Pub Date : 2022-01-01DOI: 10.17721/ucs.2022.1(10).09
A. Hladká
The article is about a cultural analysis of Kyiv's cultural landscape, which is made up of a complex of elements such as an architectural ensem- ble and public spaces, historical and cultural heritage objects, cultural and creative industries, media, along with external agents such as active consumers and contemplators. We observe the fundamental changes in Kyiv's cultural landscape during the period of independence, as a result of modern changes in everyday culture. The article is based on multidisciplinary researches on the psychological space of Harry Trayandis, Sarah Dawkins, Sophia Nartova-Bochaver, visual anthropology of Benjamin Cope, Nerius Millerus, analysis of the transformation of leisure practices of Neil Brenchby-Barbury-Simbros and others. The scientific developments of Ernst Cassirer, Manuel Castells, Arnold Toynbee, and Tolcott Parsons are important core theories on which the methodology of work is built. The transformation in the overall cultural viewpoint may be seen in the development of urban cultural landscapes, as well as the increased em- phasis on the production of cultural services. If the city used to be a "factory" for producing goods, it is now a market for services. Cities are be- coming more and more places where cultural practices can be carried out. As a result, capital freely flows in the city, fueling the expansion of the cultural environment. Mapping residents' daily cultural practices is evolving into a technique for mapping urban area and industries. Modern geog- raphers like Neil Brenner, David Hervey, and others have recognized 1970s-era spatial alterations in Western cities. The city development, particu- larly its cultural environment, began with Ukraine's independence in 1991. "Antropolis: wspóczesny Gdask w wymiarze symbolicznym" is a signifi- cant resource for us. It is a study of Gdansk's urban anthropology from a German to a Polish city after the city's architectural ensemble was demol- ished during WWII. The experience detailed in the essay is used to propose solutions for the rebuilding of Ukrainian cities. From 1991 to the present, a cultural investigation of the transformative processes of urban cultural landscapes and socio-culture phenomena in Kyiv and other Ukrainian cities has not been conducted. The cultural landscapes of Ukrainian cities are being transformed, and the cultural coordi- nates of local communities' social engagement in the alteration of the cultural landscape of cities are being determined.
这篇文章是关于基辅文化景观的文化分析，它由复杂的元素组成，如建筑景观和公共空间、历史和文化遗产、文化创意产业、媒体，以及活跃的消费者和沉思者等外部因素。我们观察到，在独立期间，由于日常文化的现代变化，基辅的文化景观发生了根本性的变化。本文基于Harry Trayandis, Sarah Dawkins, Sophia Nartova-Bochaver对心理空间的多学科研究，Benjamin Cope的视觉人类学，Nerius Millerus, Neil Brenchby-Barbury-Simbros等人对休闲实践转型的分析。恩斯特·卡西尔、曼努埃尔·卡斯特、阿诺德·汤因比和托尔科特·帕森斯的科学发展是构建工作方法论的重要核心理论。城市文化景观的发展，以及对文化服务生产的重视，都体现了整体文化观的转变。如果说这座城市曾经是生产商品的“工厂”，那么它现在就是一个服务市场。城市里越来越多的地方可以进行文化活动。因此，资本在城市中自由流动，推动了文化环境的扩张。测绘居民的日常文化实践正在演变成一种测绘城市区域和工业的技术。现代地理学家，如尼尔·布伦纳、大卫·赫维和其他人已经认识到西方城市在20世纪70年代的空间变化。这座城市的发展，尤其是它的文化环境，始于1991年乌克兰的独立。“Antropolis: wspóczesny Gdask w wymiarze symbolicznym”对我们来说是一个重要的资源。这是对格但斯克的城市人类学的研究，从一个德国城市到一个波兰城市，城市的建筑在第二次世界大战期间被拆除。文章中详述的经验被用来为乌克兰城市的重建提出解决方案。从1991年至今，没有对基辅和其他乌克兰城市的城市文化景观和社会文化现象的转变过程进行文化调查。乌克兰城市的文化景观正在改变，正在确定当地社区参与城市文化景观改变的文化坐标。
{"title":"TRANSFORMATION OF CULTURAL LANDSCAPE OF KYIV DURING THE INDEPENDENCE OF UKRAINE","authors":"A. Hladká","doi":"10.17721/ucs.2022.1(10).09","DOIUrl":"https://doi.org/10.17721/ucs.2022.1(10).09","url":null,"abstract":"The article is about a cultural analysis of Kyiv's cultural landscape, which is made up of a complex of elements such as an architectural ensem- ble and public spaces, historical and cultural heritage objects, cultural and creative industries, media, along with external agents such as active consumers and contemplators. We observe the fundamental changes in Kyiv's cultural landscape during the period of independence, as a result of modern changes in everyday culture. The article is based on multidisciplinary researches on the psychological space of Harry Trayandis, Sarah Dawkins, Sophia Nartova-Bochaver, visual anthropology of Benjamin Cope, Nerius Millerus, analysis of the transformation of leisure practices of Neil Brenchby-Barbury-Simbros and others. The scientific developments of Ernst Cassirer, Manuel Castells, Arnold Toynbee, and Tolcott Parsons are important core theories on which the methodology of work is built. The transformation in