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Символічний зміст перевтілення персонажів у «Лісовій пісні» Лесі Українки: культурологічний аспект

Author(s): Olena Sergeevna Khlystun / Language(s): Ukrainian Issue: 41/2018

The purpose of the article is studying of the symbolism of the characters’ transformation in Lesya Ukrainka’s drama-extravaganza "Forest Song" in the axiological dimension and connection with the issue of the work, various characters and relationships, in particular, between Mavka and Lukash, and their tragic love. The methodology of the research is based on the use of a set of methods: analysis and synthesis – for studying the state of scientific development of the topic; cultural and structural-semiotic – for the reconstruction of the mythopoetic model of the world; structural, systemic, comparative – for the identification of symbolism in the characters’ transformation; axiological – for the review of the valued content of the neoromantic ideal of a human. Scientific novelty of this work provides the deepening in the closure of the culturological paradigm of the work the symbolic meaning of the image reincarnation and modeling the picture of human existence as a powerful source of energy for artistic influence on the recipient, in the study of its symbolism as a complex branched system of culturological expressions. Conclusions. In "Forest Song" the world of a human and the world of nature Lesya Ukrainka interacts on the philosophical level of values interplay, which was formed under the influence of existentialism. The main conflict of the work is epistemological, generated by the contradictions of the human’s knowledge of the world and himself. Introducing the romantic Mavka to the sphere of life with its drama and tragedy, penetrating to the depths of the characters’ subconsciousness, the author directs the recipient to the ideals that embody the wisdom of the ages. At the same time, Lesya Ukrainka addresses to the symbolism of the heroes’ reincarnation, synthesizes symbols, concepts, mythological and fairy-tale images from the real space of the action to the cosmic scale in a complex way, which ensures "Forest Song" versatility, the basis of which is determined by the interaction of the worlds (human and nature), and values.

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Символічний характер скіфського мистецтва

Author(s): Bogdan Vidma / Language(s): Ukrainian Issue: 22/2012

Article is devoted to symbolism of art of Scythian animal style. Special attention was given to the symbolics associated with the theme of life and death, in particular - the meaning of scenes of torment herbivores by predators. The author explores the symbolic expression of three-tiered model of the Scythian world, embodied in the decoration of the famous pectoral from mound of Thick Tomb.

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Символічні трансформації цінності

Author(s): Valeriy Anatolyevich Sivers / Language(s): Ukrainian Issue: 3/2011

The object of the essay is topology of value. The symbolic transformation of value that takes place thanks to the revolution of "empty sign", has been analyzed in the social and psychological projections. The reasons of virtualization values, the devaluation of the characters after the start of collecting of cultural values have been formulated.

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СИНТЕЗ ЯК ПРИНЦИП КУЛЬТУРИ ПРАВОСЛАВНОГО ЧЕРНЕЦТВА

Author(s): Olga Olegivna Smolina / Language(s): Ukrainian Issue: 1/2013

The main principles of cultural-art in general and music programs in particular are mirrors of the spiritual processes of society and as a whole of the state, the nation, the region in the formation of a certain public opinion. In the twentieth century, these processes were sometimes not very clear, and were hidden under the mask of external conditionalities. It refers to the ability of society to play and animate existing meanings of cultural tradition in order to modern historical and social conditions.Synthesis is one of the fundamental principles of the Orthodox monastic culture, which follows from the theology that postulates the need for restoration of all persons, world and society that are on the state of division. The phenomenon of the synthesis in the Orthodox monastic culture is the embodiment of Truth in different languages (verbal and nonverbal, iconic, functional, conventionally, etc.).

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Скульптура як форма агональної традиції античної культури

