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ISSN / EISSN : 2410-1915 / 2616-423X
Total articles ≅ 104
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Yurii Horban
CULTURE AND ARTS IN THE MODERN WORLD pp 34-44; doi:10.31866/2410-1915.22.2021.235889

The advertising space acts as a global axiological translator at the present stage, forming a new anthropological type. Acting as a mechanism of persuasion, advertising has become a particular cultural consumption factor, forming a certain way of life and worldview of a person. Public service advertising is the most up-to-date, dynamic and accessible system among information and advertising technologies as to creativity. The purpose of the article is to analyse the peculiar workings of public service advertising discourse and determine the dominant sphere of advertising impact. The research methodology is based on the use of analytical, structural methods, and also objectivity and consistency standards for identifying the procedure, features and typology of public service advertising and functional features of forms of social advertising impact. The study’s scientific novelty consists of public service advertising as a cultural phenomenon, demonstrating the importance of a comprehensive study of cultural, anthropological and philosophical aspects of advertising activities. Conclusions. Thus, focused on the mass environment and reality, advertising is ontologically focused on material mediation and is the most profound intuition of social action. The art of advertising is an ability to convey information, prioritise skills and creativity, and attract the creative realities of a person’s identity and the subject of advertising discourse. It is proved that in advertising, virtual reality becomes a broad integrative mechanism in all its connotations, presentation, systems of human functioning and personal identity in the virtus space of contemporary culture. The culture of information and advertising presentations tries to assimilate, on the one hand, a cultural tradition, and on the other — makes it possible to escape from the brutal, primitive reality of complaint, the need to survive, compete for life. The entire advertising system is ontologically immersed in ethics and aesthetics.
Tetiana Humeniuk, Yurii Lehenkyi
CULTURE AND ARTS IN THE MODERN WORLD pp 45-58; doi:10.31866/2410-1915.22.2021.235891

The purpose of the article is to highlight the features of contemporary national culture as a special artistic meaning of the Gesamtkunstwerk, which is formed by a reflection of a predominantly historical pattern. The research methodology consists of a set of scientific methods of general and special nature. Methods of analysis and synthesis, as well as historical, cultural and systemic approaches, were used to reveal the essence of virtual reality of super narratives in the information space, which are the impetus for the formation of ethical, aesthetic and artistic consensus. The relevance of the research is determined by the need to study the postmodern paradigm, which gives the rise to the new discourses that replace the narratives of the communist era in the interpretation of the history of the posttotalitarian space. The scientific novelty of the study is that it shows post-Soviet culture as an inertial phase of post-totalitarianism, which has an image simulative tottalogy of reality. Conclusions. The article demonstrated that the artistic meaning of the Gesamtkunstwerk of the post-Soviet space is a desirable reality, but it has stopped at the level of the fairy-tale narrative, which is formed by a reflection of a predominantly historical pattern. The time and space of culture in the dimension of the simulacrum world appear as another kind of aesthetics virtus. It has been noted that the cultural reality of post-totalitarianism is at a stage when it is necessary to realise that the invented reality of the fairy-tale type is not art. So, the hybridity of creative efforts, post-coloniality, hypercriticism as a way of being, vital energy represent a set of motives that adds little to the understanding of the situation of postmodern creativity in Ukraine. Conversely, national slogans indicate the need for a national identity, because time is waiting for the manifestation of creative initiatives of artistic synthesis.
Kateryna Matvieieva
CULTURE AND ARTS IN THE MODERN WORLD pp 71-84; doi:10.31866/2410-1915.22.2021.235896

