HEURISTIC POTENTIAL OF THE "ART WORLD" METACONCEPT IN MUSIC COMMUNICATION

2021 ◽  
Vol 1 (2) ◽  
pp. 33-41
Author(s):  
O. M. Plotnikova ◽  
Keyword(s):  
Scientific Discipline ◽  
Art World ◽  
Musical Work ◽  
Trigger Mechanism ◽  
Cross Cultural Communication ◽  
Historical Method ◽  
Artistic Representations ◽  
The Hierarchical Structure ◽  
Cultural Genesis ◽  
Linguistic Units

The topical problem of modern musicology is the comprehension of scientific representativeness of the generally accepted terms and concepts in the context of post-non-classical scientific picture of the world and cognitive science. As a navigator of conceptual understanding of a musical work, the article considers the content of the art history metaconcept "art world". The trigger mechanism for its creation in the lexical system of musicological language is the procedure of understanding the autonomous, integral, intonation and sound concept of the composition. The study of the semantics of the "art world" metaconcept reveals its constants and invariants. Philosophical, socio-cultural genesis represents the variable periphery and the "core" — the key name of the concept that generates multiple notions within the scientific discipline and in the vast scientific field of transdisciplinary interactions. The analysis of nominative linguistic units presents etymological, historical and actual semantic layers. The hierarchical structure of the "art world" metaconcept as a theoretical object and a mechanism for the formation of figurative and artistic representations is a dynamic system of interaction between various semiotic, static and procedural elements, which determines the semantic multiplicity of interpretations. Being a complex, mental structure of musician's language and consciousness and actively participating in cross-cultural communication, the "art world" metaconcept is able to mark the branch cultural and historical method of scientific cognition.

Migration Into Art

2018 ◽  
Author(s):  
Anne Ring Petersen
Keyword(s):  
International Relations ◽  
Forced Migration ◽  
Art World ◽  
Aesthetics And Politics ◽  
Institutional Practices ◽  
Critical Engagement ◽  
The People ◽  
Artistic Representations ◽  
The World ◽  
Global Art

This book addresses a topic of increasing importance to artists, art historians and scholars of cultural studies, migration studies and international relations: migration as a profoundly world-transforming force that has remodelled artistic and art institutional practices across the world. It explores contemporary art’s entanglement and critical engagement with migration and globalisation as a key source to improving our understanding of how these processes transform identities, cultures, institutions and geopolitics. Focusing on the interrelations between transcultural identities, the paradoxes of globalisation and the experience of migration as structured by both mobility and settlement, longing and belonging, identification and disidentification, it contributes knowledge about three interwoven issues of enduring interest. Firstly, it is concerned with identity and belonging because migration challenges the identities of the people who migrate but also of the communities where migrants settle. The second set of issues revolves around visibility and recognition. Which impact does increased mobility have on the art world and the careers and works of artists? How have the discursive, structural and artistic changes paved the way for the idea of ‘global art’ and a growing institutional visibility and recognition of artists with a migrant background? Thirdly, the book is concerned with the question of the interrelations between aesthetics and politics and how aesthetics, politics and ethics may be balanced in artistic representations of migration, especially forced migration.

scholarly journals Towards a New Science of Information

2011 ◽  
Vol 9 (2) ◽  
pp. 278-285
Author(s):  
Dail Dewitt Doucette
Keyword(s):  
Major Part ◽  
Complex Form ◽  
Scientific Discipline ◽  
Theoretical Base ◽  
Trigger Mechanism ◽  
New Science ◽  
Arts And Humanities ◽  
Stage Of Development ◽  
New Information ◽  
Living Organisms

This paper suggests a New Information Paradigm and recommends the establishment of a new academic and scientific discipline to be titled "Science of Information", built on a premise that information is also a major part of all the universes, elements, systems, and conditions. Therefore, it is also an integral part of all the other individual disciplines and sciences. It is essential to look beyond the limitations of how humans use and perceive information, or even how other living organisms use information. It is proposed that information is a continuous evolving process, that exists in some simple to complex form in every stage of development, across all scientific and academic domains, as well as being a significant part of everything that exists. Information is a trigger mechanism, emphasis and nutrient, not only for information activities itself but also all physical, and biological elements, systems and activities. Each existing discipline has within it a significant core Informational Element, which helps formulate and define that discipline. The Science of Information will bring together these core information elements in order to correlate, compare and assemble a combined theoretical base. This new discipline should be established as a meta-discipline. It should exist equally with traditional discipline categories such as physical, social science, arts, and humanities. It should not compete with or replace other disciplines. It should stand alongside them and assist them, as well as conduct comparisons and consolidations amongst multiple disciplines regarding information theories, methodologies, practices, by adding new perspectives, resources and developments.

