Pub Date : 2021-01-01DOI: 10.17721/ucs.2021.2(9).17
O. Pavlova
{"title":"Review of the round table \"VISUAL STUDIES IN THE CONTEXT OF THE THEORY AND HISTORY OF CULTURE\", which took place online on April 22, 2021","authors":"O. Pavlova","doi":"10.17721/ucs.2021.2(9).17","DOIUrl":"https://doi.org/10.17721/ucs.2021.2(9).17","url":null,"abstract":"","PeriodicalId":52653,"journal":{"name":"Ukrayins''ki kul''turologichni studiyi","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67443723","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).10
M. I. Korobko
The article is devoted to the analysis of the importance of information ethics in the active development of information and communication technologies. Active research on the issues of cyberspace has been conducted since the second half of the ХХth century. These studies are becoming more intensive every year. Many scientists are interested in analysis of these issues because communication plays the fundamental role in our dynamic modern world. Modern telecommunication technologies and, first of all, the global Internet, are one of the most important factors in the development of the world community, which has a decisive influence on the social, political, economic and socio-cultural spheres. And the global pandemic Covid-19 since 2020 has brought these issues to the forefront of socio-humanitarian research. The information space of the Internet, which has already become the main infrastructure of social communication at the local and global levels, is a relatively new cultural phenomenon. It is obvious that a clear and effective system of moral regulation in this area has not yet developed. This space provides a person with unprecedented opportunities in terms of personal freedom, challenging traditional moral attitudes. Of course, this raises many ethical issues, both general and applied, related to the spread of coercive and aggressive Internet advertising, pornography, violence, intrusion, privacy, and many other aspects. Computer technologies are not neutral. They are filled with human, cultural and social values. These values can be predicted and taken into account, they can appear and evolve after many trials and errors. In our multicultural world conflicting value system can often arise. Future research needs to do as much as possible to create a broader and more promising concept of what it means to be human in the stream of transformations that exist today. The solution of certain problems in information ethics is different depending on who solves these problems. All dilemmas and problems within the framework of the considered direction of applied ethics are open, and no one can give an exact answer to the questions yet. Thus, since in the modern information society there is a direct relationship between the intensity of technological development and the growth of crises in the field of moral values and spiritual culture, information ethics already makes a serious claim to the moral regulation of human behaviour.
{"title":"INFORMATION ETHICS AS A NECESSARY ELEMENT OF THE REGULATION OF THE MODERN INFORMATION SOCIETY","authors":"M. I. Korobko","doi":"10.17721/ucs.2021.1(8).10","DOIUrl":"https://doi.org/10.17721/ucs.2021.1(8).10","url":null,"abstract":"The article is devoted to the analysis of the importance of information ethics in the active development of information and communication technologies. Active research on the issues of cyberspace has been conducted since the second half of the ХХth century. These studies are becoming more intensive every year. Many scientists are interested in analysis of these issues because communication plays the fundamental role in our dynamic modern world. Modern telecommunication technologies and, first of all, the global Internet, are one of the most important factors in the development of the world community, which has a decisive influence on the social, political, economic and socio-cultural spheres. And the global pandemic Covid-19 since 2020 has brought these issues to the forefront of socio-humanitarian research. The information space of the Internet, which has already become the main infrastructure of social communication at the local and global levels, is a relatively new cultural phenomenon. It is obvious that a clear and effective system of moral regulation in this area has not yet developed. This space provides a person with unprecedented opportunities in terms of personal freedom, challenging traditional moral attitudes. Of course, this raises many ethical issues, both general and applied, related to the spread of coercive and aggressive Internet advertising, pornography, violence, intrusion, privacy, and many other aspects. Computer technologies are not neutral. They are filled with human, cultural and social values. These values can be predicted and taken into account, they can appear and evolve after many trials and errors. In our multicultural world conflicting value system can often arise. Future research needs to do as much as possible to create a broader and more promising concept of what it means to be human in the stream of transformations that exist today. The solution of certain problems in information ethics is different depending on who solves these problems. All dilemmas and problems within the framework of the considered direction of applied ethics are open, and no one can give an exact answer to the questions yet. Thus, since in the modern information society there is a direct relationship between the intensity of technological development and the growth of crises in the field of moral values and spiritual culture, information ethics already makes a serious claim to the moral regulation of human behaviour.","PeriodicalId":52653,"journal":{"name":"Ukrayins''ki kul''turologichni studiyi","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67442527","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).02
V. Grytsenko
