We kindly inform you that, as long as the subject affiliation of our 300.000+ articles is in progress, you might get unsufficient or no results on your third level or second level search. In this case, please broaden your search criteria.

Download

DEMONICUL LA SØREN KIERKEGAARD ŞI MIRCEA ELIADE

Author(s): Natasa Maxim / Language(s): Romanian Issue: 33/2015

This paper approaches Kierkegaard`s demonic from an angle ofphilosophical hermeneutics, since the anguish well belongs to the somatic,psychological and pneumatological area. Given that man is a synthesis of body andsoul worn by spirit, the disruption of one is damaging the others. Demonic meansclosing itself, denoting dumbness. State of captivity, inwardness, refusal ofcommunication, the demonic is a condition that Søren Kierkegaard opposes tofreedom, expansion, communication and can be a metaphor of the diary, if weconsider the diarist`s mental structure: schizoid, in an endless conflict not only withitself but with the world. In a religious way, freedom is communicative, meaning toshare, to (be) save(d). Adopting an ontic perspective of being, seeing the man in themaking, Kierkegaard teaches us what it means to be human through an imaginaryreintegration into the skin of another, and it`s here that the roots of Eliade`shermeneutics can be found.nger, religion, contemplation, introspection. The genius is not afraid offate because he knows that it can be determined by free will, he is afraid only ofhimself, of his own conscience. Subjectivity is always reactionary. The rebel, thedemon, the genius is dominated by anguish, guilt, despair, the reason being the sinof breaking the community.

More...

Download

CHOREOGRAPHING KANDINSKY´S ´SPIRITUAL´ IN SERGEI DIAGHILEV´S <<BALLETS RUSSES>>

Author(s): Maria-Roxana Bischin / Language(s): English Issue: 1/2019

The purpose of this article is to demonstrate that Wassily Kandinsky’sgeometrical paintings were inspired by the ballet world, and by the body movements of theballerina. Moreover, painting and ballet communicate with each other. And geometry hashelped that. Then, the idea of this article starts with the necessity in relating Kandinsky′sSpiritual theory on non-materiality exposed in Über das Geistige in der Kunst with SergeiDiaghilev′s Ballets Russes brought on Parisian scene between 1909s and 1929s. BalletsRusses is the term which names all the ballet representations thought and designed bySergei Diaghilev after his musical-cultural conflict with Nikolai Rimski Korsakov. Startingwith 1907s, Kandinsky had initiated Der Blaue Reiter group and he starts with variousdrawing techniques. Were favourable years in which Kandinsky′s evolution from simpledrawings to sophisticated Compositions got up. We are witnessing a cultural increasement.So, the ballet, the music, the theatre and the painting can not be separated any moreor, at least, or, at least, cannot be thought of separately as systems of aesthetic theory.The aesthetic evolution from ballet and theatre had influenced the evolution in painting.What we will try to show as novelty in our investigation, is the kinetic and spiritualrelation between Kandinsky′s Compositions and some representations from Ballets Russesby Sergei Diaghilev, especially with the «L’Oiseau de feu». In conclusion, we want toshow how the lines designed by Wassily Kandinsky are describing ballet’s movements.The methods used in our research have consisted in the inter-artistic comparison betweenWassily Kandinsky’s theory of painting and the ballets designed by Sergei Diaghilev.We also brought a philosophical and personal perspective on both worlds.

More...

Download

Візуальні образи творів сучасного образотворчого мистецтва як зв’язок між концепцією і сприйняттям глядача (на прикладі проекту Love contemporary)

