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Part of enterprises that were active during the time of Polish People’s Republic was fulfilling the role of an industrial art patrons, sponsoring and organising different types of artistic projects. The factories were however first and foremost obliged to fulfil the national industrial plans and their production norms, both of which could be impeded by their cultural and artistic activities. In this article the author poses a following question: why was it that the enterprises were sponsoring artistic events and how were they benefitting from it? To provide an answer, the author focused on three events under the industrial patronage – Biennale of Spatial Forms in Elbląg, 1st Symposium of Fine Artists and Scientists in Puławy as well as 1st Biennale of Metal Sculptures in Warsaw – and conducted an analysis of scientific and specialist literature on their topic. On this basis, the author drew the conclusion that the advantages related to the patronage had mostly a social character and resulted from building positive relations with the authorities, local communities and employees.
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The aim of the paper is to show that management and marketing, in terms of their interpretations dominating in the Polish higher education, are structurally unsustainable in a world that attempts to respond to the climatic and ecological challenges. The subject and starting point of the article is the critique of two popular definitions of management and marketing. The research problem relates to the incompatibility of social practices, such as contemporary management and marketing, with the scale of the challenges of the Anthropocene and the need to search for new, even utopian, ways of organizing reality. The main research questions are: are management and marketing practices in their current shape sustainable in a world that has decided to face the climatic and ecological challenges, and why is so.
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The main purpose of this research is to evaluate the effect of democratic leadership behaviors of school principals on school management skills. Quantitative research method was used in this study. This study aimed to determine whether there is a meaningful relationship with the effect of the democratic leadership of Anatolian vocational high school principals on school management skills. relational screening model; These are exploratory models whose purpose is to Decipher the existence and/or degree of covariance between two or more variables. The research was conducted in Adana province. The universe of the research consists of 85 participants working in vocational high schools located in Adana province. The data obtained from the study were analyzed using the SPSS 22 program and the statistical data were converted into tables. The surveys were collected online through Google Forms. The data collected during the study were analyzed using the SPSS program. A normality test was performed to determine whether the data were distributed normally. In the study, Mann-Whitney U-test and Kruskal-Wallis-H test were used to examine the differences in terms of reliability test, factor analysis, frequency analysis and demographic factors. In addition, the Spearman correlation test was used to determine the relationship between the effect of the democratic leadership of vocational and technical Anatolian secondary school principals on school management skills. Dec. The school administration does not allow political, religious, ethnic and gender discrimination among the school staff, announces the orders and Decrees of the senior management to the teachers on time, avoids offensive and humiliating behavior, respects the decisions of the team. However, the school administration does not stand up to criticism. It does not encourage teachers to conduct selfassessment and does not develop informal relationships Decoupled between teachers. It does not define the vision and mission of the school with the teachers, does not share information about the program and work of the school with the teachers. According to the results of the regression analysis (R=0.79, R2=0.63, p <0.01), the democratic attitudes and behavior levels of school administrators explain 63% of the total distribution of their perceptions F (1,404) = 704.45. According to this result, it predicts the democratic attitudes and behaviors of the school administration.
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A distinction has been introduced into the state of coexistence in the society we live in, public and private. The public sphere, where the culture of pluralism is defined politically, is the space where individuals meet on an equal basis with others, express their ideas and act freely. The private sphere, on the other hand, is a narrower framework that is more non-political, unselected, and in which given identities persist (such as family). In Turkey, in line with different political actors and decisions, the issue of what belongs to the private and public sphere is highly controversial. Westernization, which started especially in the Ottoman Empire and became a policy of existence in the Republic, affected the visibility and non-existence of many actors in the public and private spheres. One of the actors mentioned here is the identity of women and Muslim women. Women and Muslims Women are a type of identity that demands visibility in the public sphere, but continues to be built with changing political actors. Gerçek Hayat magazine is one of the Islamist-conservative and critical publications that describes how this fiction reflects on Muslim women identity. It presented ideas on how to make a Muslim woman visible or invisible through issues such as the place of a Muslim woman wearing a hijab in public, the importance of a mother woman in raising children, and the obedience of a wife woman to her husband.
