Razgovor Cipriana Mihalija sa Jean-Luc Nancyjem
Interview with Jean-Luc Nancy by Cipran Mihali
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Interview with Jean-Luc Nancy by Cipran Mihali
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Purpose of Article. The aim of the study consists of the disclosure and elucidation of the theoretical and methodological basis of the «people's creativity» concept in cultural knowledge. The methodology is formed on the general principles of scientific knowledge, which correspond to the contemporary cultural discourse. The mentioned fact led to the use of further research methods: system-analytical - to study the philosophical, culturological, art history literature on the chosen problem; system-structural - for the purpose of the profound study of the essence of the chosen concept as a complex cultural and artistic phenomenon of the Ukrainian and world’s artistic culture; formal and comparative methods - to analyze the essence of the «people's creativity» concept, an understanding of its components.of the study is to apply formal and comparative methods to study aspects of preserving popular culture in the context of the current difficult times. The scientific novelty of the work aims to reveal the essence of the notion of «folk art», as well as the related terms of definition, in particular: «amateur art», «folklore», «amateur», «artistic amateurism». During the study, the profound analysis of the relevant sources that outline and actualize the problems and the results of their place in cultural science knowledge was conducted. Conclusions. The theoretical and methodological foundations of the «folk art» concept within modem cultural knowledge are revealed and clarified. The «folk art» is defined as a component of a common culture that is formed and manifested in the process of life, historically and socially predetermined by the product of life and creativity of people. A universal social phenomenon and a product of the historical development of the society, «folk art» and «folklore» synthesize the spiritual consciousness, activity and behavior of people in the sphere of social relations and a qualitative indicator of the way of citizens’ life were realized within the context of the mentioned cultural values.
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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.
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Purpose of Article. To characterize and highlight the creative activity of the famous artist of the art stage - V. Zeldin, his interpretation of the image of the protagonist of the novel M. Cervantes "Don Quixote" and performance of the role in the genre of the musical "Man of the Channel" M. Lee. Methodology. The research consists in applying the methodology of general-cultural, literary, historical and theatrical, biographical, functional, art-study methods of studying the versatile professional activities of the outstanding master of stage art V.Zeldin, his creative achievements in the work on the famous classical character M.Servantes Don Quixote, interpretation and traction of the artistic image. Scientific Novelty. For the first time, the fruitful, multifaceted creative activity of the outstanding theater and cinema artist V. Zeldin is explored, the peculiarities, the original artistic achievements of the famous master and his phenomenal skill of embodiment the image of Don Quixote in the musical genre. Conclusions. Miguel de Cervantes is a humanist, a theater supporter, a talented writer, and a playwright who proved himself as an innovator in the field of literature, having created a work-parody of knight novels. Thanks to Cervantes, world literature was replenished with the "eternal image" of Don Quixote and the emergence of the term "quixotic." This image and progressive ideas of the novel inspired the work of the most famous artists at different times and found the embodiment in different genres of art, particularly in ballet, cinema, theater. The appearance of the American musical "Man of La Mancha" in 1965 influenced the development of this genre in the European theater space as well, humanistic ideas and eternal moral values in the image of Don Quixote attracted attention of the Ukrainian director V. Lizogub, Russian director A. Goncharov in the 70's, and in the beginning of the third millennium - Yu. Gusman, who created the musical-ode for ideas of nobility and idealism of the generation of the sixties. A bright page in the history of the musical "Man of La Mancha" was written by one of the last performers of the role of Don Quixote - V. Zeldin, whose phenomenon of actor's longevity is a unique fact in the history of contemporary theater and needs further study of researchers.
