Pub Date : 2024-04-16DOI: 10.32461/2226-3209.1.2024.302039
Nataliia Shevchenko
The purpose of the work is to research and substantiate the directions of tourist activity, filling with new forms and a new understanding of types of tourism that have potential for the development of the socio-cultural sphere of local communities. The research methodology consisted of the principles of a complex of general scientific methods and approaches, in particular, sociocultural and polysystemic analysis, systematisation of materials and generalisation, which make it possible to identify resources of interaction of touristic and sociocultural spheres for the development of local and regional tourism activities. The scientific novelty of the study consists in the expansion of ideas about the prospects of diversification of tourist activities in territorial communities, the development of tourist routes and destinations as types of socio-cultural space, the change of approaches to the assessment of the natural and tangible and intangible cultural heritage of each of the regions of our country. Conclusions. Identifying the priorities of innovative tourist and socio-cultural activities in the consumer market of regional tourist products, contributes to the emergence of new tourist and recreational facilities that emphasise local identity; optimisation of the processes of involving broad segments of the population in cooperation with various cultural communities; development of strategies related to long-term forecasting of the development of territories of local communities.
{"title":"Diversification of Tourist Activities as A Resource for Development of Socio-Cultural Sphere of Local Communities","authors":"Nataliia Shevchenko","doi":"10.32461/2226-3209.1.2024.302039","DOIUrl":"https://doi.org/10.32461/2226-3209.1.2024.302039","url":null,"abstract":"The purpose of the work is to research and substantiate the directions of tourist activity, filling with new forms and a new understanding of types of tourism that have potential for the development of the socio-cultural sphere of local communities. The research methodology consisted of the principles of a complex of general scientific methods and approaches, in particular, sociocultural and polysystemic analysis, systematisation of materials and generalisation, which make it possible to identify resources of interaction of touristic and sociocultural spheres for the development of local and regional tourism activities. The scientific novelty of the study consists in the expansion of ideas about the prospects of diversification of tourist activities in territorial communities, the development of tourist routes and destinations as types of socio-cultural space, the change of approaches to the assessment of the natural and tangible and intangible cultural heritage of each of the regions of our country. Conclusions. Identifying the priorities of innovative tourist and socio-cultural activities in the consumer market of regional tourist products, contributes to the emergence of new tourist and recreational facilities that emphasise local identity; optimisation of the processes of involving broad segments of the population in cooperation with various cultural communities; development of strategies related to long-term forecasting of the development of territories of local communities.\u0000 ","PeriodicalId":510501,"journal":{"name":"NATIONAL ACADEMY OF MANAGERIAL STAFF OF CULTURE AND ARTS HERALD","volume":"345 3","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140698368","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: 10.32461/2226-3209.1.2024.302112
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}
Pub Date : 2024-04-16DOI: 10.32461/2226-3209.1.2024.302059
Oleksii Rohotchenko
The purpose of the research is to analyze the stylistic and narrative peculiarities of the works of genre realistic painting dedicated to Roma images of the 19th – early 20th centuries. Research methodology. To achieve this purpose, the comparative historical method and art historical analysis were used. The scientific novelty of the study is justified by its purpose: the study is the first attempt in the national art history to analyze works of some European realist artists of the 19th – early 20th centuries on the Roma theme represented in the works of narrative genre. This theme has not been actually studied, although it eloquently represents the growing interest in the subjective depiction of a wide-range life of various social strata and ethnic communities in the European countries and is one that influenced the formation of more positive attitude towards Roma people in the 19th – early 20th centuries, who were oppressed by the policies of national European states. Conclusions. The article analyzes some artistic works of Thomas Baker, August von Pettenkofen, Alfred Munnings as typical representatives of realistic painting in Europe of the 19th – early 20th centuries, whose creative heritage contains some storylines dedicated to Roma images in the context of socio-economic, spiritual and cultural aspects of Roma existence. It is emphasized that these artists, as leaders of public opinion, who were not indifferent to a difficult situation of Roma communities, improved the attitude of society thereto in this period. Two ideological and narrative trends have been described. The first describes difficult social and material situation, and the second focuses on creating an areola of romance around the life of Roma communities. Thus, it is established that the works of European artists not only drew attention to social and domestic problems of the Roma ethnic group, but also are typical examples of realistic painting of that period.
