Pub Date : 2022-11-29DOI: 10.31500/2309-8813.18.2022.269734
Liudmyla Larikova
Thanks to the work of Ukrainian composers of the post-war period (Mykola Dremliuha, Kostiantyn Miaskov, Anatolii Kolomiiets, Serhii Bashtan, Vasyl Herasymenko, etc.), the process of academization of the instrumental bandura was actively established, marked by a significant expansion of genre-style and expressive-performing paraphernalia. In this direction, an important role belongs to Kostiantyn Miaskov, an outstanding personality in composing for bandura. A vital component that forms the style of his legacy for instrumental bandura is the reliance on folk dance and folk song themes and their reinterpretation in line with academic performance. Among the author’s stylistic techniques that are most often traced in instrumental works for bandura are sequencing, variation, improvisational development of musical and thematic material, tempo and dynamic contrast, bright dynamization of the development of musical fabric, on the one hand, and organic use of timbre — phonic and technical-expressive capabilities of the instrument, on the other. The kinship of the composer’s style with the foundations of folk music thinking was manifested in the melodicism of his instrumental canvases for the bandura. Reliance on folklore became, for the artist, a factor that, to a certain extent, determined the individual style of writing of this master, where the principle of music making, typical of folk Instrumental Performance, became decisive for his compositions in the field of bandura creativity.
{"title":"Genre and performing style of instrumental compositions for bandura by Kostiantyn Miaskov","authors":"Liudmyla Larikova","doi":"10.31500/2309-8813.18.2022.269734","DOIUrl":"https://doi.org/10.31500/2309-8813.18.2022.269734","url":null,"abstract":"Thanks to the work of Ukrainian composers of the post-war period (Mykola Dremliuha, Kostiantyn Miaskov, Anatolii Kolomiiets, Serhii Bashtan, Vasyl Herasymenko, etc.), the process of academization of the instrumental bandura was actively established, marked by a significant expansion of genre-style and expressive-performing paraphernalia. In this direction, an important role belongs to Kostiantyn Miaskov, an outstanding personality in composing for bandura. A vital component that forms the style of his legacy for instrumental bandura is the reliance on folk dance and folk song themes and their reinterpretation in line with academic performance. Among the author’s stylistic techniques that are most often traced in instrumental works for bandura are sequencing, variation, improvisational development of musical and thematic material, tempo and dynamic contrast, bright dynamization of the development of musical fabric, on the one hand, and organic use of timbre — phonic and technical-expressive capabilities of the instrument, on the other. The kinship of the composer’s style with the foundations of folk music thinking was manifested in the melodicism of his instrumental canvases for the bandura. Reliance on folklore became, for the artist, a factor that, to a certain extent, determined the individual style of writing of this master, where the principle of music making, typical of folk Instrumental Performance, became decisive for his compositions in the field of bandura creativity.","PeriodicalId":34369,"journal":{"name":"Suchasne mistetstvo","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45513864","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 : 2022-11-29DOI: 10.31500/2309-8813.18.2022.269741
Igor Savchuk
The mythopoetics of Borys Liatoshynsky’s work is a little-researched phenomenon by modern musicology. Meanwhile, the “projections” of the myth, the outlines of the mythological plot, image, and motive, woven into the artistic plan, open new horizons for understanding the author’s concepts. The myth appears to be the key to deciphering the depths of interaction between the author, the work, and the character. Given that Liatoshynsky’s artistic ideas of the 1910s–1930s were modernistic, his artistic concepts have absorbed almost all the leading phenomena of European music of the first half of the twentieth century. They became the basis for the further development of Ukrainian musical culture. Without resorting to mythopoetics it is impossible to understand them in their diversity, complexity and contradiction. Mythopoetics, in the context of Liatoshynsky’s explorations, is manifested through the reflection of other European cultures, passionary personalities, and the realization of the myth of the hero in the works. This can be seen in the symbolistic chamber works of the 1920s, in operas in which