The purpose of the article is to find out the repertoire traditions of Ukrainian theatre from the first professional theatre to the present day. The research methodology applies an interdisciplinary approach. In particular, the principle of historicism is an opportunity to trace the change in the repertoire policy of theatres under the influence of sociopolitical circumstances. Structural-functional and macrodynamic methods to study the theatre at different stages of development are methods of analysis and synthesis used to identify the main artistic phenomena and trends in theatrical activities. Scientific novelty. Based on the analysis of the repertoire plays of five Ukrainian theatres: the Theatre of Coryphaei, Taras Shevchenko Kharkiv Academic Ukrainian Drama Theatre, Taras Shevchenko Dnipro National Academic Ukrainian Music and Drama Theatre, Ivan Franko National Academic Drama Theatre, Maria Zankovetska Theatre — trends in the development of the repertoire policy of the Ukrainian theatre are identified, the influence of traditions and society on the work of leading Ukrainian theatre figures is justified; the boundaries of the concept of “repertoire traditions” are expanded. Conclusions. The article examines the peculiarities of the development of Ukrainian theatre from the creation of the first professional theatre in Ukraine to the present day, highlights the impact of repertoire censorship. Five stages of the formation of the repertoire traditions of Ukrainian drama theatres are described: the period of the birth of Ukrainian drama (I. Kotliarevsky); further repertoire traditions in Tsarist Russia era; the formation of modern Ukrainian theatre (Les Kurbas); the period of World War II and post-war times, when there were attempts to transform the Ukrainian theatre into a Soviet one. It was found out that a unique feature of modern Ukrainian theatre is performances on second stages, one-person production, and the use of advanced technology.
Oksana Koshelieva
CULTURE AND ARTS IN THE MODERN WORLD pp 59-70; doi:10.31866/2410-1915.22.2021.235894

The purpose of the article is to determine the sociocultural determinants of the transformation of Ukraine foreign image under the influence of domestic and foreign political events and the state of its coverage in the information space; to ascertain the evolution of the cultural model of the image of Ukraine in the international information space. The research methodology consists in the use of interdisciplinary methods and approaches to identify information and communication technologies aimed at the formation of the international image of Ukraine; the principle of historicism allowed determining the stages of changes in the information space and the transformation of the geopolitical situation around Ukraine; the structural and comparative methods were used to determine the international media positions on Ukraine, their influence on the formation of its image. The scientific novelty of the research is in the presentation of the Ukraine image as an expression of the mentality of a particular cultural and historical community, an indicator of cultural meanings, unique design, mechanism of realisation of a national culture through a set of sign objectivations formed within a particular cultural and historical space and consolidated in the mental representations of individuals. Conclusions. It is proved that the negative image of Ukraine created by Western media affected the development of its tourism sector, the promotion of national cultural heritage and the investment climate significantly. The modern image of Ukraine is undergoing reformatting; there are significant cultural, political, and economic changes. The cultural model of the positive image of Ukraine in the international information space is determined by a properly structured state cultural policy and the effective use of modern image-making tools that can set it on the path of cultural, political and economic stabilisation.
Lesia Ustymenko
CULTURE AND ARTS IN THE MODERN WORLD pp 119-128; doi:10.31866/2410-1915.22.2021.235899

The purpose of the article is to analyse the impact of current tourism trends on the formation of leisure culture. The research methodology consists of the analysis of the primary statistical and scientific sources on the impact of tourism trends on the shape of leisure culture, interdisciplinary synthesis of the main forms of actualisation of tourism trends on the localisation of tourist flows, methods of deduction and induction, as well as content analysis. Scientific novelty. The article identifies current tourism trends of our time, which will significantly shape leisure overculture. The author grounds and introduces into scientific use of the theory of cultural studies and tourism studies the concepts of “tourism trend” and “leisure culture”. Conclusions. Based on the analysis of statistical materials of the World Tourism Organization (UNWTO), data from United Nations experts, the history of tourism development vectors in the context of a pandemic is summarised. The article describes and analyses current tourism trends that will impact the formation of leisure culture in the years to come. In particular, the development of domestic tourism under the condition of improving its service; the use of social networks for marketing and marketing of a tourism product; the development of internet technology, 24-7 blogging support; the development of virtual tourism, which is provided by virtual (VR) and augmented (AR) reality; 24-7 customer support chatbots (chatbots); robot staff in the system of essential tourism services (transport, accommodation and leisure services). Thus, if there is an improvement of domestic service, the current tourism trends will create an environment where we can expect Ukrainian tourism to be a significant segment of leisure culture.
Tetiana Sovhyra
CULTURE AND ARTS IN THE MODERN WORLD pp 156-163; doi:10.31866/2410-1915.22.2021.235903

