Pub Date : 2019-01-01DOI: 10.17721/ucs.2019.2(5).12
G. Bayadyan
The article discusses the ideological, social and cultural conditions that made possible the formation and development of "rabiz," a form of ur- ban musical folklore, in the 1960s. Rabiz is described as an undesired result of the Socialist modernization process. It had received certain im- portant aspects from the preserved forms of pre-Soviet urban culture but for some of its key features owes to the soviet cultural policy of the 1930s and the socio-cultural tendencies of the Soviet Armenia of the 1960s and 1970s. Rabiz was a side effect of the industrialization and urbanization of the 60s and was then radically transformed and degraded during the process of post-Soviet deindustrialization.
{"title":"RABIZ: THE UNINTENDED CHILD OF 1960S' URBAN CULTURE","authors":"G. Bayadyan","doi":"10.17721/ucs.2019.2(5).12","DOIUrl":"https://doi.org/10.17721/ucs.2019.2(5).12","url":null,"abstract":"The article discusses the ideological, social and cultural conditions that made possible the formation and development of \"rabiz,\" a form of ur- ban musical folklore, in the 1960s. Rabiz is described as an undesired result of the Socialist modernization process. It had received certain im- portant aspects from the preserved forms of pre-Soviet urban culture but for some of its key features owes to the soviet cultural policy of the 1930s and the socio-cultural tendencies of the Soviet Armenia of the 1960s and 1970s. Rabiz was a side effect of the industrialization and urbanization of the 60s and was then radically transformed and degraded during the process of post-Soviet deindustrialization.","PeriodicalId":52653,"journal":{"name":"Ukrayins''ki kul''turologichni studiyi","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67441319","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 : 2019-01-01DOI: 10.17721/ucs.2019.2(5).15
A. B. Mishustina
The article is devoted to the analysis of the audience practices of the TV series as a type of visual culture of Postmodern. Parameters of the transformation of Modern visual practices in the context of the series presenting as a culture industry and their role in changing the anthropological model are considered. The significance of the consumption of TV series as a type of postmodern cultural industry, which produces a human as a TV series-viewer, is postulated. Such visual means of the serial industry as spoilers, suspense, Easter eggs, which are producing postmodernist types of visual interactivity, are revealed. Appealing to the basic concepts of postmodernist philosophy allows the author to research the following transformations of the audience practices connected to the TV series: fragmentation as opposed to a consistent and complete system as a modern form of hierarchy, speaking out against the conventional authorities – the "death of the author", irony, equal game-like participation of both authors and consumers. The basic characteristics of Postmodern culture are represented by an analysis of the works of such authors as U. Eko, I. Hasan, T. Adorno and M. Horkheimer, Z. Bauman, J. Baudrillard, S. Lash, F. Jameson, M. Foucault, P. Bourdieu, J. Liotard. The study of the series is a productive area of scientific research in the field of humanitarian knowledge as foreign (J. Mittell, M. Fleisfeder, M. Voitin, V. Kurinny, A. Khitrov, K. Pevzner, O. Akopov, N. Zakharchenko, I. Tuzovsky, Y. Belenkiy), as well as domestic (M. Sobutsky, L. Voznesensky, and others) researchers who consider this concept in various aspects. Postmodern, producing a new cultural product – a series, and even the production of a new cultural industry for the production of serials is not only limited to the industrialization of culture, but is carried out as a culture of industry – the viewer of the series is produced as a postmodern anthropological model. In this way, the "social implosion" is carried out – since the type of production of the new anthropological model does not become discursive and disciplinary practices (purely social instruments of human production, that is, a direct type of influence of a person on the person, or only through the medium of knowledge), and their own cultural anthropologies of anthropology are formed. models as a (global) cultural industry (the series itself).
