Pub Date : 2023-01-01DOI: 10.17721/ucs.2023.1(12).18
Vasyl Denkovych
The article examines the issue of representation of Ukrainian folk instruments. The symbolic meaning of folk instruments is revealed, the connotations that demonstrate their deep implementation in the practice of creating national culture are highlighted. Such instruments as kobza, bandura, pipe, bugai, trembita are associated with the formation of the ethnic folk complex, which demonstrates the ability to be reincarnated in modern artistic practices. During their existence, they underwent changes in design, gained use in various musical stylistic directions. At the same time, they retained their significance as symbols of Ukrainian culture, independence and national pride. Unique musical instruments-symbols that have signs of belonging to Ukrainian culture and play an important role in the artistic space of today are considered. Their circulation in culture can be considered as a component of the integration of the nation and the connection of traditions and innovations. The analysis of Ukrainian folk instruments reveals their implementation in modern cultural genesis. Various musical instruments were a part of the life of our ancestors, performing various functions – from purely entertaining to communicative and warning. Currently, one can see the process of reviving interest in traditional musical instruments, which is accompanied by the transformation of the practices of their use. At the same time, the appeal to them acts as a factor of referring to the field of symbolic meanings, which these instruments embody, because of their traditional use. The timpani were a military signaling instrument and are currently perceived as a symbol of military life, the thirst for victory. Bandura and kobza, which were a symbol of the Cossacks, came to personify the fight against aggression. The bagpipe and trembita, which were the instruments of shepherds, have become members of modern bands in various stylistic directions, but their importance as carriers of the ethnic culture of Ukrainians is constant. A wider range of imagery and a symbol of national uniqueness are carried by instruments such as trembita and bugai. All of them represent the cultural heritage of Ukraine, demonstrating the ability to integrate and reproduce the nation
{"title":"REPRESENTATION AND SYMBOLISM OF FOLK MUSICAL INSTRUMENTS IN CONTEMPORARY UKRAINIAN NATIONAL CULTURE","authors":"Vasyl Denkovych","doi":"10.17721/ucs.2023.1(12).18","DOIUrl":"https://doi.org/10.17721/ucs.2023.1(12).18","url":null,"abstract":"The article examines the issue of representation of Ukrainian folk instruments. The symbolic meaning of folk instruments is revealed, the connotations that demonstrate their deep implementation in the practice of creating national culture are highlighted. Such instruments as kobza, bandura, pipe, bugai, trembita are associated with the formation of the ethnic folk complex, which demonstrates the ability to be reincarnated in modern artistic practices. During their existence, they underwent changes in design, gained use in various musical stylistic directions. At the same time, they retained their significance as symbols of Ukrainian culture, independence and national pride. Unique musical instruments-symbols that have signs of belonging to Ukrainian culture and play an important role in the artistic space of today are considered. Their circulation in culture can be considered as a component of the integration of the nation and the connection of traditions and innovations. The analysis of Ukrainian folk instruments reveals their implementation in modern cultural genesis. Various musical instruments were a part of the life of our ancestors, performing various functions – from purely entertaining to communicative and warning. Currently, one can see the process of reviving interest in traditional musical instruments, which is accompanied by the transformation of the practices of their use. At the same time, the appeal to them acts as a factor of referring to the field of symbolic meanings, which these instruments embody, because of their traditional use. The timpani were a military signaling instrument and are currently perceived as a symbol of military life, the thirst for victory. Bandura and kobza, which were a symbol of the Cossacks, came to personify the fight against aggression. The bagpipe and trembita, which were the instruments of shepherds, have become members of modern bands in various stylistic directions, but their importance as carriers of the ethnic culture of Ukrainians is constant. A wider range of imagery and a symbol of national uniqueness are carried by instruments such as trembita and bugai. All of them represent the cultural heritage of Ukraine, demonstrating the ability to integrate and reproduce the nation","PeriodicalId":52653,"journal":{"name":"Ukrayins''ki kul''turologichni studiyi","volume":"48 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136306152","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-01DOI: 10.17721/ucs.2023.1(12).01
