Pub Date : 2023-06-13DOI: 10.31500/1992-5514.19(1).2023.283126
Ruslana Bezuhla
The paper analyzes the works related to the understanding of performative practices as a phenomenon of modern culture and art; it highlights the principal trends of the studies of this phenomenon. The reasons for the growing interest in the study of performative practices were clarified, the complexity and ambiguity of this phenomenon as a special socio-cultural communicative action, having the appearance of an “artistic event,” a theatrical action, a dynamic symbolic action affecting all channels of human perception, was emphasized. The work is aimed at the analytical study of the essence of specificity of performative practices within the framework of various study optics from the standpoint of social and cultural anthropology and art history, in direct connection with social and cultural life, human emotions, cultural patterns, etc. The aim of the paper is to identify the theoretical definition of the “performative practices” concept in the contemporary humanities, which will allow solving the scientific problem of determining the essential specificity of performative practices as a modern cultural phenomenon. General scientific approaches, principles, and methods employed made it possible to consider the phenomenon of performative practices from different angles: theoretical interpretations of the basic forms of performative practices were compared using the comparative method; the use of the structural-functional method helped to determine the components creating an idea of the meaning of certain performance elements as the forms of manifestation of performative practices in modern culture.
{"title":"Performative Practices: Theoretical Foundations of Interpretation in the Social Sciences and Humanities","authors":"Ruslana Bezuhla","doi":"10.31500/1992-5514.19(1).2023.283126","DOIUrl":"https://doi.org/10.31500/1992-5514.19(1).2023.283126","url":null,"abstract":"The paper analyzes the works related to the understanding of performative practices as a phenomenon of modern culture and art; it highlights the principal trends of the studies of this phenomenon. The reasons for the growing interest in the study of performative practices were clarified, the complexity and ambiguity of this phenomenon as a special socio-cultural communicative action, having the appearance of an “artistic event,” a theatrical action, a dynamic symbolic action affecting all channels of human perception, was emphasized. The work is aimed at the analytical study of the essence of specificity of performative practices within the framework of various study optics from the standpoint of social and cultural anthropology and art history, in direct connection with social and cultural life, human emotions, cultural patterns, etc. The aim of the paper is to identify the theoretical definition of the “performative practices” concept in the contemporary humanities, which will allow solving the scientific problem of determining the essential specificity of performative practices as a modern cultural phenomenon. General scientific approaches, principles, and methods employed made it possible to consider the phenomenon of performative practices from different angles: theoretical interpretations of the basic forms of performative practices were compared using the comparative method; the use of the structural-functional method helped to determine the components creating an idea of the meaning of certain performance elements as the forms of manifestation of performative practices in modern culture.","PeriodicalId":499711,"journal":{"name":"Hudožnâ kulʹtura","volume":"12 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136222335","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 : 2023-06-13DOI: 10.31500/1992-5514.19(1).2023.283122
Anton Kolomiets
The article raises the problem of the artistic worldviews divergence of the artist (architect) and the commissioner of the construction. It is argued that the problem occurred due to the insufficient influence of aesthetic culture on the educational field in general and in particular, on primary and secondary education. In order to draw corresponding historical parallels, the subject matter of this paper is the Baroque era and the interaction of contemporary architects and commissioners. It is hypothesized that the commonality of artistic worldviews in this tandem was a key reason for its success. Therefore, identifying and investigating the formative factors of a common worldview of the educated circles of the Baroque era may be projected to modern times as an illustrative example of socially relevant architecture. A wide range of approaches was used asthe problem was considered within the axis of“culture—education—society” and in various aspects. The scope of identified factors determined the interdisciplinary nature of the study
