Pub Date : 2021-01-01DOI: 10.17721/ucs.2021.1(8).01
I. Bratus
Aspects of countering the system and anti-system are considered in the Strugatsky brothers ' novel "Snail on the slope". It is proved that science fiction writers managed to recreate quite complex aspects of the interaction of various systems within the framework of literary heritage. The broad palette of writers has absorbed an understanding of contradictions with underlying causes. In this article, some aspects of the interaction of the individual and the system, systems and anti-systems are demonstrated. Special attention is paid to the Soviet realities, which became the basis for the artistic picture of the fantastic world. This indicates the uniqueness of "Snail on the slope". One of the unique qualities is the influence on the story "Snail on the slope" by Franz Kafka (novels "The Process", "The Castle"). When analyzing the story, the focus of countering the system and the anti- system is transferred to the idea of the future. It is proved that the writers abandoned the continuous optimistic model of the future inherent in their earlier works. Strugatsky brothers have worked out in detail the mechanism of the inability to evolve into the future without radical changes in the essence of man. The literature of the second half of the twentieth century contains an extraordinary potential for understanding our current realities. Somewhere we are even in a more "winning" position – the authors and readers of that time had a more narrowed range of analysis, which was naturally inherent in "their time". At the same time, we are also partially vulnerable, especially in the historical and cultural context. Because the time of writing a work leaves an imprint on its content, the keys to its understanding are often in the social parallels of everyday life, which is fully understood by contemporaries, and "descendants" need to explain certain specific aspects of everyday life, psychological model or banal meaning of a particular word (they become anachronisms or acquire a different meaning). At the same time, it is worth paying attention to those questions that are transcendental in nature. Strugatsky brothers in "Snail on the Slope" experienced a corresponding experience – they tried to create a multi-faceted picture of the world with "their own" laws. At the same time, the task they set was not only to come up with, but also to "guess" the true concept, to bring the artistic fabric of the work closer to the "truth of life". Therefore, this work is fundamentally different from a significant part of their literary heritage, it is a kind of "experimental platform". They did not try to repeat this experience in their future work.
{"title":"COUNTERACTION TO THE SYSTEM AND ANTI-SYSTEM IN THE STRUGATSKY BROTHERS'STORY \"SNAIL ON THE SLOPE\"","authors":"I. Bratus","doi":"10.17721/ucs.2021.1(8).01","DOIUrl":"https://doi.org/10.17721/ucs.2021.1(8).01","url":null,"abstract":"Aspects of countering the system and anti-system are considered in the Strugatsky brothers ' novel \"Snail on the slope\". It is proved that science fiction writers managed to recreate quite complex aspects of the interaction of various systems within the framework of literary heritage. The broad palette of writers has absorbed an understanding of contradictions with underlying causes. In this article, some aspects of the interaction of the individual and the system, systems and anti-systems are demonstrated. Special attention is paid to the Soviet realities, which became the basis for the artistic picture of the fantastic world. This indicates the uniqueness of \"Snail on the slope\". One of the unique qualities is the influence on the story \"Snail on the slope\" by Franz Kafka (novels \"The Process\", \"The Castle\"). When analyzing the story, the focus of countering the system and the anti- system is transferred to the idea of the future. It is proved that the writers abandoned the continuous optimistic model of the future inherent in their earlier works. Strugatsky brothers have worked out in detail the mechanism of the inability to evolve into the future without radical changes in the essence of man. The literature of the second half of the twentieth century contains an extraordinary potential for understanding our current realities. Somewhere we are even in a more \"winning\" position – the authors and readers of that time had a more narrowed range of analysis, which was naturally inherent in \"their time\". At the same time, we are also partially vulnerable, especially in the historical and cultural context. Because the time of writing a work leaves an imprint on its content, the keys to its understanding are often in the social parallels of everyday life, which is fully understood by contemporaries, and \"descendants\" need to explain certain specific aspects of everyday life, psychological model or banal meaning of a particular word (they become anachronisms or acquire a different meaning). At the same time, it is worth paying attention to those questions that are transcendental in nature. Strugatsky brothers in \"Snail on the Slope\" experienced a corresponding experience – they tried to create a multi-faceted picture of the world with \"their own\" laws. At the same time, the task they set was not only to come up with, but also to \"guess\" the true concept, to bring the artistic fabric of the work closer to the \"truth of life\". Therefore, this work is fundamentally different from a significant part of their literary heritage, it is a kind of \"experimental platform\". They did not try to repeat this experience in their future work.","PeriodicalId":52653,"journal":{"name":"Ukrayins''ki kul''turologichni studiyi","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67442367","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 : 2021-01-01DOI: 10.17721/ucs.2021.1(8).15
