ОСОБЛИВОСТІ КІНЕСТЕТИЧНОЇ ЕМПАТІЇ В СУЧАСНОМУ ТАНЦІ

Author(s): Kateryna Lukyanenko / Language(s): Ukrainian Issue: 2/2022

The purpose of the article is to identify the features of kinesthetic empathy in the context of the specifics of dance partnership in modern dance. Research methodology. The method of cognitive and systems analysis was used (to highlight the basic essential characteristics of kinesthetic empathy and its manifestation in modern dance); comparative method (to identify the features of dance partnership in modern dance); method of theoretical generalization (to formulate research conclusions). Scientific novelty. Kinesthetic empathy in modern dance has been studied through the prism of dance partnership; the concepts of "kinesthetics", "empathy" and "kinesthetic empathy" in the context of the specifics of dance art are specified; the development of the kinesthetic-empathic approach in modern dance in retrospect is considered; the peculiarities of the manifestation of kinesthetic empathy in the process of partnership interaction are analyzed. Conclusions. The act of modern dance is a unique pattern of conscious movements in space-time, and a dancer endowed with the ability to go beyond it can cause a local experience in himself and his partner in kinesthetic communication. Contemplating the body of a partner in motion, he sees a possible move that can be made by his own body. The study found that the nature of relationships represents kinesthetic empathy in the dance partnership of modern dance, the specifics of physical performance parameters, external form of the existence and is based on three main aspects: contact (direct physical, emotional, visual, etc.); coherence of actions; mutual understanding (manifested both in functional technical characteristics, from the coincidence of rhythm, consistency of steps to visual consistency, and in the ethics of contact). Considering the partnership between dancers as a rhetorical act based on a particular type of nonverbal confidence between two (or more) people who move together physically and/or energetically (according to F. Adrin) and includes time, balance, strength, body shape, and personality, united in movement (according to K. Lowe), we can state that the concept of kinesthetic empathy in the context of the specifics of partnership in modern dance is manifested as an empirical interaction between performers, embodying aspects of their movements. This unique interaction is positioned as a sensory experience facilitated by the emotional component, memory, and imagination of the dancers - aspects of emotions and memory become ways to kinesthetically enhance their interaction. Dancers create motor images that combine positions of movement, so their partners can kinesthetically experience the dynamics of movement sequences, and thanks to the kinesthetic imagination, they "connect" to the energy and rhythms of the partner's movements.

Особливості композиції «Богоматір Всіх скорботних Радість» у Київському та лаврському іконописі XVIII століття

Author(s): Olga Olegivna Ryzhova / Language(s): Ukrainian Issue: 40/2018

The purpose of the article is to identify the features of the iconography of the topic "Our Lady of Joy of All Who Sorrow" in the context of the Kiev and Lavra icon painting of the 18th century. The methodology of the research is based on the principles of system art analysis. An integrated approach to the study of the problem involves a combination of the following scientific methods: an analytical method - to consider the previous research on the selected topic; comparative stylistic and iconographic analysis of monuments - to identify the features of works of art. Scientific novelty is to is to reveal the iconographic features of the composition "Our Lady of Joy of All Who Sorrow" in the Kiev and Lavra icons of the 18th century. Conclusions. Based on the results of complex bibliographic and iconographic research of the icons "Our Lady of Joy of All Who Sorrow" which is from the basement of the iconostasis (1760 1762) of the Church of St. Theodosius Pechersky in the distant caves of the Kiev Pechersk Lavra and the icon of 1786 from the Podolsk Resurrection Church (I 92) from the collection of the National Museum of Art became possible to assert that in the Kiev and Lavra iconography of the XVIII century corresponds to the western type "Madonna Miseriсordia ". As options of this iconographic scheme, according to the author's choice or at the choice of the customer, the compositions "Pitying and visiting in distress of the afflicted" (icon from the iconostasis of the Church of St. Theodosius Pechersky) and "The Madonna of the Mariners" (icon from the Podolsk Resurrection Church) are used. Thus, one of the main features of Kiev and Lavra icon paintings of the XVIII century is the creation of variable images based on a single iconographic type.

Особливості та провідні суперечності сучасного культурного процесу в Україні ХХІ ст.

Author(s): Svitlana Mykolayivna Sadovenko / Language(s): Ukrainian Issue: 2/2012

The article presents a general description of the individual components of the national cultural space, based on modern theory and cultural history of the essence and national peculiarities of Ukrainian culture, outlines major trends of its development and functioning, as social, value and contradictions of contemporary cultural process in Ukraine.