The purpose of the article is to explore the specifics and uniqueness of visual works created using AI technology. The research methodology is based on applying analytical, theoretical, and conceptual research methods of technological art and the interrelation between digital technologies and art in general. The scientific novelty lies in the fact that the art forms that created using digital technologies were analysed for the first time. In the article, we have considered the phenomenon of technological art due to integrating art and technology. Conclusions. It is revealed that due to the mathematical analysis of the artists’ artworks, certain algorithms of the author’s work can be found, the main components of the work of art can be analysed, and the sign system of art can be transformed into a system of a different order which is numerical one. Thus, the colour, shape, positioning of the objects on the canvas (composition) — everything turns into numerical formulas and combinations. The graphic drawing is transformed into digital, algorithmic. A certain number system is being built, which allows to group works (one artist, era, art movement) into single collection systems, analyse and identify similar algorithmic chains, and create new art products based on these algorithms using the obtained numerical combinations. It means that with algorithmic analysis, it is possible to compare and even combine different types of art within one plane, one form, and one art product.
Oleksandra Kolisnyk, Solomiia Ohanesian
CULTURE AND ARTS IN THE MODERN WORLD pp 212-222; doi:10.31866/2410-1915.22.2021.235916

The purpose of the study is to identify the possibilities of visual symbolism in the creation of a company image using a logo in the late 19th and early 20th centuries. Research Methodology. The historical, historical-comparative, analytical methods were used to conduct the research; art history methods — formal, figurative-stylistic, semantic analysis — were used to identify the figurative and symbolic language of the company’s logos late 19th – early 20th centuries. Conclusions. Based on the analysis of the works of foreign and national scientists of the 20th century, the symbol and mark are characterised as means of expressing the phenomenon essence, and the existing classifications of symbols are considered. The logos used in the late 19th – early 20th centuries in the world practice and on the Ukraine territory are analysed. The example of the Prudential Financial insurance company (the USA) shows that the use of a symbolic element remained unchanged in the process of its changes during 1860–1996. On the example of the trademarks of Ukrainian enterprises — the Ernst Mehlhose Agricultural Machinery Plant (1874–1923), the F. V. Alsop in Kharkiv enterprise, Luhansk Textile Mill (1904–2001), Kyiv Contract Fair (1797–1930) — the methods of visual identification are considered, the artistic means are determined; the comparative analysis is carried out. It is established that the image of the rock in the structure of the American company logo is a symbol of strength and security and appeals to its main characteristics. It is determined that in the means of visual identification of Ukrainian enterprises of the late 19th – early 20th centuries, there is a tendency to express clearly the company specialisation through realistic images of architectural buildings that belonged to them or produced products, as well as ordinary names with moderate artistic design.
Roman Odrekhivskyi
CULTURE AND ARTS IN THE MODERN WORLD pp 223-232; doi:10.31866/2410-1915.22.2021.235918

The purpose of the article is to analyse the typology, design features and carved decor of the wooden lamps in the interiors of the religious buildings in Galicia. The research methodology is based on the general principles of scientific work: consistency, authenticity, historicism, logic. The author of the article applies a comparative and typological method to analyse the design features of the lamps. And the methods of hermeneutics and semiotics were used to analyse ornamental and compositional systems of decoration. The scientific novelty of the work is the introduction of the unknown artefacts of church art into the scientific circulation. The author collected these data himself during his scientific expeditions to museums or directly in churches — both in Ukraine and abroad. Conclusions. The study of the design features and decor of the analysed lamps has shown that table lamps, as a rule, are smaller than candelabras (stavnyk), although sometimes according to the principle of composition, they are the same as candelabras, as, for example, the candelabra from the Kryvorivnia Church of the Nativity of the Blessed Virgin Mary. The study has confirmed that the lamps harmoniously fit into the design of the church interior, complementing the ensemble. For example, in the church in the village of Duliby or Pozdiach. In fact, the design ensembles of these religious sites are made in the same style. The author of the article provides an analysis of the image design solution and the nature of the decor of specific samples of the lamps, and argues that the development of the lamp art (as well as other elements of church equipment) occurs in two directions: imitation of historical styles in line with eclectic versions and the use of ornamental and compositional structures of traditional folk art. The features of a successful combination of these trends in the image solution of the spider chandelier from Galicia, which is kept in the collection-exposition of the National Museum in Lviv, have been demonstrated. The study has shown the original use of Hutsul folk carving traditions in the decoration of the spider chandelier from the Church of St. George in the village of Duliby, made by the famous master Vasyl Turchyniak: he used traditional geometric ornaments with ancient symbols. The significance of the © Roman Odrekhivskyi, 2021 The article was received by the editorial office: 11.08.2020 study lies in the possibility of using the processed material in the restoration of the old and construction of the new churches.
Khrystyna Pletsan
CULTURE AND ARTS IN THE MODERN WORLD pp 85-102; doi:10.31866/2410-1915.22.2021.235897