T. D. Bobrovnyk
{"title":"FEATURES OF THE LIFE OF THE INDIVIDUAL IN THE SOCIO-CULTURAL CONDITIONS OF THE\" PANDEMIC PERIOD","authors":"T. D. Bobrovnyk","doi":"10.17721/ucs.2021.1(8).15","DOIUrl":"https://doi.org/10.17721/ucs.2021.1(8).15","url":null,"abstract":"","PeriodicalId":52653,"journal":{"name":"Ukrayins''ki kul''turologichni studiyi","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67442891","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 : 2021-01-01DOI: 10.17721/ucs.2021.2(9).19
A. Soshnikov
Dedicated to the problem of modeling the image of Ancient Egypt in the work of Lesya Ukrainka as one of the popular areas of interests of intellectuals of the 19th – early 20th centuries. It was determined that the formation of this image is the result of her solid Egyptological knowledge, formed both through acquaintance with contemporary scientific oriental and Egyptological literature, and through direct study of the ancient Egyptian cultural heritage during her stay in Egypt and visiting its museums and ancient monuments. It is emphasized that the Egyptian essays by Lesia Ukrainka became the first attempt of Ukrainian orientalism to organize knowledge about the East on a Ukrainian mental basis. It is emphasized that the poetry of Lesya Ukrainka on Egyptian themes is the original artistic expression of her "History of the Eastern Peoples", in fact, the views expressed in it on the peculiarities of the development of ancient civilizations
{"title":"ESSAY: EGYPTOLOGICAL THEME IN THE WORKS OF THE LESIA UKRAINKA","authors":"A. Soshnikov","doi":"10.17721/ucs.2021.2(9).19","DOIUrl":"https://doi.org/10.17721/ucs.2021.2(9).19","url":null,"abstract":"Dedicated to the problem of modeling the image of Ancient Egypt in the work of Lesya Ukrainka as one of the popular areas of interests of intellectuals of the 19th – early 20th centuries. It was determined that the formation of this image is the result of her solid Egyptological knowledge, formed both through acquaintance with contemporary scientific oriental and Egyptological literature, and through direct study of the ancient Egyptian cultural heritage during her stay in Egypt and visiting its museums and ancient monuments. It is emphasized that the Egyptian essays by Lesia Ukrainka became the first attempt of Ukrainian orientalism to organize knowledge about the East on a Ukrainian mental basis. It is emphasized that the poetry of Lesya Ukrainka on Egyptian themes is the original artistic expression of her \"History of the Eastern Peoples\", in fact, the views expressed in it on the peculiarities of the development of ancient civilizations","PeriodicalId":52653,"journal":{"name":"Ukrayins''ki kul''turologichni studiyi","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67443928","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 : 2021-01-01DOI: 10.17721/ucs.2021.1(8).02
V. S. Gritsenko
The article is devoted to one of the most complex phenomena of the dialectic of cultural development – individual spiritual identification through the selection and development of individual components of a foreign cultural spiritual resource, in this case – the traditional cultures of China and Japan. Contrary to its predominantly factual scientific consideration in the context of issues of cultural borrowing, "spiritual migration" to the East is analyzed as a stable trend, which has its source in the essential intentions of man, remaining not only constant in the centuries-old past of mankind, but also inescapable in its further cultural movement. In this context, the author considers the historical manifestations of heightened interest in the treasures of the Far Eastern cultural area, its transformation from a simple admiration for exotics to confessing the philosophical and worldview guidelines presented by them. The phenomenon of the cultural trend studied in this way, having demonstrated its ability to identify and preserve spiritual recreation, is revealed in its direct connection with the dialectical processes of the cultural development of mankind. In culturology, fashion and the processes of trend formation belong to the issues of the essential series, because they reveal a person's constant desire for change motivated by self-development. According to historical evidence, the orbit of fashion as a way of cultural identification includes not only material and procedural phenomena, but also cultural and ideological complexes with their own model of worldview and behavioral regulations. The emphasis on them arises from the needs of personal self-identification, problematized by the circumstances of personal or public life. The motive for such a choice is the search for a spiritual optimum conducive to self-realization and inner freedom of self-expression. Its absence forms compensatory "trend nodes", the appearance of which is thus predictable, as well as the resource needed to meet this cultural demand. It is at the disposal of cultures formed on the basis of philosophical and worldview universals that consider man as a significant unit of the universe. Some of them are gone, but the cultural memory of mankind preserves the memory of their legacy left to intellectuals. The existing traditional cultures, which for thousands of years nurtured their spiritual core, becoming a Mecca for the spiritually thirsty, have the integral effectiveness of the resource.
