Pub Date : 2024-04-16DOI: 10.32461/2226-3209.1.2024.302043
Svyatoslav Galyuk
The purpose of the work. After analysing the production of a cultural and artistic product by means of television and cinematography, to substantiate scientific approaches to the study of creative industries in Ukraine. The research methodology is based on the use of an interdisciplinary approach, historical-cultural, generalising, and systemic methods, analytical, comparative, and cultural methods, which will enable a multi-vector consideration of the proposed issues and the formulation of well-founded conclusions. The scientific novelty is characterised by the fact that for the first time the problem of the essence and functioning of creative industries in Ukraine and beyond is considered in the context of their development within the television and film industries. Conclusions. It has been established that the development of creative industries in Ukraine requires in-depth study, consistent and gradual, careful adaptation of foreign experience, in particular, in the field of production and distribution on the consumer market of cultural and artistic products created by means of cinematography and television.
{"title":"Creative industries as a component of modern culture","authors":"Svyatoslav Galyuk","doi":"10.32461/2226-3209.1.2024.302043","DOIUrl":"https://doi.org/10.32461/2226-3209.1.2024.302043","url":null,"abstract":"The purpose of the work. After analysing the production of a cultural and artistic product by means of television and cinematography, to substantiate scientific approaches to the study of creative industries in Ukraine. The research methodology is based on the use of an interdisciplinary approach, historical-cultural, generalising, and systemic methods, analytical, comparative, and cultural methods, which will enable a multi-vector consideration of the proposed issues and the formulation of well-founded conclusions. The scientific novelty is characterised by the fact that for the first time the problem of the essence and functioning of creative industries in Ukraine and beyond is considered in the context of their development within the television and film industries. Conclusions. It has been established that the development of creative industries in Ukraine requires in-depth study, consistent and gradual, careful adaptation of foreign experience, in particular, in the field of production and distribution on the consumer market of cultural and artistic products created by means of cinematography and television.\u0000 ","PeriodicalId":510501,"journal":{"name":"NATIONAL ACADEMY OF MANAGERIAL STAFF OF CULTURE AND ARTS HERALD","volume":"326 2","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140698101","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 : 2024-04-16DOI: 10.32461/2226-3209.1.2024.302052
Ruslana Bezuhla
The purpose of the article is to identify the influence of imitation of the painting traditions of old masters on the work of representatives of contemporary Ukrainian realist art. The methodology of the study is based on the following philosophical and general scientific approaches, which made it possible to consider the phenomenon of imitation in contemporary Ukrainian art from different perspectives: the interdisciplinary approach ensured the use of the latest theoretical achievements of the social sciences and humanities in the analysis of the phenomenon of imitation; the phenomenological method was applied at the stage of revealing the essence and concretization of such a phenomenon as imitation, its transformations in the contemporary artistic space. The scientific novelty is due to the fact that the attention is focused on certain factors, including the imitation by contemporary Ukrainian artists of the painting traditions of old masters, which directly affects the formation of the art of modern Ukraine. Conclusions. It has been stated that the appeal to the artistic tradition of old masters is not a new approach in art, but Ukrainian art history lacks a sufficient number of fundamental scientific studies on the influence of the work of old masters on the formation of contemporary Ukrainian artists. It has been found that contemporary artists show interest in scrupulous detail, smooth style of painting, baroque complex angles, convey the psychology of images in the manner of Caravaggio and Rembrandt, actualizing classical traditions in contemporary painting. It is proved that pictorial illusion, artistic, compositional and coloristic searches, and even universal meanings in the works of old masters can serve as inspirations in the works of V. Kostyrko, E. Ravsky, O. Glazunov and other Ukrainian artists. It is emphasized that the issue of imitation of the painting traditions of old masters in Ukrainian realist painting requires additional research, but in our opinion, this is a promising topic for further research within the framework of art history and cultural studies.
