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Rodzaje odbitek występujących w grafice artystycznej w kontekście nieuczciwych zachowań uczestników rynku dzieł sztuki

Author(s): Olivia Rybak-Karkosz / Language(s): Polish Issue: 28/2021

The study analyses dishonest activities related to the types of copies of artistic prints, which are undertaken by participants of the art market. In the introduction, legal regulations concerning counterfeiting of artistic prints were discussed. Appropriate legal qualification of an act is important in the context of assigning criminal responsibility and the level of threat of punishment. As a rule, if an object is a historical monument within the meaning of the Act on the protection of historical monuments, the provisions of art. 109a are applied, which penalises counterfeiting or falsifying the historical monument in order to use it in the trade of historical monuments. Other cases are governed by art. 286 §1 of the Penal Code, which penalises fraud. However, not all actions undertaken by dishonest bidders and concerning the disposal of a plate or interference with the composition placed on it constitute forgery. Some of them constitute fraud, others, for example, deliberate lowering of the print run in order to artificially increase the demand for a given object. The article then lists the types of copies and briefly describes them. These include: copies made by the printmaker or a printmaking workshop working with the printmaker, copies with an original purpose other than commercial, posthumous copies, and copies from retouched plates, corrected or altered to some extent. The type of the copy is one of the factors determining the collector’s value of artistic prints. The last part of the study was devoted to state alteration, which is one of the ways of counterfeiting artistic prints. Condition alteration may be the effect of interference in the original plate or the copy itself. The final effect of the procedure is the change of the copy or the plate, which results in the adoption of a different state. Final conclusions are included at the end.

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BAFRA’DA 19. YÜZYIL SONLARINDAN KALMA GÖSRETİŞLİ BİR KONUT

Author(s): Mehmet Sami Bayraktar / Language(s): Turkish Issue: 18/2023

In this study, it is aimed to introduce and evaluate Yıldız House, which is one of the most original and ostentatious historical houses of Bafra and registered as a 2nd Group building, in the context of art and architecture history. The position of the structure, which was examined and documented in detail in traditional Bafra houses, and its place in Ottoman house architecture were evaluated. The three-storey Yıldız House, which was designed and built as a shop on the ground floor and as an independent residence on the upper floors, is located in the central Gazipaşa District. The building, which was once built by a Greek family, is partially damaged, but preserves its original appearance and architectural integrity to a large extent. The construction system and decoration features indicate that the building may have been built between the years 1880 and 1910. Reflecting the architectural features of the period in which it was built, the residence is one of the most original and ostentatious houses of Bafra. Yıldız House is a building with masonry construction system, which is the most common type seen in traditional Bafra houses. Yıldız House which was built on a trapezoidal corner plot and opens to the street on two sides, has a symmetrical and balanced façade with interesting decorative details that arouse aesthetic pleasure in the context of street perspective. The building is one of the Bafra houses, where the interior sofa layout dominates the majority of traditional Turkish houses after the 19th century. The building is extremely successful in terms of placing the plan units on a trapezoidal parcel, transition/relationship between spaces, function and connection with the facades. The facade design of Yıldız House, the language of the facade elements, the stone and plaster relief decorations on the facades bear the influences of the Western New Classical and Turkish Empiric style that shaped many buildings of the period. In the context of traditional Bafra houses, Yıldız House is one of the most striking examples in terms of the variety of facade elements and the density of decorative elements.