{"title":"EAST AS A CULTURAL TREND","authors":"V. S. Gritsenko","doi":"10.17721/ucs.2021.1(8).02","DOIUrl":"https://doi.org/10.17721/ucs.2021.1(8).02","url":null,"abstract":"The article is devoted to one of the most complex phenomena of the dialectic of cultural development – individual spiritual identification through the selection and development of individual components of a foreign cultural spiritual resource, in this case – the traditional cultures of China and Japan. Contrary to its predominantly factual scientific consideration in the context of issues of cultural borrowing, \"spiritual migration\" to the East is analyzed as a stable trend, which has its source in the essential intentions of man, remaining not only constant in the centuries-old past of mankind, but also inescapable in its further cultural movement. In this context, the author considers the historical manifestations of heightened interest in the treasures of the Far Eastern cultural area, its transformation from a simple admiration for exotics to confessing the philosophical and worldview guidelines presented by them. The phenomenon of the cultural trend studied in this way, having demonstrated its ability to identify and preserve spiritual recreation, is revealed in its direct connection with the dialectical processes of the cultural development of mankind. In culturology, fashion and the processes of trend formation belong to the issues of the essential series, because they reveal a person's constant desire for change motivated by self-development. According to historical evidence, the orbit of fashion as a way of cultural identification includes not only material and procedural phenomena, but also cultural and ideological complexes with their own model of worldview and behavioral regulations. The emphasis on them arises from the needs of personal self-identification, problematized by the circumstances of personal or public life. The motive for such a choice is the search for a spiritual optimum conducive to self-realization and inner freedom of self-expression. Its absence forms compensatory \"trend nodes\", the appearance of which is thus predictable, as well as the resource needed to meet this cultural demand. It is at the disposal of cultures formed on the basis of philosophical and worldview universals that consider man as a significant unit of the universe. Some of them are gone, but the cultural memory of mankind preserves the memory of their legacy left to intellectuals. The existing traditional cultures, which for thousands of years nurtured their spiritual core, becoming a Mecca for the spiritually thirsty, have the integral effectiveness of the resource.","PeriodicalId":52653,"journal":{"name":"Ukrayins''ki kul''turologichni studiyi","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67442375","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 : 2021-01-01DOI: 10.17721/ucs.2021.1(8).11
I. Maslikova
The article examines the positive and negative experience of the consolidation of French and German citizens in process of nation-building by means of culture. The research deals with: practice of collecting masterpieces that influenced the development of public museums and the ability to defend national interests; the practice of consolidation of citizens around monuments of cultural figures; practices of confrontation between conservative intellectuals and modern artistic circles, which led to the fight against dissent, the destruction of books and the formation of the ideology of Nazism; practices of nazification of the education system, which revealed growing of the conflict between ideal virtues and the real behavior of participants in the educational process and politicians, and which subsequently legitimized absolute obedience to the leader; practices of collecting library collections, accompanied by theft of public libraries and private collections. The positive consequences of the consolidation citizens with the help of cultural institutions are indicated: the institutionally formed sphere of culture allows citizens to experience national pride, to be aware of themselves as a part of an original and rich national culture, to form their national identity. Cultural institutions create a space, which creativity is encouraged, opportunity for public discussions about culture and society are provided; educational and scientific activities are carried out. Recommendations on building a strategy for the cultural policy of Ukraine: the sphere of culture should be aimed at consolidating citizens; should expand the possibilities of various subjects of cultural activity and minimize the negative influences of the state; should expand access to quality education that fosters a culture of critical and creative thinking; should expand opportunities for international cooperation in educational and cultural projects based on the values of rights and freedom of individuals, mutual understanding and mutual respect of representatives of different cultures.
