Pub Date : 2022-03-21DOI: 10.31516/2410-5325.075.09
L. Machulin
As digital art topped the list of other arts in post-industrial society, the theoretical and methodological fields of art history it is necessary to clarify a range of definitions of digital art, systematize them and bring them into compliance with international classification. The subject of the study is the phenomenon of NFT (non-fungible token), which in 2021 took first place in the annual ranking of the most influential people in the field of art Power 100. NFT — a phenomenon of not only virtual but also modern culture in general. The object of research is digital art, in the space of which there is a phenomenon that we study. The purpose of the article is to find out the place and role of NFT in the development of digital art and its significance for art in general. The author considers such aspects of the topic as: the place of virtual art in contemporary art; the importance of NFT for digital art and culture in general; prospects and risks of including the field of art into the experiments with NFT. The scientific novelty of the work is the consideration and analysis of those aspects of digital art that have become particularly relevant in the last five years. As a result of the study, the author concludes the following. Since NFT has recently been associated with art, it is natural to study this phenomenon in terms of its place in art. NFT is a new tool that meets some of the needs of creators, users, and collectors of high-end digital and non-digital objects. The presence in the NFT phenomenon of such attributes as authenticity of the object, competitiveness, market value, demand and supply, indicate that a new segment of the art market has begun to appear. The autonomous and independent NFT market can be interpreted as the beginning of the separation of digital art from the underlying art. And while it is hard to call it art in the traditional sense today, it is more likely to be digital property. The main difference between the NFT market and the usual basic art market is that the artist is valued as a person at the former, and the work itself is valued at the traditional one. The formation of the third field of art (after the first field — “old masters”, the second field — modern art, created by traditional means) requires the development of a complex of definitions for its full-fledged comprehension.
{"title":"The impact of nonfungible tokens (NFT) on the art world","authors":"L. Machulin","doi":"10.31516/2410-5325.075.09","DOIUrl":"https://doi.org/10.31516/2410-5325.075.09","url":null,"abstract":"As digital art topped the list of other arts in post-industrial society, the theoretical and methodological fields of art history it is necessary to clarify a range of definitions of digital art, systematize them and bring them into compliance with international classification. \u0000The subject of the study is the phenomenon of NFT (non-fungible token), which in 2021 took first place in the annual ranking of the most influential people in the field of art Power 100. NFT — a phenomenon of not only virtual but also modern culture in general. \u0000The object of research is digital art, in the space of which there is a phenomenon that we study. The purpose of the article is to find out the place and role of NFT in the development of digital art and its significance for art in general. The author considers such aspects of the topic as: the place of virtual art in contemporary art; the importance of NFT for digital art and culture in general; prospects and risks of including the field of art into the experiments with NFT. \u0000The scientific novelty of the work is the consideration and analysis of those aspects of digital art that have become particularly relevant in the last five years. \u0000As a result of the study, the author concludes the following. \u0000 \u0000Since NFT has recently been associated with art, it is natural to study this phenomenon in terms of its place in art. NFT is a new tool that meets some of the needs of creators, users, and collectors of high-end digital and non-digital objects. \u0000The presence in the NFT phenomenon of such attributes as authenticity of the object, competitiveness, market value, demand and supply, indicate that a new segment of the art market has begun to appear. The autonomous and independent NFT market can be interpreted as the beginning of the separation of digital art from the underlying art. And while it is hard to call it art in the traditional sense today, it is more likely to be digital property. \u0000The main difference between the NFT market and the usual basic art market is that the artist is valued as a person at the former, and the work itself is valued at the traditional one. \u0000The formation of the third field of art (after the first field — “old masters”, the second field — modern art, created by traditional means) requires the development of a complex of definitions for its full-fledged comprehension. \u0000","PeriodicalId":33223,"journal":{"name":"Kul''tura Ukrayini","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-03-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47259474","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 : 2022-03-21DOI: 10.31516/2410-5325.075.10
T. Dubrovnyi
The article proposes a consideration of the phenomenon of Kitch in the context of the development of the culture of Western Europe, the flow of cultural processes of which was significantly different from the processes that occurred in the culture of the colonized part of Ukraine in the 17–19th centuries. The main reason for such differences was primarily in aristocratic imperatives and educational tendencies, which aggregately contributed to the development of art in the whole Europe. During this period, Ukraine was at the crossroards of Metropoles and, as a result of historical circumstances, was not able to develop similarly to Western European conditions. The lack of dominant role in society, and, in particular, the absence of universities, concentrated creative progress within church art and imitation of western samples, as well as the development of amateur art, which will form a whole layer of “Grassroots” culture. In fact, in the Baroque period in Ukraine only polyphony was introduced into the liturgical rite and a party concert on the Western model was staged. At the same time, the musically educated intelligentsia, which was concentrated at Kyiv-Mohyla Academy, composed chants, spiritual songs and brought them to the lower strata of society. Since all this was closely connected with the church rite, over time, the leading place in society was taken by the spiritual aristocracy, which gradually took over the educational