Author(s): Veronika Viktorivna Aftanaziv / Language(s): Ukrainian Issue: 39/2017

Purpose of Article. The purpose of this research aims to study and analyze the work of Zenko Foundation (Ukraine) and its subdivision Zenko Gallery. The article provides a comprehensive analysis of the concept proposed for this exhibition. The research was conducted in the example of the project Love contemporary, which was organized by Zenko Gallery. This work shows the relationship between the artist, the curator and the viewer. Methodology. The methodological basis of the article is a comprehensive analysis of social, cultural and art structural models. The author uses contemporary methodological provisions in forming public opinion in the context of dual model based on the artist and the viewer. The semiotics approach defines the research of contemporary art as a new form in domestic representativeness. The dialectical method helps to understand the degree of rationality in the proposed concept, where the dominance of the realistic approach is changing to symbolic perception. The method of schematization and modeling with analytical knowledge is also used. Scientific Novelty. The research novelty is in expanding the ideas about the role of private funds in art and their influence on social and cultural environment in the state. Relationship of the topic with scientific programs. This work is a continuation of other research about Zenko Foundation experience. The article is dedicated to the issues of communication processes between exhibition visitors and artists, more precisely their works of art. It has been proven that during the current stage of cultural processes happening in Ukraine the intermediary function of curator between the artist and the audience is vital. Curator serves as a rebroadcaster of the exhibition’s main idea through word, a concept for it. This, in its turn, helps the visitor to perceive contemporary art. Conclusions. As a result, we conclude that the role of each of these objects has its value in building a general concept and becomes an integral part of the main action, that is, in fact, the project. With the emergence of more diverse cultural events in a wide range of viewers, the interest in contemporary Ukrainian art and national culture increases.

More...

Download

Образи фортепіано в "Piano Gesang" Ігоря Щербакова

Author(s): Fan Lu / Language(s): Ukrainian Issue: 39/2017

Purpose of Article.The article reveals images of the piano in the oeuvre by Igor Shcherbakov, especially in his piece "Piano Gesang," traces their continuity and transformations relative to images of the piano formed in the Ukrainian and world musical culture of previous epochs. Methodology. The research methodology lies in using a holistic analysis of a musical work. Logical methods of analysis and synthesis are used to identify images of the piano when considering the name of the piece, its ideas, and contents. The use of culturological and comparative methods allows us to trace the evolution of the melodious and nostalgic images of the piano and their reflection in the work of I. Shcherbakov. Scientific Novelty. In the article, a significant work of contemporary Ukrainian music "Piano Gesang" by I. Shcherbakov is analyzed for the first time. Innovative is also the consideration of this composition in order to identify typical images of the piano formed in modem Ukrainian professional music culture. Conclusions. The image of piano of Shcherbakov consists of two main interconnected components: the image of the piano as a singing instrument and the nostalgic image of the piano as a symbol of the "golden age" of musical art. In the formation of these images of the piano, an important role is played by both artistic and stylistic, as well as cultural and social factors. The nostalgic image of the piano is a manifestation of postmodern artistic consciousness, which is characteristic of modern Ukrainian and world art.

More...

Download

Медіальна перспектива мовно-знакової еволюції музики (на матеріалі українських камерно-інструментальних композицій межі ХХ – ХХІ століть)

Author(s): Anastasia Igorivna Kravchenko / Language(s): Ukrainian Issue: 40/2018

The aim. The aim of the work is to justify the appropriateness of using the term "media" in relation to music and to identify ways of functioning of unrelated sign codes at the system-structural level of organizing musical information, which is based on the material of chamber music of Ukraine at the turn of the 20th and 21st centuries. Methodology. In the analysis of the polysemyotic compositional integrity of modern Ukrainian chamber pieces the musicological, structural-semantic, semiotic, intermedial, comparative-typological methods were used. Scientific novelty. For the first time on the material of the semiosphere of Ukrainian chamber creativity, medial perspectives of the sign-language evolution of music are highlighted and general criteria for the typological classification of intermedial links in music are outlined. Conclusions. At the present stage, philosophical and cultural universalism of musical aesthetics, which is reflected in the polylogue of musical and extra-musical stylistics, becomes the decisive semiotic and conceptually meaning. This trend causes the expansion of the logical-conceptual apparatus of musicology to polymethodological vectors – the discursive synthesis of research paradigms. Proceeding from the cultural and semiotic positions, it is quite legitimate to use the term "media" in music, the cultural and iconic complex of which demonstrates the ability to interpret and translate not only a rich palette of cultural and semantic meanings, but also a wide range of cultural and symbolic codes, which confirms the presence of medial functions musical semiotics. The presented typology of intermedial links is based on the definition of explicit and implicit principles of the functioning of unrelated symbolic codes and stylistics of artistic and extra-artistic origin in the semiotic space of musical compositions. We are talking about: 1) the multisemiotic way of organizing artistic-semiotic integrity based on the principle of explicit synthesis of stylistic-technological and expressive possibilities of music and other arts as an combination of different semiotic series; 2) the monosemiotic method, based on the principle of implicit synergy of semiotic music codes and any other artistic and extra-artistic symbolic systems, presupposing the "recoding" of some semiotic codes in the language of others. Thus, the medial perspective of the linguistic and linguistic evolution of music is the path to a universal, polyfunctional semiotics, directing the structuring of musical matter in semiotically complexly organized texts with a doubled semantic potential.

