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The House of Goldsmith Michael Lutsch

Author(s): Melinda Mihály / Language(s): English,Romanian Issue: 57/2020

This study is dedicated to a building in downtown Cluj, located on the south side of today’s Memorandumului Street. Although the edifice features many aspects of the stylistic evolution of the architecture of Cluj (it was built in Gothic style, with considerable changes that pertained to the Renaissance and then the Baroque styles), the history of the edifice is almost unknown in the literature of local history. Our study aims to provide a detailed description of the building, to outline the various stages of its construction, and to identify the people who animated its spaces and contributed to the history of the building.

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Tradiţia muzicală în familia Cantemir

Author(s): Victor Ghilaş / Language(s): Romanian Issue: 1/2008

The material represents an interesting study in the field of Musicology, revealing the constantly attested musical preoccupations of the members of the princely family Cantemir, while residing in Russia. The study supplements with more information the cultural portrait of the one who was the author of the very valuable Treatise of Turkish Music.

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ЖІНОЧІ АРТ-ПРАКТИКИ У КОНТЕКСТІ СВІТОВОЇ КУЛЬТУРИ ХХ СТОЛІТТЯ

Author(s): Daria Lutsyshyna / Language(s): Ukrainian Issue: 4/2020

The purpose of the article is to determine the peculiarities and role of women's artistic practices such as painting, sculpture, installation, performance, crafts, etc. in the cultural process, to determine the historical and social context – both in Ukraine and the world - in the creative activities of women artists. Methodology. The study includes the methods of systematization, formal, stylistic analysis, historical, comparative, descriptive, biographical methods. The scientific novelty lies in the research of the creative activities of women artists, which is one of the promising and understudied fields in the development of art history and historiography. These results are significant for further research on the works of women artists both in Ukraine and abroad. Conclusion. As a result, the peculiarities of the artists' work were defined, their role in the artistic process of the 20th century was explained, the influence of the sociopolitical and ideological factors on the creative work of Ukrainian and foreign female artists was shown.

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ЖИТТЄТВОРЧІСТЬ В. А. РОЗЕН ЯК ФАКТОР РОЗВИТКУ МУЗИЧНОГО ПРОСТОРУ ЧЕРНІГІВЩИНИ

Author(s): Oleg Badalov / Language(s): Ukrainian Issue: 4/2020

The purpose of the article the coverage of the stages of the life of pianist, laureate of the international competition, Associate Professor at Nizhyn Mykola Gogol State University Vedda Rosen, determine its contribution to the development of the musical space of Chernihiv region second half of the 20th century. In the field of view of the author – the study of performing and pedagogical activities by V. Rosen of the period of the late 1950s–early 2000s in the context of the development of the artistic phenomenon of the Nizhyn as one of the cultural centers of Chernihiv region. The methodology of the article is based on historical and chronological, source studies, logical and generalizing methods for analyzing periodical sources, studying the creative biography of V. Rosen, identifying the influence of her performing and musical-pedagogical activities on the development of the musical space of Chernihiv region. The scientific novelty of the publication is the first in the Ukrainian musicology study of the life creation of V. Rosen as one of the outstanding artists of the Chernihiv region, the founder of the musical traditions of the region in the second half of the 20th century. Conclusions. The results of the study allowed us to conclude that V. Rosen for half a century played an important role in the development of the musical space of the Chernihiv region, presented the musical achievements of the region, in particular, in the field of piano culture in Ukraine and abroad. Beginning in the 1980s, V. Rosen and her students became the first representatives of the musical culture of the Chernihiv region to win the title of winners of national and international competitions.