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Purpose of Article. Identification of the nature of artistic and compositional characteristics influence of the national costume in the design of modem clothing and determine the criteria for assessing the aesthetic expressiveness of a fashionable dress in ethnic style. The methodology of the research is to apply the comparative-analytical apparatus of pre-design studies. As a result of the literary-analytical method, a comparative analysis was carried out in which the compositional structure of the traditional outfit was analyzed and systematized, and the means of their transformation were determined in the conditions of the modem fashion industry and costume design. Scientific novelty. In the course of the analysis, the means of transformation and synthesis of artistic-compositional elements of ethnic style during the formation of a design image in the fashion industry have been identified. Conclusions. In the modern fashion, there is no quotation of certain ethnic motives, designers carry out the transformation of certain folklore elements, preserving their semantic value and combining with contemporary fashion trends. Ethnic style does not cease to be relevant in the new fashion seasons because it has already enveloped virtually all the main and colorful peoples. According to such topical trends of the modern fashion industry as globalization and personalization of design images, leading designers create collections of various stylistic solutions, but ethnic cultures have conquered them the heart. In the design of clothing, this is found in search of inspiration in the traditional costume and the creation of models with ethnic notes. In addition to the costume designers also turn to decorative and applied arts and oral folk art. Therefore, one can safely say that traditional folk traditions continue to live in the models created by world-renowned designers and consumers of the mass market segment of the fashion industry
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Purpose of Article. The research determines the color changes of traditional Ukrainian art of icon painting, on the basis of systematization and generalization of manifestations in contemporary icon painting. Methodology. The methodology of the research implements historic, systematic and analytical approaches. The mentioned methods allow to rethink and analyze the Ukrainian art of icon painting from the perspective of the modem scientific thought through the prism of the wide range of special literature. The certain practise allows to investigate the stylistic tendencies in the development of the coloristics of the Ukrainian icon painting art, to identify stylistic changes and to trace the dynamics of the particular changes. Within the framework of the systematic approach, the coloristics of the Ukrainian icon as a whole, with the coordinated functioning of all artistic means as elements and parts are investigated. Scientific Novelty. The scientific novelty of the article is the study of the influence of colorist stylistics (baroque, classicism, romanticism) based on the modem practice of icon painting. Conclusions. It is determined that the colors of the Ukrainian art of icon painting have certain features of traditional coloristics stylistics (baroque, classicism, romanticism). The role of color symbolism in the reproduction of ethnonational traditions of Ukrainian culture is substantiated. Modem color schemes of Ukrainian art form, an original combination of traditional coloristics, and the new symbolism of Ukrainian iconography.
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Purpose of Article. The study deals with the development and research of original methods for creating an artistic image of a contemporary in folk and stage choreography. A significant role in the mentioned creative process is conducted by the professional skills of the ballet masters that in specific cases are not entirely careful with the enrichment of art pieces peculiarities with other expressive elements of dance, and perceive it as a requirement to take a few expressive and artistic means of choreography and mix them into one. Methodology. The research methodology is based on the use of comparative and critical methods. The specified methodological approach allows revealing and analyzing the distinctive features of the application of expressive and artistic means in the creative and production work of famous ballet masters of Ukraine, to identify distinctive features of their implementation due to the genre and type of the dance art. Scientific Novelty. The scientific novelty of the work lies in the extension of the associative process of creative imagination of a ballet master and director, which acquires a particular poetry while listening to music, and, also, to identify the areas of the dance’s idea preservation, identity and originality of the dance pattern or manner of a performance, with a multiplying of the mentioned aspects by the achievement of the professional folk choreography art to raise it above the original. Conclusions. Carrying out stage performance of folk dance, where the main character is an image of a contemporary, the ballet master, combining in musical and visual synthesis various arts, and possessing all the expressive means of dance, should understand that "none of the types of dance is accidental. It reveals the temperament of the people, the system of movements coordination, which is different in different peoples, the relationship between movements and music, connection with the history and life of the people” [6, 10].
