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Знакова текстура екранного мистецтва

Author(s): Adriana Skoryk / Language(s): Ukrainian Issue: 2/2014

Symbolic screen product is aimed at the analysis of consciousness. The set of existential components of this process leads to make this appointment values, to distinguish the facts of identity under which the unique nature of man comes. Peculiar way to search through hidden sensual intuitive phenomenon becomes permeable for knowledge, and sometimes revealing inner peace. The sign of screen space art, its texture, is a borderland between the real and the unthinkable, a prerequisite for future implementations, the characteristic feature of the principles of human existence. Their reality and realism push for action, language features, in short, of configuration model with the presence of a primary language and the visual embodiment of reflection. This metaphorical image correlation rules defined meaning forms. Mirror images of screen art is seductive, they represent the possibility of another world, the potentiality of human strength, release one of the hallmarks of contemporary culture that is designated strategic and screen art – a tendency to mock images. The screen with the philosophical inclinations of speech acts and text experience, thinking, cultural and artistic experience. Its objective form of social and cultural experiences, as opposed to the classic screen, creates not a discrete entity, but reflects the imaginative world. Postmodern currents made it clear a new typology of artistic thinking from multiple semantic effects of being in the world. Eclectic mix of random mosaic screen makes our everyday life somewhere far away from traditionalism. Predetermined elements of culture that are not connected with the integrity and the number of common and cannot be combined. This separation prevents a certain direction, but offers intercultural dialogue. These movements correspond to the modern trend of postmodernism, where the unpredictability of storylines leading performance anywhere. An alternative to the traditional situational pass through consciousness and awareness of the viewer. After all, the mere reproduction of such products is unconventional. So the whole "complex" is created and distributed through listener-viewer. Symbolization of culture in postmodern contexts is made of metaphorical signs of this action created in a global intertext, and the most importantly it promotes postmodern. Defining the world as a unity of symbolic systems combined activities of languages, R. Barth did not realize that "thinking and productive language" as only a temporary structuralism activities. F. Sollers in "Drama" is a replacement for the traditional process of reading "newness novel" – storyline replacement literary text on juggling pronouns... Just play screen commune forms of identity rests on the executioner style intrigue. "Simulacrum", so imitated nature of the character is building a screen culture. Spectator recipient is covered by a causal interest in his intuition as the agent novelty as an emotional stimulus, enjoying the unknown. A follower of Z. Freud and D. Jung emphasized the "continued innovation supports the understanding of emotions (e.g., interest) and inhibits emotions that lower saturation stimulation (joy, shame). This principle makes it possible to experience periods of agitation in connection with objects that have properties quite complex, new or uncertain ". Screen Arts is the opposite of the prevailing forms where culturally-artistic contexts transmitted through vision. According to Freud, the essence of the whole organic is the repetition of retroreviving, the discovery of the well-known. Satisfaction serial characters and skepticism forgiving viewer distinguish, therefore, the art form of screen product as code symbols on the screen, combined with a highly conscious human intelligence. Structural character screen becomes overbearing, manipulative, communicative and representative form of on-screen product. Representing Reality discards moment anonymity inherent in a silver screen. Value is expressed outside screen product. Culturological screen product is connected with chain of codes, "each chain being captured fragments of chains, from which it produces surplus value, the code orchid extract the configuration of the axis. This is the phenomenon of surplus value code". On-screen display of psychoanalysis focuses semantic advantages of value orientations of human life, as well as the contrast shows antypsyhoanalysis. Modern screen "straitened" commitment to the vital principles of human virtues. Impersonality as a video reflection on the ideals of post-industrial society is losing cognitive interest: everyday practices of human moral lose their meaningfulness.

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Романтизм як трансісторичний феномен та його інтерпретації