文章的目的是确定模仿古代大师绘画传统对当代乌克兰现实主义艺术代表作品的影响。研究方法基于以下哲学和一般科学方法，这使得从不同角度考虑乌克兰当代艺术中的模仿现象成为可能：跨学科方法确保在分析模仿现象时使用社会科学和人文学科的最新理论成果；现象学方法应用于揭示模仿现象的本质和具体化阶段，以及模仿现象在当代艺术空间中的转变。科学的新颖性在于关注了某些因素，包括乌克兰当代艺术家对老大师绘画传统的模仿，这直接影响了现代乌克兰艺术的形成。结论。上文指出，对老大师艺术传统的诉求并非艺术领域的新方法，但乌克兰艺术史缺乏足够数量的关于老大师作品对乌克兰当代艺术家形成的影响的基础科学研究。研究发现，当代艺术家对一丝不苟的细节、流畅的画风、巴洛克式的复杂角度表现出浓厚的兴趣，以卡拉瓦乔和伦勃朗的方式传达图像的心理，在当代绘画中实现古典传统。事实证明，绘画幻觉、艺术、构图和色彩方面的探索，甚至是古代大师作品中的普遍意义，都可以为 V. Kostyrko、E. Ravsky、O. Glazunov 和其他乌克兰艺术家的作品提供灵感。需要强调的是，乌克兰现实主义绘画中对老大师绘画传统的模仿问题还需要更多的研究，但我们认为，这是在艺术史和文化研究框架内进一步研究的一个很有前途的课题。
{"title":"Following the Traditions of Old Masters in Ukrainian Realist Painting (on the Example of the Works of V. Kostyrko, E. Ravsky, O. Glazunov)","authors":"Ruslana Bezuhla","doi":"10.32461/2226-3209.1.2024.302052","DOIUrl":"https://doi.org/10.32461/2226-3209.1.2024.302052","url":null,"abstract":"The purpose of the article is to identify the influence of imitation of the painting traditions of old masters on the work of representatives of contemporary Ukrainian realist art. The methodology of the study is based on the following philosophical and general scientific approaches, which made it possible to consider the phenomenon of imitation in contemporary Ukrainian art from different perspectives: the interdisciplinary approach ensured the use of the latest theoretical achievements of the social sciences and humanities in the analysis of the phenomenon of imitation; the phenomenological method was applied at the stage of revealing the essence and concretization of such a phenomenon as imitation, its transformations in the contemporary artistic space. The scientific novelty is due to the fact that the attention is focused on certain factors, including the imitation by contemporary Ukrainian artists of the painting traditions of old masters, which directly affects the formation of the art of modern Ukraine. Conclusions. It has been stated that the appeal to the artistic tradition of old masters is not a new approach in art, but Ukrainian art history lacks a sufficient number of fundamental scientific studies on the influence of the work of old masters on the formation of contemporary Ukrainian artists. It has been found that contemporary artists show interest in scrupulous detail, smooth style of painting, baroque complex angles, convey the psychology of images in the manner of Caravaggio and Rembrandt, actualizing classical traditions in contemporary painting. It is proved that pictorial illusion, artistic, compositional and coloristic searches, and even universal meanings in the works of old masters can serve as inspirations in the works of V. Kostyrko, E. Ravsky, O. Glazunov and other Ukrainian artists. It is emphasized that the issue of imitation of the painting traditions of old masters in Ukrainian realist painting requires additional research, but in our opinion, this is a promising topic for further research within the framework of art history and cultural studies.\u0000 ","PeriodicalId":510501,"journal":{"name":"NATIONAL ACADEMY OF MANAGERIAL STAFF OF CULTURE AND ARTS HERALD","volume":"25 8","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140697261","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 : 2024-04-16DOI: 10.32461/2226-3209.1.2024.302044
Oleh Holoborodko
The purpose of the article is to reveal the peculiarities of the phenomenon of heroisation based on the analysis of the theoretical and practical discourse of modern media culture. Research methodology. The method of theoretical research, analytical method, terminological analysis method, structural-functional method, phenomenological method have been applied. Scientific novelty. Heroisation as a phenomenon of modern media culture has been studied. The understanding of the heroic in the Ukrainian media culture of the beginning of the 21st century has been updated. On the basis of the analysis of the theoretical and practical discourse, characteristic features of heroisation in media culture have been revealed. The stages and strategies of heroisation have been analysed, while the place and role of the subjects of heroisation have been considered. Conclusions. Characteristic of the process of heroisation is the attribution of specific heroic qualities to the heroised figure and with reference to achievements, attitudes, or actions. Attribution and media communication of heroic deeds or heroic qualities is usually implemented by means of "heroic media narrative". The subjects of the heroisation process are the hero himself, thier supporters or opponents, and the audience watching the heroisation. In modern theoretical discourse, different phases of heroisation are distinguished: the initial approval of the hero; a phase of positive (in the form of admiration and respect) or negative (rejection and demonisation) resonance; the consolidation phase through cultural practices; deheroisation, which includes all processes that lead to the loss or deprivation of the status of a hero. Typical strategies of heroisation in media culture are peripetia, agony, anthropomorphisation, and concentration of action, as well as a number of strategies based on heroic semantics specific to a certain period and culture.