{"title":"Ukrainian Architects of the Baroque Age: Algorithms of the Worldview Development","authors":"Anton Kolomiets","doi":"10.31500/1992-5514.19(1).2023.283122","DOIUrl":"https://doi.org/10.31500/1992-5514.19(1).2023.283122","url":null,"abstract":"The article raises the problem of the artistic worldviews divergence of the artist (architect) and the commissioner of the construction. It is argued that the problem occurred due to the insufficient influence of aesthetic culture on the educational field in general and in particular, on primary and secondary education. In order to draw corresponding historical parallels, the subject matter of this paper is the Baroque era and the interaction of contemporary architects and commissioners. It is hypothesized that the commonality of artistic worldviews in this tandem was a key reason for its success. Therefore, identifying and investigating the formative factors of a common worldview of the educated circles of the Baroque era may be projected to modern times as an illustrative example of socially relevant architecture. A wide range of approaches was used asthe problem was considered within the axis of“culture—education—society” and in various aspects. The scope of identified factors determined the interdisciplinary nature of the study","PeriodicalId":499711,"journal":{"name":"Hudožnâ kulʹtura","volume":"26 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136222114","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 : 2023-06-13DOI: 10.31500/1992-5514.19(1).2023.283146
Natalia Chekh
The paper examines the game prerequisites of creativity and investigates the play in Boris Mikhailov’s (born August 25, 1938, Kharkiv, Ukrainian SSR) works from 1966 to 1980. Analysis of the artist’s works and narrative interviews enables a historical periodisation of his legacy based on certain markers and principles. During the first, metaphorical stage of his creativity, B. Mikhailov figuratively denies and at the same time praises his current reality in search for the Ideal. The open photo series created by B. Mikhailov at this time have a form ofslide shows of overlays of two colour diapositive films and views of thematic series of photographic prints. The artist presents them during photographic seminars, clubs meetings, and private meetings. Artistic imagery by B. Mikhailov manifests itself in the unfinished transition from life to art and back. The photographer introduced the concept of carnivalization of photography into the theoretical discourse, with carnival images and folk-holiday forms of carnival-type laughter entering the art of photography. Mikhailov’slaughter at this stage is already carnival-like, i.e. ambivalent, universal and nationwide, it has a folk-celebratory nature and is aimed at everything and everyone. In the course of the study, biographical, conceptual, descriptive-phenomenological, hermeneutical, and comparative methods of analysis were applied.
{"title":"The Phenomenon of Play in Boris Mikhailov’s Works of 1966–1980","authors":"Natalia Chekh","doi":"10.31500/1992-5514.19(1).2023.283146","DOIUrl":"https://doi.org/10.31500/1992-5514.19(1).2023.283146","url":null,"abstract":"The paper examines the game prerequisites of creativity and investigates the play in Boris Mikhailov’s (born August 25, 1938, Kharkiv, Ukrainian SSR) works from 1966 to 1980. Analysis of the artist’s works and narrative interviews enables a historical periodisation of his legacy based on certain markers and principles. During the first, metaphorical stage of his creativity, B. Mikhailov figuratively denies and at the same time praises his current reality in search for the Ideal. The open photo series created by B. Mikhailov at this time have a form ofslide shows of overlays of two colour diapositive films and views of thematic series of photographic prints. The artist presents them during photographic seminars, clubs meetings, and private meetings. Artistic imagery by B. Mikhailov manifests itself in the unfinished transition from life to art and back. The photographer introduced the concept of carnivalization of photography into the theoretical discourse, with carnival images and folk-holiday forms of carnival-type laughter entering the art of photography. Mikhailov’slaughter at this stage is already carnival-like, i.e. ambivalent, universal and nationwide, it has a folk-celebratory nature and is aimed at everything and everyone. In the course of the study, biographical, conceptual, descriptive-phenomenological, hermeneutical, and comparative methods of analysis were applied.","PeriodicalId":499711,"journal":{"name":"Hudožnâ kulʹtura","volume":"3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136222118","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 : 2023-06-13DOI: 10.31500/1992-5514.19(1).2023.283119
Hanna Ivaniushenko
The International Lviv Early Music Festival is one of the largest and most prominent art forums in Ukraine, as well as in Central and Eastern Europe. The program of the festival is based on the current trends of historically informed performance and on the history of early music. It brings together Ukrainian and foreign musicians who have extensive experience in performing on historical instruments and playing music from different eras. Part of the program of each forum represents Ukrainian early music. Since the first festival, the organizers have been striving to present as diverse a program as possible, including not only works of the High Baroque, familiar to Lviv audiences from concerts at the Organ Music Hall and the Philharmonic but also music of the Middle Ages and the Renaissance. Ukrainian early music is mainly represented by the choral church tradition performed by such ensembles as Kalofonia, ACappella Leopolis, Sarmatica, and the Chorea Kozatska, etc. In addition to concerts, the festival hosts academic conferences on the history of music with the participation of prominent Ukrainian and European scholars, as well as roundtables, where festival participants discuss the interpretation of early music and the development of historically informed performance in Ukraine. The festival’s educational program has had a significant impact on professional performance in Lviv.
