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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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This paper is about Heidegger’s understanding of beauty, with regard to his specific critique and reevaluation of traditional philosophical aesthetics, known as overcoming of aesthetics. Namely, since the notion of beauty is not the most prominent one in Heidegger’s understanding of aesthetics, my aim in this paper is to point out to its role and function in the project of overcoming of aesthetics and metaphysics, and consequently, in the development of Heidegger’s later philosophy in general. I will focus my analyses on two Heidegger’s lectures dating from 1935-1936, The Origin of the Work of Art and The Introduction to Metaphysics. Both of these, in my view, represent key texts for the analysis of the notion of beauty in Heidegger. Firstly, I will analyze the relationship between beauty and art, and thus show that Heidegger’s approach to beauty implies ontological connotations (with regard to the question of Being), as well as a critique of traditional relationship between beauty and art (art as production of beauty). Secondly, I will stress the relation between beauty, truth and light (shine), and thus indicate Heidegger’s positive approach to the matter. Resulting from these analyses, Heidegger’s notion of beauty is shown as a vital part of his overcoming of aesthetics and metaphysics, but also as a specific aspect of various questions and problems of his later philosophy. Additionally, the results of these analyses can become a starting point for further interpretation of the relationship between beauty and form, and between light (shine) and Being in Heidegger’s philosophy.
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The purpose of the work is to reveal the essence of the process of introduction of corporate culture in the system of aesthetic orientation of professional training of TV presenters. The research methodology involves a comprehensive approach with the use of analytical, systematic, and comparative methods, which makes it clear that the ideal of art education needs a meaningful content, creating optimal conditions for corporate culture in the system of aesthetic life of students of higher education and arts. The scientific novelty of the work lies in updating the concept of corporate culture in the context and in connection with the formation of professional training of broadcasters. Conclusions. As a result of the conducted research it is established that in the conditions of creative higher education the implementation of the aesthetic orientation of professional training of students is carried out by forming the personality of the artist with harmoniously combined professional, moral and aesthetic, psychological qualities and is provided with purposeful educational activities. The most important aesthetic qualities in the process of forming the corporate component of the aesthetic preparation of future TV presenters are the following: respect for the history, culture, dignity, ethical ideals of each people; interest in the national language, customs, traditions, as well as feelings of mutual tolerance and delicacy as to the national "other" mentality, spiritual values, and carriers of another culture and opinions that do not coincide with one's own.
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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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The work of Alexander Herzen My Past and Thoughts is one of his most important philosophical works. It has been published for the first time in full in Serbian back in 1951, in three volumes. At that time, some of his other works have also been published, for example his Letters on Studying Nature. After 65 years, a new translation of Herzen’s book My Past and Thoughts has appeared. A Serbian reader is now able not only to become acquainted with an extraordinary overview of development of Russian philosophical and social thought, but also European currents in which Herzen himself played an important role, evolution of thought of various actors as well as the epilogue: from great hopes of Europe to major disappointments. Tha author maintains that in Herzen’s vast opus this book occupies a special place. In it, we can find a gist of thoughts and actions of an insightful mind the openness of which can easily be compared to Rousseau or Voltaire. Herzen was well-known and influential in Serbia too, especially in the late 19th century and until the outbreak of Balkan wars and the First World War. Some people from Serbia who had at that time acquired their education in Europe had in various ways communicated with him as well as other Russian revolutionaries of different stripes, asking major questions about the direction Serbia should take.
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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 firm maxim of the old aesthetics, postulating that art can develop only within the framework of tradition, was subjected to radical critique in the second half of the 19th and first half of the 20th century by modernist painters. The destructive work of avant-garde artists assumed the form of absolute rejection of the old aesthetical norms and rules. This practically meant that, based on the free use of whimsicality (useful for such artists), the creative imagination was completely emancipated. Thus, pluralism of experimentation replaced creation, thereby turning the sphere of art into something like a minefield. Perhaps that is what Marcel Duchamp’s ironic work, “Mona Lisa with mustache” meant to express… The mediating factor that the avant-garde implemented into the work of art, can most precisely be designated today as “creative arbitrariness”, inasmuch as this is the actual support of modern innovative art.
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Purpose of the article. Research of graphic technique of linocut, its art history analysis to determine its influence on the development of art and design in Ukraine from the standpoint of popularization of Ukrainian culture. The research methodology consists in applying a comprehensive methodological approach based on the use of general scientific and applied methods, first of all, the comparative-historical method (archival heritage, modern scientific works), the concrete-historical method for analyzing the influence of linocut and artists' achievements in popularizing Ukrainian art. also the use of the method of comparative analysis and historical and cultural approach will help to identify the main trends in the development of linocut in the work of Ukrainian artists in the global context. The scientific novelty of the work lies in the expansion of ideas about the use of linocut in art and design. In the postindustrial period of society, for the revival of the cultural layer, it is necessary to show the artistic and aesthetic value of linocut for the representation and promotion of Ukrainian culture, which will emphasize the prospects of this graphic technique in art and design. The novelty lies in the attempt to comprehend and identify the main trends in the development of the linocut technique in the representation of Ukrainian culture and creativity of Ukrainian artists in the XX - XXI centuries, which is due to historical, social, cultural processes. Conclusions. Analysis of the essence and representation of graphic techniques in the works of Ukrainian artists indicates the interdependence of ancient cultural heritage and achievements of the XX-XXI centuries, which allows improving linocut and should affect the development of art and design in Ukraine.
