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SKAITYTOJO ĮVEIKA VYTAUTO KAVOLIO TEKSTŲ ANALIZĖJE

Author(s): Alvydas Noreika / Language(s): Lithuanian Issue: 89/2016

The article deals with self-evaluation of Lithuanian-American sociologist Vytautas Kavolis textual analysis. It is argued that the widely accepted subjectivistic interpretation of Kavolis’ research is not in line with the sociologist’s own position. First of all, Kavolis’ objectivistic intentions are clearly expressed in his ontology of text and of meaning. Text and its essential meanings are defined as self-contained entities. Their being does not depend on the perceiver. Additionally, it is argued that Kavolis’ objectivistic position is not contradicted by his methodological pluralism, nor by his preference for value-oriented logic of selecting problems of inquiry described by a German sociologist Max Weber. Kavolis’ relationship with hermeneutic method is discussed as well. It is stated that the sociologist does not apply this popular method in his analyses. He uses other approaches in analysing texts: Freudian, Existentialist, Structuralist, Post-Structuralist and Structural-Functional ones.

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VAIZDUOTĖS AUTONOMIJA IR ESTETINĖ PATIRTIS

Author(s): Dalius Jonkus / Language(s): Lithuanian Issue: 90/2016

The paper discusses the modern idea of imagination and its various transformations in the phenomenological conceptual frameworks of Edward Casey, Mikel Dufrenne and Vasily Sesemann. I would like to raise and critically assess questions regarding the role of imagination in our consciousness: whether imagination is a productive or reproductive activity; and how, if at all, aesthetic expression limits imagination. Casey criticizes Dufrenne for his attempt to unite imagination with aesthetic expression. He argues for the autonomy of imagination, but leaves the question of the relationship between imagination and perception unanswered. Dufrenne partially shares his theory of imagination with Sesemann. Both philosophers claim that imagination is a reproductive activity rather than a productive one in the sense that it is limited by the forms of the material a priori. In other words, aesthetic expression has to obey the principle of correlation between percipiens and perceptum. Creativity becomes possible when the creator is able to reproduce in his expression another subject’s possible perceptivity. Sesemann accentuates the primacy of embodied imagination in his aesthetics. He believes that the necessary correlation between the object and the subject is born in the movement of embodied imagination. The fact that imagination is an embodied phenomenon is illustrated by the way it exists in the world, since imagination is essentially a free activity restricted only by “the style of the world’s horizon.”

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BALSAS, GARSAS IR TRIUKŠMA S: (EKO)ESTETINIO UGDYMO TEORIJOS IR EKSPERIMENTAI

Author(s): Lilija Duoblienė / Language(s): Lithuanian Issue: Suppl./2018

Together with images, sound also has tremendous impact on the perception of the world, and studies devoted to sound in education are still comparably scarce. For that reason, in this paper we attempt to understand why and how does the voice, sound, and especially noise become an object, instrument and an environment of education. The ideas proposed by critical pedagogy began to be applied in practice toward voice discourse analysis a few decades ago. Meanwhile the concepts and ideas of postmodern and posthumanist philosophy and their followers in the educational philosophy are neither simple nor easily applicable to sound and to noise as unpleasant sound. Nevertheless, new projects of sound in educational practice are being tested and implemented, in many cases still in connection with the approach of critical pedagogy to voice discourse. Despite different epistemological and ontological views on education in critical pedagogy and postmodernism, and although their link lacks justification and seems doubtful, the experiments presented in the article are innovative, rather successful and useful for the development of (eco)aesthetical education.

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FILOSOFINĖS LITERATŪROS LEIDY BA: REIKĖJO NUOLAT BANDYTI RIBAS IR STUMTIS VIS TOLIAU IR TOLIAU

Author(s): Aurimo Šukio,Antanu Rybeliu / Language(s): Lithuanian Issue: Suppl./2018

Interview with Antanu Rybeliu by Aurimo Šukio

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Regimybė ir realybė

Author(s): Vosylius Sezemanas / Language(s): Lithuanian Issue: 95/2019

Tai Vosyliaus Sezemano rankraštis, kuris saugomas Vilniaus universiteto bibliotekos Rankraščių skyriuje (F122-89). Rankraštis rašytas ant A4 formato popieriaus lapų. Iš viso 12 lapų, kuriuose užrašai yra abiejose pusėse. Parašymo data nežinoma. Tai specialiojo kurso ar platesnės apimties darbo paruošiamoji medžiaga. Todėl ji nėra visur nuosekli. Rankraščio kalba netaisyta, išskyrus paprastas korektūros klaidas (praleistas raides, svarbiausias rašybos ir skyrybos klaidas). Neįskaitytos teksto vietos žymimos trumpiniu neįsk. Tik ten, kur būtina dėl teksto aiškumo ar tikslumo, laužtiniuose skliaustuose įterptas žodis ar žodžio pabaiga.