the overall cultural viewpoint may be seen in the development of urban cultural landscapes, as well as the increased em- phasis on the production of cultural services. If the city used to be a \"factory\" for producing goods, it is now a market for services. Cities are be- coming more and more places where cultural practices can be carried out. As a result, capital freely flows in the city, fueling the expansion of the cultural environment. Mapping residents' daily cultural practices is evolving into a technique for mapping urban area and industries. Modern geog- raphers like Neil Brenner, David Hervey, and others have recognized 1970s-era spatial alterations in Western cities. The city development, particu- larly its cultural environment, began with Ukraine's independence in 1991. \"Antropolis: wspóczesny Gdask w wymiarze symbolicznym\" is a signifi- cant resource for us. It is a study of Gdansk's urban anthropology from a German to a Polish city after the city's architectural ensemble was demol- ished during WWII. The experience detailed in the essay is used to propose solutions for the rebuilding of Ukrainian cities. From 1991 to the present, a cultural investigation of the transformative processes of urban cultural landscapes and socio-culture phenomena in Kyiv and other Ukrainian cities has not been conducted. The cultural landscapes of Ukrainian cities are being transformed, and the cultural coordi- nates of local communities' social engagement in the alteration of the cultural landscape of cities are being determined.","PeriodicalId":52653,"journal":{"name":"Ukrayins''ki kul''turologichni studiyi","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67444656","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 : 2022-01-01DOI: 10.17721/ucs.2022.1(10).16
A. Y. Odynets
{"title":"THE NUREMBERG CODE AND ETHICAL PRINCIPLES OF A PSYCHOLOGIST'S AСTIVITY REFERENCES","authors":"A. Y. Odynets","doi":"10.17721/ucs.2022.1(10).16","DOIUrl":"https://doi.org/10.17721/ucs.2022.1(10).16","url":null,"abstract":"","PeriodicalId":52653,"journal":{"name":"Ukrayins''ki kul''turologichni studiyi","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67444883","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 : 2022-01-01DOI: 10.17721/ucs.2022.1(10).10
M. I. Korobko
The purpose pf the article is to monitor the challenges faced by Ukrainian theater during the global coronavirus crisis and the war in Ukraine in 2020-2022. During its long history, the Ukrainian theater has experienced various difficulties: bans (the Ems Act and the Valuev Circular in the 19th century), strict censorship (in the late 19th century and almost all of the 20th century), and two World Wars. General socio-cultural factors, political crises and, finally, war were also added to the background of the great theatrical crisis, which was pre- sent even before 2020. Responding to the challenges of the times, the theater searches for and develops new models of broadcasting and commu- nication with its audience. But Ukrainian theaters, unlike their Western counterparts, were able to open in mid-2020 and more or less work in 2021. The XXI century was marked by difficult pandemics in 2020 and 2021 and the war in Ukraine (which lasted from 2014 in Donetsk and Luhansk re- gions, the occupation of Crimea and the spread of war throughout our country in 2022). In addition to objective geopolitical problems, there are problems of new political reforms, underfunding, and lack of professional staff (because the theater is not only actors and directors, but also educa- tors, playwrights, and cultural audience, and various workers, whose audience not to see). All these factors have called into question the existence of even large professional theaters, not to mention smaller and unprofitable theaters. The theater is now in a particularly difficult situation, almost on the verge of extinction. Theatrical workers are trying to find new ways to ex- press themselves and attract spectators, sponsors and funds in order to survive. They are looking for new genres, new drama, new themes for their performances. At the moment, almost all theater groups are trying to find non-standard forms of work: online screenings, immersion performances, open-air performances and more. The problems became bigger when the full-scale war started in February 24. However, Ukrainian theaters reo- pened their doors for spectators in April, after the month of total silence and non-action. And this fact gives us the hope for living.