文章的目的是在分析现代媒体文化理论和实践话语的基础上，揭示英雄化现象的特殊性。研究方法。运用了理论研究方法、分析方法、术语分析方法、结构功能方法、现象学方法。科学新颖性。研究了作为现代媒体文化现象的英雄化。更新了对 21 世纪初乌克兰媒体文化中英雄的理解。在对理论和实践论述进行分析的基础上，揭示了媒体文化中英雄化的特征。分析了英雄化的阶段和策略，同时考虑了英雄化主体的地位和作用。结论英雄化过程的特点是将特定的英雄品质赋予被英雄化的人物，并参照其成就、态度或行动。对英雄事迹或英雄品质的归属和媒体传播通常是通过 "英雄媒体叙事 "来实现的。英雄化过程的主体是英雄本人、他们的支持者或反对者，以及观看英雄化过程的受众。在现代理论论述中，英雄化被划分为不同的阶段：最初对英雄的认可；积极（以钦佩和尊重的形式）或消极（排斥和妖魔化）的共鸣阶段；通过文化实践巩固阶段；去英雄化，包括所有导致英雄地位丧失或被剥夺的过程。媒体文化中典型的英雄化策略包括 "周身"（peripetia）、"痛苦"（agony）、"拟人化"（anthropomorphisation）和 "行动集中"（concentration of action），以及一些基于特定时期和特定文化的英雄语义的策略。
{"title":"Heroisation as a phenomenon of modern media cultur","authors":"Oleh Holoborodko","doi":"10.32461/2226-3209.1.2024.302044","DOIUrl":"https://doi.org/10.32461/2226-3209.1.2024.302044","url":null,"abstract":"The purpose of the article is to reveal the peculiarities of the phenomenon of heroisation based on the analysis of the theoretical and practical discourse of modern media culture. Research methodology. The method of theoretical research, analytical method, terminological analysis method, structural-functional method, phenomenological method have been applied. Scientific novelty. Heroisation as a phenomenon of modern media culture has been studied. The understanding of the heroic in the Ukrainian media culture of the beginning of the 21st century has been updated. On the basis of the analysis of the theoretical and practical discourse, characteristic features of heroisation in media culture have been revealed. The stages and strategies of heroisation have been analysed, while the place and role of the subjects of heroisation have been considered. Conclusions. Characteristic of the process of heroisation is the attribution of specific heroic qualities to the heroised figure and with reference to achievements, attitudes, or actions. Attribution and media communication of heroic deeds or heroic qualities is usually implemented by means of \"heroic media narrative\". The subjects of the heroisation process are the hero himself, thier supporters or opponents, and the audience watching the heroisation. In modern theoretical discourse, different phases of heroisation are distinguished: the initial approval of the hero; a phase of positive (in the form of admiration and respect) or negative (rejection and demonisation) resonance; the consolidation phase through cultural practices; deheroisation, which includes all processes that lead to the loss or deprivation of the status of a hero. Typical strategies of heroisation in media culture are peripetia, agony, anthropomorphisation, and concentration of action, as well as a number of strategies based on heroic semantics specific to a certain period and culture.\u0000 ","PeriodicalId":510501,"journal":{"name":"NATIONAL ACADEMY OF MANAGERIAL STAFF OF CULTURE AND ARTS HERALD","volume":"61 3‐4","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140695454","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 : 2024-04-16DOI: 10.32461/2226-3209.1.2024.302108
Almuwail Fadhel
The purpose of the article is to reveal the peculiarities of the theatrical art of Western Muslim communities of the late 20th and early 21st centuries. on the example of Great Britain. Research methodology. The method of analysis and synthesis, the method of typological analysis, the historical and cultural method, the method of art research and theoretical generalisation was applied, which contributed to clarifying the peculiarities of the traditions of Islamic theatre and its development at the modern stage in Western Muslim communities, identifying the peculiarities and characteristic features of the theatres of the Muslim community of Great Britain . Scientific novelty. Peculiarities of theatrical art of Western Muslim communities were studied using the example of Great Britain; on the basis of the analysis of the productions of the "Khayaal Theatre" theatrical campaign, the peculiarities of the understanding of the place, role, and potential of theatrical art by representatives of modern Muslim communities in Europe were considered; the activity of the theatre of the multi-national Islamic school with education in English "SOBIS" (Cardiff) was analysed in the context of preserving the traditions of the Islamic theatre. Conclusions. The rich culture and spiritual experience of the Islamic world, represented in the productions of Western Muslim communities, exerts a noticeable influence on modern European society. The study revealed that the development of theatrical art in Western Muslim communities in the late 20th and early 21st centuries testifies to the selective integration of the leading trends of European performing arts, the attraction to multiculturalism, provided that traditional cultural and religious Islamic values are preserved. The originality of the scenographic solution, which has a direct connection with Islamic history, its visual and architectural heritage, expresses the ideas and values of Muslims. The main Muslim theatre companies in the UK are Khayaal Theatre, Ulfa Arts, Arakan Creative, Muju and others. Interactive forms of theatre, in particular forum-theatre, can become a powerful way of interacting and informing about the issues of British Muslim identity. Characteristic features of the activities of the theatres of the Muslim community of Great Britain are: honouring and popularising the philosophical-aesthetic, literary and artistic Islamic traditions; development of a diverse repertoire in order to reach a wide audience; promotion of intercultural dialogue, interaction of traditional and modern, mutual understanding between Muslims and people of other faiths and traditions.
