Journal articles: 'Art, Modern 21st century Psychological aspects'

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Kolesnikova, Elena I. "Utopian View of the World: Modern Studies. Review: Utopian Discourse in Russian Culture of the Late 19th – 21st Century. Literature. Painting. Cinema. Monograph. Moscow, Flinta Publ., 2021, 281 p. (in Russ.)." Vestnik NSU. Series: History, Philology 20, no. 9 (December 6, 2021): 122–27. http://dx.doi.org/10.25205/1818-7919-2021-20-9-122-127.

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The author analyzes the monograph “Utopian discourse in Russian culture of the late 19th – 21st century. Literature. Painting. Cinema”. The review determines the position of this book in modern science of projective models of the future. A key aspect is the continuity of previous studies on the category of utopia, and above all, B. F. Egorov, whose memory the book is dedicated to. The transition of modern art beyond the utopian genre is noticed. This confirms the appropriateness of the discursive technique. The author emphasizes the relevance of the traditional conversation about environmental problems and expresses bewilderment at the disregard by Western philologists of Russian fiction and scientific literature. As an unquestionable advantage of the monograph, its modern anthropological approach to the psychological details of private narrative utopias is noted.

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Северин, Віктор Дмитрович, and Надія Василівна Северин. "ФІЛОСОФСЬКО-КУЛЬТУРОЛОГІЧНИЙ ВИМІР ВИСТАВКОВОЇ ДІЯЛЬНОСТІ В КОМУНІКАТИВНОМУ ПРОСТОРІ СУСПІЛЬСТВА." Humanities journal, no. 4 (December 19, 2018): 45–53. http://dx.doi.org/10.32620/gch.2018.4.05.

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Exhibition activity in Ukraine is becoming important. Exhibitions as a factor of scientific, technical and cultural progress in modern conditions contribute improving the efficiency and quality of production, the development of economic relations and international cooperation. The object of the article is to define the concept of exhibition design as a particular aspect of art-design activity, its role and functions in the information and communication space of the modern design culture of Ukraine. The problem of exhibition design is relevant in modern art history. Researchers suppose that at a certain stage people began to use objects and the environment as tools to satisfy an instinctive impulse to discover, emphasize, deify, sell and interpret elements of their own experience. Such «communication environment» considered as a creative sphere, or exhibition design. In the conditions of technical progress, the incorporation of elements of aesthetics into production gradually began to cover all production areas. The role of exhibition design in the organization of modern exposition is to create, in combination with communication room design, an environment that would provide the most profound and complete transmission of information, help to attract the audience and increase the intensity of understanding. The functions of exhibition design are: educational, cognitive, axiological, psychological, aesthetic, communicative, etc. Exhibition design in the 21st century both in the world and in Ukraine is characterized by the use of innovative technologies, which contribute to the expansion of the information field of the exposition and the disclosure of its main idea.

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Kalinina, Larisa Yu, Dmitry V. Ivanov, and Nikolai A. Nikitin. "Contemporary art thesauri in the context of the teaching profession development." Perspectives of Science and Education 53, no. 5 (November 1, 2021): 32–47. http://dx.doi.org/10.32744/pse.2021.5.3.

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Introduction. The problem of identifying the role of contemporary art thesauri in the teaching profession development has become aggravated in the context of global socio-economic changes, apparently irreversible after the COVID-19 pandemic. Contemporary art, actively exploring the reality of the digital age, makes it possible to comprehend the essence of the new in education, clearly see the ideal of a person who is in demand by the society of the 2020s, and choose a way to overcome the crisis of the teaching profession, which is no longer limited by the framework of person-to-person duality but is fundamentally open due to technology. The research purpose is to generalize scientific ideas for the study of contemporary art thesauri as a tool for developing the teaching profession in the cultural-educational space of the 21st century. The research methodology includes the thesaurus, interdisciplinary and integrated approaches; identification and systematization of units of knowledge about contemporary art through thesauri influencing the development of the profession of a teacher. The use of a thesaurus approach made it possible to identify and systematize units of knowledge about contemporary art and its educational opportunities that coincide in one way or another. An interdisciplinary approach showed the mechanism of integrating disciplines studied by future teachers with the space of modern artistic culture. An integrated approach was used to view contemporary art as a hierarchical system of a high degree of complexity in specific historical and psychological aspects. The research results contain a generalized description of the process of integrating contemporary art into education: the transition from a teacher’s professionalism to transprofessionalism through the introduction into the widespread practice of approaches that have resulted from the activities of representatives of creative professions; increasing the significance of a teacher as an organizer of cultural activities in the context of distance learning, with the emergence of new professional roles; the formation of concepts reflecting the commonality of thinking of a teacher and an author of artworks. Findings. Contemporary art thesauri help pedagogical education get to a higher level due to a new understanding of the profession of a teacher: as developing from professionalism to transprofessionalism through the assimilation of knowledge about the formation of a professional in the art sphere (“alien” becomes “own”), focused on organizing students’ cultural activities using distance technologies and new professional roles, explaining itself in terms of pedagogy and art. The field of application of research findings is the improvement of educational programs at all education levels (from the preschool establishment to university) in accordance with the requirements of state standards.

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Nikolenko, Lyudmila M. "THE CONCEPTS «LIFE CREATIVITY» AND «LIFE CREATIVE COMPETENCE» IN THE PARADIGM OF PROFESSIONAL TRAINING OF A SPECIAL EDUCATION TEACHER." Bulletin of Alfred Nobel University Series "Pedagogy and Psychology» 1, no. 23 (June 2022): 191–201. http://dx.doi.org/10.32342/2522-4115-2022-1-23-23.

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The article deals with the problem of the competence approach in education. The article is based on careful analysis of the scientific literature and highlights the concept of “life-creating competence”. The necessity and expediency of such competence forming in the future special education teacher result from the practice of living in an open information society, where the individual is required to show a new level of abilities that could ensure his/her effective functioning in any dynamic changes and circumstances, successful and comprehensive life both in personal and professional spheres. The article analyzes the subject matter of the life creation concept in philosophical, psychological and pedagogical aspects. A review of the scientific literature demonstrated that in philosophical and sociological discourse life-creation is mainly considered in the perspective of one’s own life building and culture of life creation, and it made it possible to highlight the following points: life-creation is a process based on two constitutive components: life and creativity; these components are purely individual; life creation depends on both personal characteristics and social factors; the individual must be in some way ready to carry out life creativity; thus, consequently, life-giving competence can be an indicator of readiness for life-creation. It was found that psychology studied the problem of life creation most thoroughly; psychologists present life creation as a manifestation of the subject’s personality, an active attitude to life, the result of self-development, a special type of life, etc. The author found that the life of an individual is one of the key phenomena in the philosophy of education, where it is considered in terms of the activity approach: it is a special kind of life, creative activity of the individual, life-creation, the art of living. One of the determining factors of life creation is education. In terms of pedagogy, the study of life creation of an individual at the beginning of the 21st century has grown into a separate area – the pedagogy of life, which formed the basis of the concept of the New Ukrainian School. It was found that the phenomenon of “life-creating competence” in pedagogy is not considered as a separate achievement of an individual, but there is “life-creating competences”, represented as a component of life competence of that individual. Based on the analytical review, the author summarizes that life competence provides the solution of vital tasks, productive life, the ability to perform certain life roles; life-creating competence, according to the author, brings an individual to a higher level of life, at which a person realizes self-design, selfconstruction, self-education and other self-practices; it is an active, creative and responsible subject of his/ her own life and social development, as he/she is able not only to adapt to dynamic circumstances, but also to change the environment for the benefit of him/herself and others, which is crucial for special education teachers in the light of modern educational paradigm.

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Bielova, Yelyzaveta. "Sound images of percussion instruments: modernity and retrospections." Aspects of Historical Musicology 19, no. 19 (February 7, 2020): 120–39. http://dx.doi.org/10.34064/khnum2-19.07.

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Introduction. The widespread use of percussion instruments is a worldwide trend in artistic practice of the 20th – early 21st centuries, whose existence is due to the constant development of composer creativity and the performing art of percussion instruments playing. The named vectors of musical activity are linked inextricably, since one direction contributes to the development of another. Nevertheless, there are not still fundamental scientific works would investigate the evolution of wind instruments from the beginnings to the present in the designated context of the interaction between composer and performing arts. The questions remain open: why, over time, composers were more and more attracted to the sound images of percussion instruments? How did the formation of sound images of percussions take place and what tendencies can be distinguished in this process in connection with the development of various musical styles and genres, as well as with individual, unique composer ideas? What works contributed to the evolution of percussion instruments? The aim of the proposed research is an attempt to examine, in the context of evolutionary processes, the practice of the modern use of percussion instruments in composing and performing art. In addition to questions of their direct use in the works of composers, the sound image of percussions is considered, which can be reproduced with the help of articulation and other techniques on various instruments (piano, strings, harp, guitar etc.). Literature review and methodology of the research. This research in a factual aspect based on the works of G. Blagodatov (1969) and A. Kars (1989). However, percussion instruments are not the subject of special consideration in the works of these authors. In addition, we note that the methodological approach of the named researchers is opposite to the proposed analytical model. G. Blagodatov and A. Kars examine evolutionary processes in the history of a symphony orchestra and orchestration. However, they highlight the typical, not the special and unique, while is this interest that determines the specifics of our research. The historical and cultural approach that takes into account the historical experience of both musical and other types of art helps to “decode” the unique composer ideas. The historical and genetic research method is used when considering evolutionary processes and searching for features of historical continuity in the interpretation of sound images of percussion instruments. Findings. Modern interest in percussion instruments in the practice of playing music is associated with a new interpretation of the means of musical expression in compositions of the 20th – early 21st centuries. The reason for this interest should be sought in the correspondence of the sound image of the percussions to certain characteristics of the “picture of the world”, which develops in the work of artists throughout the XX–XXI centuries, a time of rapid total changes, when the “shock” and rigid “rhythm” become the symbols of the time, requiring, in turn, psychological relaxation and detachment. Accordingly, two main trends in the embodiment of percussion sound images formed. The first is associated with the emancipation of the rhythmic principle up to its complete liberation from the melodic one (the appearance in musical works of independent themerhythms, of expanded rhythmic structures, semantically significant rhythmic ostinatі, solo percussion instruments, in particular, in the works of the concert genre). The second is sonorous-coloristiс, revealing the wide timbre possibilities of percussion instruments, involving, among other things, exotic, archaic, atypical author’s methods of sound production, untempered sounds. In the 20 century, composers tried to free music from the power of even tempered tuning (for example, when using microtonal music in creative experiments carried out by A. Hába, Ch. Ives, I. Wyschnegradsky) and percussion instruments, by their nature, fit this tendency. Going beyond the limits of even tempered tuning concerns both pitch organization and concentration on timbre colors, sonorism. The second of the tendencies, in our opinion, responds to the hedonistic preferences of the listeners, and also corresponds to the widespread aesthetic concept of the naturalness of artistic creativity, where percussion appears as the most suitable instrument for reproducing natural biorhythms of the Universe and a Human in musical rhythms. The semantic content of percussion sound images demonstrates multidimensionality and poly-variety, up to opposite expressive meanings. Features of the use of percussion in musical works of the XX–XXI centuries are often determined by a unique composer intention, which performers and researchers should decode based on the cultural and historical experience of musical art. For example, the sound image of bells, which clearly reveals the sonor-color qualities of the percussiveness, acquires different semantic meanings depending on the author’s concept. It is possible to use sound images of percussion instruments from the standpoint of symbolism. Historical, in particular, national origins can also affect the interpretation of sound images of percussion instruments. Continuity and evolutionary changes are demonstrated by examples from the practice of using timpani, which for centuries were part of a symphony orchestra, and in the XX–XXI centuries became participants in a joint game and even soloists in different performing groups. The main section of the manuscript gives examples of all directions in the interpretation of sound images of percussion instruments. Conclusion. So, the proposed complex analytical model, taking into account the historical, national, evolutionary factors in the interpretation of sound images of percussion, which differs in different eras, seems promising, making it possible to trace the continuity in the new and the features of the cultural dialogue arising one way or another in the “big time” (M. Bakhtin) of art.

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Moerdisuroso, Indro. "Reading Children's Drawings Through Analysis of Three Metafunctions." JPUD - Jurnal Pendidikan Usia Dini 16, no. 1 (April 30, 2022): 186–99. http://dx.doi.org/10.21009/jpud.161.13.