{"title":"Lviv Early Music Festival: Stages of Development","authors":"Hanna Ivaniushenko","doi":"10.31500/1992-5514.19(1).2023.283119","DOIUrl":"https://doi.org/10.31500/1992-5514.19(1).2023.283119","url":null,"abstract":"The International Lviv Early Music Festival is one of the largest and most prominent art forums in Ukraine, as well as in Central and Eastern Europe. The program of the festival is based on the current trends of historically informed performance and on the history of early music. It brings together Ukrainian and foreign musicians who have extensive experience in performing on historical instruments and playing music from different eras. Part of the program of each forum represents Ukrainian early music. Since the first festival, the organizers have been striving to present as diverse a program as possible, including not only works of the High Baroque, familiar to Lviv audiences from concerts at the Organ Music Hall and the Philharmonic but also music of the Middle Ages and the Renaissance. Ukrainian early music is mainly represented by the choral church tradition performed by such ensembles as Kalofonia, ACappella Leopolis, Sarmatica, and the Chorea Kozatska, etc. In addition to concerts, the festival hosts academic conferences on the history of music with the participation of prominent Ukrainian and European scholars, as well as roundtables, where festival participants discuss the interpretation of early music and the development of historically informed performance in Ukraine. The festival’s educational program has had a significant impact on professional performance in Lviv.","PeriodicalId":499711,"journal":{"name":"Hudožnâ kulʹtura","volume":"19 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136222119","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 : 2023-06-13DOI: 10.31500/1992-5514.19(1).2023.283138
Andrii Koliada
The paper discusses Vitally Important Social Project addressing women imprisoned for life in Ukraine, which consists of an opera performance, a photo exhibition, and a series of conferences in several cities of Ukraine. The grounds of the project were considered, namely the problem of attitude towards life prisoners in Ukraine and the legislation that regulates their rights and the possibility of early release. The study offers a holistic analysis of the music theater performance PENITA.opera in its connection with the current social problems of Ukrainian society. It was revealed that contemporary art projects are an effective tool in launching important social and political discussions. At the same time, the unusual themes of contemporary opera require its genre and type transformation, and the modification of established art forms. It is noteworthy that the short-term complex project, after its formal completion, has continued its life in the format of a repertoire performance of the Kyiv National Operetta. In conclusion, the article defines the role of social art projects in creating a common field for public debate. The characters of the documentary opera and photo exhibition evoke empathy in the viewer, and the art projects themselves bring together like-minded people who, by means of communication, convey new values to the public, join the media discussion, and influence public opinion and prompt fundamental changes in legislation. Since the beginning of the full-scale Russian invasion of Ukraine, the topic of colonies, imprisonment, and oppression has gained new relevance, and Vitally Important Social Project has become a part of a powerful postcolonial movement in Ukraine.