mission of the people. The introduction of the practice of salons in Ukraine in the 19th century, the tradition of home music, in fact, had no resistance, because this tradition was nurtured mainly in the families of priests, who at that time had an authoritative influence on the processes taking place in society. On this basis, the use of means of “Kitch” was detected long before this term appeared with internal polysemantic characteristics in Germany of the XIX century. We believe that kitsch in music appeared when the society intuitively needed it, even in periods when this term did not yet exist, but the principles and methods that later became the basis of definition, and formed the basis of the conceptual structure of kitsch, had already been in existence. In essence, kitsch was a measure that balanced culture within different social strata and social needs, as well as disseminated it. Differences in the functioning of the kitsch phenomenon were observed: in European countries kitsch had negative semantics, in Ukraine, on the contrary, the most relevant examples of European cultural achievements were spread and interpreted in their own way. This blurred the border between “low” and “high” culture. Apparently, this is the main reason that the phenomenon of “kitsch” in Ukrainian culture played a positive role, helped to supplement the missing links and relieved tension in the confrontation between “an original” and “a copy”. This prepared a solid foundation for the emergence of Ukrainian professional art in the twenti
{"title":"To sources of polysematics Kitch (on the example of the “spiritual song” of the XVII–XVIII centuries)","authors":"T. Dubrovnyi","doi":"10.31516/2410-5325.075.10","DOIUrl":"https://doi.org/10.31516/2410-5325.075.10","url":null,"abstract":"The article proposes a consideration of the phenomenon of Kitch in the context of the development of the culture of Western Europe, the flow of cultural processes of which was significantly different from the processes that occurred in the culture of the colonized part of Ukraine in the 17–19th centuries. The main reason for such differences was primarily in aristocratic imperatives and educational tendencies, which aggregately contributed to the development of art in the whole Europe. During this period, Ukraine was at the crossroards of Metropoles and, as a result of historical circumstances, was not able to develop similarly to Western European conditions. The lack of dominant role in society, and, in particular, the absence of universities, concentrated creative progress within church art and imitation of western samples, as well as the development of amateur art, which will form a whole layer of “Grassroots” culture. In fact, in the Baroque period in Ukraine only polyphony was introduced into the liturgical rite and a party concert on the Western model was staged. At the same time, the musically educated intelligentsia, which was concentrated at Kyiv-Mohyla Academy, composed chants, spiritual songs and brought them to the lower strata of society. Since all this was closely connected with the church rite, over time, the leading place in society was taken by the spiritual aristocracy, which gradually took over the educational mission of the people. The introduction of the practice of salons in Ukraine in the 19th century, the tradition of home music, in fact, had no resistance, because this tradition was nurtured mainly in the families of priests, who at that time had an authoritative influence on the processes taking place in society. On this basis, the use of means of “Kitch” was detected long before this term appeared with internal polysemantic characteristics in Germany of the XIX century. We believe that kitsch in music appeared when the society intuitively needed it, even in periods when this term did not yet exist, but the principles and methods that later became the basis of definition, and formed the basis of the conceptual structure of kitsch, had already been in existence. In essence, kitsch was a measure that balanced culture within different social strata and social needs, as well as disseminated it. Differences in the functioning of the kitsch phenomenon were observed: in European countries kitsch had negative semantics, in Ukraine, on the contrary, the most relevant examples of European cultural achievements were spread and interpreted in their own way. This blurred the border between “low” and “high” culture. Apparently, this is the main reason that the phenomenon of “kitsch” in Ukrainian culture played a positive role, helped to supplement the missing links and relieved tension in the confrontation between “an original” and “a copy”. This prepared a solid foundation for the emergence of Ukrainian professional art in the twenti","PeriodicalId":33223,"journal":{"name":"Kul''tura Ukrayini","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-03-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41834660","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 : 2022-03-21DOI: 10.31516/2410-5325.075.14
Chiling Gao
The purpose of this paper. The purpose of the study involves a thorough study on the genre system of choral heritage I. Shamo, as understanding the genre essence of choral work is an essential component of performing interpretation. The methodology. Methodological principles are the principle of historicism, historical-contextual method, genre-style analysis and acmeological method in musicology, used to understand the top achievements of I. Shamo in the context of the evolution of artistic thinking of the artist. The results. The genre system of I. Shamo’s choral heritage consists of the genres of choral song, suite, choral cycle, cantata, cantata-poem, cantata-oratorio, choral opera a cappella, oratorio (concert-performance). The directions of the composer’s creative search in the genre of choral song are connected with the usage of different choral compositions, appeal to the genres of lyrical song, stylization of ritual songs, romanticization of patriotic song. It is determined that the semantics of the first cycle of choirs a cappella by I. Shamo in the poem by I. Franko reveals the theme of the cycle of the seasons, drawing a parallel with the stages of human life. For the choral cycle “Flying Cranes”, the name of which is a symbol of unattainable happiness and, at the same time hope, the composer improves the techniques of sound recording, creates expansive melodic lines based on a synthesis of folk and romantic intonations. The third cycle of I. Shamo “10 choirs on the poems of Ukrainian poets” demonstrates the latest achievements of the artist in choral writing, timbre drama, the implementation of the principles of working with folk poetic