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TÜRK KÜLTÜRÜNDE AĞAÇ VE FATİH ALBÜMÜNDEKİ KÂĞIT OYMA AĞAÇLAR

Author(s): Burcu Eryilmaz / Language(s): Turkish Issue: 42/2023

Culture is the whole of material and spiritual values created by societies. It has taken shape according to variables such as climate, geography, social environment, belief structure and formed traditional cultural values specifictonations. Symbols found in cultural products in a wide geography extending from Central Asiato Anatolia have affected the cultural interaction between societies and the dynamics in the process of social existence such as religion and customs. The products of spiritual culture kneaded in culture are in the domain of the world of symbols. The tree is also an important symbol for the Turks. The symbolism of plants and trees in Central Asian Turks begins with the first creation myths. Thus, beech, pine, cedar, apple, juniperetc. İn Central Asian Turkish Mythology andbeliefs. Trees were generally regarded as sacred, and a cult of trees developed, even extending to the descent of man from trees. It is possible to see various tree motifs in all areas within the traditional Turkish decorative arts, which constitute an important part of our culture. The art of “Katı”, one of our traditional book arts, which is about to disappear today, shows us the importance of the tree cult in the 15th century with the Fatih album. In this album, superior Works were revealed with a fine workmanship and detailed application in line with the tree cult. By examining the carved wooden works in this album, it is aimed to reveal the importance of Turkish paper carving art, the effect of the tree cult on culture and its reflection on art.

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Reprezentacje Zagłady w kulturze polskiej (1939–2019). Problematyka Zagłady w sztukach wizualnych i popkulturze, red. Sławomir Buryła, Dorota Krawczyńska, Jacek Leociakred

Author(s): Justyna Kowalska-Leder / Language(s): Polish Issue: 18/2022

Review of: Reprezentacje Zagłady w kulturze polskiej (1939–2019). Problematyka Zagłady w sztukach wizualnych i popkulturze, t. 1–2, red. Sławomir Buryła, Dorota Krawczyńska, Jacek Leociak, Warszawa: Wydawnictwo IBL PAN, 2021, 672 s.

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Kaptan Fantastik (2016): Kapitalizm Kıskacında Başka Bir Hayat Mümkün mü?

Author(s): Deniz Yüceer Berker,Cem Yıldırım / Language(s): Turkish Issue: 15/2023

All the structural changes that capitalism has caused in the historical process have brought about economic and cultural changes in social life and therefore in social institutions. The family, religion and education institutions, which are among the structures that have undergone changes with capitalism, are important because of their ideological functions at the point of approval of the current system. Today, neoliberalism is seen as a necessity, even a completely natural way to ensure social order in many parts of the world, and it is underlined that no other alternative order is possible. Social institutions and structures are transforming in a way that reinforces this belief. In this context this study examines the movie Captain Fantastic (2016), which is about the life of a family that resists the existing capitalist system and the institutions affected by capitalism, with the lifestyle they have established. The aim of this study is to reveal the discourse of the film within the framework of the question of how possible to live an alternative life completely outside of the institutional structures shaped by capitalism. For this purpose, by using the descriptive analysis method, the compromises and contrasts between the capital system and the family in the movie were tried to be revealed.

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Search for Transcendent in Science Fiction and Apocalyptic Films

Author(s): Osman Sahin / Language(s): English Issue: 15/2023

Humanity gradually shifted away from religion and the sacred in the modern age, but in the postmodern age, people have discovered that science and reason alone cannot satisfy them. As a result, people returned in various ways to mythology, religion, and the mystical. Cinema, one of the most popular arts of the visual age, could not possibly ignore this move. Religious themes and elements are prevalent in films. Humanity has lost confidence in metanarratives thanks to postmodernism, and is shown to be on a different quest for meaning, particularly in science fiction and apocalyptic/postapocalyptic films. In many films, this quest evolves into a quest for the transcendent. People contemplate the beginning and the end; they speculate about their origins and their future directions. Postmodern viewers are drawn to the holy, mystical, mythological, and transcendental quests offered in movie theaters. As a result, the film business, which is capitalist in nature, uses this tactic to produce stories that are transcendental, sacred, mythological, mystical, magical, supernatural, and, generally speaking, religious. This essay explores the attempt of postmodern man to use cinema to re-enchant the demystified universe. The postmodern man is tired of extreme rationalism and is on a philosophical quest. The study analyzes five science fiction movies, which are also referred to as apocalyptic movies. These are Avatar (2009), Interstellar (2014), Prometheus (2012), War of the Worlds (2005), and I Am Legend (2007). The article argues that in these movies, post-modern man’s quest for meaning is addressed with some sort of transcendence, his modern identity is developed into a postmodern one, or a postmodern identity is brought forth, and his worries about the end are mostly appeased with a postmodern uncertainty

