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The purpose of the article is to syntesize an integral methodological complex by comparing different philosophical, culturological, psychoanalytic and musicological works of the 20-21st centuries. Меthodology. In the process of realization of the aim set the following methods have been used: a comparative method (for revealing similar essential traits in the theories from different spheres of the humanities); historical (connected with considering these theories in the context of different periods of European culture). A system approach has been used for structuring a functional and logically completed methodology. Scientific novelty. The doctrines represented in the research not only from different fields of the humanities, but from different periods of their development for the first time have been gathered as complementary components of the integral methodology. Conclusions. The synthesis of the theories in question produces the following methodological theses: a) interpretation of European culture as metapersonality (specifics of its mental existence is on a large scale identical to mental existence of a single individual); b) accentuating of contemporary European culture bearer's need for existence of the Divine, and also of his psychological readiness for new evolutional grade of understanding the sacred; c) importance of the operating of the conception "intonation image of the world" in the connection with the fact that the image of the world is an immanent virtue of culture as metapersonality.
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The article analyses more than 300 collocations found in 98 works of 61 modern Lithuanian prose authors, these collocations are used by the authors to convey the white or black colour of the petals of flowering plants and the shades of these colours. Analysed prose authors in their texts mention approximately 70 white flowering plants, these are: trees, bushes, fruit trees, berry scrubs, weeds, forest, meadow, field, garden, indoor and other plants. In the analysed collocations only 4 black flowering plants (lilies, roses, tulips and greater celandines) are found. Research material indicates that when conveying the colour of achromatic petals authors usually use the adjectives white (Lith. baltas, -a; juodas, -a; feminine and masculine form; 152 collocations) and black (Lith. juodas, -a; feminine and masculine form; 10 collocations). Less frequently the colour of petals is described by using pronominal form of adjectives (the white (Lith. baltasis, -oji; feminine, masculine form) used 41 times; the black (Lith. juodasis, -oji; feminine, masculine form) used 9 times). Usage of the pronominal form of adjectives is determined by the context of the story: the white usually marks the sorts of plants that really exist (e.g. the white clover, the white lily; Lith. baltasis dobilas, baltoji lelija, etc.) and the black is usually used when imaginary sorts or kinds of plants are described in the work. The highest intensity of white colour is emphasized by using the superlative form of adjectives, i.e., the whitest (Lith. balčiausias, baltų balčiausias), tautological collocations white white (Lith. baltas baltas), derivatives formed with suffixes snow-white (Lith. baltutėlis), etc. Verbs showing white, was showing white, shine white, shone white, will shine white (Lith. baltuoja, baltavo, boluoja, (su)bolavo, suboluos) are used to indicate white colour in prose works as well. Some authors use adverb whitely (Lith. baltai) to indicate the colour of petals in their texts. To indicate this colour the prose writers also use nominal abstracts whiteness (Lith. baltumas, baltuma, baltybė). There are cases when achromatic colours are conveyed through a concrete object, a certain colour prototype. The colour white and its shades quite frequently are described by using various comparisons. Usually, plants that have white petals are compared to the closest objects of the person’s surroundings: snow, soap suds or milk foam, cotton, wedding dress, shroud, some food items, white birds. It can be said that comparisons as these have become stereotypes: white as snow/paper/milk/foam/curd/swan); black as night. Analogous prototypically white reality denotates (pale face, feet, hands, fingers, teeth, breasts, white hair, swans, paper, snow, etc.) are compared to white petals of plants. It was noticed that female authors more thoroughly and more creatively convey to the readers colours and shades of the blooms. Male authors usually indicate the precise colour of the bloom but rarely mention subtle shades of colour of the blooms. More poetically and in detail male authors describe only more well-known white flowering booms (apple tree, cherry three, lily, etc.). These differences are determined not only by the specificity of gender but also by individual qualities of the writer. Analysed collocations show that the authors use more varied literary devices to describe naturally growing and blooming plants (cherry trees, apple trees, mock-oranges, etc.). The colour of picked flowers is usually indicated in a very specific way, i.e., by using adjectives white and black.