{"title":"Image of Roma people in genre realistic painting of the 19th – early 20th centuries: stylistic and narrative peculiarities","authors":"Oleksii Rohotchenko","doi":"10.32461/2226-3209.1.2024.302059","DOIUrl":"https://doi.org/10.32461/2226-3209.1.2024.302059","url":null,"abstract":"The purpose of the research is to analyze the stylistic and narrative peculiarities of the works of genre realistic painting dedicated to Roma images of the 19th – early 20th centuries. Research methodology. To achieve this purpose, the comparative historical method and art historical analysis were used. The scientific novelty of the study is justified by its purpose: the study is the first attempt in the national art history to analyze works of some European realist artists of the 19th – early 20th centuries on the Roma theme represented in the works of narrative genre. This theme has not been actually studied, although it eloquently represents the growing interest in the subjective depiction of a wide-range life of various social strata and ethnic communities in the European countries and is one that influenced the formation of more positive attitude towards Roma people in the 19th – early 20th centuries, who were oppressed by the policies of national European states. Conclusions. The article analyzes some artistic works of Thomas Baker, August von Pettenkofen, Alfred Munnings as typical representatives of realistic painting in Europe of the 19th – early 20th centuries, whose creative heritage contains some storylines dedicated to Roma images in the context of socio-economic, spiritual and cultural aspects of Roma existence. It is emphasized that these artists, as leaders of public opinion, who were not indifferent to a difficult situation of Roma communities, improved the attitude of society thereto in this period. Two ideological and narrative trends have been described. The first describes difficult social and material situation, and the second focuses on creating an areola of romance around the life of Roma communities. Thus, it is established that the works of European artists not only drew attention to social and domestic problems of the Roma ethnic group, but also are typical examples of realistic painting of that period.\u0000 ","PeriodicalId":510501,"journal":{"name":"NATIONAL ACADEMY OF MANAGERIAL STAFF OF CULTURE AND ARTS HERALD","volume":"11 17","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140695837","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。
{"title":"Signs of late seria in Antonio Salieri's opera “Armida”","authors":"Iryna Krasylina","doi":"10.32461/2226-3209.1.2024.302099","DOIUrl":"https://doi.org/10.32461/2226-3209.1.2024.302099","url":null,"abstract":"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.\u0000 ","PeriodicalId":510501,"journal":{"name":"NATIONAL ACADEMY OF MANAGERIAL STAFF OF CULTURE AND ARTS HERALD","volume":"56 S269","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140694593","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: 10.32461/2226-3209.1.2024.302063
Vyacheslav Boyko
The purpose of the article is to analyse the Roma theme in the landscape painting in the works of artists-realists of the second half of the XIXth century. The research highlights the motives, related to the traditions of the Roma, which attracted the realistic direction artists’ attention. It is reviewed that the majority of Roma images and their traditional life style of the second half of the 19th century were presented in the painting works with the introduction of the landscape storylines. The research methodology includes the following methods: historical-cultural method and analytical one, a method of the historical-artistic typology and logical-generalizing method. These methods made it possible to follow the development of Romani subjects in the landscape art of the studied period. The scientific novelty of the article is an attempt to fill up the lack of research on the chosen topic and the need to introduce it into the scientific circulation as such, which will make the Roma topic in the context of realistic landscape painting in the world fine art of the XIXth century interesting for the researchers, historians etc. Conclusions. The research consists of the several stages. The first one is the analysis of the historiographical base, which has allowed to emphasize the relevance of studying the dialogue of the landscape and Roma images in the works of realist artists. During the second research stage, the peculiarities of the landscape genre in the realism direction works are characterized. In addition, the canvases of August von Pettenkofen (1854), Kharyton Platonov (1877), David Bates' (1886) and Franciszek Streitt (1885–1886) were singled out from the array of the artistic works and described in the context of the interdependence of the landscape and Roma images and (or) scenes from Roma life. Finally, it is shown that the landscape does not contrast with the Roma theme in these works, moreover it is a tool for its highlighting. Therefore, it is logical to conclude that the landscape line was used by realist artists as a logical component of the romance of nomadism in the XIXth century.
