Futuro pasado. la evolución del concepto Poesía en Octavio Paz

Future Past. The Evolution of the Concept of Poetry in Octavio Paz. Octavio Paz (1914) is a poet writing in Spanish whose aesthetic ideas have built a vision of relevant poetry for at least three traditions: poetry in French, English and, of course, Spanish. This study will analyze, from the metalinguistic perspective proposed by Reinhart Koselleck, how the concept of “poetry” evolved in the thought of the Mexican Nobel Prize winner. Framed by his tradition, by his space of experience, Octavio Paz wrote works that have been instrumental in understanding and valuing poetry in the twentieth century. From “Poesía de soledad y poesía de communion” (1943) to La otra voz, Poesía y fin de siglo (1990), Paz synthesized the aesthetic ideas of his time in El arco y la lira (1956), rethought the lyrical exercise in “Los signos de rotación” (1956), modified his poetic in the prologue to Poesía en movimiento and made his position explicit in Los hijos del limo and his thoughts on Lévi-Strauss and Marcel Duchamp. By focusing on these texts, as well as on a corpus of conferences, interviews, correspondence and even poetry recitals, this study explores the evolution of poetic thought and the horizon of expectations that the work of the last Spanish-speaking poet who received the Nobel Prize opens for us. Keywords: Octavio Paz, style, poetics, post-utopian time, semantics of concepts

GARDEN AND PARK ENSEMBLES IN THE TOWNS’ HISTORY

The narrative motive of the study is the fact of the infl uence of the garden and park ensembles’ construction on the development of cities. The historical periods of the highest fl owering of culture, philosophy, aesthetic ideas, and the development of construction skills have been selected for the work. The authors of the article draw att ention to the theoretical works of the 20th century in Western civilization, considering the city as a natural system. Their connection with the concepts of the 16th- 19th centuries in England, France, Italy, and France is affi rmed. The idea of the city as a natural system is revealed through images and metaphors, which help to understand the place of public landscapes in the history of civilization. The article presents the garden-park complexes, the creation of which changed the urban planning paradigm, initiated the construction of new cities, promoted the replacement of obsolete or lost elements of urban structure. The author suggests the classifi cation of landscape complexes according to their role in the development of urban planning and their infl uence on the artistic culture, architecture and morphology of the city.

Conceptual Art and Aesthetic Ideas

This paper considers whether Kant’s aesthetics withstands the challenge of conceptual art. I begin by looking at two competing views of conceptual art by recent philosophers, before settling on an ‘inclusive’ view of the form: conceptual art includes both ‘strong’ and ‘weak’ non-perceptual art (NPA). I then set out two kinds of conceptual complexity that I argue are implicated by all aesthetic judgements of art (as art) on Kant’s view: the concept of art itself, and the idea the work is meant to express (dependent beauty and aesthetic ideas, respectively). I go on to demonstrate the applicability of Kant’s aesthetics to conceptual art by considering two works by Lawrence Weiner, which I take to be a work of work of weak and strong NPA respectively.

On Conceptual Revision and Aesthetic Judgement

This paper calls into question the view typically attributed to Kant that aesthetic judgements are particularist, resisting all conceptual determination. Instead, it claims that Kant conceives of aesthetic judgements, particularly of art, as playing an important role in the revision of concepts: one sense in which aesthetic judgements, as Kant defines them, ‘find a universal’ for a given particular. To understand the relation between artistic judgements and concepts requires that we consider what I call Kant’s diachronic account of aesthetic ideas, or how such judgements unfold in the course of communication and reflection. My reading draws Kant much closer to debates in the philosophy of art on the semantic dimension of artworks. Here, illuminating the way in which aesthetic judgements about art can play a role in conceptual revision allows us to make sense of the way in which modern artworks contest concepts rather than merely presenting or expressing them.

Unfinished Work as Aesthetic and Musical Phenomenon: about Interrelation of Genre, form and Technique of Composition

