Artistic Means Research Articles

Сравнительное изучение антропологических аспектов греческой вазописи и этрусской живописи

Introduction. The fine arts of archaic Greece and Etruria experienced a noticeable influence of the East. The transition from archaic to classical time influenced the forms of depicting the morphological features of a person in antique art. Comparative study of the anthropological features of the antique population of the Mediterranean on the greek painted pottery and etruscan murals of the archaic and classical times was the purpose of our study. Materials and methods. The material was collected in the online-collections of ancient collections of museums. We used the method of a composite portrait in a digital version, the calculation of the frequency of features in our study. Studied features was – beard growth, hair color and nature of the hair. Results and discussion. On the etruscan murals of the archaic period, the frequency of depicting straight nature of the hair in women is the highest (7,7 %) in all samples; for different groups of painted pottery, it does not exceed 7 %. The degree of beard growth according to vase painting and etruscan murals is characterized by a strong and very strong growth. A greater manifestation of hair pigmentation polymorphism according to painted pottery is noted in the images of the classical period. Dark hair predominates in all groups, grey-haired was depicted only in male characters. Hair depigmentation on painted pottery is observed in images of the classical and late classical periods and did not exceed 6 % in the total sample. Pigmentation on etruscan murals indicates a lightening of the hair in the group towards reddish-red shades, depigmentation does not exceed 8%. Features of the depiction of pigmentation in to vase painting and murals, despite the different technique and coloring, reveal common tendencies of variability characteristic of the Mediterranean groups. Composite portraits based on painted pottery reflect the historical transformation of the anthropo-aesthetic ideas of the greeks through the fine arts of the archaic and classical times. Conclusion. Color in greek painted pottery performs not only a decorative function, but is also an artistic means of conveying morphological variability. Involvement of antique written sources of the description of population and the philosophy of color in antique culture can help in the anthropological reading of vase painting and further study of pigmentation polymorphism. @ 2023. This work is licensed under a CC BY 4.0 license

Special Features of the Framework Text in the Novel “The Red and the Black” by Stendhal

The authors of the article analyze Stendhal’s novel “The Red and the Black” from the standpoint of intertextuality. The main attention is focused on the paratextuality of the work, that is, on the relationship of the text with the titles, epigraphs, preface and afterword – its frame. The novel has all the elements of a framework: a title complex, a framework text, a division into chapters, parts. The text is structurally divided into two parts and chapters (2 and 75 respectively). The element of the framework is the content at the end of the text (both in the original and in various translations). The authors of the article note that the content is used by Stendhal with a traditional purpose. The elements of the framework text in the novel are "Preface" – "To the reader" (explanation about the time of publication and writing of the work) and "Afterword" – section L, the author's notes related to artistic fiction. It is the "Afterword" that is connected with the genre subtitle of the novel and the main Epigraph, they form the additional frame of the text. The authors pay special attention to the headings – to the main one and to each chapter (71 of 75 chapters are titled). The names of the chapters in Stendhal's novel "The Red and the Black" are diverse in terms of substantive and factual information: they indicate the characters of the work, convey chronotopic information, name the theme, concentrate the main idea of the work, present the plot of the work or name one culminating event, express the author's assessment of the work and its characters, etc. The headingss analyzed, the writer is noted to use various artistic means to nominate the chapters of the novel, which activates the reader's perception, creating a certain obstacle for understanding, and arouses interest: titles-symbols, titles-metaphors, titles-epithets. In such headings, the meaning is reinterpreted, expanded. Besides, extratextual information is used, when the essence of the heading is not only the content of the novel, but its associative connection with other aesthetic objects. In general terms, the authors analyze the epigraphs to both parts of the novel, 71 chapters, and explain the writer's use of "own" and "other people's" quotations in the inscriptions before the text, their linguistic design and functions.

‘My Dad Was, Is a Soldier’: Using Collaborative Poetic Inquiry to Explore Intergenerational Trauma, Resilience, and Wellbeing in the Context of Forced Migration

The topics of intergenerational trauma, resilience, and wellbeing as they relate to forced migration are receiving more attention in the arts and health literature. Yet, we know very little about how refugee-background young adults manage their psychosocial wellbeing when they grow up surrounded by stories of conflict, loss, and trauma. Achol has been writing poetry to represent and amplify the narratives of those around her (parents, family, and the South Sudanese community in Sydney, Australia). These stories are central elements of her lived experience and the diverse experiences of her community. Using collaborative poetic inquiry, this paper identifies key themes in one of her poems, My dad was, is a soldier, to illustrate how poetry is an important artistic mode of expression that can improve our understanding of intergenerational trauma, resilience, and wellbeing. Rather than conveying interview data through research poems, we place Achol’s poem at the centre of our collaborative poetic inquiry to gain new insights into refugee lived experiences. This paper contributes to contemporary debates on how artistic means enrich our knowledge of psychosocial wellbeing through trauma-informed, culturally safe, and decolonial research methods.