{"title":"Contemporary Music Theater asan Instrument of Human Rights Protection: PENITA.opera and Vitally Important Social Project","authors":"Andrii Koliada","doi":"10.31500/1992-5514.19(1).2023.283138","DOIUrl":"https://doi.org/10.31500/1992-5514.19(1).2023.283138","url":null,"abstract":"The paper discusses Vitally Important Social Project addressing women imprisoned for life in Ukraine, which consists of an opera performance, a photo exhibition, and a series of conferences in several cities of Ukraine. The grounds of the project were considered, namely the problem of attitude towards life prisoners in Ukraine and the legislation that regulates their rights and the possibility of early release. The study offers a holistic analysis of the music theater performance PENITA.opera in its connection with the current social problems of Ukrainian society. It was revealed that contemporary art projects are an effective tool in launching important social and political discussions. At the same time, the unusual themes of contemporary opera require its genre and type transformation, and the modification of established art forms. It is noteworthy that the short-term complex project, after its formal completion, has continued its life in the format of a repertoire performance of the Kyiv National Operetta. In conclusion, the article defines the role of social art projects in creating a common field for public debate. The characters of the documentary opera and photo exhibition evoke empathy in the viewer, and the art projects themselves bring together like-minded people who, by means of communication, convey new values to the public, join the media discussion, and influence public opinion and prompt fundamental changes in legislation. Since the beginning of the full-scale Russian invasion of Ukraine, the topic of colonies, imprisonment, and oppression has gained new relevance, and Vitally Important Social Project has become a part of a powerful postcolonial movement in Ukraine.","PeriodicalId":499711,"journal":{"name":"Hudožnâ kulʹtura","volume":"29 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136222120","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 : 2023-06-13DOI: 10.31500/1992-5514.19(1).2023.283115
Iryna Bermes
At the present stage of cultural development, the search for value and semantic guidelines leading to the realization of new forms of cultural life, including music, is underway. As one of such new forms, festivals help embrace new forms, genres, and types of musical art within a common cultural space while simultaneously motivating creative teams and becoming an impetus for new achievements. The relevance of the article is in the active spread and growing importance of music festivals as creative events and an important component of the national art process. The paper reveals various aspects of provincial city festival life during the period of Ukrainian independence. At present, festivals are an integral element of culture, a constantly evolving art phenomenon. They are in demand in various fields of culture and art, and their concert programs attract townspeople and visitors. Festivals contribute to the formation and promotion of city and regional brands, to the transformation of the urban environment, and place focus on various issues, asthey are related to the general cultural situation and the local context of a particular location. As a key element of contemporary cultural life, festivals contribute to the dissemination of creative practices aimed at developing the cultural sphere of the city and raising the level of cultural life in the region. The paper aims to present a “panorama” of festivals, their features, and their significance for the cultural life of Drohobych.
{"title":"Local Forms of Festival Space in Drohobych","authors":"Iryna Bermes","doi":"10.31500/1992-5514.19(1).2023.283115","DOIUrl":"https://doi.org/10.31500/1992-5514.19(1).2023.283115","url":null,"abstract":"At the present stage of cultural development, the search for value and semantic guidelines leading to the realization of new forms of cultural life, including music, is underway. As one of such new forms, festivals help embrace new forms, genres, and types of musical art within a common cultural space while simultaneously motivating creative teams and becoming an impetus for new achievements. The relevance of the article is in the active spread and growing importance of music festivals as creative events and an important component of the national art process. The paper reveals various aspects of provincial city festival life during the period of Ukrainian independence. At present, festivals are an integral element of culture, a constantly evolving art phenomenon. They are in demand in various fields of culture and art, and their concert programs attract townspeople and visitors. Festivals contribute to the formation and promotion of city and regional brands, to the transformation of the urban environment, and place focus on various issues, asthey are related to the general cultural situation and the local context of a particular location. As a key element of contemporary cultural life, festivals contribute to the dissemination of creative practices aimed at developing the cultural sphere of the city and raising the level of cultural life in the region. The paper aims to present a “panorama” of festivals, their features, and their significance for the cultural life of Drohobych.","PeriodicalId":499711,"journal":{"name":"Hudožnâ kulʹtura","volume":"63 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136222108","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 : 2023-06-13DOI: 10.31500/1992-5514.19(1).2023.283135
Maryna Protas
The postmodern age, which, like the age of contemporary art, is considered by most analysts to have started in the period after Second World War, can be viewed as an umbrella term that encompasses many competing paradigmatic stratagems and diatribe definitions, including the terminologically instable definitions of“postmodernism,” “post-postmodernism,” “metamodernism,” which some critics prefer to consider “high,” “late,” “distorted,” “pseudo-modernism” or “digi-modernism.” In the process of this ongoing discussion, society is periodically informed about the “death” or “end” of art and art criticism. In this context of raging discourses that openly compete with each other, there is one rather significant contextual layer related to the critique of cultural populism, the subject of which is the confrontation between two social constructs: democracy and biopower. The acuteness of the discussion is amplified by the situation of almost total crisis of the modern cultural activity, in particular, of the neoliberal visual practices, which since the millennium have come under the strict patronage of the transnational art business, whose creative projects are corrected by market and benchmarking policies. The latter has completely supplanted/replaced the politics of aesthetics, so all this has a negative impact on the current development of global art, calling into question the future of the national image of Ukraine, which can be annihilated in the “post-ethnic” substratum of global public art. Therefore, in the difficult conditions of resistance to the Russian invasion, Ukrainian humanities and art must thoroughly study this huge cluster of problems, in particular in the context presented by Western European analytical thought, in order to strengthen its own self-identification potential of the cultural and artistic narrative, offering the West its own position and vision of creative liberation activity from the manipulative pressure of the culture industry.
