Pub Date : 2020-01-01DOI: 10.17721/ucs.2020.2(7).10
A. Soshnikov
The purpose of the article is to join the discussion about the degree of reliability of archaeological dating of cultural artifacts. Research methodology of the article: the main methods of archaeological dating of cultural artifacts are analyzed. The following conclusions are presented in the article: the concept of "archaeological source" is one of the basic categories of archeology, which largely determines the empirical activity of a scientist. In the domestic science, the term still does not have a unified understanding, as, indeed, most categories theoretical level. Perhaps the only one an indisputable point in the definition of the term is what archaeological sources are both material remains and observations of the researcher during field and chamber work. In the course of the study, it was concluded that archeology is not capable of either confirming or refuting the traditional chronological scheme, since it is impossible to date objects of material culture without relying on written records. The only thing that archaeological methods can give so far is the establishment of the relative sequence of layers and cultures. But between these results and the absolute age of these layers, there is a gap that has been filled so far based on the traditional grid. Generalization of the main methods of archaeological dating of cultural artifacts represents the novelty of the article. The practical significance of the article is the correction of the existing methods of archaeological dating of cultural artifacts. Archeology is neither able to confirm nor refute the traditional chronological scheme, because the objects of material culture cannot be dated without relying on written records. When, it would seem, it is possible to date an architectural structure absolutely reliably, the obtained result contradicts traditional ideas. The only thing that archaeological methods can give so far is to establish the relative sequence of layers and cultures. But between these results and the absolute age of these layers – a whole gap, which is still filled, based on the traditional grid.
{"title":"CRITICISM OF THE RELIABILITY OF ARCHAEOLOGICAL DATING OF CULTURAL ARTIFACTS","authors":"A. Soshnikov","doi":"10.17721/ucs.2020.2(7).10","DOIUrl":"https://doi.org/10.17721/ucs.2020.2(7).10","url":null,"abstract":"The purpose of the article is to join the discussion about the degree of reliability of archaeological dating of cultural artifacts. Research methodology of the article: the main methods of archaeological dating of cultural artifacts are analyzed. The following conclusions are presented in the article: the concept of \"archaeological source\" is one of the basic categories of archeology, which largely determines the empirical activity of a scientist. In the domestic science, the term still does not have a unified understanding, as, indeed, most categories theoretical level. Perhaps the only one an indisputable point in the definition of the term is what archaeological sources are both material remains and observations of the researcher during field and chamber work. In the course of the study, it was concluded that archeology is not capable of either confirming or refuting the traditional chronological scheme, since it is impossible to date objects of material culture without relying on written records. The only thing that archaeological methods can give so far is the establishment of the relative sequence of layers and cultures. But between these results and the absolute age of these layers, there is a gap that has been filled so far based on the traditional grid. Generalization of the main methods of archaeological dating of cultural artifacts represents the novelty of the article. The practical significance of the article is the correction of the existing methods of archaeological dating of cultural artifacts. Archeology is neither able to confirm nor refute the traditional chronological scheme, because the objects of material culture cannot be dated without relying on written records. When, it would seem, it is possible to date an architectural structure absolutely reliably, the obtained result contradicts traditional ideas. The only thing that archaeological methods can give so far is to establish the relative sequence of layers and cultures. But between these results and the absolute age of these layers – a whole gap, which is still filled, based on the traditional grid.","PeriodicalId":52653,"journal":{"name":"Ukrayins''ki kul''turologichni studiyi","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67442226","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 : 2020-01-01DOI: 10.17721/ucs.2020.1(6).07
O. Onyschenko
The article analyses the process of intuitionism's "entry" into European philosophical – aesthetical and studying of art area from 1913 – the year of publishing the first English speaking interpretation of the French thinker. It is shown as the line of thesis of his philosophical conception transformed into the sphere of artistic creation and influenced on the art of the XX century. The examples of intuitionism's interpretation which are represented in modern Ukrainian human science have been accented. It is underlined that the first experience of English – language interpretation of Henri Bergson's ideas, whose works were very popular in European cultural area, is connected with the name of Gerbert Wildom Karr (1859 – 1931), who proposed popular account of the French theorists views in the work The philosophy of Bergson. The accent is made on the fact that G.W. Karr's interpretational model uses the principle of systematization of "the problem field" which H. Bergson formed during the first decade of the