More...

Download

Етнодизайнерські аспекти реклами

Author(s): Ilona Olegivna Sivash / Language(s): Ukrainian Issue: 40/2018

Мета роботи. Етнодизайн як окремий стильовий напрям сучасного проектування потребує всебічного розгляду в контексті художньо-проектної культури та доцільності використання етномотивів у різновидах дизайну, зокрема у візуальній рекламі. Дослідження пов’язане з комплексним аналізом етнодизайнерського досвіду і порівнянням його з існуючою інтернаціональною стилістикою рекламних звернень. Методологія дослідження ґрунтується на системно-структурному, історико-мистецтвознавчому та компаративному методах, які дозволяють виявити чинники етнодизайну, розглядати його як цілісну систему проектування, а також розкрити вагомий вплив етномистецьких традицій на дизайн реклами. Наукова новизна роботи полягає в розширенні і поглибленні уявлень про національні та інтернаціональні риси реклами з урахуванням одночасних процесів глобалізації та посилення регіоналізації. Висновки. Осмислення світового та українського досвіду використання етномотивів у дизайні надає підстави стверджувати вагоме їхнє значення та культуротворчий потенціал народного мистецтва і художніх промислів для сучасної рекламної індустрії України.

More...

Download

Специфіка естетичного сприйняття бального танцю (на прикладі бальної секвенції «Вальс у сутінках» стилю Нью Воуг

Author(s): Tetyana Sergeevna Pavlyuk / Language(s): Ukrainian Issue: 41/2018

The purpose of the article is to identify the specifics of aesthetic perception of ballroom dance based on the study of differences in human knowledge of symmetry in space and time. The methodology of the research is based on the principles of objectivity, historicism, multifactor, system, complexity, development, and pluralism, and to achieve the goal, the methods of scientific knowledge are used: problem-chronological, concrete historical, statistical, descriptive, logical-analytical. Scientific novelty. The four-dimensional spatiotemporal symmetry of ballroom dances is considered and analyzed on the example of movements of the ballroom sequel of the style of New Vaugh in the rhythm of the Vienna Waltz "Waltz at Twilight"; the specificity of the aesthetic perception of ballroom dance is studied in accordance with the existing differences in human perception of symmetry in space and time; the semantic loading of ballroom dances on the basis of the choreographic scenario "Waltz at dusk" is analyzed and it is proved that they have multiple meaningful levels. Conclusions. As a result of the art study study of the ballroom sequel of the New Wave style in the rhythm of the Vienna Waltz in the Twilight Waltz, it is proved that the schemes in ballroom dancing can be both abstract geometric in space and time, and include a large number of meanings, from simple and evident to complex and deep that directly affect the subconscious. Thus, the specificity of the aesthetic perception of ballroom dances, in addition to the choreographer's use of geometric patterns and sensory interaction created by dance partners during execution, depends on multiple sense levels, which in each individual generate the own perception.

More...

Download

The Artistic Image in the Context of Culturological Hermeneutics

Author(s): Olena Stalyevna Afonina / Language(s): English Issue: 3/2018

The purpose of the research to reveal the features of the interpretation of the artistic image in the works of contemporary art in the context of culturological hermeneutics. The methodology of this work is based on interdisciplinary approach – «culturological hermeneutics» enriched by the achievements of such joint methodologies as analytical psychology, structuralism, culture morphology, etc. Scientific novelty of this work lies in the analysis of the artistic image in works of contemporary art in the context of culturological hermeneutics. Conclusions. Based on the analysis of works of contemporary art, it is revealed that the interpretation of the artistic image remains open and inexhaustible, according to the principles of hermeneutics. Each interpreter will have his own approach to translating the content of the new text, which in turn will be another interpretation of the original text in art criticism. It is substantiated that the author's experience has primary importance for revealing the artistic image and content of the work. Disclosure of the artistic image is associated with the perception and therefore includes the principles of the receptive aesthetics.