The purpose of the article is the theoretical and methodological substantiation of the peculiarities of the digitalisation process in the creative industries of Ukraine through the prism of the cultural aspect. The study highlights and substantiates the conceptual foundations of the evolution of the transfer of cultural and creative space to the digital environment. The historical and cultural aspect of digitalisation implementation in the creative industries of Ukraine is analysed. The study describes the main strategic priorities of digitalisation of creative industries. The research methodology involves the following methods: historical and analytical method is used for primary data collection and analysis; system analysis identifies the theoretical and methodological foundations of the concept of “digitalisation” in the cultural and creative space; logical generalisation is applied for the theoretical justification of the historical and cultural aspect of digitalisation in the creative industries of Ukraine; fundamental knowledge is used to identify digital platforms, digital tools, and technologies as a mechanism for cultural products promotion and communication with consumers; the predictive method is applied to summarise the results and understand the importance of digitalisation in the creative industries of Ukraine in the historical and cultural aspect. The scientific novelty lies in the theoretical and methodological systematisation of the evolution of digitalisation in the creative industries of Ukraine through the prism of the historical and cultural dimension. The study focuses on the three-dimensional aspect of digitalisation of creative industries: as a need, as a requirement, and as a driving force for innovation in the cultural space through the prism of human-centrism. Conclusions. It is proved that in the historical and cultural aspect the concept of the implementation of digitalisation has radically modernised the creative industries of Ukraine and opened new opportunities for the creation of new ideas, innovative projects, collaborations, and readiness of Ukrainian artists to join world tendencies.
Сергалі Кабдрахманович Сураганов, Зубайда Кабіївна Сураганова
CULTURE AND ARTS IN THE MODERN WORLD pp 103-118; doi:10.31866/2410-1915.22.2021.235898

The purpose of the research is to introduce the creative achievements of N. Tsivchinskii into scientific use in the context of the formation of the art school of the Ukrainian avant-garde of Mykhailo Boychuk. The study’s objectives are to determine the origins of the formation of the muralist and arts and crafts master N. Tsivchinskii’s work, his contribution to the shape of the history of the Kazakh professional tapestry. His work reflects the penetration and deep insight into the significance of traditional cultural identity, the Boychuk school’s monumentalism inherent. One of the few surviving Boychukists who were scattered to the four corners of the earth by fate, N. Tsivchinskii developed the versatile skills, artistic language, and tradition of the Boychuk school also became one of the brightest figures in the Kazakh decorative and applied arts. The life path and work of N. Tsivchinskii reflect the most critical and tragic chapters of the country development thoroughly, which is no longer on the map. The research methods used are biographical, source-based, and historical. The methodological innovation of the research is the use of the biographical approach along with the historical one in the framework of the “new comparative history” as an effective tool for studying the artistic heritage of Kazakhstan and Ukraine in the Soviet era. The scientific novelty of the study is determined by the introduction of new information about the artist, whose work was only mentioned in the context of the Boychuk school scholars’ activities, a significant part of whose followers were destroyed during the years of the Red Terror. Conclusions. The work of N. Tsivchinskii is considered in the context of the activity of the art school of M. Boychuk, where he became an arts and crafts master. In the 1930s, in Kazakhstan, N. Tsivchinskii continued the traditions of the Boychukists, became the founder of the first carpet cooperative craft society, which became a truly significant phenomenon in the history of the formation of professional decorative and applied art in the republic.
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