XX century. Special attention is paid to"intuitionalism" – composed part of "bergsonism" in the context of which a special theoretic loading lies on the factors "memory" and "time". Examining "time" H. Bergson proposes to take into consideration its "reversibility" and "non-reversibility". It is shown that factors "memory" and "time" were actively used in avant-garde art and in "logic – alogic" of the building of literary works of the school of "new novel" and in European cinematograph of the 70 – 80 years of the ХХ century. As a good example of aesthetic-artistic embodiment of the modifications of "memory" and "time" the creation of famous Spanish producer Karlos Sauro has been considered. It is emphasized that a special load in the general system of views of H. Bergson is "intuitionism", which in the European cultural space was highly appreciated by both the philosophical community and artists. It is emphasized that such factors of "intuitionism" as intelligence, instinct, intuition, time, memory, are still relevant in the research field.
{"title":"HENRI BERGSON'S INTUITIONISM AS A CATALYST OF INTERPRETING PROCESSES","authors":"O. Onyschenko","doi":"10.17721/ucs.2020.1(6).07","DOIUrl":"https://doi.org/10.17721/ucs.2020.1(6).07","url":null,"abstract":"The article analyses the process of intuitionism's \"entry\" into European philosophical – aesthetical and studying of art area from 1913 – the year of publishing the first English speaking interpretation of the French thinker. It is shown as the line of thesis of his philosophical conception transformed into the sphere of artistic creation and influenced on the art of the XX century. The examples of intuitionism's interpretation which are represented in modern Ukrainian human science have been accented. It is underlined that the first experience of English – language interpretation of Henri Bergson's ideas, whose works were very popular in European cultural area, is connected with the name of Gerbert Wildom Karr (1859 – 1931), who proposed popular account of the French theorists views in the work The philosophy of Bergson. The accent is made on the fact that G.W. Karr's interpretational model uses the principle of systematization of \"the problem field\" which H. Bergson formed during the first decade of the XX century. Special attention is paid to\"intuitionalism\" – composed part of \"bergsonism\" in the context of which a special theoretic loading lies on the factors \"memory\" and \"time\". Examining \"time\" H. Bergson proposes to take into consideration its \"reversibility\" and \"non-reversibility\". It is shown that factors \"memory\" and \"time\" were actively used in avant-garde art and in \"logic – alogic\" of the building of literary works of the school of \"new novel\" and in European cinematograph of the 70 – 80 years of the ХХ century. As a good example of aesthetic-artistic embodiment of the modifications of \"memory\" and \"time\" the creation of famous Spanish producer Karlos Sauro has been considered. It is emphasized that a special load in the general system of views of H. Bergson is \"intuitionism\", which in the European cultural space was highly appreciated by both the philosophical community and artists. It is emphasized that such factors of \"intuitionism\" as intelligence, instinct, intuition, time, memory, are still relevant in the research field.","PeriodicalId":52653,"journal":{"name":"Ukrayins''ki kul''turologichni studiyi","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67442011","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 : 2020-01-01DOI: 10.17721/ucs.2020.2(7).11
A. Batenko
The aim of the article is to define the role of mural art as a part of street art in the context of the cultural urban space. Identification of mural art in cities, its transformation depending on the place of creation and changes in the perception of the viewer requires needs research that is more detailed. А lot of people do not distinguish between concepts in street art; do not understand the artistic value of murals. Therefore, it is useful to show all functions, which murals can have. The quantity and quality of murals in the urban space affects its reputation, culture, development trends. That is, murals can both spoil urban visions and aestheticize them. Murals often engine enrichment of human consciousness, because artists raise important social issues, motivate the viewer to think. They try to turn the city into a large gallery, to influence people who involuntarily become spectators and connoisseurs of street art. It is also appropriate to explore the trends of Ukrainian muralism in the urban space. After all, street art has become very popular in Ukraine, as evidenced we can see various thematic festivals and competitions. The research methodology involves an interdisciplinary approach, analysis of scientific works of cultural and art history, review of thematic media and creative work of street artists to determine the characteristics and purposes of their activities. The works of modern Ukrainian researchers who study the issues of the cultural space of the city, mural art and street art in general are involved. The scientific novelty lies in the study of the influence of mural art on personal perception on drawing attention to socio-political problems in the urban context. On the example of the analysis of works of world street artists the tendency to social and educational function of murals, instead of simply aesthetic, is traced. The practical significance of the study is to emphasize that murals have artistic value, a unique semantic message, and are not just a means of aestheticization. The article can be useful for specialists in culturology, history, art history, architecture and for artists.
