SYMBOLISM IN POETRY OF OLEKSANDR OLES AND CREATIVITY OF POLISH MODERNISTS

2019 ◽  
pp. 389-396
Author(s):  
Ivan Tsurkan
Keyword(s):  
Point Of View ◽  
Social Involvement ◽  
European Tradition ◽  
History Of ◽  
New Ideas ◽  
Research Goal ◽  
The Aesthetic ◽  
New Generation ◽  
Conceptual Foundations ◽  
Individual Interpretation

This article has investigated the development of Ukrainian symbolism, argued the reception of the aesthetic and conceptual foundations of the Polish symbolists in Oleksandr Oles’s works. Oleksandr Oles, as well as Polish symbolists, was affected with emotionally unstable atmosphere of national and revo- lutionary renaissance, which explains the pessimism, feeling of weakness and helplessness in their philosophy – on one hand, and vital, extremely optimistic point of view – on the other. This article is devoted to analyze an aesthetic heritage of European symbolists and it’s reflection in Oleksandr Oles’ s individual interpretation. Reaching of this research goal demands a comparative study of poetry of Oleksandr Oles and rep- resentatives of Polish symbolism – in particular, the analysis of symbolic concepts formed in Western European tradition. The changes of scientific paradigm in modern philology, free choices of tools lets us to delineate the tasks of the research – among them are to describe the mechanisms of establishment of Oleksandr Oles’s symbolic outlook, which determined his adapta- tions of artistic and stylistic features of this aesthetic model. The new generation of artist who came instead of the apologists has noted the disadvantages of social involvement of literature. The views of European symbolists have been transformed on Ukrainian national ground and undergone the modifications caused by specific social and political contradictions over the history of society. It has directly determined the way of Ukrainian symbolism basing it on artistic dialogue between the new ideas in European literature and the national background. The influences of Polish symbolic poetry, in particular works of Kazimierz Przerwa-Tetmajer, can be noted in Oleksandr Oles’s – „Ukrainian Heine’s”, as Khrystia Alchevska called him – artistic mindset.

scholarly journals Remix in the age of ubiquitous remix

2021 ◽  
pp. 135485652199445
Author(s):  
Abby S. Waysdorf
Keyword(s):  
Point Of View ◽  
Archival Material ◽  
History Of ◽  
Accepted Part ◽  
The Media ◽  
Contemporary Media ◽  
The Aesthetic ◽  
The Way

What is remix today? No longer a controversy, no longer a buzzword, remix is both everywhere and nowhere in contemporary media. This article examines this situation, looking at what remix now means when it is, for the most part, just an accepted part of the media landscape. I argue that remix should be looked at from an ethnographic point of view, focused on how and why remixes are used. To that end, this article identifies three ways of conceptualizing remix, based on intention rather than content: the aesthetic, communicative, and conceptual forms. It explores the history of (talking about) remix, looking at the tension between seeing remix as a form of art and remix as a mode of ‘talking back’ to the media, and how those tensions can be resolved in looking at the different ways remix originated. Finally, it addresses what ubiquitous remix might mean for the way we think about archival material, and the challenges this brings for archives themselves. In this way, this article updates the study of remix for a time when remix is everywhere.

scholarly journals THE BODY IN THE HISTORY OF WESTERN EUROPEAN AND RUSSIAN THEATRE: CULTURAL VARIABILITY OF SHAME

Articult ◽  
2021 ◽  
pp. 19-31
Author(s):  
Leila F. Salimova ◽  
◽  
Keyword(s):  
Scientific Knowledge ◽  
Performing Arts ◽  
Point Of View ◽  
The Body ◽  
Ethical Aspect ◽  
Close Relationship ◽  
History Of ◽  
The Spectator ◽  
The Aesthetic ◽  
Considerable Body

Modern scientific knowledge approaches the study of the physical and aesthetic bodies with a considerable body of texts. However, on the territory of the theater, the body is still considered exclusively from the point of view of the actor's artistic tools. Theatrical physicality and the character of physical empathy in the theater are not limited to the boundaries of the performing arts, but exist in close relationship with the visual and empirical experience of the spectator, performer, and director. The aesthetic and ethical aspect of the attitude to the body in the history of theatrical art has repeatedly changed, including under the influence of changing cultural criteria of "shameful". The culmination of the demarcation of theatrical shame, it would seem, should be an act of pure art, independent of the moral restrictions of society. However, the experiments of modern theater continue to face archaic ethical views. The article attempts to understand the cultural variability of such a phenomenon as shame in its historical and cultural extent using examples from theater art from antiquity to the present day.