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The purpose of the article is to consider the challenges and opportunities facing art education in the context of globalisation and cultural transformations of modern times. The research methodology is based on the application of an analytical, synthetic, and cultural method, which allow a comprehensive consideration of the given problem and formulating well-founded conclusions. The scientific novelty consists in the systematisation and generalisation of the main trends and problems of the development of art education, mediated by the processes of globalisation and cultural transformations of our time. Conclusions. Based on the study of trends in the development of art education in the conditions of globalisation, their compliance with the requirements of the modern information space, the prospects for the development of art education are outlined, which consist in the deepening of interdisciplinary connections, innovation, creativity, the practical application of information technologies, which allow combining theoretical (scientific) and creative components in the learning process. The article argues that art education must be adapted to the challenges of globalisation and cultural transformations in order to meet the demands of the modern world.
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The purpose of the article is to substantiate the possibilities of using the international experience in the field of cultural and artistic practices as a humanitarian strategy for psychosocial support for children and youth in Ukraine under martial law, based on a cultural analysis of the implementation of the «Mobile Arts for Peace» (MAP) art project. The research methodology is to use interdisciplinary and comparative approaches to study the specifics of the therapeutic impact of various types of arts – theatre, music, visual arts, choreography in the implementation of international art projects in post-conflict societies. The main research methods are: the method of hermeneutic analysis – for the interpretation of works of art created within certain national cultures; the method of semiotic analysis –for revealing the meanings and values of artistic phenomena as sign systems; the method of psychological experiment – for analysing the results of using innovative artistic methods in the process of psychological support for project participants. The scientific novelty consists in summarising the international experience of developing and implementing the «Mobile Arts for Peace» art project in different countries of the world – Rwanda, Nepal, Indonesia, Kyrgyzstan; substantiating the possibilities of providing psychosocial support to participants in art projects as forms of cultural and artistic practices; identifying the features of the MAP project implementation based on the specifics of national cultural traditions, historical, and cultural memory, and the depth of cultural trauma in each society. Conclusions. The analysis of the process of implementing the «Mobile Arts for Peace» art project allowed us to summarise the international experience of engaging art as an effective tool for peacebuilding, establishing dialogue, and providing psychological assistance to societies in countries that have gone through various types of conflicts. The studied international experience can be successfully used to develop concepts, programs, and methodological recommendations adapted to the needs of Ukrainian society in the context of war.
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The purpose of the work is to indicate the compensatory content in Vasilkov's concept (according to A. Kanarskyi) of ritualbiblical traces in literary works and examples of fine art, based on a cultural approach to recognition. Research methodology is based on such methods as culturological interdisciplinary, analytical, comporative, historical and descriptive, art criticism and style, hermeneutic based on the aesthetics of Kanarskyi's compensatory. Scientific novelty of the research. For the first time in Ukraine, the positions of decoding biblical rituals in artistic actions were formulated on the basis of the philosophical concept of Kanarskyi’s recognition. Display in the concept of Durkheim, Vasilkov and Kanarsky in the art criticism dimension of the works of Shevchenko, Gogol and Storozhenko is also original. Conclusions. Approaches to the method of recognising biblical and ritual traces in the works of Shevchenko, Gogol and Storozhenko are outlined in the context of the ritual of sacrifice and hagiographic measurements of the presentation of the main character’s characteristics. Recognition of the compensatory action of transformationdematerialisation in Storozhenko's painting «Premonition of Golgotha» takes place through the use of the watercolor technique in oil painting. The ritual root in artistic acts is recognised, which makes it possible to realise the significance of the cultural influence of art without the participation of a special aesthetic and artistic principle of capturing the significance of creative products. As an action, biblical rituals nourish plot conflicts, which are considered as the actions of characters in literary works and fine arts. As an idea, biblical rituals fertilise the structure of the image, plastic-textured embodiment and compositional standards. As a symbol of sublime life activity, biblical rituals inspire the dramaturgy of comparisons, in contrast to the life-like "development" of the theatre. As a component of being, biblical ritual forms the basis of works of art and leads to the recognition of a ritual genesis in them, "fertilising" them with the content and density of the ideological and figurative expression.