{"title":"MURALART AS A COMPONENT OF THE CULTURAL SPACE OF THE CITY","authors":"A. Batenko","doi":"10.17721/ucs.2020.2(7).11","DOIUrl":"https://doi.org/10.17721/ucs.2020.2(7).11","url":null,"abstract":"The aim of the article is to define the role of mural art as a part of street art in the context of the cultural urban space. Identification of mural art in cities, its transformation depending on the place of creation and changes in the perception of the viewer requires needs research that is more detailed. А lot of people do not distinguish between concepts in street art; do not understand the artistic value of murals. Therefore, it is useful to show all functions, which murals can have. The quantity and quality of murals in the urban space affects its reputation, culture, development trends. That is, murals can both spoil urban visions and aestheticize them. Murals often engine enrichment of human consciousness, because artists raise important social issues, motivate the viewer to think. They try to turn the city into a large gallery, to influence people who involuntarily become spectators and connoisseurs of street art. It is also appropriate to explore the trends of Ukrainian muralism in the urban space. After all, street art has become very popular in Ukraine, as evidenced we can see various thematic festivals and competitions. The research methodology involves an interdisciplinary approach, analysis of scientific works of cultural and art history, review of thematic media and creative work of street artists to determine the characteristics and purposes of their activities. The works of modern Ukrainian researchers who study the issues of the cultural space of the city, mural art and street art in general are involved. The scientific novelty lies in the study of the influence of mural art on personal perception on drawing attention to socio-political problems in the urban context. On the example of the analysis of works of world street artists the tendency to social and educational function of murals, instead of simply aesthetic, is traced. The practical significance of the study is to emphasize that murals have artistic value, a unique semantic message, and are not just a means of aestheticization. The article can be useful for specialists in culturology, history, art history, architecture and for artists.","PeriodicalId":52653,"journal":{"name":"Ukrayins''ki kul''turologichni studiyi","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67442229","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 : 2020-01-01DOI: 10.17721/UCS.2020.2(7).15
K. I. Shtalenkova
This article investigates the significance of personifications depicted on national currencies of Eastern Europe in the 19th – 21st cent. Eastern Europe is considered as a region of high research potential due to its status of borderland space with active symbolic struggle on political, socioeconomic and cultural levels. Currency design is an ideological tool that defines collective cultural tradition and historical memory, while national narratives vary in their response to the conditions of their formation. Basing on the visual analysis of money that circulated on the territories of Belarus, Lithuania, Poland, Russia and the Ukraine, the author outlines main categories of human depictions used in the currency design of the states that emerged in the region during the mentioned period. In the 19th cent., most widespread were money of the Russian Empire featuring the emperors and state representation Mother Russia. After the October Revolution in 1917, new states emerged in the region, but no personifications were used in their currency design. Human depictions of that time featured either ordinary people correlating with socialist movements or notable persons denoting political and cultural authenticity of certain state. Another category of human depictions was allegorical feminine figures representing patriarchal values and reproductive resources. Most remarkable examples of this type are Polish coins depicting state representation Polonia (or queen Jadwiga) as well as Polish banknotes with Mother Poland and national heroine Emilia Plater, both issued during the dictatorship of Jósef Piłsudski. Contemporary issues of money use no state representations, preferring instead either notable people, mostly men among them, or introducing other means of cultural representations not related to human depictions. Thus state representations used in the designs of national currencies become less popular in the 21st cent. due to globalisation and de-materialisation of money.