Notions “association”, “associativity” in modern linguo-stylistics

2019 ◽  
pp. 84-89
Author(s):  
Iryna Ivanenko
Keyword(s):  
Subjective Experience ◽  
Green Light ◽  
Human Memory ◽  
Text Structure ◽  
Point Of View ◽  
Modern Theory ◽  
Literary Language ◽  
The Core ◽  
History Of ◽  
The Aesthetic

Charles Bally’s works laid the basis for the linguistic interpretation of the conceptions of association and associativity and understanding of associative mechanisms with regard to the fundamentals of psychology and systemacy of semantic links in thinking and language. The foundation of the modern theory of associativity is the classification of associations (mnemonic and necessary, close and distant, internal and external) developed by Charles Bally in his works. In linguo-stylistics the conception of association and associativity are associated with understanding of the psycholinguistic mechanisms of figurative use of language units and the realization of the aesthetic function of a literary language (S.Ya. Yermolenko, A.A. Moisiienko, L.V. Tailor, O. Malenkov, H.M. Siuta). Among the mechanisms for the formation of linguistic associations are the following factors: objective, social and intellectual experience, dependence on cultural and historical traditions, the gender identity of the speaker, etc. One of them dominates in each specific communicative situation. Currently known classifications of types of associative links take into account the basic positions of psycholinguistics, and the needs of lexicology and stylistics, etc. General differentiation is carried out: 1) for contiguity, similarity and contrast, 2) according to the scheme “word-stimulus, word-reaction”, 3) according to the type of relationship between the stimulus and the associate). Deep differentiation of associations according to the type of relationship between stimulus and associate) determines the allocation of several associative types: paradigmatic (food – bread) / syntagmatic (food – consume); thematic (friend – childhood > childhood friend); empirical (associated with the subjective experience of the speaker); social (associated with the social experience of the speaker), etc. The use of other criteria motivates the allocation of these types of associations: a) audio, visual, adorational, tangential; b) the usual and unexpected; c) direct and indirect, mediated; d) positive and negative; e) cultural, ethnic and author’’s individual. Understanding the connection between associativity and imagery is a primary issue in the modern literary language theory. Being a basis of concrete and sensual perception of the literary text, associations serve as a basis of creation of character in literature (S.Ya. Yermolenko, L.O. Pustovit, L.O. Stavitska, V.A. Chabanenko). It is necessary to consider the ideas of Franko’s treatise according to the history of the formation of the associativity theory. In particular, the proposed division of poetic associations by content (“ordinary”, that is, simple, and “linked by force”, that is, complex), remains undeniable. During the twentieth century the understanding of the mechanisms of implementation of associativity significantly deepened. One of the main subjects of intensive processing was the paradigmatic ordering of words in language and in human memory, the presence of clear mental connections between certain objects, realities on the basis of commonality or adjacency of their individual traits, features, etc. (compare.: spring – green, light, sun, warmth, flowers, feelings). This motivates the associative grouping of words into semantic fields. From linguo-stylistics point of view the associative-semantic field is a text structure, the model of the functional and stylistic implication of lexical-semantic units. The core of such a field, as a rule, are the keywords – the semantic and estimated coordinates of the entire work. Another type of lexicon combination, taking into account the associative links between the components, is an associative and imaginative field. It arises on the basis of associative and semantic or lexical and semantic association due to the identity of the denotative properties of linguistic signs, the general tradition of common language and poetic usage. Its center is the most active unit (dominant) – the core component of the series, which organizes the relationship of all other components. Associative-figurative series (lexical-thematic lines) go from this dominant, which work together semantically with the center for associative and creative field. Associativity is one of the key concepts of modern linguistic style. Terminological functionality of the conception of association and associativity is associated with the activity of cognition of the problems of “language association”, “artistic association”, “associativity and creative work”.

scholarly journals Will science save humanity?

