NATIONAL ACADEMY OF MANAGERIAL STAFF OF CULTURE AND ARTS HERALD最新文献

{"title":"NFT as a current component of modern cultural and art space","authors":"Kostiantyn Ishchenko","doi":"10.32461/2226-3209.1.2024.302079","DOIUrl":"https://doi.org/10.32461/2226-3209.1.2024.302079","url":null,"abstract":"The purpose of the article is to analyse the main stages of formation and features of NFT with a projection on their use in the cultural and artistic environment. The research methodology is based on the use of a number of methods and approaches, which, taking into account the interdisciplinary nature of the problem, are integrated from art history, history, information technology. In addition, general scientific methods of analysis and synthesis, generalisation are applied. The scientific novelty consists in an attempt to substantiate the relevance of the use of NFT (non-fungible tokens) for the preservation of cultural values, the authorship of artistic works and creative industries. Conclusions. Technologies related to digitisation, virtual reality, artificial intelligence significantly affect changes in research and creative practices. The growing number of initiatives, services and applications arising at the intersection of the latest technologies and art motivates to study and discuss the creative potential of ICT in the context of culture and art. An important component of modern cultural, artistic, and economic processes is the implementation of NFT in the Metauniverse. NFTs (Non-Fungible Tokens), which are mostly encoded on the blockchain, are a distributed ledger technology related not only to cryptocurrencies, but also to the rapidly growing field of artistic entrepreneurship. The complex of blockchains and the decentralisation of their potential activates questions of strategy and the opportunities they open up for artists and creative industries. NFT is primarily an opportunity for everyone to become a participant and manager of a new cultural and artistic reality, which is characterised by global trends and local features of the production, development, popularisation, and circulation of cultural values. NFT-marketplaces play an important role in the circulation of digital cultural assets and are of particular importance for the formation and functioning of the cultural and artistic space, in particular, of Ukraine. This raises important issues of managing a technology that requires expertise in cryptography, coding, and the creation of legislation for its implementation.\u0000 ","PeriodicalId":510501,"journal":{"name":"NATIONAL ACADEMY OF MANAGERIAL STAFF OF CULTURE AND ARTS HERALD","volume":"24 11","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140697287","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}

{"title":"Subtext in the dialogue in climax of a film as a directorial method for avoiding melodramatic clichés","authors":"Andrii Khimich","doi":"10.32461/2226-3209.1.2024.302113","DOIUrl":"https://doi.org/10.32461/2226-3209.1.2024.302113","url":null,"abstract":"The purpose of the article is to analyse the presentation of melodramatic clichés in the genre structures of melodrama; to compare the climactic scenes of melodramas and to highlight the problem of melodramatic character of the dialogue in the climax of the film; to prove that the subtext is one of the tools to reduce the pathetic nature of melodrama. The research methodology. The study of directors' methods of avoiding melodramatic clichés in the dialogue in the climax of the film required a comprehensive application of art historical and cultural scientific methods. The following methods were used in the course of the research: systematic-analytical method (for studying and analysing the genre structures of melodramas), comparative method (for comparing the climaxes of genre and art-house melodramatic climaxes), and classification method (for generalising and systematising the findings). The scientific novelty lies in the attempt to comprehend the climax scenes of genre and author's art-house melodramas for the presence of melodramatic clichés, to typify clichéd dialogues and directorial methods to avoid them. Conclusions. In this study, the culminating scenes of melodramas were analysed, and melodramatic cliches were identified. Upon comparing these scenes, it was found that dialogue is one of the factors contributing to the stereotypical melodrama. Films without such cliches were proposed for analysis. The films of Paul Thomas Anderson were used as an example to demonstrate the effectiveness of using dialogue with subtext, which is one of the tools to avoid excessive sentimentality in melodrama. It was concluded that the re-interpretation of other melodramatic cliches by directors is a promising direction for further research in the genre of melodrama.\u0000 ","PeriodicalId":510501,"journal":{"name":"NATIONAL ACADEMY OF MANAGERIAL STAFF OF CULTURE AND ARTS HERALD","volume":"2 3","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140697610","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}