{"title":"THE GOLDEN STANDARD OF THE NATION: THE SIGNIFICANCE OF PERSONIFICATIONS IN THE DESIGN OF NATIONAL CURRENCIES IN EASTERN EUROPE","authors":"K. I. Shtalenkova","doi":"10.17721/UCS.2020.2(7).15","DOIUrl":"https://doi.org/10.17721/UCS.2020.2(7).15","url":null,"abstract":"This article investigates the significance of personifications depicted on national currencies of Eastern Europe in the 19th – 21st cent. Eastern Europe is considered as a region of high research potential due to its status of borderland space with active symbolic struggle on political, socioeconomic and cultural levels. Currency design is an ideological tool that defines collective cultural tradition and historical memory, while national narratives vary in their response to the conditions of their formation. Basing on the visual analysis of money that circulated on the territories of Belarus, Lithuania, Poland, Russia and the Ukraine, the author outlines main categories of human depictions used in the currency design of the states that emerged in the region during the mentioned period. In the 19th cent., most widespread were money of the Russian Empire featuring the emperors and state representation Mother Russia. After the October Revolution in 1917, new states emerged in the region, but no personifications were used in their currency design. Human depictions of that time featured either ordinary people correlating with socialist movements or notable persons denoting political and cultural authenticity of certain state. Another category of human depictions was allegorical feminine figures representing patriarchal values and reproductive resources. Most remarkable examples of this type are Polish coins depicting state representation Polonia (or queen Jadwiga) as well as Polish banknotes with Mother Poland and national heroine Emilia Plater, both issued during the dictatorship of Jósef Piłsudski. Contemporary issues of money use no state representations, preferring instead either notable people, mostly men among them, or introducing other means of cultural representations not related to human depictions. Thus state representations used in the designs of national currencies become less popular in the 21st cent. due to globalisation and de-materialisation of money.","PeriodicalId":52653,"journal":{"name":"Ukrayins''ki kul''turologichni studiyi","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67442263","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 : 2020-01-01DOI: 10.17721/UCS.2020.2(7).17
K. O. Korovai
{"title":"SELF-DRIVING CAR DILEMMAS.\u0000WHAT ETHICAL PROBLEMS CAN YOU FIND IN SELF-DRIVING CAR PROSPECTS?","authors":"K. O. Korovai","doi":"10.17721/UCS.2020.2(7).17","DOIUrl":"https://doi.org/10.17721/UCS.2020.2(7).17","url":null,"abstract":"","PeriodicalId":52653,"journal":{"name":"Ukrayins''ki kul''turologichni studiyi","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67442281","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 : 2020-01-01DOI: 10.17721/ucs.2020.1(6).01
Y. Butsykina
Article discusses specific status of the vernacular design in the visual style of the modern Ukrainian city, where indigenous dwellers coexist with those who came recently from the country. The vernacular regions in Ukrainian cities are analyzed as complex, eclectic and grass-roots. The vernacular design is understood within the complex cultural environment, where different traditions and cultural identities coexist. The terms "vernacular life", "vernacular landscape" are explicated. The vernacular landscape is interpreted in the context of the everyday human activities brought into the public urban spaces. The crucial characteristic (amateur, brutal, trying to be visible and being invisible, economical, tactical, irrational, anachronistic) and the main principles (constraint, thrift, durability, commonness) of the vernacular design are studied within the interpretive context of urban culture collective identity.