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The purpose of the article is the research of psychological recreation within the art tourism system. The methodology of the research is based on methods of scientific cognition and system analysis (deduction, induction, analysis, and synthesis). Scientific novelty of the results lies in detection and analysis of the factors facilitating psychological recreation by means of art tourism services. Conclusions. Difficult transformations characterising the current situation in Ukraine such as war, loss of family members, forced migration, property destruction demand psychological resistance. Every person reacts to such challenges and finds ways for life balance recovery individually. It is very difficult to restore emotional balance and strength alone during the war, so organised leisure and touristic activities must provide the conditions for personality recovery. Professionally planned and balanced art tours contribute to fullfledged rest and provide therapeutic effect. Considered route selection, combination of open-air events and visiting cultural and art facilities, engagement of psychologists and artists are the essential parts of art tourism providing unique conditions for recreation. The art therapeutic practices employment facilitates harmonisation of personality, impacts mental health recovery, contributes to crisis solutions providing conditions for full-fledged psychological recovery.
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The purpose of the article is to analyse the peculiarities of domestic cultural policy in the conditions of European integration. The methodology of the research includes the scientific and theoretical approach to the study of cultural policy and the method of analysis and synthesis. The historical-comparative method made it possible to identify the distinctive features of the legislation of Ukraine and the EU regarding the regulation of relations in the socio-cultural sphere. Methods of observation, information gathering, descriptive and generalisation methods allowed us to find out the level of compliance between the cultural strategies in Ukraine with the cultural practices of the European countries. The scientific novelty. For the first time culture and its practical implementation is considered as a tool for the formation and implementation of value-meaning needs of a person, citizen, and an ethnic group, as a carrier of retrospective symbols, images, and stylistic catalysts. Conclusions. Generated and coordinated by the European Commission and the Council of Europe Work Plans for Culture initiative should be considered a stylistically semantic initiative that takes into account global, state, and strategic-political changesin the EU cultural sector. The cultural diversity of the EU member states is ensured by maintaining the priority of national cultural component of an individual state on the basis ofstrategy making, proportionality, subsidiarity, and continuous cooperation. Nowadays, the normative provision of culture as a tool for the implementation of value-orientational needs of a person acquires relevance for the state-building processes of the Europeanisation of Ukraine. Such a strategy indicates the connection between a citizen of Ukraine, the culture of the state and the national ethnic group that is the carrier of defining and formative symbols, images, and worldview values.
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The purpose of the article is to analyse a myth-symbolic dimension of the Ukrainian political culture as a semantic catalyst of social-political discourses and an important means of political identity designing in the conditions of today’s challenges. Methodology of the research. We have applied a culturological approach that establishes a connection between political processes and organisations with the original cultural context, while we interpret political culture as a part of social culture that keeps its noticeable signs. Moreover, this approach, in the connection between structuralfunctional and problematic-diagnostic approaches, helps to understand the role and peculiarities of applying political myths and symbols in the context of the Ukrainian political culture including current challenges. Scientific novelty of the research. For the first time, the very cultural aspects of the Ukrainian political mythology and symbolic functioning in the XXI century have been revealed in the article. Conclusions. We have demonstrated how the narratives, values, and archetypes connected with a mythological worldview, work on a non-reflective level of collective and individual political consciousness. Constructive and destructive political myths have been highlighted and specifics of its realization in the frames of symbolic politics has been considered. The connection between different modern political practices of symbolic and cognitive-communicative structures of national memory has been proven, especially through the dynamics of symbolic schemes of projects and interactions in political culture. The detection and disclosure of the potential of political myth-symbolic activity through the prism of cultural analysis allows considering it as an instrument of social design of political identity and the manifestation of the civilised choice of Ukraine.
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The purpose of the article is to identify and substantiate the socio-cultural functions of the nation's brand. The research methodology is based on an interdisciplinary synthesis of cultural studies, management, socio-cultural communication, sociology, imageology, marketing, and other sciences. Therefore, special approaches within these disciplines have been used, as well as general scientific methods (generalisation, comparison, analysis and synthesis) and principles of knowledge (reliability of results, impartiality). Scientific novelty. For the first time in Ukrainian cultural studies, the functions of the country's brand as a socio-cultural phenomenon have been identified and substantiated. Conclusions. The national brand is a socio-cultural phenomenon that reflects all social processes and has every opportunity to influence the construction and positioning of most aspects of social life. After all, within the country borders, the brand reflects certain social processes and the corresponding system of values of the socio-cultural community and each individual who fits into its lifestyle. Therefore, the modern branding of the country should be a practice of construction, implementation, positioning, and management, which should be based primarily on the sociocultural potential of the brand that best reveals its dual nature. On the one hand, it is the reflection of the socio-cultural reality, and on the other hand, it actively influences the processes that take place in it. Among the main sociocultural functions of national branding, we single out the following ones: unifying-nation-building, differential-identification, symbolic-meaningful, negenthropic-revitalisation. In line with the sociocultural methodology, the ideological and value function of the national brand and the function of intercultural communication need their justification.