{"title":"THE CHALLENGES FOR UKRAINIAN THEATRE ART IN THE YEARS 2020-2022","authors":"M. I. Korobko","doi":"10.17721/ucs.2022.1(10).10","DOIUrl":"https://doi.org/10.17721/ucs.2022.1(10).10","url":null,"abstract":"The purpose pf the article is to monitor the challenges faced by Ukrainian theater during the global coronavirus crisis and the war in Ukraine in 2020-2022. During its long history, the Ukrainian theater has experienced various difficulties: bans (the Ems Act and the Valuev Circular in the 19th century), strict censorship (in the late 19th century and almost all of the 20th century), and two World Wars. General socio-cultural factors, political crises and, finally, war were also added to the background of the great theatrical crisis, which was pre- sent even before 2020. Responding to the challenges of the times, the theater searches for and develops new models of broadcasting and commu- nication with its audience. But Ukrainian theaters, unlike their Western counterparts, were able to open in mid-2020 and more or less work in 2021. The XXI century was marked by difficult pandemics in 2020 and 2021 and the war in Ukraine (which lasted from 2014 in Donetsk and Luhansk re- gions, the occupation of Crimea and the spread of war throughout our country in 2022). In addition to objective geopolitical problems, there are problems of new political reforms, underfunding, and lack of professional staff (because the theater is not only actors and directors, but also educa- tors, playwrights, and cultural audience, and various workers, whose audience not to see). All these factors have called into question the existence of even large professional theaters, not to mention smaller and unprofitable theaters. The theater is now in a particularly difficult situation, almost on the verge of extinction. Theatrical workers are trying to find new ways to ex- press themselves and attract spectators, sponsors and funds in order to survive. They are looking for new genres, new drama, new themes for their performances. At the moment, almost all theater groups are trying to find non-standard forms of work: online screenings, immersion performances, open-air performances and more. The problems became bigger when the full-scale war started in February 24. However, Ukrainian theaters reo- pened their doors for spectators in April, after the month of total silence and non-action. And this fact gives us the hope for living.","PeriodicalId":52653,"journal":{"name":"Ukrayins''ki kul''turologichni studiyi","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67444543","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 : 2022-01-01DOI: 10.17721/ucs.2022.1(10).03
V. Napadysta, O. Rykhlitska
The article considers the peculiarities of the formation and thematic evolution of the aesthetics of everyday life. Emphasis is placed on the fact that the orientation of classical aesthetic theory on the artistic sphere left out of the attention of researchers non-artistic sources of aesthetic expe- rience, and the versatility of the phenomenon of everyday life, its connotation with trivial, boring, routine, repetitive created certain prejudices for seeing the aesthetic component in everyday practices and recognizing the existence of objects of aesthetic experience among its material world. The scientific interest of aesthetic theory innovators, who expanded their creative search beyond the traditional research field, was initially fo- cused mainly on design. Inclusion in the thematic palette of aesthetic research of design, natural environment opened the possibility of considering everyday practices as sources of aesthetic experience and caused a kind of "new turn" in aesthetic theory, which in turn led to the initiation and institutionalization of a new field of research – everyday aesthetics. In the context of its research is the variability of the material world, daily practices that ensure the functioning of a person as an individual in everyday life – gastronomic, physical, home improvement, organization of life, social contacts – regulatory stability, habitual strategies for com- municating with others, and also routine daily activities – eating, walking, bathing, etc. It is emphasized that the variable saturation of the thematic field of everyday aesthetics, as a new direction in modern aesthetic theory, re- quires not only horizontal expansion of vectors of aesthetic research, but also theoretical clarification / justification / agreement on the content of the concepts of "everyday life" and "aesthetic" in the aesthetics of everyday life to delineate the boundaries of thematic definition and struc- ture of its subject field. The application of the optics of cultural analysis regarding the origins and formation of aesthetics of everyday life as a separate direction, its thematic field and various interpretations of it will contribute not only to the systematization of knowledge about the path of formation and devel- opment of aesthetics of everyday life, but also to a deeper understanding of its potential as a productive theoretical basis in the process of aes- theticizing everyday life.
