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In the following text the author questions the transformation of imagery, following its development from modern history to contemporary history. That transformation is followed by an insight into its impact on the development of art and by an awareness of the existence of after modernism, but it is not clear if and how that after will permanently reflect on the development of art. The unquestionable materiality of the conditions of postmodern is in an affirmative manner given in poststructuralist theories which express a happy cynical agreement. Although the previous forms of western art are revealed in a more transparent manner within the postmodernist radicalised perspective, western art itself still deals with the conditions within which the structural centre of art is moved from imaginative impulses towards performative impulses, i.e. with the transition from deep construction to a new kind of superficiality of the operational occurrence. However, the following question arises: what is then the art’s attitude towards the important postmodern distinctiveness which is a part of industrial simulation of the eventful and experienced? If we want to make the relationship between art and industrial simulational realities closer, it is necessary to pay attention to its psychosocial functioning. By questioning possible stimuli for art, examples from literature show that it can cope with the postmodern scene through revealing wens and commonplace imaginary scenarios in our life’s worlds.
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The display and representation of the human body are archetypal communion and communication means, which has turned into a genuine primordial media. Much like the modern man, the prehistoric one would intuitively resort to the subliminal nature of the communication means generically called corporeality. The representations of the human body can be correctly decoded if one understands properly the anthropometric rendering of the plastic language, in which the golden ratio is a fundamental syntactic constituent.
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Purpose of the article is to analyze glamour and glamour physicality in relation to the criteria of artistry through the prism of the theory of simulacra of the culture of postmodernism. Contemporary visual art is viewed as a dynamic system that is exposed to the external environment: digital technologies and consumer society, and glamour is explored as an ambivalent artistic phenomenon aimed at unifying symbolic values and the aesthetic ideal and contains certain behavioral scenarios. The methodology is based on the use of an interdisciplinary principle, which made it possible to consider glamour in the context of the aesthetic ideal and as the main strategy of culture and art of the 21st century. Scientific novelty. The idea that glamour imposes certain aesthetic canons in the field of visual art and visual images is substantiated. Introduced a new concept of "glamorous fetish beauty." Conclusions. It is proved that glamour and its attributive properties directly affect the processes of aestheticization of everyday human life, which are becoming common and very ambiguous today. The results of the study can be the basis for a more in-depth study of the problem of the influence of visual images on the formation of the value bases of modern culture and art.
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Purpose of the article: It is necessary to study the archetype of the Father as one of the foundations of national and personal-psychological self-awareness in the work of the Canadian-Ukrainian artist William Kurelek. Through this context, we can analyze the typology of archetypal images of the Father as semantic modules that illustrate parental-synovial interactions in the polynomial emigrant Canadian society. Methodology: General scientific and interdisciplinary research methods were used for solving the tasks: analysis, synthesis, formalization and the comparative method. Using the method of extrapolation, which is based on the assumption that the pattern of development of the object in the past will remain unchanged for a certain time and in the future, we characterize the natural "inherited" through the generations and behavioral patterns of father-son relationships that William Kurelek portrayed in his picturesque works. The scientific novelty: In the context of artistic research of William Kurelek‘s work, we have for the first time introduced the problem of the archetype of the Father as an integral part of the semantic art model of the artist, analyzing different approaches to the interpretation of the parental image. Results: Based on the analysis of the artist's works, as well as his theoretical reflections, the general principles, and modifications of the father's archetype are revealed. In the article, we first outlined the typology of father's images based on the analysis of paintings: the image of a narcissistic rebellion, a person with a landlessness complex, the image of brother-destruction, a romantic vision of prosperity, an ironic satire, and a national melancholy.
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The purpose of the article is to determine the features of the development of women's hairstyles in the context of the specificity of the beauty philosophy of the era of Antiquity. The methodology consists of the principles of objectivity, historicism, multifactorial character, systemic nature, complexity and pluralism; and to achieve the goal, the following methods were used: problem-chronological, concrete historical, statistical, descriptive, logical-analytical. Scientific novelty. An art history analysis of works of art was carried out in order to determine the specifics of the stylistics of female hairstyles in Greece and Rome (5th century BC – I 5th century AD); the influence of visual images of ancient Greek goddesses created by ancient masters on the formation of the ideal of female beauty and the popularization of new styles of female hairstyles, according to the ancient philosophy of beauty. Conclusions. Based on the study of female hairstyles of the era of Antiquity, it is proved that their style features are one of the aspects of the modification of human beauty, according to philosophical views and aesthetic ideals. Combining utilitarian, aesthetic and symbolic functions, the female hairstyles of the goddesses of the Olympic pantheon reflect the material, spiritual and social position of society, meet the artistic and aesthetic views characteristic of the Antiquity, the beauty ideals of which, despite transformations and modifications in the process of evolution, retained specific characteristics, corresponding to the established mentality of ancient Greek culture.