{"title":"Theater art of the Western Muslim communities of the end of the XX – beginning of the XXI century","authors":"Almuwail Fadhel","doi":"10.32461/2226-3209.1.2024.302108","DOIUrl":"https://doi.org/10.32461/2226-3209.1.2024.302108","url":null,"abstract":"The purpose of the article is to reveal the peculiarities of the theatrical art of Western Muslim communities of the late 20th and early 21st centuries. on the example of Great Britain. Research methodology. The method of analysis and synthesis, the method of typological analysis, the historical and cultural method, the method of art research and theoretical generalisation was applied, which contributed to clarifying the peculiarities of the traditions of Islamic theatre and its development at the modern stage in Western Muslim communities, identifying the peculiarities and characteristic features of the theatres of the Muslim community of Great Britain . Scientific novelty. Peculiarities of theatrical art of Western Muslim communities were studied using the example of Great Britain; on the basis of the analysis of the productions of the \"Khayaal Theatre\" theatrical campaign, the peculiarities of the understanding of the place, role, and potential of theatrical art by representatives of modern Muslim communities in Europe were considered; the activity of the theatre of the multi-national Islamic school with education in English \"SOBIS\" (Cardiff) was analysed in the context of preserving the traditions of the Islamic theatre. Conclusions. The rich culture and spiritual experience of the Islamic world, represented in the productions of Western Muslim communities, exerts a noticeable influence on modern European society. The study revealed that the development of theatrical art in Western Muslim communities in the late 20th and early 21st centuries testifies to the selective integration of the leading trends of European performing arts, the attraction to multiculturalism, provided that traditional cultural and religious Islamic values are preserved. The originality of the scenographic solution, which has a direct connection with Islamic history, its visual and architectural heritage, expresses the ideas and values of Muslims. The main Muslim theatre companies in the UK are Khayaal Theatre, Ulfa Arts, Arakan Creative, Muju and others. Interactive forms of theatre, in particular forum-theatre, can become a powerful way of interacting and informing about the issues of British Muslim identity. Characteristic features of the activities of the theatres of the Muslim community of Great Britain are: honouring and popularising the philosophical-aesthetic, literary and artistic Islamic traditions; development of a diverse repertoire in order to reach a wide audience; promotion of intercultural dialogue, interaction of traditional and modern, mutual understanding between Muslims and people of other faiths and traditions.\u0000 ","PeriodicalId":510501,"journal":{"name":"NATIONAL ACADEMY OF MANAGERIAL STAFF OF CULTURE AND ARTS HERALD","volume":"86 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140695536","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 : 2024-04-16DOI: 10.32461/2226-3209.1.2024.302092
Oksana Hysa
The purpose of the work is to analyse Ukrainian parallels to Jagiellonianism and Sarmatism in the history of Europe in the 18th-19th centuries, particularly in the musical sphere. The research methodology involves a combination of historical-cultural, comparative, and empirical-analytical research methods to identify Jagiellonianism and Sarmatism in the artistic scope of Ukraine and Poland in the 19th and 20th centuries. The scientific novelty of the work lies in the fact that, for the first time in Polish and Ukrainian musicology, historical information on the Jagiellonian principle of religious-state regulation of the Slavic Commonwealth is summarised from the point of view of the Ukrainian positive in the rise of Ukrainian Orthodoxy and the supranational resonance of Petro Mohyla's reform. Conclusions. Jagiellonianism is the age of freedom of the Cossacks, who sanctified the Cossack age with high education and singing energy, which is the centre of high honour and pride of the Ukrainian nation, its thoughtfulness (in Old Ukrainian and Old Polish languages, duma means honour). For the Polish tradition, Jagiellonianism is the time when the capital was Krakow, and not Warsaw, which, due to its ethnic and cultural advantages, was and remains the custodian of the Old Catholic traditions, originating from the time of the undivided Christian Church and in the awareness of kinship with the East Slavic world. It was Jagiellonianism in Poland that contributed to the construction of the Zaporizhzhia Sich, which became an essential pillar of defence against the military expansion of the Crimean Khanate (since the 13th century) and Ottoman Turkey. Crimea is the last of the Greek colonies, the birthplace of Eastern Slavic Christianity, the place of activity of the "Orthodox brothers" expelled by the Anglo-Saxons from Catholicised Britain (XI century), transformed in the 13th-14th centuries. to the stronghold of Islam. Polish Sarmatism in the romantic era was influenced by the Cossacks, who en masse joined the chumaks who carried out commercial, military, and political operations, and, similar to the Polish-noble circles, considered offensive proposals to engage in agriculture, which did not correspond to the status of a foreman in the 17th century.