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The purpose of the work. The research is dedicated to the works of S. Pavlyuschenko from the point of “creative society” view. The certain article talks about the influence of S. Pavlyuschenko onto the formation of several generations of famous Ukrainian musicians as well as onto the aesthetics of Ukrainian intelligence. This virtuoso dedicated the own life to Ukrainian folk songs, which helped the development of Ukrainian culture. The methodology of the research is based on the application of universal scientific methods, in particular: historical, chronological, the method of structural and computational analysis, systematization, and generalization. Scientific novelty. S. Pavlyuschenko was also a talented conductor and a close follower of masterpieces of H.Veryovka’s choir. The aspects of master’s artistic personality can be seen in his works at the position of Dean of Performing Folk Song Department at the Kiev National University of Culture and Arts (KNUCA). Conclusions. While analyzing Pavlyuschenko’s creative career, we have to consider him not only as a performer but also as a gifted teacher. Analyzing S. Pavlyuschenko’s creative path, scientists have the opportunity to significantly expand the perception of the artist’s work and its significance in terms of the Ukrainian musical art.
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The purpose of the article. To study the influence of J. Pasha's treatises «Beschreibung Wahrer Tanz-Kunst» (1707) and G. Taubert «Rechtschaffener Tantzmeister, or the Gründliche Erklärung der fratzösischen Tantz-Kunst» (1717) on the formation of the theoretical foundations of dance teaching at the beginning of the eighteenth century in Germany. The methodology of the study consists of the principles of objectivity, historicism, multifactor, systemicity, complexity and pluralism; and to achieve the goal methods used: problem-chronological, concrete-historical, statistical, descriptive, logical-analytical. Scientific novelty. In the context of art studies study of the formation of theoretical basics of dance teaching in Germany at the beginning of the eighteenth century, the rare sources of European dance-masters - the treatises of J. Pasha, G. Taubert, S. Beer and J. Weaver - were reviewed and analyzed; the representation of contemporary dance choreographers about the theory of dance was determined and the aesthetic, theoretical and practical bases of ballroom, social and theater dance were analyzed; categories of Ausserliche Sitten-Lehre or visible ethics are considered, as well as substantiated the differences between the theory and practice and their interconnections; It was revealed that the theory of poetic dance is connected with practical questions of dancer's abilities and abilities, combination of steps, cadences, figures, etc. Conclusions. As a result of the art analysis of German rare sources of the 1700-1720's, it was determined that: dance theory based on aesthetics was formed and developed by dance master G. Taubert (1717), which, based on the generalization and comprehension of concepts and some aspects posed by J. Pasch, S. Beer and J. Weiver proposed a consistent theory of dance by studying the development trends and aesthetic values of dance art in the context of domination in Europe at the beginning of the eighteenth century French choreography.
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Purpose of the Article is an analysis of existing works on the individual performing style of conductor-choirmaster in the modern scientific work, as well as the generalisation of the criteria of the study of the personal performing style of conductor-choirmaster. Methodology. The work used an interdisciplinary approach, through which the analysis of the claimed problem is carried out with the involvement of scientific developments in the field of art history, theory, the practice of performing arts and psychology. Also used general scientific methods: inductive, deductive, hermeneutic. The approach of analysis and systematisation, - to generalise information about the phenomenon of "individual performing style." Scientific novelty of research consists in the systematisation of works devoted to the study of the problem of the individual performing style of the conductor-choirmaster; For the first time in the domestic humanities, attention is focused on the aesthetic components of the personal performing style of the conductor-choirmaster. Conclusions. The individual performing style of the conductor-choirmaster includes a set of "actions", which forms potential opportunities for revealing the internal energy of the conductor-choirmaster, achieving the goal, implementing artistic ideas. In setting the criteria for the individual style of the conductor, the specificity of the own interpretation of the work plays a significant role. The basis of the individual conductor style is the specificity of artistic thinking. It is associated with aesthetic and psychological components, which, in turn, affect the image-emotional and technical-manual interpretation of choral works. All this as a whole is a factor and an indicator of mastery of the conductor-choirmaster.