The article is devoted to the fundamental problems of human philosophy and, at the same time, to the philosophy of culture as a product of its spiritual movement. Presented in modern science by separately developed theoretical discourses, in reality the aesthetic and cultural aspects are in relation of continuous interdependence, associated with the development of their generic basis – the human core of essence. The concept of aes- thetics, which owes its emergence to the activity-based approach to the analysis of human essence, the understanding of the aesthetic and the moral as fundamental activities as the basis and conditions of human creation, suffers from unjustified reduction. Formed in the bosom of philo- sophical-anthropic universals, the culture studies, which should have been a methodologically analytical platform, a tendency towards factuality, moving to fleeting meanings, has revealed. This affected the optics of the aesthetic vision: the projection of its consideration became actual artistic practices, taken from the perspective of artistic instrumental form formation, abstracted from the defining human-motivated meaning. Left "off screen", it brings the analysis of contemporary artistic realities to superficial ones, to a simple statement of their sociocultural certainty and differ- ences from what was known previously. The very life of the "aesthetic" – a condition and measure of the human essence development – provides such studies incapable of true expertise, primarily of determining the actual cultural weight of the artistic and aesthetic phenomenon and the pro- spects of its future existence. The urgency of recognizing this problem and its obligatory subsequent solution is one of the urgent tasks of culture studies on the way to its ultimate establishment as the center of humanitarian values. The understanding of the "aesthetic" as a human-forming condition necessarily expands the space of its cultural examination as well. It en- compasses a bunch of actions and inner movements carried out in a human way. Moreover, the world of art needs to be taken into account when studying the presence of aesthetics in the general sphere of sociocultural practices. Whereas art as an aesthetic phenomenon is homogeneous in relation to the aesthetic, in the extra-artistic sphere the aesthetic gets into a homogeneity of a different order, namely into the root structure of the essential human self-development.
{"title":"\"AESTHETIC\" IN MODERN SOCIO-CULTURAL PRACTICES","authors":"V. Grytsenko","doi":"10.17721/ucs.2021.2(9).02","DOIUrl":"https://doi.org/10.17721/ucs.2021.2(9).02","url":null,"abstract":"The article is devoted to the fundamental problems of human philosophy and, at the same time, to the philosophy of culture as a product of its spiritual movement. Presented in modern science by separately developed theoretical discourses, in reality the aesthetic and cultural aspects are in relation of continuous interdependence, associated with the development of their generic basis – the human core of essence. The concept of aes- thetics, which owes its emergence to the activity-based approach to the analysis of human essence, the understanding of the aesthetic and the moral as fundamental activities as the basis and conditions of human creation, suffers from unjustified reduction. Formed in the bosom of philo- sophical-anthropic universals, the culture studies, which should have been a methodologically analytical platform, a tendency towards factuality, moving to fleeting meanings, has revealed. This affected the optics of the aesthetic vision: the projection of its consideration became actual artistic practices, taken from the perspective of artistic instrumental form formation, abstracted from the defining human-motivated meaning. Left \"off screen\", it brings the analysis of contemporary artistic realities to superficial ones, to a simple statement of their sociocultural certainty and differ- ences from what was known previously. The very life of the \"aesthetic\" – a condition and measure of the human essence development – provides such studies incapable of true expertise, primarily of determining the actual cultural weight of the artistic and aesthetic phenomenon and the pro- spects of its future existence. The urgency of recognizing this problem and its obligatory subsequent solution is one of the urgent tasks of culture studies on the way to its ultimate establishment as the center of humanitarian values. The understanding of the \"aesthetic\" as a human-forming condition necessarily expands the space of its cultural examination as well. It en- compasses a bunch of actions and inner movements carried out in a human way. Moreover, the world of art needs to be taken into account when studying the presence of aesthetics in the general sphere of sociocultural practices. Whereas art as an aesthetic phenomenon is homogeneous in relation to the aesthetic, in the extra-artistic sphere the aesthetic gets into a homogeneity of a different order, namely into the root structure of the essential human self-development.","PeriodicalId":52653,"journal":{"name":"Ukrayins''ki kul''turologichni studiyi","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67443251","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).10
Y. Butsykina
The article is devoted to structuring the existing definitions of three key concepts within modern vernacular cultural studies in order to build a holistic picture of understanding the vernacular elements in urban space. Within the definition of vernacular culture (M. Lantis, A. Markusen, J. Carr and L. Servon), characteristics such as the combination of traditional culture and modern aspects of cultural identity in the non-professional dimension of city life were identified. Within the definition of the concept of vernacular city (J. Krase and T. Shortell, S. Sapu and others) the appeal to the discourse of everyday (G. Simmel, H. Lefebvre, M. de Certeau, R. Sennett and M. Blonsky) and the method of visual semiotics (R. Jakobson) is analyzed in order to distinguish signs of visual representation and urban identity, social and cultural conditions in the construction of urban space by its inhabit- ants. The concept of vernacular architecture (R. Brown and D. Maudlin, H. Guillaud, M. Salman) carries a combination of elements of traditional and everyday within postmodern and postcolonial studies and the concept of "collage city", as well as through the prism of the problem of sustainability.
