Ternopil branch of the Musical Institute named after Mykola Lysenko as a cultural and educational center of Ternopil (1st half of XX century)

The purpose of the article is to analyze the historical and cultural background and the main aspects of the formation of professional piano performance in Ternopil in the late nineteenth - first half of the twentieth century on the example of VMIL branch activity. Methodology. The methodological basis of the publication is historical-stylistic and comparative approaches, methods of historical-cultural discourse (according to V. Cherkasov). The formation of professional piano performance is considered in terms of musicological and stylistic approaches in broader cultural, educational, and musical-pedagogical contexts. The problem of studying the regionalism of music and performance centers and schools as a dynamic historical and cultural phenomenon is actualized. A thorough study of the history of regional piano educational centers and performing schools has been the subject of a number of musicological studies. In particular, the works of N. Kashkadamova, T. Starukh, L. Mazepa, and others are dedicated to the piano art of Lviv, its artistic education, and cultural institutions. Scientific Novelty. Based on the study of scientific and archival sources, we can see that the educational and pedagogical traditions of the Higher Music Institute named after M. Lysenko as the first Ukrainian professional center and its branches in Eastern Galicia have continued in the activities of pianists, teachers, and performers in Ukraine and abroad, mainly Western Of Ukraine. Attention is focused on the opening and initial stage of the branch of the Lysenko Higher Music Institute (VMIL) in Ternopil, in particular, on the activities of piano teachers. Based on historical, comparative, and individual approaches, the role of individual performers, composers, and teachers as the founders of piano performance in the region is highlighted. Thus, the novelty of the article is to trace the initial stage of the formation of piano performance in Ternopil in the late nineteenth - first third of the twentieth century. as a process of transition from the amateur period to academic performance and professional music education. Conclusions are made about the decisive role of the branch of the Higher Music Institute named after M. Lysenko (VMIL) in Ternopil and its founders, in particular, Iryna Krykh (Lyubchakova) and Yuri Krykh, in the development of music education and performance in the region. Keywords: musical culture of Western Ukraine, end of XIX – first half of XX century, piano performance, Higher Music Institute M. Lysenko (VMIL), pianists, performers and lecturers of Ternopil.

Cultural studies methodology of gender analysis of works of fine art (on the example of the story "Judith and Holofernes" in European painting)

The purpose of the Article. Based on the generalized object of gender research as the interaction of men and women in society, to test the cultural studies methodology of gender analysis of works of fine art on the example of the story "Judith and Holofernes" in European painting. The methodology consists of a combination of a number of general theoretical: analysis and synthesis – and special methods of scientific research: chronological, problem-chronological, historical-comparative, iconological, iconographic methods, method of formal-stylistic analysis, method of semantic analysis of visual series, and biographical and retrospective methods. The principle of psychoanalytic interpretation of art as a form of sublimation of the subconscious was taken into account. Scientific novelty. The study allows gaining new knowledge about the specifics of gender analysis in the field of art history and the application of its cultural studies methodology to the analysis of works of fine art. Conclusions. Applying the described methodology of analysis to the paintings on the gender-relevant plot "Judith and Holofernes", created by women artists and male artists, allowed us to conclude: 1) in quantitative terms, paintings by men are an order of magnitude higher than paintings by women artists; 2) with the exception of two paintings by Artemisia Gentileschi, whose composition is determined not only by an example of a similar painting by Caravaggio but also by dramatic events in the artist's life, the composition is based on the post-factum principle, 3) among the paintings by male artists stands out a quantitatively significant group of works in which, starting with "Judith" by Giorgione, there is an eroticization of the image of the protagonist, thus objectifying the erotic fantasies and desires of men; 4) in parallel with eroticism, thanatological objectification is formed: "eroticized death" (R. W. Whalen) and men's subconscious fear of "women's power". Keywords: cultural studies methodology of gender analysis, painting, European painting, "Judith and Holofernes", Artemisia Gentileschi, Elisabetta Sirani, Fede Galizia, Virginia Vezzo, eroticization of the image, thanatological objectification, gender-relevant plots.