Author(s): Olena Sergeevna Kolesnyk / Language(s): Ukrainian Issue: 2/2013

Romanticism in the wide sense of the word can be viewed as a trans-historical cultural phenomenon, opposite to the materialistic approach to life and its naturalistic artistic representation. Together with the Realism (in wide sense of the word) it can be viewed as the stylistic counterpart of Nietzsche’s cultural principles of Apollonian and Dionysian. In terms of K.G. Jung’s Analytic Psychology it can be said that the Romanticism is a manifestation of a visionary artistic creativity, as opposed to the work of a "writer-psychologist". It is possible to trace some elements of the world outlook underlying Romanticism, at least to the Hellenistic art. I. Ratsky suggested the term "romantic genres", as an equivalent of the English term "romance". In contemporary Ukrainian humanities sometimes used the word "romence". The use of the term is highly recommended as it implies the continuous, trans-historical tradition that connects the early (Hellenistic and Medieval) adventure stories with the Romanticism of XVIII – XIX ct and further with the contemporary fantasy, some sub-genres of which clearly show the same pattern as the ancient texts. The traditional elements, including the inherited Classical topoi and the autochthonic folklore motifs, reinterpreted in a light of new, anti-Enlightenment sentiments, lead to the gradual formation of what is now known as the Pre-Romanticism, and then the High Romanticism. Both of these are well-known and need no further expostulations. We need only to note, that the rise of a radically different World model meant the rise of the new genres, most noticeably – the historical novel. The other tendency, that began with the "Ossianism", gave rise to the sentiments of national revivals that in many cases went much further than the literary experiments. Ukrainian anti-colonial romanticism can be seen in this context. The practical results of this trend was reflected in the changed map of Europe and world. It is usually stated that the second half of the XIX ct. was the time of predominance of realistic, even naturalistic literature, which has eclipsed the Romantic art, which was only revived in at the turn of the century as the Neo-Romanticism. However, it can be argued that if we take into consideration not only the "elitist" literature, but also popular genres – minding that there was no exact division into such categories before Ortega-y-Gasset’s famous work – we’ll see a different picture. There was no "death and revival", but gradual transformation, as the ideas of High Romanticism diffused in the culture, gave rise to the new genres, first of all, adventure novel and its variants, primarily detective, science fiction and fantasy. This can be termed an "intermediate" Romanticism of the mid XIX ct. The classic writers of the Neo-Romanticism only solidified the genres. They have created their "canonic" examples, which retain their paradigmal status till now. One of the characteristic traits of Neo-Romanticism was the predominance of the ordinary, down-to-life protagonist, radically different from the High Romantic "superhero", who, hoverer, grew in stature during the tale. It helped the audience to identify with the hero, and contributed to the dramatic but generally optimistic tone. The Continental counterpart of the mostly British and American Neo-Romantic novel is the Symbolism, that showed the opposite reaction to the "prose of life". Instead of finding physical adventures, the Symbolists searched the inner world and tried to establish a contact with the transcendental reality. In XX ct Romantic tendencies were quite strong, but once more, diffuse, and thus were seldom viewed as a whole phenomenon. It can be traced in different genres and art forms. Depending on the predominant ideology and the personal inclinations of the author, Romantic sentiments can lead both to the revolutionary urge, of to the complete escapism. One of the noticeable traits of the XX ct popular culture was the importance of the Neo-Romantic literature. These books retained their popularity throughout the century. Now they still have enormous international audience, and moreover, they are constantly re-interpreted both in screen adaptations and in the new works of art that use their imagery and structure. This widespread and multifaceted process is rapidly turning into a phenomenon of contemporary art, that can be defined as the "Post-Neo-romanticism". This term, if somewhat unwieldy, refers to its connection with the Neo-Romanticism (rather than the High Romanticism), and its liberal use of the Post-modern devices. For example, the Neo-romantic texts can be modernized, combined, or interpreted in terms of retro-futurism, that give rise to Steampunk and suchlike forms. The new trend can be traced to the times of the collapse of the Soviet Union and the consequent structural changes of the global culture. Now it is becoming a leading factor of the current cultural life.

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Конструювання скандального образу Обрі Бердслея: академічний підхід

Author(s): Olexandra Dovzhyk / Language(s): Ukrainian Issue: 2/2013

The public image of Aubrey Beardsley is inseparably linked with ‘succèss de scandale’ implying a distinct sexual flavour. In his classic book The Eighteen Nineties (1913) Holbrook Jackson declared the artist to be ‘a corner stone of the Temple of the Perverse’, and it has constituted a challenge for Beardsley scholars not to refer to Jackson’s definitions ever since. Alongside Wilde, Beardsley came to emblematize ‘the notorious "yellow nineties"’. In addition, he was constituted as a romantic rebel figure in the era of militant Philistine hypocrisy as it was perceived by Beardsley and other avant-garde artists of his circle. His ‘passionate perversities’ were seen as an assault against sexual repression of the period, or as Beardsley’s scholars put it, as ‘the artist’s gauntlet flung in the face of Victorian sexual mores’ [Zatlin L. G.]. However, we find it useful to suspend the opposition of the artist and general public and identify other forces participating in creation of the ‘Beardsley craze’ amidst more recent Beardsley scholars. Therefore, the essay argues that the Beardsley’s heritage known at the beginning of the twenty-first century is not identical to the presumably sexualized art that shocked Victorian viewers. Although interest in Beardsley has never been deficient, there were two significant outbursts of it in the twentieth century. First of all, a sensational rediscovery of Beardsley took place in 1966 when a big retrospective exhibition was organized at the Victoria and Albert Museum. Within the exhibition, the most sexually explicit drawings, including erotic illustrations to Aristophane’s ‘Lysistrata’, were for the first time exhibited and publicized. The next understandable activation of the ‘Beardsley industry’ was connected with the centenary of the artist’s death and took place in the nineties. Revising studies by Linda Zatlin and Chris Snodgrass, we found out that the analysis presented by the pillars of the ‘Beardsley industry’ isolates an autonomous message of Beardsley’s art by seizing to recognize its actual recipient. The inclusive range of drawings covers all the Beardsley’s creative periods and omits the fact that different drawings were of unequal visibility to the Victorian conventional public for whom those drawings have been supposed to present a challenge. Analysis of revised contemporary iconographies of Beardsley’s drawings and Beardsley’s publishers’ lists of publications reveals that some of Beardsley’s works that are nowadays widely referred to by critics were known only by connoisseurs during the artist’s lifetime Edition of Aristophane’s Lysistrata with Beardsley’s erotic pictures which plays such a significant role in his reputation of the Victorian sexual provocateur was distributed privately among the publisher’s wealthy clientele. Several expurgated and thereby unrepresentative version of drawings from ‘Lysistrata’ set were reproduced in posthumous collections of Beardsley’s works. Two sexually explicit drawings for Juvenal, ‘too free for general circulation’ illustrations for Lucian’s True History and widely discussed by scholars images of cross-dressers for Mademoiselle de Maupin, were all published after the artist’s death in limited editions. Beardsley’s works that appeared in artistic periodicals, his poster designs, and also his Rape of the Lock illustrations served as general points of reference for contemporary Victorian public, while some of the artist’s late drawings that often were known only to restricted audience or did not appear in print in the nineteenth century at all, turn out to circulate in scholar representations of Beardsley’s art and impact. Although the approach explicates some peculiar meanings of Beardsley’s work invested by today’s viewers with their contemporary optics, it can hardly contribute to the reconstruction of the work’s actual recipient at the moment of its appearance in the late nineteenth century. To conclude, the ‘Beardsley industry’ succeeded in constructing the myth of the artist as a sexual liberator as well as in constructing an averaged and homogenized ‘Victorian’ recipient of his art.