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The purpose of the article is to reveal the specifics of the formation of a sound image in accordance with the artistic and aesthetic concepts of the art of sound recording of the middle of the 20th century, developed by the founder of concrete music P. Schaeffer. Research methodology. Systemic and typological methods were applied (to study the specifics of the sound image and identify its role and significance for the art of sound recording); the method of historicism, which helped to outline the general trends of this issue in the middle of the 20th century; the comparative method (for identifying the peculiarities of sound perception by P. Schaeffer, deepening the understanding of his artistic and aesthetic concepts of the sound image and the specifics of the methods and techniques of sound processing developed by him). Scientific novelty. The specificity of the means of artistic and aesthetic expressiveness of the art of sound recording in the process of forming a sound image is investigated; on the basis of the analysis of the "Treatise on Musical Objects" ("Trait'e des object musicaux"), the artistic and aesthetic concepts of sound, formed by the French composer, the founder of concrete music, Pierre Scheffer, are identified and characterized, and the forms of their creative implementation are analyzed; it is proved that the specificity of the formation of P. Schaeffer's artistic and aesthetic concepts is due to the peculiarities of general cultural processes of the middle of the 20th century. and shows an organic unity with the then theoretical and practical style, artistic, semantic, and aesthetic norms. Conclusions. Artistic and aesthetic concepts of the formation of the sound image of P. Schaeffer played a key role in the history of musical art and the art of recording, in particular, the concept of specific music formed the direction of development of various genres of studio music (experimental electro-acoustic music, radio art and "sound poetry"), and the techniques and methods he proposed are widely used in modern sound recording to improve the sound. According to P. Schaeffer's concept, everyday sounds that are not considered musical can be aesthetic, and their artistic and aesthetic expressiveness is realized by means of thoughtful listening. The specificity of the artistic and aesthetic concepts of P. Schaeffer in the context of the formation of a sound image is due to specific technologies that contribute to the full formation of the acoustic space (both real and virtual), the expansion and enrichment of the sound texture by means of regulating temporal, spatial and frequency parameters.
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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 artistic and aesthetic features and leading trends in the development of German expressive dance of the first half of the twentieth century. and determine their impact on the development of modern dance in the first decades of the XXI century. Methodology. The system method is applied, thanks to which the peculiarities of German expressive dance are considered; the method of comparative analysis, which helped to identify common and distinctive features in the central concepts of dance K. Joss, M. Wingman, and P. Bausch; method of art history and artistic and stylistic analysis, through which identified and substantiated trends in the development of German modern dance and modern dance). Scientific novelty. The artistic and aesthetic principles of German expressive dance are studied on the basis of the analysis of choreography, aesthetics, and discourse of movement K. Joss, M. Wingman, and P. Bausch; the basic theatrical concepts of the range of emotions of the leading representatives of the German expressive dance motivating physical movement are revealed; determined that P. Bausch, M. Wingman and K. Yosse work with emotional space, which is directly related to physical movement and configures their own unique aesthetics of movement experience - dancers aestheticize the human body, covered and subject to strong emotions. Conclusions. The characteristic interest of German expressionist dance to inconspicuous, accidental, or natural manifestations of corporeality, the focus on violating previously established boundaries of art, the search for innovative ways to approach the chaos of reality, causing the formation of certain models of corporeality, and others. can be clearly seen in the modern dance of the early XXI century – phenomena, representing a unique way of artistic and bodily modeling of the world, become one of the important dancers and generators of current cultural and artistic values and meanings.
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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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The purpose of the article is to study the artistic and aesthetic features of vocal and pop art as a genre synthesis of arts. The research methodology involves the use of system-structural, comparative methods of analysis and culturological and art approaches in the study of these issues. The scientific novelty of the work is to expand the theoretical boundaries of understanding vocal and pop performance as a synthetic genre that combines different arts, and its defining artistic and stylistic features that directly affect the structure and stylistic features of vocals, interpretation of the work, its perception by listeners and representation of values, ideas and impressions generated in the process of performance and its perception. Conclusions. Conclusions. Variety vocal performance as a kind of musical text involves special manifestations of intertextuality, so it is possible to find layers of artistic and species series, expressive forms and meanings, artistic and linguistic means and interpretive techniques. From the point of view of specific tasks of artistic communication, it appears as a generalized form of musical and artistic activity that can claim universality and has its stage and staging canons, determined by value concepts of culture, but in their new popular sense. There are also exemplary compositional and semantic models in this field, the imitation of which is a recognized way to join the pop vocal and performing professionalism. In the field of pop and vocal performance in its theatrical and staged form there is a specific mythologizing, which concerns the figure of the singer as the central actor of the concert program, which forms a certain image to achieve extreme artistic persuasiveness.
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