本文旨在梳理现代白话文化研究中三个关键概念的现有定义，以构建一个理解城市空间白话元素的整体图景。在白话文化(M. Lantis, A. Markusen, J. Carr和L. Servon)的定义中，他们确定了城市生活非职业维度中文化认同的传统文化与现代方面的结合等特征。在白话化城市概念的定义(J. Krase和T. Shortell, S. Sapu等人)中，分析了对日常话语的诉求(G. Simmel, H. Lefebvre, M. de Certeau, R. Sennett和M. Blonsky)和视觉符号学方法(R. Jakobson)，以区分视觉表征和城市身份的标志，以及居住在城市的蚂蚁在城市空间建设中的社会和文化条件。乡土建筑的概念(R. Brown and D. Maudlin, H. Guillaud, M. Salman)结合了后现代和后殖民研究中的传统和日常元素，以及“拼贴城市”的概念，以及通过可持续性问题的棱镜。
{"title":"VERNACULAR CULTURE, CITY, ARCHITECTURE: ANALYSIS AND CORRELATION OF CONCEPTS","authors":"Y. Butsykina","doi":"10.17721/ucs.2021.2(9).10","DOIUrl":"https://doi.org/10.17721/ucs.2021.2(9).10","url":null,"abstract":"The article is devoted to structuring the existing definitions of three key concepts within modern vernacular cultural studies in order to build a holistic picture of understanding the vernacular elements in urban space. Within the definition of vernacular culture (M. Lantis, A. Markusen, J. Carr and L. Servon), characteristics such as the combination of traditional culture and modern aspects of cultural identity in the non-professional dimension of city life were identified. Within the definition of the concept of vernacular city (J. Krase and T. Shortell, S. Sapu and others) the appeal to the discourse of everyday (G. Simmel, H. Lefebvre, M. de Certeau, R. Sennett and M. Blonsky) and the method of visual semiotics (R. Jakobson) is analyzed in order to distinguish signs of visual representation and urban identity, social and cultural conditions in the construction of urban space by its inhabit- ants. The concept of vernacular architecture (R. Brown and D. Maudlin, H. Guillaud, M. Salman) carries a combination of elements of traditional and everyday within postmodern and postcolonial studies and the concept of \"collage city\", as well as through the prism of the problem of sustainability.","PeriodicalId":52653,"journal":{"name":"Ukrayins''ki kul''turologichni studiyi","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67443348","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).07
O. Pavlova
The article is devoted to the definition of basic concepts and methodological principles of the organization of the humanities, in particular cul- ture studies in a diachronic perspective. The shift of the field of cultural research in the process of understanding its historical principles is studied. In particular, there is a pattern of shifting humanities knowledge from direct identification with the field of "human sciences" ("Geisteswissenschaf- ten") to the study of the fundamental multiplicity of human way of life, and, accordingly, exposing the transcendental status of culture and the need to understand the basic principles of interaction of different cultures in the diachronic dimension. Recognition of the original guideline of cultural diversity presupposes a rethinking of the historical sequence as an evaluative guideline, but, on the other hand, the avoidance of a futile denial of the principle of historicism in general. Thus, understanding the history of culture requires the study of cultural history as the basis of historical understanding of the very knowledge of culture. In general, the discipline – the history of culture or even "history of cultures" is derived from the concept of culture as a whole in two dimen- sions: defining the scope and content of the term "culture". As well as the recognition of its original non-homogeneity, and hence the need for re- flection on the basic principles of its classification; the initial guideline for cultural diversity provides for the possibility of defining not only a syn- chronous but also a diachronic perspective. Thus, cultural history is a theoretical field of cultural research, which captures, comprehends and formulates the subject field and methodolog- ical guidelines for understanding the historical dynamics of culture in its correlation with the content of basic concepts. Thus, the subject field of cultural history implicitly provides the context of the history of culture, and the history of culture – the need to reflect on the order of organization of their theoretical and empirical guidelines.
