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Interview with Liina Lukas by Vivian Siirman.
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The aim of the article is to present the attitudes towards eating of people who define themselves as proponents of voluntary simplicity, as well as the discourses that justify these attitudes. The article comprises three parts. In the first part, I consider in general the role and status of food and eating in the intentional life simplification whereas in the second part I analyse practices of conscious eating. In the third part I discuss strategies for counteracting food waste. The context of the argument is the desire to regain a sense of agency and control over one’s own life, particularly in situations of uncertainty and instability experienced. The research material is blog entries and fragments of books on the simple life.
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The thesis objective is to reveal the specifics of implementing postmodernism categories in the artist’s biography via involving the conceptions of culture theorists. The research methodology: a complex of approaches has been applied for the integral comprehension of the given issues, i.e. biographical, analytical, historical, hermeneutic, systemic, the one of theoretic generalisation and some others. The scientific novelty. For the first time ever, national humanitarian studies are represented by the thesis identifying the issue of a creative personality’s biography from the position of implementing postmodernism basics. Conclusions. Postmodernism is the artistic and aesthetic trend of the late XX – early XXI centuries being characterized as a unique outlook focused on sociocultural renewal, seeking the progressive ways of spiritual evolution and denying the traditional ideas of art. The aforementioned trend absolutizes anthropological issues, thus, its predominant task is the grasp of the creative personality essence as the driving force of ontological processes. The artist’s biography becomes the central personality-focused genre able to meet the philanthropic needs of the century. Its content, purpose and existence conditions are presupposed by the impact of the basic philosophical categories of the era: pluralism, play, irony, intertextuality and some others. Pluralism is revealed via admitting the truthfulness of multifaceted views, different interpretations of the master’s biography and the multitude of presentation variations depending upon the intellectual and moral level of the audience. The play illustrates the artistic practice sense: freedom, the ability of meanings, contexts, symbols and codes amusement. It deprives the biography of ratiocentrism, excessive seriousness and contributes to the character’s profound representation. Irony is a humanistic definition focused on restoring the master’s genuine essence, though in a non-typical, occasionally frivolous form. This viewpoint renews the image and the personality’s achievements in a multifaceted, emotional, and outrageous way, as well as addresses them to the future generation of the recipients. Intertextuality is the master’s demonstration embracing the writings and semantics of the biographies accomplished by scholars of the preceding eras. A contemporary author multiplies different experiences and provides modern awareness being interpreted from the position of postmodernism paradigm.
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The purpose of this article is to find out the mechanism of combining in the person of the actor different aspects of his activities in the role and to identify creative incarnations in the course of this activity. Research methodology. The research methodology is to apply an analytical and logical approach to understanding the activities of the actor, which allows us to determine the mechanism of his double participation in the creative process of experience. Scientific novelty. The analysis of features of the creative activity of the actor during game is carried out. The expressive participation of the actor in the creative process of experience is researched and revealed. Conclusions. The method of activity analysis revealed the "expressive incarnation" of the actor in the role. The difference between the actor's personality and his actions in the role is established. It has been found that in the course of the game, the actor partially deviates from his own actions in the role with the help of certain techniques. It is proved that due to such removal the actor perceives his own actions as the actions of a certain character. It has been observed that in this state, due to a partial change of consciousness, the actor controls the flow of experiences in the role.
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The purpose of the work is to investigate the peculiarities of the verbal means of expression of the actor in oneman shows. The research methodology is based on the application of a set of scientific methods, including systems, analysis, synthesis, as well an art history approach, which allowed to obtain objective results. The scientific novelty of the work lies in the generalization of the theoretical analysis of monologue performances staged on the Ukrainian stage, with an emphasis on the technique of speech expression and its artistic skill in the performance of actors. Conclusions. Various elements of theatrical performance are highlighted. Consideration of theoretical studies of the role of the monogenre in the performing arts, the main means of self-expression of monomart, the triad of this form of theatrical action - text, director, actor. Analysis and classification of narrative models of one-man shows: traditional narrative of a character, literary interpretation, performance in a play, actor as the second "I" of the hero, play-emotion, play-removal, play-memory. Determining the main structural parameters of the actor's stage behavior in a solo performance in a complex relationship of roles, author and character, the degree of acting, reincarnation in the image - the inclusion of plasticity, psychophysical state of the actor, purposeful volitional action, assimilation of various forms of stage space. Based on the analysis of research by scientists and theater critics, certain aspects of the historical development of solo performances, the process of their formation and their popularity in modern theatrical art have been clarified.