{"title":"AESTHETICS OF EVERYDAY LIFE: THEMATIC VARIATIONS AND RESEARCH PROSPECTS","authors":"V. Napadysta, O. Rykhlitska","doi":"10.17721/ucs.2022.1(10).03","DOIUrl":"https://doi.org/10.17721/ucs.2022.1(10).03","url":null,"abstract":"The article considers the peculiarities of the formation and thematic evolution of the aesthetics of everyday life. Emphasis is placed on the fact that the orientation of classical aesthetic theory on the artistic sphere left out of the attention of researchers non-artistic sources of aesthetic expe- rience, and the versatility of the phenomenon of everyday life, its connotation with trivial, boring, routine, repetitive created certain prejudices for seeing the aesthetic component in everyday practices and recognizing the existence of objects of aesthetic experience among its material world. The scientific interest of aesthetic theory innovators, who expanded their creative search beyond the traditional research field, was initially fo- cused mainly on design. Inclusion in the thematic palette of aesthetic research of design, natural environment opened the possibility of considering everyday practices as sources of aesthetic experience and caused a kind of \"new turn\" in aesthetic theory, which in turn led to the initiation and institutionalization of a new field of research – everyday aesthetics. In the context of its research is the variability of the material world, daily practices that ensure the functioning of a person as an individual in everyday life – gastronomic, physical, home improvement, organization of life, social contacts – regulatory stability, habitual strategies for com- municating with others, and also routine daily activities – eating, walking, bathing, etc. It is emphasized that the variable saturation of the thematic field of everyday aesthetics, as a new direction in modern aesthetic theory, re- quires not only horizontal expansion of vectors of aesthetic research, but also theoretical clarification / justification / agreement on the content of the concepts of \"everyday life\" and \"aesthetic\" in the aesthetics of everyday life to delineate the boundaries of thematic definition and struc- ture of its subject field. The application of the optics of cultural analysis regarding the origins and formation of aesthetics of everyday life as a separate direction, its thematic field and various interpretations of it will contribute not only to the systematization of knowledge about the path of formation and devel- opment of aesthetics of everyday life, but also to a deeper understanding of its potential as a productive theoretical basis in the process of aes- theticizing everyday life.","PeriodicalId":52653,"journal":{"name":"Ukrayins''ki kul''turologichni studiyi","volume":"86 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67444193","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 : 2022-01-01DOI: 10.17721/ucs.2022.1(10).11
O. Pavlova
The author analyzed the TV show "Servant of the People" and how it influenced the functioning process of political parties in Ukraine through the prism of the correlation of ideological and technological practices in the TV show. The methodology of the study is based not on the analysis of the content of political programs and organizations, but on the logic of hierarchies and transformations of cultural practices. The main marker of the dominance of technology over ideology in the 2019 presidential elections in Ukraine was the fact that a political party is created with the same name after it became clear that the success of the show ensured the victory of the protagonist's representative in the elections. Mass media is a form of cultural power of an ever-expanding group of educated people. It combines the elements of ideology and technology of image. The historical dynamics of the mass media demonstrates several historical stages in this process. The first stage is the print media: the text-centrism of this media creates an ideological dominant for unifying into large enough groups of people at the cost of the regulative idea of rational discourse. The decentralization of political positions, represented as variety of political parties, is carried out as rational criticism. The second stage is optical media (cinema and television): the circulation of images from this period creates a positive emotional connection to the political leader beyond the mediations of the rational bureaucracy. The dramaturgical style of media criticism does not assume an active position of a rational subject, but a passive mass viewer, who expresses an evaluative position on professionally produced images, including images of the political sphere. The technology of image production dominates the ideological narrative. The third stage is the reproduction of optical media in Internet practices. Here the simplification of production and circulation, of discourse and image, leads to a new level of immediacy in the connection between the political leader and his voters, on the one hand. On the other hand, the political, as well as other elite spheres, are beginning to lose their privileged status in the democratization of cultural capital production. Internet media suggest a de-differentiation of image and discourse, ideology and technology of image. There is a certain imbalance to- wards the production of images above narrative.