{"title":"CULTURAL HISTORY IN THE CONTEXT OF HISTORY OF CULTURE","authors":"O. Pavlova","doi":"10.17721/ucs.2021.2(9).07","DOIUrl":"https://doi.org/10.17721/ucs.2021.2(9).07","url":null,"abstract":"The article is devoted to the definition of basic concepts and methodological principles of the organization of the humanities, in particular cul- ture studies in a diachronic perspective. The shift of the field of cultural research in the process of understanding its historical principles is studied. In particular, there is a pattern of shifting humanities knowledge from direct identification with the field of \"human sciences\" (\"Geisteswissenschaf- ten\") to the study of the fundamental multiplicity of human way of life, and, accordingly, exposing the transcendental status of culture and the need to understand the basic principles of interaction of different cultures in the diachronic dimension. Recognition of the original guideline of cultural diversity presupposes a rethinking of the historical sequence as an evaluative guideline, but, on the other hand, the avoidance of a futile denial of the principle of historicism in general. Thus, understanding the history of culture requires the study of cultural history as the basis of historical understanding of the very knowledge of culture. In general, the discipline – the history of culture or even \"history of cultures\" is derived from the concept of culture as a whole in two dimen- sions: defining the scope and content of the term \"culture\". As well as the recognition of its original non-homogeneity, and hence the need for re- flection on the basic principles of its classification; the initial guideline for cultural diversity provides for the possibility of defining not only a syn- chronous but also a diachronic perspective. Thus, cultural history is a theoretical field of cultural research, which captures, comprehends and formulates the subject field and methodolog- ical guidelines for understanding the historical dynamics of culture in its correlation with the content of basic concepts. Thus, the subject field of cultural history implicitly provides the context of the history of culture, and the history of culture – the need to reflect on the order of organization of their theoretical and empirical guidelines.","PeriodicalId":52653,"journal":{"name":"Ukrayins''ki kul''turologichni studiyi","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67443628","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).05
V. Turenko, N. Yarmolitska
The article highlights the specificity of research in the field of aesthetics in the context of the development of Soviet philosophy in Ukraine in the 50-60s. XX century. There are three main vectors of scientific work: ideological works, original aesthetic developments and historical and aesthetic research. It is revealed that ideological aesthetic works were based on the concept of "positive aesthetics" by A. Lunacharsky, which contributed to the development of the concept of socialist realism, nationality of art by Ukrainian Soviet thinkers, as well as criticism of Western aesthetics and the approval of "Soviet aesthetics". It is shown that, unlike specifically ideological works, the original aesthetic developments were aimed not at substantiating certain provisions of Marxist-Leninist philosophy, but, as far as possible, creating new concepts and ideas in this branch of philosophical knowledge. It was revealed that in the context of historical and aesthetic research, in contrast to Russian researchers, Ukrainian scientists focused mainly on the development of the national tradition. It is proved that during the period under study, aesthetic problems, along with logic, methodology of science, philosophical problems of natural science, were one of the leading in Soviet Ukraine, thereby being one of its centers throughout the Soviet Union.