{"title":"Romani Theme in Landscape Painting (on the Example of Realistic Painting Works of the Second Half of the 19th Century)","authors":"Vyacheslav Boyko","doi":"10.32461/2226-3209.1.2024.302063","DOIUrl":"https://doi.org/10.32461/2226-3209.1.2024.302063","url":null,"abstract":"The purpose of the article is to analyse the Roma theme in the landscape painting in the works of artists-realists of the second half of the XIXth century. The research highlights the motives, related to the traditions of the Roma, which attracted the realistic direction artists’ attention. It is reviewed that the majority of Roma images and their traditional life style of the second half of the 19th century were presented in the painting works with the introduction of the landscape storylines. The research methodology includes the following methods: historical-cultural method and analytical one, a method of the historical-artistic typology and logical-generalizing method. These methods made it possible to follow the development of Romani subjects in the landscape art of the studied period. The scientific novelty of the article is an attempt to fill up the lack of research on the chosen topic and the need to introduce it into the scientific circulation as such, which will make the Roma topic in the context of realistic landscape painting in the world fine art of the XIXth century interesting for the researchers, historians etc. Conclusions. The research consists of the several stages. The first one is the analysis of the historiographical base, which has allowed to emphasize the relevance of studying the dialogue of the landscape and Roma images in the works of realist artists. During the second research stage, the peculiarities of the landscape genre in the realism direction works are characterized. In addition, the canvases of August von Pettenkofen (1854), Kharyton Platonov (1877), David Bates' (1886) and Franciszek Streitt (1885–1886) were singled out from the array of the artistic works and described in the context of the interdependence of the landscape and Roma images and (or) scenes from Roma life. Finally, it is shown that the landscape does not contrast with the Roma theme in these works, moreover it is a tool for its highlighting. Therefore, it is logical to conclude that the landscape line was used by realist artists as a logical component of the romance of nomadism in the XIXth century.\u0000 ","PeriodicalId":510501,"journal":{"name":"NATIONAL ACADEMY OF MANAGERIAL STAFF OF CULTURE AND ARTS HERALD","volume":"2 10","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140697649","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: 10.32461/2226-3209.1.2024.302104
Yi Syun
The purpose of the study is to deeply analyse the evolution of piano education in China, identify its influence on the cultural landscape, and uncover prospects for future development. It highlights crucial aspects of the interaction between art and society, while also revealing factors determining the success of piano education in the contemporary world with consideration of cultural heritage. The research methodology is based on a comprehensive approach, incorporating historical comparative-typological, musicological, and interdisciplinary research methods. It involves a profound analysis of historical and contemporary sources, utilising a holistic socio-cultural approach. The author employs socio-cultural analysis methods, meticulously examining the impact of piano education on Chinese society and its cultural landscape. Additionally, success factors in this field are taken into account to determine key elements contributing to its effectiveness. In terms of scientific novelty, the article not only systematically examines key developmental stages, such as the establishment of private music schools and exchanges in the pedagogical-artistic vector, but also introduces a novel comprehensive socio-cultural analysis. This analysis is aimed at a meticulous study of the impact of piano education on the cultural landscape of China. The conclusions of the article highlight transformations in the perception and utilisation of the piano in China, particularly in the 21st century, where piano education has evolved into an effective business segment, fostering not only the development of musical literacy, but also the shaping of the country's cultural identity. The study underscores the importance of systematic observation of the dynamics of piano education development and consideration of its impact on the cultural landscape to preserve traditions in the modern world.