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Системний характер культури православного чернецтва

Author(s): Olga Olegivna Smolina / Language(s): Ukrainian Issue: 1/2013

Traditionally culture of Orthodox monasticism is studied in the context of historical, socio-economical, art history researches, which in this case gave fragmentary or summed, but not systematic knowledge. However, the culture of monasticism is a system that meets these important terms of the system’s research, as the presence of the qualities of the integrity of the object, its internal independence and relative autonomy. From the point of view of systematic approach the culture of Orthodox monasticism is a subsystem of the Orthodox religion, which, in its turn, is a subsystem of an even broader thing – culture as a whole. World of monasticism’s culture is much broader than the world of secular culture. Monasticism’s culture world includes all the people – the alive and dead, those who are in hell or in Paradise, as well as a host of the heavenly powers, their hierarchy. In the framework of the culture of monasticism there are also negative interpretation of the notion of "world" as a synonym of the secular culture, which sets itself in opposition to God, has changed its purpose, is only one-dimensional. Based on this understanding, the culture of monasticism does not place itself in such world, but separated itself from it, describing itself as a "Heaven on earth". The main system factor of the culture of monasticism is the text and ideas of the Gospel. Orientation to this canonized text provides the structural stability of the system. But the text of Gospel is not born in this culture, rather the culture of monasticism is an answer to the text of Gospel. The culture of monasticism is the answer to the call of the Gospel. In Orthodox religion the Tradition is considered as a source equal to the Gospel (the Scriptures). The Tradition can be defined as the experience and the adaptation of the Scriptures. The goal of the monasticism’s culture in the religious system is the security, the "escorts" of height and purity of Teaching, creating a point of reference, the proof of the possibility of living according to the Gospel, "salvation" as a radical restructuring of the human personality and the attainment of the eternal life after death. Culture of Orthodox monasticism is an example of the system, which is given by the information (of the Gospel). This information determines not only the goal, the present and the future of the system, but also is a "lens" through which the system performs the evaluation and does a selection of information from "the world". We can say that there are two types of information: sacred and secular, or canonical and situational. In this system the sacred, canonized information sets a goal for that system. Proceeding from it, the system produces a selection of information from the outside of the monasticism’s culture. We can also say that in the culture of Orthodox monasticism purpose for its existence and the information, which the culture produces and broadcasts, in fact, coincide. The culture of monasticism is most often characterized as a closed system, which is solving its own narrowly confessional problems. However, it is often emphasized that here a full "withdrawal from the world" is not observed, but, on the contrary, there are numerous communication with it. The ability of the system to adapt and the ability to save and keep their characteristics are inseparably linked with each other. In the culture of Orthodox monasticism, by reason of the inability to combine the ideas of "rejection the world" (full closeness) and "active care of the world" (openness, work for the transformation of the world) these ideas are embodied in its two types, or subsystems. The ability of the system to adapt ("external homeostasis") is implemented in the social type that can be defined as "the monastery culture". And the ability to preserve itself ("internal homeostasis") is implemented in contemplation type or "the monastic culture". If there are a threat for the system of monasticism to loss these characteristics because of too strong external pressure (or "the secularization"), the contemplative type will provide its stabilization, will "feed" the system from the inside. And when there take a place "a closure in itself" of the contemplative type – the social type provides a connection with the environment. For the monastery culture of the external environment is a factor contributing to the achievement of the goal (through perception of work as a prayer, through helping others to be closer to the Kingdom of Heaven). For the monastic culture the external environment is the factor that hampers the achievement of the goal (here is relevant the concept of the replacement of the life by prayer; an assistance for the world by prayers about it). Thus, the culture of Orthodox monasticism can be seen as a cultural system, which represents the experience of the materialization of other cultural systems – ideal – the Gospel Teaching. In contrast to the secular culture, the culture of monasticism in general is not the end for itself, but means to achieve the purpose for which it exists – deification, synergies, exact incarnation of the Gospel Teaching (as much as possible) with a goal of personal spiritual salvation (Eternal Life).

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Українська художня критика другої половини ХІХ – початку ХХ століття як активний рушій мистецького прогресу

Author(s): Mykhaylo Oleksandrovich Kryvolapov / Language(s): Ukrainian Issue: 1/2013