the hero’s sacrifice acquires the epic scale of Greek tragedy, and in symphonic works whose characters are characterized by the duality of interpretation of the good and the evil. Wagner’s projections in the works of Borys Liatoshynsky of the 1910s and 1930s can be traced in two ways. On the one hand, due to the mythopoetic symbolism of the intentions of the Ukrainian composer, the kaleidoscopic discreteness of symbols-images-myths, obtained from the work of Scriabin, a consistent Wagnerian. A deeply tragic attitude showed itself to be an alienated imagery of concepts during an attempt to heal the traumatic experience of the First World War and the Civil War. On the other hand, the Wagnerian version of the heroic myth became basic for Liatoshynsky and was used in opera and symphonic concepts. This confusion of the myth, its symbolic and tragic context, was traumatically reflected in the fate of his Second and Third symphonies, and in its general form is embodied precisely in opera ideas
{"title":"Mythopoetics of Borys Liatoshynsky’s 1910–1930s: the wagnerian context","authors":"Igor Savchuk","doi":"10.31500/2309-8813.18.2022.269741","DOIUrl":"https://doi.org/10.31500/2309-8813.18.2022.269741","url":null,"abstract":"The mythopoetics of Borys Liatoshynsky’s work is a little-researched phenomenon by modern musicology. Meanwhile, the “projections” of the myth, the outlines of the mythological plot, image, and motive, woven into the artistic plan, open new horizons for understanding the author’s concepts. The myth appears to be the key to deciphering the depths of interaction between the author, the work, and the character. Given that Liatoshynsky’s artistic ideas of the 1910s–1930s were modernistic, his artistic concepts have absorbed almost all the leading phenomena of European music of the first half of the twentieth century. They became the basis for the further development of Ukrainian musical culture. Without resorting to mythopoetics it is impossible to understand them in their diversity, complexity and contradiction. Mythopoetics, in the context of Liatoshynsky’s explorations, is manifested through the reflection of other European cultures, passionary personalities, and the realization of the myth of the hero in the works. This can be seen in the symbolistic chamber works of the 1920s, in operas in which the hero’s sacrifice acquires the epic scale of Greek tragedy, and in symphonic works whose characters are characterized by the duality of interpretation of the good and the evil. Wagner’s projections in the works of Borys Liatoshynsky of the 1910s and 1930s can be traced in two ways. On the one hand, due to the mythopoetic symbolism of the intentions of the Ukrainian composer, the kaleidoscopic discreteness of symbols-images-myths, obtained from the work of Scriabin, a consistent Wagnerian. A deeply tragic attitude showed itself to be an alienated imagery of concepts during an attempt to heal the traumatic experience of the First World War and the Civil War. On the other hand, the Wagnerian version of the heroic myth became basic for Liatoshynsky and was used in opera and symphonic concepts. This confusion of the myth, its symbolic and tragic context, was traumatically reflected in the fate of his Second and Third symphonies, and in its general form is embodied precisely in opera ideas","PeriodicalId":34369,"journal":{"name":"Suchasne mistetstvo","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41586029","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 : 2022-11-29DOI: 10.31500/2309-8813.18.2022.269660
Maryna Protas
In the paper, the author attempts to prove the urgency of rethinking the idea of decolonial identity in contemporary Ukrainian art. Adherents of Western theories of decolonialism and the indigenous movement expose the dark side of unified global public art, which regresses, ignoring the archetypal features of the traditions of mental and spiritual experience of ethnic groups. The conscious identity of the artistic vision associated with the empathic-transcendental worldview of the nation is evolving through aesthetic judgment, whereas, instead, the market art episteme of globalized contemporary experience, as a form of benchmarking borrowed from economics, harms national cultures and civilizational development, provoking substantial degradation and professional deskilling. To overcome the current crisis of cultural creation, artistic consciousness must distinguish regressive paradigms and resist the cultural-industrial strategies of global marketing of Eurocentrism, guaranteeing the diverse flourishing of national / regional cultures in a single family of civilizational polylogue.
