MUSICAL DEDICATIONS TO STANISLAV LYUDKEVYCH: DIALOGUE OF PERSONALITIES IN THE SPACE OF CULTURE

The concept of «musical dedication» as a mean of actualization of the dialogic nature of culture is considered. Musical compositions-dedications to the outstanding Ukrainian composer Stanislav Lyudkevych by the modern Ukrainian composers Valery Kikta, Yevhen Stankovych and Bohdana Filts are interpreted as a dialogue of artists in the space-time of culture. «Romantic Variations on S. Lyudkevych Theme» for harp (1979); «Choral Prelude in Memory of S. Lyudkevych» for male choir on folk texts (1979) by V. Kikta; «Elegy in Memory of S. Lyudkevych» for string orchestra (1979) by E. Stankovych; the vocal cycle «Silver Strings» based on the words of O. Oles (1969) and the piano play «Memory» from the cycle «Musical Dedi-cations» (1993) by B. Filtz are the works which testify to the diversity of creative and human rela-tionships between artists, their communication about universal values, and the important role of ar-tistic communications in the organization of cultural space. It is noted that musical compositions-dedications have a successful mnemonic function, ob-jectify the category of «memory of culture» in sounds, establish semantic and interpretive correla-tions between individuals and their artistic and imaginative ideas. It is emphasized that culture is what is «here and now», it is a way of existence on the crossroad of Present, Past and Future which opens the new horizons of the meaning of human life and creativity.

The Orators and the Athenian Past

Chapter 1 is divided into seven sections which address different topics of guiding importance for the content and argument of the work as a whole; some can also be read as free-standing discussions of the topics they cover. Chapter 1.1 examines the mnemonic function of public statuary in classical Athens and situates it within a civic memorial landscape which helped shape how ordinary Athenians thought about their past. Chapter 1.2 looks at some ‘fictions’ in Athenian public discourse which enable orators to engage audiences when discussing the past and to create community among audience members with different experiences of that past. Chapters 1.3 and 1.4 discuss why Athenian orators make use of the past for persuasive purposes in the first place, and where and how they do so, cover the treatment of the historical example in contemporary rhetorical theory (Aristotle and the Rhetorica ad Alexandrum), and identify some patterns in the usage of Demosthenes and Aeschines to prepare the reader for the case-study chapters (2–6). Chapter 1.5 outlines key recent scholarly approaches to the topic and situates this work within the field. Chapter 1.6 sketches the historical context of Aeschines’ and Demosthenes’ careers, with particular emphasis on Athens’s responses to the growth and eventual hegemony of Macedon from the 350s onwards. Chapter 1.7 comes to some working views about how we can use the speech texts we have, looking at issues first of revision and dissemination and then of authenticity and authorship.

«THE СOMBATING MNEMOSYNE»: THE THEME OF MEMORY IN ANDREY PLATONOV’S MILITARY PROSE

Memory is one of the key concepts in A. Platonov’s creativity. The writer also implements the mnemonic function of literature in his military stories. The article analyzes representations of memory mechanisms in Platonic military prose in the context of the «memorial turn» of modern humanitarian knowledge. The article considers the possibility of applying to it the approaches developed in the «memorial studies» in relation to various forms and types of memory, the dynamics of the interaction of remembering and oblivion, individual and collective, communicative and cultural memory, ways of memorization. Memory appears as a meaningful and multi-valued cultural and psychological phenomenon expressing the anthropology of war. The range of manifestations of memory in the form of private and social experience, cultural and historical traditions is diverse. The writer's military prose can be seen as a metaphor for a battle, coupled with heroism and tragedy. Within the individual and in society, different layers of memory, memory and forgetting collide. The concept «consolation» is closely connected with memory. The stories also show the trials of memory. To express the mnemonic, the writer used the concepts «аnguish», «grief» and « suffering». Platonov’s arguments were built in two directions – from the point of view of the limited possibilities of the individual’s memory and in the aspect of the «eternal memory» that overcomes it. Mnemotopics of stories offers ways for salvation by memory in the form of communication between present and former generations, the living and the dead. The writer's perception of the memorial as an important factor of citizenship is significant.

Memorial space and its mnemonic function

In this article, I argue that the meaning of memorial space can be better understood by turning our focus to the ambient characteristics of these spaces. Ambience is used here to refer to the environmental features that exist at the periphery of our attention. Here, I offer advice from ancient teachers of the art of memory that prescribes spaces with particular environmental qualities as evidence of the important role that these spaces serve in the storage and recollection of memories. Advice such as practice in solitude in dim lit spaces—or well lit, according to the teacher—highlights the importance that these ancient teachers placed on ambience for the proper storage of memories. We also know that these architectural mnemonic features were also “turned outward” to convey meaning. Instead of the traditional semiotic approach to architectural criticism that looks at commemorative symbolism, this article follows an approach that interrogates architecture’s mnemonic function. An analysis of the ambient features emphasized in Ottawa’s urban planning documents reveals that this is an important yet often overlooked aspect of urban spaces by those who study memorials. The Todd Plan, The Holt Report, and The Gréber Plan serve as a foundation for understanding the character of Ottawa’s space. Other more recent urban planning documents from the National Capital Commission are brought in to demonstrate how the role of ambience is afforded even greater prominence than it already was. Reconsidering the different types of spaces (natural and open space) and the role of sensation as uniquely ambient features of space open up new possibilities for examining the memories that these characteristics invoke in audiences. By unpacking the meaning of memorial space, through a mnemonic lens we are able to more thoughtfully engage with the reception of these spaces by visitors.

Childhood memories

An analysis in which the Homeric digression intersects with Freud’s notion of regression leads into a comprehensive reading of the Homeric episode of the foot washing of the Odyssey, Book 19. The chapter concentrates on the mnemonic function of the scar in the Homeric epic and Sophocles’ tragedy. The chapter considers the significance of Oedipus’ childhood memories in shaping the tragic plot of Oedipus Rex as a tragedy of recollection. Oedipus’ and Odysseus’ scars bring home something that has collapsed into forgetfulness. The chapter discusses the significance of ancient and Freudian figures and images of scars as junctions of forgetting and remembering, and shows how ancient narratives of memory (Odysseus) and forgetfulness (Oedipus) can inform our understanding of Freud’s notion of the dream navel.

REFRAMING THE LISTENING EXPERIENCE THROUGH THE PROJECTED SCORE

ABSTRACTOver the past ten years, performance scores have been radically foregrounded in a variety of performance practices. Whether such notations assume a prescriptive function, visually projected for musicians to interpret, or a descriptive one, unfolding as a documentation of a live coding performance, how might such a foregrounding reframe the listening process for an audience? Does a notational schema help promote a deeper, structural level understanding of a musical work? This article will consider these various questions, exploring how principles of graphic design and the transparency of notation contribute to the listening experience. It will suggest that works featuring projected scores find aesthetic value in the juxtaposition of notation's traditionally mnemonic function and the unique temporal modalities that projected scores establish.