本文分析了作为一种后现代视觉文化的电视剧的受众实践。在作为文化产业呈现的系列背景下，现代视觉实践的转型参数及其在改变人类学模型中的作用被考虑。电视剧消费作为一种后现代文化产业，其意义在于产生一个作为电视剧观众的人。剧透、悬疑、彩蛋等系列产业的视觉手段正在产生后现代主义的视觉互动。借助后现代主义哲学的基本概念，作者可以研究与电视剧相关的观众实践的以下转变:作为一种现代形式的等级制度的一致和完整系统的碎片化，对传统权威的反对-“作者的死亡”，讽刺，作者和消费者的平等游戏式参与。后现代文化的基本特征是通过对埃科、哈桑、阿多诺、霍克海默、鲍曼、鲍德里亚、拉什、詹姆逊、福柯、布迪厄、利奥塔等作家的作品的分析来体现的。对该系列的研究是人道主义知识领域科学研究的一个富有成效的领域，国外(J. Mittell, M. Fleisfeder, M. Voitin, V. Kurinny, a . Khitrov, K. Pevzner, O. Akopov, N. Zakharchenko, I. Tuzovsky, Y. Belenkiy)以及国内(M. Sobutsky, L. Voznesensky等)研究人员从各个方面考虑了这一概念。后现代，生产一种新的文化产品——连续剧，甚至生产一种新的文化产业，对于连续剧的生产不仅局限于文化的工业化，而是作为一种文化产业进行的——连续剧的观者被生产作为一种后现代的人类学模式。以这种方式，“社会内爆破”得以实现——因为新人类学模型的生产类型没有成为话语和学科实践(人类生产的纯粹社会工具，即一个人对另一个人的直接影响类型，或仅通过知识的媒介)，它们自己的人类学文化人类学形成了。模特作为(全球)文化产业(系列本身)。
{"title":"AUDIENCE PRACTICIES OF THE TV SERIES CONSUMPTION","authors":"A. B. Mishustina","doi":"10.17721/ucs.2019.2(5).15","DOIUrl":"https://doi.org/10.17721/ucs.2019.2(5).15","url":null,"abstract":"The article is devoted to the analysis of the audience practices of the TV series as a type of visual culture of Postmodern. Parameters of the transformation of Modern visual practices in the context of the series presenting as a culture industry and their role in changing the anthropological model are considered. The significance of the consumption of TV series as a type of postmodern cultural industry, which produces a human as a TV series-viewer, is postulated. Such visual means of the serial industry as spoilers, suspense, Easter eggs, which are producing postmodernist types of visual interactivity, are revealed. Appealing to the basic concepts of postmodernist philosophy allows the author to research the following transformations of the audience practices connected to the TV series: fragmentation as opposed to a consistent and complete system as a modern form of hierarchy, speaking out against the conventional authorities – the \"death of the author\", irony, equal game-like participation of both authors and consumers. The basic characteristics of Postmodern culture are represented by an analysis of the works of such authors as U. Eko, I. Hasan, T. Adorno and M. Horkheimer, Z. Bauman, J. Baudrillard, S. Lash, F. Jameson, M. Foucault, P. Bourdieu, J. Liotard. The study of the series is a productive area of scientific research in the field of humanitarian knowledge as foreign (J. Mittell, M. Fleisfeder, M. Voitin, V. Kurinny, A. Khitrov, K. Pevzner, O. Akopov, N. Zakharchenko, I. Tuzovsky, Y. Belenkiy), as well as domestic (M. Sobutsky, L. Voznesensky, and others) researchers who consider this concept in various aspects. Postmodern, producing a new cultural product – a series, and even the production of a new cultural industry for the production of serials is not only limited to the industrialization of culture, but is carried out as a culture of industry – the viewer of the series is produced as a postmodern anthropological model. In this way, the \"social implosion\" is carried out – since the type of production of the new anthropological model does not become discursive and disciplinary practices (purely social instruments of human production, that is, a direct type of influence of a person on the person, or only through the medium of knowledge), and their own cultural anthropologies of anthropology are formed. models as a (global) cultural industry (the series itself).","PeriodicalId":52653,"journal":{"name":"Ukrayins''ki kul''turologichni studiyi","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67441429","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 : 2019-01-01DOI: 10.17721/ucs.2019.2(5).21