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For researchers, early childhood educators, and art educators, the contribution of this article is to expand meaning in drawing activities. Perspective in reading pictures using visual culture theory, especially visual grammar. This study aims to share knowledge and experiences in reading early childhood pictures from different perspectives. This research method uses a qualitative descriptive approach through visual material data collection techniques and analysis of three metafunctions. The objects of research are three pictures of children aged 7-8 years, namely the works of winners of the I-III children's painting competition held by PP-IPTEK TMII in 2018. Aspects of the representation structure, interaction system, and composition of each image are analyzed. The research findings conclude that the ideational function of the three images shows a narrative structure of representation and raises the discourse of resistance to the actual situation. The interpersonal function of the three images places the image maker in the real world and as an object of display impersonally. The textual functions of the three images position social life on other planets as a reflection of hope for real social life.Keywords: children's drawings, visual culture, visual system, three metafunctions References: Butler, S., Gross, J., & Hayne, H. (1995). The Effect of Drawing on Memory Performance in Young Children. Developmental Psychology, 12. https://doi.org/10.1037/0012-1649.31.4.597 Creswell, J. W. (2015). Educational research: Planning, conducting, and evaluating quantitative and qualitative research (Fifth edition). Pearson. de Lautour, N. (2020). The Visual Arts and Children’s Thinking and Theorising in Early Childhood. Www.Elp.Co. Nz/Articles, 13. Driessnack, M., & Furukawa, R. (2012). Arts-based data collection techniques used in child research. Journal for Specialists in Pediatric Nursing, 17(1), 3–9. https://doi.org/10.1111/j.1744-6155.2011.00304.x Elliot W, E., & D. Day, M. (2004). Handbook of Research and Policy in Art Education (1st Edition). Routledge. Everts, H., & Withers, R. (2006). A Practitioner Survey of Interactive Drawing Therapy as Used in New Zealand. 16. Freedman, K. J., & Stuhr, P. L. (2004). Curriculum Change for the 21st Century: Visual Culture in Art Education. Funch, B. S. (1996). The aesthetic experience as a transcendent phenomenon. Nordisk Psykologi, 48(4), 266–278. https://doi.org/10.1080/00291463.1996.11863884 Gernhardt, A., Rübeling, H., & Keller, H. (2013). “This Is My Family”: Differences in Children’s Family Drawings Across Cultures. Journal of Cross-Cultural Psychology, 44(7), 1166–1183. https://doi.org/10.1177/0022022113478658 Hirsh-Pasek, K., Zosh, J. M., Golinkoff, R. M., Gray, J. H., Robb, M. B., & Kaufman, J. (2015). Putting Education in “Educational” Apps: Lessons from the Science of Learning. Psychological Science in the Public Interest, 16(1), 3–34. https://doi.org/10.1177/1529100615569721 Hwang, G.-J., Lai, C.-L., & Wang, S.-Y. (2015). Seamless flipped learning: A mobile technology-enhanced flipped classroom with effective learning strategies. Journal of Computers in Education, 2(4), 449–473. https://doi.org/10.1007/s40692-015-0043-0 Jolley, R. P. (2009). Children and Pictures: Drawing and Understanding. Wiley. https://books.google.co.id/books?id=QpGS9s9zqMoC Kellogg, R. (1973). Misunderstanding Children’s Art. Art Education, 26(6), 7–9. https://doi.org/10.1080/00043125.1973.11652137 Knight, L. (2008). Communication and Transformation through Collaboration: Rethinking Drawing Activities in Early Childhood. Contemporary Issues in Early Childhood, 9(4), 306–316. https://doi.org/10.2304/ciec.2008.9.4.306 Kress, G. R., van Leeuwen, T., & Van Leeuwen, D. H. S. S. T. (1996). Reading Images: The Grammar of Visual Design. Routledge. https://books.google.co.id/books?id=vh07i06q-9AC Kucirkova, N. (2017). IRPD—A framework for guiding design-based research for iPad apps. British Journal of Educational Technology, 48(2), 598–610. https://doi.org/10.1111/bjet.12389 Lowenfeld, V. (1949). Creative and Mental Growth. Macmillan. https://books.google.co.id/books?id=x7tRAQAAMAAJ Mamur, N. (2012). The Effect of Modern Visual Culture on Children’s Drawings. Procedia - Social and Behavioral Sciences, 47, 277–283. https://doi.org/10.1016/j.sbspro.2012.06.651 Moerdisuroso, I. (2017). Social Semiotics and Visual Grammar: A Contemporary Approach to Visual Text Research. International Journal of Creative and Arts Studies, 1(1), 80. https://doi.org/10.24821/ijcas.v1i1.1574 Nielsen, A. M. (2012). Forskeres arbejde med oplevelser af børns tegninger som forskningsmetode [The researcher’s work with children’s experiences of drawing as a research method]. Psyke & Logos. Papadakis, S., & Kalogianakis, M. (2020). A Research Synthesis of the Real Value of Self-Proclaimed Mobile Educational Applications for Young Children. In Mobile Learning Applications in Early Childhood Education (pp. 1–19). IGI Global. https://doi.org/10.4018/978-1-7998-1486-3.ch001 Quaglia, R., Longobardi, C., Iotti, N. O., & Prino, L. E. (2015). A new theory on children’s drawings: Analyzing the role of emotion and movement in graphical development. Infant Behavior and Development, 39, 81–91. https://doi.org/10.1016/j.infbeh.2015.02.009 Santrock, J. W. (2011). Educational Psychology. McGraw-Hill Medical Publishing. https://books.google.co.id/books?id=M8S4kgEACAAJ Vygotski, L. S. (2004). Imagination and Creativity in Childhood. Journal of Russian & East European Psychology, 42(1), 7–97. https://doi.org/10.1080/10610405.2004.11059210

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Plakhotnyuk, Oleksandr. "PERCEPTION OF THE WORLD OF JAZZ DANCE IN THE ARTISTIC SPACE OF THE 20TH CENTURY." Baltic Journal of Legal and Social Sciences, no. 2 (October 26, 2022): 157–62. http://dx.doi.org/10.30525/2592-8813-2022-2-26.

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In the provisions of the scientific article, the author substantiates the worldview and philosophical perception of jazz dance in the cultural and artistic space of the historical period of the 20th century – early 21st century in the context of the development of modern choreographic art. As a result of the study, an expansion of ideas about the philosophy of choreographic art is formed, which is reflected in the formation of the perception of modern dance in modern science. Also, in defining the worldview of jazz dance in the artistic space, which manifests itself at all stages of its development and becomes relevant in the art criticism discourse of the late 20th - early 21st centuries, it is a logical conclusion that jazz dance has a meaningful philosophical content and tries to give answers to eternal questions. , as well as everyday problems: how not to lose everything, and if this happened, then restore strength, and restore yourself anew, how to find love, and when found, how not to get rid of it, solve all the problems of a domestic nature and the spiritual life of everyone person. Jazz dance has always been a mirror image of a person's existence, his worldview and manifestation of will, striving for originality and revealing his own individuality. The dance movement of jazz dance is always a hymn in honor of human life in its manifestations and depths of all aspects of human existence, which is clearly manifested in the dance art. One of the main philosophical properties of jazz dance is the ability to quickly and thoroughly respond to all socio-political and historical processes of society development. Reflection of cataclysms, crises and pertrubation of economic development filigree reflects the tragedy of wars and emotions, its completion from victory to defeat. It is constantly developing, forming new samples, directions and whole self-sufficient types and directions of modern dance art.

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Rusakov, Serhii. "The art fairs in the context of the modern stage of art market development." Culturology Ideas, no. 19 (1'2021) (2020): 155–64. http://dx.doi.org/10.37627/2311-9489-19-2021-1.155-164.

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The article deals with the value-semantic, communicative and cultural aspects of the phenomenon of the art fair being defined as a space for updating the works of contemporary artists and the exchange of ideas and senses, considering historical preconditions for appearing of the art fair. It analyzes art fairs as the most various level of the modern stage of art market development. Based on Art Basel study, it identifies substantial changes of contemporary art fairs which contributed to the formation of a new model of the art market at the beginning of the 21st century. The new role acquired by the art market due to its unifying nature has been noted. The author reviews the cultural specifics of art exhibitions, galleries, the value of art works, the formation of artistic tastes of people as well. The importance of studying and considering of the art fairs for understanding of the new model of art market development is substantiated. The article outlines perspective directions of further culturological research of the art market and art fairs. The performed analysis of the international art fair Art Basel shows the approval of the fair model of the art market due to the globalization processes, the formation of a new leisure culture and the need for a new way of art actualization.

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Semanyuk, Vita. "The Theory of Accounting in the Context of Modern Paradigm of Scientific Knowledge." Studia i Materiały Instytutu Transportu i Handlu Morskiego, no. 14 (December 31, 2017): 325–34. http://dx.doi.org/10.26881/sim.2017.4.21.

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Accounting as a practical activity was being developed during millennia but the final forming of accounting science is impossible without the development of its modern theory, which is correspondent to the requirements of scientific doctrines of the 21st century. The existing theory, in many cases, is not good at all and, in general, it is the set of technical approaches of realization of double record. The results of economic investigations of the world level show the impossibility of modern accounting science to fulfill its functions because of its conservative character and it was not changed during many years. All these investigations have a direct impact on economy and show that the understanding of the basic postulates changes and the stress is made on psychological and social aspects and avoiding of material ruling.

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Kopczewski, Marian, and Agnieszka Napieralska. "Cyber space – risks to children and young people - research results." Scientific Journal of the Military University of Land Forces 189, no. 4 (October 1, 2018): 46–59. http://dx.doi.org/10.5604/01.3001.0013.0720.

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The 21<sup>st</sup> century is undoubtedly a period of enormous progress in the field of digital technology, a period in which the boundary between the real world and the virtual world becomes less and less visible. The Internet has undeniably become a facilitation of everyday life, since it is a tool of work, communication or a way to spend free time for many users. The virtual world is present in almost all areas of our lives, and people spend more and more time in front of the computer screens, operating websites, e-mails or social networks. Highly developed digital technology is a boon of the 21st century, but despite its numerous advantages, negative aspects are also visible. Virtual knowledge displaces physical interpersonal contacts; physical activity is replaced by spending free time in front of a computer monitor. Various threats (social, psychological, psychological, ethical and moral) resulting from modern digital technologies and the increasing degree of dependence on them are extremely significant. The authors of this article present the results of own research, aiming at making the reader aware that there are both positive and negative aspects of the virtual world.

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Portnova, Irina. "A Concept of Nature in the Modern Animalistic Art of Russia: An Environmental Aspect of the Genre." Space and Culture, India 7, no. 4 (March 29, 2020): 219–27. http://dx.doi.org/10.20896/saci.v7i4.558.

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The study deals with the concept of nature in modern local wildlife art from the perspective of environmental thinking. It is significant in both cultural and artistic aspects. Modern wildlife art has become a vehicle for pressing issues in nature studies and has demonstrated a variety of artistic solutions, creative manners, and approaches, from traditional realistic variants to stylistic interpretations in the spirit of previous epochs. The study reports that the passage of time has caused changes in the historically established genre structure; its boundaries have become vague and the very structure of an artistic image has become polysemic. Nowadays, local art criticism does not cover this issue adequately. Meanwhile, modern wildlife art represents a bright example of the thematic and stylistic variety of artistic techniques and has a fresh look at the world of animals in its entirety, which refers to a new perception of nature, human attitude to it and supplements the picture of the development of the entire local arts. Against this background, the study of current wildlife issues is quite relevant. The historical and artistic methods allow us to evaluate the originality of animalism, its different sides, in particular genre, species and stylistic diversity, as a characteristic and an iconic phenomenon of modern art, reflecting the concept of “nature" in its ecological perspective. The significance of wildlife art is stressed in moral respect. It is wildlife art, which is closest to nature that organically reflects the picture of the modern world with its current environmental issues and dire ecological situation. The wildlife art of the end of the 19th Century to the beginning of the 21st Century is characterised by the exploration of new vital issues of its time. Therefore, the material given in the article is important for art criticism since it enriches it with a unique perspective of study and in a wider cultural meaning, and, thus, forms a modern philosophical picture of human-nature-animals interrelations.

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Molnár, György. "Modern Digital Device Systems Supporting the Instruction of Digital Natives." Acta Universitatis Sapientiae, Communicatio 6, no. 1 (December 1, 2019): 107–19. http://dx.doi.org/10.2478/auscom-2019-0006.

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Abstract While in our accelerated world everything seems to change, basic values are here to stay. I believe one such aspect is education and training. Although our educational system is built on a relatively permanent basis, instructional methodology on the whole has undergone substantial changes despite that all of the educational system has preserved its role in transmitting, presenting, and preserving knowledge. Since in our fast 21st-century world myriads of facts and fake or questionable information is available, students require new knowledge along with new and perhaps different answers. We believe that education, due to its ability to provide scientifically sound answers to the respective challenges, is vital today. Recent paradigm shifts have led to fundamental alterations in the form of information and knowledge acquisition supported by modern, state-ofthe-art ICT-based methodological solutions and learning environments. The study focuses on the theoretical and practical aspects of such learning support schemes or solutions.

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Ismakova, Aigul, Nurdaulet Akysh, Ainur Akhmetova, Almira Kaliyeva, and Shokhan Shortanbayev. "Seven Aspects of the Great Steppe in the Modern Kazakh Prose – the National Conception of Eternal Nation and Art Discourse." Space and Culture, India 7, no. 3 (November 25, 2019): 68–75. http://dx.doi.org/10.20896/saci.v7i3.468.

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This research aims to identify the role and place of the ideological concepts of the “Eternal Nation” and “The Great Steppe” in Kazakh literature. For this, it uses methods of stylistic analysis of literary works from the perspective of identifying communication symbols in prose. Additional research methods are the method of historical analysis of the ideological concepts formation and a cross-disciplinary approach to the interpretation of the content of works. The reasons for the strong influence of these concepts on the culture of modern Kazakhstan are justified. A symbol code is discovered through which writers reflected the state of public life in Kazakhstan. The research is one of the first attempts to review and analyse the stories of Kazakh literature published in the 21st century. The stories are specially classified in the thematic and content context, the scientific conclusions for the artistic world of the works, language and style features of the works are presented, whereby the authors of the study set a precedent for systematising disparate knowledge of modern Kazakh literature.

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Poznin, Vitaly F. "RUSSIAN ARTHOUSE FILMS OF THE EARLY XXI CENTURY: FEATURES OF ARTISTIC STYLE." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 42 (2021): 109–23. http://dx.doi.org/10.17223/22220836/42/10.