{"title":"THE SPHERE OF CULTURE IN THE PROCESSES OF NATION-BUILDING AND THE CONSOLIDATION OF CITIZENS: THE EXPERIENCE OF THE CULTURAL POLICY IN FRANCE AND GERMANY","authors":"I. Maslikova","doi":"10.17721/ucs.2021.1(8).11","DOIUrl":"https://doi.org/10.17721/ucs.2021.1(8).11","url":null,"abstract":"The article examines the positive and negative experience of the consolidation of French and German citizens in process of nation-building by means of culture. The research deals with: practice of collecting masterpieces that influenced the development of public museums and the ability to defend national interests; the practice of consolidation of citizens around monuments of cultural figures; practices of confrontation between conservative intellectuals and modern artistic circles, which led to the fight against dissent, the destruction of books and the formation of the ideology of Nazism; practices of nazification of the education system, which revealed growing of the conflict between ideal virtues and the real behavior of participants in the educational process and politicians, and which subsequently legitimized absolute obedience to the leader; practices of collecting library collections, accompanied by theft of public libraries and private collections. The positive consequences of the consolidation citizens with the help of cultural institutions are indicated: the institutionally formed sphere of culture allows citizens to experience national pride, to be aware of themselves as a part of an original and rich national culture, to form their national identity. Cultural institutions create a space, which creativity is encouraged, opportunity for public discussions about culture and society are provided; educational and scientific activities are carried out. Recommendations on building a strategy for the cultural policy of Ukraine: the sphere of culture should be aimed at consolidating citizens; should expand the possibilities of various subjects of cultural activity and minimize the negative influences of the state; should expand access to quality education that fosters a culture of critical and creative thinking; should expand opportunities for international cooperation in educational and cultural projects based on the values of rights and freedom of individuals, mutual understanding and mutual respect of representatives of different cultures.","PeriodicalId":52653,"journal":{"name":"Ukrayins''ki kul''turologichni studiyi","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67442591","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 : 2021-01-01DOI: 10.17721/ucs.2021.1(8).04
Y. Levcheniuk
Goal. To carry out socio-philosophical conceptualization of the phenomenon of culture of interethnic relations as a factor of interaction between representatives of different cultures and nationalities. Today, culture is one of the identifiers in the modern world, which determines the originality and uniqueness of nations and ethnic groups. Theoretical basis. The authors proved that the culture of interethnic relations is a direct dialogue between representatives of different nationalities, which allows the existence and development of national culture in modern society (mass, virtual, global, information) and so on. It is substantiated that the main condition and consequence of the interaction of representatives of different nationalities and ethnic groups is the recognition of their originality and uniqueness, at the same time there is a formation of global identity, i.e. there is an awareness of the need to live together. Scientific novelty. It is substantiated that at the present stage of development, society is in a state of radical large-scale, systemic transformations. Humankind needs to learn the culture of interethnic relations, as modern migration flows change the cultural picture around the world, in particular in the United States and Western Europe. The culture of "aging" Europe is changing significantly under the pressure of migratory flows, which assert their own culture and religion. Conclusions. The beginning of the XXI century characterized by the development of post-globalization, which simultaneously affirms the global and national identity. Humankind recognizes the fact that political and economic factors are secondary to culture and religion, which are the main identifiers of nations and ethnic groups. It is culture that accumulates in itself the necessary, stable set of symbols, which both at the individual and collective level are the defining features of ethnic groups, nations, states. The nation or the state which is able to answer affirmatively the question "who are we?" is successful and strong at the geopolitical level.
