МETHODOLOGICAL AND INSTRUMENTAL PRINCIPLES OF THE SENIOR SCHOOL STUDENTS’ WORLDVIEW FORMATION IN THE PROCESS OF DEVELOPMENT VALUES OF ART AND CULTURE

Abstract

RATKO Maryna – Candidate of Pedagogic al Sciences, A ssociate P rofessor of the Theory and Methodology of Music Education and Choreography Department, Melitopol Bohdan Khmelnytsky State Pedagogical University, Hetmanska str., 20, Melitopol, 72300, Ukraine ( irma.zaharova2018@gmail.com ) ORCID: http://orcid.org/0000-0002-9278-2155 ResearcherID: http://www.researcherid.com/rid/L-5405-2018 DOI: https://doi.org/10.24919/2313-2094.7/39.133262 To cite this article: Ratko, M. (2018). Metodoloho-instrumentalni zasady vykhovannia svitohliadnykh uiavlen starshoklasnykiv u protsesi osvoiennia tsinnostei khudozhnoi kultury [Мethodological and instrumental principles of the senior school students’ worldview formation in the process of development values of art and culture]. Liudynoznavchi studii. Seriia «Pedahohika» – Human Studies. Series of «Pedagogy», 7/39, 211–223. doi: 10.24919/2313-2094.7/39.133262 [in Ukrainian]. Article history Received: 3 May 2018 Received in revised form: 7 June 2018 Accepted: 10 July 2018 Available online: 12 September 2018 Abstract. The article covers the problem of spiritual and ideological upbringing of pupils in the process of comprehension of artistic works that typologically belong to the different artistic systems ‒ classical culture, avant-garde, postmodern. The urgency of an appeal to this problem is conditioned by civilization shifts of the period of the end of the Modern Age and the necessity to preserve an individual and national identity in conditions of a strengthening global control over the psycho-sphere. The conceptual idea of the research consists in the necessity of analysis and interpretation of the values of artistic culture in accordance with the specifics of their creation and arte-being – mimetism, immetism, playing essence. Accordingly, we have identified the basic principles of educational work – cultural conformity, subjectivity, ontological principle; the pedagogical conditions for ensuring the effectiveness of the process of upbringing of the senior pupils’ worldview which concerning the assimilation of their interpretive directives for the comprehension of texts with implicit and explicit «openness» of artistic and ideological content (mimetic, non-mimetic and playing essence) are formulated. In this study the methods of analysis and interpretation of artistic works are specified and classified. Among them are the methods that relate to an «inner» side of a text (semiotic, semi-symbolic semiosis, pneumatic ‒ for the mimetic works; meditative-associative and post-adequacy ‒ for the non-mimic compositions; deconstruction, happening ‒ for the playing artistic phenomena); the methods related to «external» links of a text (sociological, historical-cultural, biographical, creative-genetic, comparative, study of critical literature ‒ for the mimetic, partially non-mimetic and playing systems). We have developed and implemented the algorithms for mastering the works of art and the schemes of analysis in particular. Thus, for the semi-figurative visual arts the analytical scheme based on the semi-symbolic semiosis method is proposed; this scheme involves the definition of the plan of a text’s content, the description of the plan of «expression», the comparison of the content of the two plans and the derivation of the general meaning of the work. For the non-mimetic texts belonging to the transcendental system, the algorithm is developed that includes: emphasizing the attention of senior pupils on the peculiarities of the creative method of artists; the setting for entry to irrational artistic worlds at the level of a «revelation»; immersion in the text; the experience of an internal act of the transition to spiritual «world»; post-adequacy of a content (both in verbal and visual forms). Acknowledgments. Sincere thanks to librarian staff at Vernadsky National Library of Ukraine, in particular Inna Matviyenko for her assistance. Funding. The author received no financial support for the research, authorship, and/or publication of this article.