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Contemporary Russian theater and cinema are approving a new aesthetic paradigm that implements such principles of postmodernism as deconstruction, relativism, a mixture of various types, genres, and stylistic devices. The purpose of this article is to identify the most characteristic stylistic features of Russian arthouse films of the 21st century. The author’s task was to show that this style is not something radically new, as some art critics and cultural experts try to present. Using the methods of hermeneutic, art history and comparative analysis, the author identifies the methods and techniques of creating a special art space that are characteristic of modern Russian arthouse. These are combining real and conditional, concrete and symbolic, psychology and parable, recognition of everyday realities and explicit functionality of the characters. Based on the idea expressed by a number of scientists that there is much in common between the state of the modern world (that is, what is now called postmodernism) and the public consciousness of the Middle Ages, the author of the article puts forward a hypothesis about the similarity of the stylistic techniques of the Russian arthouse with the aesthetics of the Middle Ages. First of all, arthouse films bring closer to the literature and art of the Middle Ages such a characteristic as hybridism, i.e. combining different styles in one work, in particular, combining a realistic image with a parable form and symbols and an artistic interpretation of space as a background that weakly interacts with characters. First of all, Russian arthouse films brings closer to the literature and art of the Middle Ages such a characteristic as hybridism, i.e. combining different styles in one work, using, along with a realistic depiction of the parable form and symbols and artistic interpretation of space as a background that weakly interacts with characters. One of the reasons for the emergence of a new aesthetic interpretation of art space in modern Russian literature and cinema was the radical changes that took place in Russia in the 1990s. The disappearance from the world map of a huge country called the USSR and the loss of familiar landmarks and stereotypes could not but affect the worldview of artists, writers and filmmakers trying to artistically comprehend what is happening. The conclusion that follows from the analysis is that many principles of the aesthetics of postmodernism were reflected in the style of the arthouse films of 21st century, with the exception of such traits inherent in the best postmodern examples as humor, irony, game element and non-linearity of narration. The coexistence of real and clearly conditional art space in such films contributes to the fact that the cinematic texture contradicts conditional situations and characters, causing the viewer to feel art inorganic. Analyzing the perception of art films by experts and the audience, the author concludes that the assessments of art critics and viewers are largely diverging for the same reason: viewers mostly perceive author films as works of a realistic style but can not find in them psychological characteristics of the heroes and the motivation of their actions, i.e. the traits inherent in realism; experts evaluate these films based on the presence of the elements of symbolism and metaphorism and metaphysical and universal image of reality.

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Ulanova, A. E. "The 6th International Scientific Conference Creativity as a National Element: the Role of Individuality in the Framework of Creative Activities in the 21st Century." Concept: philosophy, religion, culture 4, no. 3 (September 28, 2020): 198–99. http://dx.doi.org/10.24833/2541-8831-2020-3-15-198-199.

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From June, 30 to July, 2 2020 the 6th International Scientific Conference Creativity as a National Element: the Role of Individuality in the Framework of Creative Activities in the 21st Century took place in a novel on-line format. The event was organized by the Faculty of Humanities of the St. Petersburg State University of Economics in cooperation with the Department of Philosophy of MGIMO University, the Russian Philosophical Society and the Society of Russian Philosophy at the Ukrainian Philosophy Foundation. Researchers from Voronezh, Orel, Samara, Cheboksary, Chelyabinsk, Moscow and St. Petersburg, as well as from Serbia, Slovakia and Ukraine took part in the sessions. Those were: Psychological and Pedagogical Aspects of Creative Activity in Modern Educational Space, The Semantic Element of Artistic and Aesthetic Creativity, Metaphysical Foundations of the Creative Process. A range of papers and presentations were dedicated to various aspects of creativity in connection to modern issues of authority and society, information and transculturalism, legal consciousness and language, among which one should highlight those presented by MGIMO University scholars. Both the prognostic character of the topics in discussion and its format proved urgent and suitable amid the unfavorable epidemiological situation with its unpredicted effects.

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Grebenyuk, A. A. "METAMO-MODERN PSYCHOLOGY: PSYCHOLOGICAL-PHILOSOPHICAL ANALYSIS OF POSSIBLE DEVELOPMENT." Scientific Notes of V.I. Vernadsky Crimean Federal University. Sociology. Pedagogy. Psychology 6(72), no. 3 (2020): 67–76. http://dx.doi.org/10.37279/2413-1709-2020-6-3-67-76.

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The formation of a new dominant type of culture at the beginning of the 21st century – metamodernism – required the creation of psychological images of a person that would face the challenges of the modern diverse and contradictory world with its all-pervasive virtualization and the creation of previously unseen simulacra of very high orders. Due to these, arose the need for a holistic syncretic reconstruction of psychology as a contradictory unity of science, art and craft. Metamodernism suggests that psychology go on to describe the nature of the psyche and human behavior, using the language of a new aesthetic form – pragmatic romanticism without ideologies. Why shift the research focus from studying a person’s attitude to self, activities and to other people, to expressing this attitude so that one begins to see the study of psychological problems presented by a person, the way one expresses one’s attitude to them, based on true scale of their meaning for one’s personality. The transition happens from studying “attitude to the problem” to studying “expression of the attitude to the problem” consequently excluding provocativeness and irony from psychological tools, which are replaced by a warm human attitude, which is supported by self-reflection, intertextuality and by various references to other cultural forms of expression of the attitude to the problem. Metamodern psychology does not choose a modernist romantic claim to a deep knowledge of the psyche and human behavior, or a postmodern superficiality of such knowledge, but a metamodern depthlessness, in which the presence of a depth of the psyche is recognized, acknowledging that psychology can occasionally peer into, sometimes revealing things previously unseen by it. Guided by the principle of “fluctuation,” it explores as objects of study trivial psychic and behavioral mechanisms and phenomena that, from a modernist and postmodern aesthetic point of view, habitually seem unattractive, simplistic or trivial to view their always existing natural beauty without irony and change them attitude. It suggests starting to view the psychologist as a go-between the client’s inner world, containing a variety of forms hidden in its movements, and psychological concepts, as a result of which it tightly connects the psychological plan formed in the process of such interaction with its implementation.

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Maksymenko, Sergii D., and Oleg M. Kokun. "PRINCIPLES OF WEBSITE DESIGN FOR PROFESSIONAL PSYCHOLOGICAL DIAGNOSIS IN DIFFERENT SPECIALTIES." Information Technologies and Learning Tools 73, no. 5 (October 22, 2019): 284–92. http://dx.doi.org/10.33407/itlt.v73i5.2963.

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The rapid IT development in the 21st century has a significant impact on scientific communications and research in all branches of modern science. Psychological science cannot stay aside this non-stop process. Indeed, the modern IT capabilities provide wide opportunities for psychological research in terms of speed, accuracy, volume and cross-culture perspective. The article describes theoretical, methodological and practical principles of design of websites for professional psychological diagnosis. Adherence to these principles ensures that the psychological diagnostic websites: 1) attract visitors and maintain the necessary level of their confidence and interest; 2) provide anonymity, clarity, convenience and ease of use; 3) have high informational value, content richness and scientific character; 4) differentiate the respondents and help receive feedback from them. The research methods used include the analysis of the national and foreign experience of IT use in psychological research, modelling and online psychological diagnosis organised on two psychological diagnostic websites with 26 psychological diagnostic methods and questionnaires. The detailed structure and developmental rules for diagnostic Internet sites are substantiated. A number of specific aspects concerning diagnostic Internet site application for professional psychological diagnosis are discussed. The scientific foundations developed by the authors for the use of remote professional psychological diagnosis have been successfully tested on two created psychological diagnostic websites http://prof-diagnost.org and http://hr-test.org and confirmed by the research carried out with their help. These sites are aimed at solving conceptually rather different research tasks. The first site has become the basis for fundamental research performed by different scientists, whereas the other has provided an opportunity to adapt 11 modern English-language psychological diagnostic techniques related to the diagnosis of occupational stress for their use in Ukraine.

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Wang, Yujie, Huidong Zhao, Yuchen Wang, Huiying Jia, and Xing Li. "Analysis of the Influence of Psychological Nursing on the Psychological Status of Pregnant Women with Hepatitis B Virus." Tobacco Regulatory Science 7, no. 5 (September 30, 2021): 1712–23. http://dx.doi.org/10.18001/trs.7.5.96.

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With the continuous progress of human civilization and the continuous development of social medicine and science, health and disease issues are getting more and more attention, and the quality of life of the diseased population is becoming more and more prominent, especially for patients with serious diseases. The quality and the dignity of life need others to take care of. Hepatitis B, as a disease that cannot be cured by modern medicine, has an increasing incidence year by year, and it is inevitable to turn from the deterioration of the disease to death. In the 21st century, hepatitis B has become one of the main diseases threatening human health. If people learn that they have hepatitis B, it is tantamount to a bolt from the blue and even feel that their lives are meaningless. This is a normal reaction. For patients with hepatitis B, it is very easy to have bad psychological conditions, which are mainly manifested in depression and anxiety. This article takes the pregnant women hepatitis B virus carriers in the hepatitis B patient group as the research object, and mainly studies the influence of psychological care on the psychological status of pregnant women hepatitis B virus carriers. The research content focuses on anxiety, depression, body image, the quality of life and social support are five aspects, and the relevant scales are used to analyze the experimental data, and finally the corresponding conclusions are drawn.

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Gorinova, Natalia Vasilievna. "KOMI FEMALE DRAMA: SOME ASPECTS OF STUDYING THE QUESTION." Yearbook of Finno-Ugric Studies 13, no. 4 (December 25, 2019): 643–52. http://dx.doi.org/10.35634/2224-9443-2019-13-4-643-652.

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The beginning of the 21st century opened a new page in the development of Komi literature connected with the activity of female authors earlier unprecedented on a dramatic field. In the 2000s Nina Kuratova, Elena Kozlova and Nina Obrezkova addressed dramaturgic genres. By this time they had already been popular writers. Having addressed a dramaturgic genre, new to itself, each writer introduced organic features in a palette of dramaturgic poetics, enriching and updating national culture. We devoted this work to research the specifics of Komi female dramatic art. Gender approach and method of the comparative analysis allowed us to reveal features of Komi female dramatic art. The Komi female dramatic art is not stereotypical and cliched, there is no similarity in the creation of plots and the features of characters in plays by the playwrights. N. Kuratova's, E. Kozlova's and N. Obrezkova's plays differ on the one hand from each other, on the other hand from plays by male Komi playwrights. It is not only about female playwrights reproducing in plays the female character and especially female household reality, but also about reproduction of how women feel and understand the world. In the Komi female drama we see the desire of the woman to live in harmony with the world, to constantly feel safe, to arrange family cosiness, to keep and transfer to the subsequent generations family values, love and respect (Kuratova). Also female drama transmits that pain which is felt by the woman, building relations with men, feeling their pressure and even violence (Kozlova). The female drama reveals changes the woman in modern society experiences, her finding new social roles, finding male features against the background of spiritual weakening of men (Obrezkova). So, the female consciousness gets into Komi dramaturgic space, opening new ways in an artistic judgment of reality, enriching an aesthetic paradigm.

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Zaks, Lev A. "Macroparadigms of the Artistic Consciousness as a Basis of “Great Border” in Present-day Art." Koinon 1, no. 1-2 (2020): 216–29. http://dx.doi.org/10.15826/koinon.2020.01.1.2.011.

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The article discusses the problem of “great border” between the newest art of the latter part of the 20th century and the early 21st century and traditional art as it has been existed throughout millennia. A zone of major differences between these two types of art reflected in radically new features of language, richness and perception of the latest art, in emergence of new forms of artwork (art-objects, installations, performances, digital art, contemporary dance, post-drama theater) is expressed. At the same time the illustrative evolution of the very traditional art of today which brings it and the latest art together is emphasized. The article proposes a hypothesis of a central foundation-reason for transformative changes in art. The foundation of any artistic activity and artistic creation rests on a certain type of artistic attitude-towards-the world. Through alterations it has maintained the features of its basic paradigm unchanged. The author defines its essence as nature-centeredness. The radical evolution of modern civilization overshadows nature, places culture at the heart of people existence and results in the birth of a culture-centered paradigm of artistic consciousness. The article outlines its general characteristics defining the radical novelty of the present-day art. The key feature of such art is dominance in culture texts and some of its phenomena as a specific distinct and intrinsically valuable reality and a quest for the representation and internalization of its own diverse features of culture per se starting with its manmade (“artificial”), semiotic, activity-based, creative, communication, particular informative, tradition-driven nature and many others. Culture-centered art walks away from representing routine life events, telling “true stories”, reconstructing psychology and psychological relationships of people in every detail. Instead, it is turning towards accentuation and typology of ways and people life’ products, their cataloguing, towards analysis of culture memory, language and text structures, towards problemotization of the relationship between the cultural and the natural. Insufficient awareness of culture-centeredness expressed by theoreticians and practitioners of the latest art alongside with experiences of such awareness is mentioned.

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Zaichenko, N. "NATIONALLY ORIENTED FOREIGN LANGUAGE LEARNING IN THE CONTEXT OF THE LINGUO-DIDACTIC PARADIGM OF THE 21ST CENTURY." Comparative studies of Slavic languages and literatures. In memory of Academician Leonid Bulakhovsky, no. 36 (2020): 37–48. http://dx.doi.org/10.17721/2075-437x.2020.36.04.

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The article deals with modern views on the concept of “nationally oriented foreign language teaching”, presented in the linguo-didactic discourse of domestic and foreign scholars of the last decades. The author reveals and characterizes its evolution as one of the basic concepts of Russian and Ukrainian language education as foreign languages. It is found that they relate to the subject matter, content, and operational components of this phenomenon. There are significant changes in the views of scholars on taking into account students’ native language in teaching these languages by speakers of languages with different systems. There is a growing interest in didactic and linguistic data processing of the analysis of Chinese and Russian (Ukrainian) languages and their practical implementation. In terms of content, priority is given to culturally oriented and ethno-psychological aspects of mastering foreign language in a monocultural and multicultural educational environment. The innovative approach to this issue is also manifested in the increasing attention of researchers to the peculiarities of cognitive, mental and educational activities of Chinese-speaking students, formed by the national linguistic and methodological tradition, which is radically different from the national communicative and active lingvodidactic paradigm and needs appropriate methodological correction. Prospects for further study of the issues raised in our investigation are related to the research of a number of “new” terms in the terminological field of the basic concept of “nationally oriented foreign language learning”, as well as from the normative and codification side.

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Углева, Н. В. "Attribution of the Throne Chairs of Tsars Boris Godunov and Mikhail Romanov in the 19th–21st Centuries: Historical and Art Historical Aspects." Nasledie Vekov, no. 1(25) (April 22, 2021): 100–108. http://dx.doi.org/10.36343/sb.2021.25.1.008.