{"title":"Ukrainian parallels to Jagiellonianism and Sarmatism in the history of Europe in the 18th-19th centuries","authors":"Oksana Hysa","doi":"10.32461/2226-3209.1.2024.302092","DOIUrl":"https://doi.org/10.32461/2226-3209.1.2024.302092","url":null,"abstract":"The purpose of the work is to analyse Ukrainian parallels to Jagiellonianism and Sarmatism in the history of Europe in the 18th-19th centuries, particularly in the musical sphere. The research methodology involves a combination of historical-cultural, comparative, and empirical-analytical research methods to identify Jagiellonianism and Sarmatism in the artistic scope of Ukraine and Poland in the 19th and 20th centuries. The scientific novelty of the work lies in the fact that, for the first time in Polish and Ukrainian musicology, historical information on the Jagiellonian principle of religious-state regulation of the Slavic Commonwealth is summarised from the point of view of the Ukrainian positive in the rise of Ukrainian Orthodoxy and the supranational resonance of Petro Mohyla's reform. Conclusions. Jagiellonianism is the age of freedom of the Cossacks, who sanctified the Cossack age with high education and singing energy, which is the centre of high honour and pride of the Ukrainian nation, its thoughtfulness (in Old Ukrainian and Old Polish languages, duma means honour). For the Polish tradition, Jagiellonianism is the time when the capital was Krakow, and not Warsaw, which, due to its ethnic and cultural advantages, was and remains the custodian of the Old Catholic traditions, originating from the time of the undivided Christian Church and in the awareness of kinship with the East Slavic world. It was Jagiellonianism in Poland that contributed to the construction of the Zaporizhzhia Sich, which became an essential pillar of defence against the military expansion of the Crimean Khanate (since the 13th century) and Ottoman Turkey. Crimea is the last of the Greek colonies, the birthplace of Eastern Slavic Christianity, the place of activity of the \"Orthodox brothers\" expelled by the Anglo-Saxons from Catholicised Britain (XI century), transformed in the 13th-14th centuries. to the stronghold of Islam. Polish Sarmatism in the romantic era was influenced by the Cossacks, who en masse joined the chumaks who carried out commercial, military, and political operations, and, similar to the Polish-noble circles, considered offensive proposals to engage in agriculture, which did not correspond to the status of a foreman in the 17th century.\u0000 ","PeriodicalId":510501,"journal":{"name":"NATIONAL ACADEMY OF MANAGERIAL STAFF OF CULTURE AND ARTS HERALD","volume":"328 3","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140698234","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 : 2024-04-16DOI: 10.32461/2226-3209.1.2024.302058
Anastasiia Kravchenko
The purpose of the article is to identify features and regularities in representation of part of collection of the Dnipro Art Museum of the verge of 19th and 20th centuries, presented in the block of the main museum exposition "Modern. Avant-Garde. Symbolism" from 19 May 2018 to 23 February 2022. The research methodology is based on the application of a systemic approach in a combination of general scientific and special methods of cognition, such as analytical, formal-stylistic, systematisation, and generalisation. The application of the specified methods and approaches contributed to a profound study of the identified issues and made it possible to formulate reasoned conclusions. The scientific novelty of the work lies in a comprehensive approach to the analysis and generalisation of a range of issues regarding the peculiarities of the representation of fine art pieces at the turn of the 20-21 centuries presented in the block of the permanent exposition of the Dnipro Art Museum "Modern. Avant-Garde. Symbolism". Conclusions. Based on the results of the present research, the author can state that permanent exhibition hall of the Dnipro Art Museum "Modern. Avant-Garde. Symbolism", which consisted of four thematic blocks, is an example of a successful combination of expositional and scientific work, which made it possible to represent the relevant section of the museum collection at a decent level. One of the notable features is the non-trivial solution of exhibition space in colour, which was characterised by accented contrasting zoning. Among the notable features, the author notes the balance found between the demonstration of artworks of recognised masters of the modernist era and representatives of the regional art centre. The inclusion in the main exposition of a number of paintings by the local symbolist artist Mykhailo Sapozhnykov contributed to a certain extent to the integration of his figure and creative work into the line of Ukrainian fine art development in the first third of the 20th century.
{"title":"Representation of dnipro art Museum`s Collection of the Late 19th and Early 20th Centuries at Exposition Block \"modern. Avant-garde. Symbolism\"","authors":"Anastasiia Kravchenko","doi":"10.32461/2226-3209.1.2024.302058","DOIUrl":"https://doi.org/10.32461/2226-3209.1.2024.302058","url":null,"abstract":"The purpose of the article is to identify features and regularities in representation of part of collection of the Dnipro Art Museum of the verge of 19th and 20th centuries, presented in the block of the main museum exposition \"Modern. Avant-Garde. Symbolism\" from 19 May 2018 to 23 February 2022. The research methodology is based on the application of a systemic approach in a combination of general scientific and special methods of cognition, such as analytical, formal-stylistic, systematisation, and generalisation. The application of the specified methods and approaches contributed to a profound study of the identified issues and made it possible to formulate reasoned conclusions. The scientific novelty of the work lies in a comprehensive approach to the analysis and generalisation of a range of issues regarding the peculiarities of the representation of fine art pieces at the turn of the 20-21 centuries presented in the block of the permanent exposition of the Dnipro Art Museum \"Modern. Avant-Garde. Symbolism\". Conclusions. Based on the results of the present research, the author can state that permanent exhibition hall of the Dnipro Art Museum \"Modern. Avant-Garde. Symbolism\", which consisted of four thematic blocks, is an example of a successful combination of expositional and scientific work, which made it possible to represent the relevant section of the museum collection at a decent level. One of the notable features is the non-trivial solution of exhibition space in colour, which was characterised by accented contrasting zoning. Among the notable features, the author notes the balance found between the demonstration of artworks of recognised masters of the modernist era and representatives of the regional art centre. The inclusion in the main exposition of a number of paintings by the local symbolist artist Mykhailo Sapozhnykov contributed to a certain extent to the integration of his figure and creative work into the line of Ukrainian fine art development in the first third of the 20th century.\u0000 ","PeriodicalId":510501,"journal":{"name":"NATIONAL ACADEMY OF MANAGERIAL STAFF OF CULTURE AND ARTS HERALD","volume":"159 5‐7","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140698564","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 : 2024-04-16DOI: 10.32461/2226-3209.1.2024.302035