The relevance of the study is dictated by the interest of contemporary creators and researchers in various fields of science to the problem of unfinished works. The appearance of the latter is associated with the historical situation and philosophical and aesthetic ideas of the time, with the psychological characteristics of the Creator's personality and the peculiarities of his thinking, as well as with the originality of the individual design of the work. In musical art, a productive direction in substantiating the specifics of unfinished works is their consideration both through the “prism” of the philosophical and aesthetic ideas of the time, cultural and historical context surrounding the composer, and based on fundamental theoretical teachings. The aim of the research is to establish and substantiate the “zones” of action and mutual influence of categories that are important and system-forming for theoretical musicology — musical genre, musical form and composition technique within the boundaries of unfinished works. The scientific novelty of the research is reported by: 1) the definition of the artistic and aesthetic phenomenon of “incompleteness”, which is universal for works of art, formulated and proposed for the first time; 2) the classification of unfinished works presented in relation to musical art; 3) analytical observations of the process of interaction of genre, form and technique of composition in conditions of various degrees of manifestation of incompleteness of musical works. The research methodology is based on the works of various fields of scientific knowledge — philosophical and aesthetic research (U. Eco, J. Gartner, etc.), works on the history and theory of art (S. Stupin, E. Abramovskikh, etc.), research in the field of theoretical and historical musicology (Y. Kholopov, E. Ruchevskaya, M. Pereverzeva). The main research methods are the general scientific observation method and the comparative method, as well as various methods of analyzing a piece of music. The results of the study reflect the following conclusion. A progressive tendency is clearly visible from work to work, which in music belongs to the category of “unfinished”: from a ghostly “hint” expressed through the genre, through a meaningful idea “underlying” the form, to the assertion of the principles of an “open work” through total interdependence genre, form and technique of composition. The study is undoubtedly of practical value. It significantly supplements and expands knowledge about some new genres that are little studied in music (fragment, sketch, etc.) and their compositional originality.

COMPETITIVE DESIGN BASED ON THE TASKS OF REAL CUSTOMERS IN THE ARCHITECTURAL SCHOOL AS A NEW VECTOR FOR THE FORMATION OF NATIONAL EDUCATION OF THE FUTURE (BASED ON THE EXAMPLE OF THE ACTIVITY OF THE DEPARTMENT OF ARCHITECTURAL ENVIRONMENT DESIGN IN THE LVIV POLYTECHIC

The article highlights the place of competitive design based on the tasks of real customers in the educational process of students of the Lviv architectural school – at the Department of Architectural Environment Design. An important component of education at the department was competitive futuristic design in the form of international and national student design seminars and competitions. The purpose of this vector is to prepare our students for the strict conditions of the need to comply with regulatory requirements in real design and at the same time teach them to experiment freely and creatively. The more complex the project task, methodology, and requirements for its implementation, and the more restrictions there are in the project, the better and more efficient the imagination should work. Participation of students in educational competitive design based on the tasks of real customers helps to educate and study them not by artisans with limited creative imagination, but by master artists and at the same time highly educated professional engineers. In the competitive projects made under real orders, special ones were those that were developed in 2021, because they were carried out taking into account the problems caused by the COVID-19 pandemic. Among them, projects for the best draft proposal of a new architectural solution and expansion of the functions of the Panorama shopping centre in Odesa stand out. These projects are valuable because they were solved not only in one aspect – by offering only typological, spatial, functional or architectural and aesthetic ideas, but by taking them syncretically all together. Teachers of the Department of Architectural Environment Design are convinced that this practice can significantly enrich the educational process because it teaches students to work in teams, use all the special knowledge acquired during their studies in the field of architecture, create without feeling barriers between educational, search, experimental, competitive and real design.

PRINCIPLES OF ORCHESTRAL STYLE IN SYMPHONIC FRESCOES “TARAS BULBA” BY SERHIY TURNIEIEV

Statement of the problem. The works of Serhii Petrovich Turnieiev – Honoured Artist, composer, professor – have made a significant contribution to the musical culture of Ukraine. His creativity attracts the attention of musicologists from different generations and needs more extensive study. The novelty of the research. The article makes up for the shortage of scientific works covering the orchestral style of S. Turnieiev in connection with his compositional thinking. The work highlights the leading role of orchestration – an important expressive and logical-constructive tool in the music of the twentieth century – in organizing the artistic integrity of the Symphonic Frescoes “Taras Bulba”. Literature review. The theoretical basis of the article is the work on the study of orchestration and orchestral style (Kars, 1990; Blagodatov, 1963; Shabunova, 2008; Korobetskaya, 2011, Halmrast, 2000; Hundsnes, 2010;. McAdams 2019; Monel, 2012; Otto, 1983; Rakochi, 2020; Urniecius, 2018; Wallmark, 2019). In addition, the paper refers to the articles defining the term “Symphonic frescoes” (Tikha, 2009; Tishchik, 2019; Belova, 2020). The aim of the article is to study Symphonic Frescoes “Taras Bulba” by S. Turnieiev from the standpoint of orchestral style. The article uses analytical, genre, style, historical, structural-functional, comparative, systematic generalization methods of research. Results and conclusions. The orchestration of Symphonic Frescoes “Taras Bulba” by S. Turnieiev is characterized by: 1) a variety of orchestral texture as a supplier of semantics, which gives the orchestration semantic and logical-constructive functions in organizing a large-scale work; 2) a combination of functional and coloristic orchestration; 3) orchestral flavor, sound, picturesqueness; 4) large strokes, avoidance of details, which is motivated by the genre of the work. The orchestration analysis of S. Turnieiev’s large-scale symphonic work “Taras Bulba” made it possible to draw the following conclusions regarding his orchestral style: 1) the composer’s orchestration is determined by the principles of his compositional thinking and aesthetic ideas; 2) the orchestration of the work is influenced by the genre of the work and the individual genre decision; 3) the composer chooses the orchestral ensemble сonsidering the practicality of the performance and the concept of the work; 4) there is an interpenetration of functional and coloristic orchestration in accordance with synthetic composer’s thinking. The composer operates with different types of texture, which has an important form-making and dramatic role, and applies traditional and innovative techniques.