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Estetik Varoluş ve Umutsuzluk: Le Feu follet

Author(s): İrfan Yalçın / Language(s): Turkish Issue: 15/2023

Aesthetic existence and despair are the basic concepts of Soren Kierkegaard's philosophy. Kierkegaard gives place to the concept of despair in his texts entitled Sickness Unto Death and the concept of aesthetic existence in his texts entitled Either/Or. Kierkegaard associates these two interrelated concepts with the daily life and self of the person. Kierkegaard defines despair in the context of the alienated person. The philosopher argues that the person in the aesthetic stage of existence is hopeless, avoiding responsibility and spending his life in a pursuit of pleasure and entertainment. The aim of this study is to analyze the film The Fire Within (Le Feu follet, Louis Malle, 1963) in the context of Soren Kierkegaard's concepts of aesthetic existence and despair. For this purpose, this study initially reveals, Kierkegaard's concepts of aesthetic existence and despair. Then, the film is analyzed with thematic analysis method. As a result of the analysis, it observed that the main character of the film is an esthete who consumes a significant part of his life in a pursuit of pleasure and entertainment. The study concludes that the main character of the film is alienated from his own self and therefore he is in a despair situation.

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Ömer Kavur’un Erken Dönem Filmleri: Varoluşçu Arayışların Sineması

Author(s): Mustafa Kemal Sancar / Language(s): Turkish Issue: 15/2023

This study, which aims to reveal the formal and content elements that make up Ömer Kavur's cinema, with an auteurist perspective, analyses the factors in question in relation to existential philosophy. For this purpose, first of all, Kavur's unique style as an auteur settlement and the common features in his films are explained. Having created his own style and thus an award-winning filmmaker in many national and international fields, Kavur is one of the first Turkish cinema artists to come to mind as an "auteur" from the creative main cast. After Yeşilçam's social realist films, he follows existential themes both in films written with original stories and in adaptation films. The inclusion of the aforementioned themes in the films is by saying elements within the film narrative or in search of all of Kavur's unique forms and contents. Two film analysis methods were used to reveal these elements. After determining the elements that make up the Kavur cinema with the method of author criticism, the meanings that carry an existential philosophy approach from these components are analysed with the method of film criticism. As a result of the analyses limited to "Yatık Emine" (1975), "Yusuf ile Kenan" (1979) and "Kırık Bir Aşk Hikâyesi" (1981), which are among the director's early films; In certain formal and contextual context factors, it is used that notions such as existence, death and alienation that existentialist philosophers deal with are covered in the scope of filmic narration.

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МИСТЕЦЬКА ОСВІТА В УМОВАХ ГЛОБАЛІЗАЦІЇ ТА КУЛЬТУРНИХ ТРАНСФОРМАЦІЙ СУЧАСНОСТІ

Author(s): Zhanna Zakharivna Denysіyuk / Language(s): Ukrainian Issue: 1/2023

The purpose of the article is to consider the challenges and opportunities facing art education in the context of globalisation and cultural transformations of modern times. The research methodology is based on the application of an analytical, synthetic, and cultural method, which allow a comprehensive consideration of the given problem and formulating well-founded conclusions. The scientific novelty consists in the systematisation and generalisation of the main trends and problems of the development of art education, mediated by the processes of globalisation and cultural transformations of our time. Conclusions. Based on the study of trends in the development of art education in the conditions of globalisation, their compliance with the requirements of the modern information space, the prospects for the development of art education are outlined, which consist in the deepening of interdisciplinary connections, innovation, creativity, the practical application of information technologies, which allow combining theoretical (scientific) and creative components in the learning process. The article argues that art education must be adapted to the challenges of globalisation and cultural transformations in order to meet the demands of the modern world.