sources, characteristic of the “second wave of folklore”. It is substantiated that the unity of the “Carpathian Suite” of the composer is promoted by: tonal plan, contrasting tempo drama and artistic sound images, intonational unity based on the theme of Ukrainian folk models. Based on the author’s genre definitions of the “Yatran Games”, it is determined that in I. Shamo’s choral opera a cappella there is a synthesis of genres: suite, choral scenes originated from folk life and ceremonial action under the auspices of the opera genre. It was found that among the genres of orchestral and choral compositions of the artist — cantata, cantata-poem, cantata-oratorio, which is dominated by civic themes. Innovative is the work of I. Shamo “Skomoroshyny”, which synthesizes the genres of oratorio and concert, with theatricalization of these genres. The choral opuses showed such features of the artist’s style as the synthesis of genres, the tendency to cyclicality, reliance on national roots, the creation of author’s melodies, where deep folklore manifestations, sprechstimme, sonorism, aleatorics. The scientific creativity lies in the analysis of the components of the genre system of I. Shamo’s choral heritage, in the awareness of the genre phenomenon of each choral work and in the identification of the evolu
{"title":"Genre context of Ihor Shamo’s choral creativity","authors":"Chiling Gao","doi":"10.31516/2410-5325.075.14","DOIUrl":"https://doi.org/10.31516/2410-5325.075.14","url":null,"abstract":"The purpose of this paper. The purpose of the study involves a thorough study on the genre system of choral heritage I. Shamo, as understanding the genre essence of choral work is an essential component of performing interpretation. \u0000The methodology. Methodological principles are the principle of historicism, historical-contextual method, genre-style analysis and acmeological method in musicology, used to understand the top achievements of I. Shamo in the context of the evolution of artistic thinking of the artist. \u0000The results. The genre system of I. Shamo’s choral heritage consists of the genres of choral song, suite, choral cycle, cantata, cantata-poem, cantata-oratorio, choral opera a cappella, oratorio (concert-performance). The directions of the composer’s creative search in the genre of choral song are connected with the usage of different choral compositions, appeal to the genres of lyrical song, stylization of ritual songs, romanticization of patriotic song. It is determined that the semantics of the first cycle of choirs a cappella by I. Shamo in the poem by I. Franko reveals the theme of the cycle of the seasons, drawing a parallel with the stages of human life. For the choral cycle “Flying Cranes”, the name of which is a symbol of unattainable happiness and, at the same time hope, the composer improves the techniques of sound recording, creates expansive melodic lines based on a synthesis of folk and romantic intonations. The third cycle of I. Shamo “10 choirs on the poems of Ukrainian poets” demonstrates the latest achievements of the artist in choral writing, timbre drama, the implementation of the principles of working with folk poetic sources, characteristic of the “second wave of folklore”. It is substantiated that the unity of the “Carpathian Suite” of the composer is promoted by: tonal plan, contrasting tempo drama and artistic sound images, intonational unity based on the theme of Ukrainian folk models. Based on the author’s genre definitions of the “Yatran Games”, it is determined that in I. Shamo’s choral opera a cappella there is a synthesis of genres: suite, choral scenes originated from folk life and ceremonial action under the auspices of the opera genre. It was found that among the genres of orchestral and choral compositions of the artist — cantata, cantata-poem, cantata-oratorio, which is dominated by civic themes. Innovative is the work of I. Shamo “Skomoroshyny”, which synthesizes the genres of oratorio and concert, with theatricalization of these genres. The choral opuses showed such features of the artist’s style as the synthesis of genres, the tendency to cyclicality, reliance on national roots, the creation of author’s melodies, where deep folklore manifestations, sprechstimme, sonorism, aleatorics. \u0000The scientific creativity lies in the analysis of the components of the genre system of I. Shamo’s choral heritage, in the awareness of the genre phenomenon of each choral work and in the identification of the evolu","PeriodicalId":33223,"journal":{"name":"Kul''tura Ukrayini","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-03-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69942994","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 : 2022-03-21DOI: 10.31516/2410-5325.075.01
V. Sheiko
The purpose of this article is to analyze the main publications on the issues of genesis and formation of methodological foundations of culturology as a scientific field of knowledge. At the same time, considerable attention is paid to the contribution of scientists of the Kharkiv State Academy of Culture in the process of formation and establishment of culturology not only as a scientific field of knowledge and its methodology, but also as an educational program for higher education. The methodological basis for writing this article is the culturological approach (method), which accumulates a set of principles and methods of the humanities, which were adapted to conduct scientific researches on cultural issues. The result of scientific research of this article is demonstration of the achievements of modern cultural historiography in the formation of its methodological paradigm, its arsenal of principles and methods of scientific research. The scientific novelty of this article is to confirm the view that no scientific field of humanities, including culturology, should limit research only to its scientific tools. Each science chooses from a diverse methodological arsenal of the humanities those principles and methods that it needs and is suitable for studying the problems of its scientific field. At the same time, each science, including culturology, adapts the methods and principles of other sciences to their research. The practical significance of the results of the analysis of modern historiography of the problems of methodological principles of culturology as a field of scientific and educational knowledge is that the materials of the article can be useful in further research of methodological principles of culturology. At the same time, the materials of the article can be used in the process of preparation of scientific and educational programs and methodical manuals devoted to the courses of culturology and its methodology.