O. Shynkarenko
{"title":"REVIEW OF THE MONOGRAPH BY MASLIKOVA IRYNA \"IN SEARCH OF THE COMMON GOOD: ETHICAL COLLISION OF SOCIAL PRACTICES\" (K.: MILLENNIUM, 2018. – 338 PP.)","authors":"O. Shynkarenko","doi":"10.17721/ucs.2019.2(5).21","DOIUrl":"https://doi.org/10.17721/ucs.2019.2(5).21","url":null,"abstract":"","PeriodicalId":52653,"journal":{"name":"Ukrayins''ki kul''turologichni studiyi","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67442194","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 : 2019-01-01DOI: 10.17721/ucs.2019.1(4).03
O. Pavlova
The article is devoted to analyze of the signification mode of symbolic architecture. An attempt is carried out to detect the difference between the symbolic form of the ritual and the symbolic architecture, as well as the semantic shift that this distinction causes the organization of symbols to generate. Application of strategies of semantic analysis to the material of aesthetics G. Hegel allows not only to expand the horizons of applied semantics, but also to understand the patterns of formation of artistic culture and aesthetic process in general. Using strategies of semantic analy- sis to the material of G. Hegel’s aesthetics allows not only to expand the horizons of applied semantics, but also to understand the patterns of formation of art and aesthetic process in general. Symbolic architecture does not serve anything, in contrast to the functional one. It is self-sufficient in the sense of human self-production as a cultural entity in the process of the signification regime reorganizing of early forms of culture and the implementation of the semantic shift of the Neolithic revolution. Self-sufficient architecture has such irrationally gigantic sizes, since the form of monumentality was designed to "localize the Numinous". The sav- age efforts of the cyclopean clutches were a kind of Potlatch, curbing the evil force of the "The Accursed Share", reducing the conflict potential of the community, whose conditions of survival were changing in the agrarian wave movement. The gift magic could no longer cope with the new situation, and therefore the sacrifice of production time, and just the human sacrifice (René Girard), was the answer to the new civilization challenge. Nevertheless, the monumental architecture remained a signification mod of symbolism. After all, the latter was a non-differentiation of material, cultural and social, as well as production-consumption-pleasure. That was, self-sufficient architecture was a cultural practice of mimetic restoration of itself (without primacy of contemplation). What actually was expressed in the semantic shift of the symbolic order, which did not involve poly-ontology, the presence of the referent. It was not a reflection, but part of the very action mode. The special part that concentrated, localized the scattered sacred in the pre-civilization state of affairs. The semantic shift manifested itself in another way of organizing the very symbol, primarily in another dominant order of signs. After all, symbolic architecture is still syncretic cultural prac- tice, but which itself was the medium of other cultural practices. The development of symbolic architecture became a basic ritual that pro- vided a balance of other cultural practices.
