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Концепт «народна творчість» у культурологічному знанні

Author(s): Zhanna Petrivna Rumko / Language(s): Ukrainian Issue: 39/2017

Purpose of Article. The aim of the study consists of the disclosure and elucidation of the theoretical and methodological basis of the «people's creativity» concept in cultural knowledge. The methodology is formed on the general principles of scientific knowledge, which correspond to the contemporary cultural discourse. The mentioned fact led to the use of further research methods: system-analytical - to study the philosophical, culturological, art history literature on the chosen problem; system-structural - for the purpose of the profound study of the essence of the chosen concept as a complex cultural and artistic phenomenon of the Ukrainian and world’s artistic culture; formal and comparative methods - to analyze the essence of the «people's creativity» concept, an understanding of its components.of the study is to apply formal and comparative methods to study aspects of preserving popular culture in the context of the current difficult times. The scientific novelty of the work aims to reveal the essence of the notion of «folk art», as well as the related terms of definition, in particular: «amateur art», «folklore», «amateur», «artistic amateurism». During the study, the profound analysis of the relevant sources that outline and actualize the problems and the results of their place in cultural science knowledge was conducted. Conclusions. The theoretical and methodological foundations of the «folk art» concept within modem cultural knowledge are revealed and clarified. The «folk art» is defined as a component of a common culture that is formed and manifested in the process of life, historically and socially predetermined by the product of life and creativity of people. A universal social phenomenon and a product of the historical development of the society, «folk art» and «folklore» synthesize the spiritual consciousness, activity and behavior of people in the sphere of social relations and a qualitative indicator of the way of citizens’ life were realized within the context of the mentioned cultural values.

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Український альтернативний фольк: варіативна складова

Author(s): Andriy Orestovich Furdichko / Language(s): Ukrainian Issue: 39/2017

Purpose of Article. To determine the scope of Ukrainian folk music alternative space; to define the main trends of folk-alternatives styles; to identify issues of styles interlacing and branches, as between the alternative and folk, and within the genres and styles of alternative music. Methodology. The methodology of research is the theoretical modeling method (for constructing analogies between genre and stylistic principles of oral folk creativity and ways of alternative music); historical and comparative method (to identify common and different genre and stylistic features of folk and alternative). Scientific Novelty. The novelty of the work caused by the fact that still was not considered all the factual conglomeration of Ukrainian folk alternative, so for the first time under «one roof» is an attempt to collect a broad stratum of Ukrainian music of the particular kind. Conclusions. The results of the research support the idea that Ukraine has a large number of folk-alternative musical formations which create bright and original genres and represent Ukraine on the platform of world’s music. The present results are significant in terms of the opportunities to observe the diversity and professionalism of Ukrainian folk alternative music.

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Трансформація та синтез художньо-композиційних елементів етнічного стилю при формуванні проектного образу в індустрії моди

Author(s): Natalia Vladyslavivna Chouprina,Yevgenija Oleksiyivna Zaharchuk / Language(s): Ukrainian Issue: 39/2017

Purpose of Article. Identification of the nature of artistic and compositional characteristics influence of the national costume in the design of modem clothing and determine the criteria for assessing the aesthetic expressiveness of a fashionable dress in ethnic style. The methodology of the research is to apply the comparative-analytical apparatus of pre-design studies. As a result of the literary-analytical method, a comparative analysis was carried out in which the compositional structure of the traditional outfit was analyzed and systematized, and the means of their transformation were determined in the conditions of the modem fashion industry and costume design. Scientific novelty. In the course of the analysis, the means of transformation and synthesis of artistic-compositional elements of ethnic style during the formation of a design image in the fashion industry have been identified. Conclusions. In the modern fashion, there is no quotation of certain ethnic motives, designers carry out the transformation of certain folklore elements, preserving their semantic value and combining with contemporary fashion trends. Ethnic style does not cease to be relevant in the new fashion seasons because it has already enveloped virtually all the main and colorful peoples. According to such topical trends of the modern fashion industry as globalization and personalization of design images, leading designers create collections of various stylistic solutions, but ethnic cultures have conquered them the heart. In the design of clothing, this is found in search of inspiration in the traditional costume and the creation of models with ethnic notes. In addition to the costume designers also turn to decorative and applied arts and oral folk art. Therefore, one can safely say that traditional folk traditions continue to live in the models created by world-renowned designers and consumers of the mass market segment of the fashion industry