{"title":"Critique of Cultural Populism: An Overview of Reflections on the Western Analytical Thought","authors":"Maryna Protas","doi":"10.31500/1992-5514.19(1).2023.283135","DOIUrl":"https://doi.org/10.31500/1992-5514.19(1).2023.283135","url":null,"abstract":"The postmodern age, which, like the age of contemporary art, is considered by most analysts to have started in the period after Second World War, can be viewed as an umbrella term that encompasses many competing paradigmatic stratagems and diatribe definitions, including the terminologically instable definitions of“postmodernism,” “post-postmodernism,” “metamodernism,” which some critics prefer to consider “high,” “late,” “distorted,” “pseudo-modernism” or “digi-modernism.” In the process of this ongoing discussion, society is periodically informed about the “death” or “end” of art and art criticism. In this context of raging discourses that openly compete with each other, there is one rather significant contextual layer related to the critique of cultural populism, the subject of which is the confrontation between two social constructs: democracy and biopower. The acuteness of the discussion is amplified by the situation of almost total crisis of the modern cultural activity, in particular, of the neoliberal visual practices, which since the millennium have come under the strict patronage of the transnational art business, whose creative projects are corrected by market and benchmarking policies. The latter has completely supplanted/replaced the politics of aesthetics, so all this has a negative impact on the current development of global art, calling into question the future of the national image of Ukraine, which can be annihilated in the “post-ethnic” substratum of global public art. Therefore, in the difficult conditions of resistance to the Russian invasion, Ukrainian humanities and art must thoroughly study this huge cluster of problems, in particular in the context presented by Western European analytical thought, in order to strengthen its own self-identification potential of the cultural and artistic narrative, offering the West its own position and vision of creative liberation activity from the manipulative pressure of the culture industry.","PeriodicalId":499711,"journal":{"name":"Hudožnâ kulʹtura","volume":"26 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136222333","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 : 2023-06-13DOI: 10.31500/1992-5514.19(1).2023.283121
Ihor Shalinskyi
The paper addresses the compositional and communicative senses of the textual insertions to the etched frames of the title pages and the following pages with symbolic etchings in the books Mech dukhovny (The Spiritual Sword, 1666) and Truby sloves propovidnykh (The Trumpets of Preaching Words, 1674) by Chernihiv archbishop Lazar Baranovych. It was revealed that the textual insertions, which are the citations from the Bible that prevail on the stretched ribbons, were used as the key structural elements of the composition. The ribbons with citations functioned as the inner frames, dividing the composition to tiers or separate sections within the tier, simultaneously commenting the closest images. This was a practical and simple method of structuring the compositions, already oversaturated with characters and senses. The ribbons for a table ofsorts, the cells of which are filled with images. In addition, more complex variant ofstructuring the images with textual insertions was developed. The ribbons with citations placed symmetrically towards the vertical axis of the etching formed a separate fancy composition that resembled an ornamental vignette with an evident decorative function. Nevertheless, even in this case the ribbon composition structured the overall image, while the positioning of the depicted scenes was subordinated to the overall intricate design indicated with the ribbons of quotes. Both approaches to structuring the compositions of the first etching of the book with the textual insertions and forming an hierarchy for reading these insertions were based on the rhetorical principles of narration.