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The purpose of the article is to reveal the peculiarities of speech and behavioural stereotypes of mass speech culture in social networks. The research methodology. The typological method is applied, which has contributed to identification of the peculiarities of mass speech culture development in social networks. The method of systemic analysis and synthesis, the descriptive method and the method of cultural analysis have enabled the consideration of social networks in the context of the modern media space, with their inherent originality. The scientific novelty. Peculiarities of the speech culture in social networks are studied; the specifics of Internet communication as a unique means of global communications are considered; the peculiarities of influence of the language of Internet communications on the development of modern mass speech culture are revealed. Conclusions. Internet slang produced by users has now become widespread in the general consumer vocabulary, and the game conditions of the virtual space contribute to the approach of communication to the game, which at the level of mass speech culture is manifested in the tendency to the manner of spoken language even on serious websites. The study has found that media texts of social networks, due to a unique combination of verbal and visual expressiveness, have a tangible impact on the user. The analysis of contemporary content of social networks confirms the trend of depopularisation of diminutives (diminutive nouns), transfer of foreign (primarily English) words and phrases in Ukrainian graphics, integration of foreign vocabulary into the media text in the form of barbarisms, introduction of elements of thieves' slang, computer jargon, and specific Internet vocabulary in media texts (as a stylistic game), manifestation of original humour in accordance with personal speech qualifications.
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The purpose of the work is to find out the importance of children's blogging for the socialisation and formation of personal qualities of children, to reveal the influence of this phenomenon on the transformation of cultural forms. The research methodology was based on the use of general scientific methods: analysis and synthesis – to develop the source base of the article; as well as specifically scientific, in particular semiotic, helped to find out the mechanism of the emergence of cyber culture, and diachronic-synchronous: children's blogging is considered both in historical development with a cultural interpretation of the results, and linearly – in one historical period of time. Scientific novelty. We have found that currently children's blogging is one of the determining factors in the development of children as individuals and causes the emergence of new forms of culture, in particular, cyber culture. Conclusions. Culture involves the transmission from one generation to the next of historically acquired rules of behaviour, spiritual, and material values for the preservation and development of society. It used to provide direct communication between generations. Nowadays, young people balance between two realities – social and virtual, so they often acquire social and cultural experience primarily on the Internet. Blogs are clearly shaping the preferences of today's children, shaping their cultural self-awareness and defining intercultural competence, and in the future, such a process will acquire even greater dimensions. This led to the emergence of a new generation – bearers of cyber culture, namely, information culture, which as a new cultural model actualises a qualitatively new worldview with corresponding value attitudes, moral and ethical norms, social roles, and models of human behaviour in society.