I. Maslikova
The article analyzes the experience of international cooperation in the field of culture during the Russian-Ukrainian war. Significant achievements in international cooperation by the means of culture resulted in the institutionalization of cultural diplomacy as a tool of the cultural policy of "soft power". Cultural diplomacy includes the exchange of ideas, information, and cultural goods between peoples in order to foster mutual understanding. Thanks to the United24 platform and the Ukrainian Institute, large-scale projects have been implemented last year. These projects aimed at helping victims of war, their rehabilitation, rebuilding cultural infrastructure, Ukraine's involvement in weighty cultural events and processes, and the presentation of Ukrainian culture to the world. Informational, volunteer, rehabilitation, sanctions, diplomatic activities in the field of culture in wartime conditions proved that cultural diplomacy is an effective tool of cultural, humanitarian and security policies. Realization of the main goal of Ukrainian cultural diplomacy – the expansion of Ukraine's recognition abroad is impossible without awareness of the value basis of Ukrainian culture and the belonging of the Ukrainian people to a broad cultural and political context. The issue of the cultural identity of Ukrainians is connected with the colonial past of Ukraine, the aggressive expansion of Russia. The revaluation of the cultural role of Russia gained urgent relevance against the background of the war and, on the one hand, led to the practices of "the cancel culture". This practice is important to ensure that there are no attempts to apparently balance the victims of Ukrainians and Russians in the war, the anonymity of the true victims and the lack of fair retribution for criminals, the silencing of the truth, and war fatigue. On the other hand, such processes aggravated the issue of various "others", who will be able to unite on the basis of a common contemporary Ukrainian culture after the war. Therefore, in order to clarify the specifics of cultural identity, a number of cultural problems arise that require a theoretical solution (the nature of cultural identity, the constitution of cultural subjectivity in the conditions of imperialism and post-colonialism, cultural prejudices, national imagination, "the cancel culture", revaluation of the cultural role of Ukraine). Cultural studies of these issues will strengthen the discussions around the issues of a better political order and the formation of post-colonial cultural policy in Ukraine.
{"title":"INTERNATIONAL COOPERATION IN THE FIELD OF CULTURE UNDER THE CONDITIONS OF THE RUSSIAN-UKRAINIAN WAR: CULTURAL ASPECT","authors":"I. Maslikova","doi":"10.17721/ucs.2023.1(12).01","DOIUrl":"https://doi.org/10.17721/ucs.2023.1(12).01","url":null,"abstract":"The article analyzes the experience of international cooperation in the field of culture during the Russian-Ukrainian war. Significant achievements in international cooperation by the means of culture resulted in the institutionalization of cultural diplomacy as a tool of the cultural policy of \"soft power\". Cultural diplomacy includes the exchange of ideas, information, and cultural goods between peoples in order to foster mutual understanding. Thanks to the United24 platform and the Ukrainian Institute, large-scale projects have been implemented last year. These projects aimed at helping victims of war, their rehabilitation, rebuilding cultural infrastructure, Ukraine's involvement in weighty cultural events and processes, and the presentation of Ukrainian culture to the world. Informational, volunteer, rehabilitation, sanctions, diplomatic activities in the field of culture in wartime conditions proved that cultural diplomacy is an effective tool of cultural, humanitarian and