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МЕТОДОЛОГІЧНІ АСПЕКТИ ДОСЛІДЖЕННЯ РОМАНТИЗМУ В ЄВРОПЕЙСЬКОМУ МУЗИЧНОМУ МИСТЕЦТВІ XIX – ПОЧАТКУ XX СТОЛІТТЯ

Author(s): Olha Lihus,Valentyn Lihus / Language(s): Ukrainian Issue: 4/2020

The aim of the article is to reveal the methodological aspects of the European Romanticism's investigation in the musical art and culture studies works. The methodology of the research presupposes such methods: historical – in the analysis of the processes of formation and evolution of Romanticism in the European art of the 19th – the beginning of the 20th century; historical-cultural – in the consideration of the conceptual foundations of the universal cultural and socio-historical context of the Romantic epoch; descriptive – in the analysis of the terminology and its interpretation of the Romanticism notion; historical-comparative – in the comparison of different manifestations of Romanticism in the 19th – the beginning of the 20th century; method of modeling – in the construction of a stylistic model of Romanticism of the particular period; typological – in the definition of the most peculiar features of the Romantic style. The scientific novelty of the research is a systematization of the scientific experience of the examination of Romanticism and the definition of the modern tendencies of the research of these ranges of problems. Conclusions. The reasons for the difference in the definitions and interpretations of Romanticism by the musicologists and theorists of literature are defined. The common positions of the researchers of Romanticism are considered: the understanding of Romanticism as a multilevel category; consideration of national versions of Romanticism in different European cultures; recognition of Romanticism as a dynamic system of multidirectional tendencies.

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СЦЕНІЧНИЙ КОСТЮМ: ЕВОЛЮЦІЯ ЗМІСТІВ У ХІХ СТ. (ЗА МАТЕРІАЛАМИ ТЕАТРАЛЬНИХ ТРУП ПІДРОСІЙСЬКОЇ ЧАСТИНИ УКРАЇНИ)

Author(s): Iryna Ivanivna Nesen / Language(s): Ukrainian Issue: 1/2021

The purpose of the article consists of the definition of basic forms and stylistics of the scenic costume from the beginnings of appearance in Ukraine of professional theater till the end of the XIX century. The methodology of the research is based on keeping historiography tradition and interdisciplinary approaches because the historical context of research is connected to formal-stylistics analysis and the iconological method, which helps to discover the context of theatrical outfits and track symbols of time in it. The scientific novelty consists of the separation of main stylistic theatrical costume types which appeared and were used in theatrical practices in different time periods of the XIX century. Conclusions. Conducted research shows that since the moment when the first theaters appeared in Ukraine (the end of the XVIII century), there exist two style directions in the scenic outfits: aristocratic (french) and democratic (folk) types. The last is connected with folklore and calendar holiday traditions and was evolved in folk cultural revival context in Over-Dnieper Ukraine, which was started in 1798 by I. Kotlyarevsky‘s Aeneid. The traditional costume became the main component of the amateur period of the Ukrainian theater, which grew in the national repertoire (operas "Natalka Poltavka", "Zaporozhets over the Danube", the play "The Russian Magician", the drama "Nazar Stodolya"). It organically melted into a variety of folk costumes, which were made and used by Ukrainian troupes of professional theater in the period of 1882-1914. This costume became the face of the national poetic theater. The most important function of theatrical attire is its participation in the synthesis of means of revealing the characters of the play, its meaningful composition. In this synthesis, the costume functions in a chain of concepts: text, play, character, actor, role, image.

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КУРТУАЗНІ МОТИВИ У МИСТЕЦТВІ ВИСОКОГО СЕРЕДНЬОВІЧЧЯ

Author(s): Alina Slivinska,Larysa Tzvetkova / Language(s): Ukrainian Issue: 1/2021