{"title":"Decolonial discourse and global public art under Ukrainian conditions","authors":"Maryna Protas","doi":"10.31500/2309-8813.18.2022.269660","DOIUrl":"https://doi.org/10.31500/2309-8813.18.2022.269660","url":null,"abstract":"In the paper, the author attempts to prove the urgency of rethinking the idea of decolonial identity in contemporary Ukrainian art. Adherents of Western theories of decolonialism and the indigenous movement expose the dark side of unified global public art, which regresses, ignoring the archetypal features of the traditions of mental and spiritual experience of ethnic groups. The conscious identity of the artistic vision associated with the empathic-transcendental worldview of the nation is evolving through aesthetic judgment, whereas, instead, the market art episteme of globalized contemporary experience, as a form of benchmarking borrowed from economics, harms national cultures and civilizational development, provoking substantial degradation and professional deskilling. To overcome the current crisis of cultural creation, artistic consciousness must distinguish regressive paradigms and resist the cultural-industrial strategies of global marketing of Eurocentrism, guaranteeing the diverse flourishing of national / regional cultures in a single family of civilizational polylogue.","PeriodicalId":34369,"journal":{"name":"Suchasne mistetstvo","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45197053","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 : 2022-11-29DOI: 10.31500/2309-8813.18.2022.269713
Michael D. Murphy
The subject of the article is the erotic genre in work of the American female artists Alice Neel, Hannah Wilke, Judy Chicago. The analysis of their visual imagery from feminist discource perspective is carried out. Methodological point of view represented in the article permits to reveal generalizing constants of analysis of contemporary visual erotica through the prism of main author concepts: “visual libertinage”, “deconstruction of body”, “emotive corporality”. The principle of postmodernist visual libertinage as a methodological technique to formulate a “female” look at corporality in their works is generalized. The influences of their artistic imagery on forming of the bases of three waves of the American feminist movement are considered: accordingly, A. Neel influences the principles of woman body visualization of the first wave, Hanna Wilke — the second, and Judy Chicago — the third one. The principles of self-presentation of the body through actionism and self-expression through nudity characteristic of their work are revealed. We prove that by these methods of work with corporality the artists violated the convention of social norm and puritan morality in relation to naked body, forming aesthetic of visual embodiment of the female body. The problem of comparison of erotic genre in contemporary American art with corresponding works of the Ukrainian artists is also claimed. The feminist principles to present body by the female artists became basic for forming the “Ukrainian body”: this experience had some followers in the 90’s, but as a meaningful and consistent program begins to be implemented in the Ukrainian art context in 2000–2010.
{"title":"Eroticism of postmodern libertinage on the example of work of the contemporary female artists Alice Neel, Hannah Wilke, Judy Chicago","authors":"Michael D. Murphy","doi":"10.31500/2309-8813.18.2022.269713","DOIUrl":"https://doi.org/10.31500/2309-8813.18.2022.269713","url":null,"abstract":"The subject of the article is the erotic genre in work of the American female artists Alice Neel, Hannah Wilke, Judy Chicago. The analysis of their visual imagery from feminist discource perspective is carried out. Methodological point of view represented in the article permits to reveal generalizing constants of analysis of contemporary visual erotica through the prism of main author concepts: “visual libertinage”, “deconstruction of body”, “emotive corporality”. The principle of postmodernist visual libertinage as a methodological technique to formulate a “female” look at corporality in their works is generalized.\u0000The influences of their artistic imagery on forming of the bases of three waves of the American feminist movement are considered: accordingly, A. Neel influences the principles of woman body visualization of the first wave, Hanna Wilke — the second, and Judy Chicago — the third one. The principles of self-presentation of the body through actionism and self-expression through nudity characteristic of their work are revealed. We prove that by these methods of work with corporality the artists violated the convention of social norm and puritan morality in relation to naked body, forming aesthetic of visual embodiment of the female body. The problem of comparison of erotic genre in contemporary American art with corresponding works of the Ukrainian artists is also claimed. The feminist principles to present body by the female artists became basic for forming the “Ukrainian body”: this experience had some followers in the 90’s, but as a meaningful and consistent program begins to be implemented in the Ukrainian art context in 2000–2010.","PeriodicalId":34369,"journal":{"name":"Suchasne mistetstvo","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46009539","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 : 2022-11-29DOI: 10.31500/2309-8813.18.2022.269719
O. Sydor
The article is devoted of detailed of analysis of the illustrative cycle of the two Ukrainian artists, followers of the Boychuk school — Ber Blank (1897–1957) and Moses Fradkin (1904–1974) to the famous novel «The Legend of Thyl Ulenspiegel and Lamme Goedzak» (1867) by Belgian novelist Charles De Coster. Their graphic interpretation is both reflection of the totalitarian contradictions of their era and challenge to its conventions. Their actual discourse is not devoid of doom: they are contemporaries of Stalinist dictatorship, they are also its victims. But they are trying metaphorically show horror of their time, embodied, for example, in the torture of the Inquisition, the persecution of dissidents. Subsequent illustrators of that novel were not so pessimistic (especially, Evgeniy Kibrik, in the future — the brilliant illustrator of Nikolay Gogol and Romain Rolland), but they paid more attention to Thyl Ulenspiegel, informal Flanders rebel leader. However, illustrative cycle of Ber Blank and Moses Fradkin is rather a novel without a hero. They prefer to depicts crowds of people engulfed in suffering (as it was accepted at Boychuk’s school). There is little resistance to the invaders, which feels doomed in 1930s. But much attention is paid to the denunciation to the representatives of the clergy (they were especially persecuted by Soviet power). It is interesting that the artists also ignored comic element of Coster’s novel, which was discovered by artists of the post-war era based on the theory of laughed culture of Mikhail Bakhtin. However, illustrative cycle of Blank and Fradkin is not only monument of its time. Long before the Second World War and Holocaust, they already foresaw the world catastrophes on the material of the European history of XVIth century. At same time, they did not abandon of expressive and decorative style characteristic of their teachers, and even continued this style, slightly modifying.