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The aim of work is to analyze the peculiarities of the development of jewelry art in the Kyivskaya Rus by the example of the unique discoveries from 1971-1975 – Torgovitsky and Dorobuzkiy treasures of the X-XIII centuries in Rivno region. The methodology of the research is in the usage of the historical, cultural, systematized, chronological, classified, terminological, comparative, statistic and generalized methods. The defined methods allow to depict the peculiarities of the development of the jewelry art in Kyivskaya Rus by the example of Torgovitsky and Dorobuzkiy treasures of the X-XIII centuries in Rivno region. The topicality is specified by the wide usage of the historical, cultural methods, basing onto what unites the analysis of the development of the jewelry art in Kyivskaya Rus by the example of Torgovitsky and Dorobuzkiy treasures of the X-XIII centuries in Rivno region. Conclusions . The development of the jewelry art in Kyievskaya Rus noticeably illustrates the discoveries of the treasures, to which they women’s and men’s jewelries, wares from precious stones. The territory of the south-west Rus (the modern territory of west regions of Ukraine) where there are a lot of memos of the X-XIII centuries: countries, fortified cities and burials. Among unique memos of this type that were discovered for the last period in Ukraine there singled out two treasures of the Old Rus from Rivno region: - accidentally found by the students of the Torgovitskaya secondary school of Mlinivskiy district on the 25th of March 1971 and contributed to museum of local lore in Rivno; - discovered in 1975 in the building 3-A of the XIII century in the period of archeological research of the annalistic city Dorogobush in the country Dorogobush Gorosganskiy region by the archeological expedition of the museum of local lore in Rivno. It’s possible to affirm that from the times of Kyievskaya Rus the jewelry with the usage of the art metal reached its mastery and sophistication which found its continuation in different forms of traditional and modern Ukrainian decorative and everyday art that in its turn makes the problem topical and perspective.
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Purpose of Article. As the literature on the musicology does not focus on the artistic specificity of the colonization process in the regions of modern Southeastern and Southern Ukraine, the article is aimed at the research of musical art of the Pre-Azov Mennonites in the aspect of its classification and typological characteristics at the turn of the 19th and 20th centuries. Methodology. The primary method is associated with the use of extrapolation, theoretical analysis, and synthesis, as well as the integration of the analysis results. Scientific Novelty. The article researches the musical art of the ethnic group of the Pre-Azov Mennonites in the context of the classification theories of the music of the past (M. Pretorius, I.-Gh. Valjter) and present (L. Mazelj, V. Zuckerman, O. Lisovychenko, T. Cherednichenko). Based on the classification and typological characteristics of this conservative type of musical art, its elements, in particular, religious singing, school education, school choirs, teacher of singing, musical methodology, church choir, digital notation, musical reform, choral festivals of the Mennonites, have been researched. Conclusions. The analysis of the musical art of the Mennonites of the Pre-Azov region in the context of the classification theories of the music of the past and present has made it possible to comprehend the musical art of the ethnic group of the Pre -Azov Mennonites. It is offered to transpose it from the ideal object to the real one, which can be studied, based on the specific examples of the choir and musical-educational practice. The implementation of such logical operation will allow, if necessary, to compare the musical tradition of the Mennonites with the methods of other denominations, to find out the features of typological similarity within various classes that determine the perspectives of further research on this issue.
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The purpose of the article is to find out the specifics of musical -choreographic synthesis in ballet Uwe Scholz "The Great Mass." The methodology of the research is based on the use of the system-analytical method in conjunction with the performance approach. The scientific novelty is to clarify the features of the interpretation of classical music in the work of Uwe Scholz. Conclusions. Uwe Scholz's "Great Mass" refers to a type of choreography in which most delicate details of the musical material and its formation are elaborated. In his productions of Choreo-Aleksika, W. Scholz is not only a scrupulous vision of music as a set of various expressive means, which is the key to the solution of figurative, in this case, the religious symbolism of music, the plastic interpretation of which requires the highest musical professionalism and immense ethical responsibility.