{"title":"Methodological principles of culturology: historiographical aspect","authors":"V. Sheiko","doi":"10.31516/2410-5325.075.01","DOIUrl":"https://doi.org/10.31516/2410-5325.075.01","url":null,"abstract":"The purpose of this article is to analyze the main publications on the issues of genesis and formation of methodological foundations of culturology as a scientific field of knowledge. At the same time, considerable attention is paid to the contribution of scientists of the Kharkiv State Academy of Culture in the process of formation and establishment of culturology not only as a scientific field of knowledge and its methodology, but also as an educational program for higher education. \u0000The methodological basis for writing this article is the culturological approach (method), which accumulates a set of principles and methods of the humanities, which were adapted to conduct scientific researches on cultural issues. \u0000The result of scientific research of this article is demonstration of the achievements of modern cultural historiography in the formation of its methodological paradigm, its arsenal of principles and methods of scientific research. \u0000The scientific novelty of this article is to confirm the view that no scientific field of humanities, including culturology, should limit research only to its scientific tools. Each science chooses from a diverse methodological arsenal of the humanities those principles and methods that it needs and is suitable for studying the problems of its scientific field. At the same time, each science, including culturology, adapts the methods and principles of other sciences to their research. \u0000The practical significance of the results of the analysis of modern historiography of the problems of methodological principles of culturology as a field of scientific and educational knowledge is that the materials of the article can be useful in further research of methodological principles of culturology. At the same time, the materials of the article can be used in the process of preparation of scientific and educational programs and methodical manuals devoted to the courses of culturology and its methodology.","PeriodicalId":33223,"journal":{"name":"Kul''tura Ukrayini","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-03-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42335648","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 : 2022-03-21DOI: 10.31516/2410-5325.075.07
A. Shcherban, N. Babkova
Abstract. Various aspects of ornamentation have been actively studied by various scientists for about two centuries, and they are included in the curricula of many educational institutions at different educational levels. However, for a long time, pupils and students of Eastern Europe haven’t had ornamentation textbooks and guidebooks adapted to the educational process in their native languages. The purpose of this article: to carry out a culturological study of the textbook “Ornamentation and Ukrainian ornament”, prepared for publication by Mykhailo Diachenko in early fileing of 1928. The methodology of the study are the principles of historicism and systematics in combination with historical-comparative and micro-historical methods. The results. The article gives a brief description of the author’s biography in terms of ornamental activities. Originating from the peasant environment of the Kyiv region, he graduated from the Kyiv non-classical secondary school, studied at the engineering department of the Kyiv Polytechnic Institute for a year and a half (he did not finish his education due to financial difficulties), and graduated from the Kamianets-Podilskyi Art School. Since 1909 he had been researching Ukrainian folk ornaments and trying to modify them according to the needs of textile production. While working at the Dihtiarivka textile vocational school, he completed the preparation of a generalized ornamental work in the form of a textbook. The review of Stefan Taranushenko, the leading Ukrainian art critic of the late 1920s — early 1930s, highlighted the structure and content of the manuscript of this work, its positive features and shortcomings. One should conclude that family circumstances and, apparently, the unfavorable social and political situation associated with the curtailment of the process of Ukrainization and the deployment of repressive measures of the Bolshevik government against Ukrainian cultural figures, did not contribute to the publication of this paper. The practical significance. The article is of practical importance, since its content can be used in the preparation of modern generalizing works on ornamentation.
{"title":"The textbook “Ornamentation and Ukrainian ornament”: culturological analysis","authors":"A. Shcherban, N. Babkova","doi":"10.31516/2410-5325.075.07","DOIUrl":"https://doi.org/10.31516/2410-5325.075.07","url":null,"abstract":"Abstract. Various aspects of ornamentation have been actively studied by various scientists for about two centuries, and they are included in the curricula of many educational institutions at different educational levels. However, for a long time, pupils and students of Eastern Europe haven’t had ornamentation textbooks and guidebooks adapted to the educational process in their native languages. \u0000The purpose of this article: to carry out a culturological study of the textbook “Ornamentation and Ukrainian ornament”, prepared for publication by Mykhailo Diachenko in early fileing of 1928. \u0000The methodology of the study are the principles of historicism and systematics in combination with historical-comparative and micro-historical methods. \u0000The results. The article gives a brief description of the author’s biography in terms of ornamental activities. Originating from the peasant environment of the Kyiv region, he graduated from the Kyiv non-classical secondary school, studied at the engineering department of the Kyiv Polytechnic Institute for a year and a half (he did not finish his education due to financial difficulties), and graduated from the Kamianets-Podilskyi Art School. Since 1909 he had been researching Ukrainian folk ornaments and trying to modify them according to the needs of textile production. While working at the Dihtiarivka textile vocational school, he completed the preparation of a generalized ornamental work in the form of a textbook. The review of Stefan Taranushenko, the leading Ukrainian art critic of the late 1920s — early 1930s, highlighted the structure and content of the manuscript of this work, its positive features and shortcomings. One should conclude that family circumstances and, apparently, the unfavorable social and political situation associated with the curtailment of the process of Ukrainization and the deployment of repressive measures of the Bolshevik government against Ukrainian cultural figures, did not contribute to the publication of this paper. \u0000The practical significance. The article is of practical importance, since its content can be used in the preparation of modern generalizing works on ornamentation.","PeriodicalId":33223,"journal":{"name":"Kul''tura Ukrayini","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-03-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44626435","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 : 2022-03-21DOI: 10.31516/2410-5325.075.12
Ting Liu