More...

Download

Мистецький експеримент в естетичному дискурсі

Author(s): Olesia Bohdanivna Beniuk / Language(s): Ukrainian Issue: 3/2018

The purpose of the article. This work researches the role of the concept of the experiment into Aesthetic and Artistic discourse, establishing an artistic experiment as an Aesthetic notion, the delineation of transformations in the interpretation of an artistic investigation, related to the changes in the image creating system, defining the different types of artistic experiment and their main attributes. Methodology. The methodology of the research is to apply methods of generalization, systematization and comparison to enable confirmation of the test as an Aesthetic concept capable of designating applicable phenomena as artistic experimentation, reveal and identify the features of various types of artistic experiment that appeared in the Aesthetic and Artistic areas since the end of the 19th century up to now. The scientific novelty of the research is to expand the aesthetics categorical apparatus, to invoke concepts which are necessary for modern Aesthetic and Art. To distinguish eхexperimentation in various visual systems, I suggest using such concepts as "scientifically imbued artistic experiment," "modernist artistic experiment," "postmodern artistic experiment." The theoret ical interpretation of various types of an artistic experiment is compared with experimental ideas implemented in works of art. This approach allows us to represent common beliefs, values , and interpretations in the spheres of Philosophy, Aesthetics, and Art of a given epoch. Conclusions. Understanding the formation and development of an artistic experiment, it's functioning within the various visual systems, allows us to distinguish the main types of artistic experimentation and to identify the features of the scientifically imbued artistic experiment, modernist and postmodern experiment. Its realization in the creative sphere and the theoretical interpretation of the artistic research in the works of leading contemporary thinkers is a sufficient reason for introducing the concept of the artistic investigation into the modern Aesthetic and Artistic discourse.

More...

Download

Епічна традиція в координатах оперного жанру: на прикладі постановка опери О.Бородіна «Князь Ігор» Д.М.Гнатюка

Author(s): Viktor Oleksiyovych Bondarchuk / Language(s): Ukrainian Issue: 3/2018

The purpose of the article. The use of the work is outlined by the problem of highlighting essential aspects of the creative biography of D.Gnatyuk, fixed in the coordinate of the communicative cultural-artistic system of the Ukrainian space of the twentieth century. Applying to the master's directorial practice, we have the opportunity to generalize and rationally-objective analysis of artistic tendencies that were formed in the context of a complex sociopolitical and interethnic continuum. Methodology. The methodology involves the inclusion of the problem of analysis in the space of historical, art critic and culturological discourse with the obligatory consolidation of the issue in an interdisciplinary context. Such conceptual approaches will become a condition for coverage of little-known pages of D.M. Gnatyuk's creative biography, followed by an analysis of the artistic environment as the conditions for the artist to come to the Olympus of national and world recognition. The scientific novelty of the study consists in studying the creative figure of the twentieth century - D. M. Gnatyuk in a new format, which involves the consolidation of the individual in the coordinates of the subject of culture, whose reflection crystallizes in creative searches, tests, and achievements. Conclusions. Investigating the director's steps in the projection of the interpretive decision of the opera by O. Borodin "Prince Igor," we have the opportunity to feel the dynamics of the formation of the individual, in which the director's period is represented by a generalizing and accumulated internal demand model. The mentioned factor is a new stage in the creative biography of the artist, which stimulates a permanent rethinking of his inner essence, taking into account the cultural and artistic and sociopolitical context.

More...

