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Većina filozofa jezika, a u novije vrijeme i neki lingvisti, smatraju da zadovoljavajuća teorija značenja mora opisati kako značenja rečenica /sentences/ zavise od značenja riječi. Dokazuje se da kada se ne bi mogao osigurati takav opis /account/ za neki određeni jezik, onda ne bi bilo moguće objasniti činjenicu da možemo naučiti taj jezik: ne bi bilo moguće objasniti činjenicu da ovladavanjem konačnog rječnika i konačno postavljenog skupa pravila postajemo sposobni da proizvodimo i razumijevamo svaku od potencijalno beskonačnog broja rečenica. Neću osporavati ove nejasne tvrdnje, u kojima slutim više od zrna istine. Namjesto toga želim pitati šta za teoriju znači dati opis kakav smo upravo skicirali.
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A category of secondary orality appeared in debate over the condition of contemporary culture by dint of Walter Jackson Ong’s research on influence of technology of word over an awareness of western man. Its concept designates a specific type of communicational situation, which is created by a twentieth-century ways of transmission of informations, like radio, television, telephone and another electronic voice-devices. In Ong’s works the perspective of secondary orality functions in context of the model of Greek culture, which preceded a beginning of the characterstic type of mentality, connected with the interiorization of script. The original oral awareness was dipped in world of mythical stories, which was created a cultural identity by dint of the acts of memorization and oral transmission of poetic experience. Analogies and differences between secondary and primary orality tease to ask about function and understanding the category of myth in perspective the first of them, which didn't appear in Ong’s works. A response to this question must connect with consideration of understanding the myth in contemporary reflection about the culture and with a search of symptoms of its presence in middle-class and consumerist societies, in which have appeared the technology of secondary orality. In my paper I'd like to try to recreate this elements of cultural background of contemporariness, which relate the age of twentieth-century orality to its ancient mythical grounding but equally indulge in transformations by dint of evolution of human condition in western culture.
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Murderous ideologies drive and fabricate innumerable forms of social falsehood. One of the objects of the perfidious falsification of reality generated in the totalitarian system is the human face. Drawing on classics of Polish and world cinema, and also on the memory of culture, Marek Hendrykowskis study contains a semiotic analysis of the deep structures of images, which present the executioner-victim based on violence executioner as a variant of inter-human relations in totalitarian systems.
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Purpose of the research is to define theoretical uestions aimed at identifying folklore codes and "double coding" traditions in the folk art from the point of view of ifferent concepts and paradigms in the scientific literature. The research methodology is the use of the systematic approach, which reveals features of folklore codes and cultural and historical tradi-tions of "double coding" in different genres of folk art and performing. The scientific novelty of this work lies in defining of the folklore (auditory, verbal, visual) codes in different genres of folk art (music, dance, fairy tale and ritual). Through the example of performing folk groups and in the process of "double coding", the study defines the following codes: representation, evocative and intermediate. Conclusions. Based on the study of both theoretical works and practice, it is determined that the folk-image codes are associated with the mythology, history and religion. Folklore codes, as well as other types of codes, have a stable system of signs and symbols, in which they can be transcribed. Ritual actions, games, dances, songs and fairy tales have their own system of codes (images, events, etc.). Codes in a song and fairy tale are defined in the text (images, symbols), codes in music (tunes, intonation), codes in the musical and compositional structures (definable melodies in calendar ritual folklore), in choreography – music and movement codes based on texts and rhythm. Each folklore genre has performance specifics, but there are common traditions, contained in improvisation based on traditional musical and dance styles and stereotypes. "Dou-ble coding" in folklore is a multi-step process of transformation of the information, stored for a long time, constantly transmitted from one generation to the other and varying in details (in music, lyrics and stories, dance accompaniment and moves).
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Purpose of the work is to analyse the historical and cultural prerequisites of formation and development of ab-stract art in Ukraine through the example of abstract signs, manifested in geometric patterns of Ukrainian Pysanky. Methodology of the research is the use of formal and comparative methods for studying the colors and their combining, identifying abstract elements of geometric ornamentation of Ukrainian Pysanky, compositional motifs, images etc. Scien-tific novelty lies in the analysis of the origins of abstract art in Ukraine through the example of authentic works of Ukrain-ian folk art culture. This has made it possible to reveal the main, historically linked, artistic and symbolic components. Conclusions. The study of geometric ornamentation of Ukrainian Pysanky shows that the selection of colours and their combinations, crystallized during centuries in folk art, together combined with the archaic geometric forms has laid the foundation for style forming component of modern Ukrainian abstract art.