Final Theses of Students of Faculty of Law in Lithuania: 1925-1939

The study examines the final students’ theses of the Faculty of Law of the University of Lithuania (later – Vytautas Magnus University), which was the only one university during the interwar period in Lithuania. Thus, it was the only place where lawyers were prepared. The research is based on the different branches of law, considering structure, literature, legal acts, jurisprudence students used in their theses, and the Lithuanian legal language of that time. The most valuable and interesting quotes of students are presented, the teachers who assessed their works are named, and the fates of the students and teachers are revealed. The research covers over five hundred students’ final theses written between 1925 and 1939. Namely, such a number of final theses are held in the Department of Manuscripts of Vilnius University Library. Noteworthy that around one thousand students graduated in law during the interwar period in Lithuania. Each of this thesis was reviewed in the series of four articles published in the Lithuanian language (Deviatnikovaitė, 2020a, 2020b, 2020c, 2020d). This article summarizes all four articles and presents final conclusions. The theses reveal not only how the Faculty of Law educated lawyers, but also the legal topicalities of Lithuania at that time. Students wrote about various issues of civil, criminal, administrative, constitutional, labour, and international law. Historical, comparative, and analytical methods were used in the research.

Men's academic performance 1950-1970s (on the example of creative activities of N. Apukhtin, A. Belov and G. Baukin)

The purpose of the article is to study artistic processes among ballet performers in the 1950s – 1970s on the example of the creative activity of Nikolai Apukhtin, Anatoly Belov, and Gennady Baukin. The methodology of the work includes the use of the following research methods: general historical, comparative, analytical, dialectical, systemic, etc. The scientific novelty of the publication lies in the fact that it first explored the professional culture in the field of male classical performance of the first half of the twentieth century on the example of the stage achievements of N. Apukhtin, A. Belov, and G. Baukin. Conclusions. The artistic contribution of the ballet premieres of the 1950s – 1970s. in the development of Ukrainian classical choreography on the example of the creativity of dancers N. Apukhtin, A. Belov, and G. Baukin, consists in the following: 1) a significant increase in the professional culture of performers due to the complication of the technical component and improvement of the actors' acting skills; 2) the creation of highly artistic images in ballets of the Soviet classics (B. Asafiev, R. Glier, A. Kerin, S. Prokofiev, A. Khachaturian, M. Chulaki, V. Yurovsky, etc.) and choreographic performances on national themes (V. Homolyak, K. Dankevich, G. Zhukovsky, V. Kireiko, N. Lysenko, A. Svechnikov, M. Skorulsky, B. Tishchenko, etc.); 3) transfer of professional experience in the process of pedagogical work to subsequent generations of Ukrainian dancers. Key words: N. Apukhtin, A. Belov, G. Baukin, male classical dance, Ukrainian ballet theater.

Style as a Topical Category of Modern Musicology and Music Education

"The aim of the work is to arrange the scientific achievements on the category of “musical performing style” and identify mechanisms for practical testing of theoretical provisions in the pedagogical activities of higher musical education institutions. The research methodology is based on a combination of general scientific and musicological approaches, in particular: system approach hermeneutic, historical, comparative, genre-style, interpretive method, as well as performance analysis. The results of the study indicate that domestic art schools were formed by synthesizing several national and historical style traditions. Music and performance schools were actively developing in parallel with the compositional work in Ukraine in the second half of the twentieth century; the work of representatives of those schools presents a fairly wide range of style research. A natural result of the studied problem of musical performing style should be its transfer to the practical plane of professional education of musicians and performers, formation of musical style competence in students. Kotlyarevsky Kharkiv National University of Arts was selected as an experimental platform for its formation. During 2019-2021, a pedagogical experiment continued to test the formation of musical and style thesaurus, performance and intellectual skills, professionally important qualities of music students. In the context of studying of different styles in the system of musical performance by the students of higher music education institutions, it is important that the art of music is constantly evolving and new directions and trends in music styles emerge almost every day in Ukraine and the world as a whole. This undoubtedly makes the need for further research on this issue urgent (usually with the use of advanced domestic and foreign experience in music education). Keywords: Style. Category. Art. Musical work. Musicology. Music education. Educational process. Organizational and methodological system."