{"title":"CULTURE OF NATIONAL MINORITIES IN MODERN ART HISTORY DISCOURSE","authors":"Galyna P. Pogrebniak","doi":"10.32461/2226-3209.1.2024.302027","DOIUrl":"https://doi.org/10.32461/2226-3209.1.2024.302027","url":null,"abstract":"The purpose of the article is to research the artistic experience of the presentation of the culture of national minorities, in particular the Roma, in music, theatre, choreographic, and screen art and to determine scientific guidelines for the adaptation of models of creativity, which will contribute to the optimisation of the cultural process in Ukraine. Research methodology. In developing the topic, the author comprehensively applied the methods of scientific analysis, comparison, and generalisation. Analytical and systematic methods in their unity were involved for consideration of the art history plane of the problem. The scientific novelty of the research lies in the fact that the traditions of Roma cultural heritage are investigated in the context of composer and directing practices of music, choreography, theatre, and screen arts and became the subject of a special study for the first time. The appropriateness of using the systematic method in studying the features of Roma culture, presented in various types of art, has been proven. A comprehensive analysis has been carried out and the peculiarities of the production of works of art based on the traditions of Roma culture have been revealed. Conclusions. The materials presented in the article expand the arsenal of knowledge regarding the specifics of the Roma national culture represented by means of musical, stage, choreographic, and screen art; enable their use in educational courses, creation of educational and methodical literature on history, theory and practice of culture, music, theatre, choreographic, cinema, television, directing.\u0000 ","PeriodicalId":510501,"journal":{"name":"NATIONAL ACADEMY OF MANAGERIAL STAFF OF CULTURE AND ARTS HERALD","volume":"33 4","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140695674","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}

{"title":"Features of Spain's Foreign Cultural Policy","authors":"Liudmyla Doskich","doi":"10.32461/2226-3209.1.2024.302032","DOIUrl":"https://doi.org/10.32461/2226-3209.1.2024.302032","url":null,"abstract":"The purpose of the study is to determine the conceptual features of Spain's foreign cultural policy based on the analysis of legal documents and communication activities of cultural institutions. Research methodology. The most important results were the generalisation and systematisation of facts based on various documents, the study of which was carried out with the help of cognitive and content analysis. The institutional and communication approach helped to consider the system of foreign cultural diplomacy based on the presentation of the activities of a number of relevant organizations using the structural-functional method. The scientific novelty of the study consists in the analysis of the experience of Spain's implementation of the main principles of foreign cultural policy. Conclusions. Currently, in relation to foreign cultural policy, Spain adheres to European principles: the country has a fairly developed legal framework and an effective mechanism for promoting its culture. The Spanish experience in the implementation of cultural policy is not unique, but it can be considered successful, in particular with regard to the creation of separate institutions, the main activity of which is aimed exclusively at promoting information about the country, its history, culture, and language. Official documents outline the significance of the country's foreign cultural policy as an independent direction of activity. The analysis of documents also makes it possible to follow the evolution in the implementation of cultural policy and its impact on various spheres of society, the effectiveness and success of its provisions. The stages of the formation of the cultural sector as an independent one, in accordance with the adopted documents and the activities of the institutions, testify to the relationship between them and the continuity of the principles on which they are based.\u0000 ","PeriodicalId":510501,"journal":{"name":"NATIONAL ACADEMY OF MANAGERIAL STAFF OF CULTURE AND ARTS HERALD","volume":"62 S285","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140694567","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}