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Пісні Поділля в контексті проблеми взаємовпливу української ментальності та народної творчості

Author(s): Pelageya Grigorivna Pavlyuchenko,Tatyata Valentynivna Shnurenko / Language(s): Ukrainian Issue: 39/2017

Purpose of Article is to highlight the characteristic features of Ukrainian Podil’s mentality on the basis of Yavdokha Zuykha’s oeuvre, in particular, the repertoire of the artist, to reveal the mutual influence of mentality and folk art as well as role and place of the region’s culture in terms of the national one. Methodology. A multidisciplinary approach plays a prominent role in the understanding the problem of mutual influence of the Ukrainian mentality and folk art, through which the analysis of the claimed problem is carried out with the involvement of scientific developments in the field of cultural studies, art history, ethnology, theory and practice of performing arts, and psychology. The theoretical and methodological foundation of the work is: the philosophical-anthropological approach which focuses on the philosophical and anthropological interpretation of the socio-cultural forms of the spiritual life of the cultural region; historical and cultural method which provides for an objective attitude to the accumulation of primary data, coverage of socio-political conditions that allows to reveal the phenomenon of the local culture in its dynamics; systematic approach that provides for the dynamic unity of regional cultural processes, determines the comprehension of regional culture as a system of higher complexity, self-developing and self-regulating. The article used one of the primary cultural methods - biographical, that allowed recreating the cultural plane in which the life of the famous Ukrainian performer of folk songs Yavdokha Zuykha was formed and proceeded. Scientific novelty. For the first time songs from Yavdokha Zuykha's repertoire are analyzed in the context of the problem of mutual influence of the Ukrainian mentality and folk art. Conclusions. Regional culture in general and Podil’s one, in particular, are a distinctive socio-cultural phenomenon. Regional culture has its geographical and temporal space, a unique unity of ethnic and national spiritual characteristics. The mentioned characteristics manifest themselves in the similarity of traditions, the stability of genetic and communicative cultural patterns, the proximity of religiousphilosophical, ethical and aesthetic ideological foundations. The essence of the local community is reflected within the desire for unity, harmony with oneself, and with the whole world, is realized. The most characteristic features of the mentality of Ukrainians in Podil are individualism, humor, benevolence, peacefulness, generosity, hospitality, musicality, diligence, cordocentrism, sensitivity, empathy, love for nature, bright rites, aesthetics of folk life. The particular features are strikingly reflected in songs from the repertoire of Yavdokha Zuykha. Knowledge of the individual region’s culture is an indispensable condition for the formation of national consciousness since each separate region has not only external borders and its own structure but also reflects the spiritual world of the individual. A person is the center of the cultural space of a region.

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Колористика традиційного українського мистецтва іконопису у сучасній практиці

Author(s): Irina Leonidivna Golub / Language(s): Ukrainian Issue: 39/2017

Purpose of Article. The research determines the color changes of traditional Ukrainian art of icon painting, on the basis of systematization and generalization of manifestations in contemporary icon painting. Methodology. The methodology of the research implements historic, systematic and analytical approaches. The mentioned methods allow to rethink and analyze the Ukrainian art of icon painting from the perspective of the modem scientific thought through the prism of the wide range of special literature. The certain practise allows to investigate the stylistic tendencies in the development of the coloristics of the Ukrainian icon painting art, to identify stylistic changes and to trace the dynamics of the particular changes. Within the framework of the systematic approach, the coloristics of the Ukrainian icon as a whole, with the coordinated functioning of all artistic means as elements and parts are investigated. Scientific Novelty. The scientific novelty of the article is the study of the influence of colorist stylistics (baroque, classicism, romanticism) based on the modem practice of icon painting. Conclusions. It is determined that the colors of the Ukrainian art of icon painting have certain features of traditional coloristics stylistics (baroque, classicism, romanticism). The role of color symbolism in the reproduction of ethnonational traditions of Ukrainian culture is substantiated. Modem color schemes of Ukrainian art form, an original combination of traditional coloristics, and the new symbolism of Ukrainian iconography.