{"title":"SPECIFICITY AND FEATURES OF THE DEVELOPMENT OF AESTHETICS\u0000IN THE UKRAINIAN SOVIET PHILOSOPHY IN THE 50-60s OF THE XX CENTURY","authors":"V. Turenko, N. Yarmolitska","doi":"10.17721/ucs.2021.1(8).05","DOIUrl":"https://doi.org/10.17721/ucs.2021.1(8).05","url":null,"abstract":"The article highlights the specificity of research in the field of aesthetics in the context of the development of Soviet philosophy in Ukraine in the 50-60s. XX century. There are three main vectors of scientific work: ideological works, original aesthetic developments and historical and aesthetic research. It is revealed that ideological aesthetic works were based on the concept of \"positive aesthetics\" by A. Lunacharsky, which contributed to the development of the concept of socialist realism, nationality of art by Ukrainian Soviet thinkers, as well as criticism of Western aesthetics and the approval of \"Soviet aesthetics\". It is shown that, unlike specifically ideological works, the original aesthetic developments were aimed not at substantiating certain provisions of Marxist-Leninist philosophy, but, as far as possible, creating new concepts and ideas in this branch of philosophical knowledge. It was revealed that in the context of historical and aesthetic research, in contrast to Russian researchers, Ukrainian scientists focused mainly on the development of the national tradition. It is proved that during the period under study, aesthetic problems, along with logic, methodology of science, philosophical problems of natural science, were one of the leading in Soviet Ukraine, thereby being one of its centers throughout the Soviet Union.","PeriodicalId":52653,"journal":{"name":"Ukrayins''ki kul''turologichni studiyi","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67442435","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).12
O. Pavlova
The article is devoted to the study of the relevance of anthropological issues in the beginning of twentieth century and socio-cultural background of the anthropological sciences. The specificity of the subject and method of anthropology as a science in general focused on the systematization of empirical material which was studied. In this context, the logic of the formation of cultural / social anthropology and its instrumental interest to the video productions of technical media is studied. Anthropology tried to form a scientific understanding of human world as a holistic phenomenon (combining theoretical generalizations based on empirical data), while cultural anthropology focused on the study of cultural diversity. Visual anthropology emerged as a crossing of the fields of cultural anthropology as an academic discipline and the field of application of technical optical media, and thus a new source of empirical material. The gradual accumulation of empirical material in the "field researches" of anthropologists allowed to significantly expand the subject area and optics of anthropological science. And also it allowed visual anthropology to go gradually beyond the instrumental function that was originally intended for it. Meanwhile, the text-centered view of ethnographic material led to the transform of the culture of indigenous peoples into the codes of Western civilization, and hence to its reduction. Any of the various authentic non-Western cultures fundamentally distinguishes them from the unification style of the modern culture. The accumulation of video production by ethnography has allowed not only to preserve the disappearing authentic cultures, but also to develop methods of systematization of visual material, as well as to understand the role of visual anthropology as an autonomous discipline of the humanities. The integration of two aspects of visual anthropology (the production and study of images) casts doubt the classical style of positivist science: in particular, on the one hand the status of the subject as an observer or a spectator, on the one hand, and the monopoly of text optics, on the other.