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The purpose of article is to carry out a chronographic systematization of an artistic career of Ihor Fedorovych Kushpler, an opera singer, the People’s Artist of Ukraine, a leading soloist of Lviv Opera House on the basis of collected and briefly presented actual material on-stage performances (articles, reviews, testimonials, interviews), analyze stages of artistic growth of the singer and find factors that influenced a development of a creative personality of the singer. The methodology of the article is determined by a systematic approach to the artistic process of Ihor Kushpler’s becoming as an opera singer. Scientific novelty: 1) for the first time, performance growth stages of I.F. Kushpler were analyzed peculiarities of artistic formation of a singer in the fold of Lviv opera were examined; 3) place of creative personality of the singer in the context of Ukrainian vocal art development was established. Conclusions. Artistic path of Ihor Kushpler, the People’s Artist of Ukraine, is highlighted in the creative perspective. The previously sketchy information was collected and presented in chronological order. The analyzed scope of available sources gives an opportunity to determine that the level of performance art of Ihor Kushpler consisted not only in his musical talent and masterly vocal technique but also in his attentive and considerable attitude towards music and text of the performed musical composition, rich intellect of the singer and understanding of the notion of "High Art".
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The purpose of the work. The research is connected with the investigation of the embodiment of a concept of a dance genre synthesis in the context of the opera "Don Juan" by W. A. Mozart created at the end of the XVIII century. The influence of different dance genres on formation of the music and stage dramaturgy is analyzed through the example of one more masterpiece by W. A. Mozart – opera "The Marriage of Figaro" referring to the same period of his works. The methodological basis of the research consists in application of historical, genre-style and structure-textual approaches. A scientific novelty of the work lies in justification of introduction of the concept of the dance genre synthesis, favoring creation of a comprehensive subject-methodological basis of the analysis of peculiarities of the embodiment of the dance art in the opera genre. Conclusions. The dance genre synthesis is the embodiment of an integral combination and connection of different levels of dance genres in a creative work. A combination of components of different dance genres and their concurrent joining lead to the creation of the new, complex and synthesized whole.
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The purpose of the research. The article deals with M. Voronyi’s theoretical legacy including theatrical journalism and theatrical pedagogy in the fledging period of the Ukrainian modern theater at the beginning of the twentieth century. His theatrical works as well as theoretical achievements in theatrical pedagogy, which were based on his considerable acting experience and studies of the achievements in world theatre, are analyzed. The main units of the first Ukrainian theatrical textbook "The director": "The nature of the director's activities", "Preparatory work of the director" and "The director’s work with actors", dedicated to the professional education of the director, are analyzed. Methodology. While dealing with historic aspects of the investigation, there have been applied historic, historic comparative and historic genetic methods. While analyzing the achievements of both the world and the national theater, there has also been used the method of drama study. The scientific novelty consists in defining the main points of M. Voronyi’s theoretical works on theater and theatrical pedagogy, as well as in comprehending the artist’s legacy considering the important culturological aspects, which affected the development of the national culture. Conclusions. The whole M. Voronyi’s creative activity was of educational nature and was designed to boost both Ukrainian culture and the Ukrainian modern theater to the level of the world standards.
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The purpose of the article is to clarify such basic concepts as "school", "workshop", "artistic tradition", "style", "manner", "idea", "theme", "story", "traditions" in the context of the iconography of Kiev and Kiev Pechersk Lavra. The methodology of the research is to apply principles of historicism and systematic comparative analysis. Scientific novelty is to clarify the role and meaning of the terms "school", "workshop", "artistic tradition", "style", "manner", "idea","theme", "story", "traditions" of the examples. Conclusions. As a result of the research, it is established that the term "school" defines the association of monuments on a territorial bases (place of creation) Kiev, Kiev Pechersk Lavra; this is a local phenomenon that is caused by territorial limits. "Workshop" is a term mainly used in the context of studying the monuments of fine arts of the Lavra; it means masters, work-related over some objects or orders. Its system of samples in each school in the middle of the XVII century created prerequisites for the formation of various artistic traditions of Kiev and Lavra. Kyiv artistic tradition in the iconography formed with the focus on the samples of European baroque and Mannerism, Lavra’s based on Greek, Athonite, Cypriot. It should be noted that in addition to baroque trunk line (style) in Kiev and Lavra iconography polystylism is a parallel artistic tendency. The main ideas that found a special reflection in the art of the Lavra monastery are the "idea of the Crucified", the theme “The Virgin”, "Lavra as the Destiny of the Virgin", the theme of monasticism is dogmatically connected both with the concept of the Crucified Christ, and with the Mother of God motives. These ideas served as the basis for creating passion motives that make up a separate cycle in the Lavra fine arts, the Virgin plots, which received a special Kiev and Lavra editorship and compilation of iconography of subjects connected with the depiction of St. Fathers of the Caves. Canon Traditionally, for the iconography of the Lavra, was the Greek icon as a model of divinely inspired sacred art; leading works, which icon painters of Kiev oriented on (i.e., the canon), were icons created for iconostasis of the Kiev Pechersk Lavra.