This article is focused on the crucial role of criticism in the development of artistic culture and formation of the spiritual atmosphere of the society in the new sociopolitical conditions. The formation of the figurative style philosophical concepts in the culture and arts of Ukraine at the beginning of the 20th century and understanding of art criticism, maturing ideological and aesthetic principles of critical thought has been accompanied by contemporary artistic processes that took place very rapidly in the active ideological struggle between realists and the representatives of avant-garde. The 19th Ukrainian art critics has rarely been the subject of the scientific research. The research which would help shed light on this phenomenon and up today is very scarce – Ya Tuhenhold, M. Puning, O. Fedoruk, R. Shmagalo. There has recently been published a monograph by the author which is dedicated to the art criticism of the period under review, a collection of articles on the same issues. While analyzing the professional level of critical thought in Ukraine at the beginning of the 20th century it should be noted that at that time there was formed a solid ground for lasting high quality performance and fan-out in such centers as Kyiv, Kharkiv, Odessa, in Galicia. An important factor in the functioning of art criticism in the early 20th century, diversifying its conception, increasing professionalism was that it involved both art and artists, and speakers of other professions. The distinguishing feature of critical thought was that it languished in close cooperation uniting the representatives of fine art, literature and other fields of art and sociology as well as other allied sciences. Since artistic phenomena and concepts originated in Ukraine are very much similar to those which sprang in the post-revolutionary time in the RSFSR, and there were initiated (such as the monumental propaganda, agitation and mass art, etc.), it is reasonable to consider some theoretical declarations of a few Russian speakers of new culture. And it is quite reasonable since the theoretical foundation in Ukraine was nourished by Russian sources. Great support Peredvizhnichestvo – an outstanding and original direction of Russian artistic culture of the 19th century was provided by the herald of realistic art Stasov. His critical thought flowed in the river of "real criticism" that for the sake of criticism of the then social reality, as reflected in art, put the wayside creative issues. It was caused by some objective reasons. It is because of the content and relevant topics for its time, realism in Russian art of the second half of the 19th century, gained a wide range of supporters Complex social and political situation in the early 1890s in Russia caused conflicting ideological tendencies both in art and art criticism. At the same time realistic art, radically separating itself from academism as an official trend, reaches its heights in its development, broadly covering the phenomena of social reality, national history, depicting folk – ethnographic themes, motifs of local nature. The people ,conceived as the main driving force of the historical process, is the protagonist in the art. This period can boast by the best pictures by Ilya Repin, V. Surikov, V. Vasnetsov, M. Yaroshenko and other realist artists whose work defined the basic guidelines and achievements of Russian Art in 1880’s and early 1890-ies. The rapid development of Russian art, which led to the emergence of famous paintings, raising important national issues, contributed to the enhancement of critical thinking on the issues of realistic art. However, it is the time when the conservative forces boost their activities. The extreme anger is voiced by the extreme wing (W. Avsyeyenko, A. Ledonov, Soloviev) which is accompanied an increasingly louder voice in the face of nationalist criticism V. Burenina, V. D’yakov, A. Suvorin. The advocates of "pure" "disinterested" art (N. Mynskyy, V. Chuyko, V. Voskresenskiy) joined this camp. The Ukrainian art of the second half of the 19th – early 20th centuries developed under complex historical circumstances in the struggle for the ideals of nationalism and realism. Such as Art Nouveau, Symbolism and avant-garde were gaining momentum. Many an artist who had adhered to various principles, praised the October revolution afterwards and contributed their talent for the course of reflecting new social realities. At the beginning of the 20th century democratic criticism was extremely active having been deeply rooted in the 19 century. So, the image of Ukrainian criticism as a part of culture, was defined on the verge of 19th and the 20th centuries being an indispensable part of the reality. At this time, European criticism after two centuries of development entered a new stage of the 20th century, which defined a new specifics of functioning culture. From that time on its stream dispersed into numerous directions. Artistic process, whose relative integrity Sat had remained in the late 19th century, dispersed into numerous directions, trends, being represented not only separate groups, objects, but also an outstanding figure whose work defies some familiar, more or less standardized stylistic classification. Artists themselves, while producing their own aesthetic programs and introducing them into creative practice turned out to be the most accurate spokesmen and commentators of their works. So, professional critics were inclined either to support certain phenomena or areas to which they adhered, or to object the others, again from the standpoint of those areas or artists who impressed them. Thus, the criticism of the early 20th century in comparison to the previous periods, got rid of the sense of belonging to the hereditary traditions of the past. Although there appeared new outstanding personalities in the criticism of the new period its development isn’t subject to any laws. To a large extent it subdued to the needs of the art market and was mainly focused on the pages of fashionable publications and prestigious galleries, while advertising only that kind of art which might bring high profits. The criticism of the early 20th century fell into several main groups in terms of its orientation. The first one is – enlightenment. The very first group backed up the tendency of traveling exhibitions society and focused on domestic issues of realism and nationality. The second group included the followers of innovative trends. They were subdivided into two groups – those who developed the concept of the avant-garde and those who popularized the idea of modernism. The latter group comprised the theorists and critics who rallied around the issues of "Measure Art" and was associated with the symbolist writers. This group was mainly focused on professionalism, the revival of cultural traditions while using the European experience. Finally, the third group, which subsequently prevailed in Ukrainian culture for almost several decades was represented by the journalists supporting the positions of so-called Marxist aesthetics. However, this division is rather arbitrary, given that the development of Ukrainian art and art criticism were complex interplay of ideas and directions. In particular, it predominantly concerns the definitions of national identity in art that laid the foundation to the majority of art programs that have got significant differences even fierce struggle in identifying ways to achieve a common goal. It should be noted that the culture related situation is connected with the political movement. Apart from artists and critics the issues of culture were discussed by politics and the ideology adverts of the party with different dependencies who have seen the future of Ukraine differently , hence its spiritual life.

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Національний прояв тенденцій постмодернізму в образотворчому мистецтві

