Kul''tura Ukrayini最新文献

{"title":"Creative guidelines of folk­instrumental ensembles in the cultural space of Kharkiv in the second half of the XX — beginning of the XXI centuries","authors":"M. Danyliuk, Ya. Danyliuk","doi":"10.31516/2410-5325.081.09","DOIUrl":"https://doi.org/10.31516/2410-5325.081.09","url":null,"abstract":"The purpose of the article is to reveal the peculiarities of the creativity of folk-instrumental ensembles in the second half of the XX — the beginning of the XXI centuries in the cultural locus of Kharkiv.
 The relevance of the article is determined by the dissonance between the intensity of artistic practice, the variety of ways of testing innovations, the permanent reinvention of genre, style, timbre, expressive parameters of folk-instrumental ensembles in the cultural locus of Kharkiv, and the discreteness of researching their activities in the musicological discourse. Comparative methodology is based on the guidelines of system analysis, historical approach, musical interpretation method and generalization method.
 The results. The article outlines the conceptual, genre and stylistic, repertoire guidelines of such poly-timbral and mono-timbral folk-instrumental ensembles of Kharkiv of the second half of the XX–XXI centuries, such as “Korobeinyky”, “Rozmai”, “Yarmarok”, “Stozhary”, “TsymBanDo”, “3+2”, “Hrotesk”, “Grey Folk”, “Vesela Banda”, “Koloryt”, duets of accordionists I. Lypnytskyi and L. Hura, O. Mishchenko and I. Sniedkov, female bandurist trio “Kupava” and “Zoredana”, Kharkiv Guitar Quartet.
 The scientific novelty of the article lies in identifying such specific features of the creative activity of folk-instrumental ensembles of Kharkiv, such as: variability of forms and compositions; virtuosity; the trend to expand timbral, sonorous, textural horizons, reinventing the technical and performing arsenal; testing of new improved modifications of traditional instruments and timbre-textural versions of classical world and national heritage; expansion of genre and stylistic horizons with original works of modern Ukrainian, in particular, Kharkiv artists; preservation of authentic music-making guidelines, establishment of the significance of the folklore and repertoire dominant idea; the significance of the academicization trend and the establishment of new sound images of folk instruments; timbral experi-mentalism, acting theatricalization of performance, tending to the aesthetic dimensions of World music and crossover, that are consonant with multiculturalism and ironic metamodernism; combination of perfor-mance, composition, research, pedagogical and methodical activities of its representatives.
 Conclusions. The revealed peculiarities of the creative activity of folk-instrumental ensembles in the cultural space of Kharkiv testify to the establishment of the academic status of the national folk-instrumental ensemble art as a bearer of mentally marked traditional guidelines for instrumental music-making and a reflection of the multicultural essence of metamodernism, the sphere of transformation of aesthetic, genre and stylistic, timbre and technical and performative parameters of folk-instrumental ensemble art based on the diffusion of folklore, academic and variety music, a mediator between cultures in diachrony and ","PeriodicalId":33223,"journal":{"name":"Kul''tura Ukrayini","volume":"96 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136238701","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}

{"title":"Sectoral morphology of the field of audiovisual art and production as a creative industry: problem statement","authors":"A. Alforov, Z. Alforova","doi":"10.31516/2410-5325.081.04","DOIUrl":"https://doi.org/10.31516/2410-5325.081.04","url":null,"abstract":"The purpose of the article is to pose the problem of forming the sectoral morphology of the modern sphere of audiovisual art and production as a creative industry. The subject is the morphology of the audiovisual sphere of a new type, in which art history elements are combined with economic ones. The relevance of the mentioned research lies in the need to pose the problem and primary scientific understanding of the morphological state of the field of audiovisual art and production as a creative industry.
 The methodology of this article is the morphological approach (method of morphological analysis), substantiated in the works of Z. Alfоrova, the application of which made it possible to identify morphological neoplasms of the audiovisual sphere. Based on the analysis of morphological changes in the modern audiovisual sphere, certain strategies of practical consideration of these transformations are characterized.