security policies. Realization of the main goal of Ukrainian cultural diplomacy – the expansion of Ukraine's recognition abroad is impossible without awareness of the value basis of Ukrainian culture and the belonging of the Ukrainian people to a broad cultural and political context. The issue of the cultural identity of Ukrainians is connected with the colonial past of Ukraine, the aggressive expansion of Russia. The revaluation of the cultural role of Russia gained urgent relevance against the background of the war and, on the one hand, led to the practices of \"the cancel culture\". This practice is important to ensure that there are no attempts to apparently balance the victims of Ukrainians and Russians in the war, the anonymity of the true victims and the lack of fair retribution for criminals, the silencing of the truth, and war fatigue. On the other hand, such processes aggravated the issue of various \"others\", who will be able to unite on the basis of a common contemporary Ukrainian culture after the war. Therefore, in order to clarify the specifics of cultural identity, a number of cultural problems arise that require a theoretical solution (the nature of cultural identity, the constitution of cultural subjectivity in the conditions of imperialism and post-colonialism, cultural prejudices, national imagination, \"the cancel culture\", revaluation of the cultural role of Ukraine). Cultural studies of these issues will strengthen the discussions around the issues of a better political order and the formation of post-colonial cultural policy in Ukraine.","PeriodicalId":52653,"journal":{"name":"Ukrayins''ki kul''turologichni studiyi","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67445073","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-01DOI: 10.17721/ucs.2023.1(12).07
Svitlana Kholodynska
In the second half of the 20th century, discussions around the understanding of crisis phenomena that permeated all spheres of human life became more frequent, in particular, the spheres of art and aesthetics were also touched upon. The crisis in the artistic sphere was connected with the general cultural crisis of the late 19th and early 20th centuries, the decline of spirituality, and the relativization of values, primarily moral and aesthetic. Analysis of the crisis in the sphere of artistic practice and aesthetics of the 20th century was the subject of scientific research by several representatives of Polish aesthetics of the second half of the 20th century: R. Ingarden, S. Morawski, B. Dziemidok, and others. The primary attention of these thinkers was devoted to the understanding of transformational processes in modern artistic creativity and the analysis of its influence on aesthetics with a clear emphasis on the importance of the axiological perspective. A thorough analysis of the problems of the crisis in artistic creativity and aesthetics of the 20th century can be found in the works of S. Morawski. He studied the causes and consequences of transformations in artistic creativity since the beginning of the 20th century, in particular, the consequences for the formation of the modern axiosphere, and its role in changing modern aesthetic consciousness. However, S. Morawski's prediction regarding the replacement of aesthetics with anti-aesthetics was not confirmed. On the contrary, art that implements aesthetic values has survived, although the range of aesthetic values has increased significantly. Modern philosophy of art is open to the most controversial artistic proposals. This is because it breaks with those normative principles that limit freedom. The most important thing, however, is that normative and descriptive aesthetics always have an axiological character, which all representatives of Polish aesthetics emphasized in the second half of the 20th century.
在20世纪下半叶，围绕着对危机现象的理解的讨论变得更加频繁，渗透到人类生活的各个领域，特别是艺术和美学领域也被触及。艺术领域的危机与19世纪末和20世纪初的普遍文化危机、精神的衰落和价值观的相对化(主要是道德和审美)有关。对20世纪艺术实践和美学领域危机的分析是20世纪下半叶波兰美学的几位代表人物的科学研究主题:R. Ingarden, S. Morawski, B. Dziemidok等人。这些思想家的主要注意力集中在理解现代艺术创作的转变过程和分析其对美学的影响，并明确强调价值论观点的重要性。在莫拉夫斯基的作品中，我们可以找到对20世纪艺术创作和美学危机问题的深入分析。他研究了20世纪初以来艺术创作转型的原因和后果，特别是对现代轴心圈形成的后果，以及它在改变现代审美意识中的作用。然而，S. Morawski关于美学被反美学取代的预言并没有得到证实。相反，实现审美价值的艺术幸存了下来，尽管审美价值的范围大大增加了。现代艺术哲学对最具争议的艺术建议持开放态度。这是因为它打破了那些限制自由的规范原则。然而，最重要的是，规范性和描述性美学始终具有价值论特征，这是20世纪下半叶波兰美学的所有代表所强调的。