{"title":"Comprehending \"Strict Style\" in the Process of Forming Ukrainian Unofficial Art","authors":"Iryna SOLIARSKA-KOMARCHUK","doi":"10.32461/2226-3209.1.2024.302075","DOIUrl":"https://doi.org/10.32461/2226-3209.1.2024.302075","url":null,"abstract":"The purpose of the study is to reconsider the “strict style” beyond the narrative of the “Soviet art” and to identify those characteristics that allowed individual artists from Ukraine, Estonia, Latvia, and Armenia to return to the national artistic tradition and find their own creative language that did not coincide with the values of the totalitarian system. The research methods are based on the fundamental principles of art historical analysis with the involvement of interdisciplinary connections (philosophy, history) to identify the innovative features of the “strict style” as the first important step for the emergence of the art of the “dissenters”. The comparative method is used to identify the differences in regional manifestations of the “strict style” based on the national artistic traditions of Ukraine, Estonia, Latvia, and Armenia. The systematic-analytical method is used to highlight the influence of the Khrushchev Thaw on the formation of new worldview values among the creative youth of the post-war period of the 1946s-1955s. The scientific novelty of the study is to identify the plot, plastic, and compositional characteristics of the “strict style” that became the reason for some national artists to search for national artistic traditions and interpret them using their own experience and artistic and figurative language. Conclusions. When comprehending the significance of the “strict style”, one should note its importance for the beginnings of the revival of Ukraine's artistic traditions, which soon led to the emergence of “unofficial” art. While its founders, Russian artists, sought to convey the feat of labour of the Soviet man, our individual artists were able to demonstrate the difficult fates and tragedies of their own people (I.-V. Zadorozhnyi), moreover, using the techniques and imagery of avant-garde artists in their artistic language. The national artistic experience of the 1920s and early 1930s prompted them to revive and rethink their own heritage. The subjects, techniques of transmission, and compositional features were similar among the representatives of the “strict style”, but the peculiar artistic thinking based on the worldview of their people made some national artists, as well as their colleagues from Estonia, Latvia, and Armenia, interpret the reality of their countrymen differently.\u0000 ","PeriodicalId":510501,"journal":{"name":"NATIONAL ACADEMY OF MANAGERIAL STAFF OF CULTURE AND ARTS HERALD","volume":"76 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140694821","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}

{"title":"Evolution of Chinese Instrumental and Performing School of the 20th – Early 21st Century","authors":"Sisi Zhu","doi":"10.32461/2226-3209.1.2024.302106","DOIUrl":"https://doi.org/10.32461/2226-3209.1.2024.302106","url":null,"abstract":"The purpose of the work is to determine the prerequisites and evolutionary processes of the development of the instrumental and performing school in China in the 20th – early 21st centuries. Research methods are based on cultural, historical, comparative approaches based on the principles of knowledge of nature and society. The scientific novelty consists in determining the prerequisites and development of the instrumental and performing school in China, as well as comparing the genres and features of their interaction, which contributed to the formation of new forms of music making. Conclusions. Based on the historical and musicological analysis of the evolution of instrumental and performing arts in China in the 20th and early 21st centuries, it is stated that the development of the phenomenon under study is inseparable from a comprehensive artistic process that covers the entire range of existing genres and forms. At the beginning of the 21st century, Chinese musical culture in general, and its instrumental and performing segment in particular, became an integral part of global musical development, influencing the course of evolution of world musical art. The conducted analysis made it possible to state the rapid growth of all aspects of the instrumental and performing school of the People's Republic of China, the powerful strengthening of the material base, the expansion of the field of education and popularisation of music, the improvement of the quality of training of performing personnel both in China and through the training of Chinese musicians abroad.\u0000 ","PeriodicalId":510501,"journal":{"name":"NATIONAL ACADEMY OF MANAGERIAL STAFF OF CULTURE AND ARTS HERALD","volume":"81 5","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140695417","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}

