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Концепт «народна творчість» у культурологічному знанні

Author(s): Zhanna Petrivna Rumko / Language(s): Ukrainian Issue: 39/2017

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

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

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

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Лицар сумного образу в жанрі мюзиклу

Author(s): Iryna Yevhenivna Zaitseva / Language(s): Ukrainian Issue: 39/2017

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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Трансформація та синтез художньо-композиційних елементів етнічного стилю при формуванні проектного образу в індустрії моди

Author(s): Natalia Vladyslavivna Chouprina,Yevgenija Oleksiyivna Zaharchuk / Language(s): Ukrainian Issue: 39/2017

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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Колористика традиційного українського мистецтва іконопису у сучасній практиці

Author(s): Irina Leonidivna Golub / Language(s): Ukrainian Issue: 39/2017

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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Теоретичні основи танцю в німецьких трактатах початку ХVІІІ ст

Author(s): Miroslav Evgenovich Keba / Language(s): Ukrainian Issue: 40/2018

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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Індивідуальний виконавський стиль диригента-хормейстера як теоретична проблема

Author(s): Victoria Volodymyrivna Shevchenko,Svitlana Albertivna Dobronravova / Language(s): Ukrainian Issue: 40/2018

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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Методологія візуальних досліджень постсучасності: дискурсивні виміри

Author(s): Oksana Anatoliyivna Pushonkova / Language(s): Ukrainian Issue: 41/2018

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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Female Images of Ukrainian Women in the Works of Illustrators, Designers of Books and Magazines of the Twentieth Century

Author(s): Viktoria Oleksandrivna Cheban / Language(s): English Issue: 3/2018

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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Покрови у вигляді орла у візантійському мистецтві

Author(s): Iuliia Gennadyevna Matveieiva / Language(s): Ukrainian Issue: 3/2018

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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Критика сучасного балету в Україні: наукові та мистецькі риси

Author(s): Alina Mykolayivna Pidlypska / Language(s): Ukrainian Issue: 3/2018

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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Концептуальні засади етнодизайну в Україні

Author(s): Ilona Olegivna Sivash / Language(s): Ukrainian Issue: 3/2018

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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Семіотика українського та польського авангарду в світлі ідей Львівсько-Варшавської філософської школи. О. Богомазов – художники «Краківської групи»: від кубізму і футуризму до експресивно-ліричної абстракції (Стаття четверта)

Author(s): Volodymyr Anatolyevich Lychkovakh / Language(s): Ukrainian Issue: 4/2018

The purpose of the research. In the first article on the semiotics of the Ukrainian and Polish avant-garde, his philosophical aesthetic and cultural context was considered, in particular, in light of the ideas of the Lviv-Warsaw Philosophical School. To continue this problem, the semiotic parallels (homology) in the works of the Ukrainian and Polish avant-gardists of the first third of the XXth century are being analyzed. On the basis of the unity of cultural, aestheticsemiotic and art-study analysis of artistic achievements of artistic avant-gard in Ukraine and Poland, an understanding of the cultural and historical peculiarities of the creative dialogue of artists working in similar ideological and aesthetic paradigms is achieved. Research methodology. The research is based on the aesthetic-semiotic concepts of the representatives of the Lviv-Warsaw School of Philosophy (S. Baley, R. Ingardin, S. Lisse, L. Hvysteck) and the founders of the semantic philosophy of art (K. Bell, B. Croce, S. Langer, G. Rickert) and modern semiotics of culture (Y. Mukarzhovsky, Y. Loman, U. Eko). Interdisciplinary synthesis of philosophical and cultural, aesthetic and art-study approaches is used. Scientific novelty. From the standpoint of modern semiotics, for the first time, symbolic complexes and semantic contents in the works of the Ukrainian and Polish avant-garde are analyzed. Models of semiotic parallels (homologies) are created in the works of leading artists of Ukraine and Poland of the first third of the XX century. The method of extrapolation of the aesthetic-semiotic ideas of the Lviv-Warsaw School of Philosophy is used to understand the similarity and dialogism in the artistic imagery of individual artists. Conclusions. Phenomenological, intuitive, neo-positivist orientations of scientific and artistic and aesthetic thinking have caused cubistic, futuristic, abstract, and constructivist quests of avant-garde artists. The aesthetic principles of the semiosis of avant-guardism in Ukraine were laid by V. Kandinsky, K. Malevich, O. Bogomazov, in Poland - T. Piper, V. Steshinsky, G. Stazhevsky. The development of the Ukrainian and Polish avant-garde of these times is, in particular, a kind of "dialogue" between artistic groups and individual artists in Warsaw and Kiev, Krakow and Lviv. The intellectual atmosphere of these creative "competitions" is symptomatic of the scientific and philosophical positions of the Lviv-Warsaw School of Philosophy with its neo-positivist and phenomenological orientations, and especially - the semantic philosophy of art, which corresponded to the establishment of a new semiosphere of avant-garde imagery. The peculiarities of the dialogue of the artists are analyzed on the examples of aesthetic- semiotic and artistic parallels between V. Kandinsky and Y.T. Pyper (theoretical justification of the avant-garde in art), K. Malevich and V. Stshinsky and G. Stazhevsky (the search for suprematist and constructivist artistic language), O. Bogomazov and artists of the "Krakow group" (the path from Cubism and Futurism to expressive and lyrical abstraction). It is summarized that the semiotics of the Ukrainian and Polish avant-garde of the first third of the 20th century coincides in the sphere of "significant forms" of non-classics in fine arts.