{"title":"THE PROBLEM OF FIELD RELATIONSHIP CULTURAL AND VISUAL ANTHROPOLOGY IN THE LOGIC OF THE CRISIS OF TEXT-CENTERED METHODS OF CULTURAL RESEARCH","authors":"O. Pavlova","doi":"10.17721/ucs.2021.1(8).12","DOIUrl":"https://doi.org/10.17721/ucs.2021.1(8).12","url":null,"abstract":"The article is devoted to the study of the relevance of anthropological issues in the beginning of twentieth century and socio-cultural background of the anthropological sciences. The specificity of the subject and method of anthropology as a science in general focused on the systematization of empirical material which was studied. In this context, the logic of the formation of cultural / social anthropology and its instrumental interest to the video productions of technical media is studied. Anthropology tried to form a scientific understanding of human world as a holistic phenomenon (combining theoretical generalizations based on empirical data), while cultural anthropology focused on the study of cultural diversity. Visual anthropology emerged as a crossing of the fields of cultural anthropology as an academic discipline and the field of application of technical optical media, and thus a new source of empirical material. The gradual accumulation of empirical material in the \"field researches\" of anthropologists allowed to significantly expand the subject area and optics of anthropological science. And also it allowed visual anthropology to go gradually beyond the instrumental function that was originally intended for it. Meanwhile, the text-centered view of ethnographic material led to the transform of the culture of indigenous peoples into the codes of Western civilization, and hence to its reduction. Any of the various authentic non-Western cultures fundamentally distinguishes them from the unification style of the modern culture. The accumulation of video production by ethnography has allowed not only to preserve the disappearing authentic cultures, but also to develop methods of systematization of visual material, as well as to understand the role of visual anthropology as an autonomous discipline of the humanities. The integration of two aspects of visual anthropology (the production and study of images) casts doubt the classical style of positivist science: in particular, on the one hand the status of the subject as an observer or a spectator, on the one hand, and the monopoly of text optics, on the other.","PeriodicalId":52653,"journal":{"name":"Ukrayins''ki kul''turologichni studiyi","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67443031","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).01
H. Vdovychenko
The article deals with the revival by the Kyiv philosophical school of the second half of the 20th century of the first academic research on the history of Ukrainian philosophy, interrupted in the 1930s. These studies were a component of the innovative project of P. Kopnin and V. Shynkaruk as the directors of the H. Skovoroda Institute of Philosophy and were carried out in the contradictory conditions of the Khrushchev "thaw" and stagnation by the illustrious generation of the philosophers-Sixtiers of the Ukrainian SSR. Their memories were mainly realized in T. Chaika's pro- ject "The Philosophers' Oral Histories" in the form of autobiographical reconstructions of S. Krymskyi, P. Yolon, V. Horskyi and M. Popovych and also in the corresponding reconstructions of their colleagues Y. Golovakha, M. Kashuba and Y. Stratii, carried out by the Student Society of Oral History of Philosophy of Taras Shevchenko National University of Kyiv. The study, mainly, of these memories testifies to the general attention of these scholars to Ukrainian studies as one of the main vectors of the research work of the mentioned institute in the second half of the 20th century. Analysis of their contribution to the study of the history of Ukrainian philosophy on the basis of the alternative data received from them in this projects already in independent Ukraine significantly changes the traditional vision of started by the Kyiv philosophical school in the 1950s cen- sored study of the "philosophical front" of the Ukrainian SSR during the Executed Renaissance. These interviews with S. Krymskyi, E. Golovakha, V. Horskyi, as well as the interviews and memoirs of their colleagues, revealed a little-known problematic interpretation by the creators of the Kyiv philosophical school of their place and role in the history of Ukrainian philosophy as the leading heirs of started in the 1920s institutionalization of the domestic national philosophical tradition.
本文论述了20世纪下半叶基辅哲学学派对乌克兰哲学史的第一次学术研究的复兴，这一研究中断于20世纪30年代。这些研究是P. Kopnin和V. Shynkaruk作为H. Skovoroda哲学研究所所长的创新项目的一个组成部分，是在赫鲁晓夫“解冻”和停滞的矛盾条件下由杰出的一代哲学家——乌克兰苏维埃社会主义共和国的60年代——进行的。他们的记忆主要在T. Chaika的项目“哲学家的口述历史”中实现，其形式是S. Krymskyi, P. Yolon, V. Horskyi和M. Popovych的自传体重建，以及他们的同事Y. Golovakha, M. Kashuba和Y. Stratii的相应重建，由基辅塔拉斯舍甫琴科国立大学哲学口述历史学生协会进行。对这些记忆的研究主要证明了这些学者对乌克兰研究的普遍关注，乌克兰研究是上述研究所在20世纪下半叶研究工作的主要载体之一。分析他们对乌克兰哲学史研究的贡献是基于他们在独立的乌克兰项目中收到的替代数据，这大大改变了基辅哲学学派在20世纪50年代开始的传统观点，即在被处决的文艺复兴期间对乌克兰苏维埃社会主义共和国的“哲学阵线”进行审查研究。这些对S. Krymskyi、E. Golovakha和V. Horskyi的采访，以及他们的同事的采访和回忆录，揭示了基辅哲学学派的创始人对他们在乌克兰哲学史上的地位和作用的一个鲜为人知的问题解释，他们是20世纪20年代开始的国内民族哲学传统制度化的主要继承人。