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The purpose of the research is to determine the characteristics of mythological code and "double coding" in various art forms. The research methodology is the use of a systematic approach, which reveals features of mythological codes and the "double coding" in different genres of art. The methodological basis for the study of mythological codes is the concept of Peirce and Saussure, and the principles of "double coding" of R. Barth, Charles Jenks and Lotman. Scientific originality. Based on the study of works of various arts, myths are considered as a system of codes. "Double coding" is revealed in the disclosure of double standards of mythological codes and combination of various codes in one piece of work. Conclusions. Mythological codes are presented in all the arts (dance, music, theater and visual arts). Mythological codes maintain a constant system of quality, by which they are differentiated regardless of interpretation of images and stories. M. Tcherepnin's "Narcissus and Echo" demythologizes the true myth content by means of the art of ballet. Remythologization (replacement of old ideas with new ones) is present in "Pygmalion" by B. Shaw. The allusion to the myth of Ariadne is found in the ballet "Crossroads" by R.Poklitaru.
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Some aspects of historical genesis and evolution of theatrical actor maskPurpose. The study searches for a scientific approach to understanding of the origin, location and value of the mask in theater art. Some aspects of the use of masks in the theater, since ancient times to the present day are not enough studied in the context of the historical genesis and evolution of the mask. The methodology of the study lies in the appliance of the analytical, logical and systematic approaches for understanding of the theatrical mask phenomenon; comparative historical -- for study of its genesis and evolution and typological for classification of genre diversity. The scientific novelty. The study tries to extend the ideas about the evolution of masks in the theater since ancient times to the present day. It analyses scientific works and summarizes theoretical approaches to the problem of content, roles and functions of the stage mask in a stage-theatrical performance. It systematizes a number of sources on the use of stage mask and reveals genesis and evolution of masks at various cultural and historical stages. Conclusions. Modeling of an image by using a mask is a universal way to create an image in the performing arts. By showing the dynamics of internal and external relationships and meaningful and essential content of the mask (the sacred, aesthetic, domestic, social, historical) we can talk about the evolution of mask as a phenomenon of art.
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The article is dedicated virtualization contemporary cultural environment, and in particular, mass culture. Are the main features and characteristics of the phenomenon of virtuality, analyzes the process of virtualization in terms of its positive and negative implications for human rights. Particular attention is paid to the role of virtual reality in the formation of imaginary individual identities, as well as the creation of virtual images in the process of communication on the Internet.The rapid development of information and computer technology, new media, which greatly intensified since the last decades of the twentieth century. Leads to the transformation of not only economic and technological spheres of human activity, but also changing the face of culture and society, creating new cultural phenomena, based on the information and technical substrate. Modern cultural space, preferably formed mass culture, significantly expanding its boundaries through online net-works that fundamentally changed the outlook of man, his self-awareness, and general semantic-symbolic codes of culture. A technological platform has become an integral and enhance the global spread of mass culture.Being in the center of communication flows and new cultural practices, one is confronted with problems of identity. On the one hand, there inclusiveness mass culture, absorbing their individual cultural and behavioral matrices, on the other hand is to intensify existing identity that under these conditions is shown in offers plurality of cultural identities rights. A favorable environment for the implementation of such requirements become virtual reality, which is a special type of verbal-visual and communication systems and defines new principles of culture and human existence in it. Virtuality immerses man in semantic-symbolic space, giving opportunities not only unlimited communication of information and introduction to virtual communities of interest, the knowledge of his own "I", thus forming a single type (subculture) virtual space (the network).The total space filling social media means of communication that repeatedly reproduce and reproduce their images produced, causes a specific organization of life, it sensitivity, which is included in daily communication flow models and stereotypes. Communication networks now provide many opportunities for individuals to be included in various virtual "community", which are formed by certain rules and able to self-form new identity cards.Digital information environment that is increasingly gaining momentum, has the ability to simulate a non-existent reality immersed in it man and affect the senses as nearly true reality.Mass communication as translators streams of popular culture offer different advertising themes, form the "Day", with particular emphasis in the video, are person-specific strategies and behaviors different social groups, which respectively raise desire or to identify with them, or vice versa to be in opposition to them. These "partial" fragmented identity gradually formed a certain semantic concept which, however, appears very movable structure depending on the socio-cultural situation.Іnstead of material objects with a certain amount of physical capacity occurs intangible digital information (audio, visual). With the help of stereoscopy stereophonic sound and it has the ability to reproduce images of reality.Іn terms of total media distribution of information flows that are increasingly filled with socio-cultural practices of human rights, individual identity is not a constant category, but always dynamic and changing process. Identity in the virtual space, which chooses the man partially correlated with the elements of the game (although it helps to solve some psychological problems and overcome barriers) and may take the plurality.Virtual reality leads to a new understanding of the value of the symbol and image, concrete sense and abstract mental cognition. It can be seen as a new technique of representation, which largely determines the aesthetic experience.Virtual reality is increasingly becoming a medium of communication and socialization of individuals. Virtual Communities offset the net deficit of global communication for persons in need of correction, socialization, integration. Online communities – is also new opportunities identity (status, sexual), the inclusion of which generates a sense of be-longing, removes man from cultural or national status and identity in a disabled space global world.The virtual world, creating the illusion of freedom representation of human in it, his "I", modeling it according to their own desires, going beyond this constituted identity, at the same time has a major impact on the human mind, consciousness, worldview. Reality perception virtual world creates great opportunities for manipulation of consciousness, changes in the personal interpretation.