The article is devoted to one of the forms of creative synthesis of types of art, which is being actualized in the modern space-time of musical and stage compositions, including through its own historical and genetic code. Singing in ballet appears in the context of art of the early 20th century as a common aesthetic phenomenon. However, music criticism and academic science have not yet provided the explanation of its mechanisms (image-aesthetic, psychological, form-creating, communicative), its overriding tasks in the concepts of modern musical theatre. The experience of problem statement in the field of interpretology provides the relevance of the topic of the article and determines the novelty of the obtained results. The purpose of the article is to reveal the preconditions and content of the functional unity of the art of singing and dance against the background of artistic trends of the early 20th century (starting with “Pulcinella” by I. Stravinsky). The creative tandem of dance and singing has its roots in ancient Greek culture, on which the creators of the French tradition of ballets du court (J.-B. Llully focused. In the realm of «mixed genres» of baroque music, the «golden age» of homo musicus began. The latest history of singing in ballet begins with I. Stravinsky, his «Pulchinelli». The obtained results of the research of the problem “What is singing in ballet — a tribute to history or an invention of modern culture”? First, the presence of the “genetic code” of this phenomenon in the art of Western Europe of the Modern times; secondly, the regularity of the tendency to synthesize singing in the art of ballet as a manifestation of neoclassicism, closely related to the historicism of compositional thinking of I. Stravinsky. The conclusions outline the preconditions and content of the functional unity of singing and dance in the format of artistic trends of the early 20th century: 1) the historical and cultural code of French art (singing — dramatic play — dance); 2) personal self-reflection of I. Stravinsky (his relations on the basis of creative cooperation in the early 20th century later formed a wide range of communication for artists: O. Rodin, A. Modigliani, K. Monet, P. Picasso, V. Kandinsky); 3) imitation of pre-classical, pre-baroque, and ancient folk traditions. In general, the revival of the function of singing in ballet of the 20th century took place on the basis of musical historicism and serves as a mental sign of the birth of neoclassicism.
{"title":"Singing (vocal) as a component of ballet: the experience of interpreting the phenomenon in the context of artistic trends of the early 20th century","authors":"Ting Liu","doi":"10.31516/2410-5325.075.12","DOIUrl":"https://doi.org/10.31516/2410-5325.075.12","url":null,"abstract":"The article is devoted to one of the forms of creative synthesis of types of art, which is being actualized in the modern space-time of musical and stage compositions, including through its own historical and genetic code. Singing in ballet appears in the context of art of the early 20th century as a common aesthetic phenomenon. However, music criticism and academic science have not yet provided the explanation of its mechanisms (image-aesthetic, psychological, form-creating, communicative), its overriding tasks in the concepts of modern musical theatre. The experience of problem statement in the field of interpretology provides the relevance of the topic of the article and determines the novelty of the obtained results. \u0000The purpose of the article is to reveal the preconditions and content of the functional unity of the art of singing and dance against the background of artistic trends of the early 20th century (starting with “Pulcinella” by I. Stravinsky). \u0000The creative tandem of dance and singing has its roots in ancient Greek culture, on which the creators of the French tradition of ballets du court (J.-B. Llully focused. In the realm of «mixed genres» of baroque music, the «golden age» of homo musicus began. The latest history of singing in ballet begins with I. Stravinsky, his «Pulchinelli». The obtained results of the research of the problem “What is singing in ballet — a tribute to history or an invention of modern culture”? First, the presence of the “genetic code” of this phenomenon in the art of Western Europe of the Modern times; secondly, the regularity of the tendency to synthesize singing in the art of ballet as a manifestation of neoclassicism, closely related to the historicism of compositional thinking of I. Stravinsky. \u0000The conclusions outline the preconditions and content of the functional unity of singing and dance in the format of artistic trends of the early 20th century: 1) the historical and cultural code of French art (singing — dramatic play — dance); 2) personal self-reflection of I. Stravinsky (his relations on the basis of creative cooperation in the early 20th century later formed a wide range of communication for artists: O. Rodin, A. Modigliani, K. Monet, P. Picasso, V. Kandinsky); 3) imitation of pre-classical, pre-baroque, and ancient folk traditions. In general, the revival of the function of singing in ballet of the 20th century took place on the basis of musical historicism and serves as a mental sign of the birth of neoclassicism.","PeriodicalId":33223,"journal":{"name":"Kul''tura Ukrayini","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-03-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46855626","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 : 2022-03-21DOI: 10.31516/2410-5325.075.05
V. Sheiko, E. Trubaieva
The purpose of the article is to analyze the culturological basis of mediation on the basis of available literature on the problems of culturological aspects of mediation in the context of globalization. After all, the very mediation of culture in the context of globalization makes it possible to resolve extremely complex and controversial issues of social relations, both internal and external. In the context of globalization challenges, resolving the conflicts of international civilizational cooperation gives hope for the further preservation of peace on the globe and for the further evolution of the world community. In addition, the study of this problem allows us to ensure that this issue is not only relevant but also poorly researched. The methodological basis of this scientific research is culturological methods of analysis of the mediating role of intercultural dialogue in the further establishment of international cooperation in the context of civilizational globalization. The result of the research is constructive conclusions of the analysis of the existing literature on the issues of cultural mediation, demonstration of achievements in the process of resolving international conflict situations through indirect dialogue of cultures in the context of civilizational globalization. The scientific novelty of the article is that by studying the achievements of indirect application of intercultural dialogue, the world community gets an additional opportunity for further international cooperation in resolving urgent conflict challenges, which allows the world community to maintain sustainable peace on the planet. The practical significance of this article is that its results can be useful for further research on this topic. At the same time, they can become material in the process of preparing scientific and methodological documentation for cultural courses.