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The purpose of the article is to analyze the aesthetic-psychological role of color in arranging the entrance groups of built-in trading enterprises. Research Methodology. General scientific methods of analysis, synthesis, descriptiveness, etc. were used. In addition, a number of methods are integrated with the psychological, art critic approaches using functional analysis. The scientific novelty consists in substantiating the importance of color and light as components of the solution for organizing urban space and its development. Conclusions. Light and color are inseparable in the human response to the world because they affect the visual perception of space. In turn, this affects the mental and emotional state of people. This ability of color can be called a kind of "color therapy." So, understanding the role of light, color, as well as the peculiarities of their interaction is fundamental to architecture as an art of forming and organizing space. What is also important in the planning of buildings in the modern city. The solution to the problem of color and illumination should be subordinate to all the tasks that are implemented in the process of arranging the entrance groups of integrated trading enterprises.
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In the author's opinion, the Dada movement was more philosophical than it is commonly accepted. Beyond the aesthetic revolt of the avant-gardism, some authors, like Ilarie Voronca, Ljubomir Micić or Gherasim Luca, have tried to systematize a innovative philosophy, calling it integralism, zenithism or meta-metaphysics, which were all no more than isomorphisms of the same conceptual research. In order to discover the original Dada philosophy, the author starts his demonstration from the Jewish origins of many Dadaists, including Tristan Tzara himself. From this perspective, Dada reveals to be a hermeneutic view from Kabbalah to the world of words, a mistic interpretation of the total freedom held in the beginning by the divine logos that creates and reveals at the same time the history of humanity. Not coincidentally, the Dada started from Eastern Europe, where the belief in the freedom of the Words of God has become a common place in the Hasidic Judaism, the spiritual movement to which Tristan Tzara and many Romanian Dadaists belonged. From this rhizome would have grown not only the Dada movement of liberation under the authority of aesthetic, logical, ethical and social constraints, but also a metaphysics after metaphysics a philosophy that will be experienced and expressed by the postmodernity as well.
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Following Adorno and Horkheimer’s steps, this study will shed light upon several ways in which the “culture industry” generates a mass blindness that transforms people into submissive and gullible individuals. According to Adorno, truthful art, one that would always encompass a certain social moment, is a form of resistance to this blinding. Subsequently, I will take into consideration Jauss’s critique on Adorno's aesthetic negativity and the fact that N. Hartmann’s concept of “meta-aesthetical secret” could be a better way to understand how art can be both autonomous and spread its roots deep into society. Although it may be true that the culture industry poses a great danger to society and also that there is an urgent need of critical thinking in the present times, Adorno’s view casts a shadow over both the aesthetic experience and the artistic creativity. Finally, I will address the question about the continuity of Adorno’s thoughts in the contemporary art.
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The purpose of the research is to consider sociopolitical and aesthetical approaches of Soviet musicology to the antinomy «E-Musik / U-Musik», analyzing T. Cherednichenko‘s works that has published before and during Perestroika, as well as after the collapse of the USSR. Methodology. To achieve the corresponding scientific result, the following methods have been used in the article, such as the method of induction (on the basis of T. Cherednichenko's works of different periods the paradigm of her musicology assessment of new music of the «capitalist» world is determined), comparative (for the comparison of T. Cherednichenko's works of different periods), and the complex (for the synthesis of factors and aspects of the phenomenon under the research, in particular, the definition of the role of ideology in shaping the scientific position of musicology in different periods). The scientific novelty. In the article the first attempt to investigate Soviet musicology`s reception of the post-war musical culture for the Iron Curtain in general (avangard, mass culture, as well as their interaction and coexistence). By comparing the methods of analysis used by the Soviet musicologist T. Cherednichenko in her works before and during Perestroika, as well as after the collapse of the USSR, factors that affected on her position regarding new musical trends in the West were identified. Conclusions. Changing of the direction of T. Cherednichenko`s thinking in the late 1980s from ideologically dependent to the positivist, which confirmed in her later post-Soviet works, left their mark on the perception of the tandem «E-Musik / U-Musik». Paradoxes related to the coexistence of «elite» and «mass» musical culture, remain relevant for researchers of musical aesthetics. In the context of T. Cherednichenko,`s works there is an observable link between the ideological thinking and the logical mistakes made by the musicologist in assessing the perspectives for a «capitalist» society. It means just the identification of the «crisis of society» and «crisis of art». This is a thesis which was so widespread in Soviet art history and which has reached the main aim level for researchers. The purpose of the typical Soviet critic was to «reveal» as many as possible logical, at first sight, connections indicating the ephemerality and the crisis of cultural and social processes behind the Iron Curtain.
