ПЕРЕДЧУТТЯ КІНЦЯ: КРИЗА МОДЕРНОГО СВІТОВІДЧУТТЯ В РОМАНІ ВІКТОРА ДОМОНТОВИЧА БЕЗ ҐРУНТУ

The article is devoted to the evolution of Victor Domontovych’s creative thinking in his last novel Without Foundation. This work of art became a resume of his writing and an intertext for his philosophical and culturological research in scientific and critical articles from this period. The basic theme of this novel is the end of the epoch; the author addresses the theme of the exhaustion of modernity’s value and aesthetic systems, which formed the basis of his early artistic works. The analysis of Domontovych’s perception of the epoch boundary, his exhaustion of the cultural paradigm of modernism and the embodiment of his conclusions in the works make the research relevant, especially in terms of the changing landmarks of modern global culture. The research is based on the structural-semiotic methodology of literary text interpretations, which allows the different levels of the text organization to be reviewed, thus reaching wider cultural generalizations. This study helps to better understand the author’s concept of the culture crisis and the poetics of the novel Without Foundation.

Historical Hermeneutics of Musical Styles

The relevance of the study of the historical hermeneutics of musical styles is determined by the need to find a philosophical basis for changing the cultural paradigm and the desire to return classical canons to musical art in particular. The aim of the work is to analyse the characteristic features of the interpretation of musical styles in accordance with the principles of historical hermeneutics on the example of jazz music. The research was conducted in two stages on the basis of interdisciplinary, systematic and hermeneutical approaches using general scientific methods of cognition: analysis, synthesis, systematization, comparison and ascent from the abstract to the concrete. In the process of scientific research, the views of researchers on the interpretation and understanding of hermeneutics in the context of musical art were considered; a general characteristic of the hermeneutics of musical styles in accordance with historical and philosophical prerequisites was given; the main elements of the theoretical model of musical philosophy of interpretation, which include critical interpretation, the purpose of interpretation, compatibility with description and limitation by requirements were described; the author’s concept of interpretation of musical styles, formed at three levels, were proposed; the characteristics of the hermeneutics of jazz style, in particular the presence of musical improvisational discourse, historical duality, transcendentality of content and form, advertising integration are determined; the article summarizes the specifics of jazz in accordance with two components: the European harmonic system and the fret principles of blues intonation, which made it possible to identify and generalize the theory of interpretation of jazz in the historical and philosophical paradigm. The practical value of scientific work consists in providing a comprehensive hermeneutical base of jazz style in order to further improve the practical application of musical style by teachers, students, musicians and specialists in the field of musical art.

Indigenous Semiotics in “The Transistor” by Shahnaz Bashir: Application of Roland Barthes’ Codes to Kashmiri Narrative

The research focuses on the indigenous critical perspective when applied through semiotics of Barthes’ codes to the Kashmiri narratives. The study briefly reviews indigenous perspective as explained by Professor Jody Byrd and Aileen Moreton-Robinson after giving reference to Heather Harris about indigenous epistemology. This follows linking it to semiotics through Barthes’ codes with their review and association to cultural indigenousness. The research also reviews the Kashmiri narrative tradition and analyses the short story “The Transistor” in the light of this theoretical perspective to show that Kashmiri indigenousness as presented through signs and symbols when interpreted as indigenous semiotics show the specific Kashmiri resistance, conflictual cultural practices, and indigenous sovereignty under paracolonialism. The research, however, falls short of proving how the Kashmiri cultural paradigm shifts under paracolonial presence which requires separate inquiry from another angle.

The Embodiment of Folklore Traditions in Art as the Antithesis of Postmodern Aesthetics

The aim of the research is to comprehend the folklore traditions embodied in art as an antithesis to the aesthetics of the postmodern era. The author puts forward a hypothesis according to which, against the background of a change in the socio-cultural paradigm from modernity to postmodernism, folklorism acted as a tool for returning to genuine values ​​based on centuries-old authentic traditions. Folklorism is considered in the article as a phenomenon in which the potential of the collective memory of the people is laid, allowing a person to recognize himself as part of a single nation with deep historical roots and centuries-old cultural traditions. Research methods – the comprehension of folklorism as an antithesis in relation to the dominant sociocultural paradigms was carried out using the scientific principle of historicism, as well as the methods of synchronous and diachronous analysis. The results of the research – another surge of interest in authenticity against the background of the approval of postmodern ideas is presented as one of the examples of a cyclical return to true values ​​in art. It is concluded that the analyzed bright and self-sufficient artistic phenomenon, over more than two centuries of its existence, has repeatedly acted as a mechanism to smooth out the existing contradictions in the sociocultural model of the development of society, thereby creating stable axiological foundations in art.