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Pub Date : 2022-03-21DOI: 10.31516/2410-5325.075.16
O. Bubenok, M. Tortika
The actual meaning of this topic is due to the fact that the museum collections of Ukraine contain a lot of material monuments created by the peoples of the Steppe during the Copper-Bronze Age, which were studied only in fragments. The reason for it is that these finds came to museums by accident and as a result were not reflected in reports and publications. Therefore, we do not have a clear information about the situation in the regional and district museums of Ukraine containing the artifacts of the oldest pastoral population in Ukraine. Long ago the need exists to create the qualified catalogs with a description of the monuments of material culture of the early pastoralists, which are stored in the museums of the South and East of Ukraine. Therefore, the purpose of this study is creation of such catalog. The methodological basis of the work is the modern post-neoclassical museological, so-called object methodology, the emphasis of which is focused on the study of material culture and material museums as fundamental elements of cultural and natural heritage. The results. Materials from four museums of the South and the East of Ukraine were involved for processing: D. I. Yavornytsky Dnipropetrovsk National Historical Museum, Museum of Archeology of V. N. Karazin Kharkiv National University, Cultural Institution “I. O. Repin Art Memorial Museum” in Chuguev city of Kharkivska region, Museum of local lore in Zmiiv city Kharkivska region. The territories of Dnipropetrovska and Kharkivska regions were chosen for the study not by accident, because its reflect the gradual change of natural landscapes in the projection on the economy of the population. The study was able to observer the history of the formation of archaeological collections of these museums. A significant achievement for the authors of this article was the creation of a special Catalog of objects in the funds of museums of Dnipropetrovska and Kharkivska regions, which testify to the acquaintance of ancient people with the horse. As a result, it was possible to establish of horse breeding of the local population in the Late Bronze Age. The scientific novelty. A significant amount of unpublished material was introduced into scholar circulation. The practical significance. It gives reason to believe that in the Late Bronze Age only the first stage of domestication of the horse took place in the steppes of Ukraine. But other issues remain unresolved. It is a topic for future researches. The collections of museums in the South and East of Ukraine should play an important role in it.
这个话题的实际意义是由于乌克兰的博物馆藏品中包含了许多由铜青铜时代草原人民创造的物质纪念碑，这些纪念碑只在碎片中进行了研究。原因是这些发现是偶然进入博物馆的，因此没有在报告和出版物中反映出来。因此，我们没有关于乌克兰地区和地区博物馆的情况的明确信息，这些博物馆藏有乌克兰最古老的牧民的文物。很久以前就需要制作合格的目录，描述早期牧民的物质文化古迹，这些目录储存在乌克兰南部和东部的博物馆中。因此，本研究的目的是创建这样的目录。这项工作的方法论基础是现代后新古典主义博物馆学，即所谓的对象方法论，其重点是将物质文化和物质博物馆作为文化和自然遗产的基本要素进行研究。结果。来自乌克兰南部和东部四个博物馆的材料被用于处理:D. I. Yavornytsky第聂伯罗彼得罗夫斯克国家历史博物馆，V. N. Karazin哈尔科夫国立大学考古博物馆，文化机构“I。在哈尔科夫斯卡地区丘格耶夫市的O.列宾艺术纪念博物馆，哈尔科夫斯卡地区兹米耶夫市的当地文化博物馆。选择第聂伯罗彼得罗夫斯卡和哈尔科夫斯卡地区进行研究并非偶然，因为它反映了人口经济投影中自然景观的逐渐变化。这项研究能够观察到这些博物馆的考古藏品的形成历史。本文作者的一项重大成就是在第聂伯罗彼得罗夫斯卡和哈尔科夫斯卡地区的博物馆基金中创建了一个特殊的物品目录，这证明了古代人们对马的了解。因此，有可能在青铜时代晚期建立当地人口的养马活动。科学的新奇。大量未发表的材料被引入学者流通。现实意义。这让我们有理由相信，在青铜时代晚期，马的驯化只有第一阶段发生在乌克兰的大草原上。但其他问题仍未解决。这是一个有待进一步研究的课题。乌克兰南部和东部博物馆的藏品应该在其中发挥重要作用。
{"title":"Hypological Artifacts of the CopperBronze Age in the Archeological Collections of the Museums of Dnipropetrovska and Kharkivska Regions","authors":"O. Bubenok, M. Tortika","doi":"10.31516/2410-5325.075.16","DOIUrl":"https://doi.org/10.31516/2410-5325.075.16","url":null,"abstract":"The actual meaning of this topic is due to the fact that the museum collections of Ukraine contain a lot of material monuments created by the peoples of the Steppe during the Copper-Bronze Age, which were studied only in fragments. The reason for it is that these finds came to museums by accident and as a result were not reflected in reports and publications. Therefore, we do not have a clear information about the situation in the regional and district museums of Ukraine containing the artifacts of the oldest pastoral population in Ukraine. Long ago the need exists to create the qualified catalogs with a description of the monuments of material culture of the early pastoralists, which are stored in the museums of the South and East of Ukraine. Therefore, the purpose of this study is creation of such catalog. \u0000The methodological basis of the work is the modern post-neoclassical museological, so-called object methodology, the emphasis