Download

Інтерпретація традиційної української вишивки в сучасному професійному панно

Author(s): Olga Mykolayivna Kaleniuk / Language(s): Ukrainian Issue: 4/2018

The purpose of the research. Decorative and applied art as a kind of fine arts goes beyond the structure of its kind as it includes instrumental decorative works that perform high-esthetic or decorative function. The main aim of the article is to prove the expediency of the usage of embroidery as a traditional kind of Ukrainian decorative and applied art in the context of modern professional panneau. The studies in this field lead to the rethinking of the art heritage, popularize Ukrainian national embroidery, motivate the young generation of artists to use traditional methods and techniques in modern art projects. Research methodology is based on the application of general and special methods of scientific knowledge, the use of historical-logical, analytical, comparative, descriptive, systematizing methods, the reception theory, semiotics analysis. Scientific Novelty. The article includes the analysis of transformation of panneau’s decor in Ukraine during 20th - the beginning of the 21st century. The traditional and modern methods of forming of modern panneau are analised. There were differentiated achievements of professional Ukrainian and foreign artists, teachers and students of Ukraine’s art institutions, whose textile works are connected with the usage of embroidery. It was stated, that the main tendencies in the structure of modern panneau are as follows: different compositional and spatial searching, an endeavor to combine volumetric and ornamentally flat forms in one composition; wish to go out and deformate the object’s form; innovative searching in usage and transformation of different techniques according to a definite inner idea; an implementation of various decorative and applied forms and the addition of painting origin to them. Decorative techniques of traditional Ukrainian embroidery, that have broad perspectives to be used in modern decorative panneau were described, namely: tambourine suture, “kozlyk”, different kinds of loop seams, art and decorative plain seam, steam seam, cross stitches and their variations, lacing, cutting, holing. Besides, intentionally constricted fragments of composition, сhaotic stitching, overhanging threads are used in morern panneau. Conclusions. It is proved, that the works of modern Ukrainian decorative-applied artists are oriented on the synthesis of materials and the transformation of traditional embroidery techniques in a decorative panneau, and a search for different combinations of this technique with other materials. The analised experience is a powerful factor of well-being of embroidery in the context of modern art tendencies.

More...

Download

Прояви естетики скомороства в балетних образах

Author(s): Tetyana Georgievna Lugovenko / Language(s): Ukrainian Issue: 1/2019

Purpose of Research is to identify the main aspects of the manifestation of the aesthetics of skomorokhs in ballet images. Methodology. The use of analytical, historical, chronological, typological methods allowed us to identify and analyze in a historical sequence ballet performances, where there are images of skomorokhs, to offer a typology of images. Scientific novelty. For the first time, a comprehensive analysis of the main aspects of the manifestation of aesthetics of skomorokhs in ballet images was carried out, a typology of images of skomorokhs in ballets was proposed in accordance with their role. Conclusions. The culture of skomorokhs influenced the artistic-figurative system of the ballet theater, where we meet the images of skomorokhs and leitmotifs of skomorokhs in the performances of historical and folk themes. Rather conditionally, in accordance with the place and role of the hero- skomorokhs in ballet performances, it is possible to distribute the images into groups: skomorokh as a symbol of the contradiction of external fun and internal suffering ("Parsley"); skomorokh as a real actor, a peculiar attribute of life of the XIV-XVII centuries (Ivan the Terrible); skomorokh as an illustrative component, a symbol of Russian life ("Snow Maiden").

More...

Download

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.

More...

Download

Етнічні образи у творчості Валерія Гегамяна

Author(s): Olexiy Mykolayovych Zhadeiko / Language(s): Ukrainian Issue: 1/2019

Purpose of the article. The article aims to identify and analyze ethnic images as one of the main characteristic segments of the corpus of paintings by Ukrainian artist of Armenian origin Valeriy Geghamyan. The methodology consists of the use of historical, biographical, complex, comparative methods as the main elements of art criticism tools. The scientific novelty of the work lies in the fact that the author makes a first attempt in the domestic science of art to cover individual pages of life and work of V. Geghamyan, having analyzed the ethnic images to which the artist turned throughout almost the entire creative path, to highlight the style-forming factors that took place in the formation of this imagery. Conclusions. Among the main ethnic images of the artist are Armenian and Ukrainian, less – Russian, which corresponds to the main periods of creative work of V. Geghamyan – Armenian, Russian and Ukrainian (the latest, the longest). Occasionally, the master turned to the images of the Kurds, African, Spanish types, but the dominant throughout the creative path were the colorful characters of those who personified the historical homeland of the artist (Armenians), and those who personified his second homeland, Ukraine, where he settled since the 1960s.

More...