{"title":"CULTURE OF INTERETHNIC RELATIONS IN THE STRUCTURE OF HUMANITARIAN EDUCATION","authors":"Y. Levcheniuk","doi":"10.17721/ucs.2021.1(8).04","DOIUrl":"https://doi.org/10.17721/ucs.2021.1(8).04","url":null,"abstract":"Goal. To carry out socio-philosophical conceptualization of the phenomenon of culture of interethnic relations as a factor of interaction between representatives of different cultures and nationalities. Today, culture is one of the identifiers in the modern world, which determines the originality and uniqueness of nations and ethnic groups. Theoretical basis. The authors proved that the culture of interethnic relations is a direct dialogue between representatives of different nationalities, which allows the existence and development of national culture in modern society (mass, virtual, global, information) and so on. It is substantiated that the main condition and consequence of the interaction of representatives of different nationalities and ethnic groups is the recognition of their originality and uniqueness, at the same time there is a formation of global identity, i.e. there is an awareness of the need to live together. Scientific novelty. It is substantiated that at the present stage of development, society is in a state of radical large-scale, systemic transformations. Humankind needs to learn the culture of interethnic relations, as modern migration flows change the cultural picture around the world, in particular in the United States and Western Europe. The culture of \"aging\" Europe is changing significantly under the pressure of migratory flows, which assert their own culture and religion. Conclusions. The beginning of the XXI century characterized by the development of post-globalization, which simultaneously affirms the global and national identity. Humankind recognizes the fact that political and economic factors are secondary to culture and religion, which are the main identifiers of nations and ethnic groups. It is culture that accumulates in itself the necessary, stable set of symbols, which both at the individual and collective level are the defining features of ethnic groups, nations, states. The nation or the state which is able to answer affirmatively the question \"who are we?\" is successful and strong at the geopolitical level.","PeriodicalId":52653,"journal":{"name":"Ukrayins''ki kul''turologichni studiyi","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67442690","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 : 2021-01-01DOI: 10.17721/ucs.2021.1(8).13
O. Rykhlitska, O. Kosyk
The article analyzes modern design practices based on symbolic and ornamental motives of folk art and their modern actualization in ethno-artistic areas, reflecting the relationship of traditional aspects with innovative, symbolic translation of cultural experience in time and space, creating symbolic value images, enhancing emotional environment and creating new narratives. Symbols, as the basis of the existence of the people, reflect the ethno- national aspects of culture, is an opportunity to find yourself at the level of relationship with your people, your nation, traditions. The appeal to archetypes is a special methodological perspective in which the meaning of the future is created due to the transformation of the past into a symbol. What is relevant in modern Ukrainian realities is that the whole cultural paradigm is being reconsidered and new ways of national identification are being sought. Embroidery is marked by a special color and incredible ornamentation, complex performance technique, which is reflected in the symbols of sociocultural practices, immersing in the depths of traditional norms and values that encourage to feel, assimilate, preserve and transmit. In modern domestic discourse, design practices are thought of as aimed at transforming the cultural environment into the integrity of cultural and natural components. They serve as a basis for forming an idea of the world and building harmonious relationships with the world. And the use of symbols-amulets and a certain emotional color is a special process of self-identification and the foundation for the revival of national culture and spiritual values, seeing their own place in the global cultural and artistic space. Therefore, the use of ornamental symbols in design practice is the basis for the revival of national culture and spiritual values and the formation of a new promising direction of Ukrainian design. Among the spiritual heritage of Ukraine with its color and incredible ornamentation, complex technique is embroidery, which is reflected in the symbols-codes of modern socio-cultural practices