{"title":"HISTORY OF THE KYIV PHILOSOPHICAL SCHOOL IN THE ORAL RECOLLECTIONS OF ITS CREATORS (THE ERA OF THE EXECUTED RENAISSANCE)","authors":"H. Vdovychenko","doi":"10.17721/ucs.2021.2(9).01","DOIUrl":"https://doi.org/10.17721/ucs.2021.2(9).01","url":null,"abstract":"The article deals with the revival by the Kyiv philosophical school of the second half of the 20th century of the first academic research on the history of Ukrainian philosophy, interrupted in the 1930s. These studies were a component of the innovative project of P. Kopnin and V. Shynkaruk as the directors of the H. Skovoroda Institute of Philosophy and were carried out in the contradictory conditions of the Khrushchev \"thaw\" and stagnation by the illustrious generation of the philosophers-Sixtiers of the Ukrainian SSR. Their memories were mainly realized in T. Chaika's pro- ject \"The Philosophers' Oral Histories\" in the form of autobiographical reconstructions of S. Krymskyi, P. Yolon, V. Horskyi and M. Popovych and also in the corresponding reconstructions of their colleagues Y. Golovakha, M. Kashuba and Y. Stratii, carried out by the Student Society of Oral History of Philosophy of Taras Shevchenko National University of Kyiv. The study, mainly, of these memories testifies to the general attention of these scholars to Ukrainian studies as one of the main vectors of the research work of the mentioned institute in the second half of the 20th century. Analysis of their contribution to the study of the history of Ukrainian philosophy on the basis of the alternative data received from them in this projects already in independent Ukraine significantly changes the traditional vision of started by the Kyiv philosophical school in the 1950s cen- sored study of the \"philosophical front\" of the Ukrainian SSR during the Executed Renaissance. These interviews with S. Krymskyi, E. Golovakha, V. Horskyi, as well as the interviews and memoirs of their colleagues, revealed a little-known problematic interpretation by the creators of the Kyiv philosophical school of their place and role in the history of Ukrainian philosophy as the leading heirs of started in the 1920s institutionalization of the domestic national philosophical tradition.","PeriodicalId":52653,"journal":{"name":"Ukrayins''ki kul''turologichni studiyi","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67443110","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).06
O. Shynkarenko
The article is dedicated to the consideration of the phenomenon of India as an indicative example of the productivity of the spiritual and ideological potential immanent in its historical heritage and social practices, as the basis of the identification process as an affirmation of unity for such a culturally diverse region. The bringing to light of the cultural identity of India, reconstructed at one time in the research of the patriotic intellectual elite, has become that productive self-determination ("the discovery of India"), which, having played its role in preserving its authenticity under foreign cultural pressure, remains relevant for successful self-development in complex globalization processes of multicultural world community. The principles of "synthesis, assimilation, development", "search for truth in a non-violent way", "unity in diversity" became the cultural codes that make up the core of the identification of the Indian cultural community. Through the actualization of the ancient spiritual tradition, the Indian reformers realized the inherent in the Indian philosophical and spiritual tradition the ability to synthesize, on the one hand, with the cultural layer of the past, and, on the other hand, with those innovations, albeit another cultural, even opposite (European Christian tradition, rationalism) , which, under the condition of tolerant, without vain denial, perception (assimilation of experience, models of other peoples who came to the subcontinent), productively complemented the cultural capacity of India. The modern large-scale globalization of socio-cultural life accentuate the importance of the problem of cultural identification as a process not only of individual identification (identity) with the world of one's community, but also of collective self-determination in the formation and preservation of a unique cultural whole. The threat of erosion of meaningful semantic, value, symbolic orientations of unity actualize cultural studies of this problem. The culture of India provides a vivid experience of long-term preservation of the cultural integrity known for its ethnocultural diversity, the complex socio-historical conditions of the region's existence, which appears to be very productive both for theoretical studies of cultural regionalism and for further cultural studies of identification.