2020 ◽  
pp. 73-82
Author(s):  
Evgenii M. Babosov
Keyword(s):  
Digital Technology ◽  
Global Climate ◽  
Health Care Education ◽  
Global Instability ◽  
Network Resources ◽  
Generation Network ◽  
History Of ◽  
New Ideas ◽  
New Generation

The article examines the global challenges of our time (globalisation, global instability, global climate change, digitalisation, etc.) and the role of science in resolving them. The history of science testifies that new ideas and theories are put forward most often when, within the framework of existing knowledge, an area of ignorance of the causes of a certain range of phenomena and processes appears. It is noted that Belarus is implementing a comprehensive program for the introduction of digital technologies in production, as well as in the health care, education, and culture systems. The basic components of a full-format digital technology package are powerful centralised and distributed computing resources, software based on artificial intelligence systems. Here, new generation network resources are being mastered, combining Big Data. The role of science in the movement of humanity towards the future is comprehended. The need for the emergence of human civilisation, in the center of which man will live and act, is affirmed. This person is comprehensively developed, multidimensional, creatively transforming the surrounding reality.

Notions “association”, “associativity” in modern linguo-stylistics

2019 ◽  
pp. 84-89
Author(s):  
Iryna Ivanenko
Keyword(s):  
Subjective Experience ◽  
Green Light ◽  
Human Memory ◽  
Text Structure ◽  
Point Of View ◽  
Modern Theory ◽  
Literary Language ◽  
The Core ◽  
History Of ◽  
The Aesthetic

Charles Bally’s works laid the basis for the linguistic interpretation of the conceptions of association and associativity and understanding of associative mechanisms with regard to the fundamentals of psychology and systemacy of semantic links in thinking and language. The foundation of the modern theory of associativity is the classification of associations (mnemonic and necessary, close and distant, internal and external) developed by Charles Bally in his works. In linguo-stylistics the conception of association and associativity are associated with understanding of the psycholinguistic mechanisms of figurative use of language units and the realization of the aesthetic function of a literary language (S.Ya. Yermolenko, A.A. Moisiienko, L.V. Tailor, O. Malenkov, H.M. Siuta). Among the mechanisms for the formation of linguistic associations are the following factors: objective, social and intellectual experience, dependence on cultural and historical traditions, the gender identity of the speaker, etc. One of them dominates in each specific communicative situation. Currently known classifications of types of associative links take into account the basic positions of psycholinguistics, and the needs of lexicology and stylistics, etc. General differentiation is carried out: 1) for contiguity, similarity and contrast, 2) according to the scheme “word-stimulus, word-reaction”, 3) according to the type of relationship between the stimulus and the associate). Deep differentiation of associations according to the type of relationship between stimulus and associate) determines the allocation of several associative types: paradigmatic (food – bread) / syntagmatic (food – consume); thematic (friend – childhood - childhood friend); empirical (associated with the subjective experience of the speaker); social (associated with the social experience of the speaker), etc. The use of other criteria motivates the allocation of these types of associations: a) audio, visual, adorational, tangential; b) the usual and unexpected; c) direct and indirect, mediated; d) positive and negative; e) cultural, ethnic and author’’s individual. Understanding the connection between associativity and imagery is a primary issue in the modern literary language theory. Being a basis of concrete and sensual perception of the literary text, associations serve as a basis of creation of character in literature (S.Ya. Yermolenko, L.O. Pustovit, L.O. Stavitska, V.A. Chabanenko). It is necessary to consider the ideas of Franko’s treatise according to the history of the formation of the associativity theory. In particular, the proposed division of poetic associations by content (“ordinary”, that is, simple, and “linked by force”, that is, complex), remains undeniable. During the twentieth century the understanding of the mechanisms of implementation of associativity significantly deepened. One of the main subjects of intensive processing was the paradigmatic ordering of words in language and in human memory, the presence of clear mental connections between certain objects, realities on the basis of commonality or adjacency of their individual traits, features, etc. (compare.: spring – green, light, sun, warmth, flowers, feelings). This motivates the associative grouping of words into semantic fields. From linguo-stylistics point of view the associative-semantic field is a text structure, the model of the functional and stylistic implication of lexical-semantic units. The core of such a field, as a rule, are the keywords – the semantic and estimated coordinates of the entire work. Another type of lexicon combination, taking into account the associative links between the components, is an associative and imaginative field. It arises on the basis of associative and semantic or lexical and semantic association due to the identity of the denotative properties of linguistic signs, the general tradition of common language and poetic usage. Its center is the most active unit (dominant) – the core component of the series, which organizes the relationship of all other components. Associative-figurative series (lexical-thematic lines) go from this dominant, which work together semantically with the center for associative and creative field. Associativity is one of the key concepts of modern linguistic style. Terminological functionality of the conception of association and associativity is associated with the activity of cognition of the problems of “language association”, “artistic association”, “associativity and creative work”.