{"title":"The actual discourse of boychukizm: illustration cycle by B. Blank and M. Fradkin 1935","authors":"O. Sydor","doi":"10.31500/2309-8813.18.2022.269719","DOIUrl":"https://doi.org/10.31500/2309-8813.18.2022.269719","url":null,"abstract":"The article is devoted of detailed of analysis of the illustrative cycle of the two Ukrainian artists, followers of the Boychuk school — Ber Blank (1897–1957) and Moses Fradkin (1904–1974) to the famous novel «The Legend of Thyl Ulenspiegel and Lamme Goedzak» (1867) by Belgian novelist Charles De Coster. Their graphic interpretation is both reflection of the totalitarian contradictions of their era and challenge to its conventions. Their actual discourse is not devoid of doom: they are contemporaries of Stalinist dictatorship, they are also its victims. But they are trying metaphorically show horror of their time, embodied, for example, in the torture of the Inquisition, the persecution of dissidents. Subsequent illustrators of that novel were not so pessimistic (especially, Evgeniy Kibrik, in the future — the brilliant illustrator of Nikolay Gogol and Romain Rolland), but they paid more attention to Thyl Ulenspiegel, informal Flanders rebel leader. However, illustrative cycle of Ber Blank and Moses Fradkin is rather a novel without a hero. They prefer to depicts crowds of people engulfed in suffering (as it was accepted at Boychuk’s school). There is little resistance to the invaders, which feels doomed in 1930s. But much attention is paid to the denunciation to the representatives of the clergy (they were especially persecuted by Soviet power). It is interesting that the artists also ignored comic element of Coster’s novel, which was discovered by artists of the post-war era based on the theory of laughed culture of Mikhail Bakhtin. However, illustrative cycle of Blank and Fradkin is not only monument of its time. Long before the Second World War and Holocaust, they already foresaw the world catastrophes on the material of the European history of XVIth century. At same time, they did not abandon of expressive and decorative style characteristic of their teachers, and even continued this style, slightly modifying.","PeriodicalId":34369,"journal":{"name":"Suchasne mistetstvo","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46174753","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 : 2022-11-29DOI: 10.31500/2309-8813.18.2022.269745
Zhang Zijing
The article considers the features of artistic and imaginative thinking of Bohdana Filts (1932-2021) in the vocal chamber work of late-life creativity. The author highlights the performing features of the solos chosen for analysis based on poetic texts by L. Ukrainka, I. Franko, L. Kostenko, and H. Kanych. An attentive and careful attitude to the requirements of performing practice, skilful use of all the possibilities of the voice, and its timbre-expressive palette are prominent in Filts’s solos. The composer masterfully creates the piano accompaniment’s part, which always plays an essential figurative and semantic role. In the analyzed works of the late-life period, there is a direct connection with the vocal chamber compositions of earlier stages of the artist’s work through the ideological and aesthetic orientation of the idea, features of intonation thinking of the composer, her harmonic language, and unique style of vocal writing with characteristic genre preferences.