{"title":"Evolution of Piano Education in China: Analysis of Socio-Cultural Impact and Prospects for Development","authors":"Yi Syun","doi":"10.32461/2226-3209.1.2024.302104","DOIUrl":"https://doi.org/10.32461/2226-3209.1.2024.302104","url":null,"abstract":"The purpose of the study is to deeply analyse the evolution of piano education in China, identify its influence on the cultural landscape, and uncover prospects for future development. It highlights crucial aspects of the interaction between art and society, while also revealing factors determining the success of piano education in the contemporary world with consideration of cultural heritage. The research methodology is based on a comprehensive approach, incorporating historical comparative-typological, musicological, and interdisciplinary research methods. It involves a profound analysis of historical and contemporary sources, utilising a holistic socio-cultural approach. The author employs socio-cultural analysis methods, meticulously examining the impact of piano education on Chinese society and its cultural landscape. Additionally, success factors in this field are taken into account to determine key elements contributing to its effectiveness. In terms of scientific novelty, the article not only systematically examines key developmental stages, such as the establishment of private music schools and exchanges in the pedagogical-artistic vector, but also introduces a novel comprehensive socio-cultural analysis. This analysis is aimed at a meticulous study of the impact of piano education on the cultural landscape of China. The conclusions of the article highlight transformations in the perception and utilisation of the piano in China, particularly in the 21st century, where piano education has evolved into an effective business segment, fostering not only the development of musical literacy, but also the shaping of the country's cultural identity. The study underscores the importance of systematic observation of the dynamics of piano education development and consideration of its impact on the cultural landscape to preserve traditions in the modern world.\u0000 ","PeriodicalId":510501,"journal":{"name":"NATIONAL ACADEMY OF MANAGERIAL STAFF OF CULTURE AND ARTS HERALD","volume":"6 10","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140697812","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: 10.32461/2226-3209.1.2024.302029
Tetyana Byrkovych, Yaroslava Morozova
The purpose of the article is to comprehensively investigate the presentation of libraries on social networks: Instagram, TikTok, YouTube. The research methodology is based on system-value approaches with the use of general scientific methods (analysis, synthesis, abstraction, generalisation) and special methods determined by the multidisciplinary paradigm of informational, communicative, and sociocultural research, which allowed to investigate the current state of the use of social networks in library activities. The scientific novelty consists in the practical study of the pages of library institutions in social networks. Conclusions. Presentation of libraries on social networks: Instagram, TikTok, YouTube for the promotion of library resources are very important modern tools for popularising libraries and their resources. It can be argued that in the conditions of war, the library as a social institution is one of the subsystems of the information and communication system, the activity of which is characterized by a variety of directions and the use of a wide range of forms of work to satisfy the needs of many readers. The war transforms library institutions, which, forced to adapt to new requirements, become centres in communication processes between the reader and information. For many people, reading books, discussing, meeting with authors is part of psychological relief, a distraction (albeit temporary) from the war; and for libraries, it is a means of promotion, and therefore, a method of their development in the modern information world.
{"title":"Features of Using Social Networks for the Promotion of Library Resources","authors":"Tetyana Byrkovych, Yaroslava Morozova","doi":"10.32461/2226-3209.1.2024.302029","DOIUrl":"https://doi.org/10.32461/2226-3209.1.2024.302029","url":null,"abstract":"The purpose of the article is to comprehensively investigate the presentation of libraries on social networks: Instagram, TikTok, YouTube. The research methodology is based on system-value approaches with the use of general scientific methods (analysis, synthesis, abstraction, generalisation) and special methods determined by the multidisciplinary paradigm of informational, communicative, and sociocultural research, which allowed to investigate the current state of the use of social networks in library activities. The scientific novelty consists in the practical study of the pages of library institutions in social networks. Conclusions. Presentation of libraries on social networks: Instagram, TikTok, YouTube for the promotion of library resources are very important modern tools for popularising libraries and their resources. It can be argued that in the conditions of war, the library as a social institution is one of the subsystems of the information and communication system, the activity of which is characterized by a variety of directions and the use of a wide range of forms of work to satisfy the needs of many readers. The war transforms library institutions, which, forced to adapt to new requirements, become centres in communication processes between the reader and information. For many people, reading books, discussing, meeting with authors is part of psychological relief, a distraction (albeit temporary) from the war; and for libraries, it is a means of promotion, and therefore, a method of their development in the modern information world.\u0000 ","PeriodicalId":510501,"journal":{"name":"NATIONAL ACADEMY OF MANAGERIAL STAFF OF CULTURE AND ARTS HERALD","volume":"77 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140694813","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: 10.32461/2226-3209.1.2024.302026
Olena Kolesnyk, Maryna Stoliar
The purpose of the article is to identify the main obstacles that for a long time have prevented the formation of the philosophy of laughter as a separate direction, as well as the main paradigms of the theoretical understanding of laughter. The methodology of the research is based on the interdisciplinary integration of leading methods of modern cultural studies and philosophy. Based on postmodern practices of intertextuality and deconstruction, in particular the deconstruction of the classical essential philosophy of laughter, the article demonstrates the complementarity and practically equal value of various approaches to the explanation of the phenomenon of laughter. General scientific research methods as analysis and synthesis are also used. The scientific novelty of the work consists in clarifying the methodological foundations of the construction of modern theoretical helotology. Conclusions. The contemporary theory of laughter should be a synthesis of various methodological discourses, based on the concept of heterogeneity of laughter, and the recognition of various “laughs”. In this context, a metamodern cumulative model is adequate: nothing in the history of the study of laughter is “outdated” or “false” – except for the reductionist methodology, which tries to find once and for all a single, forever defined “essence of laughter”. Since, as was shown in the work, laughter is a multifaceted phenomenon, understanding its various forms is a permanent process, and therefore, the topic has unlimited prospects for further research.