{"title":"POLITICAL PARTY AS A DERIVATIVE OF THE TV SHOW IN CONTEMPORARY UKRAINE: CULTURAL TECHNOLOGY OF IMAGE VERSUS IDEOLOGY","authors":"O. Pavlova","doi":"10.17721/ucs.2022.1(10).11","DOIUrl":"https://doi.org/10.17721/ucs.2022.1(10).11","url":null,"abstract":"The author analyzed the TV show \"Servant of the People\" and how it influenced the functioning process of political parties in Ukraine through the prism of the correlation of ideological and technological practices in the TV show. The methodology of the study is based not on the analysis of the content of political programs and organizations, but on the logic of hierarchies and transformations of cultural practices. The main marker of the dominance of technology over ideology in the 2019 presidential elections in Ukraine was the fact that a political party is created with the same name after it became clear that the success of the show ensured the victory of the protagonist's representative in the elections. Mass media is a form of cultural power of an ever-expanding group of educated people. It combines the elements of ideology and technology of image. The historical dynamics of the mass media demonstrates several historical stages in this process. The first stage is the print media: the text-centrism of this media creates an ideological dominant for unifying into large enough groups of people at the cost of the regulative idea of rational discourse. The decentralization of political positions, represented as variety of political parties, is carried out as rational criticism. The second stage is optical media (cinema and television): the circulation of images from this period creates a positive emotional connection to the political leader beyond the mediations of the rational bureaucracy. The dramaturgical style of media criticism does not assume an active position of a rational subject, but a passive mass viewer, who expresses an evaluative position on professionally produced images, including images of the political sphere. The technology of image production dominates the ideological narrative. The third stage is the reproduction of optical media in Internet practices. Here the simplification of production and circulation, of discourse and image, leads to a new level of immediacy in the connection between the political leader and his voters, on the one hand. On the other hand, the political, as well as other elite spheres, are beginning to lose their privileged status in the democratization of cultural capital production. Internet media suggest a de-differentiation of image and discourse, ideology and technology of image. There is a certain imbalance to- wards the production of images above narrative.","PeriodicalId":52653,"journal":{"name":"Ukrayins''ki kul''turologichni studiyi","volume":"394 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67444621","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 : 2022-01-01DOI: 10.17721/ucs.2022.1(10).08
Y. Butsykina
The paper is devoted to the analysis of the vernacular landscape concept defined as one that is culturally conceptualized both within the city and outside it. We identified the key characteristics of the concept, such as: community, border, temporal development (Jackson), repetitive prac- tices of non-professionals, variability and diversity (Certeau). We determined the key methods of cultural research of the vernacular landscape: representational and phenomenological. Representational method deals with the practices that refer to the repetitive habits and customs of the dwellers, everyday practices that are manifested in long-term fields studies and film and video materials stydying. We considered the peculiarities of vernacular landscape formation in the city and creativity as its essential characteristic. Accordingly, creative practices that shape the vernacular landscape of the city have the following defining features: inclusiveness, repeatability and familiarity, non-expertise, non-economic motivation. The nature of creativity itself allows the creative individual to directly influence the common good, changing the landscape of her locus (yard, district, city, etc.). The concept of tactical urbanism is considered as an alternative to the concept of creative economy and one that sees vernacular crea- tive practices as a key engine for the development of creative potential of the city. This updated approach to understanding creativity significantly expands the term of vernacular landscape: both physically (because it expands the geography of creative practices of the city, going beyond cer- tain areas, where the creative class is concentrated, up to the suburbs) and substantively (creative practices are interpreted in many more variable key). Creativity is singled out as one of the most common and revealing types of creative practices that have great potential in the qualitative trans- formation of the vernacular landscape of the city. Yarnbombing is a clear example of such a tactical intervention in urban space.