{"title":"THE CREATIVE WORK OF BORIS VIAN WITHIN FRENCH HUMANITIES OF THE 1940s–1960s","authors":"Svitlana Kholodynska","doi":"10.17721/ucs.2023.1(12).07","DOIUrl":"https://doi.org/10.17721/ucs.2023.1(12).07","url":null,"abstract":"In the second half of the 20th century, discussions around the understanding of crisis phenomena that permeated all spheres of human life became more frequent, in particular, the spheres of art and aesthetics were also touched upon. The crisis in the artistic sphere was connected with the general cultural crisis of the late 19th and early 20th centuries, the decline of spirituality, and the relativization of values, primarily moral and aesthetic. Analysis of the crisis in the sphere of artistic practice and aesthetics of the 20th century was the subject of scientific research by several representatives of Polish aesthetics of the second half of the 20th century: R. Ingarden, S. Morawski, B. Dziemidok, and others. The primary attention of these thinkers was devoted to the understanding of transformational processes in modern artistic creativity and the analysis of its influence on aesthetics with a clear emphasis on the importance of the axiological perspective. A thorough analysis of the problems of the crisis in artistic creativity and aesthetics of the 20th century can be found in the works of S. Morawski. He studied the causes and consequences of transformations in artistic creativity since the beginning of the 20th century, in particular, the consequences for the formation of the modern axiosphere, and its role in changing modern aesthetic consciousness. However, S. Morawski's prediction regarding the replacement of aesthetics with anti-aesthetics was not confirmed. On the contrary, art that implements aesthetic values has survived, although the range of aesthetic values has increased significantly. Modern philosophy of art is open to the most controversial artistic proposals. This is because it breaks with those normative principles that limit freedom. The most important thing, however, is that normative and descriptive aesthetics always have an axiological character, which all representatives of Polish aesthetics emphasized in the second half of the 20th century.","PeriodicalId":52653,"journal":{"name":"Ukrayins''ki kul''turologichni studiyi","volume":"139 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136207162","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-01DOI: 10.17721/ucs.2023.1(12).13
Anastasiia Tormakhova
The city is the center of modern society. Each of them was formed under certain socio-cultural conditions. During its existence, it was transformed, acquired a different visual image. It reproduces the change in worldview narratives that prevailed in society and appears as the factor influencing the formation of the cultural identity of the citizens. A city is not only a physical space in which people live. It is a cell that has its own unique character. The uniqueness of the city is defined as identity, as it is formed under the influence of historical and cultural development, as a result of the existence of collective memory, etc. The specifics of the city's cultural identity largely depends on cultural memory. The concept of "collective memory" is formed in connection with a certain interpretation of the events of the past. The recipients should be included in historical milestones not so much on a rational-logical level, but mostly on an emotional one. The perception of the city is connected with aesthetic pleasure, but at the same time it appears as a certain construct. As a result of the process of globalization, the formation of cities with a more unified character is taking place. But the leadership of many cities seeks to focus on shaping a unique ethos of the city, which will be achieved through cultural policy, design and architecture. As a rule, such urban centers have significant popularity, a certain reputation and attract people who want to live there or at least visit it. The city and its ethos influence the formation of the identity of its inhabitants. And the residents themselves can act as the driving force that will shape the city's identity in the conditions of the spread of globalization influences. Each of the big cities demonstrates compliance with a certain leading value that gives it originality and uniqueness. On the way to the formation of the global identity of the city, the cooperation of representatives of various institutions and citizens is extremely important, which is an example of interaction based on communication.
