Pub Date : 1900-01-01DOI: 10.36059/978-966-397-204-6/15-31
K. Kyrylenko
INTRODUCTION The term “innovation culture” has recently been used in the scientific literature as well as in the everyday language. Mostly innovation culture is interpreted by scholars of different fields of knowledge as a personal characteristic of a human, which is connected with their professional development (Ye. Afanasieva, N. Ilina, O. Koiuda, V. Kremen, Ye. Lisin, R. Milenkova, T. Sobol, B. Santo and others). The modern motivational literature (T. Wagner, P. Diamandis, S. Kotler, K. Christensen, S. Covey and others) pays considerable attention to the formation of innovation culture. However, in the works of researchers there is a tendency to highlight innovation culture as one of the defining characteristics of modern culture (K. Robinson, R. Florida and others). The term “innovation culture” is derived from the term “innovation”. It should be noted that the term “innovation” is not identical to the term “novation”. Innovations are products of modernity and they emerge in industrial society. Novations take place in any historical period, they have an impact on the development of each culture at a certain stage of its development. Novation can be the subject of innovation. However, it is not necessary even in the modern world. According to E. Rogers, one of the most authoritative modern researchers of the spread of innovations, innovation is not just some idea, solution or object that contains a certain novelty. This is a novelty that receives recognition and usage, and is being shared and implemented. At the beginning of his book “Diffusion of Innovations” 1 , the researcher pays attention to conspicuous fact: A. Dvorak keyboard layout, the use of which hasten the transcription on a computer, has not become an innovation, despite its undoubted benefit. Innovation needs innovators, those who implement and consume it, it needs people with a high level of innovation culture. The concept of “innovation culture” is now actively used in the sociopolitical context, it is developed in the scientific literature.
“创新文化”一词最近在科学文献和日常语言中都有使用。创新文化大多被不同知识领域的学者解释为一个人的个人特征，这与他们的专业发展有关(叶。阿法纳西耶娃，N. Ilina, O. Koiuda, V. Kremen, Ye。Lisin, R. Milenkova, T. Sobol, B. Santo等)。现代激励文献(T. Wagner、P. Diamandis、S. Kotler、K. Christensen、S. Covey等)对创新文化的形成给予了相当的关注。然而，在研究人员的作品中，有一种倾向是强调创新文化是现代文化的定义特征之一(K. Robinson, R. Florida等)。“创新文化”一词来源于“创新”一词。应该指出的是，“创新”一词并不等同于“革新”一词。创新是现代性的产物，出现于工业社会。创新发生在任何一个历史时期，它对每一种文化在其发展的某一阶段的发展都会产生影响。创新可以是创新的主体。然而，即使在现代世界，这也不是必要的。E.罗杰斯是研究创新传播的现代最权威的学者之一。他认为，创新不仅仅是包含某种新颖性的想法、解决方案或物体。这是一种获得认可和使用的新奇事物，并且正在被共享和实现。在他的书《创新的扩散》1的开头，研究者注意到一个明显的事实:a . Dvorak键盘布局，它的使用加速了计算机上的转录，并没有成为一种创新，尽管它的好处毋庸置疑。创新需要创新者，那些实施和消费它的人，它需要具有高水平创新文化的人。“创新文化”的概念现在在社会政治背景下被积极使用，它是在科学文献中发展起来的。
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Pub Date : 1900-01-01DOI: 10.36059/978-966-397-204-6/94-111
Kateryna Fadyeyeva
{"title":"MODERN MUSICOLOGY RESEARCH: GAME THEORY PROJECTIONS","authors":"Kateryna Fadyeyeva","doi":"10.36059/978-966-397-204-6/94-111","DOIUrl":"https://doi.org/10.36059/978-966-397-204-6/94-111","url":null,"abstract":"","PeriodicalId":396744,"journal":{"name":"SOCIAL AND CULTURAL IMPERATIVES OF THE MODERN SOCIETY DEVELOPMENT","volume":"116 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126978622","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.36059/978-966-397-204-6/78-93
O. Boiko
INTRODUCTION The construction of a modern society in post-colonial Ukraine has peculiarities in the aspect of culture, in particular choreographic, due to historical factors. Describing the XIX century as a unique period of national history, G. Skrypnyk emphasizes: “The decisive role in the preservation of ethnicity and in the national solidarity processes of the society was played by ethnic culture, which came under this time a fully developed, holistic system with peculiar characteristic features of its genres and artistic and stylistic characteristic” 1 . The artistic values of ethno culture were largely preserved and developed in the folk-stage choreography of the Soviet era, when, by changing ideological accents, the government tolerated the populist traditions of the XIX – early XX centuries. In the era of state independence, Ukrainian choreographic culture entered, preserving the rich artistic heritage of the past, often lost by developed countries of Western Europe. The new cultural reality is characterized by the overcoming of the ethnography inherent elements in the populist approach, as well as the rudiments of the leveling national identity of the “socialist realism method”, but the scientific community has not yet developed a consolidated opinion on the role and place of folk choreography in a modern model of the culture. This leads to a deeper study of the problem of preserving and developing the national choreographic heritage in the context of the leveling impact of globalization, and leads to the idea that the answer to the question: “What is contemporary choreography?” foreign dances, but also in the complex interaction of traditions and innovations, ambiguous, diverse and multifaceted transformation of folk dance, in general, the transformation of cultural codes and regional and local cultural canons. Turning to the corner in choreology problem of the traditions interaction and innovations, Ukrainian researchers reject unilateral approaches; in particular, formed in Soviet art studies under the influence of ideological factors, interpret the dialectics of the interaction of traditions and innovations as the driving force