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Древние тронные кресла отечественных монархов из собрания Музеев Московского Кремля были неоднократно опубликованы на протяжении XIX — XXI вв., но и сегодня нельзя считать работу по их атрибуции законченной. Примером тому — о два древнейших артефакта — тронные кресла царей Бориса Годунова и Михаила Романова: вопрос определения времени и места их создания остается неразрешенным. Ошибка исследователей заключается в том, что их внимание сосредоточено на ювелирном декоре предметов, не был применен метод описания и анализа художественных и технических приемов изготовления артефактов в целом, а также архивная документация изучена в недостаточной степени. По мнению автора, упомянутые предметы являются образцами персидской работы XV–XVI вв., в то время как прежде кресло царя Бориса Годунова датировалось 1603-1605 гг., а атрибуция принадлежавшего царю Михаилу Романову варьировалась между второй половиной XVI — первой третью XVII вв., причисляя изделие к московской или иранской работе. The article examines two ancient throne chairs of Russian monarchs from the collection of the Moscow Kremlin Museums: the chair of Tsar Boris Godunov, which is believed to have been received at the beginning of the 17th century as part of the ambassadorial gifts from Shah Abbas I, and the chair which researchers associate with the name of Tsar Mikhail Fyodorovich. The aim of the article is a comprehensive study of these objects based not only on their external description, but also on the identification of their structure, parts hidden by metal and woven coatings. In addition, for the first time, the author considers the chairs as pieces of furniture art, trying to “embed” them into the line of the development of artistic styles. In the course of the research, the method of description and analysis of artistic and technical methods of making artifacts, methods of comparative analysis and interpretation of historical sources were applied. The materials of the study were archival documents, published sources and the results of research by Russian historians and museologists. Various historical evidence about the investigated artifacts and views on their dating, reflected in documents and research works, is analyzed. The author compiled descriptions of the throne chairs and made assumptions about the possibility of a later change in their appearance. The analysis of the form and decor made it possible to attribute the throne chair of Tsar Boris Godunov as an example of a Persian work of the 15th–16th centuries; the use of European heritage is clearly traced in the creation of its artistic image. The attribution of the chair of Tsar Mikhail Fyodorovich cannot be considered final, because today there are several versions of it (a sample of the work of the Moscow Kremlin Workshops of the 17th century, precious plates of Iranian production of, presumably, the 16th century were used in its decoration; Iran, Isfahan, second half of the 16th century (?); work of Iranian court masters of the first third of the 17th century). This throne chair presumably has a pair – the chair of Tsar Alexei Mikhailovich: outwardly these objects are remarkably similar and look like a set, in which, with the general logic of shaping, only the manner of decoration is somewhat different. The visual analysis of the monument allows classifying it as a sample of Persian work, made under the influence of the Renaissance art, which spread from Italy to Europe in the 15th–16th centuries. The need to study these rarities with the use of modern technologies and research methods is emphasized.

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Manzoor, Saima. "HARDY AS A MODERN NOVELIST." Journal of Social Sciences and Humanities 54, no. 2 (December 31, 2015): 57–67. http://dx.doi.org/10.46568/jssh.v54i2.119.

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Hardy is the last of the Victorian and one of the most popular novelists of England. He, being an author of unique endowments, was not much esteemed in his life time. Hardy became the victim of stereotypical criticism and was badly ostracized by the ecclesiastical circles and the critics of his time as they merely focused on the depressing features of his fiction. This paper intends to reveal certain aspects of his work which remained neglected for a long time. The present study is designed to focus on those characteristics of his work which win the title of a modern novelist for him. Hardy was quite conscious of the shifting environment around him at the vogue of industrialization that left profound marks on his meditative temperament. His depiction of the 19th century scenario is dominated with clash and collision between innovation and tradition. His art deals with twofold aspects of modernity exposing the sanguine and gloomy consequences of modernity. Owing to such an approach of the writer he is regarded as a social realist and one of the earliest of the modern novelists. Hardy poignantly observes the pathetic condition of the labourers, on one hand, and the modern mechanical advancements, one the other, which were of little benefit for the common man in society. The current study is designed to focus upon his approach to the modern developments in the broad context of social and political changes. Hardy is a modern novelist as he concentrates on the current issues such as gender, class, social and psychological disorders, etc. He is a supporter of class and female liberation.

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Di Fabio, Annamaria, Letizia Palazzeschi, Ornella Bucci, Andrea Guazzini, Chiara Burgassi, and Eleonora Pesce. "Personality Traits and Positive Resources of Workers for Sustainable Development: Is Emotional Intelligence a Mediator for Optimism and Hope?" Sustainability 10, no. 10 (September 25, 2018): 3422. http://dx.doi.org/10.3390/su10103422.

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The 21st century is characterized by unpredictable and changing environments that require individuals and organizations to adapt to these challenges and prepare for continuous transitions in the work environment. Optimism and hope are positive resources that are key factors in navigating this post-modern work scenario. Emotional intelligence can be considered as another important variable in this context and furthermore, research has shown it can be increased through specific training. The aim of the present study is to examine the contribution of emotional intelligence in mediating the relationship between personality traits and both optimism and hope. The Big Five Questionnaire (BFQ), the Trait Emotional Intelligence Questionnaire (TEIQue-SF), the Life Orientation Test Revised (LOT-R), and the Hope Scale (HS) were administered to 201 Italian workers. Correlations among variables were calculated and mediation analyses were performed. The results showed that the relationships between personality traits and both optimism and hope are mediated by emotional intelligence. In particular, the contribution of emotional stability, agreeableness, and extraversion on optimism was mediated by emotional intelligence; the contribution of extraversion, emotional stability, and conscientiousness on hope was mediated by emotional intelligence. These results open new possibilities for research and interventions to enhance the personal resources of workers in the fluid scenario of the 21st century by promoting optimism and hope that are facilitated by emotional intelligence in the perspective of enhancing psychological aspects of sustainability and sustainable development.

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Abdullah Abdulrahman Almeman, Abdullah Abdulrahman Almeman. "The book "Albaraheenu alsabatiah" Sabatian proofs "by the author:" Jawad Sabati ", a critical analytical study of the method of dialectic with Christians in the book By." journal of king abdulaziz university arts and humanities 27, no. 4 (April 2, 2019): 19–49. http://dx.doi.org/10.4197/art.27-4.2.

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This research is dedicated to the criticism and analysis of the book of Sabatian proofs, one of the most important books that remained a source of response to the Christians in the nineteenth century in the countries of India and Bengal, where the author's life greatly influenced the style of the book and the accuracy of his information in the response to the Christians, Understand accurate details about the lives of Christians, Has been written on the modern approach in the introduction and indexing and referrals, and even in the use of coordinates of cities, all indicate the author's awareness of the psychological rhythm of that methodology to understand the reader and his awareness. The response in the book addressed all aspects of the Christian doctrine of the divinity of Christ and the distortion of the Bible and forgiveness. The book also distinguished itself with events and details that were not known at that time except by those who lived within the Church and suffered from their details. The care of such a specialized book is a link between the advanced ages and modern times to respond to the Christians, and the more attention this art among specialists, the more complete the science

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Shaulov, Sergey S. "The Idiom “Twice Two is Four” in Russian Literature of the 20th Century." Проблемы исторической поэтики 18, no. 3 (July 2020): 266–89. http://dx.doi.org/10.15393/j9.art.2020.8182.

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<p>The idiom “twice two is four” along with its variations is seen in the article as a marker of the situation of an “underground man”. In literature of the twentieth century the “underground” in its ethical and philosophical aspects has expanded its meaning, becoming the context of a utopian and antiutopian thought, absorbing the tragic experience of Russian culture after Dostoevsky. Of course, the widespread locution “as sure as twice two is four” does not always point at this variety of meanings, but it can be reached only in combination with the psychological type of the “underground man”. Thus, the image of Stalin in the novel “the First Circle” by Alexander Solzhenitsyn is considered as a variation of the “underground” consciousness. The problems of philosophical, history related to the evolution of this type of consciousness and actualized in this novel, remain important for modern literature. Another version of this philosophical collision is given in Victor Pelevin’s anti-utopian novel “S.N.U.F.F.”. In both of these cases, the situation of the underground person becomes a picture of a psychological and historical catastrophe. The negative development of the analyzed arithmetic formula in Russian literature of the 20th century encourages to look for another pole of tradition outside the “main” cultural domains. One of the variants of a moral escape from the trap of the “underground consciousness” can be found in the poetry of Alexander Bashlachev. The mythopoetical plot of the song “Verka, Nadka, Lyubka” is an exceptional variant of the development of the “underground man” topic. A starting point of the plot is just the formula “twice two is four”. The genre shift from lyricism to allegorical epic gives the poet an opportunity to reconstruct the Easter ideal of Russian culture, even if in a tragic and provocative form, close to the tradition of Russian foolishness for Christ.</p>

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Suprihatin, Endang Wara, and Dyah Pratamawati. "Conservation Strategy in Preserving The Local Image Existence of Wayang Topeng." Harmonia: Journal of Arts Research and Education 19, no. 2 (December 13, 2019): 179–84. http://dx.doi.org/10.15294/harmonia.v19i2.24005.

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This research studies the strategic conservation efforts to preserve the local image of wayang topeng or mask puppet as a traditional art performance. Ten years into the 21st century shows a great effort from the artists who joined the Wayang Topeng Malang dance studio, Asmorobangun led by Tri Handaya (43), in preserving its existence. This research studies the strategy carried out in preserving the association’s existence so it can continue, not only wayang topeng as traditional art performance but also as the professions of its artist. The efforts carried out shows an action which is systematic and modern. Therefore, the researcher is interested in exploring Tri Handaya’s effort in preserving wayang topeng communities to be able to hold monthly regular performances, establishing cooperation with the government and private sector, and serving various training for general public. Research method used was qualitative approach of single instrumental case study, which is Sanggar Wayang Topeng Asmorobangun. Data was collected with the use of interview, observation, and documentation. Data verification to establish validity was using source and method triangulation. Research results show that there are three strategic aspects in preserving local image: (1) following the tradition patterns of its predecessors, (2) conducting training for young generations, (3) designing an extensive promotional media and building relationships with stakeholders.

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Novik, Alexander. "GjirokastraFolklore Festival as the Main Ritual Event in Albanian Cultural Life at the Beginning of the 21st Century." Yearbook of Balkan and Baltic Studies 3 (December 2020): 157–82. http://dx.doi.org/10.7592/ybbs3.08.

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The paper presents an overview and analysis of the Gjirokastra National Folklore Festival (NFFoGj), one of the most important events in the cultural life of Albania. Global transformations that have affected all aspects of life have inevitably brought changes to traditional culture, traditional values and relations with the outside world, including across the Balkans. The majority of program issues were inspired by a common European practice of holding mass folklore events and measures aimed at nurturing and preserving cultural heritage. It is deeply connected to the process of revitalisation of old ritual practices and folk costume and to the socialisation of people who have professional and semi-professional associations with ethnic culture. Having analysed the materials collected in the run-up to the festival and during the event as well as during field studies in the Western Balkans in 1992–2019, I can acknowledge revitalisation of many, if not all, elements of folk culture. In this case revitalisation does not mean following the tradition literally, but rather an attempt to preserve it while adopting a modern perspective and advances in technology. The essential part of this process is the attempt to breathe new life into the components of traditional culture, and adapt them to the here and now. The NFFoGj has also become a major attempt to museificate the cultural heritage of the Albanians. Contests that have been held regularly over the past 70 years to reveal the best examples of folk art and support independent artists have encouraged interest in the roots of national culture and helped many generations not to forget what their predecessors valued. Thus, folk dance, music, songs and costume were reproduced – at times artificially – in various regions of the country to showcase the achievements of a locality (village, district, town, region) at the national festival as the main ritual cultural event.

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Ushkarev, Alexander A. "New Theatre-Fans: Empirical Research Experience." Observatory of Culture 19, no. 1 (March 3, 2022): 34–45. http://dx.doi.org/10.25281/2072-3156-2022-19-1-34-45.

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Global changes and challenges of the 21st century have significantly changed both the conditions for the social functioning of art and its audience. This has shifted the focus of contemporary research interests from creating a socio-cultural portrait of the viewer to the area of comprehending new forms of cultural consumption, the origins and drivers of cultural activity. These aspects of the socio-cultural dynamics of the theater audiences are discussed in this paper, which continues the publication of the results of a large-scale sociological study of the audience of the Chekhov Moscow Art Theater. Our interest is primarily due to the historically formed special perception of this theater by the public, which distinguishes the Moscow Art Theater from other theaters of the country. Basing on the empirical data of sociological polls of two types — in the theater auditorium and on the Internet — and using the methods of mathematical statistics, we identify those features that most characterize the modern theater audience and reflect fundamentally new trends in its cultural activity. We note the stratification of the theater audience on completely new qualitative grounds and the establishment of a new cultural phenomenon at the forefront of theatrical life — the online theater-fan. To answer the question about the existence of a certain “generic peculiarity” of the Moscow Art Theater audience, which in previous years embodied the legendary Moscow Art Theater tradition, we tried to identify the latent features of the audience that are not reducible to the traditional quantitative measurements of spectator activity. The findings of the study are unexpected. In some ways they disappoint, but at the same time they explain a lot in the current trends of cultural consumption. They supplement the theoretical landscape with empirical data on the qualitative and behavioral characteristics of the modern theater audience and its cultural activity, which is steadily drifting into the online space. Theoretically comprehending the results obtained we fit them into the broad context of international studies of cultural life. So, behind the particular features of specific audience groups, we can catch the manifestations of global cultural processes that determine the current sociodynamics of the audience of art.

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Ovcharenko, Nataliia. "Poetological dominants of historical memory in works of asian immigrant writers in Canada." Слово і Час, no. 6 (November 26, 2020): 87–101. http://dx.doi.org/10.33608/0236-1477.2020.06.87-101.