{"title":"CITY IDENTITY AS A SOCIO-CULTURAL PHENOMENON","authors":"Anastasiia Tormakhova","doi":"10.17721/ucs.2023.1(12).13","DOIUrl":"https://doi.org/10.17721/ucs.2023.1(12).13","url":null,"abstract":"The city is the center of modern society. Each of them was formed under certain socio-cultural conditions. During its existence, it was transformed, acquired a different visual image. It reproduces the change in worldview narratives that prevailed in society and appears as the factor influencing the formation of the cultural identity of the citizens. A city is not only a physical space in which people live. It is a cell that has its own unique character. The uniqueness of the city is defined as identity, as it is formed under the influence of historical and cultural development, as a result of the existence of collective memory, etc. The specifics of the city's cultural identity largely depends on cultural memory. The concept of \"collective memory\" is formed in connection with a certain interpretation of the events of the past. The recipients should be included in historical milestones not so much on a rational-logical level, but mostly on an emotional one. The perception of the city is connected with aesthetic pleasure, but at the same time it appears as a certain construct. As a result of the process of globalization, the formation of cities with a more unified character is taking place. But the leadership of many cities seeks to focus on shaping a unique ethos of the city, which will be achieved through cultural policy, design and architecture. As a rule, such urban centers have significant popularity, a certain reputation and attract people who want to live there or at least visit it. The city and its ethos influence the formation of the identity of its inhabitants. And the residents themselves can act as the driving force that will shape the city's identity in the conditions of the spread of globalization influences. Each of the big cities demonstrates compliance with a certain leading value that gives it originality and uniqueness. On the way to the formation of the global identity of the city, the cooperation of representatives of various institutions and citizens is extremely important, which is an example of interaction based on communication.","PeriodicalId":52653,"journal":{"name":"Ukrayins''ki kul''turologichni studiyi","volume":"112 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136258345","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-01DOI: 10.17721/ucs.2023.1(12).17
Alina Kahalo
The paper is an attempt to demonstrate the possibility and necessity of an implicit conception of music in Boethius. An explicit conception is something that is obviously present in a text. That is what is usually studied within the 'history of ideas'. Contrary to this, an implicit conception is an unconscious picture of the author's world, in which the basic concepts of explicit conception are grounded. Therefore, the implicit conception is a condition for the possibility of any explicit text. So, the well-known text of Boethius' "De institutione musica", which but replicates mostly Pythagorean views of music, is an explicit conception. We chose "De consolatione philosophiae" as the most representative and semantically loaded text by Boethius to look for his implicit conception of music. It is based on different but unconscious grounds. We read this text to look for unconscious semantics associated with the concept. Thus, the unconscious semantics of music should be studied using the psychoanalytic approach in its broadest sense. The approach asks for the cues of connotations of the terms used by Boethius. The history of reception of the text, including different translations, can show the way. We should bear in mind, too, that the text we read is the record of an internal dialogue, which brings forth a different ontological horizon. Besides, we should see the text as a texture of signs and symptoms, pointing to unconscious notions Boethius had developed. The necessity of such an approach and the relevance of the results obtained within it are discussed in the article. The guidelines for the reconstruction of the implicit conception of music in Boethius are outlined and the elements of this conception are proposed. By further development of the method demonstrated and applied in this paper we shall be able not only to understand Boethius better, but we can reveal the intrinsic contents of the basic concepts describing the realities culture scholars are working with.