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Purpose of the article is to outline the discursive dimensions of modern visual research in the context of interdisciplinary methodology. Methodology. The general scientific and interdisciplinary methods of research are used: analysis and synthesis, induction and deduction, comparison, generalization, formalization. The discursive basis of interdisciplinarity is the cultural-theoretical approach, which establishes deep relationships between different subject areas, in which specific aspects of the problem are studied. Scientific novelty. It has been defined that visual culture and corresponding discourse determine a whole range of cultural artifacts and scenarios, serve as a sign of the degree of human ontology in culture and its identity changes, becoming markers of the emergence of new textuality forms. Discursive dimensions of visual culture act as strategies for its development. Conclusions. Post-present undergoes total changes in textuality, due to which the problem of systematization of discursive research of visual culture in interdisciplinary contexts arises. In connection with changes of values in the culture, which affect the changing of modes of vision, its discursive dimensions are formed (cultural-traumatic, physicality, identity, ethnic-regional), which determine the prospects for its development. A promising task is to establish common patterns of leading discourses in changing the textuality in the direction of archaism as the primary level of representativeness.
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The purpose of this research is to study the peculiarities and details of the appearance of the girls from the «cover» of the twentieth century, in particular: what was different and what was common in the images of the Ukrainian and foreign masters while working on the cover of books and magazines as well as to determine the functions of women’s image in Ukraine and other countries. The methodology of the research is based on the use of cultural, structural, comparative, and analytical methods of study of female images in the works of illustrators, book publishers and magazines of the 20th century. Scientific novelty consists in expanding the notion of female images in the cover pictures of books, illustrations for articles and fashion magazines of the twentieth century. A comparative analysis of the images of Ukrainian girls and foreign women gives us an idea of the different levels of development and self-sufficiency of women of that time. Conclusions. The article examines the stereotypes of women's images and forms a special type (or rather types) of representation of the female body on the covers. It studies «traditional images» of women, the subtleties of appearance of female images on magazine covers and identifies relevant images for drawing portraits on the cover.
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Aim of work. To reveal the informational and symbolic role of eagle-shaped covers in Byzantine art. To analyze this phenomenon and find out the reasons for combining into one artistic image of such different objects as an eagle, fabric, and a covered umbrella. The methodology of the study includes historical, iconographic and semiotic methods. The scientific novelty of the work is to uncover the role of architectural, textile, decorative and symbolic images with the image of an eagle as a cover in Byzantine works. The roots of the semantic connection of the eagle, cloth and umbrella are revealed for the first time. Their semantic connection explains the paradoxical system of images where the eagle, cloth and umbrella are combined forming a kind of a hybrid. Conclusions. The combination of eagles with the cloth and umbrella in Byzantine iconography was possible due to their semantic connection. This connection was based on bible texts and the outlook of people of that time. The eagle was a symbol of God's blessing, defence and cover. All these features in bible, ancient texts and culture were associated with a tent and a fabric cover that protected from the weather, covered from the enemy, preserved the shadow, and was a symbol of honor and presence of God's blessing.
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Purpose of Research is to analyze the criticism of contemporary ballet in Ukraine through the prism of scientific and artistic features. Methodology. The application of the method of analysis of scientific literature and publications in the media in chronological order, comparison of reviews of modern ballet performances in Ukraine allowed conducting a scientifically objective study. Scientific Novelty. The research shows the evolution of the problems of ballet criticism from the 70's of the XX century up to the present times, a comparative analysis of reviews of modern ballet performances in Ukraine. Conclusions. Ballet criticism from the problems of the formation of the own methodology and the training of specialists in critical appraisal activity in the 70-80s. XX century passed today to the issues of reforming the aesthetic criteria for assessing the phenomena of modern choreography and mastering new channels for the promulgation of information (social networks, blogs). Art criticism has gone from the duty of manipulating consciousness by the ideological guidelines of the authorities to complete freedom in revealing the artistic value of the work. The dualistic nature of aesthetic criticism (the combination of scientific and artistic features) requires a balance of artistic aspects, among which the exaggerated emotionality is characteristic for ballet criticism, and the scientific component (a definite form of expressing thoughts, observing the methodological foundations for writing critical evaluation work, and the correct use of the categorical apparatus). In Ukraine, there are not enough specialists with the understanding of the specifics and role of criticism of choreography, oriented not only to the rapid informational and educational presentation of the material but to the analyst of high quality. Unfortunately, professional reviews and reviews rarely appear in the media, which impoverishes not only cultural and artistic discourse but also makes it impossible to implement a wide range of criticism functions necessary for the development of choreographic art.