LOCATIVE CONSTRUCTIONS IN MODERN UKRAINIAN AND RUSSIAN LANGUAGES: FACTS OF CONTRASTIVE ASYMMETRY

Closely related Ukrainian and Russian languages show similarities and differences that permeate different language levels. This problem, despite its long existence, is still relevant. Among the differences that relate to the compared languages, there are inconspicuous and contrasting. The object of the proposed study was the facts of contrastive asymmetry at the level of structures with a locative type of determination. Using the methods of synchronous descriptive, comparative-historical, comparative methods, as well as the method of complex analysis of semantic- syntactic structures, we stated the facts of contrastive asymmetry between Ukrainian and Russian syntactic structures with spatial meaning in four levels: 1) formal-grammatical, 2) semantic, 3) syntactic and 4) synonymous. The proposed division is somewhat conditional because semantics organically interacts with syntagmatics it is closely related to synonymy. The formal-grammatical contrastive asymmetry includes the same values of the construction V + PO + Nloc (Ukrainian language) and V + PO + Ndat (Russian language). Their functional possibilities, the lexical-semantic spectrum of verb, and adverbial placeholders are clarified. It is emphasized that the constructions V + PO + Nloc (Russian Ndat) enter into intra-singular synonymy in the Ukrainian language and inter-singular synonymy in the Russian language. It is proved that at the level of distributive possibilities contrastive asymmetry covers first of all the instrumental prepositional case as a representative of locativity. The differences also apply to the main carriers of valence (a specific feature of the Ukrainian language is that this function, along with verbs of purposeful, sometimes unfocused movement perform verbatives of specific semantics of physical and sound action), lexical and semantic composition of adverbial nouns (in Ukrainian, it is much wider), which is extrapolated to such semantic types as proper and common names of land routes, names of types of cover, areas covered with low vegetation, continents, states, geographical and administrative areas, devices and mechanisms that serve to transport something. It is established that the semantic asymmetry is manifested by the constructions V + Z-POZA + Ngen, V + Z-POPID + Ngen, V + Z-PONAD + Ngen, V + Z_POSERD + Ngen, V + Z_POMIZH + Ngen, V + POPID + Nасс, V + POPID + Ninst, V + POPERED + Ninst, V + POMIZH + Ninst, which actualize the shade of distributivity with the participation of the preposition component. Constructions with a specific semantic description are also recorded, which function in the Ukrainian language and are absent in the Russian language (V + POVZ + Nass, V + PERED + Nass, V + NAD + Nass, V + MIZH + Nass).

Kyiv Theatre of Classic Ballet: historical and artistic aspects (1981-1998)

The purpose of the article is to learn the pattern of the artistic activities of the troupe "Theatre of Classic Ballet" in the context of the historical development of Ukrainian choreographic art of 1980th and 1990th. The methodology of the work contains using such research methods as general-historical, comparative-historical, analytical, etc. The scientific novelty of the publication lies in the exploration of the work of the troupe of "Theatre of Classic Ballet" its historical and artistic aspects for the first time in history. Conclusions. The activity of the artistic group has been connected with the work of famous Ukrainian ballet masters of the second half of the 20th century, such as V. Vronsky (1981-1986), V. Rybiy (1986-1988), and V. Kovtun (1989-1998). V. Vronsky has formed the principal cast of the troupe, create a basic repertoire, which included masterpieces of the world and Ukrainian classics. Also, the team has been popularized because of the cooperation with the leading theatres of the USSR. V. Rybiy has extended the concert programs of theatre with the help of the works of Soviet and European ballet masters. He has gained an ability to show those works in any theatrical conditions, using a minimum of stage designs. However, V. Kovtun has introduced in the repertoire big choreographic forms and, in order to implement them - he has expanded the troupe to 45 people. He has also invited famous Kyiv performers to take part in the program and has developed abilities for young artists to enter the troupe. Keywords: Theatre of Classic Ballet, V. Vronsky, V. Rybiy, V. Kovtun, choreographic art.