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Творчість Станіслава Павлюченка в контексті розбудови національно-свідомого суспільства

Author(s): Alexander Volodymyrovych Mahalis / Language(s): Ukrainian Issue: 39/2017

The purpose of the work. The research is dedicated to the works of S. Pavlyuschenko from the point of “creative society” view. The certain article talks about the influence of S. Pavlyuschenko onto the formation of several generations of famous Ukrainian musicians as well as onto the aesthetics of Ukrainian intelligence. This virtuoso dedicated the own life to Ukrainian folk songs, which helped the development of Ukrainian culture. The methodology of the research is based on the application of universal scientific methods, in particular: historical, chronological, the method of structural and computational analysis, systematization, and generalization. Scientific novelty. S. Pavlyuschenko was also a talented conductor and a close follower of masterpieces of H.Veryovka’s choir. The aspects of master’s artistic personality can be seen in his works at the position of Dean of Performing Folk Song Department at the Kiev National University of Culture and Arts (KNUCA). Conclusions. While analyzing Pavlyuschenko’s creative career, we have to consider him not only as a performer but also as a gifted teacher. Analyzing S. Pavlyuschenko’s creative path, scientists have the opportunity to significantly expand the perception of the artist’s work and its significance in terms of the Ukrainian musical art.

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Репертуарні пріоритети сучасного українського академічного народно-і нструментального виконавства

Author(s): Vladimir Ivanovich Romanovskiy / Language(s): Ukrainian Issue: 39/2017

Purpose of Article. The purpose of the article is to determine the characteristics and priorities of the modern Ukrainian academic solo, ensemble, and orchestral folk-instrumental performance in the context of the repertoire policy. To explore the work of leading contemporary Ukrainian composers of the folk-instrumental genre and to identify the characteristic features and the main trends of modern Ukrainian folk-instrumental art. Methodology. The methodology of the particular research is the organic combination of the basic principles of the study: objectivity, historicism, complexity, systematic, integrated approach, development and pluralism. To achieve the objectives of the study the following methods of scientific knowledge are implemented: problemchronological, specific historical, statistical, descriptive, logical, and analytical. Scientific novelty of the work lies in the integrated analysis of the modern academic repertoire of folk-instrumental performance in Ukraine. Conclusions. A tendency for treatment to works of large forms, such as Concerto, a Concertino, vocal cycle, the ballad, the genre diversity of folk songs in new arrangements and stylizations, works with complex instrumental parts and arrangements of classical works of Ukrainian and world heritage was determined in the context of contemporary academic repertoire of folk-instrumental performance. It was noted that the folk instrumental solo performance predominates in the work of composers within the creation of Ukrainian folk songs arrangements with a well-developed instrumental party. The composing work (variation, adaptation, paraphrase) is characterized by the inclination to neo-folk through the use of methods, the combination of modem techniques of composition technique, such as a variety of bar equipment, textures polyphonism and the use of unconventional playing techniques by quoting folk themes in terms of the creation process.

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Українська народна художня культура в контексті наукового знання: культурологічні аспекти концептуалізації

Author(s): Svitlana Mykolayivna Sadovenko / Language(s): Ukrainian Issue: 40/2018

Purpose of the article is to implement cultural-conceptualization and structural and functional justification of the concept of Ukrainian folk art culture, to develop its structure, to identify social and spiritual significance and ways of functioning. The methodology of the study is to apply the general principles of scientific knowledge, which correspond to contemporary culturological discourse. This led to the use of structural-functional, system-analytical, descriptive and comparative research methods for the analysis of components of the investigated object, the identification and generalization of internal relations, interdependence and relations between them; system-structural – for in-depth study of the essence of Ukrainian folk artistic culture, the identification of its structural elements and the development of the structure, as well as the method of interpretation for the identification of functions and the identification of functional changes of the object under study. Scientific novelty of the work is to uncover the cultural aspects of the conceptualization of the concept of «Ukrainian folk art culture», the implementation of the structural and functional justification of this concept. The author's work on the structure of the Ukrainian folk artistic culture has been submitted, which includes interdependent elements, namely: archaic-authentic folklore and archetypal structures; folklore of subcultures; artistic amateur (amateur art); folklorism; modern elements (neo-folklore, folk-rock, ethnic-rock, freest folk); ethnic choreography; decorative and applied art, applied arts and fine folklore. Conclusions. The article shows that the study of Ukrainian folk art culture, as part of the universal human civilization and the basis of the formation of Ukrainian statehood in the XXI century, is relevant and requires a further holistic sociological, culturological and socio-psychological comprehension and analysis. It is substantiated that Ukrainian folk art culture, as a collection of created and disseminated in the society opuses of folk art, their forms and ways of preserving, studying, spreading artistic values, their translation and retranslation, is a reflection of reality in artistic images with the help of particular expressive means. On the basis of the structural and functional justification of the concept «Ukrainian folk art culture», author's development of the structure of Ukrainian folk artistic culture was introduced, which included interdependent elements, namely: archaic-authentic folklore and archetypal structures; folklore of subcultures; artistic amateur (amateur art); folklorism; modern elements (neo-folklore, folk-rock, ethnic-rock, freest folk); ethnic choreography; decorative and applied art, applied arts and fine folklore. It is shown that structurally, as a subsystem of artistic, folk art culture, significant aesthetic components are concentrated, among them: the creative world; artistic life; artistic reality; artistic creativity; artistic production; artistic activity. The social and spiritual essence of the functioning of the Ukrainian folk artistic culture in the context of scientific knowledge of culture, in general, is revealed.