 The result of the research is that 1. today, in the developed countries of the world, creative industries are beginning to occupy leading positions in the economy in general; 2. the field of audiovisual art and production is becoming an active creative industry, which today is reformatting its own morphology in accordance with the modern requirements of the economy from a genre-species to a sector economy, changing the algorithms of human resource management in this industry. 3. each sector of the audiovisual art sphere as a creative industry is formed by the latest audiovisual tools, produces its own algorithms for existence in a multimedia digital environment.
 The scientific novelty is the further scientific research in the audiovisual sphere using a morphological approach. The study also takes into account the latest principles of modern culture, which directly affect the modern audiovisual sphere.
 The practical significance of the study based at the knowledge of the processes of morphological reformatting of the audiovisual sphere will enable the activation of similar processes in the national specified sphere, optimizing its transition into an active creative industry.","PeriodicalId":33223,"journal":{"name":"Kul''tura Ukrayini","volume":"159 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136238848","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}

{"title":"Receptions of the “Piece Of Musiс” Concept in the Modern Scientific Discourse","authors":"І. Konovalova","doi":"10.31516/2410-5325.080.10","DOIUrl":"https://doi.org/10.31516/2410-5325.080.10","url":null,"abstract":"The article is devoted to disclosure of multilevel comprehension of the “piece of music” concept in the modern musicology and determinants of the multiplicity of connotations of its ontological and phenomenological specifics in the interdisciplinary space of the humanities. \u0000The purpose of the article — to determine the specifics of reception of the “piece of music” concept and phenomenon in the modern scientific discourse. \u0000The methodology of research is complex and based on the comparative, cultural, art historical scientific approaches, fundamentals of systematic and analytical, phenomenological, descriptive and terminological methods of analysis with the use of musicological methodological tools. \u0000The results. The notional transformations of the “piece of music” concept in the musical culture of the second half of the XX century are studied and on the basis of systematization of modern trends and levels of analytics of the “piece of music” concept, generated in the humanistic and musicological area, new approaches to reception of the same concept and phenomenon (thesaurus, language and semiotic, discursive, communicative and psychological) are outlined. The cultural ambivalence of the music work phenomenon, the multilayered process of objectification of the artistic information, contained herein and presented in the intonation and figurative form, are disclosed. \u0000The scientific novelty of the article pertains to application of a hermeneutic and phenomenological approach to explication of the piece of music and its post-avant-garde modifications (installations, performances, “open” compositions etc., with their intension for unique and momentary expression of experience and unscriptedness in traditional frameworks of music opuses), constituting different manifestations and facets of an integral and multifaceted phenomenon of the music work and determination of its hypostasis as an artifact of culture, result of spiritual production, process/deliverables of the creator’s activities (author and performer), carrier of an artistic meaning (musical semantic image) and value context. \u0000It is emphasized that the ontological and existential nature of the music work, its functional and notional polyphony, the focus of the world images and the author image in its artistic fabric make it possible to consider it in the multiplicity of perspectives (philosophical and aesthetic, phenomenological, axiological, communicational and psychological, creative and practical, artistic and semantic, individual and personal, semiotic interpretation) and research paradigms. \u0000The practical significance of the scientific intelligence lies in a possibility to apply the hermeneutic and phenomenological approach in the further development of the problems of a music work and involvement of the findings in the musical and pedagogical areas, in the training courses “musical aesthetics”, “philosophy of music”, “musical interpretation”, “analysis of music works” etc.","PeriodicalId":33223,"journal":{"name":"Kul''tura Ukrayini","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44855939","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}