ОСОБЛИВОСТІ ФУНКЦІОНАЛЬНОСТІ ГАРМОНІЧНОГО ЗВОРОТУ ІІ–V СТУПЕНІВ ЯК ОСНОВНОГО ЕЛЕМЕНТА МУЗИЧНОЇ ЛЕКСИКИ ДЖАЗУ

Author(s): Volodymyr Zhurba,Yanina Zhurba / Language(s): Ukrainian Issue: 42/2022

The purpose of the article is identifying the harmonic and functional characteristics of the main elements of jazz harmony, namely the harmonic progression II–V. To achieve the goal of the article, the following research methods were used: comparative (for a comparative analysis of the harmonious functionality of academic and jazz music); method of musicological analysis (for musicological analysis of jazz standards); method of stylistic analysis (to identify the stylistic characteristics of certain styles of jazz music); method of generalization (to summarize the study). Scientific novelty. In the presented scientific work, for the first time in Ukrainian musicology, an attempt was made to theoretically comprehend the functional connections within the framework of the harmony of jazz music. Conclusions. Harmonic formula II–V is the single functional link of jazz harmony, the main characteristic of which is the dominant functionality. Since the phenomenon of dominance is the main impetus for the implementation of musical development, the harmonic progression II–V is not only the main harmonic formula, but also a leading element of the harmonious development of jazz music. This statement is an impulse to rethink harmonious functionality in the context of jazz music and, in particular, to understand the function of harmonic progression II–V, which will lead to a fuller and deeper understanding of jazz music by its performers and, consequently, listeners.

От конкретизация към социализация на художествената творба

Author(s): Ivan Stefanov / Language(s): English,Bulgarian Issue: 3/2019

Тhe main thesis of this article is that the perception of a work of art involves a dual process. On the one hand, there is a process of “descending” to a free subjective interpretation of the artistic meaning of the work; on the other hand, and in parallel, there is a contrary process of “ascending” to a real objectivity, i.e., to a social conclusion, more or less conforming to the beliefs and criteria that come from current or historical time. The subjective whims of individual concretization are correctеd and placed within certain socio-cultural frames through the mediation of what sociology of art defines as internal and external mediators.

От литературното изследване до безпокойството за литературата: Цветан Тодоров и въпросът за литературата

Author(s): Philip Stoilov / Language(s): Bulgarian Issue: 1/2020

ОТ ПОЭТИКИ МИФА К ПРОСТРАНСТВУ ТВОРЧЕСТВА: ТУЙААРА ШАПОШНИКОВА

Author(s): Vlada Vladislavovna Timofeeva / Language(s): Russian Issue: 1/2016

The artistic process is considered in the paper as one of the methods of reproduction, representation, translation, and transformation of ethnic mythological meanings and symbols, as well as their adaptation to the new conditions of multicultural existence. Tuyaara Shaposhnikova, one of the brightest representatives of contemporary fine arts of Yakutia, creates works that are characterized by the associativity and polysemy by combining the methods of the European art schools and traditional techniques of folk creativity. The works of the artist are permeated with symbols and metaphors of the national traditional culture. The modern author creates a cycle of colorful lithographs based on the plots of oral historical legends dedicated to Elley, the cultural hero and first ancestor of the Sakha people. The graphic artist is attracted to his image expressing the family power due to its symbolic potential. The myth is naturally included into the structure of engravings through the quotes of folklore plots and the expressions of cultural and historical archetypes. T. Shaposhnikova has developed her own style based on the motifs of folk art and folk traditions of the Yakuts. Her works are characterized by elegant decorativeness of the general solution related to the use of geometric ornaments, symmetrical or balanced structure of the composition, flatness, and conventionality of the picture. It is concluded that the fine art of Yakutia undergoes a material process of adaptation to the perception by other cultures, thereby overcoming the isolation and one-sidedness of folk images and motifs and revealing the semantic unity of human cultures.

От светлой одежды — к светлому будущему: дискурс о цвете детской одежды в СССР 1950–80-х гг.

Author(s): Olga Boitsova,Ekaterina Orekh / Language(s): Russian Issue: 6/2016

The paper explores the place of discourse on children’s clothes within the ideological discourse of the Soviet epoch: what meaning was carried by colors of children’s clothing, what ideological messages were conveyed through verbal and visual utterances on how to dress kids. As research methods, discourse analysis and visual content analysis were used. The authors studied recommendations on children’s clothes contained in books, brochures, magazine articles published in the USSR from the 1950s to the 1980s, and postcards depicting children from 1960 to 1980. The research results indicate that in the Soviet official discourse of the late 20th century, children’s world was considered in some cases as distinguished from the adults’ one. It seems that one cannot speak of a single and consistent Soviet conception of childhood throughout the whole period of existence of the Soviet Union.