Author(s): Tetyana Bodnarchuk / Language(s): Ukrainian Issue: 1/2013

In the article on the basis of analysis of works of Ukrainian artists including S. Paradzhanov, O. Tistol, K. Reunov, A. Savadov, T. Silvashi, I. Chychkana, the specifics of manifestation of postmodern trends in national fine arts is identified. The author analyzes the current scientific views on the manifestation of postmodern philosophy in artistic culture and defines the main stylistic features of art postmodernism. Using of "others texts" and polystylism became one of the striking features of postmodernism. The central theme of postmodern art is becoming commonplace. Post-modern tendencies in Ukrainian art are especially apparent when compared with the trends of modern and modernism. The article provides a comparative analysis of the characteristics of modern, modernism and postmodernism in Ukrainian art. National traits of modern manifested themselves in the works of G. Narbut, M. Zhuk, V. Masyutyna, I. Myasoedov, V. Maksimovic, P. Cold, S. Levitsky, V. Piskorskiy, O. Kulchytska and others in the appeal to the Ukrainian principle in its various aspects – from inheritance of ancient tradition of monumental art and folklore to reproduction of ethnographic flavor. Unlike modern, pictorial modernism often refuses to imitate nature, laying its shapes by cubist and futuristic principles of the laws of dynamics. Specificity of Ukrainian modernism is a special lyricism, emotion, poetry and psychology, which indicate philosophical perception of reality. In the works of O. Bogomazova, V. Yermylova, A. Archipenko, A. Exter, A. Petritskiy and others instead of simple folk borrowings and stylizations inherent to modern, modernism tendencies are manifested in the reproduction of rhythmic language of colors, linear combinations of rhythm and color in the game of colorist passions. The combination of constructability and decorativeness is another specific feature of Ukrainian modernism. In modern Ukrainian art ideas of postmodernism embodied rather peculiar. You can define two poles of their manifestation, within which postmodernist search for Ukrainian artists is situated. First pole is the artistic intentions of A. Savadov, and the second is a more moderate strategy of O. Tistol. In general, unlike the works of foreign masters, you will notice the use of certain principles of modern and modernism in the creation of the national version of postmodernist art by Ukrainian artists. One of the brightest features of postmodernism in the visual arts is polystylism as a method of creative thinking. It was polystylism that became the "bridge" through which the entry of Ukrainian art to the peculiar for the world practice creative rhythm fulfilled. Representatives of polistylism do not deny the existence of artistic traditions, but they build their individual creativity using them, reaching a high level of artistry. The bright signs of polistylism and implementation of postmodernist idea of a game can be found in photo collages by S. Paradzhanov where classical images reflow, structure destroys and harmony turns into chaos. Polystylism as a method of thinking becomes the leader of hipertextuality. Artists, who create the art of hypertext, rather strongly opposed to any tradition. S. Paradjanov, T. Silvashi O. Babak, O. Chepelyk tend to hipertextuality. Postmodernism and its manifestation – hipertextual art, have absolute advantage in the process of birth of the image. Artistic image lives not only in space but also in time. Therefore, attraction of contemporary artists to the action that generates attention to video and film projection becomes obvious. Creative emancipation, which wiped out artificially imposed art, production of new tastes and preferences, the demand for which is realized in the work of contemporary artists, becomes outward manifestation of postmodern trends in Ukrainian art. Ukrainian painting of the late twentieth century demonstrates a new perspective on artistic creativity, authorship and social function of art. More often a modern artist recreates the atmosphere of the absurdity of life, in which he developed as a creative person. Visual art shows a lack of established values. In such an absence personal position of postmodernist artist which lies in indifference to life events gets a special role. Fine Arts also features the subjectivity of reaction to reality that generates game, clowning, carnivalization. Despite the originality of the historical situation in which has been developing Ukrainian postmodern art, it reflects the fundamental leading methodological, aesthetic and stylistic principles of postmodernism. Indisputable is the fact that most of the works of Ukrainian artists have a bright national coloring. However, their artistic ideas, images and means of artistic expression generally fit into the postmodern cultural paradigm.

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Ніщо у мистецтві авангарду ХХ століття

Author(s): Anna Prykhodko / Language(s): Ukrainian Issue: 1/2013

The article attempts to trace the connection between the philosophical category of Nothing and the concept of some "plotless", as they are often called, works of art in the 20th century. Attention is focused not so much on the demonstration of Nothing on different levels (in the artistic images of silence and emptiness, for instance), but rather on the particular absence of the apparent substantial component in the work of art. It is proved that the avant-garde radical tendencies in art were the response to the artistic and aesthetical consciousness to the global change in culture and civilization processes caused by the scientific and technological progress. Particularly, the disintegration of atom and the new concept of space and time continuum. Scientific and technological progress has led to the revision of philosophical questions and the return to eternal ontological problems. The artists were attempting to find philosophical justifications for their work and to create their own philosophical concepts and aesthetic positions. These attempts began in early 20th century and were declared in articles, lectures, leaflets, pamphlets, poetry collections, manifestos. In the article, attention is focused on the theoretical understanding and development of the problem of Nothing, which formed the basis for the works by many philosophers who had influenced the artistic ideas of the 20th century (M. Heidegger, J.-P. Sartre and others). One of the characteristic lines of philosophical pursuit of the 20th century is an attempt to match Nothing with the real being and to compare the worldview of Western and Eastern cultures. This suggests conducting a parallel with the "silent" creative work of some composers. In particular, the American John Cage, who was interested in Eastern philosophy (the "void" doctrine of Zen Buddhism) and expressed his striving in the piece "4’33", and the Russian composer Eugene Kostitsyn with his "Minute of silence". The article reveals that the concept of "Nothing" in the visual arts, which means liberation from objective world, was most strongly expressed in the figurative (abstract) art and was represented in the creative work of Kazimir Malevich. In particular, the legendary "Black Square", which Malevich defined as "zero form" – a basic elements of the world and being. The author’s theoretical justification of Suprematism had more than five volumes. Interests in ascetic monochrome paintings was observed in the work of the American abstractionist artist Robert Rauschenberg, who was famous for his series of works that had neither color nor texture, and in the oeuvre of the French artist Yves Klein. The article states that the creative work of these artists was influenced by the interest in Zen Buddhist philosophy, where the experience of Nothing is one of the basic motifs. The article also pays attention to writers whose creative work was marked by utmost laconism. Particularly, the article reveals the creative work details of the Russian avant-garde poet Vasilisk Gnedov, the representative and the leader of Ego-Futurists (the details are shown on the example of his wordless "Poem of the end", which is considered one of the first manifestations of conceptual poetic word in avant-garde art). The author concludes that the interest for the category of Nothing in avant-garde art was prepared by the development of 20th century philosophical thought, and was most brightly expressed in conceptual avant-garde forms, such as the objectlessness of Malevich (justified by the phenomenology of E. Husserl and M. Heidegger), some Western ideas and abstractionist ideas and the musical "silence" of John Cage (with an emphasis on eastern philosophy of Nothing). In its turn, appealing to the artist’s conceptual comprehension of his own artistic worldview when encountering a particular work of art (especially an "obscure" one) plays an important role in understanding the 20th century avant-garde art. The estimation of objectless works of art is marked by a somewhat complicated perception and the inertness of recipients. The artist’s theoretical justifications may help to find a way to understand his work, but adequate estimation still remains important – it gives the ability to understand whether the author is following some philosophical ideas, or just hiding artistic provocation or even a joke. Thus, in the article proves that some objectless works of art have certain philosophical ideas at their basis, which is evidenced by the theoretical justification given by their authors.