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Role of light and darkness as axiological constants from the ethical part of the New Testament was considered in the Article. Special aspects of light/darkness presentation as instruments of sacralization and active social and cultural regulators and correlators of numinous space were highlighted. Semantic spectrum of light and darkness image, binary of these terms and variability of their transformations were indicated. Functions of light and darkness as elements of sacral anthropology in religious reflection being special cultural practice were considered.Rationale involves understanding through cultural and philosophical exegesis of religious art mechanisms, among which axiological constants have acquired special meaning – light and darkness as specific modulants of the Christian culture meaning. Determination of the light and darkness role in sacral mechanism of cultural and Christian art organically combining with mythopoetics shall integrate basic definitions of the Christian religious doctrine to the entire belief system of the society. The Bible includes extensive system of cultural, axiological, symbolic and iconic, metaphoric elements wherein light/darkness are the instruments of sacralization and legitimation of the model of social and Christian regulation.Purpose of the Article is to understand axiological capacity of light and darkness as demonstrators of ethical values in the New Testament. Thereunder, the following tasks were assigned: firstly, to determine dialectics of light and darkness coexistence and special aspects of their presentation as axiological constructors and axiological demonstrators from the ethical part of the New Testament; secondly, to analyze semantic meaning of light and darkness in texts of the New Testament; thirdly, to determine morphologic function of light and darkness semantics and their role in numinous space creation and change.Light and darkness in the Biblical ontological dimension are hierophany "communication" elements moving a human closer to/away from God whereby violate demarcation between sacral and secular space. Creation of social and cultural religious space is legitimized by light as an active regulator of secular/sacral communication portal. Axiological code of light is based on mythopoetic, iconic and symbolic, ontological and transcendental elements for demonstration of non-material nature of the God. Light is an imperative with the help of which involvement in the numinous dimension is established. Such involvement is expressed in grace offering to the God’s light and is symbolic and presentation basis for axiological and cultural polycode of the Christianity predicates: firstly, modeling human’s behavior by translation of sacral intentions – ethical and Christian regulators; secondly, light sacral support – axiological attributes of numinous space where a man of God is located; thirdly, a human as a cofounder of cultural and religious space of the Christian light; fourthly, light as a semantic construct of axiological, symbolic and iconic, epithet and metaphoric and mythopoetic dimensions of the Christianity.Using a symbol of light for determination of the God’s nature extrapolates poetics of symbolism into theological field. Representatives of sacral sanctions, God’s presence – axiological "derivatives" of light: luminary (in the Bible – the God’s word, the God’s law); in hagiographical literature and Bible – luminary of the Church, saints; Gospel; angels; guardian angels, etc. Ontological modes of light and darkness are also axiological actions – active and/or passive. Light is always active: in fighting against infernal powers, in the Christianity truth enlargement, God’s men rescue and support. Darkness, in exchange, is passive, it represents absence of light. Correlation of the darkness qualitative characteristics – from essence expression in light antipode to fighting against it, bringing to sacral sanctions and punishment of innocents, demonstrates its activity.Therefore, the research of light and darkness axiological constructors as demonstrators of the New Testament ethical values, rethinking thereof in the cultural dimension allows determining their influence on creation of particularities of numinous continuum of the Christian world. Light and darkness are axiological representatives of sacral opposition to bipolar world order, active semantic and morphologic joining elements between sacral and secular space. Performing regulation function of God – human, human – God communication channel, light and darkness introduce topos – sacral involvement and axiological action, to cultural and religious reflection. Light and darkness as factors of social regulation – metaphoric, mythopoetic elements of sacral anthropology, correlators of ethical and humanistic units, modulators and transformers of ontological field, specific "axiological templates" of the Christian ascetic culture, orient coordinate of the religious genesis – participation with the Christ. Value forming potential of light and darkness is a guarantee of polycode of semantic and multiple modification of the spiritual – hierophany.