Скульптура як форма агональної традиції античної культури

Author(s): Olena Petrovna Chumachenko / Language(s): Ukrainian Issue: 4/2021

The purpose of the article consists of exploring sculpture as a form of the agonal tradition of ancient culture. The research methodology consists in the application of analytical method - to determine the theoretical and methodological foundations of the study of the phenomenon of sculpture as a form of the agonal tradition of ancient culture, using works of ancient classics; the method of comparative studies is used to analyze approaches to understanding sculpture as a form of agonal tradition in the context of «Entertainment» (the discourse of antiquity); the hermeneutic method is used to interpret the concept of «Entertainment» in the context of ancient culture; the method of theoretical generalization is used to summarize the intermediate and general results of the study. The scientific novelty of the work is that for the first time the essence of the sculpture as a form of the agonal tradition of ancient culture in the context of the phenomenon of «Entertainment». Conclusions. In ancient culture, agonism was its fundamental essence, and this manifested itself in all spheres of socio-cultural life, in art, politics, and sports. The spirit of competition was present in all aspects of the phenomenon of «Entertainment», shows dedicated to the February Lupercalia, December Saturnalia, Big and Small Dionysias, Big Panathenes, Pythian, Nimean, Isthmian, Olympic Games, where gods and winners were revered by the personification of their statue (Dionysus; Olympic winners: Epikharin hoplitodrome, Xenombrot, Xenodik, Kinisk). In antiquity, the anthropocentric perception of a person as an individual is not important, but an exclusively living body, corporeality is the main category underlying all forms of ancient culture. But sculpture, as a form of agonal tradition in ancient culture, is a great opportunity to show your own individuality within the framework of the canon, generally accepted traditions (Myron, Polycletus). Ancient plasticity became a great force, for it was the personification of the bodily understanding of life, the slave was understood exclusively as a thing, a body. But there is also a mythologized aspect of the artist's divine gift, sculpture as a means of transferring the divine gift of the gods to the artist who creates it, with this aspect of irrationality, antique plastic looks from a different perspective, from the perspective of the exaltation of the gods and heroes, the winners of the Olympics, who are beginning to be seen in the context of anthropocentrism. A hero is a person, he becomes, at least for a moment, like a god, and this is personified in the sculpture.

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Славянофильский подтекст романа А. Платонова «Чевенгур»

Author(s): Aleksandr Dyrdin / Language(s): Russian Issue: 2/2006

The article discusses the philosophic Platonov’s novel "Chevengur" and analyzes the position of this writer as the successor to Slavophiles, since Slavophile views in the novel are presented in various contexts whose logical connection is different. Like Slavophiles, A. Platonov seeks to reveal the objective essence of the world, combining nature and spirituality. The writer's worldview contacts Slavophilic views in his efforts to distinguish between the Russian type of the fugitive of the truth, which accumulated the faith "as a power of mind" (A. Chomiakov). In the novel Chevengur A. Platonov portrayed various manifestations of the national character and developed a generalized image of the Russian Orthodox Church. The author of the article assumes that the concept of the unique spiritual concept of the Russian people and culture mission can be described, albeit not fully, by the creative philosophy of Platonov.

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СПЕЦИФИКА КОМПОЗИТОРСКОЙ ИНТЕРПРЕТАЦИИ В ТРИЛОГИИ ВОКАЛЬНЫХ БАЛЛАД ШАН ДЕИ ПО МОТИВАМ ПРОЗАИЧЕСКИХ ПРОИЗВЕДЕНИЙ ЛУ СИНЯ

СПЕЦИФИКА КОМПОЗИТОРСКОЙ ИНТЕРПРЕТАЦИИ В ТРИЛОГИИ ВОКАЛЬНЫХ БАЛЛАД ШАН ДЕИ ПО МОТИВАМ ПРОЗАИЧЕСКИХ ПРОИЗВЕДЕНИЙ ЛУ СИНЯ

Author(s): Khe Tsao / Language(s): Russian Issue: 3/2016

Purpose of Article. The goal of the article is to find out the specific features of the composer’s interpretations in the trilogy of Shan Dei’s vocal ballads after Lu Sin’s prose. Methodology. The research is based on the method of the comparative analysis, determined by the task to find out the specific characteristics of the composer’s interpretation of the literary composition. The author also uses the method of the analysis of genres and styles. Scientific Novelty. The scientific novelties of the research are the consideration of the genre specific features of Shan Dei’s vocal ballads after Lu Sin’s prose; the interpretation of the literary original text in the music-word composition. The existence of two phases means the leading part of the composer’s interpretation of the composition before its republishing. Lu Sin’s stories are "wrapped" into the miniatures by Sho Un Chao. They save the memory of the monument icon during the deactualization of the fibulas basis. The unity of two subjects appears. They are a writer and a composer. The unity of the vocal circle (called "Lu Sin and his heroes") is proved by its ballads which are characterized by features of portraits and plot lines too. The first two ballads are the compositions after Lu Sin stories and the last one is the anthem for the writer. The author exchanges the main characters with the famous writer. The madness, represented in a "hidden" way in the music portrait of Hian Lin, comes true in the ballad, which presents the character of Ai-Cew and attends the culmination. In the final scene, Lu Sin plays the role of the fighter against the craziness of the society. The ballads are united by the topic of "the hero and people around him" – form the fatal indifference until the death of the main character of the first ballad. Showing the aggressive behavior of the crowd in the second ballad, Shan Dei describes the adoration of the Lu Sin as the "national soul" of China. Conclusions. Shan Dei’s vocal ballads have such specific features as an opera, theatrical character, out-traditional approach to the semantics, art interpretation of the philosophical conception of the "silent beauty" in the ballad "Hian Lin", comic context of in the "Ai-Cew", anthem motives in "Oh, Lu Sin!".