{"title":"SEMANTIC SHIFT FUNCTIONAL ARCHITECTURE (part 1)","authors":"O. Pavlova","doi":"10.17721/ucs.2019.1(4).03","DOIUrl":"https://doi.org/10.17721/ucs.2019.1(4).03","url":null,"abstract":"The article is devoted to analyze of the signification mode of symbolic architecture. An attempt is carried out to detect the difference between the symbolic form of the ritual and the symbolic architecture, as well as the semantic shift that this distinction causes the organization of symbols to generate. Application of strategies of semantic analysis to the material of aesthetics G. Hegel allows not only to expand the horizons of applied semantics, but also to understand the patterns of formation of artistic culture and aesthetic process in general. Using strategies of semantic analy- sis to the material of G. Hegel’s aesthetics allows not only to expand the horizons of applied semantics, but also to understand the patterns of formation of art and aesthetic process in general. Symbolic architecture does not serve anything, in contrast to the functional one. It is self-sufficient in the sense of human self-production as a cultural entity in the process of the signification regime reorganizing of early forms of culture and the implementation of the semantic shift of the Neolithic revolution. Self-sufficient architecture has such irrationally gigantic sizes, since the form of monumentality was designed to \"localize the Numinous\". The sav- age efforts of the cyclopean clutches were a kind of Potlatch, curbing the evil force of the \"The Accursed Share\", reducing the conflict potential of the community, whose conditions of survival were changing in the agrarian wave movement. The gift magic could no longer cope with the new situation, and therefore the sacrifice of production time, and just the human sacrifice (René Girard), was the answer to the new civilization challenge. Nevertheless, the monumental architecture remained a signification mod of symbolism. After all, the latter was a non-differentiation of material, cultural and social, as well as production-consumption-pleasure. That was, self-sufficient architecture was a cultural practice of mimetic restoration of itself (without primacy of contemplation). What actually was expressed in the semantic shift of the symbolic order, which did not involve poly-ontology, the presence of the referent. It was not a reflection, but part of the very action mode. The special part that concentrated, localized the scattered sacred in the pre-civilization state of affairs. The semantic shift manifested itself in another way of organizing the very symbol, primarily in another dominant order of signs. After all, symbolic architecture is still syncretic cultural prac- tice, but which itself was the medium of other cultural practices. The development of symbolic architecture became a basic ritual that pro- vided a balance of other cultural practices.","PeriodicalId":52653,"journal":{"name":"Ukrayins''ki kul''turologichni studiyi","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67439197","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 : 2019-01-01DOI: 10.17721/ucs.2019.1(4).12
I. V. Narskiy
Over the decades, starting from the late 1930’s, soviet journalistic reportage about professional and mainly amateur folk dance groups from central European regions of the USSR and Siberia, Ukraine, Transcaucasia and other parts of the Soviet Union were full of reports about choreog- raphers’ "ethnographic expeditions" down the country and their desire to "learn from the people" dance technique. Why did "field collection" of the choreographic material hold a prominent place and deserve special mention in the stories about amateur folk dance arts? Weren’t numerous stories about folk trips the invention? In the article subsequent steps are undertaken to answer these questions. Firstly, the place of amateur dance art performance in the official soviet culture and the specialists’ role of choreographic business in its development are out- lined. Secondly, there is an explanation of reasons of author’s doubts in authenticity of soviet choreographers’ numerous stories about "going to the people". Thirdly, the art of dancing soviet experts’ motives, that frequently inspired them to the fictional stories about the collection of choreographic folklore are explained. Therefore, it makes an attempt to renew folk dance soviet specialists’ logic of notion about the subject of their passion, liking and professional activities. In the issue the author comes to the conclusion that ritualized stories about the analysis of folk sources by choreographer-directors were the significant argument in corroboration of "folk roots" of the soviet choreographic creative work. As the result, in the soviet discourse of folk dance the stories about choreographic "going to the people" paradoxically made instrumentalization of fiction in substantiation of "authenticity".