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The article analyzes the basic processes of transformation animistic beliefs of the Ukrainians of Transcarpathia. It explored ways to rethink the question of duality in Zakarpats'ka folk tales. The ways and forms of interpretation demonological beliefs in fairy tales Transcarpathia are characterized.As you know, to comprehend complex problem of becoming of people’s spirituality we must know everything about its development and acucmulation. The scientific exploration of many generations of researchers who not only factual material on folk beliefs and superstitions, but also expressed their attitude to him, revealing his own vision of the world, give us peculiarities of this process. That is why we appreciate the people's spiritual culture monuments as a source of national ideology well as a source of scientific thought. Based on this foundation of knowledge, modern scholars have concluded that these ideas are the complex webs of archaic beliefs.According to this concept the structure of people's beliefs and superstitions is developed and adopted by modern ethnography. It includes three main types of beliefs and superstitions,each of them consists of subtypes. It should be stressed that in Transcarpathia the survival of natural and seminatural economic foundations, the dominance of patriarchal attitudes in family and social life have led to conservation in the region of ancient philosophical concepts, ideas and beliefs.The folk beliefs are collected and published by F. Potyshnyak in "Literary Sunday". These beliefs consist of the ancient beliefs with anthropomorphic and animistic views on the power and natural phenomena with people endowed with supernatural powers and possibilities; with dead animals and plants, inanimate objects and phenomena; with spirits and demonic creatures, magic acts, magic, divination, good and bad signs.It is noted that in there are two ideas about the Devil in the folk traditions of Ukrainian Transcarpathia: They are an ancient folk idea and an Christian religious one. Though they have intertwined there a Christian dualistic discourse of religious ideas about the devil, as absolute evil, which is opposed to the good of the creator – God, dominated. Folk tradition attributes devils not only mysterious skills to damage people and nature but to do useful thing in exchange of the human soul.In general folk beliefs about devils merge with notions of demonic forces. In the popular imagination devil is the usual demon, a mythological creature of the low level. Devil is the manifestation of evil forces and their aspirations, feelings and deeds. Walking in the world and masquerading, deuces do evil deals. The devil can turn into a driver of the cart and drive peasants to the fair.It is worth to note some popularity of the witches is in beliefs and fairy tales in Transcarpathia. In folk beliefs "devil-woman" is deceitful, demonic creature that embodies the dual earth and underworld. At present days in Transcarpathia people keep the belief that a witch can cause strong wind which can cut off the tree, rain, slush, clouds and heat; send diseases; turn into anything or anyone such as a cat, a dog, a snake, a mouse, a bat, a wheel, poker and etc. She anoint her hair butter, dissolves hair, sits on a broom, a poker, a mortar, or sits on a cart, drawn by a black cat, or sits on the strange man shoulders and flies and sporting with other devils. We should underline particular attitude to the heavenly things that reinvented in fairy tales as a higher world than a human world. From them the personified character of the fairy tales waits assistence in fighting against evil, the dark forces. In the tales of Transcarpathia the Sun usually acts as a living creature, turned into queen and overcomes evil. In folk proverbs and sayings people compare it – "Red like the sun". It was believed that before the wars, epidemics, the eclipse of the sun happened, which was a kind of warning to humanity and repent of people sins.Folk tales associated the Sun’s eclipse with the activities of evil spirits and its struggle with the snakes. In this struggle, the Sun as divine power, always wins. On this occasion, Fyodor Potushnyak wrote: "... The sun appears positive force that helps to fight the forces of light against the forces of darkness. That’s why the Sun and at present days is portrayed on embroidery, carving (circle, cross, square, rhombus). In honor of the Sun people create a fire and sing. In the article "The plant in folk beliefs", the author describes how, time and place of the use and meaning of different magic acts, performed by means of plants. The magic act is always held between rivers, in crossroads or inaccessible locations. In the implementation of magical acts the great roles are played by temporal definitions, south, north, before the sunrise and sunset, a weak month, holidays and the relevant ordinances. At St. George day as in the Green week holidays, peopleput brances on the houses. It symbolized the campaign of spring, worship of the "spirit tree" – their life-giving force. Yuri also collect herbs pillows, usually in the evening, each plant must be touched by stick that could stop the witch. Near the herbs you should go to bed without fire encircling circle around youself to defence from the evil.In ethnographic researches it is known that the unclean spirits (demons) are hostile for a man. According to folk beliefs they are hiding in the rocks, caves, callback, weeds, desolate houses, mills, on vacant lots, crossroads, over streams, in swamps, etc. All demons (evil) are among the lowest in the world. They have neither beginning nor end. Al-though they are slightly higher than men, but their souls are evil.Folk tradition says that the man in form and spirit is much more perfect than demons. It is clearly revealed in the subjects of many folk tales Transcarpathia. Thus, for example the opposition to good personified in the image of a young man in a fairy tale "Ivan – son cow" who successfully opposed demonic "spirit", which in turn personified anthropomorphic or zoomorphic similarity. A fairy tale "Bear Ivanko" the protagonist confronts a demon image as the personification of evil worldview.It should be stressed that the images demonological reflecting the ideological foundations of popular culture, through rethinking in fairy tales, legends, sayings broadcast code ethnocultural mental people. The opposition demonic forces are high spiritual characters in folk tales of Transcarpathia. It reproduces metaphorical eternal confrontation be-tween two opposites, between two worlds – dark and light.