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Средневековые исторические формулы - Москва/Тырново - Новый Ц арьград

Средневековые исторические формулы - Москва/Тырново - Новый Ц арьград

Author(s): F. K. Badalanova-Pokrovskaya,M. B. Plyukhanova / Language(s): Russian Issue: 1/1989

Любые исследования, посвященные проблемам исторического самосознания Московского царства, касаются особо важных для этого периода формул типа «царство - Но'вый Царьград, Новый Рим, Третий Рим, Новый Иерусалим, Новый Вавилон, Новый Киев». Такие формулы как выражение политических идей эпохи рассматриваются в работах по истории русской публицистики (Я. С. Лурье, А. А. Зимина, А. Л. Хорошкевич, А. Л. Гольдберга и др.).

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СТРАШНОВАТЫЙ ДАР. АНАЛИЗ СУВЕНИРА С ВЕНЕЦИАНСКИМИ МАСКАМИ

СТРАШНОВАТЫЙ ДАР. АНАЛИЗ СУВЕНИРА С ВЕНЕЦИАНСКИМИ МАСКАМИ

Author(s): Tatiana Bystrova,Asfan Hismatulin / Language(s): Russian Issue: 4/2012

This article is dedicated to philosophical and culturological analysis of the specific souvenir product: psychology of its perception, its semantics and communicative potential. Departing from the results of analysis, authors draw a conclusion that an object, which claims to be a souvenir, should achieve the unity of all the shades of meaning.

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Сучасна поетика Умберто Еко: поняття "відкритого тексту", "відкритості" та інтертекстуальності

Author(s): Cyril Burmachenko / Language(s): Ukrainian Issue: 1/2011

This article covers Umberto Eco’s researches in the field of contemporary poetics that concern the problems of substantial changes in understanding and interpretation of a work of art. Openness, intertextuality and interpretation are emphasized as basic characteristics of contemporary poetics. Relevancy and importance of Eco’s conception for aesthetics is also highlighted, as the theory is helpful in defining main features of contemporary art.

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ТВОРЧА ДІЯЛЬНІСТЬ ОСОБИСТОСТІ У СИСТЕМІ МИСТЕЦЬКОЇ ОСВІТИ УКРАЇНИ: ЄВРОПЕЙСЬКИЙ КОНТЕКСТ

ТВОРЧА ДІЯЛЬНІСТЬ ОСОБИСТОСТІ У СИСТЕМІ МИСТЕЦЬКОЇ ОСВІТИ УКРАЇНИ: ЄВРОПЕЙСЬКИЙ КОНТЕКСТ

Author(s): Valeria Dmytrivna Shulgina,Svetlana Ryabinko / Language(s): Ukrainian Issue: 1/2017

Purpose of Article. The purpose of this work is to consider the individual creativity as the main component of art education. Methodology. The research methodology is to apply psychological concepts of art and creativity in the development of modern art education paradigm. Scientific novelty. The scientific novelty is the comparative analysis of the concepts of creativity as a paradigm of art education and the introduction of the concept of "education" as a three-pronged process of studying of the art knowledge and skills of aesthetic education and creative personality. Conclusions. It was found that the feature of Art pedagogy is its intersection of science and art. Its main goal is to analyse the processes of learning and teaching by art. The modern theory of Ukrainian art education is the way to identify the objective laws of art education, development of scientifically based recommendations on the formation of culture-developed artistic personality of the XXI century.