Ekphrasis of painting in P. Zahrebelny's novel "Wonder"

At the modern stage, ekphrasis was recognized as one of the most fruitful and effective phenomena for comparativistics – the manifestation of specific expressive mediation of one medium in the figurative field of another. Bright, contrasting manifestations of ekphrasis are observed in the content of the novel “Wonder” by the classic of Ukrainian literature P. Zahrebelny. They focus on painting and the work of artists, contain prognostic features of the current semantic potential, and thereby determine the relevance of their coverage. The purpose of the study, therefore, is to distinguish the features of ekphrasis of works of painting, as well as to highlight the formal and semantic dominants and the overall semantic configuration of the expressed poetics of the phenomenon of painting in prose. The novelty consists in the identification, poetic classification, semantic analysis and final systematization of figurative instances of literary prose, which descriptively reveal the expressive means of painting with the generalization of their semantic panorama within the boundaries of a localized description and on the scale of the novel in general, in particular, in relation to landmarks from the field of axiology, as well as with functional weighting in accordance with the definitive signs of literary imagology, which enriches the experience of the ethno-image-creating fruitfulness of the ekphrasis of painting. The study is based on the methods of cultural semiotic and structural-semantic analysis in combination with a descriptive and comparative-typological approach. Conclusions. As a result, it was found that the features of the ekphrasis of painting in “Wonder” testify to a separate experience of a multifaceted ekphrastic model.According to its formal dominants, in compliance with the criteria of the medium and the structure of the image, a condensed discrete ekphrasis is distinguished. In its plot-fabula track, the figurative material that turns out to be the carrier of ekphrastic poetics, the focus on the figure of the common heroine stands out. Its semantic accents emphasize the stages of its spiritual impoverishment and decline and, at the same time, the tragedy of the lack of spirituality, in particular, for creativity. Meanwhile in the heroine, the creation of a semantically multi-dimensional image is observed through the richness of ekphrases: in the combined form-meaning transitions of ekphrasis, the meaning-making line builds up and reaches the sphere of ethnoimagology, for which the basis of identity should be recognized as a full-scale verification of purely artistic meanings and senses. It is about the ability to clarify the idea of striving to avoid negative human qualities, to overcome or compensate for them, in particular, through the power of art, through the prism of the revealed precedent of Russian mental apathy.

Literary reception of the poetics of S. Vorobkevych's poetic works through the prism of Osip Makovey's research

Literary reception of the poetics of S. Vorobkevych's poetic works through the prism of Osip Makovey's research. Goal. In the segment of the study of the literary reception of the poetics of S. Vorobkevich's poetic works, analyze the literary and critical materials of O. Makovey (“Literary heritage according to Izidor Vorobkevich”, “Izidor Vorobkevich”, “General notes on the poetry of Izidor Vorobkevich”), published in the first few decades after the writer's death. Research methods are predetermined by the purpose and tasks of the work, the object of research and are complex. The hermeneutic method and the method of slow reading (the method of receptive poetics) were practiced, aimed to reveal S. Vorobkevych artistic means, interpret his works. Comparative and comparative historical methods are used to reveal the influence of other authors on the poetics of Bukovynian writer. Biographical method makes it possible to find out the dependence of S. Vorobkevych’s views on poetics on the life basis. Scientific novelty. The peculiarities of the development of poetics of poetry of S. Vorobkevych on the basis of certain its elements (generic, metaology, poetic syntax, phonics, versification) in the diachronic aspect were determined for the first time in Ukrainian literary studies in the given thesis. For this purpose, the scientific literature related to the study of elements of poetics of poetry works by S. Vorobkevych has been analyzed. The author’s approach on the form of poetic text is studied. The role of extraneous influences on poetry of S. Vorobkevych in the aspect of poetics is determined. Conclusions. The study of publications related to the topic of the study showed that the most valuable of them are the materials of O. Makovey, V. Lesyn and O. Romanets, P. Nykonenko, M. Bondar, P. Nykonenko. The results obtained are an important material for expressing our knowledge of the poetics of S. Vorobkevych's poetic works; they are the material for comparison with the similar material on the artistic nature of Y. Fedkovych’s poetic works. On the basis of revealing common features, taking into account the data of other Ukrainian poets of the region of this period it becomes possible to get a general picture of the poetics of domestic poetry works in Bukovyna in the second half of the nineteenth century.