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This article reviews new aspects of the interplay between fashion and advertising, says that advertising messages through text-description shows image of the advertised product, with marking does not have to link with the signified. The basic expression fashion trends are in advertising.At XXI century advertising is always looking for new forms of expression, it involves in their communicative space of various art trends, cultural studies and public opinion. One of its main sources is a formative fashion. Transformed from a simple craft into a developed industry, fashion is becoming popular and constantly debated phenomenon. An increasing of its value and relevance to modern society, it sets the necessary impression creates the desired image for a particular person or goods. Fashion simultaneously combines the stability of tradition and innovative tricks, such as creativity and commercial benefits. We can state that thanked to advertising and marketing professional, more people follow fashion trends and become "fashion victims".Despite the fact that there are a large number of works on the history of fashion, art and outstanding designers create clothes, marketing in the fashion industry and "fashion philosophy", some questions still left unattended researchers, in particular the problem of interaction of advertising and fashion in terms of post and post-post-culture which, in our opinion, needs detailed study.First of all it is worth to mention the work of F. Kotler "Principles of Marketing", which theoretically grounded relationship marketing in the traditional sense of the term, with the global fashion industry. In the theoretical work of T. Hines and M. Bruce "Fashion Marketing" describes the basic techniques of marketing in contemporary fashion, given the statistics. In this work analyzes the activity of representatives of fashion secrets revealed professional artists. Another theoretical work that reveals the direct sphere of modern fashion is a "Fashion world" of French journalist M. Tunheym, which is an actual example of fashion masterpieces.Particular note is the work of French semiotics, the philosopher R. Barthes "fashion system" in which theoretical stresses that modern fashion is the opposition of three systems: "clothes-image (photo or drawing that have only limited symbolic), 2) Clothing-description (text, commenting that image) and 3) real clothing" [1, 9]. The first and third system, by R. Barth, mostly exhausted its denotative message transmission or manual visual image for practical action, while system-describing saturated clothing connotations; it is located "between things and words". We cannot agree with the theoretical relative that description connects fashion with the outside world, but at the same time and tendentiously distorting the world.A similar opinion was expressed by the modern Swedish researcher L. Svendsen in the "fashion philosophy". The author considers fashion as a phenomenon that, on the one hand, promotes the aesthetic of human life, on the other; affect the identity of the human population, backgrounds. French sociologist and philosopher J. Baudriyar continues the idea R. Barth, and draws attention to the social side of the phenomenon of fashion. For him, in the centres of interest are human simulacra-world signs that are manifested in various spheres of culture – art, fashion, media, technology, sexual relations and others.As noted in our advertising time, as the description text, shapes the fashion, it can transmit not only information about products and services, but also on public opinion in general or the political preferences of the masses. In modern fashion the rules permissible limits and canons of beauty disappear. It is filled with stylistic eclecticism, with all possible variations and combinations simulacra. The most common fashion borders on art, using the principal components of the artistic image – cognitive, regulatory and communicative. Combining data elements, it creates a new dialogue between the thing and its customer, which is dominated by the same thing.To better promote products, specialists in public relations, PR managers developed "special" story of collection that told what had fascinated the designer during creating this collection, inspired and motivated him. This myth has acertain character and it can be both too romantic and compassionate-dramatic. Always available a certain mystery in the message you are composing. Press releases (summary of concepts) often served with a touch of a charitable cause. In some cases, even a fashion filled with mystical meaning, appeal to the "sublime Gothic". This trend can be seen in the collections of local designers, for example, in the same collection Valerie Kovalska called "13".Thus, the hallmark of fashion is its pragmatic direction. The main income is presented as such especially for promotion of a product created by the so-called seasonal "must-have" objects of desire, trends, the hit lists of the month. A limited collection created an illusory uniqueness. Permanent imposing certain image cannot remain indifferent consumer and sooner or later he/she still remembered the advertised product. We introduce a special system of discounts and bonuses which are not always true, for example, the price of the thing to the "sale" and after remain unchanged.The use of a large number of different prints, dominated by vivid images, deep colors with