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The purpose of the article is to reveal the genre and style specificity of Undine by E.T.A. Hoffmann in the context of the spiritual and semantic aspects of the German national idea. The methodology of the work is based on the intonational concept of music in the perspective of intonational-stylistic, etymological analysis, succession from B. Asafiev and his followers, as well as interdisciplinary and historical-cultural approaches. Certain fact allows revealing the spiritual and semantic and style specificities of the musical theater of E.T.A. Hoffmann and his contemporaries singled out it from the pan-European cultural area of the first half of the 19th century. The scientific novelty broads the understanding of the poetics of the musical theater of E.T.A. Hoffmann, in particular, the opera "Undine" which serves as one of the samples of the German opera of the period and at the same time demonstrates a deep connection with the genesis of the national idea of Germany. Conclusions. The processes of the formation of the German national idea and the ways of its historical evolution show a close connection with the spiritual values of the German nation, in particular, with respect for the German language, national mythology, culture, complemented by a complex of archetypes of the House, the Family, Ordnung, defining the essence of the "German spirit" (der Teuscher Geist). The latter received the fullest expression in the style searches of German culture of the first half of the XIX century and its musical theater, in particular, in the genre-style specificity of "Undine" by E.T.A. Hoffmann. The ideas of juxtaposing the real and fantastic worlds, the motives for disappointment and awareness of the moral and ethical imperfections of the human world, revealing the romantic qualities of this work, coexist in it with the typology of the German Biedermeier. The mentioned issues are revealed in the intonational homogeneity of the musical language of the opera which unites the real and fantastic worlds, and also in the principal avoidance of dramatic scenes, which are the key moments in the narrative of the literary source of the opera (Fouqué’s story). Also, the role of the moral and didactic factor, the protection of German patriarchal and family values that give the "Undine" E.T.A are essential. Hoffmann created "instructive history" of "German antiquity". The marked style quality determines the specificity of the intonational language of the opera, formed at the intersection of Mozart’s style and the poetics of applied genres (Lied, romance, ballad, etc.).
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Purpose of the article. The paper features the role of reminiscence as one of the artistic strategies; which is widely used by the contemporary Ukrainian artists in the works dedicated to the Christian theme. The methodology of the research is connected with the systematic principle; on which base the iconographic; comparative and formal methods have been applied. Scientific novelty. For the first time; the article highlights the specifics of the reminiscence’s interaction with traditions of the Christian; sacred art; namely the canon of icon painting; analyzed by the works of the artists from Kharkiv; Lviv; and Lutsk. Conclusions. Reminiscence as an artistic method and its representation in the works devoted to the religious topic has been considered. Specific attention was paid to the connection of reminiscence and the category of ‘memory.’
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The purpose of the research. The study is focused on the disclosure of the role and identification of stylistic particularities of the symbolism in the composer-artistic practice at the 18th – 19th centuries. The positions of intonational approach of Asafiev’s school and elaborations of his followers such as Polish (R. Ingarden; Z. Lissa; etc.) and German (D. Kamper; H. Steger; etc.) musicologists; became the methodological base of the study. The musicologists given above were able to combine the current stylistic position and pre-symbolic trends. Respectively the works that may shed light on the methodology of the symbolism at the musical -instrumental context were used in this study. The scientific novelty of this study lies in accentuating the stylistic features and the role of the symbolic and pre-symbolic characteristics of the instrumental piano specificity at the context of the composer-performing practice at the turn of 18th and 19th centuries. The conclusions. Genre preferences in art and in the first place music are determined by pre-symbolic characteristics of the early romanticism for example: the religious symbolism; which evolved under the influence of the “celtomania” and offered the nocturne as an image; which combines the druistic cult of the Moon and the early Christian psalmody; the interest to the topic-signs; genre-signs including genre typologies of the prelude-etude; which in romantic version of the aesthetic “Rapture” captured something; that was considered an ordinary; imperceptible in the aesthetic classification; adopted outside the romanticism; the German "Biedermaeier" is characterized by its attraction to the expression of the “empire style in the chamberness” (provoked to find the art monumentalism in “small” genres like a prelude-etude-nocturne etc.)