THE TRANSFORMATIONS OF THE LIFE WORLD IN THE SOVIET AND POST-SOVIET LITERATURE FOR CHILDREN

The article examines the transformation of the image of the life world, reflected in the problematics and value system of significant works of literature for children of the Soviet and post-Soviet period (on the example of Ukrainian and Russian literature). It is shown that literature for children quite clearly reflects the cultural and social environment, which allows the text to be dated to within a decade, but the best works go beyond their immediate context, which allows them to function in fundamentally new social conditions. The study of books that have an enduring popularity even after the country and society where they were created, have ceased to be, demonstrate remarkable vitality. Studying of the complex of ideas and values that underlie these texts can be helpful for better understanding of the axiological constants that can survive political, social and ideological transformations. Other important theme is the transformation of the reception of a text, were some layers of meaning can be actualized, and some – ignored, whether consciously or subconsciously. The study of selective reception of the text according to the dominant cultural paradigm can also have culturological value. Soviet literature for children cannot be evaluated only as a product of a conservative totalitarian society. It was constantly transformed, which led to the fact that the date of writing the text can almost always be set to the nearest decade. The study of these differences helps to see more clearly the trends of cultural change on a civilizational and global scale. Another aspect is the understanding of Ukrainian literature for children, which was formed within the general Soviet paradigm, although it has always had its own uniqueness. With the disintegration of the Union, and especially with the political events of recent years, Ukrainian literature has clearly separated from Russian in terms of both topics and guidelines. It is worth tracing which tendencies are common to both literatures, which are global, and which are peculiar only to our culture. It is also worth researching the comparison of modern Ukrainian literature with other cultural traditions, both to learn from the experience and to assert the uniqueness of their own art and their own world of life.

"Toward a Typology of the Baroque in Russian Literature of the XVII—Early XVIII Centuries"

Viktor Zhivov’s 2007 article, here translated into English for the first time, attempts to describe the specific nature of the Baroque in Russia. According to Zhivov, Russian Baroque culture arose via transplantation and was not the result of organic cultural development. Because of their cardinal differences, the language of Western Baroque and that of traditional Russian culture represent polar opposites in many ways. Hence the transplantation of even the most insignificant element results in its radical transformation, highlighting the peculiarities of the process of reception. The article outlines the principles that governed this process. It argues that it was the external features of the Baroque style that were borrowed, while its deeper orientation on polysemy, which defined the Baroque worldview in the West, was not. The assimilation of Western literature was eclectic and replaced rhetorical ambivalence with the rhetoric of didacticism. It took what could be synthesized with traditional culture most easily, at the same time as the more content-oriented features and those specific to European Baroque were rejected. If in Western Europe the Baroque posed riddles for the reader, in Russia authors on the “European" trajectory assisted the reader by providing solutions. The Baroque in Russia was primarily a phenomenon of Western influence, so that its unique features took second place in the process of forming a new cultural paradigm as a whole. “Baroque” elements acquired a completely new pedagogical function, becoming carriers of the new ideology that was being introduced. The Baroque became a servitor of power, whose aim was the political reeducation of society.

Protest kobiet. Wizerunek katolicyzmu w wytwórczości współczesnych polskich reżyserek

In the second decade of the 20th century (especially in the years 2016-2020), a significant number of films by Polish female directors were released in which Catholicism and the Catholic Church were attacked. They were: W imię… [In the Name of…], Body/ciało [Body], Twarz (Mug) and Córka boga [The Other Lamb] – all directed by Małgorzata Szumowska; Dzikie róże [Wild Roses] by Anna Jadowska, Pokot [Spoor] by Agnieszka Holland and Kasia Adamik, Wieża. Jasny dzień [Tower. A Bright Day] by Jagoda Szelc, Powrót, [Back Home] by Magdalena Łazarkiewicz, Maryjki [Marygoround] by Daria Woszek, as well as a documentary Komunia [Communion] by Anna Zamecka. The polemic related to the above-mentioned movies commented on the religiosity of Catholics and the quality of the institutional church (priests, hierarchies, methods of ministering and teaching), religious control and repression of corporeality and sexuality (including female sexuality), and Catholicism as the foundation of the patriarchal system. These films also feature elements of the "positive program", a proposal for a new cultural paradigm (new spirituality), organized around Nature, with the suggestion of matriarchy. From the point of view of social communication, the content and poetics of above-mentioned the films were similar, according to the author, to the content of the protests of the Ogólnopolski Strajk Kobiet (Polish Women's Strike), which demonstrated in 2016 and 2020 against the tightening of abortion laws.