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Специфіка танцювальної лексики українців Закарпаття

Author(s): Andrey Vasylovych Tymchula / Language(s): Ukrainian Issue: 41/2018

The purpose of the article is to determine the lexical peculiarities of the traditional dance culture of Ukrainians of Transcarpathia, according to ethnographic zoning. The methodology of the research was carried out on the basis of the synthesis of scientific approaches: analytical – for processing historical, ethnographic, ethnocultural, cultural and art studies scientific literature; historical – to study the historical period of the formation of the Slavic ethnos in the Transcarpathian region, as well as to determine the boundaries of the ethnographic zoning of the Ukrainian population of the area as separate ethnographic groups (Boiky, Doluniany, Lemky) and subethnic (Hutsuli); typological – aimed at identifying and determining local features of the traditional dance culture of Ukrainians of Transcarpathia, in accordance with ethnographic zoning; comparative-historical method – for the comparative analysis of the national choreographic culture of Boiky, Hutsuls, Doluniany and Lemky in the historical section and system analysis and synthesis, through which the folk choreographic culture of Transcarpathia was considered, with its inherent peculiarity. Scientific novelty. For the first time an art criticism analysis of the traditional dance culture of Ukrainians in Transcarpathia has been carried out in accordance with the ethnographic zoning of boys, Hutsuls, valleys, and Lemky, as determined by modern Ukrainian scientists; in order to provide a better scientific basis for conducting research of the national choreographic culture of Ukrainians of Transcarpathia, their origin, historical and cultural development were considered; features are analyzed, and the main ethnic differences of dance folklore and local vocabulary of the ethnographic group of valleys are determined; the mutual influence of dance cultures of Boiky, Hutsuls, Doluniany, and Lemky, as well as neighboring peoples and the Ukrainian population of Prykarpattya, Podnistrovya, and Volhynia in the process of its formation, were revealed. Conclusions. The analysis of the historical period of the creation of the Slavic ethnos on the territory of Transcarpathia in the context of the study of the development of traditional culture in general and the dance in particular contributed to the identification of the peculiarity of the choreographic vocabulary of the Ukrainians of Transcarpathia, which for centuries, due to historical circumstances, evolved under the influence of many cultures - Hungarian, Austrian, Romanian, Czech, Slovak and Polish. However, the primary and decisive features of the structure of the dance culture were and remain familiar to the entire Ukrainian people.

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Female Images of Ukrainian Women in the Works of Illustrators, Designers of Books and Magazines of the Twentieth Century

Author(s): Viktoria Oleksandrivna Cheban / Language(s): English Issue: 3/2018

The purpose of this research is to study the peculiarities and details of the appearance of the girls from the «cover» of the twentieth century, in particular: what was different and what was common in the images of the Ukrainian and foreign masters while working on the cover of books and magazines as well as to determine the functions of women’s image in Ukraine and other countries. The methodology of the research is based on the use of cultural, structural, comparative, and analytical methods of study of female images in the works of illustrators, book publishers and magazines of the 20th century. Scientific novelty consists in expanding the notion of female images in the cover pictures of books, illustrations for articles and fashion magazines of the twentieth century. A comparative analysis of the images of Ukrainian girls and foreign women gives us an idea of the different levels of development and self-sufficiency of women of that time. Conclusions. The article examines the stereotypes of women's images and forms a special type (or rather types) of representation of the female body on the covers. It studies «traditional images» of women, the subtleties of appearance of female images on magazine covers and identifies relevant images for drawing portraits on the cover.