{"title":"FICTION IN \"AUTHENTICITY\" SUBSTANTIATION: HOW THE SOVIET CHOREOGRAPHERS SUBSTANTIATED FOLK CHARACTER OF THEIR WORKS","authors":"I. V. Narskiy","doi":"10.17721/ucs.2019.1(4).12","DOIUrl":"https://doi.org/10.17721/ucs.2019.1(4).12","url":null,"abstract":"Over the decades, starting from the late 1930’s, soviet journalistic reportage about professional and mainly amateur folk dance groups from central European regions of the USSR and Siberia, Ukraine, Transcaucasia and other parts of the Soviet Union were full of reports about choreog- raphers’ \"ethnographic expeditions\" down the country and their desire to \"learn from the people\" dance technique. Why did \"field collection\" of the choreographic material hold a prominent place and deserve special mention in the stories about amateur folk dance arts? Weren’t numerous stories about folk trips the invention? In the article subsequent steps are undertaken to answer these questions. Firstly, the place of amateur dance art performance in the official soviet culture and the specialists’ role of choreographic business in its development are out- lined. Secondly, there is an explanation of reasons of author’s doubts in authenticity of soviet choreographers’ numerous stories about \"going to the people\". Thirdly, the art of dancing soviet experts’ motives, that frequently inspired them to the fictional stories about the collection of choreographic folklore are explained. Therefore, it makes an attempt to renew folk dance soviet specialists’ logic of notion about the subject of their passion, liking and professional activities. In the issue the author comes to the conclusion that ritualized stories about the analysis of folk sources by choreographer-directors were the significant argument in corroboration of \"folk roots\" of the soviet choreographic creative work. As the result, in the soviet discourse of folk dance the stories about choreographic \"going to the people\" paradoxically made instrumentalization of fiction in substantiation of \"authenticity\".","PeriodicalId":52653,"journal":{"name":"Ukrayins''ki kul''turologichni studiyi","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67439987","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 : 2019-01-01DOI: 10.17721/ucs.2019.2(5).04
V. Panchenko
The article is devoted to analysis of the artistic culturestructure. Artistic culture has developed its main structural elements that provide a certain logic of artistic thinking and artistic creativity and which are the basis of any work of art. These structural elements – rhythm, intonation, metaphor, myth (as a way of action organizing, as a prototype of composition), archetypes and archetypal symbols – are the main artistic means that "work" in all types of art, while defining the specifics (due to their dominance) of the each one of them.
{"title":"METAPHOR AND MYTH AS ELEMENTS OF ARTISTIC-LANGUAGE","authors":"V. Panchenko","doi":"10.17721/ucs.2019.2(5).04","DOIUrl":"https://doi.org/10.17721/ucs.2019.2(5).04","url":null,"abstract":"The article is devoted to analysis of the artistic culturestructure. Artistic culture has developed its main structural elements that provide a certain logic of artistic thinking and artistic creativity and which are the basis of any work of art. These structural elements – rhythm, intonation, metaphor, myth (as a way of action organizing, as a prototype of composition), archetypes and archetypal symbols – are the main artistic means that \"work\" in all types of art, while defining the specifics (due to their dominance) of the each one of them.","PeriodicalId":52653,"journal":{"name":"Ukrayins''ki kul''turologichni studiyi","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67440604","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 : 2019-01-01DOI: 10.17721/ucs.2019.2(5).19
A. Tormakhova
The aim of the article is to highlight the actual trends associated with architectural construction and identify ways of forming a visual image of a modern city. The solution to this goal involves not only the analysis of certain unique architectural structures, but also the outline of the existing visual practices in the city which correlate with the urban landscape. The research methodology is connected with the use of the method of synthe- sis, the use of tools of cultural analysis. The most extraordinary buildings are rarely residential buildings, much more often they are intended for public use. Their very essence is con- nected with publicity and attraction of a considerable quantity of visitors, tourists. These can be museums, libraries, concert halls, stadiums, shop- ping malls. In addition to these structures, extremely impressive structures are created in the field of transport – bridges, railway stations. The re- equipment of old objects and the creation of new ones becomes such that necessarily creates an occasion for communication, becoming a part of the media. In architecture there is a desire to circumvent the principle of statics that was inherent to it. Manifestations of this tendency in architecture were attempts to "revitalize" the building, giving them mobility through structures that visually convey the idea of fluidity (asymmetric structures, often deprived of straight angles with the prevalence of rounded parts). Creating the effect of architectural variability arises not only at the expense of innovative constructions, but also due to the equipment of the buildings by media facades, which perform as a purely aesthetic and advertising function, providing the opportunity to represent buildings in fundamentally different visual images. Scientific novelty consists in highlighting the specifics of architectural constructions claiming the status of "art" and visual practices that in- teract with them directly. The conclusion is made about the transformation of a modern city. The practical significance of the study is that features of the development of modern architectural constructions are presented and the factors influencing the formation of the visual image of the city are highlighted.