The Religious Experience of the Landscape Ruskin and Nature

2020 ◽  
Vol 61 (1) ◽  
pp. 181-199
Author(s):  
Sándor Radnóti
Keyword(s):  
Point Of View ◽  
The Other ◽  
Landscape Painting ◽  
Social Critic ◽  
History Of ◽  
The Aesthetic ◽  
Harsh Criticism ◽  
Scientific Truth ◽  
Modern Era ◽  
Artistic Tradition

AbstractThis paper reconstructs Ruskin’s work from the perspective of the landscape, building upon the assumption that Modern Painters played a cardinal role in the emancipation of the genre. This reconstruction is complicated by the internal contradictions within the work: it cannot be regarded as a systematic work of philosophy, but belongs rather to the genre of sage writing. In volume I, Ruskin approached the landscape not from an aesthetic point of view, but from the direction of scientific truth. The aesthetic consequence of this was his anti-mimetic attitude, which differentiated between the imitation of nature and the uncovering of the truths of nature, and in this respect, he considered Turner the greatest master who had ever lived. Truth takes precedence over all aesthetic considerations, and for this reason Ruskin was resolutely against artistic tradition. Seen from his perspective, the history of landscape painting appeared as a series of scientific illustrations, which, with the forward march of science, came ever closer to truth-to-nature. The other two essential conditions of art, the other side of truth, were its moral and religious messages. Beauty is the work of God, and God must be praised in His work, in Nature. Only later did Ruskin introduce a historical dimension to the experience of the landscape. The modern era is characterised by the rise of the pre-eminent interest in the landscape, accompanied by a parallel decreasing interest in gods, saints, ancestors and humans. This later became the main motif of Ruskin’s activities as a social critic and reformer. In relation to the loss of faith and the prospect of regaining it, Ruskin saw landscape painting as the representative art of the modern era. In the later volumes of Modern Painters, Ruskin carefully distinguished between the task of science, which is to investigate the essence and uncover the truths of material nature, and the task of art, which is to explore the possible viewpoints or aspects of material nature. In volume V of Modern Painters he firmly asserted – in diametric contradiction to his earlier views – that the greatness and truth of Turner did not rest on scientific truth, for in this respect the artist was completely ignorant. This paper interprets and evaluates Ruskin’s extraordinarily harsh criticism of Claude Lorrain, which contrasts with the fact that Turner spent almost his entire life idolising and attempting to rival Claude.

scholarly journals NOVELTY IN ARCHITECTURE AS A FACTOR OF ITS DESIGN: A CONSERVATIVE VIEW

space&FORM ◽  
2020 ◽  
Vol 2020 (44) ◽  
pp. 309-316
Author(s):  
Irina Bembel ◽  
Keyword(s):  
Middle Ages ◽  
Modern Architecture ◽  
Point Of View ◽  
Late Middle Ages ◽  
Architectural Styles ◽  
Starting Point ◽  
History Of ◽  
Conservative View ◽  
The Aesthetic ◽  
Almost All