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Poetological dominants of historical memory in works of asian immigrant writers in Canada The paper highlights the development of literature related to the historical memory concept of Canadian immigrants from Asian countries. It covers the period of the late 20th ― first decades of the 21st century. The complex of problems, analyzed and structured within the semantic field of the modern historical memory concept, is often applicable both to Canada and Ukraine. The research broadens the knowledge of Canadian literature introducing the names of researchers and writers new to Ukrainian literary studies. The paper overviews the interpretations of Canadian Asian immigrants’ dispositions within the paradigm of modern arts and humanities. The focus is on the issues of double identity, the coherence of ethnic and North American mentality. The researcher generalizes the poetical aspects of the works by Ying Chen, Kim Thui, Joy Kogawa, Michael Ondaatje. Attention has been paid to the definition of discursive parameters, which allow shaping the concept of historical memory in ‘mosaic’ Canadian society; the issues of identities; the main markers of Canadian historical strategies; and versatile patterns of literary texts. The participation of Canada in the global dialog, which involves its culture and literature, plays probably the most important role in the debate on Canadian polyethnic literature. Regional, national, and international features demand some combined definition. The research explicates modern historical memory strategies in the context of conventional territory with its specific spatial and temporal characteristics. The author demonstrates the main local views on peculiarities of the Canadian literary process of the 2nd half of the 20th ― early 21st century and analyzes literary texts. All the novels show profound connection between representatives of Canadian literature, who may seem essentially different but manifest temporal and subjective similarity. The paper lists the names of authors working within the ‘double vision’ formula suggested by N. Frye. This approach focuses on the elements of North American culture pertaining to Canadian multicultural world structure as well as traditional cultures of the writers’ ancestral homelands. The paper also considers the generation paradigm, structured on the basis of social and historical algorithms and psychological markers. The types of generational modes (Kim Thuy, Michael Ondaatje) in literature were combined through a common denominator ― canadianness ― based on a double identity.

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Tūtlytė, Rita. "The Prose of Marius Katiliškis: Artistic Contours of the Monistic Worldview." Colloquia 34 (May 22, 2015): 60–79. http://dx.doi.org/10.51554/col.2015.29047.

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In this article the author seeks to view novelist Marius Katiliškis’s oeuvre within the framework of European literary tradition, to draw attention to remnants of early twentieth century art’s monistic worldview in the writer’s narratives, and to highlight his artistic expression of the monistic worldview. The author of the article grounds her analysis in the philosophical concept of monism and in studies of its diffusion in late European Romanticism, and in German literary studies (Monika Fick, Marianne Wünsch) of twentieth century literary monism and shifts in literary systems (realism – modernism).Early twentieth century modern European art probed the sensory aspect of human nature and the irrational as important instruments for grasping the unity of the world. The author of the article applies these aspects to her reading of Katiliškis’s prose. A review of narrative strategies allows her to make the convincing argument that Katiliškis’s realistic representation and epic narrative are complemented with twentieth century innovations. The sensory emphasis that is characteristic of his understanding of the world is an instrument that allows him to connect the human and nature as closely together as possible, and to search for a single, foundational principle. The monistic view of the world gives realistic representation greater depth, as attention to social and psychological human relations is complemented by a sense of the unity of life and a mystical dimension: Katiliškis brings monism’s key concepts about the universal basis of life to the traditional human/nature relationship.

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Omarova, A. K., A. Zh Kaztuganova, B. Turmagambetova, and G. Tursunova. "KAZAKH ELITE AND MUSIC (1920-1930)." BULLETIN 3, no. 391 (June 12, 2021): 208–13. http://dx.doi.org/10.32014/2021.2518-1467.123.

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The article discusses specific period in development of the Kazakh music in the XX century and the tasks of its adequate scientific interpretation. In the new development of the stage of the 1920s-1930s. the formulation of a complex of historical and theoretical problems is proposed, which corresponds to the modern level of musicology and related disciplines. This approach is aimed at filling the “white spots” in the culture of Kazakhstan, which are still numerous. In this context, exploring the selfless activity of the national intelligentsia of that time, who made special contribution to the preservation of traditional art, is relevant. The creative figures of musicians-performers, including eminent and, for some reasons, unknown ones in broad and professional circles, will be shown not only through various components of their artistic individuality, but also in connection with problems that go back to anthropological, worldview, psychological and other research aspects. On this basis, through the enrichment of factual base, it is planned to generalize their experience to ensure continuity and inviolability of spiritual priorities and values.

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Kholodova, M. V., and M. M. Chikhacheva. "OUTSTANDING FIGURES OF OPERA ART OF KRASNOYARSK: LARISA VLADIMIROVNA MARZOEVA." Northern Archives and Expeditions 5, no. 2 (June 30, 2021): 159–67. http://dx.doi.org/10.31806/2542-1158-2021-5-2-159-167.

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The study of the culture of various regions of Russia, including the musical culture of Siberia, is one of the intensively developing areas of modern russian art history and cultural studies. The history of the formation and development of the musical culture of Krasnoyarsk - one of the largest siberian centers — is a multi-faceted picture, already meaningful in a number of fundamental works, a series of scientific publications. At the same time, not all aspects of the musical life of Krasnoyarsk received comprehensive coverage, many of its pages are waiting for their researcher. The article presents the milestones of the creative biography of an outstanding singer, Honored Artist of Russia, professor of the Siberian State Institute of Arts named after Dmitry Hvorostovsky — Larisa Vladimirovna Marzoeva, whose name is known today far beyond Siberia. The focus of the author of the work is the way of becoming a talented artist, teacher in the musical and theatrical field, coverage of the activities of an outstanding person in the field of opera art. A talented graduate of the Leningrad State Conservatory named after N.A. Rimsky-Korsakov in 1978, at the invitation of the leadership, chooses a career in the only opening Krasnoyarsk State Opera and Ballet Theater (now bearing the name of the famous fellow countryman, baritone Dmitry Alexandrovich Hvorostovsky), the Siberian Theater has become a true "alma mater" for the singer, and her multifaceted creative activity has largely determined the development of opera art and marked an important milestone in the musical and theatrical life of Krasnoyarsk in the last third of the 20th — first quarter of the 21st century. The work presents materials of Krasnoyarsk periodicals and interviews with L.V. Marzoeva, on the basis of which the singer's contribution to the cultural life of Krasnoyarsk is analyzed, the results of her creative activities covering performing, pedagogical, musical and educational work are summed up.

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Шелехов, И. Л., and Г. В. Белозёрова. "Childhood as an Object of Psychological and Pedagogical Research." Психолого-педагогический поиск, no. 2(62) (August 5, 2022): 24–35. http://dx.doi.org/10.37724/rsu.2022.62.2.003.

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Обозначена актуальность исследования феномена детства. Определены области научного знания о детстве и представлена дефинитивная палитра этого термина. Исследованы подходы к его изучению, функции. Обозначены особенности процесса развития ребенка. Рассмотрено пространство детства, описаны его характеристики и функции. Приведена позиция государства в отношении детей. Рассмотрены теоретические и практические аспекты исследований детства в XXI веке.Авторский вклад в исследование детства заключается в сопоставлении, анализе, изложении актуальных, значимых, перспективных аспектов современных исследований данной тематики. Представлен обзор теоретических и прикладных аспектов детства. Предложено авторское определение детства. В рамках профессиональных интересов авторов детство рассматривается как дополнительное направление в системных персонологических исследованиях, отдельный элемент структуры репродуктивной функции человека, составная часть материнско-детских взаимоотношений.На основе сопоставления и анализа данных системного исследования сделаны следующие основные выводы.Интерес социума к проблеме детства возникает с эпохи Возрождения (XIV–XVII вв.).Различные аспекты мира ребенка и его психологии раскрываются в произведениях искусства (графика, живопись, скульптура), художественной и просветительской литературе, кинематографе.Психология детства является актуальной и перспективной темой научного исследования.Исследование феномена детства носит полидисциплинарный характер: традиционно это науки о человеке (психология, педагогика, социология, философия, биология, медицина, история, культурология), а также специфические области междисциплинарного знания (психоанализ, педагогика, этнография, история).Целью детства как периода онтогенеза является взросление, рассматриваемое как присвоение, освоение, реализация взрослости.В периоде детства Homo sapiens sapiens выделяются три основные функции, отражающие гетерогенные аспекты существования человека: биологическая (соматическое развитие организма), психологическая (развитие психики человека), социальная (включение индивидуума в систему общественного воспитания).Существуют две точки зрения на процесс развития ребенка: развитие непрерывно и развитие дискретно.Детство интерпретируется как производная от исторической эпохи, характерной для нее культуры (духовной и материальной), уровня экономического развития и представляет собой n-мерное психосоциокультурное пространство. The article highlights that the investigation of the phenomenon of childhood is highly relevant. It investigates various approaches to the investigation of childhood and scrutinizes various definitions of the phenomenon. The article outlines various characteristics of childhood development, investigates various characteristics and functions of childhood, and focuses on theoretical and practical aspects of childhood research in the 21st century.The authors’ contribution to the investigation of childhood consists in the comparative analysis and investigation of relevant, significant and prospective aspects of modern research in the field. The authors overview theoretical and applied aspects of childhood. They provide their own definition of childhood and investigate childhood as a component in the system of reproductive functions and an essential element of mother-to-infant bonding.The authors provide an illustration in Danish artist H. Bidstrup’s style to underline the relevance of the investigated research and to popularise science.A comparative analysis of the data of systemic research enables the authors to draw the following conclusions:The Renaissance (the 14th–17th centuries) was the first historical period to see social interest in childhood.Various aspects of the children’s world and child psychology can be seen in works of art (graphics, painting, sculpture) and literature (fiction and popular science).Child psychology remains a relevant and prospective issue of research.The investigation of the phenomenon of childhood is multidisciplinary, it incorporates human-related research (psychology, sociology, philosophy, biology, medicine, history, culturology) and some specific interdisciplinary knowledge (psychoanalysis, pedagogy, ethnography, history).The aim of childhood as a period of ontogenesis is maturing, which is viewed as learning to be an adult.The young of the Homo sapiens species perform three functions which reflect heterogeneous aspects of human existence: biological (somatic development), psychological (psychic development) and social (social involvement).Some scholars believe that children undergo continuous development, others argue that children’s development is discreet.Children are exposed to the influence of culture (spiritual and material) typical of the historic period, economic development and n-dimensional psychosocial space.

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Konfederat, Olga, and Natalia Dyadyk. "Hedonistic ontology of the film: generative models." Socium i vlast 3 (2020): 74–84. http://dx.doi.org/10.22394/1996-0522-2020-3-74-84.

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Introduction. Observing the production and consumer area of modern cinematography makes it possible to draw conclusions about the value dominants of modern society, to conduct its sociocultural analysis. Cinema, both auteur and mass, is a way of reflecting and modeling the society spiritual state and its analysis makes it possible to draw quite serious and justified philosophical and social conclusions. The film in a philosophical sense is ontologized by the dominant intention of the era. Such a dominant intention of modernity is hedonism. Pleasure, enjoyment, happiness, according to the humanities, is the basic values of the 21st century society. Cinema is the most comprehensive reaction to the needs of hedonism, since hedonistic prerequisites are to some degree laid down in its technical (movement, photographic phenomenology) and social nature (art and entertainment). In this regard, it seems relevant to conduct a philosophical analysis of the ontological level of modern cinema. The aim of the study is to conduct a philosophical analysis of the ontological level of modern cinema; identify ontological models, variations and combinations of which provide its artistic diversity. Methods: the authors use the general scientific methods of analysis and synthesis, the phenomenological method, since they identify the sensory intentions that underlie modern cinema. The authors also use the hermeneutic method, since they reveal the hidden meanings of the film, determined by the time and conditions of its creation, as well as the semiotic approach, which makes it possible to analyze the structural-semiotic whole of the film. The scientific novelty of the study lies in the fact that the authors analyze films from philosophical aspects, and not just cultural studies, as is customary. In modern cinema, the authors look for a reflection of the “social soul”, identify those intentions that underlie modern cinema, both auteur and mass. This makes it possible to deduce a typology of film models that have not previously been applied to the analysis of the film process. Results. During the analysis, the authors developed a hedonistic-ontological typology of cinematic models, identified five generative models of cinema, four of which have a hedonistic orientation: an alimentary model that pleases the recipient by intensively stimulating his perceptual sphere; a parkour model that gives pleasure to light and unhindered movement, minimizing the severity and resistance of the environment; an arcade model that provides the viewer the pleasure of victory through virtual immersion in the ups and downs of the “action film”; a detective model that gives the viewer pleasure through the removal of cognitive uncertainty. The fifth model, tentatively called existential, should lead the viewer into a complex philosophical state of being-with-self-self, an experience of one’s own fulfillment, associated with the experience of suffering. However, due to the hedonistic orientations of modern culture, this model is not relevant in the first decades of the 21st century. Conclusions. Philosophical analysis of modern cinema has revealed that at the ontological level it is based on the philosophy of hedonism. Modern cinema delivers the following types of pleasures to the recipient: enjoyment of the flesh of the world, enjoyment of bodily freedom in motion, enjoyment of peace, cognitive enjoyment.

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Soroka, Ivan, Nina Gusakova, Serhii Plutalov, Oksana Tsyselska, and Tetiana Kuprii. "Speech Techniques as an Important Tool of Verbal Action in the Art of the Actor." Studies in Media and Communication 10, no. 3 (December 17, 2022): 185. http://dx.doi.org/10.11114/smc.v10i3.5850.

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The relevance of the study is conditioned upon the fact that contemporary art undergoes various transformations. Notably, modern theater is aimed at creating a variety of entertainment forms. It depends on the bright scenery, outrageous acting and the availability of experimental performances. Speech techniques as an important tool of verbal action in the art of the actor also acquired a specific, even paradoxical character. The theatrical work becomes quite subjective and individualised, embodies the inner well-being of the artist in the depiction of his emotions, worldview and more. In this regard, the article aims to determine the nature and features of speech techniques in the practice of performing arts. The leading methods of research on this problem are methods of analysis, synthesis, deduction, generalisation and comparison of approaches, which will help determine the main essence of the problem of speech and speech techniques as an important tool of verbal action in the art of the actor. The article presents various approaches to the study and interpretation of the stage word as a socio-cultural phenomenon; the analysis of works of artists, researchers who are engaged in research of this process is carried out; emphasis is placed on psychological difficulties and peculiarities of the organisation of verbal action on the stage; the definition of the essence of the subtext as a category of stage speech is offered; the methods of its embodiment in theatrical practice are substantiated; the specific features of the functioning of intonation in stage works are traced; diagnosed promising methods of developing the technique of stage speech in theatrical activities; the requirements of acting in the context of the development of theater of the 21st century are determined; the process of creating exemplary stage speech is demonstrated; recommendations and main tasks for improving speech techniques as an important tool of verbal action in the art of the actor and component of theatrical art are revealed. The materials of the article are of practical and theoretical value for art critics, actors, directors, culturologists and theater figures, who will be able to improve the forms of work on the word, to develop skills of language and speech culture. In addition, the information may be relevant for students of stage and art, scientists, teachers who will be able to implement certain principles in future theater activities.