complex graphics are popular. As a starting point "lucky number" are the first letter of proper names or "sacred mantras", which will certainly bring happiness and prosperity. Apply all known kitsch images:, ironic, romantic images of fairy tales (imagine myself Oriental Beauty); optical illusion that the buyer is transferred into the mysterious world of fantasy; surreal prints that are associated with S. Dali masterpieces; drawings and abstract floral patterns, graphic lines and geometric shapes, all of these things come to mind. Nothing can stop contemporary designers to bring their collections.Thus, we can state that the fashion continuously marked clothing and a world. Advertising creates fashion, it predicts the desired information about a product and imposes other people’s opinions and preferences. Advertising combines the perception of reality and creates its reality by itself. The public mood is formed by the artificial icons. It sets the style which all people must wish. Even if in imitation of a designed image difficulties appear (such as lack of money or social status)but due to the advertising (description text)a consumer still wants to to become the owner of the advertised product.
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In the “20. International Museums Conference” organized by UNESCO and firstly arranged in Asia; Sotdae (protective bird) is chosen as the official symbol. In the Turkish Mythology, bird is one of the important figures. It is found that the bird figure is rather common in various remnants and foundlings in the living areas of Turkish people in Central Asia. A connection is built between “Sky God” belief which takes place in the religious beliefs of Central Asian Turkish countries and tribes and the meaning of the bird. Because the birds are flying in the sky, they have been seen as the represent of God and protective soul. Turkish tribes in Central Asia had erected a long stick in the areas they live and they put a bird which is chiseled from wood on the top of this stick and they believed that this protects the village. In the South Korean Mythology, the protective bird is also based before Buddhism period. The belief that the birds are protective is related with Shamanism. Those mythological birds represented a sky god or goddess on the legendary life trees. The Korean folk had built Sotdae since Three Kingdom (from B.C. 57 to A.D. 668). In the entrance of their villages, there are long wooden columns on which there are bird statues. These birds are the Sotdaes which protects the villagers, and delivers the peace and presence adjurations as an ambassador to the God. The place of this protective bird in Turkish culture and South Korean culture which has a great importance in Turkish culture and mentioned by different names; their effect on humans life, keeping alive them today and its application area in terms of “Practical Folklore and Mythology” is examined.
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The article presents the art criticism analysis of icons from Uspensk cathedral, which are stored in the collections of the National Kyiv-Pechersk Historical and Cultural Reserve.As a result of technical and technological research and iconographic studies of monuments, the attribution was verified and iconography’s features were identified.Consideration of some icons from the museum collections NKPIKZ provides additional material for various comparisons, iconographic analysis; extends and supplements knowledge about XVIII century Lavra icon. Made on request of clerics in workshops of Kiev-Pechersk Lavra, these works significantly expand the idea of time, artists, artistic techniques and tastes of customers.Now, there are enough possibilities for a more thorough and detailed review of Lavra icon painting works of the XVIII century: works of 1970-2000 years, published by national researchers on individual monuments, icons uncovered from under latest layers. There we got a need to summarize the available material and complement it with works that have not yet entered into scientific circulation, or those that have not got yet exhaustive interpretation.The relevance of this publication is to identify the features of interpretation of iconic image in the XVIII century Lavra icon painting.The purpose of the article is to introduce the icons from the Assumption Cathedral, which are stored in the collections of the National Kyiv-Pechersk Historical and Cultural Reserve, to scientific circulation. Consideration of the characteristics of these icons, namely technical and technological components of the composition and iconography allowed specifying their attribution.Icons of different shapes from the fund collection NKPIKZ: "This is the tabernacle of God, this is man" (CPL-G-674), "The Virgin Kup'yatytska with saints Gregory the Theologian, Basil the Great, John Chrysostom, St. Nicholas" (CPL-G-673), "Archangels" (CPL – G – 675 – 746, – 747 – 748) and "God the Father" (CPL-G-671), constitute a single stylistic and equal by the technical and technological parameters group. The icon-locket "The Ascension of the Virgin" (CPL-G-NDF-419) also joins the group. All icons were found during excavations of the Dormition Cathedral’s ruins in 1947; the locket depicting the "the Ascension of the Virgin" was found in 1976. All icons of the small size, made on solid copper plates, produced by forging and contour cut with scissors; painting performed in oil technique using leaf