Download

Сучасна методологія та перспективи розвитку рекламного дизайну

Author(s): Svitlana Valeriyivna Pryshchenko / Language(s): Ukrainian Issue: 1/2019

The purpose of the article is to analyze the existing methodological approaches to Art Culture, Design-activity, Advertising for the further effective designing of advertising products, increasing its positive value orientations and aesthetic level. Research methodology. The integrative character of the Advertising industry determines methodological approaches and scientific methods. In accordance with the selected multimodal and trans-system approaches, the author substantiates and discloses seven necessary methods: system-structural, socio-cultural, axiological, art-historical, comparative, synergistic and semiotic. Scientific novelty. For the first time in Ukraine, the comprehensive analysis of Advertising Graphics as design component and form of socio-cultural communications was conducted, and the general prospects for the Advertising Design development, taking into account computer technologies were discussed. The relationships of functionality and aesthetics the forming means in the process of visualization advertising ideas from Affiche (Poster) to Digital Media are emphasized. Conclusions. Researching the Advertising Graphics as a product of Culture in the wide context, special attention is paid to the art-aesthetic problems of Advertising Design objects. Advertising discourse is defined as the type of communicative activity, that occurs in the cultural world area and actively forms the visual semantic structures. The proposed conceptual provisions for the Advertising Design development in Ukraine consist of expanding and deepening the Methodology of Project thinking, introducing the theoretical and methodological bases into practice and design-education, and concretizing the specialized terminology.

More...

Download

Маска як елемент театральної культури: наукова рефлексія

Author(s): Alla Oleksandrivna Medvedeva / Language(s): Ukrainian Issue: 2/2019

The purpose of the article is to outline the main strategies in the study of the mask in different historical periods of the development of performing arts, taking into account the scientific aspect. The methodology included an appeal to general scientific and special methods, such, in particular, as a method of content analysis of an art history source base; synthesis; analytical and under. Cultural, historical and art history approaches were also used, which made it possible to conduct an objective study, taking into account the historical and scientific aspect of mask development in theatrical culture. Scientific novelty. The study analyzed the weighty baggage of theoretical scientific works, which allows for all the variety of approaches and assessments of the role of a mask in the expressive means of performing arts to highlight the functions, forms, techniques and methods for creating an artistic image by an actor; to identify the artistic features and characteristic genre features of a mask for the performance of its use in modern acting training. Conclusions. The mask is the undoubted dominant of the creation of an artistic image in the work of an actor, which is revealed with the help of the specific possibilities of theatrical performance. The artistic “arsenal” of the mask has been tested by centuries-old practice and reveals its viability in the most modern stage systems. Characteristic is the expansion of interest in theatrical art from the beginning of the twentieth century, and the active search for new means of expression has aroused interest in the mask as a means with ancient traditions. A wide range of issues, an insufficient number of scientific works, the prevalence of nonfiction creates an objective need to develop various issues of performing arts as the main part of the theatrical art, which requires constant updating and updating both in practical and theoretical aspects, which feeds the interest in the study of the mask.

More...

Download

Musical and Instrumental Foundations of Modern Composition Techniques

Author(s): Alla Dmitrivna Chernoivanenko / Language(s): English Issue: 2/2019

The purpose of the work is to analyze the instrumental nature of modern composition techniques in the unity of their cognitive (performing and composing) and instrumental and sound parameters. The methodology of the research consists in application of aesthetic-cultural, comparative, theoretical and historical methods, as well as the analytical approach, which form a unified methodological basis. The scientific novelty of the work consists in expanding the notions about the genesis of musical art basing on the analysis of relations of the musical and instrumental principles and the nature of modern composition techniques. Conclusions. Instrumental nature of modern composition techniques is determined by the ongoing processes of individualization of composer's work in the areas of the author's vision of sound material, the relation to musical text, musical chronotopes, musical language, timbres, texture, shaping, etc. The factor of marginal diversity, technical complexity, and often the impossibility of the vocal embodiment of the sound material of compositions – not only sonorist, pointillist, aleatory, timbral-characteristic, etc., but also extramelodic (with a higher order melody consisting not of individual tones, but of the whole texture, when the entire texture becomes a melody) directly demonstrates the instrumental nature of the technique, reproduced in genres of music - mainly without the use of voices or their use in "unvocal", an instrumental sound format, often with the nonverbal meaning. Finally, the very musical thinking in modern composition techniques acquires the qualities of instrumentalization.

More...