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Pryshchenko, Svitlana, Yevhen Antonovych, and Tetyana Senchuk. "Media Design: the Research of Terminology Base and Visual Stylistics." Demiurge: Ideas, Technologies, Perspectives of Design 5, no. 2 (October 31, 2022): 243–60. http://dx.doi.org/10.31866/2617-7951.5.2.2022.266910.

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Technological changes of the late 20th and early 21st century dramatically influenced the development of the global communication space – all communication channels are rapidly changing to a digital format. The topicality of the article lies in the growing role of visual communications of various formats and computer technologies in modern society. There is an active movement toward digital presentations of the world’s cultural and artistic heritage, multimedia art museums, virtual exhibitions, and virtual tours are appearing, which also require advertising. Main objective of this study is to conduct a comparative analysis of the existing terminology and visual stylistics of the media. Methods. The research methodology is based on a multimodal approach. A number of scientific methods were used to achieve the set goal: system-structural, art historical, and comparative. The scientific novelty of this work consists in expanding and deepening ideas about the development of media as a component of design activity. The authors of the article emphasize that a fundamentally new type of communication – multi media – has acquired its own meanings, meanings and visual images. Modern visual advertising appeals should have a clear communicative structure, aesthetic level and stimulate the intellectual activity of the consumer. It is proposed to define colour graphics as a basic means of media design, and aesthetic dimensions (parameters) as cultural-aesthetic ones. Colour semantics and regional imagery are distinguished to provide the aesthetic evaluation of objects in ethnic style. Postmodernism has its own typological features: the use of any ready forms from art to utility, widespread of photography and computer special effects, deliberate violation of commensurable quantities of visual elements, borrowing the ideas from other types of art, remake, interpretation, combination, fragmentation, epatage, installation, collageness and replicability of the projects. Conclusions. The results of our comparative analysis of terminology and stylistic aspects of media resources are presented. It has been proven that visual media is not a constant, but rather a dynamic process aimed at enhancing the effectiveness of those ideas, products, services, companies, or individuals that are being promoted. Media design is defined as the design of a visual info space, an innovative stage of designing for the virtual world, and a qualitatively new stage of its development. In summary, we note that research materials allow its continuation and expansion in order to prepare a course of lectures for Masters in the specialties "Design", "Management of sociocultural activities", "Advertising and PR", "Tourism", etc.

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Kalinina, Larisa Yuryevna, and Dmitriy Victorovich Ivanov. "The identification method of 6-7 year-old-children’s «duovector» giftedness in the art-creativity process." Samara Journal of Science 7, no. 4 (November 30, 2018): 326–35. http://dx.doi.org/10.17816/snv201874308.

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The paper deals with one of the aspects of early identification of giftedness: the establishment of the relationship between its types. The authors see a solution of the problem in the development and validation of the methodology based on the integrated modern scientific knowledge - psychological, pedagogical and art criticism, in the field of contemporary art. This technique is expected to meet the conditions of efficiency and accessibility in the application of teachers working with children. Clarifications have been made to the basic concept of giftedness for the paper. The authors propose a term describing the interrelated manifestation of two types of giftedness - duovector talent. The method is aimed at finding hidden signs of duovector giftedness: musical mathematics, in the field of fine art and sports, musical and linguistic. The basis of this approach is the idea of the dependence of the frequency and brightness of giftedness manifestations on the conditions, the most important of which is the aesthetic environment enriched with multi-modal material for creativity. At the same time, it is advisable to involve children in accessible and aesthetically valuable works of modern art, in the search for new knowledge in the same ways that adult authors of the XXI century use. Modeling directly perceived creative techniques and forms, the child masters the world, structures it non-linearly, on the principle of creating a rhizome. As a catalyst of creative activity, a set of tasks-subtests adapted to the age peculiarities of children is offered. The procedure of the experiment in a specially organized educational environment (an art workshop) is characterized. Plunging into the atmosphere of fruitful disorder, the child will act freely and directly, engaged in creativity as a game, creates an art product that has value as a marker of his talent. The content of creative tasks is presented, according to the results of work on which the diagnostic card is filled, in turn, which is the basis for the conclusions about the presence of the childs duovector talent. At this stage of the study, the authors have prepared a method for validation by comparing it with tests and subtests of other methods. The materials of the paper logically continue the research in the field of finding reference points for the development of individual educational routes of students, preparing them for lifelong learning.

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Gontareva, A. I. "ORPHANHOOD MOTIF IN NOVELS BY L. ULYTSKAYA: THE CASE OF SHURIK KORN AND MIСHEY MELAMID." Siberian Philological Forum 20, no. 3 (September 30, 2022): 56–68. http://dx.doi.org/10.25146/2587-7844-2022-20-3-124.

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Statement of the problem. The article is devoted to consideration of a problem of orphanhood in the modern Russian literature on the basis of L.E. Ulitskaya’s novels ‟Sincerely Yours, Shurik” and ‟The Big Green Tent”. The relevance of the study is determined by the increased interest to the work of the writer. The aim of the study is to reveal ethical and spiritual aspects of the problem of orphanhood in the literature of new sentimentalism through the prism of Ulitskaya’s works. An attempt is made to identify ways of realizing the image of an orphan, to denote a fair allocation of it in a special type of hero. Achieving the goal helps to identify intertextual connections and meanings that constitute the ideological and artistic basis of the works. The methodology of the study was comparative, structural-typological and hermeneutical approaches, as well as the method of literary analysis of the novels under study. Research results. The study of the central images in the selected novels allows the author of the article to reconstruct a certain philosophical picture of the world, which served as the basis for the creation of the type of an orphan hero. The article notes that the main character must face difficulties, the result of overcoming which will be either the achievement of psychological maturation of the orphan or the impossibility of his existence. In general, there is a profound connection between the theme of orphanhood in the works of L. Ulitskaya and large-scale social breakdowns at turn of 21st century.

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Nunes, Rui. "Fair Equality of Opportunity in Healthcare." Conatus 3, no. 2 (December 31, 2018): 83. http://dx.doi.org/10.12681/conatus.19383.

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The allocation of resources for health, as well as the distribution of other social goods, being a political problem, can also be observed as belonging to the universe of distributive justice, considering that all citizens must have the necessary means for an acceptable physical, psychological and social performance. Individual autonomy, paradigm of a full citizenship in a modern society, cannot otherwise be achieved. Human dignity seems to imply that no citizen can be excluded from the basic health system due to the lack of financial resources. Indeed, equal access of all citizens to basic social goods and therefore to key places in society – principle of fair equality of opportunities – is one of the core aspects of Rawls's difference principle. It is, in essence, about ensuring the exercise of the right to individual self-determination in the relationship between the individual and society, as well as the right to play a social role according to skills and merit. But, it is not only the theory of the social contract that provides for a fair equality of opportunities. Different perspectives of justice contemplate this ideal. As suggested by Tristram Engelhardt Jr individual autonomy must be interpreted as a value in itself and a determining factor for the exercise of a full citizenship. But, justice is an ideal that must be progressively built. Whether in a specific society or on a global scale. And, the great challenge of humanity is precisely to recognize the existing intercultural differences and propose sufficiently flexible ideological systems that can be applied in different countries with very different levels of social and economic development. Without detracting from the ethical principles that should underpin the construction of the 21st century global society.

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Benkovskaya, T. E. "FORMATION OF A CULT OF BOOK IN THE RUSSIAN CULTURE OF THE 18TH–20TH CENTURIES." Pedagogical IMAGE 15, no. 3 (2021): 293–304. http://dx.doi.org/10.32343/2409-5052-2021-15-3-293-304.

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Introduction. The research aims to trace the way of nascency and formation of a cult of book as a unique phenomenon in the Russian culture during the 18th –20th centuries, and identify the reasons and factors that determined the high status of literature in Russian society, its role in the development of national identity; contributed to the fact that the book became not only and not so much a way of leisure for Russian citizens, but a cultural need. Materials and methods. The study is based on the methods of historical and comparative analysis, generalization and synthesis. It also employs the method of actualization, which makes it possible to focus attention on the facts, events, phenomena, observations, ideas and conclusions that are supposed to be of scientifi c and pedagogical value for understanding the role of book, reading, and culture by the people of modern Russia and Literature as an academic discipline in the 21st century’s school education. A versatile approach to comprehending the long-term historical establishment of a cult of books and reading in Russian culture of the 18th-20th centuries made it possible to objectify the results of the study. Results of study. The multidimensional analysis of the emergence and formation of the “cult of book”, i.e., the cult of reading in Russian society, since the time of Ancient Russia, has covered a variety of aspects of understating this phenomenon, including philosophy; culture; literature as a part of culture and a type of art, as exponent of public and national identity; literature as an academic subject in the school system; psychology of “book reading”; book and its place in spiritual life of the Russian people in different epochs, including the current state of Russian society; journalism and book publishing, etc. Findings of the study indicate that the long-lasting book cult phenomenon in Russian culture is due to a consistent and verify ed system of creating a personality, upbringing a reader, familiarizing with reading, which embraces all social and moral institutes (family, school, culture, society, and the State). Conclusion. The study has sharpened the issue of reading books, their place and role in modern digital society, which has become particularly relevant in the 21st century. It is obvious that only a systems approach to addressing this issue, which requires joint eff orts of all the institutes mentioned, can provide positive results if we do not want to lose the readers already in their early childhood.

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Zhurkova, D. A., and V. D. Evallyo. "Round Table “Aesthetics of Soviet Film Comedy”. Eccentric, Author’s Principle, Official Context." Art & Culture Studies, no. 2 (June 2022): 280–307. http://dx.doi.org/10.51678/2226-0072-2022-2-280-307.

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In the modern period the aesthetics of comedy in cinema was on the periphery of the attention of the science of art. Not least, this was due to the fact that the analysis of the comic was relegated to the background by the study of the playful relativity characteristic of postmodern trends in the screen arts of the late 20th and early 21st centuries. Meanwhile, Soviet film comedy remains one of the pinnacles in the development of this genre in the cinema of the 20th century. And the decline of comedy in modern Russian cinema prompts a return to the experience of the masterpieces of the Soviet era. The relevance of the topic is connected with this: the contexts of the comic and laughter in Soviet comedies, their functions of a social, communicative, aesthetic nature were not studied in detail and comprehensively in their time. The novelty of approaches today is associated with the possibility of free from ideological pressure and the most detailed consideration, and in part are vision of the formal and substantive features of the film comedy of the Soviet period. This scientific process combines the methods of art history, cultural studies, folklore and anthropology. This text reviews the reports at the Round Table “Aesthetics of Soviet Film Comedy”, organized by the Mass Media Arts Department of the State Institute for Art Studies and which brought together scientists of different generations from VGIK, the Union of Cinematographers of the Russian Federation, the Russian State University for the Humanities, the Higher School of Economics, the Academy of the Media Industry, the Free University and other institutions. The purpose of the round table was to identify the main phases of the evolution of comedy in the Soviet cinema, and therefore the order of the reports took into account the historical chronology of the appearance of certain films and genre varieties of comedy. Since the formation of film comedy in the 1920s – 1940s, a change in philosophical paradigms, the transformation of an eccentric principle, the formation of new artistic images and motives have been recorded. The attention of researchers to the problems of the relationship between society and the state, concepts and theories of the comedy principle in the context of government orders was also obvious. Particular attention of researchers was directed to the polymorphic nature of comedy, capable of combining lyricism and farcicalness, serious and frivolous, openly conditional and life-like. A number of speakers addressed to the individual elements of the comedy film poetics, the relationship between visual and sound, transformations of characters’ images, inclusions of theatrical forms, grotesque, and absurdity. Aspects of the film language of Sergei Gerasimov, Ivan Pyryev, Stanislav Barei, Edmond Keosanyan, Georgy Danelia, Leonid Gaidai were analyzed.

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Koshelev, Georgy, and Alexandra Spiridonova. "Alexander Melamid’s Portraiture of the 2010s." Scientific and analytical journal Burganov House. The space of culture 16, no. 2 (June 10, 2020): 33–46. http://dx.doi.org/10.36340/2071-6818-2020-16-2-33-46.

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The article focuses on a comprehensive study of Alexander Melamid’s portraiture included in his first independent project after thirty years of collaborative creativity with Vitaly Komar. Throughout the entire thirty-year period of cooperation, the painters signed their works with the Komar and Melamid trademark making it difficult to determine the artists’ individual characters. A detailed analysis of the solo works of the 60-70s, before the beginning of collaborative creativity, is presented; it helps us to detect individual traits in the works of the duet and to better identify the artists’ personalities, to reconstruct the technical features of each artist’s painting style. In 2007, Alexander Melamid began creating a large-scale series of paintings which would become his new conceptual line of creative work; later, in 2009, the artist developed and supplemented the series with portraits of Italian clergy and Russian oligarchs. Characteristic features of the Holy Hip Hop! portrait series, exhibited at the Detroit Museum of Modern Art in 2008, are studied in the article. The artist paid special attention to the psychological characters of the portrayed, the entire series is painted in one color scheme, within one scale. The pictorial series is an integral conceptual statement. The purely plastic qualities of the paintings fade into the background. They are not so important for Alexander Melamid - he uses academic painting as a tool to convey more accurately the psychology of the portrayed whom he treats with ironic interest. It is important to note that Alexander Melamid erases the line between the classical and the marginal art, just as Francois Millet did in his time. The article succeeded in updating sociocultural issues with the help of contextual comparison with portraiture by Diego Velazquez and contemporary American artist Kehinde Wiley whose creative life has deeply integrated into the socio-political realities of the United States of the beginning of the 21st century and the African-American cultural tradition. Kehinde Wiley is known for his realistic large-scale portrayals of African-Americans in poses borrowed from works of classical European painting of the 17-19th centuries. The artist openly propagandizes, deliberately emphasizing the didactic function of his paintings. It is in the context of contemporaries’ works and the political situation in the USA of the 2000-2010s that Alexander Melamid’s work should be considered.