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The purpose of the research is to outline the artistic achievements of the outstanding painter in the middle – the second half of the XVIII century, the representative of the Roman Catholic Order of Piarists Karol (Lukash) Gubel, who spent all his creative life in Volyn. Research methodology is based on visual analysis of his works, analytical and art-study methods of investigations, as well as a systematic approach; in particular the article uses the factual material of the Polish authors’ writings. The scientific novelty is that, the study is the first attempt of presentation the way of life and the analysis of Karol (Lukash) Gubel’s artistic works in the national art studies. Conclusions. Not only paintings on religious topics belonged to his brush, but also compositions of secular content, in particular, portraits, landscapes, and pastoralists. The analysis of works, preserved for today, testifies that they were executed under the influence of the conceptual foundations of the West European art of Baroque period.
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The purpose of the article. The article deals with analysis of the development of the performance of keyboard music in Ukraine in the historical and socio-cultural context. Methodology of the research lies in the source study, application of systematic analysis and the historical-cultural and comparative methods. Scientific novelty of the work consists in the study of the sound-aesthetic features of the period keyboard musical instruments in the context of historical epochs and national schools. Conclusions. The music listener’s great interest in early music encouraged the development of the stylistics of the historically informed performance practice in Ukraine. Academics and students in Ukraine often are interested in the keyboard music, which extend across chronological boundaries and embrace music intended for different keyboard instruments. The analysis carried out in the study clearly shows the connection between the formation of the sound aesthetics and the performing technique on keyboard instruments with the technical and sonority specifics of the period musical instruments. Therefore, there is an obvious need for a contextual approach to the restoration and making of historical instruments copies, the awareness of both technical and a sound aesthetic features of instrument in the historical and regional specifics context.
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The purpose of the article is to characterize the phenomenon of project activity - the "crossover point" and its distribution in contemporary artistic practice. The need for such an approach is due to the fact that the culture of arts in public practice is carried out in accordance with the laws of business, in which the commercial component becomes decisive. The methodology of the research is based on the interdisciplinary integration of methods of contemporary culturology and art criticism. The scientific novelty of the re- search is determined by the fact that the phenomenon of the project activity - the "crossover point" and its actualization in contemporary art practice, due to the growth of mass demand for entertainment and the musical and theatrical project as a new form of synthesis of several types of art, generated by the implementation of new technologies, are considered. Conclusions. The term "project" in the context of artistic practice is understood not only as the result of the original plan but as a unique set of coordinated actions aimed at achieving a particular cultural, aesthetic and artistic purpose. Throughout history, an active search for new forms of artistic creation is taking place to reflect and understand all the changes in reality. Artistic projects have become a logical manifestation of the development of culture. The project activity in the field of culture at the new level "connected" Ukrainian art to world art tendencies, fundamentally changed the picture of the life of the Ukrainian artistic culture. Artistic projects constitute a new form of syncretically synthesized spectacle, a phenomenon mediated by the peculiarities and realities of the world culture of the beginning of the 21st century. In the context of the article, "project integrity" is understood as the intersection of project design of ideas and their implementation ("crossover point"), multisectoral, but oriented to the current today, the future, which reveals the potential and social significance of cultural and creative practice. Creation of synthesized art "crossover-projects" requires the efforts of a group of managers and performers, taking into account market demand for artistic needs, a comprehensive perception of their wide audience, non-traditional approaches to the production of classical works, taking into account the specifics of location. Indicative in this respect is the project activity of T. Filevskaya, art director, curator of many projects devoted to Ukrainian avant-garde art, founder of the public organization "Malevich Institute". Her work fits into the concept of "crossover projects", which corresponds to the main principle - the synthesis of several types of activities: artistic, exploratory, artistic and artistic, with the creation of the event of events.
