The Present State of Existential Interventions Within Palliative Care

Existential psychotherapy is rooted in the European tradition of existential philosophy. Existential philosophers include Husserl and Heidegger, who were German, and Camus, Sartre, de Beauvoir, and Merleau-Ponty, who were French. Their works contain existentially ultimate themes such as death, freedom, meaninglessness, and isolation. Based on their knowledge of existential philosophy, Binswanger, Frankl, and Boss developed the earlier existential psychotherapies such as Dasein-analysis and Logotherapy, while May, Laing, Yalom, May, and Wong started later existential psychotherapies in the British and American culture. Focusing on patients with advanced cancer and/or terminal care, we found nine types of existential psychotherapies which were investigated using randomized controlled trials (RCTs): Meaning-Centered Group Psychotherapy (MCGP), Individual Meaning-Centered Psychotherapy (IMCP), Meaning-Making intervention (MMi), Meaning of Life Intervention, Managing Cancer and Living Meaningfully (CALM), Hope Intervention, Cognitive and Existential Intervention, Dignity Therapy, and Life-Review Interviews, from 19 relevant RCTs. All deal with death, meaninglessness, isolation, and freedom. Particularly, MCGP, IMCP, MMi, Meaning of Life intervention, and CALM emphasize finding and/or making meaning in the individual's life. The effects on existential or spiritual well-being were confirmed in MCGP, IMCP, Meaning of Life intervention, and Life-Review intervention although the number of studies were very few. In the other interventions, there were heterogenous findings and again the number of studies was very small. Further studies are required to investigate the effects of existential psychotherapy on patients with advanced cancer.

Exhibitions of Soviet fine art in 1930 in the reviews of the foreign press

The article examines the reviews of the German, Austrian and Swedish periodicals about some exhibitions of Soviet fine art held in 1930. On the basis of archival materials, the attitude of the foreign press to the Soviet exhibition projects in Berlin, Vienna and Stockholm is analyzed. The influence of the political orientation of periodicals on the assessment of the plots of the works of Soviet artists is emphasized. When characterizing the painting technique and compositional structure of the works, critics pointed to their continuity from the Western European tradition. Soviet graphics and sculpture made a positive impression. Critics associated the artistic successes mainly with the masters of the old Russian school.

ОСОБЛИВОСТІ УКРАЇНСЬКОГО ЖИВОПИСУ У ПОСТМОДЕРНІСТСЬКОМУ ВИМІРІ

The purpose of the study is to identify the postmodernism principles' influence on formation of the distinctive features of Ukrainian painting in the XXIstсentury. Methodology. The research uses a culturological approach to consider postmodernism as a creative method and factor that influences the activities of Ukrainian artists. Formal-stylistic analysis is applied to clarify the connection between creative practices and the principles of postmodernism and to determine their features as well.Results.The analysis of Ukrainian artists' painting practice of the XXI century in the context of the postmodern worldview was carried out. The study focuses on postmodernism as a factor in the development of various artistic styles. The artistic and stylistic features of painting over recent years in Ukraine were analyzed. There was revealed the natural influence of postmodernist principles on domestic painting, characterized by the features of postmodernism, which is manifested in a variety of areas (conceptualism, transavant-garde, contemporary, etc.) and syncretism in art. Although the latest painting practices are integrating into European culture and tend to the Western European tradition, Ukrainian art still saves its distinguishing features. It was found that a feature of Ukrainian postmodernism is the conceptualization of painting, the introduction of deep content into a new format of painting and the synthesis of traditional fine art and new technologies. Scientific novelty lies in the identification of the main distinctive features and patterns of Ukrainian postmodern painting development. The practical significance. Presented results aid to trace postmodernism as a factor of influence on the peculiarities of the formation of new directions in Ukrainian painting practices, which can be used as a theoretical basis for further art criticism analysis of contemporary painting.

The word classes in Arte da Lingoa de lapam by RODRIGUES João: between tradition and innovation

The main objective of this work is to verify the heritage of the Greek-Latin grammatical tradition in Rodrigues’ Artes and in particular, Álvares’ Artes, and the innovation it brings mainly regarding the description of word classes. To this end, we propose to (i) go through the classifications of the parts of a sentence from the beginning up to Álvares, highlighting the word classes in alvaresian grammar; (ii) to analyze the word classes in Rodrigues’ Artes highlighting those that seem to have new features that the European tradition did not previously consider; and (iii) to draw conclusions.