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ART PROJECTS AS HUMANITARIAN STRATEGIES FOR PSYCHOSOCIAL SUPPORT: INTERNATIONAL EXPERIENCE OF DEVELOPMENT AND IMPLEMENTATION

Author(s): Oljgha Ovcharuk / Language(s): English Issue: 1/2023

The purpose of the article is to substantiate the possibilities of using the international experience in the field of cultural and artistic practices as a humanitarian strategy for psychosocial support for children and youth in Ukraine under martial law, based on a cultural analysis of the implementation of the «Mobile Arts for Peace» (MAP) art project. The research methodology is to use interdisciplinary and comparative approaches to study the specifics of the therapeutic impact of various types of arts – theatre, music, visual arts, choreography in the implementation of international art projects in post-conflict societies. The main research methods are: the method of hermeneutic analysis – for the interpretation of works of art created within certain national cultures; the method of semiotic analysis –for revealing the meanings and values of artistic phenomena as sign systems; the method of psychological experiment – for analysing the results of using innovative artistic methods in the process of psychological support for project participants. The scientific novelty consists in summarising the international experience of developing and implementing the «Mobile Arts for Peace» art project in different countries of the world – Rwanda, Nepal, Indonesia, Kyrgyzstan; substantiating the possibilities of providing psychosocial support to participants in art projects as forms of cultural and artistic practices; identifying the features of the MAP project implementation based on the specifics of national cultural traditions, historical, and cultural memory, and the depth of cultural trauma in each society. Conclusions. The analysis of the process of implementing the «Mobile Arts for Peace» art project allowed us to summarise the international experience of engaging art as an effective tool for peacebuilding, establishing dialogue, and providing psychological assistance to societies in countries that have gone through various types of conflicts. The studied international experience can be successfully used to develop concepts, programs, and methodological recommendations adapted to the needs of Ukrainian society in the context of war.

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ДЕКОДУВАННЯ БІБЛІЙНОЇ РИТУАЛІКИ В КУЛЬТУРНИХ АКЦІЯХ

Author(s): Galina Viktorivna Volkova / Language(s): Ukrainian Issue: 1/2023

The purpose of the work is to indicate the compensatory content in Vasilkov's concept (according to A. Kanarskyi) of ritualbiblical traces in literary works and examples of fine art, based on a cultural approach to recognition. Research methodology is based on such methods as culturological interdisciplinary, analytical, comporative, historical and descriptive, art criticism and style, hermeneutic based on the aesthetics of Kanarskyi's compensatory. Scientific novelty of the research. For the first time in Ukraine, the positions of decoding biblical rituals in artistic actions were formulated on the basis of the philosophical concept of Kanarskyi’s recognition. Display in the concept of Durkheim, Vasilkov and Kanarsky in the art criticism dimension of the works of Shevchenko, Gogol and Storozhenko is also original. Conclusions. Approaches to the method of recognising biblical and ritual traces in the works of Shevchenko, Gogol and Storozhenko are outlined in the context of the ritual of sacrifice and hagiographic measurements of the presentation of the main character’s characteristics. Recognition of the compensatory action of transformationdematerialisation in Storozhenko's painting «Premonition of Golgotha» takes place through the use of the watercolor technique in oil painting. The ritual root in artistic acts is recognised, which makes it possible to realise the significance of the cultural influence of art without the participation of a special aesthetic and artistic principle of capturing the significance of creative products. As an action, biblical rituals nourish plot conflicts, which are considered as the actions of characters in literary works and fine arts. As an idea, biblical rituals fertilise the structure of the image, plastic-textured embodiment and compositional standards. As a symbol of sublime life activity, biblical rituals inspire the dramaturgy of comparisons, in contrast to the life-like "development" of the theatre. As a component of being, biblical ritual forms the basis of works of art and leads to the recognition of a ritual genesis in them, "fertilising" them with the content and density of the ideological and figurative expression.

