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An article in the aesthetic and psychological point is linguistic concept of O.O. Potebnya as a researcher and philosopher of language. Here is analyzed the key factors of artistic creation as an important segment Potebnya`s theoretical heritage.
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In article the author investigates features of works of art of young artists symbolists. The main characteristics of creativity of each of representatives of new generation are designated. The analysis of the main symbolical variations which are used by artists in the works is carried out.
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This article analyzes the genre of the excursion lectures in Hellenistic rhetoric.
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In this article author analyzed Hegel’s contributions to political theory within a framework of his significant and extensive work Aesthetics. Although in this work Hegel did not decidedly define politics as illusion of art, still it possible to think in this context on basis of Hegel’s stance on art and politics in this and other work of this philosophical giant, and also on basis of analysis of other philosophers’ works from this period or before it. On the basis of abovementioned, it is possible to claim that Hegel has such approach to politics as phenomenon, but that also he considers other political phenomenon in similar, theoretically discreet approach. Although politics as the art of illusion does not represent a part of aesthetics, it does provoke scientific interest. This article is written as some sort of contribution to the process of getting beyond a tension existing between aesthetics and politics for centuries, which is the process that has started since the middle of 18th century.
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In the article choreographic culture is considered as means of formation of the holistic system of all-around formation of any personality, its national consciousness, as the index of modern ideological innovations.
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Purpose of the article is to identify problems and prospects of choreographic, theatrical, musical criticism in Ukraine. Methodology. Comparative analysis, systematization of information made it possible to achieve the goal of the study. Scientific novelty consists in comparing the problems of the critical sphere of theatrical, musical and choreographic art of Ukraine. Conclusions. The synthetic nature of choreographic art, where the laws of musical, theatrical and other types of art are directly or altered, allows for the extrapolation of the critically estimated parameters of these arts to the field of choreography. At the same time, the evaluative discourse of choreography has cyclicalized its own parameters, as evidenced by the prevailing branch of art history – ballet studies. The main problems of the modern critically evaluative discourse of choreographic, musical, and theatrical art are: media disinterest in posting non-commercial critically evaluative materials, small number of professional critical publications, lack of reaction from critics to a significant number of events, lack of support from the state , revealing the artistic identity of the domestic product. The problems of modern choreographic criticism in Ukraine are much deeper than the theatrical and musical ones, which is caused by the artistic specificity and the lack of formation of the system of training professional theorists in choreographic art, the lack of traditions in periodicals of dancing subjects. Compliance with the principles of artistry, updating ideological and artistic criteria, flexibility and tact, objectivity in critically evaluative approaches open up prospects for overcoming the quantitative and qualitative gap formed between the practice of theatrical and musical, especially choreographic art and its critical understanding.
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The purpose of the article is to determine the characteristics of choreography as a means of expressing polygenerval artistic forms. The research methodology consists of applying dialectic; analytical methods to define the concept of polygenerism in choreography, highlighting its features and forms (synthesized, integration forms and improvisation); functional and instrumental - the study of transformations of dance forms and their influence on changes in the aesthetic tastes and preferences of the audience; comparative - definition of the content of the concepts “genre”, “polygenality” through the understanding of the art of choreography. The scientific novelty lies in the fact that for the first time the patterns of polygenre choreography at the present stage of the formation of Ukrainian society have been studied. Findings. The study concluded that poly-genre choreography is the modern spirit of industrial and post-industrial society. Polygenicity was inherent in most cultural epochs, but it was most intensified at the turn of the 20th century. Simple dance forms that were associated with the practical work of man, the relevant beliefs and rituals, with their worldview is a more historical transfer of the past. It has been established that the postmodern perception of the world by man is reflected in the polygenality, saturation, elasticity, and complexity of all the means of modern choreography. It was determined that the poly-genre choreography can act as a technique, a method capable of changing the genre direction of the work, defining it as something new, innovative. Most types of dance are synthetic formations that indicate polygenism as the basic basis for creating new genres. It is established that polygenicity in choreography is a complex and multidimensional phenomenon, which indicates such a cultural property as self-organization and self-regulation. Moreover, polygenology occurs both in the interaction of only genres of choreography and with the help of means of choreography and other types of art. An interesting phenomenon is the possibility of interpenetration of genres of different eras.
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In the first part of the article, play is considered as a sport. In this case, sport is interpreted figuratively - as a metaphor for a particular type of being of humans. Ortega y Gasset’s essential definition of sports as play refers to the urge toward self-overcoming: „the game requires playing, as much as possible, better“. The second part of the article analyzes the relationship between play and „good utopianism“. Finally, the author analyzes the interpretation of Ortega y Gasset’s idea of hunting and reveals another meaning of play – as a form of relaxation from reality. The article draws comparisons between the idea of play in Schiller, Huizinga and Ortega y Gasset.