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Сценічний образ моди як цілісність естетичних та культурних ініціатив

Author(s): Natalia Vitaliyivna Barna / Language(s): Ukrainian Issue: 4/2018

The purpose of the article. Determine the culturological components of the formation of fashion activity as a scenic phenomenon. Methodology of the research is based on the analytical method in the study of artistic peculiarities of the development of visual culture; historical - in the reconstruction and rehabilitation of the socio-cultural field of reality and functions of art; culturological - for the complex definition of ideological and stylistic paradigms of transformations of figurative artifacts of culture. Scientific novelty. Fashion as the integrity of aesthetic and cultural preferences in the context of globalization processes of the late XX - early XXI centuries becomes an active actor in the alternative globalization movement. Together with the processes of universalization and actualization of cultural and historical potential, fashion is understood as a global practice of cultural creation. Fashion is interpreted as a form of human cultural activity; it generates the potential of a model business, a culture of everyday life, a spectacular culture, and the like. Conclusions. Fashion in the context of world culture is a certain cultural and historical anthropology that represents the integrity of the person, as well as fashionable innovations in the context of various forms of the form: genre, stylistic, which gives an opportunity to see the limits of human creativity, the limits of the fashionable embodiment. The fashion carries the image of a grotesque. Fashion is also a fundamental mechanism of cultural cultivation, the specificity of which is expressed in the constitution of the processes of form-building in culture. Thus, by itself the design of fashion, fashion, stage, openness to another, and at the same time the desire to be self-sufficient and beautiful space, this indicates that the fashion is opened in different contexts of cultural development, in particular in design, theater, advertising, cinema, virtual reality. All these contexts somehow give different paradigmatic states, images of all that living, juvenile organism of the society, which can be noted as a fashionable universe that correlates with the universe scenic.

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Театральне мистецтво: мiстерiальна «формула» вираження глибини й незмiрностi людського буття