{"title":"From Semi-Public Diaries to Social Networks: History and Transformations of Personal Writing","authors":"O. Hrudka","doi":"10.31516/2410-5325.080.04","DOIUrl":"https://doi.org/10.31516/2410-5325.080.04","url":null,"abstract":"The relevance of the article. The article delves into the history and cultural significance of semi-public diaries, created with the intention of being read, and compares them to modern social networks. The topic is particularly relevant taking into account the growing popularity of social networks and the transformation of traditional cultural practices of personal writing, self-reflection and self-expression. \u0000The purpose of the article. The purpose is to trace the history of semi-public diaries and compare their accounting-and-reflection practices with those found in social networks personal profiles, focusing on the interplay between public and private domains. \u0000The methodology. The article utilizes a comparative analysis of diaries and social networks, examining their historical evolution and contemporary practices, and draws on existing research from cultural studies, history, and media studies. \u0000The results. The study reveals that diaries have long been used to share individual reflections with others, making their personal writing practices similar to those of modern social network profiles. The study discovered that pre-internet era diaries and contemporary social networks have two similar intentions for personal writing: firstly, to document and reflect on personal experiences for private purposes, such as for self-reflection, life-tracking and identity formation, and secondly, to share personal ideas and experiences with others. This duality generates tension between the public and private aspects of personal writing. \u0000The scientific novelty. The study offers a fresh perspective on the role of diaries in the cultural practice of personal writing by examining their similarities with modern social networks and emphasizing the interaction between private and public domains in documenting and reflecting on personal experiences. \u0000The practical significance. Understanding the historical and cultural context of diaries and social networks can help individuals better appreciate the functions and potential benefits of these mediums for personal reflection and communication. The findings of this study can also inform future research into the role of personal writing in identity formation and the ways in which technology is transforming the nature of personal writing. \u0000The conclusions. This study demonstrates the enduring relevance of accounting-and-reflection practices of personal writing in both diaries and modern social networks. Additional comparative research is required to examine the similarities and differences in topics and styles of personal writing across diaries and social networks, as well as the balance between public and private domains when using social networks for self-expression and identity formation.","PeriodicalId":33223,"journal":{"name":"Kul''tura Ukrayini","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48902727","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}

{"title":"Visual Marking of the Road Motif in Vasyl Mysyk’s Creative Space","authors":"Y. Soloviova","doi":"10.31516/2410-5325.080.13","DOIUrl":"https://doi.org/10.31516/2410-5325.080.13","url":null,"abstract":"The scientific topicality. In the era of postmodernism with its relative system of values, an appeal to poetic texts, written in line with the tradition, takes on a special significance. After all, in such a case, we are talking about a high culture of perception of a literary text, interpretation of which causes the greatest difficulties and involves the ability to perceive the complex structure of content information, especially its internal organization, which is hidden. A particularly significant role is played by images that embody the nation’s cultural code to one degree or another and mark the figurative picture of the world in their own way. They outline the peculiarities of the mythopoetic picture. \u0000The purpose of the article is to reveal how the motif of the road is expressed in the system of figurative-semantic and linguistic stylistic means of Vasyl Mysyk’s poetry, as well as to investigate the peculiarities of the functioning of visual motifs-culturemes at various stages of the formation of the author’s poetic development. An important task of the research is to analyze the road motif marking system through the creation of stereotypical verbal and visual poetic images. \u0000The methodology. The author’s vision of the problem is based on the main principles of modern philological science: the methods of abstraction, analysis and synthesis have been used to study the “road motif” as a factor in the formation of the author’s mythopoetic picture of the world. It is shown how stereotypical visual imagery contributes to the creation of an ethical and aesthetic ideal in which the traditions of folk art and the principles of neoclassicism are organically combined. \u0000The results. The conducted scientific research shows that the main features of the people’s mentality are expressed in the culturemes that we find in Vasyl Mysyk’s poetry. One of such culturemes is the road motif. In his mythopoetic ideas, the road plays one of the pivotal roles. In Vasyl Mysyk’s works, this motif is one of the leading ones and refers us to the mythological and folklore understanding of human life as a path that one should follow, preserving everything that is given by relatives and higher powers, as well as one’s own hopes and expectations. Within the framework of one destiny, this is a path, a track, a road, a way. In the sociocultural dimension, this is the “beaten path”, the “Milky Way”. Not only the path (road, way) itself is important for Mysyk, it is no less important for him what the eye observes, overcoming time and space, i.e., the roadside. The road combines the indivisibility of temporal (past — future) and spatial (ground — sky, bottom– top) coordinates. \u0000The scientific novelty. The scientific novelty is that the marking of the road motif in Vasyl Mysyk’s figurative picture of the world has been considered for the first time. \u0000The conclusions. The results of the research can be used in the study of the Ukrainian literary process of the XX century, in the ","PeriodicalId":33223,"journal":{"name":"Kul''tura Ukrayini","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48735882","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}