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ПСИХОЛОГІЧНА РЕКРЕАЦІЯ ЯК СКЛАДОВА АРТТУРИЗМУ

Author(s): Tetyana Viktorivna Filina / Language(s): Ukrainian Issue: 1/2023

The purpose of the article is the research of psychological recreation within the art tourism system. The methodology of the research is based on methods of scientific cognition and system analysis (deduction, induction, analysis, and synthesis). Scientific novelty of the results lies in detection and analysis of the factors facilitating psychological recreation by means of art tourism services. Conclusions. Difficult transformations characterising the current situation in Ukraine such as war, loss of family members, forced migration, property destruction demand psychological resistance. Every person reacts to such challenges and finds ways for life balance recovery individually. It is very difficult to restore emotional balance and strength alone during the war, so organised leisure and touristic activities must provide the conditions for personality recovery. Professionally planned and balanced art tours contribute to fullfledged rest and provide therapeutic effect. Considered route selection, combination of open-air events and visiting cultural and art facilities, engagement of psychologists and artists are the essential parts of art tourism providing unique conditions for recreation. The art therapeutic practices employment facilitates harmonisation of personality, impacts mental health recovery, contributes to crisis solutions providing conditions for full-fledged psychological recovery.

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КУЛЬТУРНА ПОЛІТИКА УКРАЇНИ ТА ЄВРОПЕЙСЬКОГО СОЮЗУ: ВІДПОВІДНІСТЬ ЗМІСТУ І ПЕРСПЕКТИВИ РЕАЛІЗАЦІЇ

Author(s): Victor Shostak / Language(s): Ukrainian Issue: 1/2023

The purpose of the article is to analyse the peculiarities of domestic cultural policy in the conditions of European integration. The methodology of the research includes the scientific and theoretical approach to the study of cultural policy and the method of analysis and synthesis. The historical-comparative method made it possible to identify the distinctive features of the legislation of Ukraine and the EU regarding the regulation of relations in the socio-cultural sphere. Methods of observation, information gathering, descriptive and generalisation methods allowed us to find out the level of compliance between the cultural strategies in Ukraine with the cultural practices of the European countries. The scientific novelty. For the first time culture and its practical implementation is considered as a tool for the formation and implementation of value-meaning needs of a person, citizen, and an ethnic group, as a carrier of retrospective symbols, images, and stylistic catalysts. Conclusions. Generated and coordinated by the European Commission and the Council of Europe Work Plans for Culture initiative should be considered a stylistically semantic initiative that takes into account global, state, and strategic-political changesin the EU cultural sector. The cultural diversity of the EU member states is ensured by maintaining the priority of national cultural component of an individual state on the basis ofstrategy making, proportionality, subsidiarity, and continuous cooperation. Nowadays, the normative provision of culture as a tool for the implementation of value-orientational needs of a person acquires relevance for the state-building processes of the Europeanisation of Ukraine. Such a strategy indicates the connection between a citizen of Ukraine, the culture of the state and the national ethnic group that is the carrier of defining and formative symbols, images, and worldview values.

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СЕМАНТИКА НАГОТИ В МОДНІЙ ФОТОГРАФІЇ КІНЦЯ ХХ – ПЕРШОЇ ЧВЕРТІ ХХІ СТОЛІТТЯ

Author(s): Iryna Skoryk / Language(s): Ukrainian Issue: 1/2023

The purpose of the article is to analyse the semiotics of the body in visual culture of the late 20th and early 21st centuries using the example of fashion photography; to find out how the body has turned from a passive screen for displaying socially and culturally significant markers into an active agent of shaping fashion trends. The research methodology is based on a combination of different approaches to describing the semantic nuances of the body image in modern fashion photography. In particular, with the help of the historical and genealogical method, the evolution of the narrative focus of fashion photography is shown, since at first attention was paid first of all to the beauty of the thing being sold, then to the idealised body. A structural approach was applied to analyse the multiple contexts of fashion photography, such as the perception of a material thing, its photographic representation and expert review. All of them are components of the fashion discourse. Using the epistemological method, the semantics of the concepts of nakedness (as acquired vulnerability) and nudity (as harmonious integrity) are distinguished. The scientific novelty of the study consists in revealing numerous semiotic contexts of the phenomenon of nudity in fashion photography, which is always aestheticised compositionally, colouristically, and cosmetically depending on the cultural environment and cultural era, and therefore naked physicality is a discursive phenomenon, like fashion in general. Conclusions. Corporeality in fashion photography of the 20th century expresses the incessant processuality of postmodern semiosis – the recoding of the world of things into the dimension of signs. The human body becomes a screen for the projection of these signs, the principle of an ongoing game, the eternal engine of advertising discourse to multiplicate visual images. The devaluation of things in the European culture of mass consumption of the second half of the 20th century, caused by their overproduction, contributed to a change in the critical focus of fashion from the clothes in which the human body is wrapped to the body itself. Elitism is no longer defined as a set of precious or luxurious things that a person desires to own and that require a financial investment. Instead, the signifier of exclusivity in late modern Western society is a healthy and attractive body. It requires competent care, medicalisation, sports training, and, therefore, in addition to financial, also investments of time and knowledge. Thus, the fashion photography of the end of the 20th – the first quarter of the 21st century shows the shift in the focus of the fashion discourse from the aesthetics of things to the aesthetics of lifestyle and self-creation, for which the human body serves as a screen.