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Zlotnikova, Tatiana S. "Philosophy and the Drama of Life: A Theater Experience of Understanding F.M. Dostoevsky." Observatory of Culture 18, no. 3 (July 22, 2021): 228–39. http://dx.doi.org/10.25281/2072-3156-2021-18-3-228-239.

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The article aims at a multidimensional discussion of the little-explored topic of the dramatic content of the philosophical problems in the works of F.M. Dostoevsky (1821—1881). There is proved that it was this feature of creativity that made the writer, with his philosophy of life and sharp, dramatically effective plot and psychological collisions, the most desirable and very productive author for the Russian theater art.Polyphony, dialogism, combined with the features of the tragic genre, are the basis for numerous theatrical embodiments of novels and novellas by F.M. Dostoevsky. The intensity of the action in his works gave rise to the expressions “novel-drama” or “drama in a novel”, “novel-tragedy”, and in theatrical practice it created the ground for the transformation of moral and philosophical problems into active stage action.The article reveals the context of F.M. Dostoevsky’s works — the time and conditions for the emergence of novels and novellas, the problem field that united and separated him from the works of his predecessors and contemporaries, which is done on the basis of a brief description of several aspects of the philosophical-aesthetic and socio-moral systems. In this context, according to our concept, a special place is occupied by the idea that life in Russia is absurd and ridiculous, and the reflection of the absurd is the most important artistic paradigm.The article proves that the analyzed philosophy of F.M. Dostoevsky’s life received polar genre embodiments in the theater. Thus, the dramatic and melodramatic beginning was characteristic of the performances that had in their center the so-called little man. The article presents an understanding of the most remarkable performances of the second half of the 20th and the beginning of the 21st century: “The Idiot” by G. Tovstonogov, with a new trend of searching for a “positively beautiful” person, which had a significant impact on many theatrical experiences in Russia; “The Petersburg Dreams” by Yu. Zavadsky, as a unique experience for Soviet art of creating a tragic work in full accordance with the aesthetic characteristics of this genre; “And I Will Go, and I Will Go” by V. Fokin, as the last emotional outburst of the young generation of Soviet creators who thought in the moral and psychological parameters of F.M. Dostoevsky’s characters; “The Karamazovs” by K. Bogomolov — a postmodern experience of an absurdist reading of the multifaceted text of the classic.In the works of the writer and their theatrical embodiment, the article notes the signs of a carnival worldview, a combination of grotesque and subtle psychologism in the stage versions of F.M. Dostoevsky (in particular, when working with ironic and satirical texts, “Uncle’s Dream” and especially “The Village of Stepanchikovo”, where sympathy and negative connotations are integrated into a single artistic space). The article correlates the writer’s works existential interpretations by theatrical creators of the 20th and early 21st centuries with socially significant problems, life choices, and dramatic conflicts that characterize Dostoevsky’s philosophy.

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Holotenko, Pavlo. "Jazz Avant-Garde by Cecil Taylor." Aspects of Historical Musicology 19, no. 19 (February 7, 2020): 466–81. http://dx.doi.org/10.34064/khnum2-19.27.

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The relevance of the subject. Jazz music is a vivid, unique and distinctive phenomenon of the world culture, which is a grand achievement of many-years musical practice of humanity. In the context of the artistic culture of the modern information society, jazz art plays an essential part and is really quite interesting. The creative activity of jazz performers has always attracted the attention of the audience, caused a diverse reaction and today has many supporters in different parts of the world. Since the middle of the XX century, more and more trends have begun to emerge in jazz music, which led to the understanding of philosophical and psychological issues, in particular, ethical, aesthetic, social and other aspects. In this connection, new styles began to form in jazz, which in fact represented the emergence of the next, radically new stage in the evolution of jazz art. In the second half of the XX century there appeared jazz avant-garde – an entirely new cultural phenomenon that has its own history and philosophy, genre and style. In musicology, this concept can also be called “abstract jazz”, “new jazz”, “free jazz”, etc. It is clear that this trend is at the crossroads of two separate types of art – musical avant-garde and jazz, so it attracts admirers from both sides. Compared to traditional classic jazzmen, many prominent musicians of jazz avant-garde are still little known. Among them are composer and pianist Cecil Taylor, who was a compelling opponent of jazz traditions. His style is unique, his music is one of the most striking examples of musical avant-garde in the history of art. Nowadays, the scientific literature has no fundamental works devoted entirely to the analysis of C. Taylor’s avant-garde art. This circumstance also enhances the relevance of studying specific features of C. Taylor’s performing style. The purpose of the research is to determine peculiarities of Cecil Taylor’s creative style and related techniques of music speech. Achieving the goal involves solving the following tasks: to determine the difference between artistic systems of classic and avant-garde jazz; to outline the main informative paradigms of C. Taylor’s creative work; to analyze the technology of expressive means of C. Taylor’s music; to reveal the significance of C. Taylor’s avant-garde activity and to identify its place in the world of modern artistic culture. Research methods. The research is based on the interaction of scientific approaches, the most important of which are: analytical, which involves elaboration of musical means of expressiveness and composition technique of sounds organization; comparative, used to compare specific features of artistic systems of jazz mainstream and avant-garde; semantic, necessary for defining the content of music pieces, their meanings, images, mood; biographical, with the help of which certain facts of the musician’s biography are specified for a better understanding of his creative personality. Results of the study confirm the fact that in the world of artistic culture Cecil Taylor is one of the greatest representatives of the radical musical avant-garde. The basis of his art is the so-called “aesthetics of opposition”, the central idea of the artistic system of jazz avant-garde, according to which any artistic truth categorically established for all others cannot exist. In this context, the individualization of style, the relativity of all aesthetic ideals and the unlimited spectrum of expressive possibilities are stated, which is conditioned by the optimal disclosure of the figurative and emotional content of the piece. At the same time, the central object of the avant-garde jazz denial is the concept of the classic jazz art, based on the so-called “aesthetics of identity”. Its main idea is to adhere to structural stamps in order to maximally approach the stylistic aesthetic ideal. Such an ideal is the given classical theme-standard. Actually, this is an artistic truth for the jazz mainstream, to which one should aspire. Avant-gardists did not agree with this situation, for them it was nothing more than imposing personal whims by adherents of jazz traditions. The main informative paradigms of C. Taylor’s avant-garde art are antiromanticism, realistic pessimism and dystopia. The essence of anti-romanticism is to deny the domination of sentimentality, subjectivity, dreaminess and escape from reality, typical for romanticism. In their place, the primacy of rationalism, collectivity and pursuit of objectivism are established. Realistic pessimism is a worldview where, basing on tragic experience attention is focused on negative aspects, which leads to a belief in the eternal dominance of evil all over the world. Anti-utopia is recognition of the deception of utopia, the denial of the achievement of social ideals and the possibility of creating the world of justice. The main means of expressiveness of this ideological content in C. Taylor’s works are atonality, disharmony and percussive pianism. Conclusions. According to the research findings, we conclude that Cecil Taylor made a significant contribution to the development of modern culture. He was a compelling opponent of jazz traditions, always remained an uncompromising fighter for new jazz. Cecil Taylor is a virtuoso pianist and prominent improviser, one of the best representatives of avant-garde jazz in the world. Cecil Taylor discovered a new bright side of musical art and stimulated the public to redefine spiritual values and view of world as a whole. His work attracts and will attract attention of all those who are interested in contemporary art.

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Hula, Yevhen, and Alla Osadcha. "Features of the impact of design on the progress of humanity." Aspects of Historical Musicology 21, no. 21 (March 10, 2020): 8–22. http://dx.doi.org/10.34064/khnum2-21.01.

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Background. Within the framework of art-historical discourse, the peculiarities of the influence of design developments and concepts on progress of humanity are considered. Researchers offer ambiguous estimates of this phenomenon, discussions are lasting and different opinions on the issues of influence of design on technological and cultural progress of human society are putting forward. The aim of the paper is to systematize and generalize scientific concepts about the design role in the society progress. Novelty of the research consisting in synthesis of information on features of development of design for the last years in various spheres of culture and social practice defines its practical significance: the Ukrainian educators and art critics can consider the information contained in the article useful to develop new strategy of training in bases of design to non-specialist students. Methodology. Major publications and monographs on the subject have been reviewed. It has been found that terminological judgment of design began with the middle of the XX century, first, within postmodern paradigm. The design as a component of culture correlates with cultural and art traditions, philosophy, ecology and other areas of public and humanitarian knowledge. Hence, the study of the role of design in ensuring progress provides for the wide use of theoretical and methodological tools not only of design theory, but also of other disciplines: art history, cultural studies, social psychology, aesthetics, ecology, etc. The design is considered both as universal and as a national phenomenon. The definitions of design in the works of a number of domestic and foreign authors in the context of its cultural-creative influence are compared. The analysis of design in its connection with artistic creativity is carried out. The components of contemporary design art are determined, the characteristic to the newest manifestations of design is given. Results. The design represents the hierarchical structure expressed by means of а material, space and balance of proportions, contrasts, repetitions (in ornaments, etc.), scale and a form, a size, a color and density, texture and weight, and other. It is possible to consider culture of design as the huge multilayered text, which is written down by different ways in different spheres of culture and art. However the dilemma “art or production” in the sphere of design is inevitable. Design is directly involved in technical progress in material culture and uses the art of planning, invention, modeling as a method, also introducing new object forms (see, for example, Vershinin & Melentyev, 2005: 1001). The design role in culture is connected with creation of esthetically perfect fine environment. At the same time, it is differentiated essentially depending on the region of the world. So, design creativity is reasonably considered a manifestation of project activities and project culture of the 20th century. However, the progressive function of design at the beginning of the 21st century is that design is becoming a way to bridge the gap between technical civilization and spiritual culture, and design projecting is becoming a way of harmonizing human life in a modern environment. The importance of design for the progress of humankind is clearly demonstrated by the modern ecological direction, one of the components of the international movement of “green” design, namely, “environmental” design. This concept implies the creation of products that are compatible with the environment, the reduction and complete elimination of the negative impact on nature through the use of alternative resources and energy, as well as non-toxic materials. Ideally, the design should be in line with the “3R” ecological principle: reduce, reuse, and recycle. The value of design for progress in art can be understood, having only tracked integration of painting, architecture, industrial and graphic design and having seen what the role in tangled process of creation of design is played by contents and a form, which also are the expression of the thought, the point of view and social responsibility of the designers. It is also important to emphasize the role of the designer’s profession, because for many artists design and art is a cultural mission, where life and work are inseparable. Judgments of design in art are formed, proceeding from two types of estimates: symbolical, or associative (external), and formal (internal). Symbolical estimates are mostly subjective and have no relation to design or art per se, being most often based on a habit, rumors, others thought, personal factors, prejudices, misunderstanding, that is on social, psychological, political, financial and even religious factors. Internal assessments concern an esthetics and actually design (appearance of the work of art, its visual quality) regardless of what it personifies. If external estimates belong to contents, then internal – to beauty. The latter is difficult to measure it and here such factors as talent, erudition, taste, susceptibility, experience and visual feeling matter. When determining a role of design in art, it is also necessary to remember that the principles of laconicism, laws of color, a rhythm and even plot equally work in any material, these fundamentals exist out of time, space, the state, school or style. To resume, human progress is largely driven by the positive influences of design concepts. Summarizing the views of Ukrainian and foreign researchers, it can be argued that design as a type of purposeful creative activity of mankind contributes to progress, since: 1) provides support for the development of civilization by creating new and improving known man-made objects; 2) creates an optimal human environment in order to achieve maximum comfort of his existence; 3) contributes to the formation of creative personality traits, its purposeful activity, which is one of the main social tasks. Design acts as an universal phenomenon, which covers different spheres of human activity, being, at the same time, the factor of socio-cultural communication and the basis for personality realization. As the socio-cultural phenomenon, it correlates with understanding of the person as source of intrinsic forces acting like the harmony catalyst in space.

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Andreichykova, Olena A. "THE MOTIVE OF CATASTROPHISM IN THE DYSTOPIAN GENRE POETICS: KAZUO ISHIGURO AND YAROSLAV MELNIK." Alfred Nobel University Journal of Philology 2, no. 24 (December 20, 2022): 29–37. http://dx.doi.org/10.32342/2523-4463-2022-2-24-3.