{"title":"Jin Xiang’s Opera “Sunrise”: Chinese “La Traviata”","authors":"B. Ding","doi":"10.31516/2410-5325.080.16","DOIUrl":"https://doi.org/10.31516/2410-5325.080.16","url":null,"abstract":"The purpose of the article. In recent decades, modern Chinese opera has overcome national limitations and is increasingly attracting interested and appreciative listeners on different continents. Jin Xiang (1935–2015) is one of the modern Chinese composers who made this historical breakthrough with his work. He is the author of nine operas, among which the most famous was created in 1987. Wild Land (原野, there are also other translations of this title: “Plain”, “Desert”, “Big Field”) and “Sunrise” (日出) that was created in the last year of his life. And if a number of researchers have devoted their scientific works to the analysis of the first of them, thanks to a considerable amount of time — thirty-five years since its writing, then the second has not yet been thoroughly studied by Chinese and foreign musicologists. However, the success of its two first nights on the stages of Beijing (2015) and Shanghai (2017) and the artistic resonance of these cultural events certainly make it necessary to carry out a musicological and, more broadly, an art-critical analysis of this composition. \u0000The methodology combines a purely musicological complex (music-theoretical, music-historical and music-performance methods), which contributes to a comprehensive understanding of the specifics of the operas “Sunrise” by Jin Xiang and “La Traviata” by G. Verdi, with the method of comparative analysis, which allows drawing conclusions about the specifics of the literary primary source, and the comparative method necessary to establish the similarities and differences of the storylines in the libretto of the operas “Sunrise” (by Wang Fang, one of Cao Yu’s daughters) and “La Traviata” (by Francesco Maria Piave), and the corresponding musical the specifics of the literary primary source, and the comparative method necessary to establish the similarities and differences of the storylines in the lib-retto of the operas “Sunrise” (by Wang Fang, one of Cao Yu’s daughters) and “La Traviata” (by Francesco Maria Piave), and the corresponding musical operas by Jin Xiang and G. Verdi. \u0000The results. The analysis of the opera “Sunrise” allows us to state that it organically combines the national Chinese and European principles of music-theatrical drama. The composer’s reinterpretation of the Chinese tradition of singing in the part of the main heroine is successfully combined with the use of numerous European features in the parts of other characters, choral episodes, and sometimes also in orchestral accompaniment. All this allows us to emphasize Jin Xiang’s successful embodiment of one of the main lines in the works of numerous Chinese composers of the late XX and early XXI centuries: the desire to apply the dialogical principle “East-West”, which is realized in a combination of national and Western artists, in particular innovative — from the middle to the end of the XX century — traditions when they create modern bright opus. \u0000The practical significance. Comparison of storylines, ","PeriodicalId":33223,"journal":{"name":"Kul''tura Ukrayini","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47951203","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}

{"title":"National Elements of Musical Culture of Cherkashchyna at the End of the XX – The Beginning of the XXI Century","authors":"P. Khliebnikov","doi":"10.31516/2410-5325.080.08","DOIUrl":"https://doi.org/10.31516/2410-5325.080.08","url":null,"abstract":"The concept of “musical culture of Cherkashchyna” is characterized as a complex system that includes musical values, types of activities related to them, a set of subjects, institutions and social institutes of this type of activity. The musical culture of Cherkashchyna is presented as an integral part of the spiritual culture of Ukraine and the musical culture of Ukraine. \u0000The purpose of the article is to study the current state of the musical culture of Cherkashchyna, to determine the elements of the national level in its structure, to define the level of national significance of contemporary performers of Cherkashchyna. \u0000The methodology. The authorial vision of the problem is based on the principles of scientificity and objectivity. The structural and systemic approach was applied in the analysis of the infrastructure system of the musical culture of Cherkashchyna and further determination of its elements at the national level. The ranking scores approach made it possible to determine the most popular musical performers of Cherkashchyna in social networks. \u0000The results. According to the results of the study of the current state of the musical culture of Cherkashchyna, the following elements of the national level were determined in its structure, namely: S. S. Hulak-Artemovskyi Cherkasy Music Vocational College; the Cherkasy Regional Philharmonic, where collectives with the honorary title — “academic”, and the T. H. Shevchenko Cherkasy Academic Ukrainian Regional