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Творча діяльність хорових колективів Київського інституту музики ім. Р. М. Глієра в культурно-мистецькому середовищі Києва: історико-мистецтвознавчий дискурс

Author(s): Kostiantyn Davydovskyi / Language(s): Ukrainian Issue: 1/2014

The article investigates the archival materials related to professional training in choral singing in Kyiv. The creative work of R. Glier Kyiv Institute’s of Music Women, Chamber and Children choirs is analyzed. Different semiotic and semantic orientation in the creative activity of each team is spotted. The role of R. Glier Kyiv Institute’s of Music creative activities in formation contemporary cultural and artistic environment of Kyiv is proved. First professional music training institution in Ukraine – Kyiv Music College, which operates now as R. Glier Kyiv Institute of Music, began its educational and creative activity 1868. It was then discovered class choirs. 1869 Student Choir has performed in meeting of the Russian Musical Societies Kiev branch. Students of Music College were also a significant part of its choir. Started a tradition of combining learning with concert choirs and creative activities are always interested in finding an echo in Kyiv's cultural and artistic environment. From the first years of school ideological and artistic principles of activities was chosen in the field of choral art democratic orientation of the learning process, professionalism and spiritual creativity. Over the years the department of choral conducting has given professional education for dozens of choral conductors, including N. Gorodovenko, O. Soroka, O. Minkivskyi, P. Murawskyi. Important role in the development of conducting and choral department played O. Koshits, M. Leontovich, K. Stetsenko, V. Verhovinets, E. Skrypchynska, G. Veryovka, and in the post-war days – M .Verykivsky, G. Zhukovskyi, A. Kolomiets, O. Lysenko etc. A mixed choir always has been in the music college. 1984 a new choir leader G. Horbatenko insisted on building the replacement female choir. From this time the choir went from student to a professional one. Its creative activity begins to exceed the regulatory requirements for teaching art institution. However, the structural reorganization of school choirs, finding sustainable solutions to optimize the learning process and creative activity, continued until 2000. Presently, there are three choirs in R. Glier Kyiv Institute of Music: Female Choir, Chamber Choir and Children Choir of schools teaching practice. All three choirs have their audience and fans in Kiev cultural and artistic environment. The article describes the features of each of the creative teams. Female Choir is a regular participant and winner of numerous international choral competitions and festivals, is well known outside Kyiv and Ukraine, successfully integrated into the international cultural space. During a tour in Oberflokkenbah (Federal Republic of Germany, and noting the twentieth anniversary of its founding, the Female chorus again was voted "The Best Choir in the World". The team has a rich creative biography. It is a highly professional practice base for future choirmaster, nevertheless, choir successfully presenting our choral art in Ukraine and abroad. The repertoire of the choir make up best examples of world choral music from the Renaissance, classical, romantic to the arrangements of Ukrainian folk songs, sacred music, choral works by contemporary avant-garde. The choir has a lot of stock records that are regularly heard on Ukrainian radio, his performances are broadcast on television, with rave reviews press, prominent figures of Ukrainian choral art. Chamber Choir was founded as a creative and educational laboratory of student choir conductor department. The identity of this group is that it stands above all as the first interpreter of contemporary Ukrainian music composers. Creative activities and its impact on contemporary cultural and artistic environment as most are found in the large-scale choral festivals and competitions. Children Choir of schools teaching practice is a kind of "talent’s factory", the future of choral singers and conductors and has three age composition. So create continuous creative personnel’s "pipeline" in the system of professional choral music education. Choral singing in projected public benefit concert of youth, promotes the development of children’s creative activity leads to increased musical knowledge and skills makes systematically develop and improve. We found a variety of symbolic and semantic focus in the creative activities of each group. The role of R. Glier Kyiv Institutes of Music choirs creativity in the formation of Kyiv’s contemporary cultural and artistic environment is proved. The primary importance of extracurricular creative work these choirs are to facilitate the formation of Kiev "environment in the environment" – a wide segment of the academic lovers of choral music. Thus, a single circle united intellectuals, artists, creative young people – students of educational institutions of music, as well as their parents and teachers. It allows you to meet the aesthetic needs of thousands of fans of classical choral music.

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Асиміляція постімпресіоністичної парадигми за умов соціально-тематичної фабули соцреалізму (до проблеми творчого становлення Гаврила Глюка)