{"title":"MODERN ARCHITECTURE AND VISUAL IMAGE OF THE CITY","authors":"A. Tormakhova","doi":"10.17721/ucs.2019.2(5).19","DOIUrl":"https://doi.org/10.17721/ucs.2019.2(5).19","url":null,"abstract":"The aim of the article is to highlight the actual trends associated with architectural construction and identify ways of forming a visual image of a modern city. The solution to this goal involves not only the analysis of certain unique architectural structures, but also the outline of the existing visual practices in the city which correlate with the urban landscape. The research methodology is connected with the use of the method of synthe- sis, the use of tools of cultural analysis. The most extraordinary buildings are rarely residential buildings, much more often they are intended for public use. Their very essence is con- nected with publicity and attraction of a considerable quantity of visitors, tourists. These can be museums, libraries, concert halls, stadiums, shop- ping malls. In addition to these structures, extremely impressive structures are created in the field of transport – bridges, railway stations. The re- equipment of old objects and the creation of new ones becomes such that necessarily creates an occasion for communication, becoming a part of the media. In architecture there is a desire to circumvent the principle of statics that was inherent to it. Manifestations of this tendency in architecture were attempts to \"revitalize\" the building, giving them mobility through structures that visually convey the idea of fluidity (asymmetric structures, often deprived of straight angles with the prevalence of rounded parts). Creating the effect of architectural variability arises not only at the expense of innovative constructions, but also due to the equipment of the buildings by media facades, which perform as a purely aesthetic and advertising function, providing the opportunity to represent buildings in fundamentally different visual images. Scientific novelty consists in highlighting the specifics of architectural constructions claiming the status of \"art\" and visual practices that in- teract with them directly. The conclusion is made about the transformation of a modern city. The practical significance of the study is that features of the development of modern architectural constructions are presented and the factors influencing the formation of the visual image of the city are highlighted.","PeriodicalId":52653,"journal":{"name":"Ukrayins''ki kul''turologichni studiyi","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67441975","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 : 2019-01-01DOI: 10.17721/ucs.2019.2(5).02
M. I. Korobko
The article gives an overview of the ideology of libertarianism. The purpose of the article is analyzing the main ideas of the libertarian move- ment and how they relate to the philosophy of Ayn Rand's objectivism. The essence of this ideological and political direction can not be imagined without the philosophical work of American writer Ayn Rand. The main idea of libertarians is to uphold market freedoms and to object to redistribu- tion through taxation to implement the liberal theory of equality. This movement gets its modern meaning in the late 30's and early 40's of the twen- tieth century in the United States, when enough opponents of the New Deal policy of US President F. Roosevelt appeared. Ayn Rand was one of the first to support libertarians, but later she began to distance herself from them for a variety of reasons, both personal and philosophical. In Ukraine today, this movement has gained popularity due to the ideological direction of the political party "Servant of the People". Today, members of the libertarian political movement are engaged in promoting and spreading the ideas of "objectivism" among the masses in the United States. This movement, which took classical liberal theory as a basis, originated in the American tradition of individualism as a result of dissatisfaction with the transformation of the liberal idea in the practice of political liberalism toward socialism and developed into a sufficiently strong political flow. Ayn Rand's achievements do not lose their relevance in times of global crisis as a means of overcoming the state of despair. It inspires hope that man himself can achieve a happy life unlike most modern ethical theories that cannot refute a person's ultimate dependence as a small screw in the world mechanism. But the ideology of libertarianism, inspired by the American writer, though tempting uninformed people with their possible "independence" of society from the state machine, still remains a rather ambiguous political ideology.
