ІГРОВИЙ КОМПОНЕНТ ПОСТФОЛЬКЛОРУ В СЕРЕДОВИЩІ ІНТЕРНЕТ-КОМУНІКАЦІЇ

Author(s): Zhanna Zaharivna Denysyuk / Language(s): Ukrainian / Issue: 1/2017

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.

Технический прогресс как культурологическая проблема

Author(s): Yuri M. Lotman / Language(s): Russian / Issue: 1/1988

Резкие изменения в системе научных и технических представлений общества происходят в истории человеческой культуры часто. Однако наступают моменты, когда эти перемены получают столь всеохватывающий характер, что следствием их становится полная перемена всего образа жизни людей и всех их культурных представлений. Такие периоды принято называть научнотехническими революциями.

Типографія як форма візуальної комунікації

Author(s): Natalia Sergeevna Udris-Borodavko / Language(s): Ukrainian / Issue: 40/2018

Purpose of the article. The research is related to the identification with the reasons for the coexistence of opposing tendencies of domination of visual images in communicative practice and the widespread use of verbal texts in graphic design. The concept of «typography» is clarified in the context of social communication and recommendations for practitioner designers are formulated. Methodology. The research methodology consists of an empirical method, analysis, comparison and generalization. This methodological approach provides an opportunity to study trends in modern visual communication with the help of products of graphic design, to observe the dynamics of certain techniques and tools, in particular, typography, and to predict the impact on socio-cultural status in society. The scientific novelty of the work consists in expanding the perceptions of typography as a factor of visual communication and a scientific substantiation of the gravity of graphic designers to the creation of visual images based on verbal elements. Recommendations for the effective use of typography by the concept "form – content" for practical designers are formulated. Conclusions. The domination of visual communication in society in the 21st century is ensured by the products of graphic design. The power of visual communication in the 21st-century society is provided by the products of graphic design. At the same time, in the information space available in the Internet resources, over-saturation with a variety of graphic elements is observed. Visual images facilitate the perception of information through their visibility. At the same time, in the information space available in the Internet resources, over-saturation with a variety of graphic elements is observed. Visual images facilitate the perception of information through their visibility. At the same time, the addressees require refinements of the content, which can be achieved by introducing into the visual image verbal elements. That is why in recent years there has been a tendency to use typography in graphic design projects. Texts as content elements themselves form a visual image or complement graphics and photographic images. With the help of such reception, the meaning of the message is fixed, and the results of visual communication are predictable.

Толерантност, дискриминация и език

Author(s): Valeri Lichev / Language(s): English,Bulgarian / Issue: 3/2018

Political correctness is blamed by its opponents for the failed model of multiculturalism, the influx of migrants, and the threat of terrorist acts. The author refers to the contemporary achievements in semiotics, hermeneutics and philosophical anthropology. His criticism is directed at: 1) the paradoxes of postmodern philosophical attempts to justify the idea of political correctness; 2) the way new terminology is introduced, leading at a linguistic level to exclusion, not inclusion, of disadvantaged people: E. Benveniste asserts that the third person is rather a non-person. The article concludes that politically correct language should be grounded on a basis that takes into account the three persons of the conjugation of verbs. Similar philosophical and ethical ideas can be found in the works of J. Kristeva, T. Todorov, P. Ricoeur. This is one of the possible ways to overcome the exclusion of disadvantaged people who are named using terms, but are not in a way that designates them as participants in social and political dialogue.

Традиціоналізм у складі стильової парадигми мистецького мислення ХХ століття

Author(s): Lyudmila Alexandrovna Ivanova / Language(s): Ukrainian / Issue: 3/2021