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Meninis tyrimas: gegužiukas svetimame lizde ar epistemologiškai pagrįsta tyrimo strategija?

Author(s): Aldis Gedutis,Vytautas Michelkevičius / Language(s): Lithuanian Issue: 100/2021

In the broader context of other types of research, the authors of this article seek to analyse the epistemological status of artistic research. Because of its transdisciplinary character, artistic research is interpreted ambiguously: on the one hand, it might be treated as an unjustified and illicit intervention into the scientific field, on the other hand, despite its peculiarities artistic research still might be capable of creating knowledge commensurable with the knowledge produced in other (scientific) disciplines. The major question the article seeks to answer is the following: is it possible to justify artistic research applying ready-made arguments in the philosophy of science?

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Deleuze’o ir Guattari jutimo logika šiuolaikinio meno kontekste

Author(s): Sigita Dackevičiūtė / Language(s): Lithuanian Issue: 100/2021

Deleuze and Guattari’s concept of art (the logic of sensation) has been interpreted in the context of the opposition between modernism and contemporary art, and then it is either attributed only to modernism, which gives priority to the aesthetic dimension of art, or it is argued that we must see its potential to create “new connections.” These opposing views are expressed by Stephen Zepke and Simon O’Sullivan. However, Deleuze and Guattari’s artistic sensation is not a sensory perception, it is the main concept of their logic of sensation, encompassing both the sensory and the conceptual-virtual dimensions. In the article, I seek to demonstrate that Deleuze and Guattari’s artistic sensation, encompassing both of these dimensions, relates to the general context of Deleuze and Guattari’s philosophy and resonates with the aesthetic and semantic dimensions of contemporary art projects. Discussing Thomas Feuerstein’s installation Prometheus Delivered I demonstrate in what ways the notion of the logic of sensation expands the field of the interpretation of this work of art.

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Savęs pažinimas, savimonė ir objektyvacija

Author(s): Vosylius Sezemanas / Language(s): Lithuanian Issue: 100/2021

We present the translation of the Russian manuscript of Vosylius Sezeman, kept in the Manuscripts Department of the Vilnius University Library. It is written on a small notepad, which was made in 1954 in the third quarter of Krasnokamsk. Thus, it can be assumed that the manuscript was written in 1955, before returning from the camp in Taishet to Lithuania. Written in ink and somewhere in pencil. The text analyzes consciousness, self-awareness, and the subconscious. The embodiment of consciousness, the emotionality of consciousness, empathy, and the intentional relationship with the world around us and other living beings are discussed. Sezeman notes that the main feature of consciousness is openness and the ability to practically form an understanding relationship with oneself, the environment and others. In square brackets, the names of the sections are inserted by the translator for the convenience of the readers. Translated from: Manuscript F122-102 “Самопознание, самосознание и объективация” kept in the Vosylius Sezeman Foundation, Manuscript Department of the VU Library.

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Вплив джазово-музичних форм на естрадно-пісенну культуру

Author(s): Ivan Vasyliovych Bobul / Language(s): Ukrainian Issue: 4/2021

The purpose of the article is to identify the main trends in the influence of jazz and music forms on pop culture. The research methodology involves recourse to an interdisciplinary approach, as well as the use of comparative, historical, and logical methods of analysis and culturological approach in the study of these issues. The scientific novelty of the work is to generalize the problems of interaction and influence of jazz features of vocals on the development of pop vocals, expanding knowledge about the development of pop and song culture in general. Conclusions. The formation of pop singing is inextricably linked with the widespread of music halls, variety shows, cabaret, pop theaters, and more. By the end of the twentieth century, the media, the Internet, and screen culture led to the spread of pop vocals on a new level and pop singing became an integral part of everyday life. All these aspects and features of the jazz genre-style system had an indirect impact on the work of composers who turned to songwriting in the pop sphere, considered jazz as a mediator between "serious" and light musical forms while giving jazz techniques creative and methodological potential. Understanding the music culture of specific pop-jazz types (genres) of modern music influences the understanding of pop, pop vocals, and pop-jazz music as a phenomenon of art.