Purpose of the article. The article presents a study of courtly motives in the art of the high Middle Ages and the foundations of the ideological and figurative-symbolic representation of courtly images in various artistic forms of this era. Methodology. The study of the content of courtly motives and images, the definition of the ideological foundations of their figurative and symbolic representation was carried out through the use of historical, analytical, symbolic, and allegorical methods. Scientific novelty. The article examines courtly motives and courtly images presented in the art of the High Middle Ages, identifies the ideological foundations of their figurative and symbolic representation in various artistic forms of this era. Conclusions. The visual images of medieval masters create the world of courtly, filling the courtly universe with numerous subjects that reflect the image and lifestyle of both knights and their Beautiful ladies. And thus they help to understand the norms and prescriptions of courtesy, the models of the participants' behavior in the courteous action, the corresponding rituals and etiquette norms of courteous relations, their attributes, and stylistics. In order to do this, the artists used various techniques - bright colors, saturation with symbols, heraldry, outfits, etc. Especially popular was the use of the rose image, which became the quintessence of Gothic art, its courtly and religious symbol, the embodiment of the ideal of chivalry to the Beautiful Lady, and a kind of reflection of the Christian image of the Virgin Mary.

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КНИГОВИДАННЯ УКРАЇНИ ДРУГОЇ ПОЛОВИНИ ХХ СТОЛІТТЯ І ХУДОЖНЯ ІЛЮСТРАЦІЯ У ТВОРЧОСТІ В. ПОЛТАВЦЯ

Author(s): Oksana Poltavets-Guida / Language(s): Ukrainian Issue: 1/2021

The purpose of the article is to consider the graphic works of V. Poltavets-illustrator in the context of the development of book printing in Ukraine in the second half of the twentieth century, conduct a comparative analysis of the development of this industry in different eras, and identify their relationship. The methodology of the article is based on the chronological method of historical research, the biographical method, the method of observing the artist‘s practical activities in different time periods, the method of analyzing works of art. The scientific novelty consists in the chronological systematization and comparative analysis of typography and graphic art in different historical periods, the study of the continuity of traditions and innovation in art, their interrelation, and a sequential examination of the creative heritage of the famous artist. Conclusion. The analysis shows a high level of development of publishing in Ukraine, the presence of art school and talented illustrators, indicates insufficient scientific coverage of this topic.

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ТВОРЧІСТЬ АНІКО РЕХВІАШВІЛІ У КОНТЕКСТІ РОЗВИТКУ ХОРЕОГРАФІЧНОГО МИСТЕЦТВА УКРАЇНИ КІНЦЯ ХХ – ПОЧАТКУ ХХІ СТОЛІТЬ

Author(s): Liudmyla Ivanivna Vyshotravka / Language(s): Ukrainian Issue: 1/2021

The purpose of the article was a comprehensive art criticism analysis of the creative heritage of the choreographer A. Rekhviashvili, during which the main stages of her stage biography were considered, the characteristic features of the staging style were determined. The methodology of the work includes the use of the following cultural research methods: general historical, comparative historical, analytical, biographical, etc. The scientific novelty of the publication lies in the fact that for the first time it comprehensively analyzes the stage achievements of the choreographer A. Rekhviashvili, establishes the influence of her work on the development of national ballet art late XX - early XXI centuries. Conclusions. Choreographer A. Rekhviashvili can without a doubt be considered one of the most progressive Ukrainian choreographers of our era since the stage works created by her: dance miniatures, one-act performances, and multi-act ballet canvases - "Vienna Waltz" (2001), "Daniela" (2006), ―Lady with Camellias‖ (2014), ―Daphnis and Chloe‖ (2015), ―The Snow Queen‖ (2016), ―Julius Caesar‖ (2018), etc. - highly appreciated by modern ballet experts and recognized as the brightest examples of Russian choreographic art of the border XX – XXI centuries, in which academic traditions and new forms of plastic expressiveness were harmoniously combined.