Author(s): Svitlana Nikolaevna Shumakova / Language(s): Ukrainian Issue: 4/2018

The purpose of the research is to broaden the field of understanding of the mysterious foundations of the theatrical art from the point of view of the unity of meanings that are in the process of constant birth, growth, transformation and replacement by new relatively complete disclosure of transcendental and meaningfulness as complete mutual penetration, free solidarity of spiritual and material, ideal and real essences. The methodological basis of the research is the fundamental philosophical-theoretical and cultural tradition of Western European and Russian thought, including the development of consciousness in the general process of cultural and historical life in its deepest foundations: through the transformation of "life-meaning", and the idea of the mystery is interpreted as interpreting the value-essential layers and aspects of being. The comprehension of the mystery from the point of view of the transgressive essence is a substantial center around which the study of its spiritual dimensions, nature, dialectics, Methodological research strategy tends to the synthesis of cultural, art and axiological approaches, providing for the expansion of analysts' optics, understanding of the deep semantic structure of the mystery. Scientific novelty consists in the substantiation of the semantic organization of the mysterial structure, its value-content characteristics in the context of the art-cultural and cultural aspects of existence and manifestation of the mysterial, which allows us to identify the energy-form-forming components of it. The conclusions: the primacy of the spiritual over the empirically concrete appears as the axiology of the conceptual substantiations of the mystery, which can serve as the paradigm of the ascent of man to the desired point where God, where the Spirit, where there is some, lying outside the unfolding of the metaphysical space in which new layers are opened creating meanings, building awareness of their place in the world and a correct understanding of how to be to "appear as a person."

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Культурна особистість: концептуальні ідеї П. Шафера

Author(s): Halyna Shevchenko,Tetyana Leonardivna Antonenko,Milena Vyacheslavovna Bezuhla / Language(s): Ukrainian Issue: 1/2019

The purpose of the article is to carry out a comprehensive analysis and to disclose scientific approaches and leading conceptual ideas of the modern Canadian culturologist Paul Schafer about the role of culture and art, which provides for a high level of development of the cultural personality. The methodology of the research is based on the axiological approach, which makes it possible to select the priority of the system of cultural, aesthetic, and artistic values that humanize, cultivate, and spiritualize a personpersonality. Scientific novelty of the research is that for the first time in Ukraine the holistic scientific views of the modern Canadian culturologist D. Paul Schafer on the characteristics of the cultural personality in the period of the Age of Culture, as well as the role and importance of the art in the cultural process of mankind, have been analyzed. [P. Schafer‘s monographs "The Age of Culture" and "The Cultural Personality" have been translated from English by the scientists of the Scientific Research Institute of Spiritual Development of Man and the lecturers of the Department of Foreign Languages and Professional Communication, Volodymyr Dahl East Ukrainian National University]. Conclusions. The article deals with P. Schafer‘s main conceptual ideas on cultural personality development: the cultural personality is a necessary condition for the Age of Culture development; the art and arts education are the foundations for life of the cultural personality; the cultural personality presupposes existence of the cultural worldview that must stand above the economic worldview; the four main contexts of the research of culture as a "complex whole" are characterized (artistic, social, anthropological, ideological); the cultural personality is holistic, centered, authentic, unique, creative, altruistic, and humane; the priorities of the Age of Culture are defined; the culture is the key to the development of spirituality of a personality.

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Globalization Problems of the Subjective Cultural Measurement in the Space of the Communicative Environment: Homo Esteticos as the Epicenter of the Harmonization of the Essence

Author(s): Olena Sergeevna Khlystun / Language(s): English Issue: 1/2019

The purpose of the article is to determine the cultural and aesthetic problems of the formation of a communicative environment as a factor in the harmonization of the globalization problems of our time. Methodology. The methodological basis of the study is the dialectical principle of cognition, systemic, sociocultural, historical approaches, fundamental provisions of the theory and history of culture. Common scientific and interdisciplinary research methods are used: analysis and synthesis, induction and deduction, comparison, generalization, formalization. The scientific novelty of the results is to identify the key problems of perceiving the subjective dimension of culture in the space of the modern communicative environment. Conclusions. The aesthetic-ecological dimension of cultivating and communicating provides an opportunity to move away from excessive metaphors and see the culture in its constitutive subjective principles of human identity. It is noted that the categorical list of descriptions of the perception of the aesthetic environment cannot be purely psychological, it is not an instrumental means of feeling the harmony of the substance. Thus, the lifelike creative stream that permanently updates the planet, man and its non-aggressive activity, amateur activities translate the aggressive element of the interaction of actors of globalization processes into a phase of harmonious unification of efforts. Aesthetic images of selfdetermination on the brink of their implementation require to play as a substantive leak when the game plays in people as a harmonizing turn of the essence.