Download

Естетичні традиції українського барокового іконопису в сучасному сакральному мистецтві

Author(s): Alexander Petrovich Tsugorka / Language(s): Ukrainian Issue: 2/2019

The purpose of the article is to determine the influence of the aesthetic traditions of Ukrainian Baroque on the development of modern icon painting. The research methodology is based on modern art criticism and cultural studies, which are based on interdisciplinary and integrated approaches. For the purpose of the study, the following were used: historical and cultural (to study the historical dynamics of the formation, formation and development of the Ukrainian Baroque style) and historical and comparative methods (to study the specifics of the evolution and transformation of the aesthetic traditions of Ukrainian Baroque in retrospect); the method of artistic analysis (to identify the specifics of the baroque iconography’s imaginative system); typological and system-structural methods (for the effective structuring of iconographic artworks, authorship, chronology and relationships with the aesthetic traditions of Ukrainian Baroque), as well as the method of stylistic art history and comparative analysis (to identify the specifics of pictorial style and technical and technological techniques characteristic of modern Ukrainian icon painters. Scientific novelty. The historical, political and socio-cultural factors that influenced the formation of bar features full-time icon painting on the territory of Ukrainian lands in the XVII – XVIII centuries, the characteristic features, aesthetic and stylistic specifics of the iconographic art of the Ukrainian Baroque era are defined, current trends, problems and prospects for the development of the aesthetic traditions of Ukrainian Baroque in the domestic icon painting are outlined. Conclusions. Socio-cultural space and the space of social art in Ukraine is characterized by extremely favorable conditions for the development of the modern iconography and creative experiments in the context of baroque styling, including the creation of icons inspired by the aesthetics of Ukrainian Baroque. The use of elements of Ukrainian icon painting XVII–XVIII centuries modern artists, the use of three-dimensional perspective, the image of Christ, the Virgin, archangels and apostles in national dress, with typical Ukrainian features – a symbolic hint of the need to search for holiness in real life.

More...

Download

Bataille i radikalna performativna umjetnost: Filozofija transgresIje u performansu RITAM 0 (1974) Marine ABRAMOVIĆ

Author(s): Igor Vučak / Language(s): Bosnian,Croatian Issue: 75-76/2019

(1) Uvod: Radikalna performativna umjetnost i ulazak u područje ekstremnog. Još d 1960‑ih godina performativni umjetnici počinju angažovati svoja tijela i stva‑ rati od njih jedan novi, radikalan, “umjetnički medij”, što će dalje potaknuti niz ekstremi‑ stičkih, nasilnih i ritualističkih performansa baziranih na različitim praksama transgresije psihe i tijela. Drugim riječima, samoranjavanje, sadomazohizam, asketizam, prolaženje iskustava na granici života i smrti, primjenjuju se kao ekstremni kanali u istraživanju kraj njih korporalnih i psiholoških granica kroz transformativno iskustvo traume i bola. U tom procesu, radikalna performativna umjetnost nastojala je uspostaviti jedan kompleksniji fokus na “društveni tekst” ljudskog tijela, upisan u mnogobrojne diskurse kulturne politi‑ ke, identiteta, seksualnosti i relacija moći

More...

Download

Descriptivism in Meta-Ontology of Music: A Plea for Reflective Equilibrium

Author(s): Lisa Giombini / Language(s): English Issue: 2/2019

In this paper, I investigate one popular view in current methodological debate about musical ontology, namely, descriptivism. According to descriptivism, the task of musical ontology is to offer a description of the ‘structure of our thought’ (Kania 2008: 437) about musical works, as it manifests itself in actual musical practices. In this regard, descriptivists often appeal to our pre-theoretical intuitions to ground ontological theories of musical works.This practice, however, is worrisome, as such intuitions are unstable and contradictory. For example, there is a broad variety of intuitions in our musical practice concerning what counts as an authentic performance of a musical work. All such intuitions reflect at least a part of actual practice; however, they are in conflict with each other. This raises a problem, for how can they thus represent a reliable basis for our ontology? A further worry for descriptivism concerns the triviality of the knowledge it gives us access to. If, according to descriptivism, the task of musical ontologists is simply to codify the regularities found in our intuitive thought or discourse about practice, then how can the resulting theories be informative at all with regard to the object of their concern?

More...