Metamodernism and Language: Pandemic Era Advertising

In cultural theory, metamodernism becomes a new cultural paradigm of the twenty-first century, epistemologically with (post) modernism, ontologically between (post) modernism, and historically beyond (post) modernism. It appears in the context of political changes following the fall of the Berlin Wall and the environment of digital progress, but also in periods of financial and ecological crises. Rather than simple “zeitgeist”, metamodernism as an arriving cultural paradigm is to be understood more as a “structure of feelings” or sentiment so pervasive that it becomes structural. Metamodernism is symbolically presented by the dual nature of God’s messenger Eros, who operates between the worlds of mortals and immortals. Another metaphor to illustrate metamodernism is a pendulum that constantly fluctuates between opposites such as modern hope and postmodern melancholy, empathy and apathy or enthusiasm and irony. This paper examines Italian advertisements during the largest contemporary health crisis, the SARS-CoV-2 virus outbreak. The semiotic textual analysis is performed on the audio-visual commercials of well known companies, such as Vodafone and Barilla. In addition to this, several print advertisements of a local company for funeral services Taffo are considered. Different metamodern characteristics are recognised in all examined texts. In already confirmed pandemic narratives (such as “the celebration of being Italian and patriotic solidarity”, “the juxtapositioning of the “inside” and the “outside”, and the “humanization of technology at the service of human affections and emotions''), now the metamodern characteristics, as a new structure of feeling that brings hope, continuous oscillations between contrasted polls and a certain quirkiness, are being identified. The most relevant morphosyntactic, lexical and semantic traits of the Italian language in pandemic advertising are being compared with the same language tools in postmodern Italian advertising. Finally, different stylistic and pragmatic, rhetorical and semiotic tools are being interpreted and analysed, defining more closely the unique characteristics of “metamodern” pandemic advertising.

MAIN COMPONENTS OF SOCIO-PEDAGOGICAL ACTIVITY OF TEACHER OF BIOLOGY AND FUNDAMENTALS OF HEALTH

The article substantiates the concept of socio-pedagogical activities of a biology teacher and the basics of health in the mutual unity of its components. Peculiarities of social and pedagogical activity in accordance with its purpose in the system of modern natural knowledge are determined. Emphasis is placed on the relationship between theoretical calculations and practical implementation of methods and areas of social pedagogy, which is reflected in the essential features of socio-pedagogical activities as the main means of implementing social education. The system of theoretical bases of modernization of training of the future teacher of biology and bases of health is considered by authors as formation of personal properties of students of pedagogical ZVO. In the process of socio-pedagogical activities of the teacher is socio-cultural education of the younger generation, which provides targeted impact on each individual and team in order to master the heritage of universal and national culture, implementation of social values ​​and development of positive qualities. Training in the implementation of socio-pedagogical activities in educational institutions helps future professionals to understand their belonging to a community that has its own traditions and cultural characteristics, provides socialization and personal fulfillment. The study is based on the socio-cultural paradigm of education, as the main in determining the socio-pedagogical professional trajectory of biology teachers and the basics of health

SOCIO-CULTURAL PARADIGM OF THE LIFE OF THE NON-METROPOLITAN WRITERS« COMMUNITY

Statement of the problem. The research focuses on the specifics of the modern Siberian writers’ understanding of their place in the social and cultural space, the process and mechanisms of finding this place both in practical (everyday) and existential (existential) aspects. The purpose of the article is to consider the forms and methods of organizing writers’ communities in Irkutsk, discourses of self-presentations and their correlations with worldview and geography. Review of the scientific literature on the problem. Humanitarian studies of writers’ communities are few and limited both by certain chronological frames of the object under study (literary communities of the nineteenth century, the turn of the nineteenth/twentieth centuries, the Soviet period) and methodology-wise. Modern writers’ associations, organizations specific both institutionally and ideologically, rarely fall into the prism of humanitarian studies. Methodology (materials and methods). The research is interdisciplinary, which determines the choice of its materials and methods: sociolinguistic (interviews and questionnaires, correlation analysis), discourse analysis, contextual analysis, and cognitive-discursive approach. This article is based on the materials of interviewing and surveying forty-five writers of Irkutsk and the Irkutsk region. Research results. Membership in a certain organization is used as symbolic capital due to the struggle of two discursive practices – explicit “traditionalist” and implicit “other” ones (not designated by its adherents, but, according to their opponents, “anti-traditionalist”). It is the institutional attachment, according to the conflicting parties, that determines the ways of interaction with the culturally significant concepts of “Writer’s Community”, “Reader”, “Russian Literature”, “Siberian Literature”, “Traditions”, and “Innovation”. In geographical and socio-cultural aspects, respondents, by an absolute majority, choose a “national” strategy of self-presentation, inscribing their creativity in the space of Russian literature, in such direction as realism. Conclusion. The analysis of the empirical material allows us to identify two main equivalent tools of self-actualization and self-presentation of the modern Irkutsk writer: 1. Institutional attachment to a particular writers’ community (the Union of Writers of Russia, the Union of Russian Writers, the representative office of the Union of Russian Writers, the Irkutsk Regional Writers’ Organization); 2. The concept of “Great Russian literature” and belonging to it.