Alpenprojekt

Alpenprojekt videos register the action of cutting the skyline in the alpine mountains. The footage was taken at different sites in the Alps. The cutouts evoke the European tradition from the 18th century to depict portraits with scissors and paper. A deliberate intent to apprehend the landscape within a unique line in a reduced dimension is the main issue in Alpenprojekt I and II. To react in the face of this specific landscape as an effort to embrace what is not controllable became a fundamental issue in the Alpenprojekt series of works. Alpenprojekt began with artistic research related to the southern German region closely connected with its physical landscape. Its representation was then perceived as a memory heritage of historical facts, either forgotten or intentionally lost. The entire project is called Trilogy of the Mountains, and it is related to memory and history. Trilogy of the Mountains comprises three phases: Alpenprojekt, based on the alpine landscape; the second one approaches Beckton Alps, an artificial mountain in east London; and the third part is related to artificial mountains made with war debris in Germany. Each piece of the Trilogy comprises a series of works. The project was initially developed based on landscapes where the notion of Romanticism is still present. Then the project was set toward the post-industrialization period—and finally related to reshaping the topography in Germany after WWII. In Trilogy of Mountains, the tension between natural and artificial is a central issue, being rather complementary than the opposite.

Re-imagining the great masters: translations into print by John Drawbridge

<p>This thesis examines the prints of New Zealand printmaker, John Drawbridge, with a specific focus on a small but significant part of his print oeuvre, his mezzotints from the 1980s and 1990s, in which he directly quotes European great master artists. Drawbridge studied printmaking in London and Paris in the late 1950s and early 1960s and it is this experience that informed his artistic practice for the rest of his career. Through his quotations of great artists and his practice of working in the hand-made printmaking tradition, Drawbridge recreates that Western tradition through his own technical expertise and imagination. However, what is distinctive about Drawbridge’s contribution to this well-established tradition is how he treats his source material: how he takes it out of its original context, and modernises and defamiliarises it by relocating it within a pictorial space that references his own life and location. In the first chapter, Drawbridge’s English and European experiences and education are examined to reveal the background to his work: the traditional printmaking processes and the cultural ethos of the period. The second chapter looks at the artistic scene in New Zealand after he returned in early 1964 and the varied reception to his work. These two chapters provide the necessary context for the concluding chapter in which a case is made for the symbiotic relationship between the European tradition Drawbridge so much admired and his concern to locate his work back in New Zealand. By means of intertextual references, he engages with and explores the nature of the art of the past and the present, the traditional and the modern, the international and the local. This thesis argues that Drawbridge imaginatively critiques and renews the paintings he quotes in these translations from painting to print, and that consequently these prints reward a far more complex reading than they have been previously accorded. Through close examination of these prints it is clear that Drawbridge has made a unique contribution to New Zealand art.</p>

Re-imagining the great masters: translations into print by John Drawbridge

<p>This thesis examines the prints of New Zealand printmaker, John Drawbridge, with a specific focus on a small but significant part of his print oeuvre, his mezzotints from the 1980s and 1990s, in which he directly quotes European great master artists. Drawbridge studied printmaking in London and Paris in the late 1950s and early 1960s and it is this experience that informed his artistic practice for the rest of his career. Through his quotations of great artists and his practice of working in the hand-made printmaking tradition, Drawbridge recreates that Western tradition through his own technical expertise and imagination. However, what is distinctive about Drawbridge’s contribution to this well-established tradition is how he treats his source material: how he takes it out of its original context, and modernises and defamiliarises it by relocating it within a pictorial space that references his own life and location. In the first chapter, Drawbridge’s English and European experiences and education are examined to reveal the background to his work: the traditional printmaking processes and the cultural ethos of the period. The second chapter looks at the artistic scene in New Zealand after he returned in early 1964 and the varied reception to his work. These two chapters provide the necessary context for the concluding chapter in which a case is made for the symbiotic relationship between the European tradition Drawbridge so much admired and his concern to locate his work back in New Zealand. By means of intertextual references, he engages with and explores the nature of the art of the past and the present, the traditional and the modern, the international and the local. This thesis argues that Drawbridge imaginatively critiques and renews the paintings he quotes in these translations from painting to print, and that consequently these prints reward a far more complex reading than they have been previously accorded. Through close examination of these prints it is clear that Drawbridge has made a unique contribution to New Zealand art.</p>

Integrative Aspects of Non-verbal Cultural Communication in Europe. Case Study – Pantomime