Liliia Savchyn
The purpose of the article is to substantiate the expediency of searching for ways of personal spirituality. The research methodology is based on the use of methods of analysis, synthesis, and specification. An analysis of the search for the ways of the individual's spirituality was carried out, outlining which ones, there are prospects for solving cross-cutting issues of cultural, aesthetic, intellectual, and physical content. Synthesis, as a scientific method, made it possible to systematise the patterns of relationships between dance culture and the essential basis of the spirituality of the individual. The concretisation method directed research in the direction of reconstruction of the multifacetedness of dance culture in the personality-process-culture system. The scientific novelty we parallelise the understanding of dance first of all with plastic expressiveness and scientific pulsation, because dance demonstrates meaning mostly in movements, rather than in words with a content full of culturally significant information. The specified thesis can be substantiated by various aspects, namely by the spirituality of the individual against the background of which the trajectory of semiotics, linguistics, symbolism, phenomenology, and textology should be considered. Conclusions. The text of the article can be used in the preparation of lecture material on professional disciplines (history of art, culture, methodology): choreography, music education. Mastering the dance culture of cheerleading promotes interest in the artistic and aesthetic priorities of young people and their spiritual motivation for the harmony of life creativity. That is why it is important to understand the dance culture as a truly important trend that contributes to the individual's approach to self-improvement and understanding of one's own significance in society. The work claims to use a creative approach in practical teaching activities, which will qualitatively affect the final result on the path of the individual's spirituality.
{"title":"Dance Culture in Search of the Ways of Personality Spirituality","authors":"Liliia Savchyn","doi":"10.32461/2226-3209.1.2024.302035","DOIUrl":"https://doi.org/10.32461/2226-3209.1.2024.302035","url":null,"abstract":"The purpose of the article is to substantiate the expediency of searching for ways of personal spirituality. The research methodology is based on the use of methods of analysis, synthesis, and specification. An analysis of the search for the ways of the individual's spirituality was carried out, outlining which ones, there are prospects for solving cross-cutting issues of cultural, aesthetic, intellectual, and physical content. Synthesis, as a scientific method, made it possible to systematise the patterns of relationships between dance culture and the essential basis of the spirituality of the individual. The concretisation method directed research in the direction of reconstruction of the multifacetedness of dance culture in the personality-process-culture system. The scientific novelty we parallelise the understanding of dance first of all with plastic expressiveness and scientific pulsation, because dance demonstrates meaning mostly in movements, rather than in words with a content full of culturally significant information. The specified thesis can be substantiated by various aspects, namely by the spirituality of the individual against the background of which the trajectory of semiotics, linguistics, symbolism, phenomenology, and textology should be considered. Conclusions. The text of the article can be used in the preparation of lecture material on professional disciplines (history of art, culture, methodology): choreography, music education. Mastering the dance culture of cheerleading promotes interest in the artistic and aesthetic priorities of young people and their spiritual motivation for the harmony of life creativity. That is why it is important to understand the dance culture as a truly important trend that contributes to the individual's approach to self-improvement and understanding of one's own significance in society. The work claims to use a creative approach in practical teaching activities, which will qualitatively affect the final result on the path of the individual's spirituality.\u0000 ","PeriodicalId":510501,"journal":{"name":"NATIONAL ACADEMY OF MANAGERIAL STAFF OF CULTURE AND ARTS HERALD","volume":"19 1‐2","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140698774","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 : 2024-04-16DOI: 10.32461/2226-3209.1.2024.302095
Olga Sapozhnik
The purpose of the article is to conduct a theoretical analysis of scientific literature on the problem under study, to reveal the historical-theoretical, musical-aesthetic, and genre-stylistic aspects of the development of Ukrainian popular estrada music from the standpoint of artistic traditions and innovations, to scientifically outline the terminological field regarding the definition of "modern popular estrada music". Research methodology is based on the use of dialectical methods of analysis, synthesis, comparison, generalisation regarding the definition of the terminological field in relation to modern popular pop music, genre, and style samples of the existence of this musical direction in Ukraine. The presentation of the material combines cultural-art, aesthetic-psychological, and musical-pedagogical approaches to the concretisation of the genre variety, stylistic features, modification forms of existence of the Ukrainian layer of modern popular pop music and its enculturation into the world musical space. Scientific novelty of the research. An attempt is made to systematise the scientific, art criticism, and journalistic source base on the definition of the concept of "modern popular estrada music"; the conceptual and categorical apparatus has been clarified, the terminology of "modern popular estrada music" has been substantiated; the essence, content and structural components of musical and aesthetic self-expression of young people in the system of art education are characterised. The genre varieties, stylistic features, modification forms of existence of the Ukrainian layer of modern popular pop music are specified. Conclusions. As a result of the study, the terminology of “modern popular pop music” is scientifically substantiated, it is found that modern popular pop music directly affects the formation and development of worldview, value-oriented, socio-cultural positions of youth in the sphere of its life. It is the most popular and accessible means of musical and aesthetic development and self-expression and has the highest rating among young people, since the democratic nature of its functioning in the youth environment actualises and determines the development of the aesthetic sphere of a young person, especially in the period of early adolescence.