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ТВОРЧІСТЬ РАЇСИ КИРИЧЕНКО У КОНТЕКСТІ МУЗИЧНОГО ФЕНОМЕНА ГЛОБИНО

ТВОРЧІСТЬ РАЇСИ КИРИЧЕНКО У КОНТЕКСТІ МУЗИЧНОГО ФЕНОМЕНА ГЛОБИНО

Author(s): Yaroslava Rudenko / Language(s): Ukrainian Issue: 1/2017

Purpose of Article. The purpose of the article is to analyse the repertoire of Raisa Kyrychenko, considering her cooperation with the authors of the songs. The author also pays attention to creative works of the famous fellow countrymen from Globino region. Methodology. The conceptual core of the study is the art critical analysis of Raisa Kyrychenko repertoire. The methodological principles of cultural and biographical approaches are used to research of the life creativity and role of the well known Ukrainian composers, who were the representatives of the first generation of the Ukrainian pop (O. Bilash, V.Vermenych, P.Mayboroda V. Karlashov) in cultural and artistic life of Ukraine. Scientific novelty. The scientific novelty consists in tracing of the cultural and artistic environment of Poltava region at the end of XX – beginning of XXI centuries in the formation of personality, artistic priorities, artistic taste, musical professionalism and the features of Raisa Kyrychenko singing performing style. Conclusions. The cultural and artistic uniqueness of Poltava region and the creative genius of famous countrymen influenced on the formation of the repertory preferences of Raisa Kyrychenko. Her creativity is based on the interpretations of spiritual activities of her homeland, which are embodied in the regional traditions and recorded in the subconscious syncretism of philosophy, literature and musical-symbol systems.

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Текст як логіко-діалогічна форма культури (західноєвропейський досвід)

Author(s): Olena Kapichina / Language(s): Ukrainian Issue: 1/2012

Theorist-methodological experience of the west textualogican, are defined main to trends and modern achievements is analysed in article. Attention is accented on semiotic forming text and problem decover and semiosis modern text.

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Телевизионният дискурс в България: постмодерно, модерно, носталгия

Телевизионният дискурс в България: постмодерно, модерно, носталгия

Author(s): Orlin Spassov / Language(s): Bulgarian Issue: 1/2017

The text highlights two main ways in which the television discourse in Bulgaria has unfolded in recent years. The first one is connected with postmodernism, but now it looks retro. The second is the result of the influence of social media and networks on television (digital modern-ism). The interweaving and complementarity between these two main types of television discourse produces effects of nostalgia, thus contributing to the maintenance of conservative myths and status quo.

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Теоретична навантаженість сприйняття візуальної схожості між об‘єктами візуальної метафори

Теоретична навантаженість сприйняття візуальної схожості між об‘єктами візуальної метафори

Author(s): Petro Vasylovych Denysko / Language(s): Ukrainian Issue: 3/2019

The purpose of the article is to analyze the features of the ideal viewer‘s perception of visual similarity in visual metaphors. The methodology of this study is the using of general scientific methods of analysis and synthesis, conceptual metaphor theory, as well as semiotic, constructivist, psychological and art theoretical approaches that provide the basis for the explanation of the nature of visual similarity between the objects which are the components of visual metaphor. The scientific novelty is determined by the fact that the article, grounded on the constructivist theories of similarity identification, argues that the visual similarity is theory-laden for the viewer of visual metaphor. Conclusions. The partial visual similarity between two different objects of visual metaphors is constructed ad hoc by the viewer, because he identifies such similarity in the particular context, on the basis of his perceptual categorization and his knowledge of hidden properties of visual objects. That is why the different understanding of the context, the different perceptual categorization and the different knowledge of invisible properties definitely alter the character of visual similarity for the viewer.

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Теоретична позиція Ролана Барта в контексті французької естетики: 50–70-і роки ХХ століття