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Love, power and money determine the characters in this play switch from open to hidden discourse and action. The ability of characters to reveal or conceal their agenda connects communication skills to the success or failure of their negotiation. What is loss and gain in their quest for justice? How are the politically (in) correct elements articulated in public speaking via dramatic techniques? Where does ambiguity start and where does obligation end, entailing both comic and tragic effects on the fate of protagonists? This paper aims to explore the means of negotiation employed by both female and male characters in a complex cultural background, and their adjustable tactics displayed in public contexts.
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Shakespeare's plays abound in remarkable characters who are leaders – Henry V, Macbeth, Richard II, Othello, to mention but a few. His entire work reflects what human nature is about and has been about for the past 400 years since his birth. The portrayal of leaders, be them military leaders, greatest warriors, civilian leaders, effective or ineffective leaders is the true reflection of a true leader of nowadays, wittily depicted in his own language, often used in current politics. Shakespeare's concern with issues of leadership and power all through his career, to the very end, is illustrated by his reflection on various kinds of power. They are memorable characters who leave their mark on readership and present connections with the realities of our world. The present paper is meant to be an analysis of the powerful leaders in Shakespeare's plays and the lessons learnt from their expert mastery of the art of politics, that is highly appreciated by nowadays' actors in world politics.
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This issue of Synergy is dedicated to the two conferences organised in November 2016 by the Faculty of International Business and Economics: Future of Europe and Synergies in Communication, as was Synergy 1/2017. For this issue, we have made a selection of articles presented in the languages and education sections of the two conferences, articles dedicated to interdisciplinary and intercultural education, to literary and cultural studies, as well as to applied linguistics.
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The author discusses hardly known drawings by Bruno Schulz, published in 1941 in the local Drogobych paper Bolshevytska Pravda and provides some new information about his life under the first Soviet occupation. Focusing on a specific socialist-realist episode in Schulz’s artistic career, on the one hand Khomych writes about his survival techniques under the circumstances, while on the other she tries to find in the commissioned illustrations, mostly explicitly propagandist, some features of his style characteristic also of his earlier works.
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There is a strong tradition of reading Schulz as an author who constantly (and intentionally) expels death from his work. The author of this article, however, argues against such an opinion. On the contrary, his argument reveals those themes and figures, both in Schulz’s stories and drawings, that refer to the thanatic imagination, not literally though, but rather in a way described by the French philosopher and critic Michel Guiomar as an “obscure vicinity of death” evoked by the work of art. These are, for example, the elegiac-ironic convention of “Autumn” and “The Homecoming”, as well as the funeral mood and death symbols in “The Sanatorium Under the Sign of the Hourglass” or inhighly transgressive parts of “Spring”. The author also addresses questions concerning Schulz’s personal outlook on death and afterlife, which seems to link together the need for consolation and fascination with death. Although the paper was originally intended to be an entry for the future "Schulz Dictionary", the official style of the opening section soon gives way to more general considerations on the thanatological discourse itself and Schulz’s idiosyncratic literary idiom.
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The article reports on a case study that investigates challenges related to writing a graduation thesis as reported by non-native students of English in one Bachelor of Arts (BA) and one Master’s (MA) programme in Estonia, comparing the needs outlined by the students to the perception of those described by their non-native supervisors. The study highlights a number of important academic writing process challenges that need to be considered in an inter-disciplinary context. It also echoes the significance of the interpersonal relationship between the student and the supervisor, voiced in respective research literature worldwide. On the institutional level, a need for discussion emerged among graduation paper supervisors for a more unified understanding of the requirements set for graduation papers. The information obtained allows a more informed approach to the process of supervision on the one hand and academic writing instruction on the other hand.
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