Author(s): Ivanna Andriyivna Pavelchuk / Language(s): Ukrainian Issue: 1/2014

In recent years Ukrainian scientists have shown growing interest to the problem of formation of a national colorism school that has gained special importance in the period of Ukraine’s independence. At the times of the Ukrainian Soviet Socialist Republic, creativity of Ukrainian colorists existed in conditions of political illusion of social realism with its orthodox requirements to promote the Soviet way of life. This socially-preconditioned specificity of the artistic climate limited the potential of creative choices, particularly topical. Thus, the independent way of the famous Transcarpathian painter Gavrylo Gluk (1912-1983) towards metaphorical generalizations of post-impressionism occurred under conditions of forced poverty of thematic repertoire. The author aims to find out the art techniques through which Gavrylo Gluk managed to integrate the principles of post-impressionism colorism in plot area of social realism. In addressing this issue, the author clarifies the circumstances of Gavrylo Gluk's artistic biography, which ultimately determined the priorities for his future individual outlook. As demonstrated by the processing of the master's artistic legacy, thematic restrictions of creativity did not prevent the colorist from realizing his talent in due time. However, it forced the painter to resort to professional tricks and mask ideas of purely coloristic competence under the "guise" of social problems. Research of Gavrylo Gluk's paintings dating to 1960-1980-s leads to a conclusion that the system of individual creative priorities in the area of composition was optimally realized in painting "The Evening" (1964) and "The Watchman" (1972). Studies in Hungary during 1926-1933 was of utmost importance for Gavrylo Gluk's professional growth. At the turn of the 19th-20th centuries reinvention of the local coloristic school took place in Hungarian artistic environment. During the 1870s, a group of Hungarian Impressionists was formed (Béla Iványi-Grünwald, István Csók, Károly Ferenczy, Pál Szinyei Merse, Simon Hollósy), and the circle of Hungarian post-Impressionists developed in the first decade of the 1900s (Adolf Fényes, Izsák Perlmutter, József Rippl-Rónai). A research of paintings from the collection of the Hungarian National Gallery confirms that the trends of the Hungarian colorism on the brink of the 19th-20th centuries made a tangible impression on Gavrylo Gluk's works. The research findings show that the formal structure of Gavrylo Gluk's compositions was influenced by the approaches of József Koszta (1861–1949). The artist’s works from the collection of the Hungarian National Gallery "In the Field" (1904), "Before the Storm" (1909), "Cleaning the Grain" (1917) are built on the dominance of dramatic effects which the author realized through the use of light and tonal contrasts. To maximize the dramatic impression, the Hungarian artist used counter light. A comparison of compositionality principles in Gavrylo Gluk's works "The Evening" and "The Watchman" with the above paintings by József Koszta shows obvious parallels. The analysis of Gavrylo Gluk’s compositions makes it possible to conclude that his creative growth was influenced by the leading trends of Hungarian painting on the brink of the 19th-20th centuries. The research of museum works dating back to 1870–1920 from the collection of the Hungarian National Gallery showed that Hungarian artists often associated the idea of asserting national colorism with folk themes (Adolf Fényes "Brothers", 1906; Károly Ferenczy "The Stableman", 1899; Sándor Nyilasi "In the Field", 1898; Simon Hollósy "Cleaning Corn", 1885). Folk themes were not realized by colorists in folk and genre focus, but were globalized to a scale of national events. While staying in the artistic environment of Hungary, the Ukrainian painter often saw paintings of Hungarian authors, where the image of simple peasants was idealized as a national hero archetype. The atmosphere of Soviet censorship has made adjustments to the work of the artist who dedicated eleven years of his life to Socialist Realism (1947-1958). However, after a period of social adaptation the artist chose his own path of personal development, helped by the historical changes of the Khrushchev "thaw". Gavrylo Gluk’s desire to create symbolic archetypes channeled his attention to authentic carriers of Ukrainian tradition – peasants. In the circumstances of thematic constraints of Socialist Realism Gavrylo Gluk implemented his own ideas in prototypes of Soviet farmers, who remained ordinary peasants by nature – eternal owners of the Ukrainian land. This resulted in the assimilation of post-impressionism colorism with the plot area of social realism. Images of peasants naturally became part of Gavrylo Gluk's creative interests when he was still young and studied in Budapest. Under complicated historical circumstances, a compromise between the social demand and individual need found an unexpected escape at the intersection of the public and private coordinates, which became possible in the conditions of democratic renewal in 1660-s.

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Філософія культурно-мистецької освіти як новий образ мислення в системі становлення особистості культуртрегера (огляд статей із проблематики філософії освіти у фахових виданнях Державної академії керівних кадрів культури і мистецтв (з 2010 р. – ...

Author(s): Inna Kuznetsova / Language(s): Ukrainian Issue: 2/2010

Analyzing scientific publications on philosophical understanding of cultural and artistic education in Ukraine, published in special editions of the State Leadership Academy for Culture and Arts: "Actual problems of the history, theory and practice of artistic culture", "Journal of Public Leadership Academy for Culture and Arts", "Culture and Modernity", "Art criticism notes" for the period 2007 – 2009 years, the author emphasizes the thematic blocks that attracted the most attention from researchers, namely: a modern understanding of culture in the application of the methodological apparatus of synergetics; reflection characteristics of the philosophy of cultural and artistic Education of Ukraine and their conservation in the context of the Bologna Convention, the problem of personality as a component of the philosophic-theoretical basis of philosophy of education, as well as various applications of the philosophical and educational issues.

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Elöljáróban

Author(s): Róbert Árpád Lakatos / Language(s): Hungarian Issue: 4/2016

We dedicated this issue of ME.dok entirely to the subject of the documentary.

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Теоретико-методологічні засади дослідження літературно-художньої критики

Author(s): Lina Tereshchuk / Language(s): Ukrainian Issue: 1/2008

In this article author reviews and defines more exactly methodological approaches to the literary critique which have been formed by historic schools of thought. It has also been examined methodological basis of literary critique in Ukrainian scientific views of XVIII – the beginning of XIX centuries. Correlation and mutual influence mechanism of different classic theories of critique (by L. Biletskiy, O. Potebenya, M. Maksymovych, J. Bodenskiy, M. Dashkevych, P. Kulish and others) and their translation into modern literary critical discourses have been uncovered.

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Hősszerepek és anyagi krízis

Author(s): Katalin Ágnes Bartha / Language(s): Hungarian Issue: 4/2017

The analysis of the heroic and at the same time financially vulnerable aspects of 19th-century Transylvanian actors’ public image draws attention to the fact that selective narrativisation, the memorial genre, and the concern for social prestige usually censor the information about the constant economic uncertainty of the actors’ life. Katalin Ágnes Bartha’s study, entitled Heroic Roles and Financial Crisis, presents the tight budgetary situation and the financial adventures of the outstanding tragic hero, Gyula E. Kovács, and his wife.