{"title":"LIBERTARIANISM AND AYN RAND'S PHILOSOPHY OF OBJECTIVISM","authors":"M. I. Korobko","doi":"10.17721/ucs.2019.2(5).02","DOIUrl":"https://doi.org/10.17721/ucs.2019.2(5).02","url":null,"abstract":"The article gives an overview of the ideology of libertarianism. The purpose of the article is analyzing the main ideas of the libertarian move- ment and how they relate to the philosophy of Ayn Rand's objectivism. The essence of this ideological and political direction can not be imagined without the philosophical work of American writer Ayn Rand. The main idea of libertarians is to uphold market freedoms and to object to redistribu- tion through taxation to implement the liberal theory of equality. This movement gets its modern meaning in the late 30's and early 40's of the twen- tieth century in the United States, when enough opponents of the New Deal policy of US President F. Roosevelt appeared. Ayn Rand was one of the first to support libertarians, but later she began to distance herself from them for a variety of reasons, both personal and philosophical. In Ukraine today, this movement has gained popularity due to the ideological direction of the political party \"Servant of the People\". Today, members of the libertarian political movement are engaged in promoting and spreading the ideas of \"objectivism\" among the masses in the United States. This movement, which took classical liberal theory as a basis, originated in the American tradition of individualism as a result of dissatisfaction with the transformation of the liberal idea in the practice of political liberalism toward socialism and developed into a sufficiently strong political flow. Ayn Rand's achievements do not lose their relevance in times of global crisis as a means of overcoming the state of despair. It inspires hope that man himself can achieve a happy life unlike most modern ethical theories that cannot refute a person's ultimate dependence as a small screw in the world mechanism. But the ideology of libertarianism, inspired by the American writer, though tempting uninformed people with their possible \"independence\" of society from the state machine, still remains a rather ambiguous political ideology.","PeriodicalId":52653,"journal":{"name":"Ukrayins''ki kul''turologichni studiyi","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67440751","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 : 2019-01-01DOI: 10.17721/ucs.2019.1(4).10
I. V. Zhyvohliadova
The article analyzes the specificity of revealing anthropo-creative principles of European culture as a musical practice of humanity. If we under- stand culture as a source, space, and the result of the spiritually-practical experience of mankind, then music appears as a specific, holistic system of specification and representation of this experience, a phenomenon that reflected the uniqueness and depth of the humanity world, a specifically sensual way of joining an intersubjective experience of rhythmization and harmonization of the human being. The expressive possibilities of lan- guage means of music art are considered in the context of the overall process of making a musical sound of human living space, the development of artistic practices of worldview and the world perception of medieval Christian culture in particular.
{"title":"MUSICAL CREATION OF \"HUMAN\" AS A SENSE-MAKING SENSUOUS WAY OF FORMING A CULTURAL SPACE","authors":"I. V. Zhyvohliadova","doi":"10.17721/ucs.2019.1(4).10","DOIUrl":"https://doi.org/10.17721/ucs.2019.1(4).10","url":null,"abstract":"The article analyzes the specificity of revealing anthropo-creative principles of European culture as a musical practice of humanity. If we under- stand culture as a source, space, and the result of the spiritually-practical experience of mankind, then music appears as a specific, holistic system of specification and representation of this experience, a phenomenon that reflected the uniqueness and depth of the humanity world, a specifically sensual way of joining an intersubjective experience of rhythmization and harmonization of the human being. The expressive possibilities of lan- guage means of music art are considered in the context of the overall process of making a musical sound of human living space, the development of artistic practices of worldview and the world perception of medieval Christian culture in particular.","PeriodicalId":52653,"journal":{"name":"Ukrayins''ki kul''turologichni studiyi","volume":"15 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67439787","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 : 2019-01-01DOI: 10.17721/ucs.2019.2(5).01
H. Vdovychenko