of which is focused on the study of material culture and material museums as fundamental elements of cultural and natural heritage. \u0000The results. Materials from four museums of the South and the East of Ukraine were involved for processing: D. I. Yavornytsky Dnipropetrovsk National Historical Museum, Museum of Archeology of V. N. Karazin Kharkiv National University, Cultural Institution “I. O. Repin Art Memorial Museum” in Chuguev city of Kharkivska region, Museum of local lore in Zmiiv city Kharkivska region. The territories of Dnipropetrovska and Kharkivska regions were chosen for the study not by accident, because its reflect the gradual change of natural landscapes in the projection on the economy of the population. The study was able to observer the history of the formation of archaeological collections of these museums. A significant achievement for the authors of this article was the creation of a special Catalog of objects in the funds of museums of Dnipropetrovska and Kharkivska regions, which testify to the acquaintance of ancient people with the horse. As a result, it was possible to establish of horse breeding of the local population in the Late Bronze Age. \u0000The scientific novelty. A significant amount of unpublished material was introduced into scholar circulation. \u0000The practical significance. It gives reason to believe that in the Late Bronze Age only the first stage of domestication of the horse took place in the steppes of Ukraine. But other issues remain unresolved. It is a topic for future researches. The collections of museums in the South and East of Ukraine should play an important role in it.","PeriodicalId":33223,"journal":{"name":"Kul''tura Ukrayini","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-03-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42740663","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 : 2022-03-21DOI: 10.31516/2410-5325.075.04
N. Maksymovska
The purpose of the article is to study the theoretical and practical principles of regulating creative practices and defining the conditions for implementation of culture creativity technologies in the socio-cultural field. The methodology. In this study we have applied the scientific analysis and synthesis method in order to define the culture creativity process efficiency conditions through implementation of creative practices, which may include: development of sociocultural process subjects’ ability to be creative, establishing a community-team of like-minded individuals to produce and implement creative ideas, purposeful technologization of creative activities, making up the space to realize newest creative practices and improve traditional ones. By comparing the scientific facts and the method of purposeful goal-setting it was found out that every condition provides for completing a number of tasks, namely use of interactive technologies to stimulate creative thinking of professionals and participants of socio-cultural activities; realization of functioning principles of the creative center, which generates and selects ideas for implementation of a cultural product; carrying out original space functioning for continuous communication and supporting creative atmosphere. The results. In a broad sense, culture management should ensure the dynamics of culture creativity process, in a narrow one — the efficiency of creative technology in the sociocultural field. It ensures technologization of creative practices, creates organizational and management conditions for productive interaction, which must be taken into account while realizing the creative process of culture creation. That is to say, culture management is viewed particularly as managing creativity and innovation in socio-cultural field. The scientific novelty. Culture management ensures culture creation dynamics by implementing effective mechanisms of promoting innovative practices in the socio-cultural field. Taking into account individual (creative personality), group (creative team), environmental (creative space) and activity (creative activities and interaction) aspects we determined the systematic nature of management and its viability. The practical significance. According to the results of the study, the complexity of culture creation determines the choice of non-traditional approaches for stimulation of creative thinking, group decision making and constructing culture centers. Conditions must be provided to realize creative practices as a technology and project that provides for clear planning, search and distribution of necessary resources, monitoring realization and final evaluation of efficiency.