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The purpose of the article is to consider the conceptual foundations of ethnodizaina and its specificity at the present stage of the cultural and artistic development of Ukraine. The research is related to the analysis of ethnodesigner approaches to artistic and design activities. The methodology of the research is based on socio-cultural and historical-artistic methods, which allow to reveal the influence of ethno-artistic traditions on shaping in different types of design, to reveal socio-cultural factors of ethnodizaine and characteristic features of the culture of the Western and Eastern regions of Ukraine. The scientific novelty of the work is the formation of the author's conception of Ukrainian ethnodizaina. The modernization of traditional artistic forms will contribute to the development of the national style and the strengthening of the national image of the Ukrainian state. Conclusions. The article reveals the important role of ethnodizain in the design processes of Ukraine at the end of the XX - the beginning of the XXI century. On the basis of the conducted analytical work, the main provisions of the further development of ethnodizaine are defined: formation as a link between utilitarian and aesthetic in a design facility, a stylistic solution as a manifestation of certain ideological guides, the use of Ukrainian ethnonyms as a creative interpretation of works of architecture, fine arts and applied art.
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The Purpose of the Article is to investigate and explicate the cultural messages of the new Walt Disney Pictures studio film «Oz: the Great and Powerful» (2013). This cinematic narrative is a vivid and resonant example of the representations of auto-reflections by creators of film industry about the history, social role and powerful influence of cinema as a medium between creators and recipients of film production. The methodology of the study consists in the use of structural-functional approach, formal analysis, hermeneutic and semiotic analysis, discourse analysis, archetypal and axiological analysis. The scientific novelty of this research lies in the fact that, for the first time within the framework of the Ukrainian cultural studies and cinema studies, it has raised the question about the way in which representatives of the film industry themselves use the means of cinema to problematize, conceptualize and represent media warfare as well as their own role and mission in modern society. Conclusions. The analysis of the representations of the nature of modern power and the role of media, which has been carried out using the example of the film «Oz: the Great and Mighty», has demonstrated the ideas of M. Foucault and J. Baudrillard to be of very high importance. The media representatives’ view of their role in the society is represented by Baudrillard’s «show – power – simulacrum» chain, which constitutes the vicious circle of the modern media world’s way of being. At the same time, the images of power in film narrative are situated between the extreme poles of the dispute between two intellectuals about the nature of power: on the one hand, power is omnipresent (M. Foucault) and, on the other hand, power is a dead simulacrum (J. Baudrillard). The axiological core of a film product is a parodical simulacrum of the traditional ethics and a well-thought-out construct, a media indulgence, which legitimizes and ensures mental destabilization of society, which J. Baudrillard has warned us about.