The article classifies and highlights three stages spanning the last hundred years – pre-Soviet, Soviet and post-Soviet, of research and mythol- ogization of the life and creation of P.Tychyna, using the example of studying the philosophical attitudes of his early work in the Ukrainian state, the Ukrainian SSR, Ukraine and abroad. The specifics of the formation of the mentioned stages during 1918 – 2019 were systematically considered on materials, including little-known, studies of more than fifty representatives of domestic and foreing tychynology, as well as a wide range of materi- als of the poetic, prosaic, scientific-journalistic and epistolary heritage of P. Tychyna and his contemporary colleagues. In the context of this review an attempt was made of critical interdisciplinary analysis – cultural and philosophical and literary, of the ideological foundations and the results of the modernist and postmodern mythologization of the early creativity of P. Tychyna as the leading creator and symbol of Ukrainian Modernist and Socialist-Realistic literature and, in general, cultural development. The article identifies three leading aspects of defining and studying the philosophical foundations of P. Tychyna's early work in the twentieth – early twenty first centuries: 1) the absence of the formulation and systematic development of the topic in P. Tychyna studies, except for the initial attempts at each of its stages, so far; 2) the narrow specialty of individual attempts at such research, first of all, almost entirely literary or linguistic, but not professional philosophical and cultural philosophical; 3) the dominant conditionality of the major achievements of almost all of these studies, mainly the Soviet period, the political environment of the development of national humanities and, as a consequence, the consistent isolationist-Soviet-anti-European mythology of P. Tychyna's creative figure and heritage. In view of this, the development of this topic in the context of an interdisciplinary, critically-demythologizing scientific search, formed in the contemporary P. Tychyna studies, has been identified as promising.
{"title":"PHILOSOPHICAL ATTITUDES OF THE EARLY WORKS OF P. TYCHYNA AS AN OBJECT OF MODERNIST-POSTMODERN MYTH CREATION","authors":"H. Vdovychenko","doi":"10.17721/ucs.2019.2(5).01","DOIUrl":"https://doi.org/10.17721/ucs.2019.2(5).01","url":null,"abstract":"The article classifies and highlights three stages spanning the last hundred years – pre-Soviet, Soviet and post-Soviet, of research and mythol- ogization of the life and creation of P.Tychyna, using the example of studying the philosophical attitudes of his early work in the Ukrainian state, the Ukrainian SSR, Ukraine and abroad. The specifics of the formation of the mentioned stages during 1918 – 2019 were systematically considered on materials, including little-known, studies of more than fifty representatives of domestic and foreing tychynology, as well as a wide range of materi- als of the poetic, prosaic, scientific-journalistic and epistolary heritage of P. Tychyna and his contemporary colleagues. In the context of this review an attempt was made of critical interdisciplinary analysis – cultural and philosophical and literary, of the ideological foundations and the results of the modernist and postmodern mythologization of the early creativity of P. Tychyna as the leading creator and symbol of Ukrainian Modernist and Socialist-Realistic literature and, in general, cultural development. The article identifies three leading aspects of defining and studying the philosophical foundations of P. Tychyna's early work in the twentieth – early twenty first centuries: 1) the absence of the formulation and systematic development of the topic in P. Tychyna studies, except for the initial attempts at each of its stages, so far; 2) the narrow specialty of individual attempts at such research, first of all, almost entirely literary or linguistic, but not professional philosophical and cultural philosophical; 3) the dominant conditionality of the major achievements of almost all of these studies, mainly the Soviet period, the political environment of the development of national humanities and, as a consequence, the consistent isolationist-Soviet-anti-European mythology of P. Tychyna's creative figure and heritage. In view of this, the development of this topic in the context of an interdisciplinary, critically-demythologizing scientific search, formed in the contemporary P. Tychyna studies, has been identified as promising.","PeriodicalId":52653,"journal":{"name":"Ukrayins''ki kul''turologichni studiyi","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67440366","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：