The purposeful attitude towards novelty is a relatively young phenomenon. The attitude to the New as an independent value was shaped initially in the Renaissance (or in the late Middle Ages); it lies in the same channel with the theory of progress. The phenomenon of fashion was gradually formed under its influence and involved into its orbit almost all aspects of life, including art and architecture, one or another degree. The endless need for renewal is defined as one of the main features of modernity as a paradigm (‘modern’ as new, contemporary). What is fashion as a cultural phenomenon, and why did it acquire such great importance precisely in the Modern Times – the epoch of architectural ‘styles’? When does tradition become fashion? How are novelty and freedom, the two main values of the modern paradigm, related? How does the general attitude towards novelty affect the criteria for the aesthetic assessment of contemporary architecture? The category of fashion only recently has become a subject of philosophical reflection, while not affecting the sphere of architecture. In this article, the phenomenon of the New in architecture is considered from the point of philosophical traditionalism. Another starting point of reasoning is the method of the Viennese school of art history, formulated in the phrase “History of art as the history of the spirit”. The religious and philosophical context reveals a fundamentally different approach to the phenomena of novelty and freedom in tradition and modernity and deepens the understanding of the revolution that was carried out in modern architecture. Thus, it helps to substantiate S.O. Khan-Magomedov's idea of two superstyles and refutes the generally accepted point of view, according to which modern architecture directly inherits and evolutionarily develops the achievements of tradition. Taking this idea as a whole, we consider it more broadly – in the sphere of traditional and modern architecture.

CONSTRUCTING THE FRAME OF NEW YORK: COMMERCE, BEAUTY AND THE BATTLE OVER THIRTEENTH AVENUE

2018 ◽  
Vol 17 (3) ◽  
pp. 501-523
Author(s):  
Jeffrey Trask
Keyword(s):  
New York ◽  
Hudson River ◽  
Small Scale ◽  
Civic Leaders ◽  
Business Interests ◽  
Competitive Edge ◽  
Maritime Labor ◽  
History Of ◽  
New Ideas ◽  
The Aesthetic

This article examines contests over improving the municipal waterfront in New York during the Gilded Age, and it uncovers the hidden history of Thirteenth Avenue. To maintain its commercial prominence and competitive edge, New York established the Department of Docks in 1870, granting it the authority to manage maritime trade and oversee the redesign and modernization of the city's wharves and piers. Debates about how a modern industrial and commercial waterfront should look centered on new ideas about the aesthetic economy of cities. Business and civic leaders believed that the beauty of the built environment could be leveraged as an asset to attract commerce and industrial investment. But these debates about improving the industrial waterfront ultimately pitted business interests against maritime labor and local manufacturers. Thirteenth Avenue was a small-scale industrial district on the far edge of Greenwich Village that stood in the way of the lucrative transatlantic steamship trade. Siding with mercantile interests over those of small manufacturers, the city condemned Thirteenth Avenue in the 1890s and reclaimed it for the Hudson River to make way for the Chelsea Piers. These elaborate Beaux-Arts piers served as an aesthetic frame for New York City, but they also reflected the unequal dynamics of municipal planning and politics at the turn of the twentieth century.

scholarly journals THE IDEA OF THE POLYFUNCTIONAL ESSENCE OF ART AS A PROBLEM OF MODERN AESTHETICS

2021 ◽  
pp. 91-99
Author(s):  
G.G. Kolomiets ◽  
◽  
Ya.V. Parusimova ◽  
Keyword(s):  
Human Life ◽  
Cultural Knowledge ◽  
Point Of View ◽  
New Meanings ◽  
Phenomenological Methodology ◽  
History Of ◽  
Human World ◽  
The Aesthetic ◽  
Definition Of ◽  
Communicative Discourse