{"title":"VERNACULAR DESIGN AS VISUAL PRACTICE OF URBAN SPACE ORGANIZATION","authors":"Y. Butsykina","doi":"10.17721/ucs.2020.1(6).01","DOIUrl":"https://doi.org/10.17721/ucs.2020.1(6).01","url":null,"abstract":"Article discusses specific status of the vernacular design in the visual style of the modern Ukrainian city, where indigenous dwellers coexist with those who came recently from the country. The vernacular regions in Ukrainian cities are analyzed as complex, eclectic and grass-roots. The vernacular design is understood within the complex cultural environment, where different traditions and cultural identities coexist. The terms \"vernacular life\", \"vernacular landscape\" are explicated. The vernacular landscape is interpreted in the context of the everyday human activities brought into the public urban spaces. The crucial characteristic (amateur, brutal, trying to be visible and being invisible, economical, tactical, irrational, anachronistic) and the main principles (constraint, thrift, durability, commonness) of the vernacular design are studied within the interpretive context of urban culture collective identity.","PeriodicalId":52653,"journal":{"name":"Ukrayins''ki kul''turologichni studiyi","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67441935","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-01-01DOI: 10.17721/ucs.2019.1(4).08
O. Geraschenko
This article provides analysis of the Art approach towards transformation of longstanding traumatic experience in different countries, suggests possible consequences for the society in case if the catastrophic memory remains un-reorganized and grounds conclusion as for need to review approaches towards the later problem in Ukraine. During last three decades of statehood one can observe dynamic movement of Ukraine toward cultural assertion. One of its important elements is the comprehension of public traumatic experience. The latter bares immense importance for the success of Ukraine as a state due to the fact that for generations Ukrainians have been accumulating memory of mournful events that took place in the lives of their ancestors without the possibility to carry out the proper work of sorrow. Topicality of the mentioned problem has a special meaning nowadays considering that the state of Ukraine apt for new bouleversements. In the circumstances of internal and external turbulence conclusion of a new social contract is crucial, at the same time the negative experience of gen- erations which was not proper transformed, does not allow to address current social problems rationally and to consolidate society. Much is already said as for the role of memory in recreation of the past for the sake of the future, but the place of artistic practices in this process remains complex and uncomprehended. How do artistic practices objectivate social life and assist heeling? Visual art resonates with private or collec- tive memory allowing new means of acceptation as well as perceptional rectification and conceptualization of experience associated with sorrow. This article suggests the theoretical and methodological analysis of the “work of sorrow” through the prism of artistic expressions, character- izes their influence of re-organization of traumatic memory and demonstrates the role of visual art as an instrument to operate with reminiscence.
{"title":"VISUAL ART AS AN INSTRUMENT OF REORGANIZATION OF POST-CATASTROPHIC MEMORY","authors":"O. Geraschenko","doi":"10.17721/ucs.2019.1(4).08","DOIUrl":"https://doi.org/10.17721/ucs.2019.1(4).08","url":null,"abstract":"This article provides analysis of the Art approach towards transformation of longstanding traumatic experience in different countries, suggests possible consequences for the society in case if the catastrophic memory remains un-reorganized and grounds conclusion as for need to review approaches towards the later problem in Ukraine. During last three decades of statehood one can observe dynamic movement of Ukraine toward cultural assertion. One of its important elements is the comprehension of public traumatic experience. The latter bares immense importance for the success of Ukraine as a state due to the fact that for generations Ukrainians have been accumulating memory of mournful events that took place in the lives of their ancestors without the possibility to carry out the proper work of sorrow. Topicality of the mentioned problem has a special meaning nowadays considering that the state of Ukraine apt for new bouleversements. In the circumstances of internal and external turbulence conclusion of a new social contract is crucial, at the same time the negative experience of gen- erations which was not proper transformed, does not allow to address current social problems rationally and to consolidate society. Much is already said as for the role of memory in recreation of the past for the sake of the future, but the place of artistic practices in this process remains complex and uncomprehended. How do artistic practices objectivate social life and assist heeling? Visual art resonates with private or collec- tive memory allowing new means of acceptation as well as perceptional rectification and conceptualization of experience associated with sorrow. This article suggests the theoretical and methodological analysis of the “work of sorrow” through the prism of artistic expressions, character- izes their influence of re-organization of traumatic memory and demonstrates the role of visual art as an instrument to operate with reminiscence.","PeriodicalId":52653,"journal":{"name":"Ukrayins''ki kul''turologichni studiyi","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67439271","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-01-01DOI: 10.17721/ucs.2019.1(4).09