Author(s): Ekaterina Irdynenko / Language(s): Ukrainian Issue: 2/2013

In the article the aesthetical and art research of well known French postmodernist Roland Bart, which reflect, first of all, the early period of his creativity are described. Roland Bart during certain time was the head of the movement of "new criticism". Among R. Bart's aesthetical and art practices we will emphasize his interest to a wide range of the questions connected with a problem of art creativity which is both philosophical, and aesthetic, both art criticism, and ethical, and – it is clear – psychological. The position of the theorist is analyzed against his general theoretical installations and in the ratio with the main tendencies of development of the French aesthetics of the 50 – the 70 th years. It is worth to write, that Barthes's ideas and his approach to writing evolved over the course of his career, and critics often discuss his works in terms of four stages in his critical thinking. In the first stage of his career, Barthes, influenced by the ideas of Sartre and Karl Marx, demonstrates a strong interest in issues of language, its relationship to historical and social context, and its relationship to power. In these works he developed his notion of écriture, the aspect of discourse in which the author's social and historical context imbues his or her writings with unintended meanings that are revealed in structural analysis. In Mythologies Barthes analyzed aspects of contemporary French culture–for example, advertising, travel guides, and professional wrestling–to explore ways in which they support a bourgeois worldview. The next phase of Barthes's career, which also marked the high point of Structuralism in France, is a rigorously theoretical one and includes his famous 1964 essay "Eléments de sémiologie" (published in English as Elements of Semiology). Encompassing the ideas of Saussure, Roman Jakobson, and other noted linguists, Barthes theorized about the role of language versus that of speech. To Barthes, language is based on an abstract set of rules and conventions regulating verbal and written communication, whereas speech refers to individual instances of how that language is used. The third phase of Barthes's career, influenced by French theorists Jacques Derrida and Julia Kristeva, marks a shift in his thinking from Structuralism to Post-Structuralism in the 1970s. In such works as S/Z and The Pleasure of the Text, Barthes stresses the idea that literary texts contain multiple and shifting connotations, and are therefore open to a number of possible interpretations. He also distinguishes between "readerly" and "writerly" texts: the former refer to common areas of knowledge and accommodate traditional interpretation, while the latter are more open and invite the reader to fill in gaps and make intertextual connections in the process of reading. The final phase of Barthes's career, which includes his autobiography, Roland Barthes (1975; Roland Barthes by Roland Barthes), as well as A Lover's Discourse, Le chambre claire (1980; Camera Lucida), and Incidents (1987; Incidents), is a more personal one. In these works, Barthes writes about his diverse intellectual interests, from literature to travel, and photography, in a more meditative and introspective style.

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Теоретична рефлексія семіотичної комунікації: соціокультурний аспект

Теоретична рефлексія семіотичної комунікації: соціокультурний аспект

Author(s): Anna Mykolayivna Nemesh / Language(s): Ukrainian Issue: 2/2019

Purpose of the article. The article explores the possibilities of the concepts of communication and information society as a methodological basis for the study of political processes in socio-cultural aspects. Methodology. Historical-logical, systemic, and scenario analysis methods are used to clarify the hypothesis that the global information space, in the context of weakening the internal and external process, is formed under the influence and at the expense of objects of transboundary communications. Scientific Novelty. The hypothesis is that: (1) in the conditions of weakening of the domestic and foreign political process, due to the growth of objects of transboundary communications, the formation of a global information space takes place; (2) However, this does not lead to the leveling of national sovereignty; (3) it is obvious that this tendency is transformed according to its rules. To improve research, synthesis from the theories of D. Bella, E. Toffler, M. Castells and the paradigm of semiotic political communication is proposed. Conclusions. The influence of communication technologies (1) restricts the choice of struggle tools between elite groups; (2) reduces the chances of a political elite in manipulating; (3) problematizes the effectiveness of traditional democracies in achieving the desired reform scenarios; (4) transforms the political process into virtually continuous electoral campaign; (5) increases the role of representative bodies, which promotes the promotion of government initiatives aimed at raising the level of professional competence of the elite.

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Теоретичні основи дослідження коду в культурі і "подвійного кодування" у мистецтві