Musicological reflections in the form of “Prelude and Fugue”: Serhii Turnieiev’s author’s concert

Statement of the problem. The article is the first experience in Ukrainian musicology to cover a significant artistic event in the cultural life of modern pre-war Kharkiv – the author’s concert of the composer Serhii Turnieiev, Honored Artist of Ukraine, Professor and until recently the Dean of the Kharkiv I. P. Kotlyarevsky National University of Arts. The event took place with the participation of famous solo musicians, as well as one of the best creative groups in Ukraine – the Symphony Orchestra of the Kharkiv Regional Philharmonic led by People’s Artist of Ukraine Yurii Yanko. The concert symbolically opened the chain of festive actions for the 105th anniversary of the University’s founding, although the “counterpoint” to this festive line was severe life events: the pandemic, and soon the war. This “contrasting polyphony”, and most importantly, S. Tournieiev’s inherent polyphonic thinking made possible a conceptual metaphor – likening the composition of an author’s concert to the structural logic of a fugue. This metaphor that became the key to revealing new meaningful facets of the works performed in the concert, is designed to deepen the analysis of the artistic meanings of the celebrate event and its reception by the listener. So, the purpose of the study is an attempt to get closer to understanding the inner processes in an experienced Ukrainian composers creative “workshop”. The methodological basis of the study consists of several directions: consideration of biography, vectors of action and existing musical pieces by S. Turnieiev; definition of role and place of some opuses in composer’s portfolio; systematization of the present scientific works; involvement of facts still not well known and our interviews with participants of recent artistic events; observation made upon such musicological spheres, as musical thinking, perception, composer’s artistic process on the example of complex analysis of content and performance vectors of S. Turnieiev’s musical pieces. Recent research and publications have shown the priority of some relevant issues: personalities and artistic life of modern composers (Ukrainian in the case); consideration of artist person “formula”, his musical thinking / style / method; belonging to traditions of particular school; studying of the process of art and its “consequences – composer’s and performer’s realization / interpretation of an artistic idea in musical piece. These trends actively integrating to spheres of the modern humanitarianism: philosophy, psychology, sociology of art, history, cultural studies, ethics, aesthetics and others. Among the authors whose works contributed to reveal our topic are М. Bevz (2017), Ye. Belova (2020), V. Bohatyrov (2021), І. Drach (2002), R. Kashyrtsev (2021), I. Horbunova (2015), I Konovalova (2018), D. Malyi (2017, 2018, 2021), Yu. Nikolaievska (2020), О. Roshchenko (2007, 2017), P. Rud (2021), H. Savchenko (2017, 2018, 2021), L. Shapovalova (2008), L. Maltseva, 2005, О. Shchetynsky (2017, 2019), and others. Some of publications by S. Turnieiev (2005, 2010, 2014) were studied. Results and conclusion. The role of the fateful creative meetings in the professional activity of the composer was revealed, that prompted him to create his own opuses. The meaningful components of the compositional portfolio / style / method of S. Turnieiev were clarified by the way of considering the history of writing, musical and expressive principles and the performing fate of the works that were performed in his author’s concert: the Symphonic Frescoes “Taras Bulba”, “Lamentoso” for viola and string orchestra, “Five Flemish Dances” for clarinet and string orchestra, symphonic picture “Tunes” (“Nahravannia”). It was concluded that S. Turnieiev’s author’s concert became a large-scale presentation of his many years of professional experience, as well as the traditions of the Kharkiv theoretical-composing school, which was historically formed namely in such integrated format – therefore the organic unity of musical theory and practice is felt in S. Turnieiev’s work at the level of worldview constants. It was the “school” of professional training that allowed him to build a solid foundation for further independent creative search, gave him a sense of confidence and inner freedom, and became for the composer not a “template” with a limited range of norms and rules, but a “space” for wide creative possibilities.