O. Grytsenko
The article offers a cultural study of one of key aspects of the decommunization process in contemporary Ukraine, formally started by the in- troduction of so-called ‘four decommunization laws’ adopted on April 4, 2015, as manifested in the country’s cultural space through major narra- tives that describe, interpret and mythologize this process from various cultural and ideological positions and viewpoints. The methodological background for the study is provided by well-known cultural studies’ approach that, according to Paul Du Gay, Stuart Hall and others, presumes a systemic analysis of five key aspects of a given cultural phenomenon, namely, its production (creation), its consumption (reception), its regulation (by the state and other actors), its representations in culture (including narratives about it), and identities shaped or transformed by it. In this article, the penultimate part of a cultural study of Ukrainian decommunization is presented in detail. An overview of dozens of articles, columns, interviews and other texts about the decommunization in Ukrainian and foreign media demonstrates that there seem to be four main groups of decom- munization narratives, tentatively named: the ‘purification of Ukraine’ narrative, the regional (or decentralized) narrative, the ‘Bandera-ization’ narrative, and the liberal narrative, each with its characteristic modes of emplotment (from epic romance to satire), with its civilization perspective, its set of sym- bols and values, its ‘heroes’ and ‘villains’. Unsurprisingly, those portrayed as heroes in affirmative narratives (that of ‘purification’, for instance) tend to become villains in negative narratives, the head of Ukrainian Institute of National Remembrance Volodymyr Viatrovych being the most prominent one.
{"title":"NARRATIVES OF DECOMMUNIZATION IN UKRAINE’S CULTURAL SPACE","authors":"O. Grytsenko","doi":"10.17721/ucs.2019.1(4).09","DOIUrl":"https://doi.org/10.17721/ucs.2019.1(4).09","url":null,"abstract":"The article offers a cultural study of one of key aspects of the decommunization process in contemporary Ukraine, formally started by the in- troduction of so-called ‘four decommunization laws’ adopted on April 4, 2015, as manifested in the country’s cultural space through major narra- tives that describe, interpret and mythologize this process from various cultural and ideological positions and viewpoints. The methodological background for the study is provided by well-known cultural studies’ approach that, according to Paul Du Gay, Stuart Hall and others, presumes a systemic analysis of five key aspects of a given cultural phenomenon, namely, its production (creation), its consumption (reception), its regulation (by the state and other actors), its representations in culture (including narratives about it), and identities shaped or transformed by it. In this article, the penultimate part of a cultural study of Ukrainian decommunization is presented in detail. An overview of dozens of articles, columns, interviews and other texts about the decommunization in Ukrainian and foreign media demonstrates that there seem to be four main groups of decom- munization narratives, tentatively named: the ‘purification of Ukraine’ narrative, the regional (or decentralized) narrative, the ‘Bandera-ization’ narrative, and the liberal narrative, each with its characteristic modes of emplotment (from epic romance to satire), with its civilization perspective, its set of sym- bols and values, its ‘heroes’ and ‘villains’. Unsurprisingly, those portrayed as heroes in affirmative narratives (that of ‘purification’, for instance) tend to become villains in negative narratives, the head of Ukrainian Institute of National Remembrance Volodymyr Viatrovych being the most prominent one.","PeriodicalId":52653,"journal":{"name":"Ukrayins''ki kul''turologichni studiyi","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67439283","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-01-01DOI: 10.17721/ucs.2019.1(4).02
B. Nosenok