{"title":"Philosophical henotology: problems and prospects","authors":"Olena Kolesnyk, Maryna Stoliar","doi":"10.32461/2226-3209.1.2024.302026","DOIUrl":"https://doi.org/10.32461/2226-3209.1.2024.302026","url":null,"abstract":"The purpose of the article is to identify the main obstacles that for a long time have prevented the formation of the philosophy of laughter as a separate direction, as well as the main paradigms of the theoretical understanding of laughter. The methodology of the research is based on the interdisciplinary integration of leading methods of modern cultural studies and philosophy. Based on postmodern practices of intertextuality and deconstruction, in particular the deconstruction of the classical essential philosophy of laughter, the article demonstrates the complementarity and practically equal value of various approaches to the explanation of the phenomenon of laughter. General scientific research methods as analysis and synthesis are also used. The scientific novelty of the work consists in clarifying the methodological foundations of the construction of modern theoretical helotology. Conclusions. The contemporary theory of laughter should be a synthesis of various methodological discourses, based on the concept of heterogeneity of laughter, and the recognition of various “laughs”. In this context, a metamodern cumulative model is adequate: nothing in the history of the study of laughter is “outdated” or “false” – except for the reductionist methodology, which tries to find once and for all a single, forever defined “essence of laughter”. Since, as was shown in the work, laughter is a multifaceted phenomenon, understanding its various forms is a permanent process, and therefore, the topic has unlimited prospects for further research.\u0000 ","PeriodicalId":510501,"journal":{"name":"NATIONAL ACADEMY OF MANAGERIAL STAFF OF CULTURE AND ARTS HERALD","volume":"11 3","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140697232","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: 10.32461/2226-3209.1.2024.302037
Mykola Fedorenko
The purpose of the work is to study the cultural foundations of Hryhorii Skovoroda's philosophy. The research methodology is based on the use of commonly used approaches of analysis, synthesis, and comparison. The study is based on an understanding of the importance of the cultural context of the phenomenon of intellectual history. Scientific novelty. The author argues the thesis about the decisive role of the Ukrainian Baroque in the formation of Ukrainian identity. The author argues that the birth and maturation of authentic spiritual and academic culture is linked to European historical sources. The basic principles of the Cossack Baroque and their manifestation in the creative heritage of Hryhorii Skovoroda are substantiated. Conclusions. The origins and features of Baroque culture are analysed. The attention is focused on the Baroque's desire for universality, the attempt to comprehend infinity, and the attraction to dynamism. The significance of contrasts and antitheses in Baroque culture as a means of reproducing the dynamics of life is emphasised. The phenomenon of the emblem as a means by which things of the external world are introduced into human life and acquire cultural functions is investigated. It is noted that the Baroque is a time of practical action, realisation of energy, and the search for new forms by a person of this era. It is pointed out that Skovoroda develops an understanding of the contemplative attitude as a practical action that requires not passivity, but an active attitude. The tendency of the Western European Baroque to a mystical, eschatological experience of the world is pointed out. The thesis of the optimistic significance of the Baroque style in Eastern Europe is demonstrated. The author shows the connection between Ukraine's contribution to Baroque culture and Hryhorii Skovoroda's philosophical rethinking of the pessimistic manifestations of the modern era.