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ВИКОНАВСЬКА ТРАНСФОРМАЦІЯ ПАРТІІ ГОЛОВНОЇ ГЕРОЇНІ В ОПЕРІ Г.ДОНІЦЕТТІ «ЛЮЧІЯ ДІ ЛАММЕРМУР»

Author(s): Susanna Chakhoian / Language(s): Ukrainian Issue: 1/2021

The purpose of the article is to trail regularities of vocal evolution which has formed the transition of stage operatic development from Rossini to Verdi and which has predetermined the performing tradition of Lucia‗s role in Donizetti‘s opera ―Lucia Lammermoor ―(1835) by light coloratura soprano in the second half of XIX century until the present day. The methodology of the study is based on the intonation approach to interaction of music and spoken word in B. Asafiev‖s school in Ukraine and which corresponds to the trend of hermeneutics research of the musicology study, as offered in works of L. Zima, E. Markova, A. Roshchenko. The scientific novelty of the work is determined by originality of historical approach to vocal intonation change which has been given birth by Italian romanticism in its dissociation from the R. Wagner approach and which has been accepted as leading approach in operatic performing tradition. This concept coincides with the author's independent analysis of the main heroine in Donizetti‘s opera. Conclusion. The role of Lucia in Donizetti‗s opera with its particular style of libretto and manifestation of both femininity and outstanding power resulting in madness forms the parallel to preceding operatic images of hers as well as contemporary images in the days of Donizetti. The composer‘s approach to F. Takkinardi-Persiani‘s interpretation of this role, however, points to a presentiment of the replacement of "Rossini" soprano by lyrical coloratura in the operas of Gounod. Still this replacement drove the performing of the dramatic role of Lucia by "light" coloratura sopranos - from A. Patti to A. Galli-Kurci, from A. Nezhdanova to E. Miroshnichenko and last not least author of the essay in reference. It is sincerity and faithfulness to the beloved one rather than power of nature which determine the core values of Lucia, forming an analogy to heroines in psychodramas of V. Rebikov, whose genius as a treasure of the Ukraine South became a discovery at the musical theater nowadays. As a consequence ‖ Lucia di Lammermoor‖ continuously occupies a significant place in the repertoire of Ukrainian opera houses.

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ROMANCE IN CHINESE MUSIC OF THE OPEN PERIOD: FROM ROMANCE TO KUNSTLIED AND ARTISTIC SONG

Author(s): Dongxuan Wu / Language(s): English Issue: 1/2021

The purpose of the article is to identify ways to form and develop the national Chinese art song "period of openness". The article reveals the ideas of the origin of the national romantic musical and poetic genre, features of the German Kunstlied, Chinese romance in the "period of openness" (from Romance to Kunstlied and artistic song). The interaction of traditional Chinese and Western European music systems, in which pentatonics are organically combined with classical-romantic harmony and uniform accentuation, is studied. The research methodology involves the application of a systematic approach, as well as methods of analytical, comparative, art, using which on the examples of Chinese art song "openness period" (composers Luo Zhongzhong, Li Inha, Lu Tsai-i) analyzes the process of assimilation of national traditions in chamber and vocal creativity of Chinese composers, which found expression in the accentuation of articulatory and phonetic features of the pronunciation of the verbal text, the folk throat manner of singing, the interpretation of the voice as a color paint. The regional specificity of Chinese romance is considered on the example of the songs "Returning to Mount Qingshan" by Zhang Lizhong, "You will like it" by Shi Xin. The scientific novelty of the work is to identify transformational changes in Chinese music of the twentieth century. based on the peculiarities of the refraction of European new compositional techniques (dodecaphony, serialism), which is reflected in the romances of Chinese composers "New Wave" or "national Chinese musical avant-garde" (Luo Zhongzhong, Chen Mingzhu, Zhu Jianyer). Conclusions. The study found that the "period of openness" for China was a time of reform and change in all spheres of life, including the art of music. The basis for the creation of a national romantic musical and poetic genre was the German Kunstlied, whose principles were in tune with the aesthetic foundations of classical Chinese art. Changes in creative concepts in Chinese music based on musicians' awareness of the possibility of a subjective approach to art. Their figurative and semantic kinship became the key to the formation and approval of the national-genre foundations of Chinese artistic song. The ways of spreading and popularizing Chinese art song in the context of the idea of the festival-competition movement are also determined.