От танцa Сема до съдбовната среща между Руми и дервиша Шамс по пътя на Любовта

Author(s): Vyara Popova / Language(s): English,Bulgarian Issue: 1/2020

The text offers a formal and meaningful analysis of the ritual dance-prayer Sema; on this basis, the author: 1) briefly presents Sufism as a specific mystical movement in Islam, and 2) introduces expository concepts and terminology specific to Sufism. The text proceeds from the premise that Sema is a visual demonstration of Rumi's ideas, expressed in his poetry, regarding the Path, Love, and the Beloved as symbols of the relation of the human being (as created) to the Creator. Thus, the dance Sema becomes a visual-figurative cipher for the adequate reading and understanding of Rumi's mystical poetry.

От черното към бялото или от бялото към черното: Междукултурни сравнения на прототипни структури

Author(s): Encho Gerganov / Language(s): Bulgarian Issue: 3/2003

Отвъд колективните въображаеми: разкази без разказвачи

Author(s): Snezhana Popova / Language(s): Bulgarian Issue: 6/2019

The understanding that the social imaginary is not the “opposite” of the real, but a peculiar reality, is among the most important social insights of the last century. For today century, the anxiety of the advance of the imaginaries remains. The article traces their evolution – from collective representations generated in structured communities and reference groups, through virtually formalized subjects, constituted in media, to various forms of narration in virtually collective non-entity. The focus of attention are precisely the “subjectless stories” (conspiracies, social tendencies, social desirability), the imaginary ones launched through them, and the participation of contemporary media in the legalization of arbitrary relationships.

Отвъд фигурата

Author(s): Moris Fadel / Language(s): Bulgarian Issue: 5/2020

The article deals with the concept of the letter in its relation to the concept of figure. The research of the late Paul de Man is taken as a basis for the analysis of the letter. The author highlights an interesting twist in De Man. He is known as a theorist and apologist of the figure. It turns out, however, that in his later works De Man is more concerned with criticism of the figure, which does not mean returning to the traditional understandings of the correspondence between language and empirical reality.

Отвъд Хайдегеровата критика на метафизиката в изкуството

Author(s): Nikifor Avramov / Language(s): Bulgarian Issue: 4/2020

The text presents critically situations, which are fundamental for Heidegger’s critic of aesthetics. We comment not necessarily and solely on claims explicitly related to the aesthetical but also at general claims in implicit relation to art. The analysis implies that the regions lacking coverage regarding art by Heidegger’s thought can be uncovered through the restoration of metaphysical analysis. Respectively our conclusion has to do with the relationship between the definition of objectivity a perspective provides and the object it claims, the discrepancy of which Heidegger’s thought exemplifies problematically.

Относно истината и лъжата в отвъдморален смисъл

Author(s): Friedrich Nietzsche / Language(s): Bulgarian Issue: 2/2021

Translation into Bulgarian of a very early essay by Friedrich Nietzsche after the reprint of the continuous treatise from 1873 (Historical-critical Complete Edition of the Works, prepared by Hans Joachim Mette, LXXII f.).

Паметта като проблем пред мисълта (ноематика на забравата)

Author(s): Andrey Leshkov / Language(s): Bulgarian Issue: 2-3/2017

Here we attempt to delineate a vanishing point of consciousness, the point where its contents are lost track of. This leads to a phenomenology of forgetting, which impresses an orientation to that which acts preconsciously within consciousness itself. When the vanishing point is reached, that point becomes its own other. This recession marks its flowing-away in time. However, the point is wedged between the limits of horizons. In the reduced world, that which is encountered horizontally is connected by the I can as a mode of access. For an I, all the horizons are modalities of forgetting. Its prevalence testifies to the finitude inherent in the ἔκστασις of consciousness. Here, cognition itself is based on a forgetting: anything known as enduring is pitted against the forgotten. And We have to face the forgotten in order to reveal forgetting’s contemporaneity with reflection. But in forgetting, I must be aware of forgetting: I is ineluctably implicated in cognizance (as illustrated by an approach to Husserľs intertwined themes of finitude and temporality). The phenomenology of forgetting points towards the situation of individuals and puts them vis-a-vis it in a reflective responsiveness, relating them to thinking in such a way that they can know themselves as being present in their thoughts. We should reconsider, then, the conviction that the transcendental ego no longer represents an abiding insight.

Память из гипса. О хрупкости традиции и моделировании прошлого-будущего в позднем творчестве Виктора Пелевина

Author(s): Mateusz Jaworski / Language(s): Russian Issue: 171/2020

The paper aims at interpreting two recent novels by Viktor Pelevin — Mafusail’s Lamp and iPhuck 10 in the context of time-space, remembrance and oblivion. The analysis revealed the Russian writer’s vast interest in the physical and philosophical theories related to the true nature of the Universe. Therefore, time and space are inextricably connected in the relevant novels as they form a whole network of parallel realities. Moreover, the realities do not function in the linear way, as human beings would like to perceive them. In Mafusail’s Lamp time travel is possible, but the introduced modifications of the past make the future impossible (in fact, the amendment of the past leads to an utterly new time-space). On the other hand, time travel in iPhuck 10 takes an unorthodox form of world creation (in this case — a world struggling to revive traditional spiritual values), as remembrance in the novel calls for constructing a whole new world. Thus, time travel hardly makes any sense, as all possible worlds exist simultaneously.