gilding and colored varnishes. Technical and technological researches of this group of icons were conducted to obtain accurate information about technique and technology of Kiev icons of XVIII century.In the icons of this group were used soils: 1) double-layered: where the bottom layer is red-brown (the filler – chalk, ochre, black coal); the upper layer is white (the filler is gypsum); the binder of both layers is animal glue; 2) single-layered, light with pink undertone; the soil’s filler is chalk, red ochre, vermilion, black coal; (the binding soil is glue;) the chalk-glue, single-layered, light; the soil’s filler is chalk, the filler of soil – chalk, silica; the binder of soil is glue. The introduction of similar soils is typical for the icons created in the 20-30 years of XVIII century. Argumentative evidence for dating the works and their belonging to the same art center are so-called dating pigments – pigments, which have precise chronological and territorial limits of their use in painting. In our case those pigments are blues – natural ultramarine and indigo –which were actively used together in Lavra painting the entire first third of the XVIII century.Obtaining this information has allowed to not only fully reveal the artistic uniqueness of each piece, but also to clarify the attribution.As a result of technical and technological researches icons date back 20-30 years of XVIII century; it is also possible to assert that Lavra painters were using technology of easel painting works of leading European schools – Italian and Dutch. It is also interesting, that in the area of icon’s painting technology along with techniques of Western European painting of XVII century there is a link with colouristic experiments of Renaissance. This is evidenced by the widespread use of various bakan (organic colored pigments) painting on gold leaf (on the background and on the clothing ornamentation).According to the results of iconographic research, obviously, all the medallions are fragments of the overall composition. Given the iconographic content, the composition was composed of several parts and was mounted on a single basis, where the center was a picture of the Virgin. Paul Aleppo wrote about such icons of the Lord and the Virgin in the interior; the similar icon of st. Anthony with a frame, in which were embedded eight medallions with images – is above the cenotaph of st. Antony's Near Caves; the description of Marian icons in the carved icon cases, decorated with pictorial inserts, we find in the description of the main altar of the Dormition Cathedral.Thus, the results of iconographic and technical and technological researches of icons that are stored in the funds NKPIKZ and have not been introduced into scientific circulation yet tell us that they are attributed. It is established that the icons are made in the Lavra icon-painting workshop, in 20-30 years of XVIII century; their creation dates back to the restoration of the interior decoration of the Dormition Cathedral after the fire in 1718, and they are parts of a huge frame of the icon of the Virgin, which was situated in the Dormition Cathedral.
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Purpose of Article. The main goal of the work is to research component of the game component of post-folklore, mediated Internet communication. Methodology. The research methodology consists of cultural, structural and semantic, comparative, analytical methods. The author uses them to study game component of the post-folklore products, which are circulating in the Internet space, and are defined by communicative practice of everyday life. Scientific Novelty. The scientific novelty of the work lies in the analysis and highlighting of the gaming principle of building of the post-folklore works in Internet network, which serves as a communicative channel of transmission of new meanings and values. Conclusions. The study has proved that in the modern informational society the important role is played by a game as a cultural phenomenon that is manifested in many areas of our life. The game principle of the understanding of culture is a characteristic of the Post-modern outlook, addressed to all cultural achievements, values and meanings. Media space, generated numerous communications, creates its own playing field, preserving and reproducing the current system of culture and values. Virtual Internet communication has unserious and gaming character. It gives people and communities opportunities to put in practice their creativity and game strategies. Its manifestation is the appearance of a single segment of internet creativity, which is informative and has typological characteristics, that refers to post-folklore. The post-folklore of the Internet, generated by communicative practices, updates linguistic-visual methods of communication and expands the space of the game. The post-folklore Internet works are based on common cultural sense as well as individual experience and creativity. Due to the game component they find new potential recipients in the communication process, creating the possibility of sharing the values, different angles of perception of events and phenomena of reality. In such environment, the decoding connotations and cultural context helps people in their further creativity and communication activities, forming a specific cultural space of meanings and values, which is objectified by the constant updating of information in the media space.