К вопросу о создании образа героя башкирской волшебной сказки

Introduction. The language of the folk magic tale is characterized by a wide use of artistic means, including epithets; this may be explained by the worldview, aesthetic ideas, certain concepts that developed in the course of the people’s history, as well as with folk philosophy and the specific features of the language. So far there has been no special study devoted to imaginative-expressive means of Bashkir magic tales; hence, to fill in the gap, the present article undertakes the study of epithets of the stock of artistic means characteristic of the Bashkir folk magic tale that add to the expressiveness of the language in magic tales. Thus, the study aims at identifying and analyzing epithets that characterize the main character of the magic tale from different sides; A. I. Aliyeva’s method has proved useful for this part of the research, while the examination of their structural types draws on the method elaborated by the Altai researcher M. A. Demchinova. Data and research methods. The sources for the research data were the texts of magic tales published in the Bashkir language in the two books of the scholarly collection Bashkir Folk Art; the analysis of the data was carried out with the help of textual and analytical methods. Results. The texts of the tales were examined first to identify epithets; then, the analysis focused on the epithets that characterize the main character: their appearance, marital status, social status, clothing, housing, etc. It appears that the epithets that characterize the protagonists in Bashkir magic tales have a systemic character. There is a certain sequence in the complex portrayals of personages that help to create the image of an ideal hero who may be poor but, also, kind, generous, and always ready to help those in need. The second part of the article focuses on the structural types of the items, including simple and complex epithets. Each of the type is illustrated with examples.

THE GREAT WORK „DMITRY ALEKSANDROVICH PRIGOV”: ALCHEMY IN THE PROJECT OF A CONCEPTUAL POET

Problem statement. This paper traces the role of hermeticism and alchemy in the artistic production of conceptual poet Dmitry Prigov. Among the different cultural traditions that characterize his project, hermeticism plays a very important role, and especially alchemy, which provided Prigov with material at varying points throughout his artistic career. Purpose of the article. Through several examples taken both from Prigov’s verbal and visual works and from his theoretical texts, the aim of this article is to illustrate not only how the artist managed to use and modify motifs and themes relevant to the alchemical tradition, but also how he retrieved certain philosophical and aesthetic ideas of this hermetic doctrine. Conclusions. As a result, Prigov’s project should be considered a sort of alchemical “Great Work”, which responds to the need for a renewal of culture, the creation of a new concept of art and for a transformation of the role of the artist itself.

АКАДЕМІЧНІ ДИСЦИПЛІНИ У ПІДГОТОВЦІ ФАХІВЦІВ ДЕКОРАТИВНО-ПРИКЛАДНОГО МИСТЕЦТВА: РИСУНОК

Purpose: to analyze the value of theoretical and practical knowledge and skills obtained in the study of Academic Drawing by students of the Decorative and Appling Art`s Department of the Kosiv Institute of Applying and Decorative Art LNAA. Methodology. Analytical and comprehensive approaches to the subject of research, structural analysis, observation and modeling methods, as well as comparative analysis were used, which made it possible to identify the features of drawing techniques` using in the realization of decorative and applied art projects. Results. The importance of the Drawing in the process of creating and making of decorative and applied art`s projects has been determined. It was revealed that for the realization, analysis of the form, its design (architectonics) and material is of particular importance, while the graphic means characteristic of a drawing is most often used to apply an ornament to the surface of the item. It is also important to sketching, aimed at theoretical comprehension of existing forms; search for new forms and designs in accordance with the previous idea. Special attention to the importance of the drawing in the education of students' aesthetic ideas and the creation of artistic and expressive works of art is paid. Scientific novelty of the paper lies in identifying the theoretical and practical skills and abilities that students of decorative and applied art`s specialties receive in the study of Academic Drawing and how they use them in the creating projects and art works based on the Kosiv Institute of Applying and Decorative Art LNAA. Practical significance. The obtained results into account in the process of teaching special disciplines can be taken, developing guidelines for them, in further scientific research.