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The purpose of the article is to analyse the semiotics of the body in visual culture of the late 20th and early 21st centuries using the example of fashion photography; to find out how the body has turned from a passive screen for displaying socially and culturally significant markers into an active agent of shaping fashion trends. The research methodology is based on a combination of different approaches to describing the semantic nuances of the body image in modern fashion photography. In particular, with the help of the historical and genealogical method, the evolution of the narrative focus of fashion photography is shown, since at first attention was paid first of all to the beauty of the thing being sold, then to the idealised body. A structural approach was applied to analyse the multiple contexts of fashion photography, such as the perception of a material thing, its photographic representation and expert review. All of them are components of the fashion discourse. Using the epistemological method, the semantics of the concepts of nakedness (as acquired vulnerability) and nudity (as harmonious integrity) are distinguished. The scientific novelty of the study consists in revealing numerous semiotic contexts of the phenomenon of nudity in fashion photography, which is always aestheticised compositionally, colouristically, and cosmetically depending on the cultural environment and cultural era, and therefore naked physicality is a discursive phenomenon, like fashion in general. Conclusions. Corporeality in fashion photography of the 20th century expresses the incessant processuality of postmodern semiosis – the recoding of the world of things into the dimension of signs. The human body becomes a screen for the projection of these signs, the principle of an ongoing game, the eternal engine of advertising discourse to multiplicate visual images. The devaluation of things in the European culture of mass consumption of the second half of the 20th century, caused by their overproduction, contributed to a change in the critical focus of fashion from the clothes in which the human body is wrapped to the body itself. Elitism is no longer defined as a set of precious or luxurious things that a person desires to own and that require a financial investment. Instead, the signifier of exclusivity in late modern Western society is a healthy and attractive body. It requires competent care, medicalisation, sports training, and, therefore, in addition to financial, also investments of time and knowledge. Thus, the fashion photography of the end of the 20th – the first quarter of the 21st century shows the shift in the focus of the fashion discourse from the aesthetics of things to the aesthetics of lifestyle and self-creation, for which the human body serves as a screen.
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The purpose of the article is through clarification of the «nonconformism» concept, to prove the appropriateness of using the term «trans-avant-garde» when describing the stylistics of the works of Ukrainian artists of the 1970s and 1980s, for whom the «canons» of socialist realism were foreign and unacceptable. Research methods are based on the fundamental principles of art analysis with the involvement of interdisciplinary connections (psychology, cultural studies, and philosophy). The method of epistemological analysis is used in the process of clarifying the concepts of a number of art historical concepts. System-analytical and comparative-historical methods are used to identify the Ukrainian artistic tradition as a special phenomenon of the European context. The scientific novelty of the study consists in clarifying the definition of the «nonconformism» concept, in substantiating it as a cultural and social phenomenon, and in proving the legality of using the term «transavant-garde» in relation to the stylistic definition of the works of Ukrainian nonconformist artists of the 1970s and 1980s. Conclusions. Having analysed the phenomenon of «nonconformism», having revealed its significance as a cultural and social movement of those who disagreed with the totalitarian system of Soviet society, the feasibility of using the concept of «trans-avant-garde» in relation to the works of Ukrainian artists of the 1970s and 1980s was established in connection with the fact that, like their Western European colleagues, they continued to develop in their work the significant achievements of domestic avant-garde artists of the first third of the 20th century.
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The purpose of the article is to consider the specific characteristics of Ukrainian ballet as an original phenomenon of modern musical culture, the case study of "Chasing Two Hares" ballet by Yurii Shevchenko, a composer. The research methodology consists in specifically scientific methods (historical, system-analytical, hermeneutic, and generalisation), which allow to conduct an objective study of the specifics of Ukrainian ballet as an original phenomenon of modern musical culture. Specific musicological methods are also applied. The analysis of musical notation is used to consider the musical form of ballet, its harmonic structure, rhythm, and melody. The study of a ballet production enable understanding the author's use of ballet music to create an atmosphere, express emotions, and convey the plot. The performative analysis helps study the interaction of ballet music with other elements of ballet. The scientific novelty is in substantiating the specifics of Ukrainian ballet as an original phenomenon of modern musical culture, the case study of "Chasing Two Hares" ballet by the composer Yurii Shevchenko and updating the meaning of the composer's work in the context of the latest conditions of functioning of the Ukrainian musical theatre. Conclusions. The actualisation of theoretical studies in the field of musical culture and art is determined by the demand for the study and explanation of their intensive development. The experience of creating various forms of ballet and theatre music manifests the specific characteristics of modern musical art in Ukraine. In this context, consideration of the specifics of Ukrainian ballet as an original phenomenon of modern musical culture, the case study of Yurii Shevchenko's ballet "Chasing Two Hares" is considered relevant. Researching the theatrical and musical works of Y. Shevchenko and his music for the "Chasing Two Hares" ballet, we justify that ballet music appears as an expression of a new theatrical language – the language of optimism and high moral qualities. At the same time, musical theatre acquires psychotherapeutic characteristics, helping to survive the complex realities of life and restore faith in justice, which is especially relevant in today's realities. Yurii Shevchenko's compositional work, on the example of the "Chasing Two Hares" ballet, is an original phenomenon of modern musical culture and constitutes a significant component of Ukrainian culture and art.