{"title":"VERNACULAR LANDSCAPE AND ITS ROLE IN THE DEVELOPMENT OF CREATIVE URBAN PRACTICES","authors":"Y. Butsykina","doi":"10.17721/ucs.2022.1(10).08","DOIUrl":"https://doi.org/10.17721/ucs.2022.1(10).08","url":null,"abstract":"The paper is devoted to the analysis of the vernacular landscape concept defined as one that is culturally conceptualized both within the city and outside it. We identified the key characteristics of the concept, such as: community, border, temporal development (Jackson), repetitive prac- tices of non-professionals, variability and diversity (Certeau). We determined the key methods of cultural research of the vernacular landscape: representational and phenomenological. Representational method deals with the practices that refer to the repetitive habits and customs of the dwellers, everyday practices that are manifested in long-term fields studies and film and video materials stydying. We considered the peculiarities of vernacular landscape formation in the city and creativity as its essential characteristic. Accordingly, creative practices that shape the vernacular landscape of the city have the following defining features: inclusiveness, repeatability and familiarity, non-expertise, non-economic motivation. The nature of creativity itself allows the creative individual to directly influence the common good, changing the landscape of her locus (yard, district, city, etc.). The concept of tactical urbanism is considered as an alternative to the concept of creative economy and one that sees vernacular crea- tive practices as a key engine for the development of creative potential of the city. This updated approach to understanding creativity significantly expands the term of vernacular landscape: both physically (because it expands the geography of creative practices of the city, going beyond cer- tain areas, where the creative class is concentrated, up to the suburbs) and substantively (creative practices are interpreted in many more variable key). Creativity is singled out as one of the most common and revealing types of creative practices that have great potential in the qualitative trans- formation of the vernacular landscape of the city. Yarnbombing is a clear example of such a tactical intervention in urban space.","PeriodicalId":52653,"journal":{"name":"Ukrayins''ki kul''turologichni studiyi","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67444376","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 : 2022-01-01DOI: 10.17721/ucs.2022.1(10).14
{"title":"ADDRESS FROM THE POLISH CULTURAL SOCIETY","authors":"","doi":"10.17721/ucs.2022.1(10).14","DOIUrl":"https://doi.org/10.17721/ucs.2022.1(10).14","url":null,"abstract":"","PeriodicalId":52653,"journal":{"name":"Ukrayins''ki kul''turologichni studiyi","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67445031","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 : 2022-01-01DOI: 10.17721/ucs.2022.1(10).07
D. A. Bandurko
The article studies the problem of nutrition, which comes as the basis for the existence security of an individual as well as of any community. The transition to thermo-processed food was a necessary stage of humanization in the process of human genesis from nature, as long as the in- crease in its assimilation provides a time release for other activities and, accordingly, their more complex specialization. Therefore, the transfor- mation of "raw into cooked" (C. Lévi-Strauss), which becomes a part of gastronomic practice basic definition, implies not only the technology of cooking (the actual operations with food), but also the process of human self-production, which has its social and even cosmological contexts. We should understand this process within historical dynamics. After all, each historical and cultural epoch makes a "food revolution" (F. Braudel) and creates its own "Tastes of Paradise" (W. Schivelbusch). The new field of food studies, which is actively developing on the basis of existing humani- tarian scientific approaches to media and gastronomic practices taken together, presents actual material for cultural studies. Gastronomic practices engaging into the global media space, and gastronomic culture acting at the present stage as a process of de- differentiation of the structures of everyday life and the media environment, represent actual objects of cultural studies. This approach reveals such a basic unit of analysis as cultural practice, defined as a routine type of behavior consisting of interrelated elements (forms of culture of presence and culture of meaning, human activity, objects and ways of using them). Cultural practice in a gastronomic dimension is the process of cooking as an element of self-production of man and community, of the care for themselves and for others. The distinction between mediation as a process of cultural products communication as media production (in this case, people and things in the production and consumption of food in the unity of material, social and spiritual dimensions) and mediatization as a process of media hierarchy constructing (which becomes apparent at the level of media formation) is another important element of the gastronomic practices study in the situation of new media.