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Purpose of Article. Coverage of the main issues of improving the technology of professional actor‘s skill as the basis for artistic and creative activity, determining the role of emotional memory in the process of stage performance of the artist for providing the appropriate vitality to the character, revealing its characteristics and personal interpretation of the image. Methodology. The methodology of the research consists in the application of analytical, art, functional, system methods of researching the technology of professional skill of the theatre actor and emotional memory as an element of the actor's internal technique, a tool for improving the artist's creative process in his professional activities. Scientific novelty. The scientific novelty of the research consists in the assertion that the process of professional artistic activity of the artist of the theater arises through the conscious psychotechnics of the creator to the subconscious creativity of his organic nature, in which emotional memory is not the last place. Conclusions. As a result of the analysis of this article, we can make the following conclusion, that each artistic individual has its own key to the treasury of artistic creativity that arises and induces the master to stage activities through inspiration, emotional mood and, above all, talent for creating a unique creation of the art of theater. The great desire of every modern theater‘s actor is the invention of such a technique of playing the game that would induce an effective emotional memory to appear in a certain theatrical scene at a certain point in time and fix it for further perfect refinement and the necessary effectiveness of stage activities. But, unfortunately, nowadays, there is no such single technical tool, common criteria and structure for constructing the artist's skill for all actors of the scene.
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The purpose of the article is to understand the perfection of the professional and creative aspirations of the performing musician in the performing arts. The methodology of the study is based on the psychophysiological approach as the topic determines the search for a tandem of intellectual and technological actions of the performing musician and the possibilities of volumetric, objectively emotional, psycho-physiological interpretational thinking. The methodological core of the study was an integrated system approach defined by the multi-level nature of such areas of scientific understanding of creative aspects as performance, ethics, aesthetics, psychology, philosophy. The scientific novelty consists in the review of the interpretative thinking of the performing musician in the dialectical awareness of specificity, which has a direction from the general – to the individual and the individual – to the holistic approach. Conclusions. The search for performance expressions means is linked to the intellectual and sensual potential and professional experience of the performer. The performing technology of the stylistic independence of an interpretative search of the performing musician is directed to the details of perception, sensation, understanding, formation and transformation inherent only in this particular individual and is the basis of the concept of an individual style. To some extent, the performing style of a particular performing musician can be considered an integral part of the historical process of style formation as an artistic phenomenon characteristic of a certain nation and era. Knowing the existence of a common style of the epoch and the stylistic qualities of individuals, who by their achievements formed these styles, we define the following: the performing style as an objective phenomenon is a form (the formation of the concept itself in certain time periods) and as a subjective phenomenon – content (creator-performer). This determines the prospect of their consideration from the point of view of music-performing practice and its content-stylistic features.
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Purpose of Research is to identify the similarities and differences between artistic criticism and art history in contemporary conditions. Methodology. The methodology is based on a theoretical analysis of scientific literature, a comparison of art criticism and art history, and systematization, which led to scientifically objective results. Scientific novelt consists in identifying the similarities and differences between artistic criticism and art history in modern conditions. Conclusions. Artistic criticism contextual (is within the artistic process, although not integrated into it), academic art history is out of context. Artistic criticism is characterized by operativity, urgency, peculiar intermediary functions between the event and its historical assessment, emotionality, immersion – in contrast to the accuracy, the removal of art history. Regarding the audience: art history in the professional field, criticism – in sociocultural. The nature of art criticism is epistemological, criticism is axiological, but today there is a shift towards interpretive methods of artistic criticism. Among the methods of interpretation are philosophical, aesthetic, biographical, psychoanalytic, historical-artistic, semiotic, sociological, historicalcultural, comparative-typological criticism. Interpretative methods of artistic criticism are consistent with the processes of decoding the work of art, which is one of the functions of criticism, levels of this decoding can be incredibly large. "Stuccato Structure," hypertextuality, interactivity, laconicism - features of artistic and critical speeches in the Internet media. Elements of artistic criticism form the basis or can be an integral part of a wide range of journalistic (review, creative portrait, problem presentation, review, interview, essay) and scientific (monograph dissertation) genres. Today, the need to expand the professional "boundaries" of art history and artistic critique has matured.