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Social and cultural project aspects on the example of musical and circus art project "Circle"

Author(s): Nina Vyacheslavovna Araya Berrios / Language(s): English Issue: 4/2021

The purpose of the article. Identify the background of social and cultural project aspects in modern European cultural integration in Ukraine based on the activities of the Kyiv Municipal Academy of Circus and Performing Arts; to outline the European integration vectors of performative cultural creation in Ukraine of the XXI century; to consider culture as a condition and a term of solving problems and tasks that are in other planes of social and individual life. The aim of the article is to analyze the musical and circus art project "Circle", which aims to combine and interact with traditional and innovative artistic trends by integrating them into a common and integral cultural area. The aim of the article is to analyze the music and circus art project "Circle", which aims is to combine and interact with traditional and innovative artistic trends by integrating them into a common and integral cultural space. The peculiarity of the work is the analysis of the phenomenon of "social and cultural project aspects", how it is reflected in the artistic area and how it affects culture in general. It is proved that in this context the starting point of cultural creation and formation of cultural norms and values is the activity of the educational institution, which affects the development of infrastructure and improvement of social and cultural space. Tasks: to identify the roots of social and cultural project aspects of modern European integration culture in Ukraine based on the activities of the Kyiv Municipal Academy of Circus and Performing Arts; to outline the European integration vectors of performative cultural creation in Ukraine of the XXI century; to consider culture as a condition and a means of solving problems and tasks that are in other planes of social and individual life. Methodology. The research is based on an interdisciplinary approach using the methods of historicism, scientific retrospection, personology, source study approach, and the method of theoretical generalization. The scientific novelty of the research is that the historical facts concerning the Kyiv Municipal Academy of Circus and Performing Arts, about its cultural and creative activity on the example of the music and circus art project "Circle" are collected and systematized. The significance of international collaboration for the further development of European integration processes in Ukraine of the XXI century is proved, the European integration cultural creation in Ukraine is investigated on the example of the music and circus art project "Circle". Conclusions. All-Ukrainian and international creative projects in the context of social and cultural project aspects are aimed at reproducing and preserving culture by internalizing cultural values, replicating the best ideas, attracting new technologies for cultural development in general as a basis for interpersonal and international communication. Creating and supporting art projects is one of the main tasks of cultural policy in educating the next generation of citizens with a clear cultural and national identity, which will further increase the cultural potential of the nation and the presentation of art projects in the international arena.

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Аудіовізуальні практики нових медіа та їх комунікативний характер

Author(s): Anastasiia Nikolaevna Tormakhova / Language(s): Ukrainian Issue: 3/2021

The purpose of the article is to analyze the specifics of audiovisual practices of new media and reveal their communicative nature. The methodology of the work is to involve an analytical approach to highlight the features of new media and their components. A comparative approach was used to highlight the features of audiovisual practices and media art. Scientific Novelty. The specifics of audiovisual practices of new media, which are characterized by interactivity, are revealed. Their role in communication through audiovisual content is emphasized. Simplifying the mechanisms for creating an audiovisual product in software applications makes it easy to distribute messages. In contrast to media art, which has a clear aesthetic function, in audiovisual practices prevail communicatively. Conclusions. New media occupy a significant place in the modern cultural space. A wide range of phenomena that can be attributed to new media is characterized by certain common features. These include their communicative nature and existence on the Internet. Audiovisual practices of new media are extremely diverse. They include both media art and practices that contain an aesthetic component but cannot be fully attributed to the arts. The art practices of new media are evolving through a combination of birth digital and became digital objects. Communication and interactivity are the basic characteristics of new media audiovisual practices.

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Роль арт-туризму в процесі формування туристичної привабливості території

Author(s): Olena Pavlivna Plyuta / Language(s): Ukrainian Issue: 3/2021

The purpose of the article is to determine the role of modern art tourism, its components, and varieties in the process of the formation of tourist attractiveness of a certain territory. The methodology of the research is based on the use of general scientific methods (systemic, structural and functional, genetic, typologization, etc.) with the involvement of research guidelines of socio-cultural analysis of phenomena and processes. The scientific novelty of the results obtained is to find out the role of art tourism in the process of forming a tourist attractiveness of the territory, which consists in the formation of a positive image of the latter due to the use of new methods and mechanisms for promotion. Conclusions. The article presents an article characteristic of art tourism, which provides intellectual rest, that is, a combination of pleasant with useful, namely purposeful visits to various art measures and events: forums of contemporary art, large artistic and photo exhibitions, theatrical prime minister, film festivals, etc. Art tourism creates positive characteristics of a particular territory, forms a certain image of a consumer about cultural and historical heritage, contemporary art, everyday style of life, etc. The features of modern street art, which is one of the directions attracting tourists from all over the world. Street art is able to tell an entire history of culture and life without a single word. More and more communities include Street Art and Graffiti in the concept of designing modern quarters and areas of their cities. Important attention is paid to this direction of creative tourism activity as an art hotel, which distinguished from the overall mass with its originality, artistic design, and creative approach to service.