{"title":"ORNAMENTAL MOTIVES OF MODERN DESIGN PRACTICES","authors":"O. Rykhlitska, O. Kosyk","doi":"10.17721/ucs.2021.1(8).13","DOIUrl":"https://doi.org/10.17721/ucs.2021.1(8).13","url":null,"abstract":"The article analyzes modern design practices based on symbolic and ornamental motives of folk art and their modern actualization in ethno-artistic areas, reflecting the relationship of traditional aspects with innovative, symbolic translation of cultural experience in time and space, creating symbolic value images, enhancing emotional environment and creating new narratives. Symbols, as the basis of the existence of the people, reflect the ethno- national aspects of culture, is an opportunity to find yourself at the level of relationship with your people, your nation, traditions. The appeal to archetypes is a special methodological perspective in which the meaning of the future is created due to the transformation of the past into a symbol. What is relevant in modern Ukrainian realities is that the whole cultural paradigm is being reconsidered and new ways of national identification are being sought. Embroidery is marked by a special color and incredible ornamentation, complex performance technique, which is reflected in the symbols of sociocultural practices, immersing in the depths of traditional norms and values that encourage to feel, assimilate, preserve and transmit. In modern domestic discourse, design practices are thought of as aimed at transforming the cultural environment into the integrity of cultural and natural components. They serve as a basis for forming an idea of the world and building harmonious relationships with the world. And the use of symbols-amulets and a certain emotional color is a special process of self-identification and the foundation for the revival of national culture and spiritual values, seeing their own place in the global cultural and artistic space. Therefore, the use of ornamental symbols in design practice is the basis for the revival of national culture and spiritual values and the formation of a new promising direction of Ukrainian design. Among the spiritual heritage of Ukraine with its color and incredible ornamentation, complex technique is embroidery, which is reflected in the symbols-codes of modern socio-cultural practices","PeriodicalId":52653,"journal":{"name":"Ukrayins''ki kul''turologichni studiyi","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67443094","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 : 2021-01-01DOI: 10.17721/ucs.2021.2(9).13
T. K. Ognieva
The article "Artistic and figurative statements in the Ukrainian scenography of the XX century" analyzes the conditions and factors of develop- ment of the art of theater and scenography as a component during the XX century in Ukraine. The scenographic space provides an opportunity to synthesize elements of plastic arts to create an artistic and figurative solution and to form the emotional climate of a theatrical performance. During the development of the art of theater, an evolution of the scenography took place. The level of scenography in Ukraine in the 1920s and 1930s not only corresponded to the standards of the world art, but also exceeded its value orientations, provided the key to understanding artistic searches and discoveries on a global scale. Ukrainian scenographers offered independent artistic and figurative solutions of performances. In the scenography of the 1920s, O. Khvostenko-Khvostov used various means of design of space – construction, painting, fabrics, mobile machine, banner, film projection, light, photomontage, etc. A. Petritskyi even managed to give constructivism diversity and emotionality, perfectly synthesize the spatio-temporal characteristics of theatrical art, forming an artistic and figurative solution of the play. W. Meller's work in the 20s-30s of the XXth century is also an example of artistic figurative stage design of the play and the most fruitful inter- pretation of European innovative trends on the basis of Ukrainian theatrical art. The "social realism" style approved by the influenced the develop- ment of Ukrainian culture; in theatrical art and, in particular, scenography, we observe a gradual departure from the artistic and figurative organiza- tion of the stage towards realistic reproduction of the place of action. Thus, the legacy of V. Meller, A. Petritskyi and O. Khvostenko-Khvostov before and after World War II is not distinguished by innovative, ex- traordinary stage solutions, which is explained by objective reasons. D. Borovskyi was one of the first scenographers of the post – war period who demonstrated artistic and figurative interpretation of dramatic material in Ukraine. Myron Kyprian has a special place among the artists of the stage, whose creative work of the 60s – 70s of the XX century abounds in artistic and figurative solutions of performances. We emphasize that the Ukrainian scenography in the 50's – 60's generally corresponded to the basic principles of the style of socialist realism. Most artists of the stage used standard techniques, but there were also artistic and figurative scenographic solutions that stood out from the general usual practice. The process of liberation of art in general and theatrical in particular has shifted and is constantly evolving towards getting rid of the dictates of worldview principles and aesthetic systems that determined the ways of development of art in previous years. The solution of the problems of visu- alization of the artistic and figurative or