This article touches on the integrative aspects of non-verbal cultural communication as exemplifi ed by diverse pantomime genres in modern Europe. The starting point being the characteristic features of this form of art, as well as its genesis and functions in the Eastern and Western parts of the globe. Festivals, which have been rapidly developing in the world of pantomime and street art since the beginning of the 1970s, play an exceptional role in European cultural exchange. They are, however, generally ephemeral projects, often placed besides institutionalised mainstream culture, with no aspirations to become part of the EFA for example. Nonverbal cultural communication in Europe is still poorly integrated and yet maintains a remarkable diversity of genres and multi-colour forms. Such decentralisation is also the source of its strength manifested by its ease in reaching an incredibly diverse audience, the ability to obtain feedback from mass audiences, its expansiveness (taking up various spaces), its flexible approach in its quest for answers – but at the same time respecting the rudiments of the rich, native European tradition of popular culture. It seems that EU institutions nowadays notice the signifi cant role of this type of intercultural communication, as evidenced by, for example, the Commissioner Gabriel’s statement regarding a meeting with EFA representatives on 22nd June 2021. The European Union has no harmonisation competences in the area of culture, but rather solely complementary and supporting functions with regards to Member States’ activities – one can count on EU sectoral support funds from the Creative Europe Programme. The subsidisation of festival, confrontation, and meeting movements related to non-verbal cultural exchange can take place (and does take place) through regions, local governments, or cultural institutions.

The formation of the original repertory for the Folk Instruments Orchestra of Kharkiv I. P. Kotlyarevsky National University of Arts as a historical mission of Kharkiv composers (1950–1960)

Statement of the problem. The Folk Instruments Orchestra of Kharkiv I. P. Kotlyarevsky National University of Arts has been performing for more than 90 years. However, the original works composed for this orchestra have never been the subject of serious scientific interest. The relevance of the problem is determined by the necessity to generalize the previous generations of composers’, performers’ and teachers’ experience in the field of folk instrumental art, in particular, the training in the orchestra of folk instruments as a concert unit. Analysis of recent publications shows, that the study on folk instruments orchestral performance has not been reflected in national scientific journals for a long while, but currently this is considered as an up-to-date issue. The articles by N. Bashmakova and V. Kikas and Yu. Fedotov (2018), Z. Stelmashchuk (2014), K. Maidenberg-Todorova (2019), I. Fedun (2020) are confirming this statement. The main purpose of the article is to find basic principles of the original repertoire formation for the Folk Instruments Orchestra of Kharkiv I. P. Kotlyarevsky National University of Arts related to the creative activities of Kharkiv composers in the 1950–1960s. For the first time, the historical mission played by Kharkiv composers in the original repertoire formation of the Folk Instruments Orchestra of Kharkiv I. P. Kotlyarevsky National University of Arts is determined. The concept of the article is based on the interdisciplinary interaction of historiographical, holistic, genre-stylistic and performing methods of researching, as well as a phenomenological approach to the analysis of the individual style of a composer based on the example of the particular works. Results and conclusions. The selected works by O. Steblyanko, D. Klebanov, V. Borisov, B. Alekseev, I. Kovach, P. Haydamaka and V. Podgorny included in the concert program of the creative project of 2021 have been analyzed due to their compositional, intonation and dramaturgical structure. The compositions that have been arranged for the folk instruments orchestra from the scores of symphony orchestra or ones instrumented from the compositions for accordion, domra ensemble, domra accompanied by piano were identified. According to the results of analysis, the creative approach of the composers of Slobozhanshchina in the 1950s–1960s was based on the thematic development of folklore material (song and dance prototypes) or the creation of the original themes, which are as close as possible to the folk samples. Having created large forms for domra and balalaika, Kharkiv composers fulfilled a historical mission in the formation of the original repertoire and, correspondingly, genre and stylistic priorities of the Folk Instruments Orchestra of KhNUA named after I. P. Kotlyarevsky. Due to the arrangements of these works for the folk instruments orchestra, a high academic status of playing folk instruments was demonstrated. It is necessary to emphasize the genre and stylistic orientation of these works on the Western European tradition. Along with the traditional forms of processing and arrangement, the folk instrumental art received the entire genre palette of European music, from miniatures to suites and concerts (in terms of timbre and texture capabilities of the folk instruments). On this way we see the keys to the academic status of the folk instruments orchestra. The prospects for further development of the theme. On the basis of the formed original repertoire at a certain historical moment it is possible to substantiate other leading principles of the orchestra as a concert and educational unit: the combination of an orchestra performer’s training, the formation of his professional skills with the ensemble’s concert activity; the introduction of academic approaches in the training of the folk instruments performers, conductors etc.