{"title":"INDIAN CULTURE AS A PECULIAR EXPERIENCE OF CULTURAL INDENTIFICATION","authors":"O. Shynkarenko","doi":"10.17721/ucs.2021.1(8).06","DOIUrl":"https://doi.org/10.17721/ucs.2021.1(8).06","url":null,"abstract":"The article is dedicated to the consideration of the phenomenon of India as an indicative example of the productivity of the spiritual and ideological potential immanent in its historical heritage and social practices, as the basis of the identification process as an affirmation of unity for such a culturally diverse region. The bringing to light of the cultural identity of India, reconstructed at one time in the research of the patriotic intellectual elite, has become that productive self-determination (\"the discovery of India\"), which, having played its role in preserving its authenticity under foreign cultural pressure, remains relevant for successful self-development in complex globalization processes of multicultural world community. The principles of \"synthesis, assimilation, development\", \"search for truth in a non-violent way\", \"unity in diversity\" became the cultural codes that make up the core of the identification of the Indian cultural community. Through the actualization of the ancient spiritual tradition, the Indian reformers realized the inherent in the Indian philosophical and spiritual tradition the ability to synthesize, on the one hand, with the cultural layer of the past, and, on the other hand, with those innovations, albeit another cultural, even opposite (European Christian tradition, rationalism) , which, under the condition of tolerant, without vain denial, perception (assimilation of experience, models of other peoples who came to the subcontinent), productively complemented the cultural capacity of India. The modern large-scale globalization of socio-cultural life accentuate the importance of the problem of cultural identification as a process not only of individual identification (identity) with the world of one's community, but also of collective self-determination in the formation and preservation of a unique cultural whole. The threat of erosion of meaningful semantic, value, symbolic orientations of unity actualize cultural studies of this problem. The culture of India provides a vivid experience of long-term preservation of the cultural integrity known for its ethnocultural diversity, the complex socio-historical conditions of the region's existence, which appears to be very productive both for theoretical studies of cultural regionalism and for further cultural studies of identification.","PeriodicalId":52653,"journal":{"name":"Ukrayins''ki kul''turologichni studiyi","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67442444","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).03
I. V. Zhyvohliadova
Modern trends in the development of culture, its artistic component, have actualized the issues of in-depth study of the world and national heritage. The article analyzes the creation of an outstanding personality – R. Wagner (1813 – 1883), with its inherent contradiction, complexity, versatility, as a representation of the creative potential of a person's participation in the processes of cultural creation. An integrative, culturological analysis of the specifics of his composing activity as a cultural phenomenon makes it possible to highlight the role of an artist, thinker, reformer in the space of functioning of a certain cultural, in this case romantic, tradition, to explore the subjective experience of transforming art into a cultural practice of improving society. Through the works of a German composer, the anthropo-creative potential of interaction between culture and personality is analyzed. Concentrating all the trends and crises of romanticism in the music of the second half of the XIX century, the work of the com- poser as a reformer demonstrates current creations of the relentless desire to transform the world around, which encourage art- ists to different creative reactions to the collision of modern life, which, in turn, involves others in understanding its essence.
{"title":"CULTURE AND PERSONALITY: R. WAGNER \"BETWEEN MUSIC AND LIFE\"","authors":"I. V. Zhyvohliadova","doi":"10.17721/ucs.2021.2(9).03","DOIUrl":"https://doi.org/10.17721/ucs.2021.2(9).03","url":null,"abstract":"Modern trends in the development of culture, its artistic component, have actualized the issues of in-depth study of the world and national heritage. The article analyzes the creation of an outstanding personality – R. Wagner (1813 – 1883), with its inherent contradiction, complexity, versatility, as a representation of the creative potential of a person's participation in the processes of cultural creation. An integrative, culturological analysis of the specifics of his composing activity as a cultural phenomenon makes it possible to highlight the role of an artist, thinker, reformer in the space of functioning of a certain cultural, in this case romantic, tradition, to explore the subjective experience of transforming art into a cultural practice of improving society. Through the works of a German composer, the anthropo-creative potential of interaction between culture and personality is analyzed. Concentrating all the trends and crises of romanticism in the music of the second half of the XIX century, the work of the com- poser as a reformer demonstrates current creations of the relentless desire to transform the world around, which encourage art- ists to different creative reactions to the collision of modern life, which, in turn, involves others in understanding its essence.","PeriodicalId":52653,"journal":{"name":"Ukrayins''ki kul''turologichni studiyi","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67443326","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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