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Мистецтвознавчі та культурологічні аспекти знаків і символів в образотворчому мистецтві

Author(s): Anastasiіa Vitalievna Varyvonchyk,Igor Savich Bondar,Andriy Kulik / Language(s): Ukrainian Issue: 3/2021

The purpose of the article is to introduce into art historical and cultural discourse of theoretically processed, generalized, analyzed information regarding the understanding of the meaning of symbols and signs in cultural studies and art historian scientists; Clarification of the root causes of the occurrence of basic concepts in cognitive anthropology. The methodology is based on the method of critical analysis of cultural, art historical, and literary sources; semiotic method; induction and deduction methods; historical, logical, and method of interdisciplinary synthesis. Scientific Novelty. Intrutded to the past experience of scientists, philosophers, art historians, culturalologists bring the need to pay attention to the meaning of symbols and signs in art history and cultural studies. The origins of the origin of the basic concepts of cognitive anthropology are found out. The author's vision of the badge and symbolism of the non-verbal language is set out, which is assimilated through the mastery of the national culture and requires intellectual efforts, corresponds to the N. Chomsky hypothesis, according to which the nature of knowledge, its use, material or physical mechanisms, the formation of the knowledge base and its application are associated with cognitive ability man in general. A modern approach to discuss issues on perceptual, security-indexed, subject-functional and other codes in the perception of reality are considered. The newest achievements of foreign and domestic researchers in the definitions of semiotic terminology, logical justifications of symbols and signs in cultural studies, and art historian examination were studied and analyzed. Conclusions. The results of the study of literary sources on this topic provided the opportunity to draw conclusions that in the analyzed editions of many authors was given insufficient attention to the origin of the terms of cognitive anthropology in the presentation of scientific material.

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Пісенний жанр у творчості українських композиторів першої половини хх століття: крізь призму фольклору, кітчу та шлягеру

Author(s): Taras Mykolayovych Dubrovnyj / Language(s): Ukrainian Issue: 3/2021

The purpose of the article is to consider the development of the genre of the song of the first half of the twentieth century. The methodology of the research is based on the historical and cultural and artistic methods of studying the genre of the song. The scientific novelty is to consider the genre of the song at different stages of its development (from folklore, amateur level, Kitsch, Biedermeier to a mass song, samples of socialist realist kitsch, pop culture, hits, etc.). Conclusion. The genre of songs during the first half of the twentieth century became one of the binding links of the "low" and "high" culture and due to its availability and easier perception, with frequent use of techniques and methods of Kitch, which later fallen the basis of pop culture, enabled the birth of such a The phenomenon as a hide, separate samples of which became a "classic", are popular today, taking their niche in the treasury of national musical culture.

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Te Deum для змішаного хору a’cappella Дмитра Стецюка в контексті сучасної Української духовної музики

Author(s): Mykhailo Petrovich Tyshchenko / Language(s): Ukrainian Issue: 3/2021

The purpose of the article is the insert to the scientific research the complete analysis of masterpiece by known Ukrainian composer Dmytro Stetsiuk Te Deum for mixed choir a capella and draw the attention of the choir conductors, who would like to insert to their music collectives a masterpiece, written in the tendencies of modern music and that can be performed either in the liturgy or in concerts. The methodology of the exploration is based on the combination of the general scientific (historical and comparative) and special musicological( of the genre, general and the dramaturgical-intonational analysis), that gives the opportunity to regard the historical basics of the Catholic liturgic tradition, and from another side-see the ways of its development and renovation. Scientific Novelty. The research is the first analysis of Te Deum for the mixed choir in the context of the modern tendencies of Ukrainian composers. Conclusions. The analysis of Te Deum for the mixed choir a capeella by Dmytro Stetsiuk in the context of religious music and in the sphere of the creative search of the modern Ukrainian composers proves the fact, that this masterpiece is written in the liturgic tradition and develops it in the intonational side. Componist completely uses the canonic text, but gives his own regard for it, also understanding of the main idea. The traditional melody of Te Deum from one side gives the unity of the composition, from another gives the basics for the modern stylization, because of intonation, voice tembre (the unity of the different groups of the choir), harmonical, factual (harmony and polyphony). This way are revealed individual traits of the composer and also the modern regard on the medieval liturgic text. The exploration of the masterpiece`s score gives the reason to be sure, that it is not only in the liturgical tradition, but also can be performed in the concert hall.