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The goal of the work. Identify the ideological and artistic components of the innovative concept of the theatre of the French actor, director, theatre teacher and critic J. Copeau as a holistic worldview and artistic formation. The research methodology consists in the application of the historical-cultural method: for the analysis of the directorial and pedagogical activity of J. Copeau in the context of the socio-cultural space of the first half of the twentieth century; system method: for the analysis of the theatrical and pedagogical concept of J. Copeau; art method: to analyse the formation of worldviews, artistic and aesthetic principles and directorial individuality of J. Copeau; structural and functional method: to analyse the innovative essence of the system of training a well-developed actor: the theatre school "Vieux-Columbie". The novelty of the study is to determine the basic worldview and aesthetic guidelines of the artist, part of the innovative directorial concept of theatrical art. Conclusions. Jacques Copeau's directing career had a great influence on the development of European theatre. His method of conducting acting training using a mask is considered in the world of performing arts one of the most effective ways to master professional skills. The idea of the master of the "permanent architectural scene" is considered, according to experts, the most original in solving the stage form. Copeau's international success in journalism, drama, directing, acting and teaching is a level of achievement unparalleled in the history of modern French and perhaps even modern European theatre. While the French theatre was in desperate need of leadership and new goals, J. Copeau's work demonstrated extraordinary inspiration and a constant pursuit of quality. His influence on French cultural policy was indeed great and profound, and his work has left a deep mark in the theory and practice of leading researchers of American and British institutes.
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The purpose of the article is to consider performance as a means of creating an art object in the creativity of contemporary Ukrainian artists. The research methodology. An analytical method is used to collect and study theoretical material about the "Birth of Birth" artistic action, which opens the unique "Cosmogony" project, the exhibitions "Artarmor", "Shards of the Sun", art objects – "River-Love ", "The World through Rose-Coloured Glasses", "Friend", "Equilibrium", "Ladder", "Movement of Suprematism", "Wind Rose", "Confrontation opposite Bessarabka", and others. A hermeneutic method is applied to interpret the principle of performance as a means of creating art objects in the work of modern Ukrainian artists, while a theoretical method is used to summarise the results. The scientific novelty of the paper is that for the first time the principle of performance is studied as a means of creating art object in the creativity of contemporary Ukrainian artists. Conclusions. The article examines performance as a means of creating art objects in the context of the work of modern Ukrainian artists, using the example of the works of A. Logov ("Sun Fragments" project), P. Antyp ("Cosmogony" project), P. Bevz, Yu. Vakulenko, N. Bilyk ("Artarmor" project), D. Iva ("Bronze Ant"), V. Padun and L. Padun ("The World Through Pink-Coloured Glasses"), O. Lidahovskyi ("River Love", "Equilibrium", "Ladder "), O. Zolotariova ("The Movement of Suprematism", "Wind Rose", "Confrontation opposite Bessarabka"), O. Hodunov ("Friend"), mural "The Call of the Family", created by Ya. Vlasenko-Bernatska and Yu. Abramova. The art object, having its own artistic and functional features, in the work of modern Ukrainian artists acts not only as a new art form, but a means of communication that combines a mixture of different materials, methods, painting can be combined with graphics, sculpture with installation, performance may be accompanied by a video sequence. In the context of modern socio-cultural reality, an art object is a response to the surrounding events, it is a challenge and a reflection at the same time. Invoking the principle of performance, which has elements of visualisation, spectacle, play, mass, Ukrainian artists emphasise the creation of art objects that, in the modern cultural situation, reflect their vision of modern reality. The main feature of the art object is the absence of a canon or any rules in the process of its creation, a sculpture of an unusual shape can be combined with paper and wood. The main thing is the idea that the artist conveys to the recipient.
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The purpose of the work is to substantiate the characteristic features of the “Madonna Ukraine” image as a corresponding archetype symbol of national collective thinking in Ivan Karabyts’s pop and song works. The research methodology is based on the use of cultural and analytical methods, on the identification of mental foundations and the result of the embodiment of the “Madonna Ukraine” archetype in the artist’s pop song. The scientific novelty of the work lies in the creation of a specified view perspective on Ivan Karabyts’s pop art. Conclusions. The conducted research made it possible to draw the conclusion that Ivan Karabyts transforms deep-mental primitives on a generalised level in the creation of the Native Land archetype. The artist creates the essence of the archetype of Ukraine as Madonna, Mother Earth and Woman, through the prism of reflecting the Aura and Memory categories (M. Kopytsia), as well as, let us add, of Love, Beauty, and Inspiration. The patriotism feeling is manifested with special filial respect and the national collective thinking cornerstones reveals in this. The feedback of such an artistic message in contemporary art, in our opinion, is a question that determines the prospects for further research into this issue.