Cultural studies as a humanities researcher takes the place of an expert. The relevance of this topic is due to the lack of development of the issues of “culture-based studies” in Ukrainian culturology. There is a lack of translated into French or Ukrainian languages of French sources published since 1975. French culturological science, which developed after 1975, is almost not represented in Ukrainian culturology. The present stage of the development of French historiography, which lies at the heart of cultural history, and cultural studies, is associated with increased attention to social knowledge. This stage is characterized by the deployment of a “critical turn”, which proceeds from the following principles: the interdisciplinary approach, the significance of cultural expertise, the severity of publications and the multiplicity of their forms, multidisciplinarity. The “critical turn” affects the following spheres of knowledge: la Culturologie, les Études culturelles, les Sciences de la Culture. The article substantiates the relevance of the use of the concept of “culture-based studies” to the definition of processes that are unfolding within the framework of French humanities and are associated exclusively with the theoretical formations in the context of the social sciences. The purpose of the article is to outline a map of culture-based studies in the field of French humanitaristics. The methodology of the article is based on the application of interdisciplinary and multidisciplinary approaches to research in the field of culturology. Also, methodological developments in the field of “critical turn” and the achievements of the sociological circle and the interdisciplinary discussion club “Eranos” were applied. The scientific novelty of the article is to substantiate the appropriateness of the use of the concept of “culture-based studies” on the definition of processes that are unfolding within the framework of French humanitaristics and relate exclusively to theoretical formations in the context of social sciences. This concept to the field of Ukrainian culturology is introduced for the first time. Also, for the first time, the place and forms of culturology in French humanities were clarified. Conclusions. Working with a source base and methodology is one of the points that are compulsory on the way to the solution of the tasks, the main of which is the formation of the body of fundamental works for French history (including the history of culture) and historiography of the period since 1975 year to the present day. On the basis of this building, there is the prospect of building an alternative national cultural history project addressed to the vector of the French historiographical, historical-anthropological and cultural-related issues in the field of social knowledge. The article presents the arguments why it is appropriate to use the concept of “culture-based studies” in the context of conducting research in relation to French humanit
{"title":"CULTURE-BASED STUDIES’ TOPOGRAPHY IN THE MODERN FRENCH SOCIAL SCIENCE","authors":"B. Nosenok","doi":"10.17721/ucs.2019.1(4).02","DOIUrl":"https://doi.org/10.17721/ucs.2019.1(4).02","url":null,"abstract":"Cultural studies as a humanities researcher takes the place of an expert. The relevance of this topic is due to the lack of development of the issues of “culture-based studies” in Ukrainian culturology. There is a lack of translated into French or Ukrainian languages of French sources published since 1975. French culturological science, which developed after 1975, is almost not represented in Ukrainian culturology. The present stage of the development of French historiography, which lies at the heart of cultural history, and cultural studies, is associated with increased attention to social knowledge. This stage is characterized by the deployment of a “critical turn”, which proceeds from the following principles: the interdisciplinary approach, the significance of cultural expertise, the severity of publications and the multiplicity of their forms, multidisciplinarity. The “critical turn” affects the following spheres of knowledge: la Culturologie, les Études culturelles, les Sciences de la Culture. The article substantiates the relevance of the use of the concept of “culture-based studies” to the definition of processes that are unfolding within the framework of French humanities and are associated exclusively with the theoretical formations in the context of the social sciences. The purpose of the article is to outline a map of culture-based studies in the field of French humanitaristics. The methodology of the article is based on the application of interdisciplinary and multidisciplinary approaches to research in the field of culturology. Also, methodological developments in the field of “critical turn” and the achievements of the sociological circle and the interdisciplinary discussion club “Eranos” were applied. The scientific novelty of the article is to substantiate the appropriateness of the use of the concept of “culture-based studies” on the definition of processes that are unfolding within the framework of French humanitaristics and relate exclusively to theoretical formations in the context of social sciences. This concept to the field of Ukrainian culturology is introduced for the first time. Also, for the first time, the place and forms of culturology in French humanities were clarified. Conclusions. Working with a source base and methodology is one of the points that are compulsory on the way to the solution of the tasks, the main of which is the formation of the body of fundamental works for French history (including the history of culture) and historiography of the period since 1975 year to the present day. On the basis of this building, there is the prospect of building an alternative national cultural history project addressed to the vector of the French historiographical, historical-anthropological and cultural-related issues in the field of social knowledge. The article presents the arguments why it is appropriate to use the concept of “culture-based studies” in the context of conducting research in relation to French humanit","PeriodicalId":52653,"journal":{"name":"Ukrayins''ki kul''turologichni studiyi","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67438903","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-01-01DOI: 10.17721/ucs.2019.1(4).14