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NFT ЯК ПРОВІДНИЙ ІНСТРУМЕНТ МИСТЕЦТВА В РЕПРЕЗЕНТАЦІЇ ВІЗУАЛЬНОГО СЕРЕДОВИЩА

Author(s): Viacheslav Boiko,Stepan Maksymov / Language(s): Ukrainian Issue: 1/2023

The purpose of the work is to investigate the specifics of the impact of NFT technology on the state of art expertise in the organisation and implementation of virtual auction and gallery projects. The research methodology is based on the application of a systematic approach in the study of NFT technology on the analysis of aggregate methods, in particular art history, analytical, empirical, historical, comparative, synthesis, and modeling. The scientific novelty lies in the peculiarities of organising and conducting virtual galleries and auctions based on NFT technology in modern conditions. Practical and theoretical recommendations to specialists are developed for art critics for improving the methodological base, mastering new digital methods of auction and gallery activity in order to improve the level of qualification of art expert experts in the conditions of the unlimited dominance of digital technologies in the modern world. Conclusions. The rapid development of IT technologies in the modern world has led to a paradigm shift in traditional forms of organisation and conducting auction and gallery activities. This means that the art market is gradually moving from a traditional art market to a virtual one, where the exchange of classic works of art is replaced by the creation of semiartistic samples of works of art by famous authors, which transform into a new reality through the prism of digital technologies, in particular, through NFT technologies. This, in turn, leads to the distortion of the classical vision of works of art and their devaluation. The creativity of world-renowned authors is presented in a new digital reality, where works of art go through different stages of their interpretation depending on the subjective vision of the creators of digital art. That is, we observe how the new generation tries to deny classical art and offers to use digital technologies to create their own digital works of dubious quality. At the same time, the involvement of the latest digital technologies helped to qualitatively improve and reliably protect property rights in the field of copyrights for works of art with the help of SEO, cryptocurrency, blockchain network and ensure the reliability of transactions during auctions.

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УКРАЇНСЬКИЙ НОНКОНФОРМІЗМ 70–80-Х РОКІВ ХХ СТ. В ПРОСТОРІ ЄВРОПЕЙСЬКОЇ ХУДОЖНЬОЇ ТРАДИЦІЇ

Author(s): Iryna Soliarska-Komarchuk / Language(s): Ukrainian Issue: 1/2023

The purpose of the article is through clarification of the «nonconformism» concept, to prove the appropriateness of using the term «trans-avant-garde» when describing the stylistics of the works of Ukrainian artists of the 1970s and 1980s, for whom the «canons» of socialist realism were foreign and unacceptable. Research methods are based on the fundamental principles of art analysis with the involvement of interdisciplinary connections (psychology, cultural studies, and philosophy). The method of epistemological analysis is used in the process of clarifying the concepts of a number of art historical concepts. System-analytical and comparative-historical methods are used to identify the Ukrainian artistic tradition as a special phenomenon of the European context. The scientific novelty of the study consists in clarifying the definition of the «nonconformism» concept, in substantiating it as a cultural and social phenomenon, and in proving the legality of using the term «transavant-garde» in relation to the stylistic definition of the works of Ukrainian nonconformist artists of the 1970s and 1980s. Conclusions. Having analysed the phenomenon of «nonconformism», having revealed its significance as a cultural and social movement of those who disagreed with the totalitarian system of Soviet society, the feasibility of using the concept of «trans-avant-garde» in relation to the works of Ukrainian artists of the 1970s and 1980s was established in connection with the fact that, like their Western European colleagues, they continued to develop in their work the significant achievements of domestic avant-garde artists of the first third of the 20th century.