The purpose of the article is a realization of tradiтionalism as mеtаdirection of art in XX century that historically comparable with mеtаdirection of styles modern-vanguard, jointly forming artistic paradigm of the past century, then the last becomes firmly established in nеоrеnaissаnce world-outlook according to with "system of Leonardo da Vinci" P. Valéry. The methodology of the study is a historian-cомpаrаtive approach, as this demonstrates works of A.Losev, also culturology foreshortening of musicology analysis, as this is given in "Symphonic etude" and others beside B.Asafiev. The scientific novelty of the work is conditioned, first, that that for the first time in specified foreshortening is presented analysis composition of V.Vlasov, but, secondly, original is a theoretical idea about cultural intrusion in style-typology life length Neo-Gothic that impossible was in classicist of music creative activity to XIX-XX cent. Conclusions. Traditionalism forms mеtаdirection since in base this style unity prescribed expressiveness of romanticism-pоstromanticism and realism XIX century that forms analogies to mеtаstyle forming of the modernism (vеrism at the end XIX - at the beginning initially XX century, "hard" type of the neoclassicism I. Stravinsky and P. Hindemith, others), in which vanguard took place as focus of the symbiosis of the styles-directions expressionism, futurism, primitivism, having formed new unity of the vanguard of the second wave in the manner of nеоexpressionism.

Тракийското наследство в РИМ – Сливен: за семантиката и функциите на „женските предмети” в царското погребение

Author(s): Nikolay Sirakov / Language(s): Bulgarian / Issue: 3/2019

The article comments the semantics and the functions of Thracian metal engravings in the collection of the Regional History Museum – Sliven, acquired predominantly throughout the study of some rich graves in the region of Sliven. Marriage is a form of transition from a particular social status to a different one. Through the marriage the hero joins the goddess and turns into a god-man – the highest position in society which is available only for the king. From ideological point of view wedding is a form of choosing of the ruler by the god. The ritual burial of female objects might be interpreted as a sacred symbolic signifier of a marriage between the diseased ruler and the Great Goddess. Its meaning implies the new birth of the ruler after his death. The elements of the opposition birth-death in the mythological consciousness are equal as elements of the general structure of the rites of birth, marriage, death. This is necessary in providing the main eschatological reason for the existence of the tomb as a cult building – to secure a new birth of the deceased ruler in the outer world.

Трансформація ідеї "дзеркала" у некласичному філософсько- естетичному дискурсі

Author(s): Oksana Aleksandrovna Kolotova / Language(s): Ukrainian / Issue: 2/2011

The transformation the idea of "the mirror" gets in the non-classical philosophical and aesthetic discourse – new modes of " the mirror" in modern philosophical reflections, new semantic of "mirror" metaphors, new areas of the principle of "reflectivity" in humanities research – is revealed in the article.

Три насти - современная русская литература и философия воскресения

Author(s): Aleksandr Dvoeglavov / Language(s): Russian / Issue: 2/2005

The article analyzes the generalized literary image of teenage Nastia in three texts (V. Sorokin, A. Platonov, S. Anufriyev and P. Peperstein). The concept of the resurrection and various types of its realization are discussed. V. Sorokin's narrative "Nastia" is intertextually analyzed in the context of N. Fedorov's resurrection theory.

Удвояване или за любословието на филологията

(Рецензия на „Модерният мимесис: Саморефлексията в литературата“ на Камелия Спасова, 2021)

Author(s): Miglena Nikolchina / Language(s): Bulgarian / Issue: 10/2021

Modern Mimesis: Self-Reflexivity in Literature is a passionate defence of philology that traverses the distances from Ancient Hellas to present-day Japan, from Ulysses to robots. This movement follows a logic described by the author as reconceptualization, and creates conceptual nodes configured through horizontal and vertical, temporal and spatial self-reflexive reduplications. The broad arc from the libraries of Alexandria and Pergamum to the mimetic valleys of robotics thus turns out to be underpinned by the reconceptualization of the ancient dispute between ‘analogy’ and ‘anomaly’, turning any attempt at ordering into an ‘endless series of rearrangements’.

Феномен семіозису: історико-теоретичний аспект

Author(s): Olena Kapichina / Language(s): Ukrainian / Issue: 3/2010

The phenomenon of semiosis, his determination in historian-theoretical aspect is considered in article. They are analyses key semiotic concepts, in which is formulated problem of semiosis and are defined typical particularities to interpretation sign.

ФЕНОМЕНОЛОГІЯ СВЯТА: КУЛЬТУРОЛОГІЧНИЙ АНАЛІЗ

Author(s): Larisa Babushka / Language(s): Ukrainian / Issue: 1/2017

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.