本文从波赫达纳·菲尔茨(1932-2021)晚年创作的声腔作品中考察其艺术思维和想象思维的特点。作者强调了根据L. Ukrainka, I. Franko, L. Kostenko和H. Kanych的诗歌文本分析所选择的独奏的表演特征。对表演练习要求的细心和谨慎的态度，熟练地利用声音的所有可能性，以及其音色表现力的调色板，在菲尔茨的独奏中是突出的。作曲家巧妙地创作了钢琴伴奏部分，钢琴伴奏部分一直起着重要的象征和语义作用。在所分析的晚期作品中，通过思想观念的思想审美取向、作曲家的语调思维特征、和声语言、具有特色体裁偏好的独特声乐写作风格，与艺术家早期作品的声腔作品有着直接的联系。
{"title":"Bohdana Filts’s vocal chamber works of the late-life period: artistic design and performance implementation","authors":"Zhang Zijing","doi":"10.31500/2309-8813.18.2022.269745","DOIUrl":"https://doi.org/10.31500/2309-8813.18.2022.269745","url":null,"abstract":"The article considers the features of artistic and imaginative thinking of Bohdana Filts (1932-2021) in the vocal chamber work of late-life creativity. The author highlights the performing features of the solos chosen for analysis based on poetic texts by L. Ukrainka, I. Franko, L. Kostenko, and H. Kanych. An attentive and careful attitude to the requirements of performing practice, skilful use of all the possibilities of the voice, and its timbre-expressive palette are prominent in Filts’s solos. The composer masterfully creates the piano accompaniment’s part, which always plays an essential figurative and semantic role. In the analyzed works of the late-life period, there is a direct connection with the vocal chamber compositions of earlier stages of the artist’s work through the ideological and aesthetic orientation of the idea, features of intonation thinking of the composer, her harmonic language, and unique style of vocal writing with characteristic genre preferences.","PeriodicalId":34369,"journal":{"name":"Suchasne mistetstvo","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46627169","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 : 2022-11-29DOI: 10.31500/2309-8813.18.2022.273811
Мaryna Severynova
A scientific problem. The article examines the musical and cultural aspects of the «archetype» phenomenon and its transformation from an archetypal prototype through an artistic image to the concept and metaconcept in musical culture. Regardless of the relevance of these phenomena in the modern space of culture, this problem remains little researched, although it is still connected with the urgent issues of finding the primary foundations, the primary sources of being, the identification of universal patterns-models in the composer’s creative work. The aim. To investigate the transformation of the archetype in the semiosis of musical culture and to reveal the genealogical interdependence of the transition of the archetype into the concept and metaconcept. The methodology is based on scientific cultural, psychological, literary and musicological investigations, as well as a systematic approach, comparative and logical-analytical methods. With the help of this methodology, the transformation of the archetype, their interdependence in musical culture was revealed. Results. The definitions of «archetype» and «concept» are considered, their common and distinctive features are clarified, and the transformation of archetypes into concepts is traced. In this context, it was noted that entering the world of everyday ideas, the archetypal prototype is filled with new emotional and informational content; it acquires a personal, socially conditioned specificity and moves into the realm of concepts. The interpretation of the definition «concept» as coexistence by J. Deleuze and F. Guattari is analyzed. The concept is considered in the context of perspectives of frame semantics in music. Conclusions. As a result of the research, a genealogical connection between two definitions «archetype» and «concept» was noted. It was found that a concept is not an image, not every artistic image can become a concept, since the concept potentially carries an invariant content in the form of an archetype, which is individually and creatively realized in each specific case of a composer’s creative work. It was determined that archetypes and concepts perform the function of memory (cultural, social, national), form the continuity, integrity of being, its value-meaning core. It was proven that archetypes of the cultural unconscious are metaconcepts of culture: both archetypes and concepts form a certain «metalanguage of culture» (Y. Lotman), or an «overlanguage». It was found that archetypal prototypes are, in their essence, archetypal semes, which go from the collective unconscious to the subconscious of a modern person, and their reactualization takes place. Archetypal semes (units of the universal subject code — sound, tone, rhythm, intonation, etc.) form the figurative sphere of the concept. It was determined that the concept in musical creativity expands the semantic and emotional-sensual possibilities and meaning of the archetypal prototype; it carries out an intermediary
{"title":"The transformation of the archetype in the semiosis of musical culture: from the archetypal prototype to the concept and metaconcept","authors":"Мaryna Severynova","doi":"10.31500/2309-8813.18.2022.273811","DOIUrl":"https://doi.org/10.31500/2309-8813.18.2022.273811","url":null,"abstract":"A scientific problem. The article examines the musical and cultural aspects of the «archetype» phenomenon and its transformation from an archetypal prototype through an artistic image to the concept and metaconcept in musical culture. Regardless of the relevance of these phenomena in the modern space of culture, this problem remains little researched, although it is still connected with the urgent issues of finding the primary foundations, the primary sources of being, the identification of universal patterns-models in the composer’s creative work.