{"title":"Modern Popular Estrada Music in Ukraine: on the Issue Of Definition and Genre and Stylistic Connotations","authors":"Olga Sapozhnik","doi":"10.32461/2226-3209.1.2024.302095","DOIUrl":"https://doi.org/10.32461/2226-3209.1.2024.302095","url":null,"abstract":"The purpose of the article is to conduct a theoretical analysis of scientific literature on the problem under study, to reveal the historical-theoretical, musical-aesthetic, and genre-stylistic aspects of the development of Ukrainian popular estrada music from the standpoint of artistic traditions and innovations, to scientifically outline the terminological field regarding the definition of \"modern popular estrada music\". Research methodology is based on the use of dialectical methods of analysis, synthesis, comparison, generalisation regarding the definition of the terminological field in relation to modern popular pop music, genre, and style samples of the existence of this musical direction in Ukraine. The presentation of the material combines cultural-art, aesthetic-psychological, and musical-pedagogical approaches to the concretisation of the genre variety, stylistic features, modification forms of existence of the Ukrainian layer of modern popular pop music and its enculturation into the world musical space. Scientific novelty of the research. An attempt is made to systematise the scientific, art criticism, and journalistic source base on the definition of the concept of \"modern popular estrada music\"; the conceptual and categorical apparatus has been clarified, the terminology of \"modern popular estrada music\" has been substantiated; the essence, content and structural components of musical and aesthetic self-expression of young people in the system of art education are characterised. The genre varieties, stylistic features, modification forms of existence of the Ukrainian layer of modern popular pop music are specified. Conclusions. As a result of the study, the terminology of “modern popular pop music” is scientifically substantiated, it is found that modern popular pop music directly affects the formation and development of worldview, value-oriented, socio-cultural positions of youth in the sphere of its life. It is the most popular and accessible means of musical and aesthetic development and self-expression and has the highest rating among young people, since the democratic nature of its functioning in the youth environment actualises and determines the development of the aesthetic sphere of a young person, especially in the period of early adolescence.\u0000 ","PeriodicalId":510501,"journal":{"name":"NATIONAL ACADEMY OF MANAGERIAL STAFF OF CULTURE AND ARTS HERALD","volume":"7 3‐4","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140698799","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 : 2024-04-16DOI: 10.32461/2226-3209.1.2024.302099
Iryna Krasylina
The purpose of this work is to understand the specifics of identifying characters, plots, and means of musical expressiveness in the seria of the post-Neapolitan and post-Venetian era of the genre, considering that it was in the Neapolitan and later Venetian schools that the classic examples of the named opera typology emerged. The methodological basis of the work is the position of the intonation approach of B. Asafyev's school in Ukraine represented by I. Liashenko, I. Kotliarevskyi – and their numerous students who formed their own scientific schools. At the same time, we highlight the hermeneutic-comparative, biographical-descriptive, stylistic-genre methods, as they reflected the discovery of the psychology of creativity in the works of J. Huizinga, M. Eliade, and other art historians. The scientific novelty of the research is determined by the fact that for the first time in Ukrainian musicology the named composition by A. Salieri became the subject of research, the indicators of what is called today "late seria" are formulated for the first time, clarification is given regarding the interpretation of the typology of the traits of characters, typical of seria in general and those that are singled out at the level of the Viennese work of A. Salieri and other his contemporaries. Conclusions. The generalisation of information about the existence of seria from the beginning to the middle of the 18th century indicates significant changes in the conditions of the presentation of this genre in the theatre and the attitude of the public to the typical traits of characters of the classic seria, with a hagiographic shade, while the "late" version is "infected" with psychologism and a mixture of manifestations, up to the frankly pro-demonic presentation of the sorceress Armida in the opera of the same name by A. Salieri. And its very name, which is far from the ideal guidelines of Christian morality (and seria with the etymology literally translated as "serious" corresponds to the indication of the ecclesiastical meaning), is presented as the leading character, while the bearers of Christian virtues – Rinaldo and Ubaldo – according to the stage schedule find themselves "in the shadow" of the actions and expressions of the named main character.