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Традиціоналізм у складі стильової парадигми мистецького мислення ХХ століття

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

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

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Сюїта Микити Кошкіна «Іграшки принца» у контексті динаміки оновлення гітарного мистецтва ХХ століття

Author(s): Mykhaylo Mikhailovich Tushchenko / Language(s): Ukrainian Issue: 3/2021

Purpose of the article is to study the nature of the embodiment of the peculiarities of the creative method of M. Koshkin in the «Prince's Toys» suite. Methodology. To solve the set tasks, genre-style analysis and executive analysis were used. Scientific novelty: this work is an illumination of the results of one's own experience in interpreting M. Koshkin's suite «The Prince's Toys» based on a combination of performing and research activities. Nikita Koshkin's guitar music is viewed in conjunction with the general dynamics of the 20th century's art renewal. Conclusions. When creating music for the guitar, the composer skillfully used the potential of this instrument. The work on the composition took into account the historical possibilities of the guitar in the performance of classical music, including the entire experience of the existence of a six-string guitar. The language of Koshkin's works always comes from the specifics of the guitar. The composer-guitarist uses all the resources of the instrument in order to create the effect of its versatility, to demonstrate the boundlessness of its possibilities.

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Музика в Українському балеті як музикознавча проблема: досвід та перспективи вивчення

Author(s): Vladyslava Viktorivna Aksiutina / Language(s): Ukrainian Issue: 3/2021

Purpose of the Article. The study of the source base on the issue of music in Ukrainian ballet to generalize the theoretical heritage and outline the prospects for further research on this issue. Methodology. The article is based on the analytical method of research, the method of systematization, and comparison. These methods allowed us to analyze the literature on the selected issues, to classify and compare its problem perspective. Scientific novelty. The scientific novelty is to compare the experience of studying the musical basis of ballet as an art problem in the traditional (experience) and innovative (perspective) sense with the obligatory parallel analysis of the choreographic component. Conclusions. Given the uneven coverage and study of musical and choreographic components of the ballet genre in scientific thought, it is appropriate for scientists to strive for a conscious in-depth study of those aspects of ballet that do not lie in the field of their specialization. Examples of works, where the ballet study as integrity, are the works of O. Afonina, O. Zavyalova, O. Karandeeva, D. Sharikov.

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Особистісно-комунікативні якості шоумена: self-made man Ларрі Кінг

Author(s): Olena Sergeevna Khlystun / Language(s): Ukrainian Issue: 3/2021

The purpose of the article is to analyze the main milestones in the life and personality qualities of Larry King, which influenced the formation of his communication skills as a professional showman. The methodology combines art history, cultural studies, and historical approaches. A biographical approach was used to analyze the main milestones in the life and work of Larry King. At the same time, general scientific research methods are involved: analysis, synthesis, generalization, etc. Scientific novelty. For the first time in Ukrainian science, the stages of life, personal and communicative qualities of Larry King, which influenced his formation as the most famous American showman of the twentieth century, are analyzed. Conclusions. Larry King can be considered a man who made himself. Getting rid of shyness, being able to choose a topic for conversation, attracting an interlocutor, etc. are the main qualities of a successful showman, which can be developed even without proper education. Also, the life and work of Larry King allow us to conclude that the ability to communicate - one of the most important in any profession and in any personal relationship. The art of conversation, negotiation, or interview makes us not only successful interlocutors but also a person who can reach great heights in the profession and reach people's hearts. This is evidenced not only by the life story of the showman but also the popularity of his highest-rated talk show on television "Larry King Live", the success of which is largely due to the personal and communicative qualities of the host.

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Сценографічна режисура як феномен театру ХХІ століття

Author(s): Valeriy Petrovich Patsunov / Language(s): Ukrainian Issue: 3/2021

The purpose of the article. The research is connected with the process of assimilation of theatrical direction with the profession of stage designer as a determining trend in the development of modern theater. The methodology is based on the use of comparative, historical, and dynamic methods. This methodological approach allows us to analyze the formation of scenographic direction in time, as well as to highlight the algorithm for the birth of a scenographic image by the director of the performance. The scientific novelty of the work lies in the expansion of ideas about the evolution of directing as a profession towards the profession of a stage designer and about the emergence of a stage mix "stage design direction". Conclusions. Scenographic direction as a product of the historical evolution of director's art has significantly enriched the figurative philosophical and spectacular components of the theatrical work. At the same time, there is a dynamic tendency of a certain release of the director from the captivity of the playwright, the conquest of the author's text by the director's concept of the performance. The study of the phenomenon of the formation of "scenographic directing" will contribute to the improvement of theatrical education, the correction of educational programs of theatrical educational institutions, taking into account modern trends in the development of the art of directing.

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