Music and Drama Theater. Using the ranking scores approach, a ranking of the most popular musical performers of Cherkashchyna in social networks was made, according to which the “Spiv Brativ” group holds the first position. \u0000The scientific novelty. The article defines the elements of the national level in the structure of Cherkashchyna, defines the level of national significance of modern performers of Cherkashchyna. \u0000The practical significance. The results of the research can be used by specialists in the field of cultural studies, musicology, musical pedagogy, as well as at higher educational institutions that implement educational programs, the learning outcomes of which are the ability to apply knowledge of the Ukrainian musical space of individual regions.","PeriodicalId":33223,"journal":{"name":"Kul''tura Ukrayini","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41686021","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}

{"title":"Preservation and Restoration of the Cultural Heritage of Ukraine: the Experience of Audio Recordings of the VIA Era","authors":"D. Kocherzhuk","doi":"10.31516/2410-5325.080.06","DOIUrl":"https://doi.org/10.31516/2410-5325.080.06","url":null,"abstract":"The purpose of the article. The article highlights the peculiarities of the development of the traditional Ukrainian songbook in the works of well-known vocal and instrumental ensembles (VIA) such as “Smerichka / The Spruce” (Vyzhnytsia, Chernivtsi region) and “Dzvony / The Bells” (Kyiv). The influence of electro musical instruments on artistic processes and the experience of audio recordings of the VIA era as a traditional form of preservation and restoration of song heritage is emphasized. The characteristic features of the emergence of the “big-bit” style in the works of popular bands of the last third of the XX century are outlined. \u0000The methodology. In the course of the research, the methods of analysis, synthesis, generalization, and explanation were used, which were used in the historiographical study of the development of discographic products in the period of the 1970–1990s. The method of statistics was also used to compare the musical content of European countries and Ukraine; the method of description provided a generalized picture of the development of music record companies that actively promoted the creation and restoration of music products.  \u0000The results. The emergence of the first Ukrainian vocal and instrumental ensembles VIA “Dzvony / The Bells” and “Smerichka / The Spruce” was a natural phenomenon in the national popular art, marked by the consequences of the intensive development of the industrialization of musical culture in the world. Electronic music, which emerged as a scientific and technical trend of the avant-garde, has become one of the conventional streams of contemporary (popular) culture. There is no doubt that the activities of Ukrainian big beat bands of the 1960s and 1970s laid the foundation for the emergence of popular art in Ukraine. Big beat ensembles were primarily aimed at young people, whose demands were guided by global mass music trends, despite the ideological obstacles of the time. Thus, the works of the VIA “Dzvony / The Bells” “Smerichka / “The Spruce” were based primarily on the aesthetic principles of the new trend rather than on the traditional confessions of the musical culture of the time (academic and folk art). Active work with the use of various electro musical instruments and studio equipment, as well as the use of jazz and rock music arrangement methods, contributed to the spread of mass music culture. VIA’s appeal to the genres of Ukrainian folklore was due to the natural need for national self-determination within the totalitarian system of the time, as a kind of resistance of the creative personality to the dominant ideology. This led to the emergence of original compositions on the Ukrainian territory and beyond, using folk sources and their own compositions, saturated with national melodies. Notably, this all happened when Ukrainian vocal groups were part of state concert institutions, which was not the case in Western Europe. Such determinism implied an opposite structure, including ","PeriodicalId":33223,"journal":{"name":"Kul''tura Ukrayini","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43449092","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}

{"title":"Culture Manager: Field of Professional Activity","authors":"H. Afenchenko","doi":"10.31516/2410-5325.080.02","DOIUrl":"https://doi.org/10.31516/2410-5325.080.02","url":null,"abstract":"The scientific topicality. If the industry has low entry barriers, rapidly changing demand for goods/services, and there is a significant creative component, then there are great difficulties in quantifying the capacity of the labor market and clearly understanding the demand for workers. We observe such a situation in the field of cultural industries. \u0000Modern societies are experiencing drastic changes, peopleare immersed in the process of searching for identity, which can also contribute to the relevance of acquiring education in the field of socio-cultural activities. \u0000The purpose.To outline of the sectors of professional activity of the manager of culture within the field of cultural industries. \u0000The methodology. During the research, the analytical method, methods of description, comparison and generalization were applied. \u0000The results. Clarification of the boundaries of the field of