesnej”, “Didaskalia”, “Pamiętnik Teatralny”, “Scena”, “Teatr”, which have had a long history of activity since the last century. The analytical work of the study is part of the preparatory stage before digitizing the materials on the Ukrainian-Polish cultural dialogue and placing them in the Polish Academy of Sciences database. The current issue requires improving the content in the virtual information environment regarding the creative activity of Ukrainian theaters. Accumulation, storage, and research of available information in electronic format will enable immediate processing and speed up the solution of many current problems: visualize the quantitative indicators of the institution's activity; make it possible to forecast its development; contribute to the search for effective ways of functioning. The author considers that a significant unsolved aspect of the problem is the lack of research into the Ukrainian-Polish cultural-artistic dialogue, which concerns theatrical practices at the beginning of the 21st century. The fact justifies the originality of the research, as there has been no study of Polish periodicals on theater studies, whose publications reflect the activities of Ukrainian artists. The chronological framework in the study is essential, as it was marked by important political events in both countries: 2004, when Poland joined the European Union, and in Ukraine, the Orange Revolution. The preliminary result of the analysis of Polish theater publications illustrates a specific direction of each of them and is the basis for determining their thematic direction: retrospectives, festival events, and creative meetings; biographies of personalities and discovery of new names; literary reviews. The activity of Ukrainian actors and theater groups in the artistic life of Poland is one of the indicators of the work of governmental cultural diplomacy and personal contact between the two countries, which determines the strengths and weaknesses of international relations. Further investigation of the phenomenon will make it possible to trace the dynamics of international communication ties of the period recorded in theater journals. In the future, the author aims to explore similar information in mass media (press, television, websites) and conduct interviews in focus groups (theatre administration, theater critics, ambassadors). Such a comprehensive systemic approach will contribute to the demonstration of a complete and accurate picture of the Ukrainian-Polish cultural and artistic dialogue on the
本文分析了2000年至2010年波兰专业期刊上的文章、报告和评论，其中包括戏剧专家对乌克兰艺术家参与的波兰当代文化和艺术事件的采访、评论、印象和评论。为了完成研究任务，笔者以波兰主要戏剧杂志《对话》为研究对象。Miesięcznik poświęcony dramaturgii współczesnej”，“Didaskalia”，“Pamiętnik Teatralny”，“Scena”，“Teatr”，自上个世纪以来一直有悠久的活动历史。这项研究的分析工作是将乌克兰-波兰文化对话材料数字化并将其放入波兰科学院数据库之前的准备阶段的一部分。当前的问题需要在虚拟信息环境中改进乌克兰剧院创作活动的内容。以电子形式积累、储存和研究现有信息将能够立即处理和加速解决许多当前问题:使机构活动的定量指标可视化;使预测其发展成为可能;帮助寻找有效的运作方式。作者认为，该问题尚未解决的一个重要方面是缺乏对乌克兰-波兰文化艺术对话的研究，这涉及到21世纪初的戏剧实践。这一事实证明了这项研究的独创性，因为没有对波兰戏剧研究期刊进行研究，这些期刊的出版物反映了乌克兰艺术家的活动。研究中的时间框架是至关重要的，因为这两个国家都发生了重要的政治事件:2004年波兰加入欧盟，乌克兰发生了橙色革命。对波兰戏剧出版物的初步分析结果说明了每一种出版物的具体方向，这是确定其主题方向的基础:回顾、节日活动和创意会议;人物传记和新名字的发现;文学评论。乌克兰演员和戏剧团体在波兰艺术生活中的活动是两国政府文化外交工作和个人接触的指标之一，这决定了国际关系的优劣。对这一现象的进一步调查将使我们有可能追踪戏剧杂志所记录的这一时期国际交流关系的动态。在未来，作者的目标是在大众媒体(报纸，电视，网站)中探索类似的信息，并对焦点群体(剧院管理，戏剧评论家，大使)进行采访。这种全面系统的方法将有助于以戏剧实践为例，全面和准确地展示乌克兰-波兰文化和艺术对话。
{"title":"Cultural and artistic dialogue of ukrainian theaters in polish periodicals at the beginning of the 21st century","authors":"Andrii Sendetskyi","doi":"10.34079/2226-2849-2022-12-23-131-143","DOIUrl":"https://doi.org/10.34079/2226-2849-2022-12-23-131-143","url":null,"abstract":"The paper gives an analysis of articles, reports, and reviews of specialized Polish periodicals from 2000 to 2010, which include interviews, reviews, impressions, and comments of theater experts about contemporary cultural and artistic events in Poland in which Ukrainian artists participated. To fulfill the tasks set in the research, the author considers the main theatrical magazines of Poland “Dialog. Miesięcznik poświęcony dramaturgii współczesnej”, “Didaskalia”, “Pamiętnik Teatralny”, “Scena”, “Teatr”, which have had a long history of activity since the last century. The analytical work of the study is part of the preparatory stage before digitizing the materials on the Ukrainian-Polish cultural dialogue and placing them in the Polish Academy of Sciences database. The current issue requires improving the content in the virtual information environment regarding the creative activity of Ukrainian theaters. Accumulation, storage, and research of available information in electronic format will enable immediate processing and speed up the solution of many current problems: visualize the quantitative indicators of the institution's activity; make it possible to forecast its development; contribute to the search for effective ways of functioning. The author considers that a significant unsolved aspect of the problem is the lack of research into the Ukrainian-Polish cultural-artistic dialogue, which concerns theatrical practices at the beginning of the 21st century. The fact justifies the originality of the research, as there has been no study of Polish periodicals on theater studies, whose publications reflect the activities of Ukrainian artists. The chronological framework in the study is essential, as it was marked by important political events in both countries: 2004, when Poland joined the European Union, and in Ukraine, the Orange Revolution. The preliminary result of the analysis of Polish theater publications illustrates a specific direction of each of them and is the basis for determining their thematic direction: retrospectives, festival events, and creative meetings; biographies of personalities and discovery of new names; literary reviews. The activity of Ukrainian actors and theater groups in the artistic life of Poland is one of the indicators of the work of governmental cultural diplomacy and personal contact between the two countries, which determines the strengths and weaknesses of international relations. Further investigation of the phenomenon will make it possible to trace the dynamics of international communication ties of the period recorded in theater journals. In the future, the author aims to explore similar information in mass media (press, television, websites) and conduct interviews in focus groups (theatre administration, theater critics, ambassadors). Such a comprehensive systemic approach will contribute to the demonstration of a complete and accurate picture of the Ukrainian-Polish cultural and artistic dialogue on the ","PeriodicalId":145949,"journal":{"name":"Bulletin of Mariupol State University Series Philosophy culture studies sociology","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126628030","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.34079/2226-2849-2022-12-23-66-75
N. Makarova
The main objective of the study is to analyze the coverage of the concept of the stage barrier in the scientific literature. The author defines the concept of the stage barrier and finds out the reasons for it during a performance stage. Research methodology focuses on the analysis of the literature on this topic. The paper has a scientific novelty. The article examines the problem of the stage barrier through of philosophical and cultural discourse; the study clarifies the possible causes of the stage barrier for both "beginner" pianists and "experienced" performers; distinguishes the concepts of "fear" and "phobia", describes the states of distress and eustress. The author concludes that the better the performer feels on stage, the more convincing and interesting the performance will be. Therefore, we consider the prospect of further exploration in finding methods and techniques to ensure good stage health.
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