Фестивація як ритуалізований арт-простір у вимірах глобалізму та альтерглобалізму
Festivation as a ritualized art space in the dimensions of globalism and alterglobalism

Summary/Abstract: The purpose of the research is to describe the effective mechanisms, archetypes and the realities of the festivation within the limits of the ritual and the ideation as a kind of aesthetic the mechanism of the cultural culture of everyday life in the context of globalization and alterglobalization intentions. The research methodology suggests the semiotic method, that is, the semiotics of sign communication realities is closely related Presented as a socio-cultural space, where the image of modern holiday is formed (Festive), which becomes synthetic, dialectical and at the same time a transformational total character that mimics between globalization and alterglobalization intentions. The method is also used sociopragmatics in the context of linguistic paradigms, sociological, as well semiotic approaches related to presentation and analysis communicative messages of text, screen, visual, which characterize the phenomenon of artistic activity in the context of constructing models of art- space The study also uses phenomenological, historical- genetic, philosophical and culturological and comparative methods which are were used to explicate the culture of the creative process and clarification of their semantic intentionality. Scientific novelty of work is to expand the aesthetic features of the festivation category within the existing one’s mechanisms of communicative systems, in particular, sociopagramatics, symiosis and actualization of cultural-historical potential. And also in detection the cultural aspects of the communicative pragmatics of the festivation as real active mechanism of mass culture. Conclusions. Festival events are available the output of art in the context of the culture of everyday life that goes on with the help of art practice and appear to be the scene of blurring of art and art amateur creativity. Festive element is increasingly transformed into a peculiar opportunity for experimental shaped platforms (the most diverse genre specificity of «Fest», ethno-folklore: «Sheshory», «Kraina Mriy», «Ringing pearls of Verkhovyna» (Holyday of «Kolomyika»), «Gogol Fest», festivals-competitions «Chervona ruta», «Oberig», «Dancing with stars», etc.) and other theatrical, musical festivals, in which the opportunity for experimentation is unlimited.

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