{"title":"THE IMPLICIT CONCEPTION OF MUSIC IN BOETHIUS' \"DE CONSOLATIONE PHILOSOPHIAE\"","authors":"Alina Kahalo","doi":"10.17721/ucs.2023.1(12).17","DOIUrl":"https://doi.org/10.17721/ucs.2023.1(12).17","url":null,"abstract":"The paper is an attempt to demonstrate the possibility and necessity of an implicit conception of music in Boethius. An explicit conception is something that is obviously present in a text. That is what is usually studied within the 'history of ideas'. Contrary to this, an implicit conception is an unconscious picture of the author's world, in which the basic concepts of explicit conception are grounded. Therefore, the implicit conception is a condition for the possibility of any explicit text. So, the well-known text of Boethius' \"De institutione musica\", which but replicates mostly Pythagorean views of music, is an explicit conception. We chose \"De consolatione philosophiae\" as the most representative and semantically loaded text by Boethius to look for his implicit conception of music. It is based on different but unconscious grounds. We read this text to look for unconscious semantics associated with the concept. Thus, the unconscious semantics of music should be studied using the psychoanalytic approach in its broadest sense. The approach asks for the cues of connotations of the terms used by Boethius. The history of reception of the text, including different translations, can show the way. We should bear in mind, too, that the text we read is the record of an internal dialogue, which brings forth a different ontological horizon. Besides, we should see the text as a texture of signs and symptoms, pointing to unconscious notions Boethius had developed. The necessity of such an approach and the relevance of the results obtained within it are discussed in the article. The guidelines for the reconstruction of the implicit conception of music in Boethius are outlined and the elements of this conception are proposed. By further development of the method demonstrated and applied in this paper we shall be able not only to understand Boethius better, but we can reveal the intrinsic contents of the basic concepts describing the realities culture scholars are working with.","PeriodicalId":52653,"journal":{"name":"Ukrayins''ki kul''turologichni studiyi","volume":"47 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136301694","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-01DOI: 10.17721/ucs.2023.1(12).06
Kateryna Shevchuk
In the second half of the 20th century, discussions around the understanding of crisis phenomena that permeated all spheres of human life became more frequent, in particular, the spheres of art and aesthetics were also touched upon. The crisis in the artistic sphere was connected with the general cultural crisis of the late 19th and early 20th centuries, the decline of spirituality, and the relativization of values, primarily moral and aesthetic. Analysis of the crisis in the sphere of artistic practice and aesthetics of the 20th century was the subject of scientific research by several representatives of Polish aesthetics of the second half of the 20th century: R. Ingarden, S. Morawski, B. Dziemidok, and others. The primary attention of these thinkers was devoted to the understanding of transformational processes in modern artistic creativity and the analysis of its influence on aesthetics with a clear emphasis on the importance of the axiological perspective. A thorough analysis of the problems of the crisis in artistic creativity and aesthetics of the 20th century can be found in the works of S. Morawski. He studied the causes and consequences of transformations in artistic creativity since the beginning of the 20th century, in particular, the consequences for the formation of the modern axiosphere, and its role in changing modern aesthetic consciousness. However, S. Morawski's prediction regarding the replacement of aesthetics with anti-aesthetics was not confirmed. On the contrary, art that implements aesthetic values has survived, although the range of aesthetic values has increased significantly. Modern philosophy of art is open to the most controversial artistic proposals. This is because it breaks with those normative principles that limit freedom. The most important thing, however, is that normative and descriptive aesthetics always have an axiological character, which all representatives of Polish aesthetics emphasized in the second half of the 20th century.
在20世纪下半叶，围绕着对危机现象的理解的讨论变得更加频繁，渗透到人类生活的各个领域，特别是艺术和美学领域也被触及。艺术领域的危机与19世纪末和20世纪初的普遍文化危机、精神的衰落和价值观的相对化(主要是道德和审美)有关。对20世纪艺术实践和美学领域危机的分析是20世纪下半叶波兰美学的几位代表人物的科学研究主题:R. Ingarden, S. Morawski, B. Dziemidok等人。这些思想家的主要注意力集中在理解现代艺术创作的转变过程和分析其对美学的影响，并明确强调价值论观点的重要性。在莫拉夫斯基的作品中，我们可以找到对20世纪艺术创作和美学危机问题的深入分析。他研究了20世纪初以来艺术创作转型的原因和后果，特别是对现代轴心圈形成的后果，以及它在改变现代审美意识中的作用。然而，S. Morawski关于美学被反美学取代的预言并没有得到证实。相反，实现审美价值的艺术幸存了下来，尽管审美价值的范围大大增加了。现代艺术哲学对最具争议的艺术建议持开放态度。这是因为它打破了那些限制自由的规范原则。然而，最重要的是，规范性和描述性美学始终具有价值论特征，这是20世纪下半叶波兰美学的所有代表所强调的。