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Концептуальні засади етнодизайну в Україні

Author(s): Ilona Olegivna Sivash / Language(s): Ukrainian Issue: 3/2018

The purpose of the article is to consider the conceptual foundations of ethnodizaina and its specificity at the present stage of the cultural and artistic development of Ukraine. The research is related to the analysis of ethnodesigner approaches to artistic and design activities. The methodology of the research is based on socio-cultural and historical-artistic methods, which allow to reveal the influence of ethno-artistic traditions on shaping in different types of design, to reveal socio-cultural factors of ethnodizaine and characteristic features of the culture of the Western and Eastern regions of Ukraine. The scientific novelty of the work is the formation of the author's conception of Ukrainian ethnodizaina. The modernization of traditional artistic forms will contribute to the development of the national style and the strengthening of the national image of the Ukrainian state. Conclusions. The article reveals the important role of ethnodizain in the design processes of Ukraine at the end of the XX - the beginning of the XXI century. On the basis of the conducted analytical work, the main provisions of the further development of ethnodizaine are defined: formation as a link between utilitarian and aesthetic in a design facility, a stylistic solution as a manifestation of certain ideological guides, the use of Ukrainian ethnonyms as a creative interpretation of works of architecture, fine arts and applied art.

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Theatricalization as a Way of Expanding the Communicative Space of Fashion Shows

Author(s): Vasylʹ Georgievich Sprinsyan,Elena Vasylivna Shevchenko,Lada Valeryevna Prokopovich / Language(s): English Issue: 4/2018

The purpose of the work is to analyze the process of theatricalization of fashion shows in the context of the socio-communicative space of culture, which is conditioned not only by the ability of this cultural phenomenon to reflect some of the features of modern society, but also to enhance these properties against the background of transformations of the cultural context. The research methodology of the research is based on the paradigm of theatricality of sociocultural processes. This approach has allowed not only to establish that theatricality has always been characteristic of the displays of new fashion collections, but also to identify trends in the emergence of new forms, which main objectives are: increasing the effectiveness of communication between designers and viewers as potential consumers of products offered; the expansion of the communicative space of the fashion industry, which is due not only to commercial considerations, but also an understanding of the role of fashion in socio-cultural processes. Scientific novelty. The scientific novelty of the work lies in confirmation of the effectiveness of the application of the theatrical paradigm for the study of communicative processes in the field of fashion. This is manifested in the fact that for the first time, it was possible to explain not only the reasons for the emergence of new forms of fashion shows, but also their semantic transformation with the strengthening of social orientation. Conclusions. The analysis of the impressions of new fashion collections confirmed that they always had a theatricality which is gaining new forms for increasing the effectiveness of communication between designers and viewers and expanding the communicative space of the fashion industry.

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Театральне мистецтво: мiстерiальна «формула» вираження глибини й незмiрностi людського буття

Author(s): Svitlana Nikolaevna Shumakova / Language(s): Ukrainian Issue: 4/2018

The purpose of the research is to broaden the field of understanding of the mysterious foundations of the theatrical art from the point of view of the unity of meanings that are in the process of constant birth, growth, transformation and replacement by new relatively complete disclosure of transcendental and meaningfulness as complete mutual penetration, free solidarity of spiritual and material, ideal and real essences. The methodological basis of the research is the fundamental philosophical-theoretical and cultural tradition of Western European and Russian thought, including the development of consciousness in the general process of cultural and historical life in its deepest foundations: through the transformation of "life-meaning", and the idea of the mystery is interpreted as interpreting the value-essential layers and aspects of being. The comprehension of the mystery from the point of view of the transgressive essence is a substantial center around which the study of its spiritual dimensions, nature, dialectics, Methodological research strategy tends to the synthesis of cultural, art and axiological approaches, providing for the expansion of analysts' optics, understanding of the deep semantic structure of the mystery. Scientific novelty consists in the substantiation of the semantic organization of the mysterial structure, its value-content characteristics in the context of the art-cultural and cultural aspects of existence and manifestation of the mysterial, which allows us to identify the energy-form-forming components of it. The conclusions: the primacy of the spiritual over the empirically concrete appears as the axiology of the conceptual substantiations of the mystery, which can serve as the paradigm of the ascent of man to the desired point where God, where the Spirit, where there is some, lying outside the unfolding of the metaphysical space in which new layers are opened creating meanings, building awareness of their place in the world and a correct understanding of how to be to "appear as a person."