scholarly journals Towards a New Science of Information

2011 ◽  
Vol 9 (2) ◽  
pp. 278-285
Author(s):  
Dail Dewitt Doucette
Keyword(s):  
Major Part ◽  
Complex Form ◽  
Scientific Discipline ◽  
Theoretical Base ◽  
Trigger Mechanism ◽  
New Science ◽  
Arts And Humanities ◽  
Stage Of Development ◽  
New Information ◽  
Living Organisms

This paper suggests a New Information Paradigm and recommends the establishment of a new academic and scientific discipline to be titled "Science of Information", built on a premise that information is also a major part of all the universes, elements, systems, and conditions. Therefore, it is also an integral part of all the other individual disciplines and sciences. It is essential to look beyond the limitations of how humans use and perceive information, or even how other living organisms use information. It is proposed that information is a continuous evolving process, that exists in some simple to complex form in every stage of development, across all scientific and academic domains, as well as being a significant part of everything that exists. Information is a trigger mechanism, emphasis and nutrient, not only for information activities itself but also all physical, and biological elements, systems and activities. Each existing discipline has within it a significant core Informational Element, which helps formulate and define that discipline. The Science of Information will bring together these core information elements in order to correlate, compare and assemble a combined theoretical base. This new discipline should be established as a meta-discipline. It should exist equally with traditional discipline categories such as physical, social science, arts, and humanities. It should not compete with or replace other disciplines. It should stand alongside them and assist them, as well as conduct comparisons and consolidations amongst multiple disciplines regarding information theories, methodologies, practices, by adding new perspectives, resources and developments.

scholarly journals Sacred foundations of A. Scriabin's fret system in relation to O. Messian's modality

2021 ◽  
pp. 210-214
Author(s):  
Tetiana Motorna
Keyword(s):  
Twentieth Century ◽  
Art World ◽  
Musical Expression ◽  
Philosophical Orientation ◽  
Early Twentieth Century ◽  
French Tradition ◽  
Cultural Genesis ◽  
Second Wave ◽  
Harmonic System

The purpose of the article is to understand the archetypal root of the whole-tone constructions of Fret structures of A. Scriabin and A. Messian in reflecting the detachment from the harmonic system that is relevant for the twentieth century in favor of a linear-melodic approach, determined by the archaic structures of the Indo-Iranian melodic basis. The methodology of the research is a cultural and historical concept in the traditions of A. Losev, in which certain means of expressing art are tested by the cultural genesis and cultural ideas of the time. We use analytical, comparative-historical, and genre-nominative musicological approaches based on aesthetic, cultural, and philosophical positions. The hermeneutical lines of the intonation approach in musicology in the traditions of B. Asafyev and B. Yavorsky in Ukraine, which are in contact with the verbal-centrist approach to music in the French tradition and are clearly expressed by J.-J. Rousseau and his followers of the level of Y. Kristeva, are also important for the work. The scientific novelty is determined by the primacy of the author of the study in the statement of the origins of the sacred determination of Fret thinking and O. Scriabin, and O. Messian in the cultural incentives of Indo-Iranian archaism. This stimulated "scythism" in the Slavic art world of the early twentieth century and Celtic-eastern references to the developments of C. Debussy, determining the Indo-philosophical orientation of Fr. Messian's franciscanism. Conclusions. Cultural and social sources of interval-fret constructions by A. Scriabin and A. Messian point in both cases to the Iranian-Indian basis of European archaism, which in the French composer finds a frank bias towards Hindu-philosophical and rhythmic borrowing. IN O. Scriabin paradoxically closes the search for Scythian-Iranian roots of archaic semantic positions, multi-vector discussed in the circles of Russian Futurists (led by N. Kulbin) and Polish Symbolists. The semitone-whole-tone melodic basis, which encourages support for the quart in A. Scriabin and K. Debussy, fueled the discovery of a new modality of A. Messian, which established in the vanguard of the second wave Scriabin's "nerve" as a mysterious and liturgical interpretation of the musical expression in "Light" by K. Stockhausen, the memorial symbolism of L. Nono and absurdist abstractionism of the works of P. Boulez, others.