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ІНТЕРПРЕТАЦІЯ ІСПАНСЬКОГО ТАНЦЮ В СЦЕНІЧНІЙ ХОРЕОГРАФІЇ АНТОНІО ГАДЕСА

Author(s): Olesya Vakulenko / Language(s): Ukrainian Issue: 1/2023

The purpose of the article is to reveal the peculiarities of the interpretation of Spanish dance in the choreographic productions by A. Gades. The research methodology. A set of methods typical for art analysis is applied. To study the peculiarities of the interpretation of Spanish dance in the choreographic productions by A. Gades, the problem-logical and general scientific method of modeling is applied, as well as the iconological method, that enabled a formal analysis and determination of symbolic meanings by revealing the national and cultural roots of the dance. Scientific novelty. The production activity of the leading Spanish choreographer Antonio Gades is studied; the peculiarities of the interpretation of Spanish dance in the process of working on stage productions are considered. For the first time in domestic art history, the choreographic performances by A. Hades «Blood Wedding, or Bodas de Sangre» («Blood Wedding, or Bodas de Sangre», 1974), «Flamenco Suite» («Flamenco Suite», 1989), «Fuenteovejuna» («Fuenteovejuna», 1994) are analysed. Conclusions. The study of the productions by A. Hades revealed a peculiar choreographic handwriting, the originality of the choreographer's decision and the individuality of plastic interpretations of Spanish dances. In the process of creating choreographic productions full of conceptual unity and depth, the master positions Spanish dance as a universal style with huge expressive possibilities, which allows him to non-verbally represent classic works of European literature in different parts of the world, in particular «Bloody Wedding» by F. García Lorca, «Fuenteovejuna» by Lope de Vega, «Carmen» and others. According to A. Hades, any work of art can be understood only in the unity of its content, means of artistic expression and cultural reminiscences (memory, echo, echo, which lead to comparison with something), which provide a kind of "connection of times" in the mind the viewer. The choreographer demonstrates this approach in the process of translating famous Spanish literary and dramatic works into the language of dance, turning to national dances, in particular the Pasodoble ballroom dance, Spanish folk dances Bolero, Cachucha, Muneira, Segidilla, Sarabanda, Sardana, Fandango, as well as dances in the southern Spanish Flamenco style.

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БАЛЕТ «ЗА ДВОМА ЗАЙЦЯМИ» ЮРІЯ ШЕВЧЕНКА ЯК САМОБУТНІЙ ФЕНОМЕН УКРАЇНСЬКОЇ МУЗИЧНОЇ КУЛЬТУРИ

Author(s): Svitlana Mykolayivna Sadovenko / Language(s): Ukrainian Issue: 1/2023

The purpose of the article is to consider the specific characteristics of Ukrainian ballet as an original phenomenon of modern musical culture, the case study of "Chasing Two Hares" ballet by Yurii Shevchenko, a composer. The research methodology consists in specifically scientific methods (historical, system-analytical, hermeneutic, and generalisation), which allow to conduct an objective study of the specifics of Ukrainian ballet as an original phenomenon of modern musical culture. Specific musicological methods are also applied. The analysis of musical notation is used to consider the musical form of ballet, its harmonic structure, rhythm, and melody. The study of a ballet production enable understanding the author's use of ballet music to create an atmosphere, express emotions, and convey the plot. The performative analysis helps study the interaction of ballet music with other elements of ballet. The scientific novelty is in substantiating the specifics of Ukrainian ballet as an original phenomenon of modern musical culture, the case study of "Chasing Two Hares" ballet by the composer Yurii Shevchenko and updating the meaning of the composer's work in the context of the latest conditions of functioning of the Ukrainian musical theatre. Conclusions. The actualisation of theoretical studies in the field of musical culture and art is determined by the demand for the study and explanation of their intensive development. The experience of creating various forms of ballet and theatre music manifests the specific characteristics of modern musical art in Ukraine. In this context, consideration of the specifics of Ukrainian ballet as an original phenomenon of modern musical culture, the case study of Yurii Shevchenko's ballet "Chasing Two Hares" is considered relevant. Researching the theatrical and musical works of Y. Shevchenko and his music for the "Chasing Two Hares" ballet, we justify that ballet music appears as an expression of a new theatrical language – the language of optimism and high moral qualities. At the same time, musical theatre acquires psychotherapeutic characteristics, helping to survive the complex realities of life and restore faith in justice, which is especially relevant in today's realities. Yurii Shevchenko's compositional work, on the example of the "Chasing Two Hares" ballet, is an original phenomenon of modern musical culture and constitutes a significant component of Ukrainian culture and art.

