Semiotics of Ukrainian and Polish avangard in terms of the ideas of Lviv-Warsaw Philosophical School. Philosophical and Aesthetic Context of the Birth of the Ukrainian and Polish Avant-garde (Article 1) Cover Image

СЕМІОТИКА УКРАЇНСЬКОГО ТА ПОЛЬСЬКОГО АВАНГАРДУ В СВІТЛІ ІДЕЙ ЛЬВІВСЬКО-ВАРШАВСЬКОЇ ФІЛОСОФСЬКОЇ ШКОЛИ ФІЛОСОФСЬКО-ЕСТЕТИЧНИЙ КОНТЕКСТ ЗАРОДЖЕННЯ УКРАЇНСЬКОГО І ПОЛЬСЬКОГО АВАНГАРДУ (стаття перша)
Semiotics of Ukrainian and Polish avangard in terms of the ideas of Lviv-Warsaw Philosophical School. Philosophical and Aesthetic Context of the Birth of the Ukrainian and Polish Avant-garde (Article 1)

Author(s): Volodymyr Lychkovakh
Subject(s): Anthropology, Semiotics / Semiology, Semiology, Aesthetics, Philosophy of Language
Published by: Національна академія керівних кадрів культури і мистецтв
Keywords: semiotics; avantgarde; Lviv-Warsaw philosophical school; A. Bogomazov; K. Malevich; T. Piper; L. Khvistek;

Summary/Abstract: The purpose of the article is to establish the philosophical-aesthetic and culturological context of the Ukrainian and Polish avant-garde of the first third of the 20th century formation. The essence and significance of the main ideas of the Lviv-Warsaw Philosophical School for the emergence of avant-garde imagery, homological understanding of the problems of semiosis, sign and meaning in Ukrainian and Polish cubism, futurism, abstractionism, suprematism, "formalism", "unism" are revealed. The methodology of the research is based on the aesthetic-semiotic conceptions of the Lviv-Warsaw School of Philosophy (S. Baley, R.Ingarden, S. Lisse, L. Khvistek) representatives, the founders of the semantic philosophy of art (K. Bell, B. Croce, S. Langer, G. Rikert) and modern culture semiology (J. Mukarzhovsky, J. Lothman, U. Eco). The interdisciplinary synthesis of philosophical-cultural, aesthetic and art criticism is used. Scientific novelty. Semiotics and aesthetics of the Ukrainian and Polish avant-garde art are revealed from a perspective of the philosophy of the Lviv-Warsaw school for the first time. The ideological significance of the philosophical "turn" and "perceptual revolution" of the early 20th century is shown. For the origin and embodiment of modern ideas in the works of artists of Ukraine and Poland. Conclusions. A conclusion is based on the worldview and scientific influence of the "perceptual revolution" of 1905-1915, philosophical and aesthetic as well as art criticism and cultural studies in the neo-positivist, phenomenological and semiotic concepts of the beginning of the 20th century, using works of the Lviv-Warsaw School of Philosophy, theoretical works of Ukrainian and Polish avantgardists (A. Bogomazov, K. Malevich, T. Piper, L. Khvistek, etc.).