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РЕЖИСУРА ЯК ХУДОЖНЄ ЯВИЩЕ РАДИКАЛЬНИХ ЗМІН СЦЕНІЧНОГО МИСТЕЦТВА КІНЦЯ ХІХ – ПОЧАТКУ ХХ СТОЛІТТЯ

Author(s): Natalia Petrivna Donchenko / Language(s): Ukrainian Issue: 1/2021

The purpose of the article. Consideration of reformist ideas in the artistic and creative activity of innovator directors of the late XIX - early XX centuries as a radical artistic phenomenon that changed the whole theatrical process of performing arts. The methodology consists in the application of empirical, art history, analytical, axiomatic methods of research of the concept of directing as a professional activity that arose at the turn of two centuries and laid fundamental changes in the whole artistic process of the director and performer of theatrical form. The novelty lies in the empirical analysis of the paradigm of directing, its phenomenal ideas of the search for a radical reform of acting and the whole performing arts in general. Conclusions. The profession of a director is of particular interest on the way to its formation as well as any artistic phenomenon, which due to its scale at birth contains the maximum number of opportunities. The evolution of theatrical, spatio-temporal visual forms gave impetus to the emergence of grandiose changes in the entire stage system, as well as the realization of this fact by most theater figures. And today in the performing arts it is desirable to dominate the interest in the means of enhancing acting expressiveness, improving psychophysical technique. Modern filmmakers must seek and propose ways to expand acting, the power of its impact on the audience, namely, one or another means of merging experience and conscious reflection in the creative process, various principles of association in their relationship with the general concept of theatrical synthesis.

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ФІЛОСОФІЯ АНАЛІЗУ МУЗИКИ АБО ГОРИЗОНТ, ЩО ПОСТІЙНО ВІДДАЛЯЄТЬСЯ

Author(s): Valentina Redya / Language(s): Ukrainian Issue: 1/2021

Review of: Redya V. - А. Kravchenko «Instrumental chamber art of Ukraine. Late XX – early XXI centuries (semiological analysis)»

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РЕЦЕНЗІЯ НА МОНОГРАФІЮ М.О.АНТОШКО «МУЗИЧНА КУЛЬТУРА КИТАЮ ВІД ВИТОКІВ ДО СУЧАСНОСТІ: ВЗАЄМОПРОНИКНЕННЯ ХУДОЖНІХ ТРАДИЦІЙ ТА НОВАЦІЙ»

Author(s): Valeria D. Shuljghina / Language(s): Ukrainian Issue: 1/2021

Review of: Shuljghina V. - М.О.Антошко «Музична культура Китаю від витоків до сучасності: взаємопроникнення художніх традицій та новацій»; M.O. Antoshko " China's musical culture from its origins to the present: the interpenetration of artistic traditions and innovations"

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ІКОНОГРАФІЯ ПЕРЕПЛЕТЕНИХ ГІЛОК У КРАЄВИДАХ М. БУРАЧЕКА 1917–1924 РР. (ДО ПРОБЛЕМ АДАПТАЦІЇ МОЛОДОПОЛЬСЬКОГО ЯПОНІЗМУ В ТВОРЧОСТІ УКРАЇНСЬКИХ ВИХОВАНЦІВ КРАКІВСЬКОЇ АКАДЕМІЇ МИСТЕЦТВ)