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Медіа-війни крізь призму Cinema Studies: між Фуко та Бодріяром

Author(s): Lyudmila Sergeevna Gotz / Language(s): Ukrainian Issue: 2/2019

The Purpose of the Article is to investigate and explicate the cultural messages of the new Walt Disney Pictures studio film «Oz: the Great and Powerful» (2013). This cinematic narrative is a vivid and resonant example of the representations of auto-reflections by creators of film industry about the history, social role and powerful influence of cinema as a medium between creators and recipients of film production. The methodology of the study consists in the use of structural-functional approach, formal analysis, hermeneutic and semiotic analysis, discourse analysis, archetypal and axiological analysis. The scientific novelty of this research lies in the fact that, for the first time within the framework of the Ukrainian cultural studies and cinema studies, it has raised the question about the way in which representatives of the film industry themselves use the means of cinema to problematize, conceptualize and represent media warfare as well as their own role and mission in modern society. Conclusions. The analysis of the representations of the nature of modern power and the role of media, which has been carried out using the example of the film «Oz: the Great and Mighty», has demonstrated the ideas of M. Foucault and J. Baudrillard to be of very high importance. The media representatives’ view of their role in the society is represented by Baudrillard’s «show – power – simulacrum» chain, which constitutes the vicious circle of the modern media world’s way of being. At the same time, the images of power in film narrative are situated between the extreme poles of the dispute between two intellectuals about the nature of power: on the one hand, power is omnipresent (M. Foucault) and, on the other hand, power is a dead simulacrum (J. Baudrillard). The axiological core of a film product is a parodical simulacrum of the traditional ethics and a well-thought-out construct, a media indulgence, which legitimizes and ensures mental destabilization of society, which J. Baudrillard has warned us about.

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Духовна пісня в жанровій системі сакральної музики: питання термінології

Author(s): Olga Leonidivna Zosim / Language(s): Ukrainian Issue: 2/2019

Purpose of the Article. The purpose of the article is to clarify the place of the spiritual song in the genre system of sacred music of the main Christian denominations based on the analysis of the basic definitions of the spiritual song genre in various national traditions. The research methodology consists of a combination of comparative, historical, cultural and musical-liturgical methods, with the help of which the spiritual song was described as a component of the genre system of the European liturgical musical tradition from the Middle Ages to the present. The scientific novelty of the work lies in the fact that for the first time in Ukrainian science, based on the characteristics of the definitions of the genre of the spiritual song in different national traditions and confessional centers, national and confessional features of the genre system of European sacred music were highlighted. Conclusions. The genre of the spiritual song throughout the history of Christian music has been interpreted in different ways. In early Christianity, the spiritual song was interpreted as a poetic fragment of the biblical text, which came on behalf of the Old Testament or New Testament characters. This tradition has been preserved in Western Christian and Eastern Christian hymnography. In the late Middle Ages in Western Europe, the genre of spiritual songs transformed. The term «song» («cantio») began to denote musical and poetic works of the strophic form written in Latin, and later in national languages, which performed the paraliturgical function, but over time became the central musical and poetic genre of the liturgy of the Western rite, radically changing it genre system. In the Ukrainian-Belarusian lands, under the influence of the Western liturgical tradition, the term «song» as a musical and poetic work of a strophic form became the basis for defining the genre in all Christian denominations. In the Russian spiritual-song tradition, which was fundamentally different from the Ukrainian- Belarusian lack of long-term connections with the Catholic culture, the musical and poetic works of the strophic form were called psalms or spiritual verses.