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According to Geert Hofstede and Gert Jan Hofstede, cultural heroes (e.g. artists) provide a personalized link between symbols and rituals in culture. This article assumes that ‘heroes,’ for instance creators of art brut, embody important choices of life values. The French term art brut, meaning ‘raw art,’ or ‘rough art,’ was created by the French artist Jean Dubuffet to describe art created outside the boundaries of mainstream culture. Art brut is a unique phenomenon appealing in particular to those who accept a special responsibility for the artifacts thus created. Today, all the shapes of virtue (embraced by truth, goodness, and beauty) are corollary of a consensus, that is, they establish a comparative measure of things and of people. Only art, provided it is not kitsch, escapes this new form of power. Hermann Broch reanchors the value of beauty in the metaphysical realm and puts it in the center of the aesthetic discourse. Within Kantian aesthetics, imagination is analyzed as related to the pure forms of time and space, and the scheme this analysis renders is considered as the model for understanding art. However, Jacques Rancière warns against extrapolating this paradigm onto “politicized” thinking, in particular by means of the media which use emotional images and evoke certain sentiments in order to justify individual opinions without appealing to the imagination. Social stratification, which is a mark of the modern (philistine and bourgeoise) society, excludes certain individuals (for instance, certain artists) from public discourse, or even removes them from the public horizon. Currently, we witness gradual disappearance of axiological considerations combining ethics with aesthetics and linking the value of the good to that of beauty. Ethical and human values, such as those inherent in the Decalogue, are still recognized, but they are no longer considered as binding: rather, they are privatized and perceived as relative to particular historical circumstances, which, in turn, are relativized by the humanities, as well as by the social sciences.
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Kada se tvrdi da je "svijet" danas izgubio mjeru i razlog vlastite nesvodljivosti prodorom planetarne tehnike uobičajeno se dodaje da je u nadoknadu za taj gubitak dobio nešto novo. Jednoznačno se iskazuje da je ta "novost" rezultat napretka i razvitka modernoga znanstveno-tehničkoga odnosa spram bitka.
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Pejović verkörpert in seiner Person das ursprüngliche philosophische Ethos und die Gelehrsamkeit. Die Stärke seines Denkens spiegelt sich in der verfeinerten Analyse des Themas wider. Sein literarisches Talent ist klar und er fühlt sich wie ein Virtuose und ein Künstler von Worten und Stil, der stellenweise poetisch ist. Er spricht leicht über die schwierigsten Themen der Philosophie. Er besitzt einen klaren, lehrreichen und enthusiastisch angemessenen, verfeinerten und raffinierten Ausdruck, der über alle unsere philosophischen Autoren hinausgeht. Dies wird bereits in den Titeln seiner Bücher, Studien, Aufsätze und Artikel sichtbar, die die Tiefe seiner Bedeutung angeben, und als würde die Bedeutung des gesamten Textes in ihnen selbst liegen. Obwohl nicht der Einzige, zeigte Pejović, dass es möglich war, anders zu denken, neue Perspektiven zu öffnen, sich der Zukunft zu öffnen, indem man aus dem marxistischen Regenmantel herauskommt, in den wir fast alle gehüllt waren. Professor Pejović demonstriert, wie sich die Evolution entwickeln kann, um auf Kommendes, Neues und Andersartiges zu treffen. Natürlich ist das Neue und Andersartige allein dadurch nicht schon hier, aber um neue Horizonte zu eröffnen, müssen wir gegen die Strömung vorgehen.
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In the 19th c. translation of plays by European playwrights and their inclusion in the repertoire of the Georgian theatre was regarded as one of the significant directions, as this was a useful process of mutual acquaintance and exchange of values. “Translated literature is a treasure for intellectual progress and success of every people”, – well-known Georgian publicist and literary critic Petre Umikashvili noted, – “We partake of the success of the intellect of the world, its intellectual life, we adopt its education, partake of and sympathize with its joy and pain”. The viewpoint of Ilia Chavchavadze, Akaki Tsereteli, Valerian Gunia and others Georgian writers of that period concerning translations and adapted works are in full harmony with the modern criteria, such as: the translator’s creative talent, a good command of both languages and maximum approximation of the translation with the original. According to Valerian Gunia, adaptation of other authors’ works is an even more difficult process and, in addition to the above-mentioned the qualities, the author of an adaptation “must have the knowledge of life and human beings, sense of moderation, critical mind and aesthetical taste, he must study the laws of the stage and art of drama. Adaptation of a play is the same as writing of a play; often it is easier to compose a new play than to adapt a play in a proper and artistic manner.”
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