{"title":"ARTISTIC AND FIGURATIVE STATEMENTS IN UKRAINIAN SCENOGRAPHY OF THE XX CENTURY","authors":"T. K. Ognieva","doi":"10.17721/ucs.2021.2(9).13","DOIUrl":"https://doi.org/10.17721/ucs.2021.2(9).13","url":null,"abstract":"The article \"Artistic and figurative statements in the Ukrainian scenography of the XX century\" analyzes the conditions and factors of develop- ment of the art of theater and scenography as a component during the XX century in Ukraine. The scenographic space provides an opportunity to synthesize elements of plastic arts to create an artistic and figurative solution and to form the emotional climate of a theatrical performance. During the development of the art of theater, an evolution of the scenography took place. The level of scenography in Ukraine in the 1920s and 1930s not only corresponded to the standards of the world art, but also exceeded its value orientations, provided the key to understanding artistic searches and discoveries on a global scale. Ukrainian scenographers offered independent artistic and figurative solutions of performances. In the scenography of the 1920s, O. Khvostenko-Khvostov used various means of design of space – construction, painting, fabrics, mobile machine, banner, film projection, light, photomontage, etc. A. Petritskyi even managed to give constructivism diversity and emotionality, perfectly synthesize the spatio-temporal characteristics of theatrical art, forming an artistic and figurative solution of the play. W. Meller's work in the 20s-30s of the XXth century is also an example of artistic figurative stage design of the play and the most fruitful inter- pretation of European innovative trends on the basis of Ukrainian theatrical art. The \"social realism\" style approved by the influenced the develop- ment of Ukrainian culture; in theatrical art and, in particular, scenography, we observe a gradual departure from the artistic and figurative organiza- tion of the stage towards realistic reproduction of the place of action. Thus, the legacy of V. Meller, A. Petritskyi and O. Khvostenko-Khvostov before and after World War II is not distinguished by innovative, ex- traordinary stage solutions, which is explained by objective reasons. D. Borovskyi was one of the first scenographers of the post – war period who demonstrated artistic and figurative interpretation of dramatic material in Ukraine. Myron Kyprian has a special place among the artists of the stage, whose creative work of the 60s – 70s of the XX century abounds in artistic and figurative solutions of performances. We emphasize that the Ukrainian scenography in the 50's – 60's generally corresponded to the basic principles of the style of socialist realism. Most artists of the stage used standard techniques, but there were also artistic and figurative scenographic solutions that stood out from the general usual practice. The process of liberation of art in general and theatrical in particular has shifted and is constantly evolving towards getting rid of the dictates of worldview principles and aesthetic systems that determined the ways of development of art in previous years. The solution of the problems of visu- alization of the artistic and figurative or","PeriodicalId":52653,"journal":{"name":"Ukrayins''ki kul''turologichni studiyi","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67443488","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 : 2021-01-01DOI: 10.17721/ucs.2021.2(9).14
O. Pushonkova