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Ukrainian Second-Stage Nonconformism: Features of Development

Author(s): Oleksii Oleksiyovych Rohotchenko / Language(s): English Issue: 2/2019

Purpose of the study is to present the author’s standpoint on the issue of inner resistance in the non-liberal Ukrainian art community. The research covers the period since the 1960s through 1980s, when the author was a student at the Kyiv State Art Institute, a researcher at the Museum of Folk Architecture and Life of the Ukrainian SSR, a senior researcher at the Ukrhudozprom (Ukrainian applied arts enterprise), and a member of the Union of Artists of Ukraine. Using the previously unpublished materials (his own diary, interviews with the participants in the process, memories of artists, workers and members of the National Union of Artists of Ukraine), the author suggests an interpretation of the problem of Ukrainian nonconformism with regard not only to the artistic, but also to the sociocultural component of the phenomenon. The methodology employed in the study includes new methods of studying nonconformism, built primarily on the author’s own experience. In addition, the methods of art history studies and analysis, the structural-functional approach and the method of interviewing were used. The applied methodological approach broadened possible understanding of the long-hushed issue of artistic resistance to the official totalitarian doctrine. Scientific novelty of the results. The author intends to cover the problem basing on the impartial analysis of the studies of Ukrainian and foreign art historians and on the author’s own experience as the participant of the art process of the time. The article for the first time presents author’s personal theoretical approach to the important scientific problem, arising from a situation with no unanimous opinion and assessment of the artistic phenomenon. Conclusions. The revival of nonconformism as a cultural and artistic phenomenon meant enacting of modernist stylistics, embracing forbidden formalism and using postmodern trends within the cultural space of Soviet Ukraine. After the death of Stalin historical conditions changed, and the artistic circles reacted on temporary political “thaw” accordingly—that was a start of inevitable social changes resulting in new artistic phenomena and new artistic forms. As for the Ukrainian nonconformism, it should be noted that it never mimicred artistic life of the West of the studied period. As to the global context, it, undoubtedly, influenced the Ukrainian “phenomenon of dissent”. The methodology of the avant-garde ideas, as well as its stylistics, were revived anew in the Ukrainian nonconformism of the 1960s through 1980s. The “second revival” of nonconformism in Ukraine was the transgression of the so-called “Executed Renaissance” of the 1920s and early 1930s.

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Історико-культурні передумови створення Державного ансамблю танцю України як форми репрезентації національного мистецтва народної хореографії

Author(s): Yevheniy Yevheniyovych Roy / Language(s): Ukrainian Issue: 2/2019

The purpose of the article is to trace the historical and cultural preconditions for the creation and functioning of one of the first state dance ensembles in Ukraine, which was supposed to not only collect and popularize folk dance but also represent it in a scenic version. Analyze the organizational and creative process in the early years of its existence and identify the role of choreographer P. Virsky in defining the course of the artistic team to preserve national cultural values, which is an inexhaustible treasury, which nourishes national choreographic art. The methodology of the research - to achieve the goal, the following methods were used: analytical and historical for the study of historical, cultural and cultural sources and literature, search-theoretical for the collection of materials confirming the author's conclusions of this article. Scientific Novelty. The results obtained are due to the goal, tasks and problems of the study related to the identification of cultural and historical prerequisites for the creation of the State Dance Ensemble of Ukraine as a form of representation of folk dances, which have greatly enriched national choreographic art. The article analyzes the early concert programs of the collective for the first time. Conclusions. After the recognition in the second half of the 30-ies in the country of professional groups, as the main form of representation of folk song dance art became a tangible tendency to create a network of professional dance groups in Ukraine. One of the first in 1937 was the State Dance Ensemble, headed by P. Virsky and M. Bolotov. This collective since the first years of its existence has become one of the best in Ukraine, contributing to the development of national ballet art.

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Твори української літератури на вітчизняній балетній сцені