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Purpose of Article. The purpose of the article is to identify the main concepts of Phenomenology of a Holiday, which are structural subsystems of Phenomenology of Culture. Methodology. The methodology involves using of the scientific methods such as typology (to identify the key characteristics of the need holidays); phenomenological reflection (to differentiate phenomenal forms of the "stream of consciousness" and deep intentionality "pure consciousness"); cultural approach (to analyse the nature of the phenomenon). Scientific novelty. The scientific novelty of the research is to determine the nature of the phenomenon. The proposed classification of the basic conceptions that characterize Phenomenology of a Holiday. The latter is a subsystem of the Phenomenology of Culture. Conclusions. Phenomenology of a Holiday is a subsystem of Phenomenology of Culture. It includes creative activity of organizers and participants of any holiday. In addition, it has its own individual differences. Phenomenology of a Holiday is the "Alma mater" of the festive culture phenomena, a ritual, a ceremony, a rite. It considers reality and illusion as ambivalent effect on the audience. All in all, Phenomenology of a Holiday implements functions of holidays that are the concepts of Phenomenology.
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Purpose of Article. The research is dedicated to analysis of Ukrainian mentality in both diachronic and synchronic contexts which give unlimited possibilities for self-reflection and getting to know the culture around for people. Mentality goes as definition of identification for any culture and a marker for the science about culture – Cultural Studies (Cultorology). Methodology. The field of science, where discourse of mentality is set, needs a strict dividing of categories because methodological uncertainty causes theoretical insolvency. Comparative analysis with historical and analytical method gives a possibility to find out specifics of mentality and clarify its conceptual apparatus. Scientific novelty. The scientific novelty of the research lies in conceptual dividing between "mentality" as a national picture of the world and "mentality" as a national character for the matter of proper operationality in the discourse of science. Conclusions. Mentalities are a subsystem of mentality which has wider field of discourse and includes mentalities; the point is the unity but not the sameness. Mentality refers to self-awareness of the person/nation, mentalities are about self-expression of the person/nation. Ukrainian mental universe is expressively original.
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In the article, mark and image in the context of the artistic culture of XX-XXI centuries. Universalization mark, which makes it metaznakom, the sign becomes a symbol, a myth. For semiology mask hides a great tradition of culture and a huge humanitarian mission of man in this world, which is signified by the dichotomy and Identification, primary and second modeling system sees the value, integrity and universality of the world.
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The article deals with a possibility of using virtual practices as a form of post-nonclassical practices. Consideration of virtual practice through the post-nonclassical will allow a person to realize the heuristic potential both in natural-science knowledge and in social and humanitarian, which will allow estimating the ideological perspective of human activity in general. Special attention to an explication of a virtual perspective is paid.The current stage of development of a civilization is followed by an increase of value of virtual practices in all spheres of life. Studying such practices is seen in improving and checking possibilities of virtual reality and to promote allocation of a Virtualistics to a certain scientific direction – virtuality.Investigation of the concept of virtual practices arose recently in a connection with the expansion of human capabilities, in particular thanks to the latest technologies, which helped it with the development of a human civilization. The virtual reality not only changes our ideas of prospects of a person, and the directions experiments with the opportunities of a human body.On the basis of the analysis of virtual and post-nonclassical practices necessary and sufficient conditions for its implementation become clear, namely: a presence of the practitionerswho are capable to think post-nonclassical and ready to work in non-standard conditions with a use of the latest technologies.Having comprehended virtual practices through a prism of post-nonclassical thinking it should be noted:• first, obvious is that fact that both virtual and post-nonclassical practices are part of human practices; • second, considering the virtual reality we have a deal with abstract objects where all the processes that occur in it have nonlinear character; • third, the integrity of the concept of "virtual reality" in a post-nonclassical paradigm is shown that when the person is in virtual reality the border between the world visible, the world objective and the world of thought of the person where these worlds are considered by the person in such timepoint as a unit is erased.
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U radu predstavljam i kompariram određenja umjetnosti u nauci simbolizma Ivora A. Richardsa, filozofiji umjetnosti Susanne Langer i semiotici Charlesa Morrisa. Umjetnost je za ove autore znak, a u fokusu je priroda značenja koju umjetnički znak proizvodi. Richards iskaze umjetnosti naziva pseudoi-skazima i pridaje im emocionalno djejstvo. Za Susanneu Langer, umjetnost je nediskurzivni simbol. Umjetnost je određena u suprotnosti s jezikom nauke, pa autori naglašavaju nereferencijalnu prirodu umjetničkog znaka. Pripisujući joj naročito značenje, Charles Morris umjetnost imenuje ikoničkim znakom i definira je u pozitivnim terminima.
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