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The advent and development of kitsch is genetically related to the specific sociocultural context of 19th-century second half, when art became an autonomous and independent reality. It can no more rely on mythology, religion, philosophy, and politics, and pretends to be only and solely a ‘pure art’. Art narrows, and in the vacuum opened, the new aesthetic phenomenon of kitsch ensconces. Kitsch has become an intrinsic, aesthetically immanent element of the system of art as a totality. An infinite internal transition between these two so cognate and so different, opposite spheres has emerged. The dialectics of these relations shows that kitsch is not only a waste of art.
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The article is devoted to the need for more detailed study of the artistic and aesthetic features of Ukrainian fine art and the art of icon painting. Development of the artistic style of Orthodox iconography is impossible without studying the specific incarnation of characters and possession of certain colours. The development of the Ukrainian national culture is impossible without research conditions of the growth of the artistic identity of fine art and Orthodox iconography, sacred art, which has been actively developing in Ukraine since the beginning of 90s of XX century. The most valuable source of spiritual restoration is art that fills the space of contemporary artistic culture with new ideas about the aesthetics of the world. There is an important matter of studying art features Ukrainian art and iconography, awareness of the patterns of development of methods and styles of Ukrainian art, which is part of the contemporary artistic scene. Existing scientific data on the characteristics of the art of iconography, as a system of religious outlook is of particular importance. Its development based on the synthesis of fine arts achievements is a prerequisite for the development of philosophical and artistic thinking, social awareness. Development of the above named issues in science is crucial, because the means of artistic reproduction features help to better reveal the characteristics of symbolic significance of contemporary Ukrainian art style and iconography. For thousands of years in the Ukrainian art underwent a process of historic development and its types, styles, based on the synthesis heritage artistic heritage. The influence of Byzantine culture following the introduction of Christianity in Kievan Rus allowed to create a unique styled iconography and methods. Ukrainian iconography of the late twentieth early twenty-first centuries is a complicated process, which is characterized by the search for new methods and forms and means of expression required use of tools expressive activity that will optimize the process of forming a unique style of Ukrainian art and help to understand the art of icon painting. Direct contact with the Byzantine artistic culture manifested in Ukrainian medieval iconography. Ukrainian iconography is not a strict analogy with the art of Byzantium. Themes and forms of Byzantine iconography were adopted, converted to Ukrainian art. Ukrainian icons saved the general principles of Byzantine art style combined with rich decorative forms Ukrainian folk art. The concept of «style» in art is ambiguous using its various science. The structure of the individual style of art known as Ukrainian artists fine art and iconography is complex and multilayered. Models of modern art style iconography reflect unity of content and system image art form that has developed specific socio-historical conditions and inherent in different periods of art; aggregate principal artistic features in the works of artists who appear as themes, ideas, symbols, and art and features distinctly. Features of the artistic process in the works of famous artists iconography show the complexity of the structure of the artwork and its stylistic layers increase and differences and shared with other cultural phenomena now. Fine art and iconography identifies the specific style of fiction that can find their implementation specific means of art: color, selection of methods, equipment images. The main types of color symbolism and color Byzantine painting, palette richness and depth of imagery became the basis of the content of sacred expression in Kievan Rus. Although Ukrainian Byzantine art had motivated not to lose its identity because of the clash of two cultures emphasized the preservation of spiritual foundations of each. Artistic features of the Ukrainian icon painting have the unique colours and symbolism. Artistic features iconography includes originality and symbolism of the color palette, technique image. Colors, spatial construction, volume and perspective – each item icon has its own symbolic meaning, its language and style. Another important aspect of the Ukrainian icon painting tradition that has a particular specificity is konstantnìst′ used sacral symbols and images. This is an important aspect of the Ukrainian icon painting tradition which has a certain specificity. The original principles of image and symbolism were inherent artistic peculiarities of Ukrainian religious art that changed in the course of their development. In fine arts of the originality of the system of artistic means appeared in the unity of the compositioniconographic solution using a decorative painting, features solar-light symbols, distinctive colour harmony and individuality of the choice of these tools toolbar (backward perspective, theory of light, volume, line, color, color). Selection of these vehicles was due to the long tradition of Ukrainian fine art (solemnity, decorative, symbolism), and was created by technology of the Byzantine Canon, the principle similarities and copy in the strict hierarchy of images
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The purpose of the article is to identify the influence of creativity of Japanese artists of the Edo and Meiji period on the formation of the artistic, aesthetic and philosophical foundations of the art nouveau style. Research Methods. The method of historicism is applied (to study the specifics of style in the context of political and cultural processes between Europe and Japan in the second half of the 19th century); cognitive method (to study the specifics of individual creative methods of French artists); the method of formal style analysis (to comprehend the artistic and aesthetic features of the Art Nouveau style) and the system method (to develop common criteria for classifying the artistic and aesthetic and style features of Japanese art of the Edo and Meiji period, as well as to identify the features of their integration in the Western European space of social art). Scientific novelty. The influence of the creativity of Japanese artists K. Hokusai, K. Utamaro, S. Dziesin, K. Gekusho and V. Seitei on the formation of the philosophical and artistic and aesthetic foundations of art nouveau is investigated; the phenomenon of Japaneseism is considered as a source of updating the artistic and aesthetic vision of the world in the work of leading French artists of the late XIX - early XX century; it was found that due to the influence of Japanese art, the art nouveau style is characterized by principles of space organization unique in Western European art (triplanic construction of the space of paintings, the role of an unfilled background, fragmentation and framing, increased foreground details, a significant role of asymmetry, the conventionality of space construction, and meaningful filling of the line , decorative beginning, rejection of the depth of space, conventionality of color) and the dominance of insectomorphic motifs. Conclusions. Art Nouveau's artistic style is associated with traditional East Asian, especially Japanese, thinking, reminiscent of kami in Shintoism and original enlightenment in Zen Buddhism, in recognizing the existential value of microscopic organisms living on the earth, and even inanimate things like water and stones . In the context of the dual aesthetics of art nouveau, freed from Cartesian dualism, binary opposites, like intellect and emotions, culture and nature, rationality and chance, order and chaos, good and evil, man and woman are combined into a single whole.