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The purpose of the article is a musicological analysis of the dance images in «Rondo-Haitarm» work for violin and piano by the Crimean Tatar composer Nazim Amedov. Research methodology. Analytical, historical methods, the method of comparative and musicological analysis have been used. Scientific novelty of the research. For the first time, a musicological analysis was conducted of the dance images in «Rondo-Khaitarm» work for violin and piano by the Crimean Tatar composer Nazim Amedov. Conclusions. Nazim Amedov's «Rondo-Khaitarma» work for violin and piano highlights the national features of the artistic thinking of the Crimean Tatar people. Using a variety of musical and expressive means, CHANGING different shades: from persistently energetic, expressive to soft, lyrical, with the affirmation of a bright affirmative character the composer multifacetedly presents the main national dance image in its overall development. The dominant technique of development is «mirroring». It extends to the intonation-rhythmic organisation of the theme, has a form-creating function. These techniques are inherent in the author's handwriting and composer's thinking of Nazim Amedov.
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The purpose of the article is to reveal in the works of A. Shtoharenko, brothers Platon and Heorhii Maiboroda, A. KosAnatolskyi, who are bright representatives of the traditionalist worldview, typical for them general stylistic ways of embodiment of the demands of the present day, using certain achievements of modernism, but not going beyond the traditionalist artistic position. The methodological basis of the work is based on the principles of the intonation approach, that is, based on the understanding of the genetic unity of speech and music, which is characterised by an organic complex interdisciplinary coverage of expressiveness of words, music, and imagery. This vision of musical expression coincides with modern art history research methods, among which we highlight historical-musicological, genre-stylistic, interpretive-hermeneutic, and semiotic-aesthetic. O. Markova’s metaphysics of musical history has become the methodological basis of the research [7]. The scientific novelty of the obtained results lies in the expansion of ideas about modern musical dimension of the stylistic heritage of the last century as the embodiment of the aprogressive paradigmatic principle of expression of traditionalism of the 20th century, with the awareness of the epochal «vibration» of the identification of the specified stylistic quality depending on the specifics of the nationwide manifestation of the corresponding thought stereotypes. Conclusions. The named masters consciously gravitated towards the academic stability of the expressive principles of music, but in no way bypassing the echo of the «call of time» and investing in their compositions more often impressionistic-fauvist, pro-neoclassical, and primitivist stylistic indicators. The salon slant of the applied piano is something that is permanently established in the palette of presented images-meanings, in which not so much folklorism, but precisely the lyrical excess of exposition is combined with sonata-like structures, «extinguishing» dramatic and theatrical expressiveness.
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The purpose of the article is to identify the peculiarities of concert and choral implementation of the cycle of Kupalo songs in the interpretation by Mykola Lysenko. Research methodology is based on the synthesis of the folkloristic and art-studying approaches, which enable us to prove the fruitfulness of complementarity of various types of the artist’s creative activities. Cultural-historical, system-analytical and didactical methods are used in order to study the ways of concert reinterpretation of the folk-rite performance presented by a mixed choir with piano accompaniment, as well as to generalise the cognitive and spiritual values of that type of the repertoire. The scientific novelty of the research lies in the first analysis of the conformity of the composer’s idea and its implementation through the selected set of the expressive means to the content and essence of the ancient ritual authenticity on the example of a specific choral work. Conclusions. The ritual-choral cycle «The Kupalo Case» is a synthesis of folk archaism and innovative ways of concert enrichment of music language. Three folk songs under the common title are united by a dramatic idea, based on folk philosophy of the summer fest of Kupalo, its symbolism of purification through fire, water, and pairing of youth. The general cyclicality of the composition is cemented by an optimistic idea of glorifying the life. The piano part plays an important formative role, makes the verbal text more detailed and enriches the choral score in figurative and meaningful aspects. The harmonious language of the work contributes to the preservation of the archaic coloration. The general homophonic and harmonic texture sometimes reveals the signs of polyphonic layers, differentiated by male and female voices. Their layering reflects the contrast of timbres, registers, and character of melodies. As a result a peculiar style of choral theatricalisation is achieved, which coincides with the syncretism of the primary calendar-ritual performance.
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