{"title":"\"CRISIS OF ART\" AND \"CRISIS OF AESTHETICS\" IN RESEARCH OF POLISH HUMANITIES OF THE SECOND HALF OF THE 20th CENTURY","authors":"Kateryna Shevchuk","doi":"10.17721/ucs.2023.1(12).06","DOIUrl":"https://doi.org/10.17721/ucs.2023.1(12).06","url":null,"abstract":"In the second half of the 20th century, discussions around the understanding of crisis phenomena that permeated all spheres of human life became more frequent, in particular, the spheres of art and aesthetics were also touched upon. The crisis in the artistic sphere was connected with the general cultural crisis of the late 19th and early 20th centuries, the decline of spirituality, and the relativization of values, primarily moral and aesthetic. Analysis of the crisis in the sphere of artistic practice and aesthetics of the 20th century was the subject of scientific research by several representatives of Polish aesthetics of the second half of the 20th century: R. Ingarden, S. Morawski, B. Dziemidok, and others. The primary attention of these thinkers was devoted to the understanding of transformational processes in modern artistic creativity and the analysis of its influence on aesthetics with a clear emphasis on the importance of the axiological perspective. A thorough analysis of the problems of the crisis in artistic creativity and aesthetics of the 20th century can be found in the works of S. Morawski. He studied the causes and consequences of transformations in artistic creativity since the beginning of the 20th century, in particular, the consequences for the formation of the modern axiosphere, and its role in changing modern aesthetic consciousness. However, S. Morawski's prediction regarding the replacement of aesthetics with anti-aesthetics was not confirmed. On the contrary, art that implements aesthetic values has survived, although the range of aesthetic values has increased significantly. Modern philosophy of art is open to the most controversial artistic proposals. This is because it breaks with those normative principles that limit freedom. The most important thing, however, is that normative and descriptive aesthetics always have an axiological character, which all representatives of Polish aesthetics emphasized in the second half of the 20th century.","PeriodicalId":52653,"journal":{"name":"Ukrayins''ki kul''turologichni studiyi","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136207803","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-01DOI: 10.17721/ucs.2023.1(12).21
Olena Pavlova
The article explains the fundamental concepts of the graphosphere, shedding light on the organization of written communication within urban spaces during the early Modern period (15th to 18th centuries). The elucidation of these basic concepts is approached through the lens of various oppositions, such as "center-periphery" (N. Luhmann), "great-little tradition" (R. Redfield, M. Singer), "independent-subservient architecture" (G. Hegel), and "space of representations-representational spaces" (H. Lefebvre). The specificity of these cultural-historical approaches is revealed through the theoretical and empirical dimensions of studying the graphosphere, which involves differentiating between signifiers and signifieds. Therefore, examining written communication in early modern cities (15th to 18th centuries) clarifies the significance of material culture as a central theme in cultural history. This exploration goes beyond the narrow definition of textual materiality and encompasses examining the locations and methods of publication. This broader perspective expands how this topic can be conceptualized and provides an empirical foundation. Written communication practices not only influence the semantic centrality of space (although it remains closely connected to urban space) but also contribute to the transformation of textual materiality and the differentiation between public place and public space. In the early Modern period, written communication, while still connected to urban walls, gained a greater potential for re-signifying public space. This led to its appropriation through graphic colonization and illegal acts (which both indicate the democratic nature of cultural changes and increase the potential for communication conflicts). The autonomization of signifiers order establishes the superiority of representational spaces over the space of representations. The "paper wars" can be seen as the first historical form of information warfare and the beginnings of a "great tradition" of colonizing public space without physical occupation, which became a prerequisite for territorial occupation
本文解释了文字圈的基本概念，揭示了现代早期(15至18世纪)城市空间中书面交流的组织。这些基本概念的阐释是通过各种对立的镜头来实现的，比如“中心-外围”(N. Luhmann)，“伟大-渺小的传统”(R. Redfield, M. Singer)，“独立-从属的建筑”(G.黑格尔)，以及“表征的空间-表征的空间”(H. Lefebvre)。这些文化历史方法的特殊性是通过研究文字圈的理论和经验维度来揭示的，其中包括区分能指和所指。因此，研究早期现代城市(15至18世纪)的书面交流，阐明了物质文化在文化史上作为中心主题的重要性。这种探索超越了文本材料的狭隘定义，并包括审查出版的地点和方法。这个更广阔的视角扩展了如何将这个主题概念化，并提供了经验基础。书面交流实践不仅影响了空间的语义中心性(尽管它仍然与城市空间密切相关)，而且有助于文本物质性的转变以及公共场所和公共空间之间的区分。在现代早期，书面交流虽然仍然与城墙相连，但在重新定义公共空间方面获得了更大的潜力。这导致其通过图形殖民化和非法行为被挪用(这两者都表明了文化变革的民主性质，并增加了传播冲突的可能性)。能指秩序的自主化确立了表征空间相对于表征空间的优越性。“纸战”可以被看作是信息战的第一种历史形式，是在没有实体占领的情况下殖民公共空间的“伟大传统”的开始，这成为领土占领的先决条件