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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.
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Purpose of Research is to identify the similarities and differences between artistic criticism and art history in contemporary conditions. Methodology. The methodology is based on a theoretical analysis of scientific literature, a comparison of art criticism and art history, and systematization, which led to scientifically objective results. Scientific novelt consists in identifying the similarities and differences between artistic criticism and art history in modern conditions. Conclusions. Artistic criticism contextual (is within the artistic process, although not integrated into it), academic art history is out of context. Artistic criticism is characterized by operativity, urgency, peculiar intermediary functions between the event and its historical assessment, emotionality, immersion – in contrast to the accuracy, the removal of art history. Regarding the audience: art history in the professional field, criticism – in sociocultural. The nature of art criticism is epistemological, criticism is axiological, but today there is a shift towards interpretive methods of artistic criticism. Among the methods of interpretation are philosophical, aesthetic, biographical, psychoanalytic, historical-artistic, semiotic, sociological, historicalcultural, comparative-typological criticism. Interpretative methods of artistic criticism are consistent with the processes of decoding the work of art, which is one of the functions of criticism, levels of this decoding can be incredibly large. "Stuccato Structure," hypertextuality, interactivity, laconicism - features of artistic and critical speeches in the Internet media. Elements of artistic criticism form the basis or can be an integral part of a wide range of journalistic (review, creative portrait, problem presentation, review, interview, essay) and scientific (monograph dissertation) genres. Today, the need to expand the professional "boundaries" of art history and artistic critique has matured.
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This article investigates the causes of the first Russian court theater in the 1670s at the court of Tsar Aleksey Mikhailovich Romanov The Quietest. The history of the first Russian theater is closely related to the formation of a new court culture in the late 17th century. The first plays of Russian theater "Ahasuerus action" and "Judith" was intended not only to a certain extent, "entertain" the Tsar Aleksey Mikhailovich, but also reflect the court ceremonial and the strengthening of royal authority in a transitional time in Russian history. Rich pictorial series of the plays was the basis of ceremonial esthetics and its embodiment in the stage form.
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The paper pays attention to the activation of circus art studies, due to turbulent processes in culture and social life of contemporary society and the demand for the circus as a social institution and as spectacular forms of popular culture. Purpose of the article is to reveal the state of scientific development of the issue of a circus as a cultural phenomenon. Methodology. Research methodology is to use a multidisciplinary approach based on the principle of comparative studies, providing comparison and interpretation of philosophical and aesthetical, historical, cultural, anthropological, social and cultural aspects of the study of art and a circus as a synthetic form of art. Scientific Novelty. The author analyses the state of scientific development of issues of the circus as a cultural phenomenon and reviews the list of identified issues, researched by Ukrainian and foreign scientists in the twentieth century. Conclusions. The author notes the following statements: the need for further study of circus arts, including cultural analysis of issues such as cultural specificity of the circus, its relationship with the artistic context and determination by social, historical, aesthetic factors, new forms of creativity in the circus, the specific features of its functioning in mass culture and the consideration of circus art as a factor of cultural diplomacy.
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Boško Tokin wrote about the work of Charlie Chaplin primarily from the aspect of visual characteristics, mime and gestures and his conclusions regarding those elements of Chaplin’s art differed from the opinions of French film aestheticians. Tokin observed the genre particularities of featured dramas in the same way as other authors that wrote about Chaplin: Alexander LEJTES and Eldar Ryazanov.
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The text examines the categories of partiality and wholeness in light of art and its adequate understanding. The categories are understood not simply as describing certain objective state, but also as orientations in worldview and interpretation which assume their own objectivity. The essence which defines the orientation and its objectivity we identify through the referring to the metaphysical consciousness term “spirit”. We relate the categories to accompanying concepts, among which the concepts of chaos and order.
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The article considers the idea of the conflict between man and fate, and describes the nature of the tragic as the most important aesthetic category in O’Neill’s main dramas. The work is focused on the problem of fate and the evolution of this concept. In O’Neill’s early plays, it transforms from inscrutable behind-life forces to an internal entity associated with subconsciousness, family connections and genes. In his late plays, fate is represented by society hostile to man. However, O’Neill believes that fate can never defeat human spirit.
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