The article examines the anthropological dimension of the victim phenomenon through the prism of Rene Girard's concept and modern studies of nihilistic tendencies of cultural scenarios with dominant polar psychotypes. The significance of Rene Girard's theory in the study of the arche- typal basis of victim behavior, its historical sources and myth-ritual basis is studied. The cultural specifics of modern forms of counteracting vic- timhood and value contradictions of the victim's figure in the conditions of new threats to humanity, changes in the space of culture in the direction of increasing dependence on media communication platforms, are revealed. Some aspects of the victim's behavior have been linked to identity patterns which suggests a hedonistic-entertaining culture format that results in narcissistic choices or escapist behavior. The article clarifies the nature of the interaction between the images of the victim in the era of multimedia communication and cultural practices which acquire the charac- ter of a ritual response to the archaic internal conflict in the context of cultural-traumatic discourse. Examining the sacred nature of the victim in the processes of desacralization of modern culture, according to R. Girard, preservation and es- sential transformation of this defining archetype as a medium of aggression is concluded. In the modern scenarios a model of total victim is formed that has lost the function of channeling social aggression, falling into a vicious circle of destruction of either oneself or others (W. Kraus), or which is "stuck" in the "triangle of fate", where everyone is a victim (S. Karpman). A hedonist who suffers from shortcomings in a flat everyday life, having lost the tragedy of his own existence in the culture, acts as its re- pressed subject, but is not aware of it, according to the psychoanalytic theory of cultural trauma. However, in everyday practices (bullying, gaslight- ing, trolling) anyone can be a victim at any time. In a more global dimension, we are talking about the collective nature of sacrifice, as evidenced by the tendencies of radicalism, terrorism, war, genocide, etc. It is possible to eliminate human inherent aggressive instincts only through the step-by-step development of the value sphere (W. Kraus). This is the only thing that can prevent the self-destruction of the mankind and solve the problem of intraspecific aggression, which was considered from different points of view by K. Lorentz and R. Girard.
{"title":"ANTHROPOLOGY OF VICTIM IN POSTMODERN CULTURAL PRACTICES","authors":"O. Pushonkova","doi":"10.17721/ucs.2021.2(9).14","DOIUrl":"https://doi.org/10.17721/ucs.2021.2(9).14","url":null,"abstract":"The article examines the anthropological dimension of the victim phenomenon through the prism of Rene Girard's concept and modern studies of nihilistic tendencies of cultural scenarios with dominant polar psychotypes. The significance of Rene Girard's theory in the study of the arche- typal basis of victim behavior, its historical sources and myth-ritual basis is studied. The cultural specifics of modern forms of counteracting vic- timhood and value contradictions of the victim's figure in the conditions of new threats to humanity, changes in the space of culture in the direction of increasing dependence on media communication platforms, are revealed. Some aspects of the victim's behavior have been linked to identity patterns which suggests a hedonistic-entertaining culture format that results in narcissistic choices or escapist behavior. The article clarifies the nature of the interaction between the images of the victim in the era of multimedia communication and cultural practices which acquire the charac- ter of a ritual response to the archaic internal conflict in the context of cultural-traumatic discourse. Examining the sacred nature of the victim in the processes of desacralization of modern culture, according to R. Girard, preservation and es- sential transformation of this defining archetype as a medium of aggression is concluded. In the modern scenarios a model of total victim is formed that has lost the function of channeling social aggression, falling into a vicious circle of destruction of either oneself or others (W. Kraus), or which is \"stuck\" in the \"triangle of fate\", where everyone is a victim (S. Karpman). A hedonist who suffers from shortcomings in a flat everyday life, having lost the tragedy of his own existence in the culture, acts as its re- pressed subject, but is not aware of it, according to the psychoanalytic theory of cultural trauma. However, in everyday practices (bullying, gaslight- ing, trolling) anyone can be a victim at any time. In a more global dimension, we are talking about the collective nature of sacrifice, as evidenced by the tendencies of radicalism, terrorism, war, genocide, etc. It is possible to eliminate human inherent aggressive instincts only through the step-by-step development of the value sphere (W. Kraus). This is the only thing that can prevent the self-destruction of the mankind and solve the problem of intraspecific aggression, which was considered from different points of view by K. Lorentz and R. Girard.","PeriodicalId":52653,"journal":{"name":"Ukrayins''ki kul''turologichni studiyi","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67443547","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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