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ТАНЦЮВАЛЬНІ ОБРАЗИ У ТВОРІ ДЛЯ СКРИПКИ І ФОРТЕПІАНО НАЗІМА АМЕДОВА «РОНДО-ХАЙТАРМА»

Author(s): Usein Bekirov / Language(s): Ukrainian Issue: 1/2023

The purpose of the article is a musicological analysis of the dance images in «Rondo-Haitarm» work for violin and piano by the Crimean Tatar composer Nazim Amedov. Research methodology. Analytical, historical methods, the method of comparative and musicological analysis have been used. Scientific novelty of the research. For the first time, a musicological analysis was conducted of the dance images in «Rondo-Khaitarm» work for violin and piano by the Crimean Tatar composer Nazim Amedov. Conclusions. Nazim Amedov's «Rondo-Khaitarma» work for violin and piano highlights the national features of the artistic thinking of the Crimean Tatar people. Using a variety of musical and expressive means, CHANGING different shades: from persistently energetic, expressive to soft, lyrical, with the affirmation of a bright affirmative character the composer multifacetedly presents the main national dance image in its overall development. The dominant technique of development is «mirroring». It extends to the intonation-rhythmic organisation of the theme, has a form-creating function. These techniques are inherent in the author's handwriting and composer's thinking of Nazim Amedov.

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ФОРТЕПІАННІ КОМПОЗИЦІЇ А. ШТОГАРЕНКА, ПЛАТОНА І ГЕОРГІЯ МАЙБОРОДІВ, А. КОС-АНАТОЛЬСЬКОГО У ВИРАЖЕННІ СТИЛЬОВИХ ОЗНАК ТРАДИЦІОНАЛІЗМУ

Author(s): Liudmyla Ivanova / Language(s): Ukrainian Issue: 1/2023

The purpose of the article is to reveal in the works of A. Shtoharenko, brothers Platon and Heorhii Maiboroda, A. KosAnatolskyi, who are bright representatives of the traditionalist worldview, typical for them general stylistic ways of embodiment of the demands of the present day, using certain achievements of modernism, but not going beyond the traditionalist artistic position. The methodological basis of the work is based on the principles of the intonation approach, that is, based on the understanding of the genetic unity of speech and music, which is characterised by an organic complex interdisciplinary coverage of expressiveness of words, music, and imagery. This vision of musical expression coincides with modern art history research methods, among which we highlight historical-musicological, genre-stylistic, interpretive-hermeneutic, and semiotic-aesthetic. O. Markova’s metaphysics of musical history has become the methodological basis of the research [7]. The scientific novelty of the obtained results lies in the expansion of ideas about modern musical dimension of the stylistic heritage of the last century as the embodiment of the aprogressive paradigmatic principle of expression of traditionalism of the 20th century, with the awareness of the epochal «vibration» of the identification of the specified stylistic quality depending on the specifics of the nationwide manifestation of the corresponding thought stereotypes. Conclusions. The named masters consciously gravitated towards the academic stability of the expressive principles of music, but in no way bypassing the echo of the «call of time» and investing in their compositions more often impressionistic-fauvist, pro-neoclassical, and primitivist stylistic indicators. The salon slant of the applied piano is something that is permanently established in the palette of presented images-meanings, in which not so much folklorism, but precisely the lyrical excess of exposition is combined with sonata-like structures, «extinguishing» dramatic and theatrical expressiveness.

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