考虑到正是在那不勒斯流派和后来的威尼斯流派中出现了被命名为歌剧类型学的经典范例，本著作的目的是了解在后那不勒斯和后威尼斯时代的小夜曲中确定人物、情节和音乐表现手段的具体情况。这部著作的方法论基础是以 I. Liashenko、I. Kotliarevskyi 为代表的 B. Asafyev 流派在乌克兰的音调方法的地位，以及他们的众多学生形成的自己的科学流派。同时，我们强调诠释比较法、传记描述法、风格流派法，因为这些方法反映了 J. Huizinga、M. Eliade 和其他艺术史学家著作中对创作心理学的发现。本研究的科学新颖性在于：在乌克兰音乐学界首次将萨列里（A. Salieri）的作品作为研究对象，首次提出了当今所谓的 "晚期 Seria "的指标，阐明了对一般 Seria 的典型特征以及萨列里（A. Salieri）和他同时代的维也纳作品的典型特征的类型学解释。结论。对 18 世纪初至 18 世纪中叶的 "血腥剧 "存在情况的概括表明，戏剧中呈现这一体裁的条件发生了重大变化，公众对经典 "血腥剧 "人物典型特征的态度也发生了重大变化，经典 "血腥剧 "带有神化的色彩，而 "晚期 "版本则 "感染 "了心理主义和各种表现形式，直到萨列里（A. Salieri）的同名歌剧中对女魔法师阿米达（Armida）的坦率亲神化表现。它的名字与基督教道德的理想准则相去甚远（"seria "的词源直译为 "严肃的"，与教会的含义相对应），但它却作为主角出现，而基督教美德的传承者--里纳尔多和乌巴尔多--根据舞台的安排，却发现自己 "处于 "被命名的主角的行为和表达的 "阴影 "之中。
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Pub Date : 2024-04-16DOI: 10.32461/2226-3209.1.2024.302112
Baojiang Feng
The purpose of the article is to investigate the forms and methods of media promotion of ballet theatre in the People's Republic of China. Research methodology. Several scientific research methods were used: exploratory and analytical – to collect information about methods and forms of media promotion and advertising of ballet theatres of the PRC; structural-typological – to systematise the obtained facts and outline the main directions of media promotion of Chinese ballet art, the inductive generalisation method – to write conclusions. The scientific novelty consists in defining and highlighting the priority areas of media promotion of the ballet theatre in the People's Republic of China. Conclusions. The Ballet Theatre of the People's Republic of China not only continues to impress with high artistic projects, but remains commercially successful. One of the promising directions for optimising the organisational and creative activities of the Chinese Ballet Theatre is to increase the media presence of ballet companies on various Chinese and foreign Internet platforms, television, radio, cinema, among others. Choreographic performances and shows are promoted through various forms of media, streaming broadcasts, online tours, online master classes; activity of ballet companies increases in social networks; television covers and organises dance festivals, competitions, shows, award ceremonies for artists with state and non-state awards; professional and amateur ballet schools actively use media advertising; the ballet theatre cooperates with the fashion industry; ballet is the subject of many feature films and documentaries; elements of ballet fall into the newest forms of media art. Thus, the ballet theatre in China effectively uses various methods and techniques of media promotion. Since the Chinese ballet theatre is on the rise, it is improving opportunities for further full disclosure of its creative and organisational potential. Therefore, forecasting further promising lines of development of the media promotion of the Chinese ballet theatre remains relevant. The search for non-standard solutions while simultaneously focusing on the development of the national ballet theatre according to high standards.
{"title":"Forms and methods of media promotion ballet theatre in PRC","authors":"Baojiang Feng","doi":"10.32461/2226-3209.1.2024.302112","DOIUrl":"https://doi.org/10.32461/2226-3209.1.2024.302112","url":null,"abstract":"The purpose of the article is to investigate the forms and methods of media promotion of ballet theatre in the People's Republic of China. Research methodology. Several scientific research methods were used: exploratory and analytical – to collect information about methods and forms of media promotion and advertising of ballet theatres of the PRC; structural-typological – to systematise the obtained facts and outline the main directions of media promotion of Chinese ballet art, the inductive generalisation method – to write conclusions. The scientific novelty consists in defining and highlighting the priority areas of media promotion of the ballet theatre in the People's Republic of China. Conclusions. The Ballet Theatre of the People's Republic of China not only continues to impress with high artistic projects, but remains commercially successful. One of the promising directions for optimising the organisational and creative activities of the Chinese Ballet Theatre is to increase the media presence of ballet companies on various Chinese and foreign Internet platforms, television, radio, cinema, among others. Choreographic performances and shows are promoted through various forms of media, streaming broadcasts, online tours, online master classes; activity of ballet companies increases in social networks; television covers and organises dance festivals, competitions, shows, award ceremonies for artists with state and non-state awards; professional and amateur ballet schools actively use media advertising; the ballet theatre cooperates with the fashion industry; ballet is the subject of many feature films and documentaries; elements of ballet fall into the newest forms of media art. Thus, the ballet theatre in China effectively uses various methods and techniques of media promotion. Since the Chinese ballet theatre is on the rise, it is improving opportunities for further full disclosure of its creative and organisational potential. Therefore, forecasting further promising lines of development of the media promotion of the Chinese ballet theatre remains relevant. The search for non-standard solutions while simultaneously focusing on the development of the national ballet theatre according to high standards.\u0000 ","PeriodicalId":510501,"journal":{"name":"NATIONAL ACADEMY OF MANAGERIAL STAFF OF CULTURE AND ARTS HERALD","volume":"5 4","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140695119","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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