The appeal to the problem of polyfunctionality of art is caused by the modern post-postmodern situation in the field of philosophical and cultural knowledge, which raised the problem of understanding the essence of art and its existence. A stochastic state was revealed, an uncertainty in view of the transformations of art itself, following not only the footsteps of the changing world, but also anticipating civilizational shifts, guessing a lot of probabilities and possibilities in the cultural movement of humanity. In this regard, the article rethinks the problem of the polyfunctionality of art and puts forward the idea of the polyfunctionality of art in the problematic field of aesthetics. Art is considered by the authors from the point of view of phenomenology and axiology as an aesthetic way of being in the human world, as a valuable interaction of a person with the world, as a subject of constructing new meanings and meanings by the consciousness when meeting with art. The article asserts the polyfunctional essence of art, which, according to the authors, stems from the variety of interpretations of the concept of «art» in the history of aesthetic thought and modern discourse, due to the multidimensional nature of its manifestations in the human life world. After analyzing various approaches to the understanding of art, and following the phenomenological methodology, as well as the ontological method and axiological approach, the authors came to the conclusion that definitions do not answer the question «what is art?», they rather say «what is art for?». In other words, it is not «what is» that is defined, but «what it means». It is noted that the leading functions recognized in aesthetics, such as aesthetic, communicative, harmonizing, transforming, are predominant at certain stages of culture, but they are separate functions of art that do not exhaust the fullness of the multifunctional essence, the ideological integrity of art in culture. It is pointed out that at the present stage, the features of openness, isolation, and «atomicity» of the communicative discourse are becoming more and more acute, leading to a change in the models of art functions, determining the problematic nature of the aesthetic «super-function» of art in the promotion of civilizational and cultural space. The idea of the polyfunctional essence of art presupposes a specific form of mental development of the polyfunctionality of art, is the principle of explaining the existence of art and includes the process of further searching for the definition of art on the basis of its multi-valued existence in culture.

scholarly journals THE BRIEF SURVEY OF EVOLUTION OF THE RUSSIAN STUDY OF TALES. THE REPRESENTATION OF HERMENEUTICS OF FABULOUS PARADIGMS IN THE CREATIVE WORKS OF A. PUSHKIN

2021 ◽  
pp. 98-166
Author(s):  
Tetyana Vorova
Keyword(s):  
Fairy Tales ◽  
World View ◽  
Point Of View ◽  
Russian Scientist ◽  
The Public ◽  
Russian Literary ◽  
History Of ◽  
New Ideas ◽  
First Time ◽  
History Of Study

The history of study of the Russian literary tales is set out in writing as emergence of tendencies or existence of different schools and their representatives. Every epoch, trend and certain scientists advanced the new ideas carried on by other experts in the process of further development of science. Therefore, the description of the history of study of tales corresponds to the description of evolution of this scientific branch according to some tendencies demonstrating and concentrating certain issues. The study of the literary tales is asserted to be closely associated with the history of the country and the ways of reflection of people’s self-consciousness. The public, literary and scientific interest in the tales came into existence as far back as the XVIII-th c., went through the period of astounding growth in the XIX-th c., the decline in the first half and the renaissance in the second half of the XX-th c. The stable attention to tales is paid at the turn of the XXI-st century. Scientists persistently searched a platform for the systematization of tales, examined the peculiarities of this genre – its main features, characteristics, definitions – in order to distinguish tales from other genres. Both a form of a tale and its content – with the prospective morals – were carefully analysed. The form and the content (or the idea) either were separated or opposed till the scientists came to the brilliant thought of their unity as the form represented a shell in which an idea or a world-view found their expression. A great Russian scientist A. Veselovskiy insisted on the necessity of creating morphology of tales, later this task was performed by the other famous Russian researcher V. Propp. V. Propp did not fix the separate features in poetics of tales but he focused on their structure and composition as a whole. Also, the relation of constant, invariable elements of tales to changeable, variable elements was gradually studied and defined. The modern scientific views are based on the thought that the essence of literary tales as the phenomenon of spiritual culture is likely to be expanded in the process of studying the origin, the development, the interpretation of tales and exceeding the limits of the genre. In the present article the point of view is illustrated that the history of tales is so complex and their study is so difficult that they can hardly ever be kept within the definite bounds. The fairy tales of A. Pushkin have the peculiar attractiveness because they bear the stamp of genius of their creator. The present research in hermeneutics of the Russian literary tales is based on the tales by A. Pushkin as the most capacious hermeneutical paradigms. It should be noted that for the first time an attempt to reveal and interpret their hidden, inherent meanings has been made on the basis of hermeneutics of the works of art.

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