Пантеизмът на Фернандо Песоа

Author(s): Kiril Popov / Language(s): Bulgarian Issue: 2/2016

Парадигмальні аспекти взаємодії психоанализу й арт-терапії: проблема якісної класифікації психотипів (закінчення)

Author(s): Galina Popoyena Poserezhna / Language(s): Ukrainian Issue: 39/2017

Purpose of Article. The article substantiates the psychological type classification based on universal ontological grounds, and demonstrates an ability to scan psychic characteristics of an individual. Thus, the mentioned idea provides an effective interaction of practices based on the psychoanalysis and art therapy. The certain claim opens the space for the actual interaction of psychoanalytic and art-therapy practices. Methodology. The methodology of the study applies methods of classification and typological analysis as well as integral and symbolic-numeric approaches. Their application allows to reveal the disadvantages of the existing quantitative classifications of psychological types and to offer the universal and qualitative ones instead. Scientific Novelty. The scientific novelty of the article is presented through the fundamentally new method of psychological types classification practice. The approach appeals to the conglomeration of objective psychic modes that form a certain psychological type (altogether there are 16 of them, which are systemically represented). In addition, the logical justification for the selection of mental functions, which are taken into account in the proposed qualitative classification, is provided for the first time. As a result, each person appears as a carrier of an exclusively individual set of specific mental qualities, unique as to their "bouquet," which can be "woven" from objective data, rather than reflections of a psychoanalyst. Conclusions. Only by using a qualitative classification of psychological types, psycho- and art therapy-related practices will develop a strong paradigmatic basis, thus, combining their actual ontological aspects in harmonious coherence, and allowing to accelerate the psychodiagnostic process radically. At the same time, from the scientific and theoretical perspective, the developed method will open new channel of the essence of man as a cosmic phenomenon realization.

Парадоксите на творческата иновация

Author(s): Valentin Angelov / Language(s): Bulgarian Issue: 2/2022

Novelty (innovation) has an important role in the modern art; the value of a work of art is most often measured by it. This article explores the negative innovations, some of which have even a scandalous effect. From Dadaism onward the topic of negative innovations is of theoretical interest. This raises the question of negative values in the modern art, especially in Avant-garde art.

ПАРАДОКСЫ АНАЛОГИЧЕСКОЙ РЕПРЕЗЕНТАЦИИ: ОРИГИНАЛ И КОПИЯ В ФЕНОМЕНОЛОГИЧЕСКОЙ ТЕОРИИ ВООБРАЖЕНИЯ

Author(s): Elena DROZHETSKAYA / Language(s): Russian Issue: 1/2022

This article deals with a phenomenological standpoint on paradoxicality of image-consciousness(imagination), i.e., an analogical representation in which an image possesses material support. Contrary to tradition, E. Husserl thought of imagination as being both an intuitive and a mediate act. Husserl’s opinion results from paradoxical nature of an image itself: an image (Bildobjekt) appears but it doesn’t exist, while the exhibited thing (Bildsujet) does exist but doesn’t appear in proper sense. The paradoxicality of an image results in its double conflict — with actual present and with Bildsujet. Initially, Husserl considered that the more analogous features an image possesses the less conflict exists between it and Bildsujet, but then his own experience made him change his mind. Examining a wax figure example, he came to the conclusion that this perfectly human-like object is rather a fiction (an illusion) than an image for it is constituted in a position-taking intention, not in a neutralized one. However, despite we’ve got knowledge of illusory nature of such an object our consciousness keeps on fluctuating between an imaging intention and a perceptual one. Unlike Husserl neither J.-P. Sartrenor M. Richir draws a distinction between an image and an illusion. Sartre considers the imaginary in its radical form to be a world of schizophrenic. As for Richir, he supposes the imaginary to be amass-consumption product being used for ideological manipulations. He follows Plato’s intellectual strategy and characterizes an image as εἴδωλον (simulacre) which represents the reality instead of reaching it. Being saturated by visible an image lacks any gap that would give an impulse to a work of imagination. At the same time, Richir admits that simulacre does relate to art, whereas an artefact doesn’t. An artefact is made by technical device which imitates not reality but consciousness. Thus, an artefact in its turn is not a reality illusion but an illusion of a reality illusion. Its hallucinatory effect makes us believe that we look into a mirror of reality as if a technical agent had better access to it than a human eye does.