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Kolozsvári vendégjátékok és a budapesti kritika. Mátrai-Betegh Béla esete

Author(s): Tibor Pethő / Language(s): Hungarian Issue: 4/2017

In his article on Guest Performances from Cluj and the Budapest Critics, Tibor Pethő examines the critical reception of the plays The Palm Sunday of a Horse Dealer and Cain and Abel, performed in Budapest in the 1980s by the company of the Hungarian State Theatre of Cluj-Napoca. The author focuses especially on the case of the editor Béla Mátrai-Betegh, whose allusive critical texts referencing the Ceaușescu regime in Romania started a veritable avalanche. His writings have drawn attention to the suppression of national minorities and created tensions within the Hungarian-Romanian relations, followed by debates, defences, dismissals and the retirement and tragic death of​ the theatre critic.

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IST DAS BÖHMISCHE SPIELZEUG TATSÄCHLICH BÖHMISCH?

Author(s): Hana Dvořáková / Language(s): German Issue: 1-2/1999

Schlägt man jedwede repräsentative den Ausdrücken der Volkskunst in böhmischen Ländern gewidmete Publikation auf, findet man darin neben klassichen Vertretern dieses Genres, wie z. B. Hinterglasmalerei oder Keramik, immer auch das Spielzeug. Spielsachen aus dörflichem Milieu – Gegenstände mit ganz spezifischer Bestimmung – deren Sendung von jener des künstlerischen Artefaks diametral unterschiedlich war, wurden paradoxerweise ex post zu Vertretern der Volkskunst. Für seine unbestreitbaren künstlerischen Werte wurde und wird das Spielzeug in die Kategorie der Volkskunst einbezogen und als ästhetisches Phänomen präsentiert. Auf diese Weise reiht es sich zu Ausdrücken der „Außerkunst“, unter Produkten spezialisierter dörflicher oder städtischer Handwerke, die allgemein und bewußt in die Sphäre der Volkskunst eingegliedert werden (JEŘÁBEK, 1978: 407). Diese Prämisse gilt für seine Existenz erst auf der zweiten Ebene, wo das Spielzeug zum Objekt des Sammler- und Forscherinteresses wurde.

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Rock'n'roll - źródło młodości?

Author(s): Agata Picheń / Language(s): Polish Issue: 26/2017

Main goal of the article is attempt to find the fountain of youth?. The author looks for non-obvious examples, mainly referring to rock'n'roll and lifestyle associated with this cultural phenomenon. The author discusses the way of life presented by musicians and the opinions of the geriatrics. The main argument of the article is that the source of youth will not be in a healthy diet or hygienic way of life. We need to find meaning in our actions, maintaining social bonds, fostering rebellion and indignation, sometimes doing something selfishly and enjoying life.

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O kreativnosti u vremenu medija

Author(s): Vlatko Ilić / Language(s): Croatian Issue: 9/2016

Today we think of creativity mostly in regards to innovation, but also great achievements of human spirit, important art pieces from the past, as well as liberty, even though we live in times of confinement. In spite of the present-day illusion of countless possibilities, the contemporary man is free to act only according to the imperatives set by market, which presents the dominant paradigm of our era. Thus, even creativity is used for the purposes of wealth accumulation. This paradox is evident in the context of media worlds too, since the new media ambience (which is perceived as a creative one) correlates to the society of control, despite the fact that many practices of resistance use or rely upon new technologies and the social patterns generated by them. In this paper we will look closely at the possibilities of creative doings, as the ones critically oriented towards the freedom, and in regard to the present media culture.

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Analiza umjetničke upotrebe medijskog diskursa na primjeru fotografskog ciklusa Women of Allah

Author(s): Dragan Ćalović / Language(s): Croatian Issue: 9/2016

In this text, author analyzes artistic use of media discourse in Shirin Neshat’s work Women of Allah. Analysis is conducted through examination of elements that are related with meaning production. The elements that are taken in consideration are chador, weapon and farsi text. Text shows that author, by applying specific artistic approach, destabilizes interpretation of photographs, by which she attract viewer to examine his/her own approaches to reading.

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Антисовјетска филмска пропаганда у Југославији 1948–1952.

Author(s): Davor Stipić / Language(s): Serbian Issue: 1/2018

Starting with the analysis of the Soviet influence on Yugoslav cinematography and film censorship in the period before 1948, the article will examine the change of ideological narrative in Yugoslavia after the Resolution of the Informbiro. The main intention of the article is to show the key motives of anti-Soviet propaganda in Yugoslavia on the example of three short films: Moscow is Speaking (1950), The Great Rally (1951), and The Secret of IB castle (1951).

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“Film je mrtav! Živio film!”. Peter Greenaway o budućnosti medija

Author(s): Angelina Milosavljević-Ault / Language(s): Croatian Issue: 7/2015

Peter Greenaway, director and artist is rethinking the notion of cinema in relation to other media and technologies, such as TV, painting, theater. “The Cinema is Dead! Long Live the Cinema!” is an interpretation of the known phrase that implies the continuation of the institution in spite of changes in personell. During the short history of cinema as an “aesthetic technology”, or “technological aesthetics”, Greenaway recognizes three periods of style which correspond to Winckelmann’s periodization of art: birth, maturity and decline. The director builds his thesis on the maturity of cinema of today in this premise, claiming that the cinema not annihilated, but invogorated by new technologies, which enrich both the cinema and our aesthetic experience. According to Greenaway, cinema has a glorious future.

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