本文研究的是营养问题，它是个人和任何社区生存安全的基础。向热加工食品的过渡是人类从自然起源过程中人性化的必要阶段，只要其同化的增加为其他活动提供了时间释放，并相应地为其更复杂的专业化提供了时间释放。因此，将“生的变成熟的”(C. l vi- strauss)转变为烹饪实践基本定义的一部分，不仅意味着烹饪技术(与食物的实际操作)，而且意味着人类自我生产的过程，这有其社会甚至宇宙学背景。我们应该在历史动态中理解这一过程。毕竟，每一个历史和文化时代都会产生一场“食物革命”(F.布罗代尔)，并创造出自己的“天堂的味道”(W.希弗布希)。食品研究的新领域是在现有的人道主义科学方法的基础上积极发展起来的，将媒体和美食实践结合在一起，为文化研究提供了实际的材料。融入全球媒体空间的美食实践，以及现阶段作为日常生活结构和媒体环境去分化过程的美食文化，代表了文化研究的实际对象。这种方法揭示了文化实践这一分析的基本单位，它被定义为一种由相互关联的元素(存在文化和意义文化的形式、人类活动、对象和使用它们的方式)组成的常规行为。在烹饪方面的文化实践是将烹饪作为人类和社区自我生产的一个要素的过程，是对自己和他人的照顾。作为媒介生产的文化产品传播过程的中介(在这种情况下，人与物在物质、社会和精神维度的统一中生产和消费食物)与作为媒介层次建构过程的媒介化(在媒介形成层面变得明显)之间的区别是新媒体情况下烹饪实践研究的另一个重要因素。
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Pub Date : 2022-01-01DOI: 10.17721/ucs.2022.1(10).13
S. Stoian
In the article the author analyzes the photo works by Denys Kopylov who directs his gaze deep inside himself, trying to understand his own purpose in this world and focuses his attention on many current socio-cultural problems due to which his art projects are of great interest for fur- ther research in the context of cultural studies. The analysis focuses on his works devoted to the visualization of the ethno-cultural features of the Yavanava tribe, rethinking the role of the Chernobyl disaster in the context of its examination from the point of view of the revival of the animal world of the exclusion zone, recording the events of the military confrontation on the territory of Ukraine, as well as the global rethinking of the role of man on planet Earth and its relationship with the natural world. For Denys turning to photography becomes according to him a philosophy based on observation because observation is one of the basic foundations of all worldview systems. By observing ourselves we can understand our priorities and needs what we cannot live without. Through observation we can feel a kinship with specific natural forms that resonate with our inner self at this very moment in time. And thanks to this con- sonance the photographs begin to radiate an extremely powerful vital energy which in addition to harmonizing the author begins to harmonize the viewer as well. The study of the visualization of existing social and ecological problems in modern Ukrainian photo art is extremely relevant. In this article for the first time the photo works by artist Denys Kopylov was analyzed in the context of cultural studies with the definition of the main vectors of its direction and specificity. It is emphasized that from the reflection of his own travels and the exotic natural world, the author immerses himself in a creative study of the spirit of Indian tribes which is visualized in a modern, authentic artistic manner using innovative authorial approaches in a whole series of works that are gaining recognition both in Ukraine and abroad at prestigious world fairs.
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Pub Date : 2022-01-01DOI: 10.17721/ucs.2022.1(10).17
O. Pavlova
{"title":"OVERVIEW OF THE DISCUSSION \"THE CITY AS A MEDIUM: VISUAL DIMENSIONS AND MODES\", held on October 1, 2021 within the framework of the 9th International Congress of Belarusian Studies","authors":"O. Pavlova","doi":"10.17721/ucs.2022.1(10).17","DOIUrl":"https://doi.org/10.17721/ucs.2022.1(10).17","url":null,"abstract":"","PeriodicalId":52653,"journal":{"name":"Ukrayins''ki kul''turologichni studiyi","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67445192","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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