cultural industries, classification of activities, clarification of the names and professional tasks of specialties is an urgent need for further institutionalization of the field. \u0000The scientific novelty. It is proposed to consider the specialty “Management of culture” as having a generalizing nature and covering all types of activities in the field of cultural industries. The division of the functional tasks of the profession in the form of specializations is defined. As a part of the specialty, the specializations “art management”, “production”, “cross-cultural management” are provided for some of the tasks for the production of cultural/artistic products. According to the functions in the field of culture, the division of tasks into sectors in the field of professional employment is proposed. \u0000The practical significance. Elaboration of the structure of employment in the field of culture. Understanding the prospects and forecasting the further development of various sectors. The options were added for the development of cultural industries in a separate area of the territory of the community and/or industry (companies, organizations, institutions) and the ability to determine the degree of demand for specialists, prospects for their employment. \u0000The conclusions. Thanks to the general picture of the industry and the detailing of the types of activities, it is possible to assess the shortage/surplus of economic entities in sectoral and territorial section, analyze the dynamics of business activity and, accordingly, further prospects for the demand for specialists and employment opportunities. \u0000Determining the applied and comprehensive nature of culture management activities, the proposed criteria for dividing specialized activities into art management, production, and leisure management are a subjective assumption and a reason for professional discussion.","PeriodicalId":33223,"journal":{"name":"Kul''tura Ukrayini","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46730508","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}

{"title":"Street Art Integration into Cultural, Artistic, Social and Economic Field: Foreign Context","authors":"M. Zhyhailo","doi":"10.31516/2410-5325.080.05","DOIUrl":"https://doi.org/10.31516/2410-5325.080.05","url":null,"abstract":"The purpose of the article is to comprehend the specificity of foreign experience to integrate street art into cultural and artistic, social and economic fields, to figure out the main directions of interaction of street art with commercial and creative industries in Western Europe and the USA. \u0000The methodology of the research is based on culturological approach that allows to combine art-specific and sociologic methods in research of foreign experience of street art integration into cultural and artistic, social and economic fields. \u0000The main methodologic positions of comprehension of interaction of street art with economic subjects and social groups of population is the systematic approach (allows to consider the phenomenon of street art in the system of interaction and interdependence of processes and phenomena of globalized world, analyze street art in correlation/interaction with other social, cultural and economic phenomena), hermeneutic approach (aimed at interpretation of street art practices as the elements of social and cultural space of the city), activity approach (serves as an instrument to define the place of street art in cultural and artistic, and social and economic systems of human activity), structural and functional approach (were used to define the role of street art in meeting of human needs on a modern stage of civilization development). \u0000The results. It has been determined that integration of street art into cultural and artistic, and social and economic fields in Western Europe and the USA is conditioned by the growth of street art popularity, institutionalization of its varieties, increase of the society’s attention to street art practices with involvement of urban art into market structures as a means of promotion. It has been defined that the key directions of interaction of street artists and culture and art figures, representatives of municipal authority and entrepreneurs are marketing communications, branding bridge, development of tourist destinations, restoring/developing city infrastructure and creative culture industry. \u0000The scientific novelty. The scientific novelty of the research lies in multilateral analysis of street art integration into cultural and artistic, social and economic fields. \u0000The practical significance. The article materials may be used for further research of street art, as well as creation of academic publications, scientific manuals, study books, courses, articles in cultural studies, study of art, history of world culture, etc. \u0000The conclusions. At the end of ХХ — beginning of ХХІ centuries street art evolved from categorical identification with vandalism to cultural phenomenon that became the main stream in cultural and artistic, social and economic fields. Integration and adaptation of the street art into social and cultural space of the city, legalization of the varieties of urban art were accompanied by the processes of commercialization — the use of street art objects, its aesthetics a","PeriodicalId":33223,"journal":{"name":"Kul''tura Ukrayini","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46483570","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}