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Review of: MBI KOMBËSINË, DAVID MILLER, Prishtinë, CUNEUS (2022, ISBN 978 - 9951602341)
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The aim of the work is to analyse the systemic characteristics of historical identity as a scientific category and to comprehend its substantive core on the basis of the paradigm that dominates in a particular historical period. The research methodology is based on the fundamental principles of historical and cultural studies analysis. The conceptual methodological core of the research is the system analysis of identity as a complex hierarchical system, self-developing in the chronotype. The scientific novelty lies in the conceptualisation of the phenomenon of historical identity from the standpoint of its temporality in the context of the acceleration of identification processes. The invariant and variable nature of the phenomenon has been revealed. Conclusions. Based on the memorial paradigm of the continuity of history in its correlation with time, it has been shown that historical identity is a sociology-cultural construct, the key mechanism for the formation of which is the dichotomy of «memory-oblivion».
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The purpose of the study is to reveal the peculiarities and trends of the development of intercultural communications in the context of the specifics of the space of social networks at the current stage. Research methodology. The method of comparative analysis is applied (to consider the interaction of cultures in the traditional space and the space of social networks); analysis of open sources of information, which are information resources on the Internet (to identify the mechanisms of formation of cultural borders, as well as their overcoming). Scientific novelty. The specifics, forms, and functions of intercultural interaction in social networks have been studied; the nature and trends of the development of intercultural communications in social networks at the beginning of the third decade of the 21st century have been revealed. Conclusions. Modern network communications (especially social networks) are a universal socio-cultural mechanism that arose as a result of the genesis and functioning of culture in interaction with social parameters, in which the use of information and communication technologies creates conditions for easy overcoming of cultural boundaries. Social networks, which are represented by web applications that allow people to interact with each other, provide an environment for sharing all types of content created by other media tools. They are an effective tool for the development of intercultural communication, as they provide a person with the opportunity not only to communicate freely, but also to discover intercultural values for yourself and easily adapt to them. Social media tools that cultivate cross-cultural communication are expanding and diversifying every day. In addition to the usual use of Facebook and other similar popular applications, many users communicate through microblogs and new applications. Because of the organic development of social networks, the concept of sustainable intercultural dialogue was formed: users get the opportunity to solve their own problems within the boundaries of another culture quite effectively, make friends faster, follow various events in a certain socio-cultural space, to be a part of cultural values, and to adapt.
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The purpose of the article is to studyhubs, their main functions, features, as well as to determine their place and role in the hierarchy of modern socio-cultural space. The research methodology is based on the application of an interdisciplinary approach to the problem and a set of the following methods: analytical, comparative, cultural, and structural-logical. Scientific novelty. The functioning of hubs was comprehensively analysed in the context of the latest trends in the socio-cultural sphere; types of cultural spaces are designed; the concepts of «creative», «youth», «social», «bibliohub» have been analysed. Legal documentation regulating the activities of individual cultural hubs has been reviewed; an analysis of the current state of implementation of hubs in domestic cultural practice has been carried out. Conclusions. As a result of the conducted research, it was established that with the wide use of the term «hub», there is no clear and unambiguous definition of this concept. Based on the opinion of researchers, modern experience can be characterised as a centre where communication and cooperation are concentrated, where various resources are concentrated, education and training occurs, experience is gained, new ideas are accumulated, the implementation of which requires the unification of like-minded people and intellectual development. The activity of innovation centres can be manifested both in real and virtual space. By location, the hub can be created: on the basis of free space; virtual, located online on special servers; combined, with a combination of features of real and virtual hubs. In the socio-cultural sphere, this term means «centre of activity», «event centre», or «meeting ground». Hubs are defined by their structure, set of services, direction of activity, and location. According to the criteria, the following types of hubs are distinguished in the field of culture: creative, youth, library, educational, and social hubs. In global practice, hubs are in demand and popular. As for Ukraine, their spread is only gaining momentum. In general, it can be argued that cultural spaces, hubs, and co-working spaces play an important social function and are centres of development and leisure that become part of people's everyday life. These centres are actively spreading and developing in domestic sociocultural practice.