{"title":"THE UKRAINIAN DANCE ON THE STAGE AND IN THE HOUSEHOLD CULTURE OF THE NATION: CURRENT ISSUES","authors":"O. Boiko","doi":"10.36059/978-966-397-204-6/78-93","DOIUrl":"https://doi.org/10.36059/978-966-397-204-6/78-93","url":null,"abstract":"INTRODUCTION The construction of a modern society in post-colonial Ukraine has peculiarities in the aspect of culture, in particular choreographic, due to historical factors. Describing the XIX century as a unique period of national history, G. Skrypnyk emphasizes: “The decisive role in the preservation of ethnicity and in the national solidarity processes of the society was played by ethnic culture, which came under this time a fully developed, holistic system with peculiar characteristic features of its genres and artistic and stylistic characteristic” 1 . The artistic values of ethno culture were largely preserved and developed in the folk-stage choreography of the Soviet era, when, by changing ideological accents, the government tolerated the populist traditions of the XIX – early XX centuries. In the era of state independence, Ukrainian choreographic culture entered, preserving the rich artistic heritage of the past, often lost by developed countries of Western Europe. The new cultural reality is characterized by the overcoming of the ethnography inherent elements in the populist approach, as well as the rudiments of the leveling national identity of the “socialist realism method”, but the scientific community has not yet developed a consolidated opinion on the role and place of folk choreography in a modern model of the culture. This leads to a deeper study of the problem of preserving and developing the national choreographic heritage in the context of the leveling impact of globalization, and leads to the idea that the answer to the question: “What is contemporary choreography?” foreign dances, but also in the complex interaction of traditions and innovations, ambiguous, diverse and multifaceted transformation of folk dance, in general, the transformation of cultural codes and regional and local cultural canons. Turning to the corner in choreology problem of the traditions interaction and innovations, Ukrainian researchers reject unilateral approaches; in particular, formed in Soviet art studies under the influence of ideological factors, interpret the dialectics of the interaction of traditions and innovations as the driving force","PeriodicalId":396744,"journal":{"name":"SOCIAL AND CULTURAL IMPERATIVES OF THE MODERN SOCIETY DEVELOPMENT","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115026857","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.36059/978-966-397-204-6/112-125
Olha Shandrenko
INTRODUCTION The active development of the media of the technical arts (photography, cinema, advertising), universal computerization, have led to the transformation of the realities of cultural imagery that have influenced the communication processes as a whole. The phenomenon of fashion in this work is explored as a socio-cultural phenomenon, which by its very nature is total communication. Every person who participates in the social life of society, regardless of whether it adopts or opposes fashion, becomes an agent of fashionable information in the cultural space. With the information technologies development and their impact on society, understanding of the sign function of fashion in the context of communicative mechanisms becomes especially relevant. Therefore, in the social life of a society, the act of communication is the process of dissemination, exchange, transmission of information and a certain connection that occurs through communication channels and mechanisms. It is accepted that verbal communication is carried out as the interaction of people with the help of audio language, which includes a system of phonetic signs (the principle of phonetic and syntactic), and non-verbal communication occurs without words, with the help of gestures, gestures, facial expressions. Fashion and clothing, the manner of dressing, we are regarded as a specific cultural language, possessing properties relevant to the communicative phenomenon. According to authors Joseph Hiz and Andrew Potter, clothing is language-like, with its own grammar and syntax in expressive means that can joke, make comments, use metaphors, and use slang 1 . This is the opinion of M. Lusher in the work “Personality signals” 2 . Alison Lurie in the work “The clothing language” 3 , claiming that clothing is the vocabulary of the individual by which, before the verbal conversation begins, a conversation is made in a more archaic universal language. Fashion as a complex, multifaceted phenomenon of culture, requires a complex, multidisciplinary approach, leads to the definition of the
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Pub Date : 1900-01-01DOI: 10.36059/978-966-397-204-6/2-14
Mykhailo Poplavskyi
{"title":"DOMESTIC EDUCATION GLOCALIZATION IN THE CULTURE AND ARTS INDUSTRY IN THE CONTEXT OF WORLD SOCIO-CULTURAL TRENDS OF THE XXI CENTURY","authors":"Mykhailo Poplavskyi","doi":"10.36059/978-966-397-204-6/2-14","DOIUrl":"https://doi.org/10.36059/978-966-397-204-6/2-14","url":null,"abstract":"","PeriodicalId":396744,"journal":{"name":"SOCIAL AND CULTURAL IMPERATIVES OF THE MODERN SOCIETY DEVELOPMENT","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130191789","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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