«Язык» тела: тело в трансляции сенсорной информации в традиционном мировоззрении тюрко-монгольских народов

The article aims to study the information context of the body signs and the perception of this information by Inner Asian nomads in terms of man and nature interaction. Methods. The research is based on general scientific methods and particular methods of historical science, such as the historical-comparative research method and the method of cultural-historical reconstruction. Materials. In terms of studies of humans as social and biological beings, it is relevant to examine the human body in the system of traditional somatic representations of the Turkic-Mongolian peoples of Inner Asia. In their worldview, the human body represents a specialized “map” of messages of a physiological nature, where organs and body parts were seen as symmetrical and their messages were perceived as negative or positive, depending on location on the left or on the right. Of relevance was also whether the sign came from the upper or lower part of a particular organ. Special attention was paid to the “movements” of the liver and the heart. Conclusions. The study shows that the world that surrounds a person appeared as a complex multidimensional information space, with sensory information playing an important part in its perception. This information was not limited to images created by the senses. In fact, the entire body, including internal organs, was perceived as such a conductor, with various manifestations of a physiological nature, such as trembling, noises, itching, and pains serving as “messages”. Individuals that had special body sensitivity were described as those of “open flesh” or of “light bones”; these were usually the only child in the family or one of the twins.

Phonetic Laws Related to Vowels in Dialects

Today, in carrying out the reforms for the development of our society, there are created full opportunities and conditions for the fulfillment of the tasks set before the Uzbek linguistics, purposeful research work is carried out on the issue of comprehensive study of our language. At the same time, the study of the features of Uzbek dialects, relying on the theoretical bases of areal linguistic research, is defined as one of the priority directions in the historical-comparative and ethnolinguistic aspects.This sphere consists of imperfect, simple descriptive and illustrative aspects, indefinite places need to learn and fill on the basis of new views, from a mental point of view. The article gives an idea of the peculiarities of the Namangan Kipchak and Karluk dialects, the historical genesis of the system of vowels, the issues areal of their prevalence and application. The phonetic-phonological linguistic character of the dialect is a comparative-historical reflection of the processes of events of features and laws. In its turn, there are described opinions about the events of umlaut in the Turkic dialects of synharmonism and Karluk dialects in Kipchak dialects related to the vowels in the Turkic languages. Key policy insights.The study through areal-typological and areal-linguistic methods, which gave Mahmud Kashgariy in Turkic languages, the initial point of any linguistic theory and conceptions, the study of dialects, their specific features, is still one of the important issues today. The emergence of areal linguistics has opened up a wide way to evaluate new issues and concepts in the field of dialectology, to solve them in new ways. Relying on the theoretical basis of dialect and slang areas in the holistic study of the language system, the fact that historical-comparative and ethnologic research is defined as one of the priority areas imposes new responsibilities on Uzbek linguistics and Uzbek linguists.

Bishop Apollos (Belyaev) and Development of Vyatka Diocese in 1866—1885

Using mainly historical-comparative and historical-genetic methods, the issue of the development of the Vyatka and Slobodsk dioceses, which coincides within the borders with the Vyatka province, under Bishop Apollos (Belyaev), is considered in the article. The author pays special attention to the process of organizing religious, educational and missionary activities, and up to the appointment of Bishop Apollos, the results of this work were insignificant. The novelty of the research lies in the fact that for the first time it comprehensively examines the activities of the Vyatka Bishop Apollos in terms of the implementation of a nationwide religious course, which included active educational and missionary work of the local clergy. Under Bishop Apollos, to increase the influence of the clergy on the local population, including the Old Believers and non-Orthodox, important transformations were carried out: a separate vicariate was allocated in the diocese, the Vyatka Committee of the Orthodox Missionary Society and the Vyatka Brotherhood of St. Nicholas the Wonderworker were opened, and the work of the local clergy was also generally reorganized. This gave the first positive results in strengthening the position of the Russian Orthodox Church among the local population of the Vyatka diocese.