Фестивація як ритуалізований арт-простір у вимірах глобалізму та альтерглобалізму

Author(s): Larisa Babushka / Language(s): Ukrainian / Issue: 11/2018

The purpose of the research is to describe the effective mechanisms, archetypes and the realities of the festivation within the limits of the ritual and the ideation as a kind of aesthetic the mechanism of the cultural culture of everyday life in the context of globalization and alterglobalization intentions. The research methodology suggests the semiotic method, that is, the semiotics of sign communication realities is closely related Presented as a socio-cultural space, where the image of modern holiday is formed (Festive), which becomes synthetic, dialectical and at the same time a transformational total character that mimics between globalization and alterglobalization intentions. The method is also used sociopragmatics in the context of linguistic paradigms, sociological, as well semiotic approaches related to presentation and analysis communicative messages of text, screen, visual, which characterize the phenomenon of artistic activity in the context of constructing models of art- space The study also uses phenomenological, historical- genetic, philosophical and culturological and comparative methods which are were used to explicate the culture of the creative process and clarification of their semantic intentionality. Scientific novelty of work is to expand the aesthetic features of the festivation category within the existing one’s mechanisms of communicative systems, in particular, sociopagramatics, symiosis and actualization of cultural-historical potential. And also in detection the cultural aspects of the communicative pragmatics of the festivation as real active mechanism of mass culture. Conclusions. Festival events are available the output of art in the context of the culture of everyday life that goes on with the help of art practice and appear to be the scene of blurring of art and art amateur creativity. Festive element is increasingly transformed into a peculiar opportunity for experimental shaped platforms (the most diverse genre specificity of «Fest», ethno-folklore: «Sheshory», «Kraina Mriy», «Ringing pearls of Verkhovyna» (Holyday of «Kolomyika»), «Gogol Fest», festivals-competitions «Chervona ruta», «Oberig», «Dancing with stars», etc.) and other theatrical, musical festivals, in which the opportunity for experimentation is unlimited.

Філософсько-релігієзнавчі аспекти співвідношення внутрішнього і зовнішнього в людині

Author(s): Irina Vasylʹyeva / Language(s): Ukrainian / Issue: 1/2010

The article is devoted to philosophical and religious aspect ratio of internal and external to the person. The concept of "internal" and " external" occupy a special place among the characters, which thoughts about everything that happens in a mythological-semiotychny process.

Форми побутування смислів у культурі

Author(s): Alla Y. Doroha / Language(s): Ukrainian / Issue: 3/2010

The text is devoted to the topic of cultural transmission of the sense. The last one includes preferences, beliefs, and norms of behavior which is the result of social interactions across and within generations. It is emphasized that the art is important for what we have capacity to make the world meaningful. Art’s genres and styles must be understood as distinct way of sense’s transferring.

ХАРАКТЕРНІ ОСОБЛИВОСТІ СТИЛЮ WORLD MUSIC КРІЗЬ ПРИЗМУ ТВОРЧОСТІ ГУРТУ "ДАХАБРАХА"