scholarly journals The development of the foundations of source criticism as a scientific discipline at the Imperial Novorossiya University

2021 ◽  
Vol 11 (2) ◽  
pp. 284-299
Author(s):  
Irena Grebtsova ◽  
Maryna Kovalska
Keyword(s):  
Great Influence ◽  
Scientific Discipline ◽  
Theory And Practice ◽  
Historical Sources ◽  
Russian Science ◽  
Source Criticism ◽  
Historical Method ◽  
Source Studies ◽  
History Of ◽  
Main Components

The article is devoted to the study of the development of the source criticism’s knowledge in the Imperial Novorossiya University which was founded in the second half of the XIX century in Odesa. Grounding on a large complex of general scientific methods, and a historical method and source criticism, the authors identified the stages of the formation of source criticism in the process of teaching historical disciplines at the university, what they based on an analysis of the teaching activities of professors and associate professors of the Faculty of History and Philology. In the article, the development of the foundations of source criticism is considered as a complex process, which in Western European and Russian science was the result of the development of the theory and practice of everyday dialogue between scientists and historical sources. This process had a great influence on the advancement of a historical education in university, which was one of the important factors in the formation of source studies as a scientific discipline. The history of individual scientific disciplines cannot be understood outside the context of the development of science altogether, therefore the authors paid attention to the change of scientific paradigms in the period under the study. It is noted that reforms in the field of education and the development of European historical knowledge have become the main components of the formation of historians, who, with their scientific activities at the theoretical and practical levels, contributed to the development of the special historical disciplines. The article reveals a gradual increase in the number of courses taught at the historical department of the Faculty of History and Philology, in which teachers used the opportunity to teach students to work with various types and kinds of sources. The authors examine the contribution of the historians of Odesa in the XIX – early XX century in the process of institutionalization of historical disciplines, in the formation of a complex of special historical disciplines, which resulted in the actualization of their scientific works in subsequent years. As a result of the study, the authors came to the conclusion that the professors of the departments of general and Russian history, with their teaching and scientific activities, laid the foundations of source criticism as a special scientific discipline, raising theoretical problems in their lecture courses, and at the training workshops, teaching students how to work with sources in practical terms.

scholarly journals The issue of the establishment of Ukrainian ethnochoreology as a science of folk dance

2019 ◽  
pp. 92-103
Author(s):  
Olha Martyniv
Keyword(s):  
Cultural Studies ◽  
Scientific Knowledge ◽  
Comparative Method ◽  
Scientific Discipline ◽  
Historical Background ◽  
Scientific Development ◽  
Folk Dance ◽  
Scientific Heritage ◽  
Dance Culture ◽  
Historical Method

The research is related to the actualization of the national scientific heritage of the ethno-choreological direction, which is a significant component in the structure of cultural studies, art studies, ethnographic, folklore and choreographic research, one of the necessary conditions for the preservation of the national dance heritage in its traditional dimension.The methodology of the research is to use the analytical method - for the analysis of scientific sources from the ballet in the philosophical, culturological, art criticism, psychological, and pedagogical space; historical method - for the analysis of causal features of the emergence and formation of ethno- choreological knowledge as a form of understanding of dance art; a comparative method - to identify common and distinctive features of the method of treating the phenomenon of folk dance in the writings of prominent researchers of the past; a synthetic method - for a generalization of various subjective ideas and theories of domestic researchers in the field of choreography. The scientific novelty lies in the fact that for the first time in the national art studies the author has substantiated and defined the concept of ethnochoreology and its functions as the founders of this field of domestic scientific knowledge; It was traced and the stage of formation of the leading parameters of the concept of ethno-choreological problems in the scientific development was discovered not only within Ukraine but also in the Ukrainian diaspora; It has been proved that the historical background has caused chaos in the development of the scientific discipline ethnochoreology as a cultural studies and art-study branch of knowledge, the necessity of development of this direction of scientific research for preservation, reproduction and reconstruction of the traditional dance culture of Ukrainians, as well as the creation of new forms and development of the existing stage folk dance as a specific Ukrainian type of dance art; outlined the range of issues that require their immediate solution at the level of creating a conceptual-categorical apparatus of choreographic culture, the phenomenon of dance in a traditional society, its significance for the objective coverage of the existence of the Ukrainian people. The study and research of the Ukrainian ethno-choreological heritage from the time of its appearance as a period of formation of science allows to highlight the leading directions that science has been moving over the next decades, to identify the problems faced by modern folk dance researchers in its traditional dimension and stage form of existence, to outline the leading figures of researchers, which became the founders of the national scientific knowledge about folk dance.