Author(s): Ivanna Andriyivna Pavelchuk / Language(s): Ukrainian Issue: 2/2021

The purpose of the article is to analyze M. Buraček’s winter landscapes from the collection of the Zaporizhzhia Art Museum: “Winter” (1917), “Apple Trees in Winter. Dziunkiv”(1922), “Branches in the Hoarfrost”(1924) and to substantiate the reflections associated with the Young Polish Japonisme mastered by the Ukrainian artist while studying at the Krakow Academy of Arts. Methodology. In order to solve the problem set in the publication, the following methods were used: comparative – in connection with clarifying the analogies between the landscapes of M. Buraček of 1917–1924 and the plots of Polish artists of the 1900s; hermeneutic - to understand the connection between the traditions of ukiyo-e Japanese woodblock prints and particularities of the Polish improvisations of early XX century. The scientific novelty of the publication consists in the fact that the works of M. Buraček proposed for consideration are analyzed for the first time in the context of the problem of assimilation of Young Polish Japonisme among Ukrainian students of the Krakow Academy of Arts. Conclusions. It was found that the landscape plots of kachō-ga, inspired by the Polish artistic background, had been adapted in the works of M. Buraček during the period: 1917–1924. The then strivings of the below Krakiw pioneers from Young Poland’s artistic environment contributed to the renewal of M. Buraček’s thematic repertoire: W. Weiss, J. Voinarski, K. Gomolaks, T. Richter, F. Ruszczyc, T. F. Simon, J. Stanislawski, W. Tadeusz, J. Tchaikovsky. The study of the landscape repertoire of M. Buraček during 1917–1924, which had been formed during his studies at the Krakow Academy of Arts, results in confirming the Krakiw Japonisme reflections traced in his works attributable to the first quarter of XX century.

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ЗНАЧЕННЯ СЦЕНІЧНИХ ЗДОБУТКІВ ТВОРЧОЇ ДИНАСТІЇ БАКЛАН ДЛЯ РОЗВИТКУ УКРАЇНСЬКОГО БАЛЕТУ ДРУГОЇ ПОЛОВИНИ ХХ – ПОЧАТКУ ХХІ СТОЛІТЬ

Author(s): Liudmyla Ivanivna Vyshotravka / Language(s): Ukrainian Issue: 2/2021

The purpose of the article is a comprehensive study of the stage achievements of F. Baklan, V. Potapova, I. Zadayanna, and O. Baklan in the context of the development of Ukrainian ballet in the second half of the XX - early XXI centuries. The methodology of work contains the following research methods: analytical, dialectical, systemic, general historical, comparative-historical, etc. The scientific novelty of the publication is that it first explores the significance of the artistic work of the masters of the musical theater of the creative dynasty Baklan, who made an important contribution to the rise of domestic academic choreography of the Soviet era and independence. Conclusions. The importance of the artistic achievements of the figures of the stage of the theatrical Baklan’s dynasty for the development of national ballet is difficult to overestimate. The founders of the creative family - Honored Artists of the USSR Fedor Baklan (1930-1983) and Varvara Potapova (1932-2018) joined the cohort of leading dancers of the Kyiv Opera and Ballet Theater T. Shevchenko 1950-1960s, which after the crisis of drama contributed to the formation on the domestic stage of a new form of music and dance drama ("poetic dance") under the direction of choreographers innovators - V. Vronsky, R. Zakharov, F. Lopukhov, S. Sergeeva, M. Tregubova. The creative work initiated by parents on the stage of the National Opera of Ukraine in the 1980s and 2000s was continued by Honored Artist of Ukraine, conductor Oleksiy Baklan (b. 1961) and his wife, Honored Artist of Ukraine Iryna Zadayanna (1962–2005), who created and will continue to generate high art aimed at the highest European theatrical standards.

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Отказ от зооморфных элементов как одна из важных характеристик развития стиля борре в прикладном искусстве Древней Руси (на примере деревянных находок Великого Новгорода)

Author(s): Nadezhda N. Tochilova / Language(s): Russian Issue: 5/2021

The article deals with the development of Borre style outside of Scandinavian countries. The Borre ring-chain and gripping beasts were the most widespread elements of Scandinavian territories, whilst ribbon plates and scale ornament were popular outside of it. This process is more characteristic for the Baltic area and on the British Isles. Another region of this art dissemination was the territory of northwest Rus’. The article focuses on the analysis of carved wooden objects from the archaeological collection from Novgorod the Great. This makes it possible to present the development of Borre style in the art of the Ancient Rus’. The result is an analysis and attribution of decoration, which allows to attribute some motives to the category of images created under the influence of the Viking Age art and to trace the development and preservation of artistic traditions from the 10th to 13th centuries.