\u0000The aim. To investigate the transformation of the archetype in the semiosis of musical culture and to reveal the genealogical interdependence of the transition of the archetype into the concept and metaconcept.\u0000The methodology is based on scientific cultural, psychological, literary and musicological investigations, as well as a systematic approach, comparative and logical-analytical methods. With the help of this methodology, the transformation of the archetype, their interdependence in musical culture was revealed.\u0000Results. The definitions of «archetype» and «concept» are considered, their common and distinctive features are clarified, and the transformation of archetypes into concepts is traced. In this context, it was noted that entering the world of everyday ideas, the archetypal prototype is filled with new emotional and informational content; it acquires a personal, socially conditioned specificity and moves into the realm of concepts. The interpretation of the definition «concept» as coexistence by J. Deleuze and F. Guattari is analyzed. The concept is considered in the context of perspectives of frame semantics in music.\u0000Conclusions. As a result of the research, a genealogical connection between two definitions «archetype» and «concept» was noted. It was found that a concept is not an image, not every artistic image can become a concept, since the concept potentially carries an invariant content in the form of an archetype, which is individually and creatively realized in each specific case of a composer’s creative work. It was determined that archetypes and concepts perform the function of memory (cultural, social, national), form the continuity, integrity of being, its value-meaning core. It was proven that archetypes of the cultural unconscious are metaconcepts of culture: both archetypes and concepts form a certain «metalanguage of culture» (Y. Lotman), or an «overlanguage». It was found that archetypal prototypes are, in their essence, archetypal semes, which go from the collective unconscious to the subconscious of a modern person, and their reactualization takes place. Archetypal semes (units of the universal subject code — sound, tone, rhythm, intonation, etc.) form the figurative sphere of the concept. It was determined that the concept in musical creativity expands the semantic and emotional-sensual possibilities and meaning of the archetypal prototype; it carries out an intermediary","PeriodicalId":34369,"journal":{"name":"Suchasne mistetstvo","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47740675","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 : 2022-11-29DOI: 10.31500/2309-8813.18.2022.269730
I. Khomenko
The article considers the topic of the body in art, its methods of use and the problem of its theoretical elaboration. The aim of the article is to study the body as a medium in the works of Maria Kulikovska. The choice of Maria Kulikowska’s work is not accidental, because she used the body both as a medium and as a pictorial object in one work, where we can observe exactly how these methods are combined. Also, Maria Kulikovska uses different visual categories of body, gender and context, sometimes combining them. The article marked the beginning of a certain systematization: the body is divided by visual categories, by sex / gender and by the context in which this body is used. The body-medium, which is the material in the work and participates in the creation of the works of art, and the body-pictorial, that is, what is reflected on the canvas, in sculpture, architecture, and so on. The article proves that the theme of the body in art is important and needs further study, systematization and establishment of new terms.
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Pub Date : 2022-11-29DOI: 10.31500/2309-8813.18.2022.273815
Маріанна Копиця
The article looks into the cultural and artistic relations of the artists of Kyiv and Lviv based on the letters of Borys Lyatoshynskyi. The role of Borys Liatoshinsky in preserving the cultural significance of these artists despite Soviet cultural narratives is studied. The situation in arts was especially tragic after the 1948 decree “On the opera “Great Friendship” by Vano Muradeli”. The characters of Ukrainian artists of the Galytska school of composers — Vasyl Barvinskyi, Adam Soltys, Roman Simovych, Jozef Koffler, and Tadeusz Siegfried Kassern — have been reconstructed based on the correspondence. The epistolary legacy of B. Liatoshynsky testifies that Lviv runs through his creative path as a red thread, bringing into the orbit of our attention both personal relationships with the city (his visits, social life of artistic elite), and some collisions (often dramatic), which relate to the works of the artist. No city in Ukraine attracted the artist as much as Lviv: there he presented his works to a thoughtful listener and communicated with kindred spirits. The tragic pages of rejection and persecution of B. Liatoshynskyi’s largest works — the Second and Third symphonies — have been described and introduced into scientific circulation. The fate of the former appears to be the most tragic one in the history of Ukrainian musical culture during the Soviet times. Having considered the correspondence of the B. Liatoshinsky, we conclude that Lviv musicians always supported the artist in difficult years, appreciating his extraordinary talent. The feeling was mutual — B. Liatoshinsky felt sincere, tender love for Lviv, its profound intellectual atmosphere, its people, and the ability to maintain the true friendship of spiritually kindred hearts.