{"title":"Management of creative technologies in the sociocultural field","authors":"N. Maksymovska","doi":"10.31516/2410-5325.075.04","DOIUrl":"https://doi.org/10.31516/2410-5325.075.04","url":null,"abstract":"The purpose of the article is to study the theoretical and practical principles of regulating creative practices and defining the conditions for implementation of culture creativity technologies in the socio-cultural field. \u0000The methodology. In this study we have applied the scientific analysis and synthesis method in order to define the culture creativity process efficiency conditions through implementation of creative practices, which may include: development of sociocultural process subjects’ ability to be creative, establishing a community-team of like-minded individuals to produce and implement creative ideas, purposeful technologization of creative activities, making up the space to realize newest creative practices and improve traditional ones. By comparing the scientific facts and the method of purposeful goal-setting it was found out that every condition provides for completing a number of tasks, namely use of interactive technologies to stimulate creative thinking of professionals and participants of socio-cultural activities; realization of functioning principles of the creative center, which generates and selects ideas for implementation of a cultural product; carrying out original space functioning for continuous communication and supporting creative atmosphere. \u0000The results. In a broad sense, culture management should ensure the dynamics of culture creativity process, in a narrow one — the efficiency of creative technology in the sociocultural field. It ensures technologization of creative practices, creates organizational and management conditions for productive interaction, which must be taken into account while realizing the creative process of culture creation. That is to say, culture management is viewed particularly as managing creativity and innovation in socio-cultural field. \u0000The scientific novelty. Culture management ensures culture creation dynamics by implementing effective mechanisms of promoting innovative practices in the socio-cultural field. Taking into account individual (creative personality), group (creative team), environmental (creative space) and activity (creative activities and interaction) aspects we determined the systematic nature of management and its viability. \u0000The practical significance. According to the results of the study, the complexity of culture creation determines the choice of non-traditional approaches for stimulation of creative thinking, group decision making and constructing culture centers. Conditions must be provided to realize creative practices as a technology and project that provides for clear planning, search and distribution of necessary resources, monitoring realization and final evaluation of efficiency.","PeriodicalId":33223,"journal":{"name":"Kul''tura Ukrayini","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-03-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48756079","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 : 2022-03-21DOI: 10.31516/2410-5325.075.06
H. Pankov
The purpose of this article is to comprehend the feast of the Intercession of the Theotokos, based on an axiological approach to the study of cultural phenomena. The methodology. The research is based on an axiological approach in the context of a secular cultural science. The axiological comprehension of texts is organically combined with elements of semiotic analysis and the phenomenology of the sacred. The results. The role of values in the formation of the Mariological cult in the content of the feast in question has been studied. It is based on the idea of patronage in its global and multifunctional aspects. It has been established that the key importance is attached to the ethical values of love and mercy in their sacred expression. The aim of axiology is demonstrated to form in the minds of people a view of the Mother of God as a solid life support and a guarantor of genuine human welfare. The essential context for understanding the feast of the Interces-sion is the requirement for the implementation of a person’s spiritual transformation. The Mariological image is positioned as an unconditional spiritual standard that determines the indicated transformation in the aspects of liberation from carnal dependence and the achievement of spiritual purity in its sacred sense. The value-orienting and regulatory functions of this feast, as well as the relationship between the informative and performance functions of Mariological apologetics, are highlighted. At the same time, it is emphasized that the meaning of the eorthological text is not limited to the development of information about the sacred. Through endowing the sacred image with special aesthetic effects, the text seeks to encourage the reader to carry out a spiritual transformation in relation to the Christian ideal. The semiotic effect of the majesty and glory of the Mother of God forms the corresponding effect of the figure of the righteous man and, at the same time, the cultural space of the Christian tradition with the Mariological cult. The scientific novelty. The proposal substantiates an axiological approach to the study of the feast of the Intercession in the secular culturological paradigm. This approach is closely linked with the analysis of the semiotic effects of the constitution of the sacred image of the majesty of the Mother of God as an object of worship. The undertaken methodology makes it possible to pay attention to the efficiency of using the undertaken approach in the system of culturological eortology, the subject of which is a comprehensive study of holidays, including religious ones. The practical significance. The results of this publication can be used in reading religious studies, cultural studies and theological disciplines, as well as in the practice of forming a humanistic culture in relation to the Orthodox tradition.
{"title":"Orthodox feast of Intercession of the Theotokos in the axiological context of culturology","authors":"H. Pankov","doi":"10.31516/2410-5325.075.06","DOIUrl":"https://doi.org/10.31516/2410-5325.075.06","url":null,"abstract":"The purpose of this article is to comprehend the feast of the Intercession of the Theotokos, based on an axiological approach to the study of cultural phenomena. \u0000The methodology. The research is based on an axiological approach in the context of a secular cultural science. The axiological comprehension of texts is organically combined with elements of semiotic analysis and the phenomenology of the sacred. \u0000The results. The role of values in the formation of the Mariological cult in the content of the feast in question has been studied. It is based on the idea of patronage in its global and multifunctional aspects. It has been established that the key importance is attached to the ethical values of love and mercy in their sacred expression. The aim of axiology is demonstrated to form in the minds of people a view of the Mother of God as a solid life support and a guarantor of genuine human welfare. The essential context for understanding the feast of the Interces-sion is the requirement for the implementation of a person’s spiritual transformation. The Mariological image is positioned as an unconditional spiritual standard that determines the indicated transformation in the aspects of liberation from carnal dependence and the achievement of spiritual purity in its sacred sense. The value-orienting and regulatory functions of this feast, as well as the relationship between the informative and performance functions of Mariological apologetics, are highlighted. At the same time, it is emphasized that the meaning of the eorthological text is not limited to the development of information about the sacred. Through endowing the sacred image with special aesthetic effects, the text seeks to encourage the reader to carry out a spiritual transformation in relation to the Christian ideal. The semiotic effect of the majesty and glory of the Mother of God forms the corresponding effect of the figure of the righteous man and, at the same time, the cultural space of the Christian tradition with the Mariological cult. \u0000The scientific novelty. The proposal substantiates an axiological approach to the study of the feast of the Intercession in the secular culturological paradigm. This approach is closely linked with the analysis of the semiotic effects of the constitution of the sacred image of the majesty of the Mother of God as an object of worship. The undertaken methodology makes it possible to pay attention to the efficiency of using the undertaken approach in the system of culturological eortology, the subject of which is a comprehensive study of holidays, including religious ones. \u0000The practical significance. The results of this publication can be used in reading religious studies, cultural studies and theological disciplines, as well as in the practice of forming a humanistic culture in relation to the Orthodox tradition.","PeriodicalId":33223,"journal":{"name":"Kul''tura Ukrayini","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-03-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42357929","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}
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