A. Tormakhova
The aim of the article is to highlight the specificity of visual transformations that occur in the modern urban space under the influence of the development of creative industries. The research methodology involves an interdisciplinary approach and engaging a range of cultural, sociological, and philosophical works. The works of modern foreign researchers Z.Bauman, Ch. Landry, D.Hezmondhalsh are attracted.The sphere of urban planning and the problem of creative industries are being studied. Thanks to creative industries is appears new jobs, the solution of social problems (especially in poor areas), as well as the transformation of urban space. The modern city is a reflection of the transformational processes taking place in the world. There is a change in the form of regulation of the city development policy, from the state to the municipal. There are conditions for activating creative industries that can be defined as an individual creative background, skill or talent that can create added value and jobs through the production and exploitation of intellectual property. The development of creative industries has economic feasibility, but this process is accompanied by a change in the image of the city. Urban space is the text of culture, which often combines non-interconnected components. The visual image of the modern city is repulsive and attractive, it is difficult to bring it to a single concept, but it continues to be the center of human life. Scientific novelty lies in the study of the relationship of the development of creative industries in the urban space and their impact on the visual image of the city. Practical significance is connected with the emphasis on the need to invent an individual development strategy for each city as a “creative city”, where the sphere of cultural production is leading. Promising is the direction of creative industries in a single direction and minimizing the factors influencing the negative perception of the vision of the city.
{"title":"IMPACT OF CREATIVE INDUSTRIES ON THE VISUAL IMAGE OF A CITY","authors":"A. Tormakhova","doi":"10.17721/ucs.2019.1(4).14","DOIUrl":"https://doi.org/10.17721/ucs.2019.1(4).14","url":null,"abstract":"The aim of the article is to highlight the specificity of visual transformations that occur in the modern urban space under the influence of the development of creative industries. The research methodology involves an interdisciplinary approach and engaging a range of cultural, sociological, and philosophical works. The works of modern foreign researchers Z.Bauman, Ch. Landry, D.Hezmondhalsh are attracted.The sphere of urban planning and the problem of creative industries are being studied. Thanks to creative industries is appears new jobs, the solution of social problems (especially in poor areas), as well as the transformation of urban space. The modern city is a reflection of the transformational processes taking place in the world. There is a change in the form of regulation of the city development policy, from the state to the municipal. There are conditions for activating creative industries that can be defined as an individual creative background, skill or talent that can create added value and jobs through the production and exploitation of intellectual property. The development of creative industries has economic feasibility, but this process is accompanied by a change in the image of the city. Urban space is the text of culture, which often combines non-interconnected components. The visual image of the modern city is repulsive and attractive, it is difficult to bring it to a single concept, but it continues to be the center of human life. Scientific novelty lies in the study of the relationship of the development of creative industries in the urban space and their impact on the visual image of the city. Practical significance is connected with the emphasis on the need to invent an individual development strategy for each city as a “creative city”, where the sphere of cultural production is leading. Promising is the direction of creative industries in a single direction and minimizing the factors influencing the negative perception of the vision of the city.","PeriodicalId":52653,"journal":{"name":"Ukrayins''ki kul''turologichni studiyi","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67440704","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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