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The article examines the concept of catastrophe as an art theme, which is extremely relevant in our time and is also marked by the entropy features. We can confirm that this phenomenon grows and affects many spheres of human life, both external (global, social) and internal (psychological). The author of the article focuses on how modern dystopia reflects an awareness of a catastrophe, which is happening or has already happened. We have analyzed two novels from this point of view: “Masha, or the Fourth Reich” by the French writer of Ukrainian origin Yaroslav Melnyk and “Never Let me Go” by the English writer of Japanese origin Kazuo Ishiguro. The article emphasizes that the dystopias of our time correct classical dystopia attitudes, because they tend to the diffusion of new genres, acquiring the features of a parable novel, a myth novel, an alternative history fiction, and a philosophical novel. We have also noted the controversial nature of new formations, which combine signs of utopia and dystopia. Regarding the ideological and thematic component, the author of the article states that Ya. Melnyk and K. Ishiguro focus on the traditional problems of humanism and the relationship between “man and society” and on individual’s catastrophic depopulation issues in the conditions of nowadays turbulent challenges. The purpose of the article is to study the specificity of catastrophism artistic embodiment in the novels “Masha, or the Fourth Reich” by Yaroslav Melnyk and “ Never Let me Go ” by Kazuo Ishiguro and its functions in the structure of the dystopia genre. To achieve this goal we used historical-literary, cultural-historical and hermeneutic research methods. It was determined that the catastrophism motif realization in the dystopia genre contributes to searching for new experimental forms, activates the processes of transformation and diffusion in the genre creation field, paradoxically and organically combines classic and modern elements of dystopia, renewing the poetics of the genre. Conclusion. Kazuo Ishiguro’s novel “Never Let me Go” demonstrates a powerful example of genre synthesis: “stream of consciousness” coexists with the classic English estate novel, which is emphasized by confessional and allegorical intonations and does not prevent the writer from resorting to some possibilities of a detective story. Features of the traditional parable form and mythological genre are also observed. Fantastic elements are interspersed with realistic ones. But allegorical, mythological, fantastic, and realistic features organically coexist in the novel, reinforcing the author’s main ideas. Yaroslav Melnyk in his novel “Masha, or the Fourth Reich” successfully synthesizes an alternative history novel, an adventure novel and a classic philosophical novel. Here conflicting utopia and dystopia also organically coexist, reinforcing each other. A dystopia genre structure becomes open and acquires unlimited hybridization, losing its classical features and even postmodern boundaries. Thus, the catastrophic reality of the 21st century promotes the search for new experimental forms, activates unpredictable processes in the genre creation field, and paradoxically and organically combines classical and modern elements of literary art. Once again, modern dystopian literature shows that “common issue” as a social slogan cannot satisfy individual human needs. The problem of egocentrism with the insufficient development of the political machine is becoming more and more acute. As a general phenomenon, consumer society does not justify itself and makes the lives of its sons doomed. Unfortunately, the heroes of modern dystopias less and less often choose to fight and more often to humble themselves or flee, which is the main difference from their classical predecessors. The prospects of further work are to deepen the understanding of the causes of stylistic and substantive differences in dystopias, the influence of socio-cultural reality on modern dystopias genre synthesis, the differences in the methods of utopian representation and artistic means of enhancing catastrophization within stories framework.

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Lin, Ziye. "The comparative analysis of Gibson girls of 20th century and contemporary females." Highlights in Art and Design 1, no. 3 (November 22, 2022): 65–67. http://dx.doi.org/10.54097/hiaad.v1i3.2962.

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There is a complex relationship between fashion and dress to identity. It's worth noting that given twining, cloths can be a portrayal of one's identity because they tell people something about class, gender, status, and so on. Also, the author asserts that cloths can lead to misinterpretation because they are not able to speak (Entwistle, 2000: 112). It is because of this argument that copious theories have emerged in an attempt to explain the relations. Entwistle, in her book, highlights the centrality of dressing to people's identities, gender, and sexuality (2000, p.40). These sentiments are also held by Stroope, Walker, and Franzen (2017, 85), who posit that the portrayal of identity has led to theories such as feminism. Therefore, feminism has existed in all aspects of life since it came into being in early 1910. These concepts are also used in various ways in the fashion industry making it significant in contemporary times. Feminist theory mainly accentuates the analysis of gender inequality. Therefore, it aims to gain a deeper understanding of the nature of gender. In her book, Butler believes that gender is used sometimes as a way to secure heterosexuality (2006, 5). Therefore, according to Griffin (2015, p.196), feminism wanted to transform the entire realms of the lives of women: social, political, cultural, personal, and economical. Consequently, Zinn and Dill (2016, 76) assert that feminists meant to remove all psychological and structural obstacles to the financial independence of women. The reason is that most of them believed that gender was produced and considered though sexual hierarchy as outline by (Butler, 2006, 5). Some of the themes explored in these theories entail objectification, contemporary discrimination, and art history. Indeed, feminists combined lots of reasons that became related to a New Woman. Some crusaded for woman voice, others fought for labor and socialism, whereas others still called for birth control and ‘free love.’ As a result, Butler (2006, 7), in her book, she continues to point out that feminist views attempt to eliminate and overthrow gender, because it is a typical signal of women. The feminism resurgence in the recent past has been integral in the evolution of the modern fashion industry. It is a relief that females are no longer anticipated to fit into a particular mold for them to be perceived as beautiful. The stereotypical thinking, as well as the labeling of females as sexual objects, often have negatively impacted how several women dress Entwistle (2000, p.40). As denoted by Fraser (2017, 167), this is something that most women seem to be reluctant to dress because of the fear that they might be perceived as sexually provocative. Seabrook, Ward, and Giaccardi (2019, 556) also echoed this sentiment but went further to posit that fortunately for feminists, especially those in the fashion industry, feminism has led to the promotion of females as sexual beings rather than sexual objects. Many people are happy that the industry is catching up, though centuries later.

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Makliuk, D. "Ivan Mazepa’s personality as a cultural symbol: historicalperforming aspects." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 55, no. 55 (November 20, 2019): 61–76. http://dx.doi.org/10.34064/khnum1-55.05.

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Abstract. The article explores the image of I. Mazepa in the context of numerous sources devoted to the personality of the Ukrainian hetman in historical science, literature and music. The analysis shows that the ideas of the great Ukrainian in the works of art evolve: from a traitor to a patriot. If in the 18th – 19th centuries artists created this image being inspired by myths, then from the early 20th century and up to the present time the historical approach has been dominant. In this paper the author suggests performing aspect basing on the vocal and scenic image of I. Mazepa created by him on the stage of Kharkiv National Opera and Ballet Theater named after M. Lysenko. The interpretation of the extraordinary personality of the Ukrainian hetman gives the audience an opportunity to look at Mazepa from a historical perspective. It is noted that his image in this performance is not limited to a national vision, but acquires a universal character. I. Mazepa’s personality is of great interest to modern Ukrainians living both in their historical homeland and far beyond its borders. At present, contradictory assessments of Mazepa’s role in the chronicle of Ukrainian history require the establishment of historical and artistic truth. P. Tchaikovsky’s opera Mazepa is perceived as a fruitful material to search for a new interpretation of the image. It was first performed on the stage of Kharkiv National Opera and Ballet Theater named after N. V. Lysenko on July 2, 2017 to mark the 330th anniversary of Ivan Mazepa’s election as hetman of Ukraine. This fact gives a chance to bring into focus a relevant performing interpretation of the image of this outstanding figure in Ukrainian history. Among the numerous historians and literary critics cited in the article, we find a new interpretation of Mazepa’s image in contrast to music studies (N. Lupak’s dissertation). The method of analysis is conditioned by the creative practice of the KhNAOBTh and its own performance experience. The purpose of the study is to substantiate the reinterpretation of Mazepa’s vocal and scenic image in the production of the P. I. Tchaikovsky’s opera of the same name on the stage of KhNAOBTh named after M. Lysenko (2017) basing on the critical analysis of scientific historiography. The attitude towards I. Mazepa as a historical personality and a person has always been ambiguous. He combined the incomparable: on the one hand, he was a great military and political figure who fought for the creation of the Ukrainian state, on the other hand – a treacherous traitor; at his initiative, 26 Orthodox churches were created throughout Ukraine and, at the same time, he was an apostate devotee who took part in the destruction of Ukrainian cities and villages; a person capable of loving in the broadest sense of the word. He had everything that attracted and aroused great interest of writers, composers, artists, directors not only in our country but also far beyond its borders. And each author interpreted the image of Mazepa in their own way. In the 19th century, the image of the Ukrainian hetman fell into the area of artistic interests of M. Staritsky. He, like Voltaire and Byron, used the Western European legend of Mazepa in the novel “Mazepa’s Youth”, which was appropriate for its genre (historical-adventure). Naturally, the idea of “independent Ukraine” did not fit into Russia’s interests. In Tchaikovsky’s opera Mazepa (1883), based on A. Pushkin’s story (libretto by V. P. Burenin) everything is quite complex. It is important to note that many researchers of Tchaikovsky’s creativity believe that in Tchaikovsky’s Mazepa historical facts are sidelined while lyrical love scenes dominate. There were a number of questions when the image of Mazepa was ctreated in the original Ukrainian version of the opera on the stage of Kharkiv National Academic Opera and Ballet Theater named after N. Lysenko. The main one is how to maintain faithfulness not only to historical but also to the life’s truth? The times of the Hetmanate in Ukraine were silenced for about 300 years, and, in particular, the true life of one of its most famous representatives was unknown. But in order to create an image, it is important to know the smallest shades of your character’s psychotype. As the lyrical scenes of Mary and Mazepa are the central line in the opera, it is necessary to understand what kind of relationship they really had. Kharkiv stage directors of P. Tchaikovsky’s opera (director Armen Kaloyan and conductor People’s Artist of Ukraine Garkusha) sought to convey this very episode from the life of Mazepa, who openly loves his darling and suffers from having to cruelly deal with her father and hurt her badly. In addition, there was created their own version of the text (by Victor Marinchak, Svetlana Oleshko and Mikhail Barbara) and changes were made to the musical dramaturgy of the opera. The main idea of stage directors was to transform the content of the opera into another field – to reveal the image of the hetman as a significant figure in the history of Ukraine, which was much more important for Mazepa than the alliance with Peter I. The difficulty of creating a vocal and scenic image of Mazepa lies in its multi-vector character, which should not interfere with artistic unity and integrity: Mazepa-lover (in the tradition of Western European romanticism), Mazepastatesman (Ukrainian national tradition) and, at the same time, in the interpretation of Kharkiv theatre Mazepa-traitor had to be neutralized (an enemy that is characteristic of Russian imperial thinking). The motives of torments, sorrow and, along with this, the rebellious nature of the protagonist become considerable in the opera, rising to genuine symbolism. Thus, in the vast number of works dedicated to I. Mazepa, his image is not limited to the national framework, but acquires a universal significance. Conclusions. Analysis has shown the evolution of ideas about the great Ukrainian: from traitor to patriot and legendary hetman. If in the 18th century the image of the Ukrainian hero was interpreted in many ways by its creators on the basis of myths, then in the 20th – 21st centuries the historical approach prevails in understanding performing interpretation of Mazepa. The creation of a complex, extraordinary personality on the opera stage requires from the performer, in addition to knowledge of Mazepa’s vocal part, a thorough study of various axiological judgments. The above given interpretations of I. Mazepa’s image reflect the irreconcilable confrontation and “blood” belonging of one or another author to different systems of values of the worldview. Such interpretations indicate that the image of I. Mazepa is interpreted as a symbol, an archetype of the national opera tradition. Undertaking further study of the theme can involve performing analysis of Mazepa’s image on the stages of Kyiv and Odessa opera theaters with a view of understanding the performing principles when teaching young vocalists in the class of solo singing.

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Kopeliuk, Oleh. "THE “24 PRELUDES” FOR THE PIANO BY IVAN KARABYTS AS AN ENCYCLOPAEDIA OF THE UKRAINIAN RENAISSANCE OF THE 1970S." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 58, no. 58 (March 10, 2021): 65–95. http://dx.doi.org/10.34064/khnum1-58.05.

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Background. The research is devoted to revealing the semantic analysis of the dramaturgy of one of the large-scale compositions in the creative work of IvanKarabyts – the cycle “24 Preludes” for the piano. The composition was written by Ivan Karabyts in 1976 and today it is of great interest to concert performers and fans of modern piano music. The attention of pianists to the cycle “24 Preludes” by I. Karabyts is attracted, firstly, by the distinctive, original musical language, secondly – by a wide range of performing capabilities and means of expression, and thirdly – by vivid images that inspire pianists to reproduce artistic ideas, hidden philosophical implications. The object of research is the cycle “24 preludes” for the piano as a musical encyclopaedia, reflecting the artistic era in the context of the Ukrainian renaissance of tthe 1970s, and the aim is to identify stylistic patterns by means of the semantic analysis of the dramaturgy of the cycle, finding the intersection in a kind of dialogue with a diverse, significant fund of the music of the 20th century. The methodology of research is focused on the relationship of special methods of analysis: functional-structural, intonation, genre, style, semantic and interpretative one. Results. Ivan Karabyts chooses for his cycle a model of tonal dramaturgy of the cycle “24 Preludes”, introduced by F. Chopin and later by D. Shostakovich, namely – the movement along the circle of fifths in the ratio of major-minor. From the point of view of musical semantics of the preludes of the cycle they can be divided into 5 thematic groups (contemplative and introspective lyrics; grotesque and dance; sound imitation and spatial-visual; stylistic allusions; and tragedy ones), varied in genre-stylistic sense (according to the criteria of modelling the awareness of the lyrical hero (I – the world around me.) The dramaturgy of the cycle is built through their correlation, while forming a certain plot, which begins with the image of the lyrical hero, and ends with a demonstration of the society which is ambiguous and problematic for a human. The composer chooses the prelude as a genre with a historical memory of culture, which allows performers and listeners to experience the range of psychological moments of the human spirit in the turbulent world of events of the last third of the 20th century. The composer is fascinated by this genre not by chance, because the prelude allows reflecting in miniature numerous states of “fixed” moments of existence, the inner balance of the artist and the world. Each prelude in the cycle is a kind of creative laboratory, a field of creative experiments. It reflected both already developed and new methods and principles of the composer’s thinking. While performing one prelude after another as a whole composition, one realizes that this genre expresses the freedom of creativity, the element of existence: it is a fantasy, and a story of the heart, and the revelation of the spirit, and at the same time – bright genre sketches. Conclusions. The analysis of the musical semantics of I. Karabyts’s piano cycle “24 Preludes” testified to the presence of 5 genre-stylistic groups in the cycle (according to the criterion of the dual world notion “psychology I – the world around”). Thus, the genre-semantic analysis of the piano cycle “24 Preludes” has shown that I. Karabyts does not lose touch with history and time, by paying tribute to the masters of the 18th–20th centuries, continuing to develop the type of tonal dramaturgy, laid down by J. S. Bach. In the cycle there is a special “counterpoint” of the “blues” stylistic. The dramaturgy of the cycle has a detailed plot, which begins with the image of the lyrical hero, and ends with a demonstration of the society ambiguous and problematic for a human (“I – World”). The dramaturgy of the romantic dual world turns into a harmony of the modern world with multiple images, echoes of time and inner drama. The genre semantics and its analysis allow the performer to comprehend the large-scale cycle as an artistic picture of the world, and its stylistic unity – as a spiritual universe which belongs to the Ukrainian art of the 21st century.

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Journal articles on the topic 'Art, Modern 21st century Psychological aspects'

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