Author(s): Veronica Tormakhova / Language(s): Ukrainian / Issue: 1/2016

The article analyzes the characteristics of styles World music. Group "DakhaBrakha" that works in this direction shows the connection of various ethnic musical traditions, including not only the Ukrainian folklore, but also Russian, African and Indian. Special style is to appeal to archaic layers of folk melodies, lyrics, frets and toolkit. A striking visual image of the group, which also infused various Ukrainian folk traditions, is filled with theatrical and spectacular entertainment. World music is one of the leading areas of modern art that is associated with the emergence of a kind of counter-culture in relation to mass music. Appeal to ancient folklore layers of different ethnic groups intertwined with the latest discoveries in the field of musical acoustics, technological advances in sound processing and actual practices, such scratching, sampling and etc. The group "DakhaBrakha" is one the most prominent representatives of Ukrainian music space, working towards World music. The main and basic principle of style World Music appeals to the earliest archaic forms of folklore around the world. World Music is a kind of synthesis of different ethnic (folk) music traditions into a single whole, accompanied by contemporary reporting, urgent sound and work with modern technologies. Participants characterized by surprisingly wide approach to the selection tools. Actually, each of the musicians playing several instruments, besides all can act as vocalists. Tools that use of the band members can be divided into "classic" and "ethnic". In classical composition symphony, orchestra and orchestra of folk instruments are cello, flute, accordion, trombone, bass drum and percussion. Instead, the second group – "ethnic" instruments rather little known to the public audience, which allocated a significant amount of percussion: Djembe (West African drum), darbuka (percussion instrument indeterminate pitch, a small drum, widespread in the Maghreb, Egypt, Turkey, the Caucasus and the Balkans), and table (Indian percussion instrument). Also in some compositions used zhaliyka (Slavic brass reed musical instrument), bag-pipes, bittern (bass friction instrument), accordion, didgeridoo (a wind instrument musical Aboriginal Australia, which is one of the oldest wind instruments in the world). One of the important features of the group "DakhaBrakha" is its strong national Ukrainian flavor, which, as already noted, is manifested at different levels. This external factors, like the visual design of Ukrainian folk costumes and internal use of folk melodies, texts, modes, rhythms. In addition, the musical material that attracts musicians in their compositions – is authentic songs they collected mainly in the central region of Ukraine. The band members consciously seek to revive Ukrainian folklore. As the M.Halanevych: "Of course, no Ukrainian authentic music would not be our creativity; Ukrainian song tradition is the basis of our experiments. And even if our songs do not sound any Ukrainian motif, still is the music of Ukraine. We play the music world with our understanding of what it may "[3]. In ancient times the sense of time was quite different, due to sunlight employment accompanied by songs that consisted of a large number of solos that had somehow eased the long and monotonous work.The characteristics of folk and ritual traditions are collective, variance, anonymity and syncretism. It is archaic layers of folk art form of the rite indissoluble unity, in which a correlation descendants of ancestors, laws ordering the world, and therefore reflects the outlook of Ukrainian. The researcher points out that each cultural epoch has typical archetypes, images, symbols, values and myths that contribute peculiar to this ethnic group ways of interpreting the traditions, customs, rituals, lifestyle and mentality. This is the heritage of Ukrainian folklore, oral folk literature fullness images, symbols, archetypes and values. In the work group "DakhaBrakha" revived archaic folklore layers, which in combination with a novel created a reconstruction of ancient Ukrainian life.