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The purpose of the article is to determine the key ideas and attitudes of the era of postmodernism in the context of the rejection of metanarratives. The research methodology consists in the application of methods of analysis and synthesis, systematisation of facts, comparison, and generalisation of research outcomes. The scientific novelty lies in an attempt to understand the transformative changes of the key ideas of postmodern era and to mark the role of metanarratives in the context of the concepts of ideal, truth, and universality. Conclusions. Postmodernism has found alternative ways of spiritual growth. Besides, new forms of relations between people and society have been built. Postmodernism has «rehabilitated» the previous cultural and artistic tradition, which was actively destroyed during the 20th century: realism, academicism, and classicism. Postmodernism combined the experience of the past with the experience of the present; it can be seen as a change in cultural periods. However, mutual reflection of similarities and repetitions have displaced the categories of metanarratives (objectivity, reality, truth, universality, and ideal). Thus, Jean-Francois Lyotard, postmodernist thinker, and French poststructuralist philosopher defined postmodernism as distrust of metanarratives. The term «metanarrative» replaced the concept of «philosophy of history». Metanarratives linked historical events into a single story that had spanned long periods. The use of the term «metanarrative» in the era of postmodernism indicated the emergence of a new way of understanding history, culture, and art in accordance with the postmodern concept of truth.
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Globalization is defined by Solomon Marcus as a phenomenon specific to the III millennium, through which the national element is integrated into the formula of the universal culture of the third millennium. Famous intellectuals have left the country, now being professionally successful people and strengthening, through their work, the universal culture. Sanda Golopentia, Constantin Eretescu, Andrei Codrescu or Mihai Nadin are just a few of the personalities who have built a solid passport for Romania’s universality, a new identity paradigm.
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Traditionally, a romantic relationship starts with two people going on dates and developing emotional and then physical closeness. However, social developments and social media have begun to change that. Therefore, the main aim of our qualitative study was to outline modern dating scripts and forms of casual sexual relationships among Croatian emerging adults, and to identify the needs they fulfill. We conducted four focus groups with young people aged 18 to 25, of whom some were unemployed, some employed and some were university students. The results suggest that emerging adults in Croatia equally choose the traditional dating script and modern casual relationships, such as open relationship, friendship with benefits, fuck buddy, booty call, and one-night stand. Long-term relationships are seen as a step before marriage or cohabitation, and some young people try to avoid them until their career and other life circumstances are stable enough. In that sense, casual relationships can be satisfying, at least temporarily. However, they can also be confusing because different people seem to define them in different ways and, accordingly, have different expectations. The present study broadens our understanding of romantic relationships in emerging adulthood, and as one of the first Croatian studies on this topic, makes an important contribution to the field of personal relationships. It can serve not only as a reference for future studies but also as a base for developing prevention programmes that strengthen romantic competence and develop communication skills for emerging adults.
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The world in which we live today is in many ways different from the one in which it was lived just a few decades ago. Under the shade of unsafe and uncertain future, the essential topics are dark scenarios and the questions of survival. In the environment like that, not only do the massive and cruel economically and existentially motivated migrations happen, but also the frequent exile for different reasons, which becomes a lifestyle. This work explores the position of Bekim Sejranović in comparison with the dominantly globalist concept of nomadism as a cultural obsession with transformation. In his case, nomadism presents the aspect of the search for oneself and the resistance to permanent place of residence, entrenched social practices, and totalitarian authorities, as well as the ultimate attempt to live freely and at full speed. That kind of idea is also conveyed throughout the novel by Bekim Sejranović titled Nowhere, From Nowhere (2009), as well as in his other work. Nomadism and exile become not only the narrator’s destiny, but also his worldview and kind of a pursuit for some lost or feigned world. Inseparable from this is, surely, the question of identity which is often fluid or emptied from the content in this era, that it is almost impossible to define it today. The constant redefining of identity and the search for oneself are exactly what is portrayed in this novel by Sejranović.
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This article explores the literature state of Polish research on rural women from 1990 until now. Not only the subject matter is presented here, but also some methodological trends in scientific writing. The main point of this paper is to find gaps in the literature and to propose some new ways and tools in research, the implementation of which will enable the more detailed exploration of the issue.
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Bridge Forum 2 was focused on youth in the Western Balkans and the public was again compound of young people, mostly students, and in this respect the contribution from AIESEC was crucial. The first panel, which took place last October, was dedicated to the importance of the civil society for the quality of democracy; the second one, which took place in December, was dedicated to the processes of integration, both regional and European; and the third one, which took place in January 2023, was dedicated to youth activism for the protection of environment. We are publishing all the six presentations of Bridge Forum 2 in the dossier of this issue of our magazine.
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