Author(s): Tetiana Anatoliyivna Medvid / Language(s): Ukrainian Issue: 2/2019

Purpose of Research is to discover ballet performances, the source of interpretation for which were the works of Ukrainian literature. Methodology. Systematization of the source base and retrospective analysis of ballet performances from the establishment of the Ukrainian ballet theater in the '20s of the twentieth century. to date has allowed conducting comprehensive scientific and objective research. Scientific novelty. The works of Ukrainian literature, which became the source of choreographic interpretations in the national ballet theater, were systematized. Conclusions. The arsenal of the ballet theater of Ukraine involved works of Ukrainian writers in the middle of the XIX-early XX centuries. Among them are T. Shevchenko (ballets "Lilia", "Oksana", "Witch"), L. Ukrainka (ballets "Forest song", "Stone owner", "Educational lights"), I. Franko (ballets "Suchene wing "," Masonry "), M. Kotsyubinsky (ballet "Shadows of forgotten ancestors "), M. Staritsky (ballets "Magic Dream", "For Two Hares"). Only one product of Ukrainian literature in the middle of the twentieth century was discovered, interpreted by ballet theater - Tavria by O. Honchar (the same name ballet). For most of the interpretations of literary works, the method involves the consolidation of the main characters, the strengthening of plots, plans corresponding to the figurative nature of the ballet theater, the removal of secondary characters or enhancement of images close to the ballet, the disclosure of the leading idea of the work. Ballet performances on literary works are not plastic analogs of the text, but selfsufficient works. The conducted research does not exhaust all aspects of the interaction of works of Ukrainian literature and the national ballet theater, presented in order to draw attention to the problem, to draw a perspective direction of further art studies.

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Кирило-Мефодіївська традиція як епіцентр національних християнських установок Болгарії

Author(s): Liliia Vasylivna Nieicheva / Language(s): Ukrainian Issue: 2/2019

Purpose of the Article: reviewing theological work of Cyril and Methodius and defining foundations of the leadership of the Bulgarian nation in the Slavic areal in mastering Eastern Orthodoxy. The methodological basis of this work is provided by intonation concept of music represented by I. Liashevsky[7], BorisAsafyev’s follower in Ukraine. And also, by theoretical findings of the Bulgarian scholars P.Angelov, Georgi Bakalov and R.Grudev[1; 4], who stressed upon the inalienability of the nation from the religious in art. Scientific novelty: originality of the angle at which theological teachings were studied in generalized information regarding the history of Bulgarian art. Conclusions. The «Solun Brothers» embraced the ideas of early Christianity which did not know schisms and which allowed for a broad tolerance of various Christian denominations. Two lines in Saint Cyril’s theological teaching – intellectualism of missionary work and veneration of martyrdom and feat in the name of Faith – became especially prospective for the Bulgarian statehood and Eastern Orthodoxy. Especially impressive in the history of Bulgaria was the most vividly expressed patriotic combative spirit of Orthodox monasteries, which became outposts of the nation’s resistance to the Ottoman onslaught. This patriotic idea of monastic Service was a doctrine of Bulgarian Orthodoxy’s statehood foundations.

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Китайська тема в німецькому й українському символізмі (на прикладі порівняння інструментальної фактури в «Пісні про землю» Г.Малера й циклу на вірші китайських поетів Б.Лятошинського)

Author(s): Olga Oleksiyivna Ryzhova / Language(s): Ukrainian Issue: 2/2019

The purpose of the article emerges the illumination an символистских aspect of the method creative activity G.Maler and B.Ljatoshinskiy - on material instrumental party "Canto about the land" of Mahler and piano parties of the cycle on verses of chinese poets of Ljatoshinskiy. The methodology of the work is intonation concept of the music of the school of B.Asafiev in Ukraine, in riverbed which is developed analytical, style-comparative, history and hermeneutic methods of the study. Special attention is spared works J.Cassou, F.Claudon and D.Androsova, in which is emphasized symbolism forming композиторского of the сomposer approach named master. Scientific novelty of the work is determined by independence of the theoretical interpretation individually-style position of named authors, as well as that for the first time in specified foreshortening are considered named compositions austrian and ukrainian composer. Conclusions. Symbolism aspects of the creative method of G.MahlerA and B. Ljatoshinskiy come to light distinctly, first, sense of the address itself to chinese classical poetry, which reproduces manner of the old Europe of statically-contemplative, normative-aesthetic comprehension of the world - in his perfection and distress status (refer to presence and beside Mahler, and beside Ljatoshinskiy presence "leit-tonality of XX cent." in the manner of abutments by E-f/Fis). Pentatonic becomes the peripheral sign of the music entailment to chinese poetry, sooner with general-symbolism, old-church coloring of un-semitone mеlоdies. Secondly, instrumental parties "Canto about the land" of Mahler and piano parties of the cycle on versus chinese poets of Ljatoshinskiy demonstrate the person of the sort linearization invoices, categorically defending from hоmоphone-harmonic design of the compositions european classicists New time, approaching linear-heterophonic buildings chinese of theatrical instrumentalism.

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