本文以利亚托申斯基的书信为基础，探讨基辅和利沃夫两地艺术家的文化艺术关系。研究了鲍里斯·利亚托辛斯基在保存这些艺术家的文化意义方面的作用，尽管苏联文化叙事。1948年颁布“关于瓦诺·穆德拉利歌剧《伟大的友谊》”的法令后，艺术界的情况尤其悲惨。加里茨卡作曲家学派的乌克兰艺术家Vasyl Barvinskyi, Adam Soltys, Roman Simovych, Jozef Koffler和Tadeusz Siegfried Kassern的性格已经根据信件重建。利亚托申斯基的书信遗产证明，利沃夫贯穿了他的创作之路，就像一条红线，将我们的注意力带入了与这座城市的个人关系(他的访问，艺术精英的社会生活)，以及与艺术家作品有关的一些冲突(通常是戏剧性的)。在乌克兰，没有哪个城市能像利沃夫那样吸引这位艺术家:在利沃夫，他向一位有思想的听众展示了自己的作品，并与志同道合的人交流。利亚托申斯基最伟大的作品《第二交响曲》和《第三交响曲》遭到拒绝和迫害的悲剧性篇章已经被描述并介绍给科学界。前者的命运似乎是苏联时期乌克兰音乐文化史上最悲惨的一个。考虑到B.利亚托辛斯基的通信，我们得出结论，利沃夫的音乐家总是在困难的岁月里支持这位艺术家，欣赏他非凡的才华。这种感觉是相互的——B.利亚托辛斯基对利沃夫，对它深厚的知识氛围，对它的人民，对它保持精神上志同道合的真正友谊的能力，感到真诚而温柔的爱。
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Pub Date : 2022-11-29DOI: 10.31500/2309-8813.18.2022.269658
Iryna Zubavina
The article focuses on the screen incarnations of female characters, whose images, being contemporary with the challenges of today, associated with the archetype of the Warrior, destroy the stereotypical notions of the feminine as weak and passive characteristic of traditional (that is, phallocentric/patriarchal) culture. Nowadays, such an essentialist view seems not just debatable, but finds an alternative interpretation, both in material realities and in artistic practices. In particular, the cinematography of Ukraine at the beginning of the 21st century convincingly testifies to the expansion of the body of representations of the feminine. The film material of the early 2020s convincingly testifies to the actualization of the screen incarnations of the image-concept of the warrior woman, which is symptomatic of the military and political contexts of today. New Ukrainian cinema seeks to understand the little-studied experience of women’s participation in hostilities and the peculiarities of their stay in military captivity, implementing modern feminist approaches to the study of the topic “woman and war”. In an effort to go beyond the stereotypical vision of women within the dipole “heroine-victim”, the screen demonstrates the transformation of gender patterns and at the same time is a continuation of a tradition with deep historical roots.
{"title":"Actualization of the warrior maiden archetype in Ukrainian cinema of the beginning of the 21st century","authors":"Iryna Zubavina","doi":"10.31500/2309-8813.18.2022.269658","DOIUrl":"https://doi.org/10.31500/2309-8813.18.2022.269658","url":null,"abstract":"The article focuses on the screen incarnations of female characters, whose images, being contemporary with the challenges of today, associated with the archetype of the Warrior, destroy the stereotypical notions of the feminine as weak and passive characteristic of traditional (that is, phallocentric/patriarchal) culture. Nowadays, such an essentialist view seems not just debatable, but finds an alternative interpretation, both in material realities and in artistic practices. In particular, the cinematography of Ukraine at the beginning of the 21st century convincingly testifies to the expansion of the body of representations of the feminine. The film material of the early 2020s convincingly testifies to the actualization of the screen incarnations of the image-concept of the warrior woman, which is symptomatic of the military and political contexts of today. New Ukrainian cinema seeks to understand the little-studied experience of women’s participation in hostilities and the peculiarities of their stay in military captivity, implementing modern feminist approaches to the study of the topic “woman and war”. In an effort to go beyond the stereotypical vision of women within the dipole “heroine-victim”, the screen demonstrates the transformation of gender patterns and at the same time is a continuation of a tradition with deep historical roots.","PeriodicalId":34369,"journal":{"name":"Suchasne mistetstvo","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44930436","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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