{"title":"Cultural cimension of Hryhorii Skovoroda's philosophy","authors":"Mykola Fedorenko","doi":"10.32461/2226-3209.1.2024.302037","DOIUrl":"https://doi.org/10.32461/2226-3209.1.2024.302037","url":null,"abstract":"The purpose of the work is to study the cultural foundations of Hryhorii Skovoroda's philosophy. The research methodology is based on the use of commonly used approaches of analysis, synthesis, and comparison. The study is based on an understanding of the importance of the cultural context of the phenomenon of intellectual history. Scientific novelty. The author argues the thesis about the decisive role of the Ukrainian Baroque in the formation of Ukrainian identity. The author argues that the birth and maturation of authentic spiritual and academic culture is linked to European historical sources. The basic principles of the Cossack Baroque and their manifestation in the creative heritage of Hryhorii Skovoroda are substantiated. Conclusions. The origins and features of Baroque culture are analysed. The attention is focused on the Baroque's desire for universality, the attempt to comprehend infinity, and the attraction to dynamism. The significance of contrasts and antitheses in Baroque culture as a means of reproducing the dynamics of life is emphasised. The phenomenon of the emblem as a means by which things of the external world are introduced into human life and acquire cultural functions is investigated. It is noted that the Baroque is a time of practical action, realisation of energy, and the search for new forms by a person of this era. It is pointed out that Skovoroda develops an understanding of the contemplative attitude as a practical action that requires not passivity, but an active attitude. The tendency of the Western European Baroque to a mystical, eschatological experience of the world is pointed out. The thesis of the optimistic significance of the Baroque style in Eastern Europe is demonstrated. The author shows the connection between Ukraine's contribution to Baroque culture and Hryhorii Skovoroda's philosophical rethinking of the pessimistic manifestations of the modern era.\u0000 ","PeriodicalId":510501,"journal":{"name":"NATIONAL ACADEMY OF MANAGERIAL STAFF OF CULTURE AND ARTS HERALD","volume":"42 3","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140694902","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: 10.32461/2226-3209.1.2024.302098
Mykhaylo Tushchenko
The purpose of the article is to understand the process and research of the main stages of the development of the performance skills of students-guitarists and highlight its significance in modern domestic performance as a qualitatively new step in the formation of the general aesthetic culture of a modern performer and the professionalisation of guitar art from the point of view of new technical and artistic possibilities of the instrument. The research methods are based on the systematisation and practical approbation of individual methodological issues, which are aimed at solving the main problems of the technical development of students during individual classes on the main instrument and group classes in the orchestra class at the Faculty of Arts; combining work on the artistic image and the technical component during execution. Scientific novelty. The article analyses the main trends in the performance culture of guitarists in solo and ensemble forms of performance. This work is a reflection of the results of my own experience in the process of forming and developing the performance technique of university students, as well as the general professional level of mastery of playing the six-string classical guitar in the conditions of the educational programme of Ukraine. Conclusions. The creativity of modern composers-guitarists is aimed at revealing all the performance possibilities of the instrument, combining the arsenal of performance techniques of playing the classical guitar with specific performance means. Therefore, during the training of modern professional performers on the classical guitar, special attention should be paid to mastering all the existing methods of playing, which are characteristic of the classical, jazz, flamenco, and rock schools.
{"title":"Development of executive skill guitar students in the processor education in Higher Educational Institutions","authors":"Mykhaylo Tushchenko","doi":"10.32461/2226-3209.1.2024.302098","DOIUrl":"https://doi.org/10.32461/2226-3209.1.2024.302098","url":null,"abstract":"The purpose of the article is to understand the process and research of the main stages of the development of the performance skills of students-guitarists and highlight its significance in modern domestic performance as a qualitatively new step in the formation of the general aesthetic culture of a modern performer and the professionalisation of guitar art from the point of view of new technical and artistic possibilities of the instrument. The research methods are based on the systematisation and practical approbation of individual methodological issues, which are aimed at solving the main problems of the technical development of students during individual classes on the main instrument and group classes in the orchestra class at the Faculty of Arts; combining work on the artistic image and the technical component during execution. Scientific novelty. The article analyses the main trends in the performance culture of guitarists in solo and ensemble forms of performance. This work is a reflection of the results of my own experience in the process of forming and developing the performance technique of university students, as well as the general professional level of mastery of playing the six-string classical guitar in the conditions of the educational programme of Ukraine. Conclusions. The creativity of modern composers-guitarists is aimed at revealing all the performance possibilities of the instrument, combining the arsenal of performance techniques of playing the classical guitar with specific performance means. Therefore, during the training of modern professional performers on the classical guitar, special attention should be paid to mastering all the existing methods of playing, which are characteristic of the classical, jazz, flamenco, and rock schools.\u0000 ","PeriodicalId":510501,"journal":{"name":"NATIONAL ACADEMY OF MANAGERIAL STAFF OF CULTURE AND ARTS HERALD","volume":"70 3","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140695441","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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