ХУДОЖНІ ОСОБЛИВОСТІ СИМВОЛІЗМУ УКРАЇНСЬКОГО МИСТЕЦТВА ІКОНОПИСУ

Author(s): Irina Leonidivna Golub / Language(s): Ukrainian / Issue: 1/2016

The article is devoted to the artistic features of the symbolism of Ukrainian art and iconography. The author explores the evolution of the most prominent symbols of art iconography of Ukraine. The author concludes that the revival of spiritual experiences by means of artistic symbolism of Ukrainian iconography passed a difficult way of development and continues to perform its function in modern culture. Traditionally the spiritual features of the Ukrainian people have been the basis of the symbolism of sacred art of Ukraine.The problem of symbolism in Ukrainian art of iconography is associated with the development of Ukrainian religious art style. Development of individual style of graphic artists of Ukrainian art and iconography was an indicator of their skills. This concept is embodied in the characteristics of symbolic images, a kind of colouristic in mastery of composition and plot construction, technology performance icons. Ukrainian art style of iconography had peculiar features of symbolic images and applied a set of symbols in the form of figurative art signs. They had a religious character and expressed through abstract concepts and teachings.The symbolism of inherent artistic features of Ukrainian religious art has changed in the course of its development. The symbolism of Byzantine painting was the foundation of sacred expression in Kiev Russ. Ukrainian Christian art used symbolic signs and complement their other symbols embodied in artistic form. Artistic image of those characters served a good cause in the spread of Ukrainian iconography and were used in decorative ornamentation. Ukrainian painters made a symbolic image in Byzantium features classic contemporary style Gothic, Renaissance and Baroque. Artistic features of symbolism in Ukrainian iconography developed in close connection with picturesque folk traditions, revealing the identity of the character icon painting schools. Symbolic Ukrainian icons were expressive, with a clear composition treated purely in terms of decorative and geometric ornament. Ukrainian iconography of Byzantium was changed to vegetable colourful. Colourful ornaments characteristics of Ukrainian art take constructive and image-generalized function. An integrated system of formal characters or objects in the hands of saints existed in times of revival of Cossack Ukraine as a state. The main colours of the Ukrainian icon (yellow and blue) credited to the older and basic, and the system of symbols, objects in the hands of the Saints, as the successor of older traditions that previously had other means of expression of art, perhaps even colours. Symbolism of colours of Ukrainian iconography is based on the work of Dionysius the Areopagite "Areopahitikum Case". Along with the basic colours: yellow, red and blue, a special place in this work is given the gold as a symbol of divine light that was used by masters of iconography from the time of the baptism of Russ. Artistic images of characters in the form of geometric shapes (circle, triangle, rectangle) served a good cause in the spread of Ukrainian iconography and were used in decorative ornamentation. All this suggests the presence of Ukrainian iconic symbols of objects, characters, plants, animals’ symbols, geometric symbols that indicate certain historical layers. Treasury of world culture iconography joined the Ukrainian masters that brought a lot of new and valuable aspects. During evolution, using traditional means of artistic symbolism Ukrainian iconography implied rejection of dark palette of Byzantium and the transition to colour, which is full richness of colours and decorative baroque style.Features of Ukraine symbols of religious art in all its forms showed great originality and proved that Ukrainian iconography was at a high European level. Taking its origins from the Byzantine art of Ukrainian iconography formed its own special style. This style of European developments on imposing Byzantine icon painting canons and Ukrainian national character originally created for other cultures unique art features which were a harmonious combination of palettes and symbols of Ukrainian iconography.Modern Ukrainian iconography declared itself as a unique cultural and artistic phenomenon that has been formed and revealed the same European patterns of development. Developing Ukrainian icon it established its own style, unique features and symbolic image, formed a separated national school, which took its place among European schools.

Художньо-педагогічна парадигма мімезису у навчанні майбутніх фахівців з образотворчого мистецтва на пленері

Author(s): Mykola Pichkur,Galina Ivanivna Sotskaya / Language(s): Ukrainian / Issue: 1/2019

Purpose of the article is to substantiate the artistic and pedagogical paradigm of mimesis in the training of future specialists in the visual arts in the open air. The methodology is based on the terminological principle, the application of general scientific methods (analysis, synthesis, synthesizing). The scientific novelty lies in the fact that for the first time: the content of the category «artistic-pedagogical paradigm» is defined, the methodology is revealed and its universalism is proved in the training of future specialists in fine arts in the open air on the basis of ancient principles of mimesis, and advantages and disadvantages of this process are just ified. Conclusions. The artistic and pedagogical paradigm of mimesis in the training of future specialists in the visual arts in the open air covers the appropriate objectives, selection and application of methods, techniques and means of depicting nature as an aesthetic semiotic successful implementation of color, tonal, plastic, rhythmic and compositional tasks of creating an objectively valuable artistic image of nature.

Хуманисти, още едно усилие!

Цветан Тодоров и съвременният дебат за хуманизма

Author(s): Boyan Manchev / Language(s): Bulgarian / Issue: 1/2020

Цветан Тодоров и Клод Леви-Строс

Разминавания и приближавания около морала, универсалното и универсализма

Author(s): Ivailo Znepolski / Language(s): Bulgarian / Issue: 1/2020

ЭКЗИСТЕНЦИАЛЬНЫЕ, ЭСТЕТИЧЕСКИЕ И ХУДОЖЕСТВЕННЫЕ ПРИЗНАКИ В МОДЕ

Author(s): Lilya Derman / Language(s): Ukrainian / Issue: 1/2015

In the article are probed certain and fundamental principles of fashion in sociological, anthropological, cultural and historical dimensions, that are interpreted in the context of artistic, aesthetically, cultural and historical life of humane. The article is about the representation of corporeality in the fashion industry. Reveals the main features of existential choice through the provision of structural, functional, social and cultural aspects of fashion. Basic principles of fashion existence practices which are interpreted in social and cultural reality are expounded in the article.