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Pub Date : 2023-01-01DOI: 10.17721/ucs.2023.1(12).05
Vitalii Turenko
The article examines in detail the understanding of culture and cultural practices in the context of such concepts of Chineseized Marxism as "red culture" and "new culture". It was revealed that culture, as well as aesthetic studies, were in the center of attention of Chinese Marxist circles. Accordingly, within the framework of the idea of "new democracy" the formation and further development of a "new culture" is developed, which involves the preservation of traditional priorities of Chinese civilization and the introduction of new aspects that relate both to the Marxist considerations of the leaders of the CCP and in accordance with modern global trends. Based on this, culture and the cultural revolution are inextricably linked with Marxist projects of criticizing capitalist modernity and building an alternative modernity. In this respect, the various practices and plans of Chinese Marxism are similar to those of Western Marxism. It is substantiated that along with the idea of "new culture" the concept of "red culture" functions, which differs from the former in its containing a synthesis of traditional Chinese culture and an understanding of the latter within the framework of Chineseized Marxism. This, according to thinkers and leaders of the CCP, helps in the fight against cultural imperialism disguised as globalization. Chinese aesthetic scholars followed the Western Marxist agenda; but at the same time deliberately criticized Western Marxism and its Maoist connections. It is noteworthy that the Chinese Marxist experience of the post-revolutionary society and the vision that arose from it drew another cognitive map, an alternative "cultural topology" for modern cultural studies. They offer us an epistemological alternative for understanding the genealogy of critical concepts and conceptual schemes through which the history of modern Chinese culture is interpreted. Chineseized Marxism examines these "topological cultural spaces" from a critical perspective, drawing attention to Chinese theories themselves and juxtaposing these theories with Western Marxist ones so that their assumptions can be subjected to critical scrutiny.
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Pub Date : 2023-01-01DOI: 10.17721/ucs.2023.1(12).16
Sophia Puzyrko
The article carries out a cultural analysis of the importance of literary translation as cross-cultural communication in the process of intercultural interaction for the sake of theoretical understanding of the conditions and possibilities of maximum mutual understanding and transfer of experience between the cultures of different states. Like any kind of translation, artistic translation is a multifaceted and complex phenomenon. From an institutional point of view, it can be considered as a specific form of literary reception and cultural mediation, as a form of cultural production that takes place in a specific environment at the junction of two (often national) literatures and cultures. Literary translation is often motivated not only by the dynamics of local factors, but also by the dynamics of the global space of cultural exchange. The translator has the status of a mediator between cultures. The target text, like the original text, is a cultural semiotic product. translation is undoubtedly an act of intercultural communication; this should be the unquestionable starting point for any modern research in translation. It is obvious that the aim of the present article is not to challenge indisputable facts. Rather, the main point is that what presents itself as a unanimously accepted thesis is in fact open to multiple interpretations due to the polysemy of the term culture. The cultural aspects of translation are inevitably affected by the still unsettled debates about culture. The translator is a specialist in intercultural communication. He knows how to determine the most appropriate means of mediation for the desired meaning in a given socio-cultural context. Communication is a common and well-known part of our lives that we often do not pay attention to it's importance. Moreover, we often participate in the communication process only as senders and recipients of information without being aware that we are dealing with a complex process, which itself contains many interconnected steps with each other. Human society is built and exists precisely thanks to the human ability for communication. Cross-cultural communication is hard work that requires mediation, appropriation, and negotiation. The literary text is processed, consumed and interpreted by the target reader, the bearer of certain ideological and aesthetic views
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