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Мистецький синтез в архітектурній формі: від тоталітарного до індиферентного

Author(s): Oleksii Oleksiyovych Rohotchenko / Language(s): Ukrainian Issue: 1/2019

The purpose of the article is to study the problems of styles and styles, which led to the unification and merging of independent trends in the fine arts and architecture of the period of origin and the formation of socialist realism. Scientific novelty. Features of the emergence and development of the synthesis of arts in the USSR and its largest republic – Ukraine still remains unexplored. In the author's proposed interpretation of the synthesis of arts of the "Soviet model" criterion of the holistic perception of the stylistic unity of paintings, sculptural and architectural works is the totalitarian dependence of the artist from the hostile society. According to the author's version, the perception of architectural problems in Ukraine in the given period is considered in the arts, political and economic area and proves the crime of the ideology of totalitarianism. The methodology of the research of the declared theme is to combine art studies and historical intelligence. In accordance with the set tasks in the article applied research methods, complementary cultural, historical, art-study aspects. Chronological analysis and synthesis, comparative, biographical and cross-cultural methods were also used. Scientific novelty consists of highlighting and studying little-known facts, which confirm the author's doctrine concerning the distortion of the concept in the Soviet society of a concept as a synthesis of art. The association of fine arts with architecture was perceived more predominantly from the point of view of the works of Soviet ideologues, historians, art historians. The question of the indifference and lack of resistance in the conditions of a totalitarian cultural dictatorship concerning the interrelation of spatial arts and architecture at the angle of culturological interpretation was not considered at all. Conclusions. The analysis of architectural styles, their tasks, ways of development, the definition of the role of a person in the work (painting, sculptural, architectural), the influence of society and its dependence, comparing the current time with the events seventy years ago – is the way of true revival. The result of this work was an attempt to understand, study and make correct conclusions about the phenomenon of the synthesis of Ukrainian art and architecture of pre-war years. The only answer to the questions can be only solid cultural and artistic intelligence that will reveal the truth about the little-studied period of Ukrainian culture.

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Biographical Approach in the Discourse of Artistic Country Studies

Author(s): Myroslava Mykhaylivna Kachur,Lesya Mykhaylivna Mykulanynets / Language(s): English Issue: 1/2019

The purpose of the article is to specify the essence of the biographical approach, to reveal its role in interpreting material and spiritual achievements of the mankind and to establish its significance in the discourse of artistic country studies on the basis of thorough analysis and summary of the works in the spheres of sociology, culture and art studies. Methodology of the research consists in implementation of analytical, culturological, historical, axiological and systematic methods in order to reveal the sense of the biographical approach in the discourse of artistic country studies. Scientific novelty. The authors of the article specify the essence of the biographical approach, provide arguments in favour of its efficiency in culture interpretation and substantiate its importance for realizing the achievements of artistic country studies. Conclusions. Analysis of the works dedicated to the issue of biographical approach enabled the authors to ascertain that it is a specific scientific trend aimed at the study of anthropological processes, the basis of which is the ontological chronicle of a particular person, projection of their inner world, methodology of studying personal experience and fixation of this experience in history with the purpose to understand the very essence of the civilization. The direct object of the approach mentioned above is the description of an individual‘s life and creative functioning from the moment of birth to death, and its subject is a social and artistic situation that gives certain meaning and ideological wholeness to human existence. Chronicle is a portrait of the epoch, which reveals conceptual principles of certain age. Highlighting the world outlook of a creative personality, the biographical approach interprets the person‘s existential ideas, discovers their relations to the events of social and political life, as well as material and spiritual achievements of the mankind. Paying attention to the major events in the chronicle of an artist, modern art studies reconstruct and interpret the sense of the previous epochs and helps to find the sense of the person‘s life. Biographical approach as a way to study the artistic culture of the region promotes discovery of the peculiarities of its development within certain period, finding the ways to transform material and spiritual spheres and acknowledgement of the postulate that history is created by people and the process of art formation in the region depends on activities of its prominent figures.

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Медіа-війни крізь призму Cinema Studies: між Фуко та Бодріяром

Author(s): Lyudmila Sergeevna Gotz / Language(s): Ukrainian Issue: 2/2019

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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