POETICS OF HISTORY: FORMS OF REPRESENTATION, IMAGOLOGICAL PROJECTIONS, GENRE SPECIFICS (E. HREBINKA’S STORY “COLONEL ZOLOTARENKO OF NIZHYN”)

The article deals with a romantic interpretation of national history in E. Hrebinka’s novel “Colonel Zolotarenko of Nizhyn”. The methodology of the historical school “Annals” is applied, the coverage of the past from the standpoint of its experience by the subject of the story. The purpose of the study is to analyze the text in the plane of postcolonial theory, to find out the role of the genre-creating factor and the Walter-Scottish tradition in the emergence of original historical writing on national soil. Investigate the constructive role of ethnostereotypes in the internalization of history, the intellectual transfer of its images in the plane of internal behavior, emotional experience. Methods is related to the substantiation of alternative reading of historical events in the context of cultural anthropology, ethnoimagology, transfer of other people’s models into one’s environment.The results of the study illustrate the connection between the author’s concept of history and national memory, selection, archiving of past events in the emotional experience of the people, subjective interpretation and even mythologizing of facts, sources, figures. It is a new type of historicism that contributes to the modernity of historical writing and acquires an international character. The connection with ballad as a special genre, stylistic factor, which appears in the mediating function, emphasizes the European tradition of literary historiography. The mechanisms of transformation of the epic principle are analyzed, which obeys the image of private, everyday life, reproduces more or less chamber situations.Special attention is paid to ethnostereotypes, conditions and factors of their formation under the influence of the historical situation, political situation, psychologization of ideas about the Other. Emphasis is placed on the close connection between stereotypes and the so-called post-historical situation, national memory.Conclusions. The poetics of history appears as a set of paths capable of reproducing the past in its subjective emotional refraction, in individual interpretation and the controversial concept of the historical process.Key words: ballad, gothic tradition, interiorization, historiography, xenophobia, stereotype, topos, transfer. У статті йдеться проромантичну інтерпретацію національної історії у повісті Є. Гребінки «Нежинский полковник Золотаренко». Застосовано методологію історичної школи «Анналів», висвітлення минулого з позицій його переживання суб’єктом оповіді. Мета дослідження – проаналізувати текст у контексті постколоніальної теорії, з’ясувати роль жанротворчого чинника і вальтер-скоттівської традиції в постанні самобутнього історичного письма на національному ґрунті; дослідити конструктивну роль етностереотипів в інтеріоризації історії, інтелектуальному перенесенні її образів у сферу внутрішньої поведінки, емоційного переживання. Методологія дослідження пов’язана з обґрунтуванням альтернативного прочитання історичних подій у контексті культурної антропології, етноімагології, трансферу чужих моделей у своє середовище. Продуктивним є застосування нового історизму як наукової моделі прочитання історичної нарації Гребінки крізь призму чутливості, етностереотипів, приватного життя. З цього погляду методологія французької історичної школи «Анналів» дозволяє побачити в тексті альтернативну, контроверсійну концепцію історії. Її інтерпретація увиразнюється методами літературної імагології, жанрової типології, культурного трансферу. Результати дослідження ілюструють зв’язок між авторською концепцією історії і національною пам’яттю, селекцією, архівуванням подій минулого в емоційному досвіді народу, суб’єктивною інтерпретацією і навіть міфологізацією фактів, джерел, постатей. Йдеться про новий тип історизму, що сприяє модерності історичного письма й набуває інтернаціонального характеру. Простежено зв’язок з баладністю як особливим жанровим, стилетворчим чинником, що постає у посередницькій функції, увиразнює європейську традицію літературного історіописання. Проаналізовано механізми трансформації епічного начала, яке підкоряється зображенню приватного, побутового життя, відтворює камерні ситуації. Окрему увагу приділено етностереотипам, умовам і факторам їхнього утворення під впливом історичної ситуації, політич-ної кон’юнктури, психологізації уявлень про Іншого. Наголошено на щільному зв’язку стереотипів і так званої постісторичної ситуації, національної пам’яті. Простежено способи трансформації історичної правди, шляхи її трансферу у сферу приватного, камерного простору. Висновки. Поетикаісторії постає сукупністю тропів, здатних відтворити минуле в його суб’єктивно емоційному заломленні, в індивідуальній інтерпретації і контроверсійній концепції історичного процесу. Ключові слова: баладність, готична традиція, історіописання, ксенофобія, стереотип, трансфер.