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The purpose of the article is to formulate the appropriate picture of the ―simple‖ style in the Music Art of the second half of the 20 and the early of the 21st century on the basis of the scientific definitions of the musical style at the beginning of the 21st century. Methodology. The appeal to the problematic of musical style has the interdisciplinary nature and requires a complex approach that brings the traditional aspects of art studies and the general humanitarian aspects of this scientific work together. On the one side, we use the methodology of musical studies which allows us to focus on the musical approach itself. On the other side we appeal to general art studies and aesthetical philosophic studies that are dedicated to the problems of the postmodern and its ideological base, and this allows us to understand and to assess the processes that take their places in modern art space. The scientific novelty of the research lies in the consideration of the ―simple‖ style of the composer artwork during the second half of the 20th century and the beginning of the 21st century. This style has its own specific features and peculiarities of the interactions between the ideological figurative system and composition techniques. The results obtained give us a greater understanding of the composer's work at the turn of the centuries and complement the existing scientist‘s views concerning the perception of the ―simple‖ style in music in the 21st century. The conclusions. In modern times the aesthetics of the ―new simplicity‖ appears as a sign of the commenting mindset for which all historical languages and dialects turned out to be relevant. It‘s not unusual that the works of the composers who appealed to the ―simplicity‖ remind us of some sort of improvisation on the style. These works are becoming characterized by specific featureless construction of the notation which is similar to student exercises on the classical harmony in the Conservatory which results in loss of the author‘s intonation. Perhaps it can be assumed that the waiver of the ―newness‖ in favor of familiar exampts composers from the creation of new mater ial in some way. Thus within ―new simplicity‖ the echoes of what has been said by others become the subject of the musical expression and declare not so much the individuality of the creator itself but the waiver of it. Based on the four concepts of the simplicity set forth in this research (―simplicity‖ as simplification; ―simplicity‖ as an embodiment of minimalism; ―simplicity as an ―asceticism‖ and escape to a selfimposed poverty; ―simplicity‖ as a waiver of newness), it appears that these composers appeal to each of these conсepts. A concept of modern composer‘s individual style seems to be open-ended. It also starts to mutate under the influence of the new philosophical aesthetical ideas of the post-modern era. This problem also has an impact on the other art issues and the balance between the ―our own‖ and ―somebody else‘s‖ ones, ―my own‖ and ―collective‖ one, the ―simple one‖ and the ―complex one‖.
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The purpose of the work is to find out the formative, artistic, constructive and technological features of small-scale production of the Lviv Experimental Ceramic and Sculpture Factory (hereinafter LECSF), designed by the Ukrainian artist A. Bokotey. Methodology of historiographical, biographical and artistic analysis as well as structural-functional and stylistic-typological methods are used to determine the form-building and stylistic features of the blown glass product designs. Communicative method is also used in the article. Scientific novelty. The article analyzes the stylistic features of the blown glass products, designed by one of the famoust Ukrainian artists – Professor A. Bokotey. Previously artist's heritage was highlited mostly in the context of the fine art creativity. His design activity at the LECSF wasn‘t scientifically developed before. Conclusions. The blown glass studio at LECSF, which functioned during the years 1962-2005, became the focal point for the continuation and development of the classical Ukrainian blown glass traditions. It was also a work base for glass artists from all over the former Soviet Union. The main typological groups were determined analising the selected designs by A. Bokotey, replicated during the period of the greatest prosperity of the LECSF during the 1970-1980's. Their formative features, color characteristics and technological aspects of formation and decoration were highlighted in the article.
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The purpose of the research is to study the phenomenon of a synthesis as a distinguished feature in a modern choral art as well as identification of its features in the context of a genre at the textological level. Methodology. Such methods as discursive textological, comparative-analytical and logically-constructive methods. The scientific novelty consists in giving reasons for viability in applying the concept of a synthesis in modern choral art with an eye to multi-levelness and hierarchy of the concept of a text in artistic system of the choral art. Conclusions The concept of a synthesis is interpreted as an artistic phenomenon, which can be characterized with systemacity, polysemy and logical openness. It becomes actual, in particularly, in choral art. It is found out that a modern musical piece shows its uniqueness in multileveled influence on the audience of the definite system of texts. The hierarchy in the concept of a text is defined which exists at the creative and artistic levels; it is formed from objectively-compositional constituents; it appears as the interactive unity of authorial, performer's and audience's thoughts; it exists as a source of information in a fixed/recorded, procedural and effective format. The typology of scores (music sheets) as a system of communicative relationship between the composer, performer and the audience is offered. It is marked that the phenomenon of a synthesis in modern choral art becomes a source for creation of such textual systems, where there is an interaction between traditions, forms and types of thinking; the new types of scores (work sheets) are supposed to be find out; new genre formats are defined; the necessity of new scientific grounded methodological approaches in a musical pedagogics, in particularly in the area of choral art is proved.
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The purpose of the article is to find out the place and role of D. Burliuk in the context of world culture. Methodology of the research consists of the use of general scientific methods, theoretical and practical approaches to the analysis of the artist's creative work. The author of the article used art history, cultural approach, retrospective, system-typological and comparative analysis as well as secondary data analysis collected from reports, journals and other periodicals. Scientific novelty. From the position of art history, a comprehensive analysis of D. Burliuk‘s creative life was carried out, the influence of the artist‘s creativity on world art was investigated. Conclusions. D. Burliuk traveling and living abroad, became the father of Ukrainian and Russian futurism. At the same time, he never forgot his Ukrainian roots, and, due to his creativity, influenced the art of Russia, Japan, and the USA.
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