Author(s): Olena Aphonina / Language(s): Ukrainian Issue: 2/2015

The article considers the features of the code in the culture and the "double coding" in art. Based on analysis of the codes of culture and "double coding" in the art in the context of semiotics, structuralism, post-structuralism and cultural hermeneutics defined research methodology. It is an attempt to systematize the individual characteristics of "double coding" in art. Particular attention is paid to "the code in the culture", which is seen as a sign or a system of signs with a double nature. The ratio of the sign and the code in the context of semiotics and structuralism is developed by the founder of pragmatism, Charles Sanders Peirce, the American philosopher, logician, semiotician, mathematician and scientist, classifying marks for a three stage system (sign-icons, mark index, sign, symbol) and the basic properties of signs – informative. The code itself is characterized by a double relation to the object that it represents. Communication marks the object is a prerequisite for the existence of the mark. Since the mark means that an object is the act of determining the essence of their relationship. For Peirce the "object" is the "sign of the object," this is the ambivalent attitude to the sign at all. The issue of "double coding" appears in the analysis of issues of postmodern art and related to the specific works of art that appear in this period of Transavantgarde and postmodernism. Although the origins of the study of the phenomenon of culture and art can be found at the beginning of semiotics and aesthetics as a general linguistics. The concept of "double coding" for circulation in the culture enters the American architect and critic Charles Jencks. In the article "The rise of postmodernism architecture" (1975), he writes that "double coding" is a simultaneous appeal as to the masses, and professionals ". In 1996, the critic formulated the thirteen principles of postmodern architecture, but we focus on the common points for different kinds of art that reflect the essence of "double coding". So, first of all, postmodernism and "double coding" serve as a characteristic of a particular way of perception of the world, a certain mentality, attitude and formation evaluation. Experience in postmodernist texts emerged from the cultural codes, which include artistic styles, traditions and formulas, rhythmic patterns, musical intonations. This eclectic mix of artistic creativity in the French theorist Jean Lipovetsky is defined as the main feature of postmodernism and the "double coding" in relation to the past and present, tradition and innovation, modernity and postmodernity. The cultural code and the problem of "double coding" are interpretive model of culture Frederic Jameson, in which the story in general, and the text in the story are kinds of textcentrism as a sequence of characters codes. In developing this concept F. Jamison examines the various texts of culture: architecture, beautiful, cinematic. Code-story activates and updates the text in the system of art culture, moreover, it is also the key to the interpretation and decoding. In the interpretation of F. Jameson, the attitude to the past takes on the value of parody, which he calls "pastiche" (the word invented Adorno) which includes imitation (mimicry) of another style. Pastiche, as a parody, maintains the distance to the artistic technique or style that you want. In contrast to the parody, according to F. Jameson, pastiche is a neutral practice of mimicry, without the satirical impulse and laughter. American researcher believes that the non-historical movies can be interpreted as a pastiche. Another mechanism of establishing the foundations of a "double coding" is "intertextuality" as a strategy in relation to the past cultural heritage and cultural codes. It creates conditions for the existence in the postmodern art of the phenomenon of "double coding" that support the concept "polyphonic novel" Bakhtin, mosaics of quotations and intertextuality Yu. Kristeva, the synthesis of cultural codes R. Barth. Receptions of intertextuality illuminate a new attitude to the problem of tradition and innovation, showing her ambivalence and ambiguity hidden meanings. In intertextuality the poetic and artistic languages undergo a double reading. As a result, semiotic, structuralist, and the method of analysis poststructuralist cultural scientific hermeneutics can identify the main approaches to the study of the "code" of culture and "double coding" in the art: 1. From the standpoint of semiotics "code in culture" is seen as a sign or a system of signs with a bright example of the language. Furthermore, the code-sign can be a model for consideration of varieties of sign systems – mythology, the Bible, graphic symbols, musical scores, choreography, visual art, signs, fashion and etc. 2. Poststructuralist and structuralist analysis allows to reveal the concept of "cultural code" through the dual nature of structural relations (oppositions), the opposition, the sign (language) expression meaning.

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ТЕОРІЯ КОМПОЗИЦІЇ У МУЗИЧНОМУ МИСТЕЦТВІ: СТАН НАУКОВОЇ РОЗРОБКИ

ТЕОРІЯ КОМПОЗИЦІЇ У МУЗИЧНОМУ МИСТЕЦТВІ: СТАН НАУКОВОЇ РОЗРОБКИ

Author(s): Tetiana Borisivna Kablova / Language(s): Ukrainian Issue: 1/2017

Purpose of Article. The purpose of the work is to consider the composition of musical forms as a theoretical problem. This article is devoted to the theoretical analysis of the concept of compositions of musical art and studies the degree of the researching of the phenomenon of the composition and its role in XX century art. Methodology. The methodology of the research includes сompаrаtіve, hіstorісаl, logісаl, contextual and systematic methods. The methodological approach allows to reveal and to analyse a phenomenon of the compositions as parts of cultural process. Scientific novelty. The composition of art is traced as a construct for understanding the "base". The concept of "base" is always associated with the composition, which is the reflection of the internal structure. It allows us to show a real logic of composition construction. This phenomenon manifests itself in many principles of composition basics and is associated with the expression of ideas. At the end of XX century, the new concept of music composition was created by O. Koblyakov. Based on the concept of O. Koblyakov the author analysed the theory about manifestations in music composition. Its main feature is that it is manifested at the macro and micro levels of compositions and repeats the same value at different scale levels. Conclusions. Thus, the base of composition is a system of principles, which leads to the creation of the entity music composition. In addition, they develop each other.

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Технический прогресс как культурологическая проблема

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.

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