{"title":"Etchings in the books by Lazar Baranovych: The communicative aspects ofcomposition","authors":"Ihor Shalinskyi","doi":"10.31500/1992-5514.19(1).2023.283121","DOIUrl":"https://doi.org/10.31500/1992-5514.19(1).2023.283121","url":null,"abstract":"The paper addresses the compositional and communicative senses of the textual insertions to the etched frames of the title pages and the following pages with symbolic etchings in the books Mech dukhovny (The Spiritual Sword, 1666) and Truby sloves propovidnykh (The Trumpets of Preaching Words, 1674) by Chernihiv archbishop Lazar Baranovych. It was revealed that the textual insertions, which are the citations from the Bible that prevail on the stretched ribbons, were used as the key structural elements of the composition. The ribbons with citations functioned as the inner frames, dividing the composition to tiers or separate sections within the tier, simultaneously commenting the closest images. This was a practical and simple method of structuring the compositions, already oversaturated with characters and senses. The ribbons for a table ofsorts, the cells of which are filled with images. In addition, more complex variant ofstructuring the images with textual insertions was developed. The ribbons with citations placed symmetrically towards the vertical axis of the etching formed a separate fancy composition that resembled an ornamental vignette with an evident decorative function. Nevertheless, even in this case the ribbon composition structured the overall image, while the positioning of the depicted scenes was subordinated to the overall intricate design indicated with the ribbons of quotes. Both approaches to structuring the compositions of the first etching of the book with the textual insertions and forming an hierarchy for reading these insertions were based on the rhetorical principles of narration.","PeriodicalId":499711,"journal":{"name":"Hudožnâ kulʹtura","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136222116","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 : 2023-06-13DOI: 10.31500/1992-5514.19(1).2023.283144
Hennadii Kabka, Oxana Kazantseva-Kabka
The paper attempts to consider the personal writings of the figures of 1950s–1970s Ukrainian vocal art from the standpoint of contemporary art research. Personal writings of Borys Hmyria, Bohdan Hnyd, Lilia Lobanova, Yevhenia Miroshnychenko, Kostiantyn Ohnievoi, and Klavdia Radchenko reveal cultural and historical processes of the era. The inclusion of personal writings allows to avoid schematizing while portraying the iconic cultural figures, it facilitates the immersion into the spiritual, cultural, and historical contexts of their personal life stages, comprehension of their motivation for certain acts, clarifies the individual characteristics of the artists upon some time distance, as well astheir role on the context of the development of culture. The study of the personal texts of the artists from the same creative environment and institution—Kyiv Opera—enables one to draw a general perspective of the creative process within the leading opera company of the time, to observe the role of their creativity in the context of development of Ukrainian vocal art. By highlighting their life stages and creative development, the complex of their individual traits that at the same time is characteristic of their circle becomes evident. The lead singers of the Kyiv Opera of the 1950s–1970s in their writings pose a perplexing question to the researcher: whether the era shapes the artist orthe artists change their times with their professional performance. This existential and philosophic rhetoric of the personal writings by Borys Hmyria, Bohdan Hnyd, Lilia Lobanova, Yevhenia Miroshnychenko, Kostiantyn Ohnievoi, and Klavdia Radchenko became the basis for getting an insight into their creativity, studying the real fabric of the cultural era, and overall cultural history of Ukraine
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Pub Date : 2023-06-13DOI: 10.31500/1992-5514.19(1).2023.283117
Viktor Sobiianskyi
The paper provides an outline of the 1920s Ukrainian newspapers that consistently covered theatre life, lists and characterizes their leading contributors, and analyzes a number of illustrative drama reviews. The basis for systematization and comparative analysis of the 1920s theatre journalism constituted the general scientific research methods based on empirical, descriptive principles of source studies. The method of biographical research is an attempt to recreate the biographical facts of certain critics, the formation of their aesthetic landmarks, and trace the features of their individual writing style. Developments in the field of the theory of literary and critical genres were used in the analysis and classification of reports by these theater critics. The paper addresses a genre of brief reports in the 1920s Ukrainian newspapers, as well as more detailed reviews. A quantitative increase in the number of articles on theater, their diversity, and cultural scope was noted. An attempt was made to follow the transformation of critical thought in the 1920s newspapers exemplified by the critics of different generations and aesthetic orientations.
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