scholarly journals THE DOUBLE WORLD OF M. GOGOL’S „VIY” AND IT’S OPENING IN V. HUBARENKO’S OPERA-BALLET

2019 ◽  
pp. 28-41
Author(s):  
Svitlana Shchitova ◽  
Kateryna Kapitonova
Keyword(s):  
Analytical Method ◽  
Scientific Method ◽  
Scientific Article ◽  
Musical Work ◽  
Historical Method

The purpose of this scientific article is revealing the phenomenon of phantasmagoria and its embodiment in the chosen theatrical genre. The round of investigative methods in relation to this research consists next sequence. There are historical method for detailed examining the phenomenon of phantasmagoria in art and the structural-analytical method when referring to the musical text of particular individual scenes into the opera-ballet „Viy”. We are also emphasizing the comparative scientific method for the proportional characterization of the artistic novel by celedrated and well-known writer N. Gogol as well as the opera-ballet by outstanding contemporary Ukrainian musician, composer and pedagogue V. Gubarenko. The scientific novelty in reference to above-mentioned investigative thematic vector lies in the identification of the concepts relatively „phantasmagoria” and „double world” in famous artistic literature, renowned academy music and scenography, which lead to the discovery of brilliant phenomena such as simultaneity, editing drama as well as polystylistics. Conclusions. The double peace that Gogol is implies to be present in popular Gubarenko’s musical work from the beginning. Simultaneity, as a psychological category, pervades both literary and musical-dramatic work. Nevertheless, with Gubarenko it seems to be enlarge, artistic increase at times and grows into a dramatic means, bright creates not only an atmosphere of phantasmagoric horror, but also unforgettable artistic impressions of an extraordinary work of musical art. The stage production allows us the more clearly revealing the Gogol mansion and to emphasize the main points that we can only guess in the story. There is no center in the created world of V. Gubarenko, and therefore there are no ordinary borders.

The Pathological Narcissism Inventory: Measurement Invariance Across Serbian and USA Samples and Further Validation

2020 ◽  
Vol 36 (4) ◽  
pp. 670-680 ◽  
Author(s):  
Bojana M. Dinić ◽  
Aleksandar Vujić
Keyword(s):  
Measurement Invariance ◽  
Self Esteem ◽  
Order Structure ◽  
Pathological Narcissism ◽  
Cultural Validity ◽  
Hypersensitive Narcissism ◽  
The Hierarchical Structure ◽  
The Usa ◽  
Pathological Narcissism Inventory ◽  
Narcissistic Grandiosity

Abstract. The aim of this research was to explore measurement invariance across samples from Serbia and the USA (Study 1) and to further validate the Serbian adaptation of the Pathological Narcissism Inventory – PNI (Study 2). The results supported the original seven-factor first-order structure as well as the hierarchical structure of the PNI with Narcissistic grandiosity and vulnerability as the second-order factors. Further, scalar invariance between the two versions of the PNI was achieved. Relations between Narcissistic grandiosity and vulnerability and other measures of grandiose and hypersensitive narcissism supported the validity of their scores. Among HEXACO traits, both Narcissistic grandiosity and vulnerability showed substantial negative correlations with Honesty-Humility. The main distinctions between the two aspects of narcissism lie in the positive relations with Neuroticism and negative relations with self-esteem, both of which are higher for Narcissistic vulnerability. The results support good psychometric properties of the PNI scores and add to the PNI’s cross-cultural validity.

Problems in cross-cultural communication

1971 ◽  
Author(s):  
E. K. Eric Gunderson ◽  
Lorand B. Szalay ◽  
Prescott Eaton
Keyword(s):  
Cross Cultural ◽  
Cultural Communication ◽  
Cross Cultural Communication
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