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Живопис и страст. Особености на интерпретацията в творчеството на италианската художничка от XVII век Артемизия Джентилески

Author(s): Galya Yotova / Language(s): Bulgarian Issue: 5/2021

The text presents and updates the life and work of the 17th-century artist Artemisia Gentileschi. Her biography and her paintings intersect with aesthetic theories and historical times, which, within their limits, have determined the interpretation and explication of eternal themes transformed in a stunning artistic manner in her paintings.A dramatic biographical episode in her life and the subsequent humiliating trial of Artemisia Gentileschi, a victim, inspired the feminist movement of the 1970s. This text attempts to expand the reception of female autonomy in the times of Artemisia Gentileschi, but also to assert the creative independence of the woman artist through the centuries.

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КУЛЬТУРОЛОГІЯ: ПОНЯТІЙНО-КАТЕГОРІАЛЬНИЙ АПАРАТ У ЛОГІЦІ ДОСЛІДНИЦЬКОГО ПРОЦЕСУ

Author(s): Julia Sergeevna Sabadash,Liubov Dablo,Josef Moyseyovych Nikolchenko / Language(s): Ukrainian Issue: 1/2021

The purpose of the article is to analyze the conditions and stages in the formation of the conceptual-categorical framework of cultural sciences. The methodology is based on general scientific approaches such as terminological and systematic. The purpose and objectives of the publication define the use of such research methods as analysis, synthesis, generalization, which made it possible to clarify the meaning of a number of concepts and terms. Scientific Novelty. The degree of scientific research of the topic is concentrated in identifying the problems of interaction between the conceptual and categorical frameworks in various scientific fields, namely, history, philosophy, philology, aesthetics, ethics, art history, and logic, to shape up the research space. We conceptualize the idea of "formal logical structures": that is not a mechanical combination of concepts or categories, but developing a new system adapted to solving theoretical problems of cultural studies. The question about the validity of the "borrowing" process that allows cultural studies to analyze theoretical problems related to other humanitarian fields is also touched upon. Conclusion. So, among the other Ukrainian human sciences, cultural studies are developing quite actively and dynamically, constantly expanding its research space; its activity and dynamism of the cultural knowledge "accumulation" determine those problems requiring special attention of modern scientists; in particular, the identification of the structural layering of the conceptual and categorical framework of cultural sciences.

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ПРОБЛЕМА СУСПІЛЬНО-АНТРОПОЛОГІЧНИХ КРИЗ У МАЛЯРСТВІ ВАСИЛЯ КУРИЛИКА

Author(s): Khrystyna Beregovska / Language(s): Ukrainian Issue: 1/2021

The purpose of the article is to solve the problem of social crises and human degradation in the secular paintings of the Canadian-Ukrainian artist William Kurelek (1927-1977) on the example of selected works. Methodology. General scientific and interdisciplinary research methods were used to solve the set tasks: analysis, synthesis, hermeneutic and comparative methods. The method of formal and stylistic analysis made it possible not only to identify the origin of individual works, but also to characterize the artistic processes that took place in the Canadian- Ukrainian environment and which are reflected in the work of W. Kurelek. This methodological approach helps us to characterize the composition of the work (space, time, color, light, composition, perspective). Scientific novelty. For the first time in the context of art discourse, on the example of specific works of the artist, we analyzed the acute social problems that William Kurelek showed in his paintings. Conclusions. The article analyzes the preconditions for the creation of some secular works by William Kurelek, as well as the artistic and stylistic features of his paintings on current social issues. In particular, we analyze the problem of globalization, social crisis and spiritual and ethical degradation of personality. Social issues are divided into: temptation, race, oppression of "inferior", abortion, fear, the routine of the "third world", the contrast of good and evil, justice and betrayal, love and hate, and others.

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