{"title":"Classicism Style in Mural Painting of Kyiv-Pechersk Lavra Churches","authors":"Maryna Bardik","doi":"10.32461/2226-3209.1.2024.302062","DOIUrl":"https://doi.org/10.32461/2226-3209.1.2024.302062","url":null,"abstract":"The purpose of the article is to study the features of the classicism style in mural paintings of the Kyiv-Pechersk Lavra churches. The research methodology based on the complex using of historical and cultural analysis, art study one, biographical method. The scientific novelty of the study. The implementation of the classicism style in the mural painting of the Kyiv-Pechersk Lavra is discovered. The archival descriptions of murals, photos, cartograms have been put into scientific circulation. On the basis of records, the stylistic signs of classicism in the mural paintings of the side-altar of the St. apostle and evangelist John the Theologian of the Great Church and the interior of the Church of Nativity of the Most Holy Theotokos have been researched. It has been revealed, thanks to which principles of the construction of composition and colour, as well as specific decorative elements classicist mural paintings have been created in the compartments of these churches. On the basis of stylistic analysis and analysis of archival documents, the working hypothesis for the improvement of the attribution of mural painting of the Church of Nativity of the Most Holy Theotokos has been proposed. Its connection with the painting baroque decoration of the Great Church (Dormition Cathedral) has been observed. Conclusions. The classicism style was represented in the mural painting of the Kyiv-Pechersk Lavra churches in the 19th century. The murals of the side-altar of the St. Apostle and evangelist John the Theologian of the Great Church and the interior of the Church of Nativity of the Most Holy Theotokos were created in the classicism style. The painting decorations of the side-altar and the church were formed on the general principles of classicist composition, such as strict symmetry, a calm and clear rhythm, an ordered structure, and emotional restraint. The artist painted a number of elements of the classicist architecture such as caissons, elements of the Corinthian order, rust, etc. He created the illusion of bas-reliefs and stucco moulding thanks to the use of the grisaille technique. He painted illusory gilt frames of various shapes that bordered the compositions, stylized monochrome ornaments. He chose blue (the symbolic colour of the Theotokos) and shades of gray as dominants for colour. The analysis of the artistic style and records made it possible to propose the working hypothesis regarding the authorship and time of creation the murals of the Church of Nativity of the Most Holy Theotokos. They were painted, as well as murals of the side-altar of the St. Apostle John the Theologian by Kornilii Voloshynov during 1837–1838. In the mural painting of the church, in the plots and locations of the compositions there were borrowings from the baroque decoration of the Church (Dormition Cathedral).\u0000 ","PeriodicalId":510501,"journal":{"name":"NATIONAL ACADEMY OF MANAGERIAL STAFF OF CULTURE AND ARTS HERALD","volume":"33 18","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140696716","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}

{"title":"Romanticised image of Esmeralda in the European painting of the 19th century","authors":"Svitlana Oborska","doi":"10.32461/2226-3209.1.2024.302072","DOIUrl":"https://doi.org/10.32461/2226-3209.1.2024.302072","url":null,"abstract":"The purpose of the article is to analyse the romanticised artistic image of Esmeralda in the works of nineteenth-century artists – one of the key characters of Victor Hugo’s novel Notre Dame de Paris (1831) as a typical example of French literature of the Romantic period. This work is characterised by grotesqueness, hyperbole, conflict, and a tendency to dramatic moments in the plot construction, which is embodied in the figure of Esmeralda, a freedom-loving and charismatic Roma dancer. As a symbol of the two fundamental vectors of social development, which consisted in the struggle between good and evil, she captured the imagination of nineteenth-century artists, encouraging them to develop creatively and convey their feelings through visual tools in a romantic and realistic way. To this end, the following research methods were used: the historical method, which allowed to conduct study in accordance with the period of writing the novel and the works of art; the comparative method for comparing works of art united by a common storyline; the art historical analysis for establishing a number of stylistic and compositional features of each work. The scientific novelty is that for the first time a number of nineteenth-century paintings depicting the heroine of Notre Dame de Paris, Esmeralda, has been classified. The criterion for this selection was visual poetisation of the image of Esmeralda. Conclusions. The analysis of works by William-Adolphe Bouguereau, William Gale, Eugene Henry, Friedrich Kraus, Joseph van Lerius, Lionel Royer, Carl Steuben proves the attention of these and other artists to the figure of Esmeralda from Victor Hugo’s novel Notre Dame de Paris. In the analysed paintings, the image of Esmeralda reflects the key features of the romantic worldview: the cult of feelings, attention to inner experiences of an individual, fascination with demonic female images, among others. The pictorial interpretations of Esmeralda’s image by Romantic artists allow us to better understand the plot trends inherent in the Romantic period, and also to depict the external and internal beauty of women in the trends of Realism.\u0000 ","PeriodicalId":510501,"journal":{"name":"NATIONAL ACADEMY OF MANAGERIAL STAFF OF CULTURE AND ARTS HERALD","volume":"1 11","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140695826","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}