Power of the Saudi Woman's Novel From Silence to Empowerment

Against the backdrop of an extended history of Arab women’s silence in general, and Saudi women’s in particular, in the field of literature, this paper seeks to introduce the development of the Saudi female novelist’s voice and its progress. It traces the improvement of the Saudi female novelist chronologically, demonstrating how writing is an essential tool for self-identification and self-expression. An analysis is made of how novels by Saudi women writers have changed through recent decades and how Prince Mohammad Bin Salman's 2030 Vision initiative might be said to have empowered these voices expressed in fictional words. It introduces the significance of Saudi female novels and how they create new fictional environments that uncover the inner strength of women and highlight their individual and collective empowerment. This paper demonstrates how Saudi female novelists have been fully aware of the significant influence of novels as one artistic means of expression. Today, they can openly express their previously unspoken thoughts and feelings. Moreover, the paper addresses the important implications of their writing, i.e. the remarkable progress achieved in the Kingdom of Saudi Arabia.

Positive Psychotherapy and Art

Art therapy and positive psychotherapy have common points of contact, but differ significantly in their respective theoretical and practical concepts. Both are independent therapeutic methods that require extensive training or further education. Art therapy works preferably with artistic media, whereby psychodynamic processes are integrated depending on the therapeutic orientation. Conversely, Positive Psychotherapy has related approaches in a distinct form to art therapy. This applies above all to the creative process of the procedure. Both methods overlap at the point where psychological conflicts are expressed through artistic means or stories. While artistic therapies focus on this process, Positive Psychotherapy is a psychotherapeutic procedure in its own right. In this article, the approach to art therapy is presented against the background of the resource-oriented practice and theoretical approaches of Positive Psychotherapy.

COMPARATIVE ANALYSIS OF STYLISTIC DEVICES IN THE GERMAN TRANSLATIONS OF THE BOOK OF ECCLESIASTS

The article presents a comparative analysis of stylistic devices in the German translations of the "Books of Ecclesiastes", which is a text of the Old Testament, typical of biblical didactic and prophetic books, and whose purpose is to encourage people to think about the meaning of life. The book raises the issues of transience and futility of human existence especially acutely. The relevance of the study lies in the comparison of modern German translations of the book of Ecclesiastes with the aim of demonstrating translation trends and different approaches to the reproduction of artistic means in these translations. The research material consists of translations of the book of Ecclesiastes from different years, made by translators from the ancient Hebrew language into German. The article examines the stylistic means of the biblical text and their reproduction in modern translations, compares and comments on some problematic fragments of the book of Ecclesiastes, the translation of which, despite a large number of scientific works, still needs clarification. Particular attention is paid to fragments of the text, the interpretation of which has a double meaning. The research material allows analysing the diachronic trends in the translation of the book of Ecclesiastes and drawing conclusions about the possibility and purpose of reproduction by the translator’s content and means of artistic imagery in translations of different years. According to the conducted analysis, the authors came to the conclusion that, despite centuries of discussion, an attempt to make a single universal translation of the book of Ecclesiastes is impossible. From a methodological point of view, we should emphasize that in recent years there has been a negative trend toward a recipient-oriented understanding of the text, which, in turn, pushes the translator to omit stylistic devices and form a translation of the holy book that is more understandable for today, which unfortunately leads to the loss of artistic stylistics of the archaic poetic text.

Самоконцепция героя и авторский замысел (на примере рассказа В. Пелевина «Ника»)

The aim of the study is to identify and describe the ways of self-presentation and the type of self-concept of the protagonist in a postmodern literary work. Attaining the aim made it possible to draw a line between the artistic context of the author and the artistic context of the protagonist in texts with first-person narration. The obtained results showed that such a distinction is very important, since it allows examining the features of the interaction of the specified contexts and the mechanisms of formation of the aesthetic-semantic context of the reader stimulating artistic activity and causing the emergence of an aesthetic reaction. The reasoning and arguments presented in the paper are illustrated by examples from V. Pelevin’s short story “Nika”. The study is novel in that it is the first to conduct a comprehensive linguostylistic analysis of the protagonist’s inner speech and propose ways of explication of the author’s intention hidden in the subtext. This analysis showed that there is an obvious semantic heterogeneity and inconsistency in the short story, which is necessary for the author to mislead the reader by controlling the process of perception of the artistic meaning and to cause an unexpected emotional reaction by the ending of the short story.

ТОМАС БЕРНХАРД. ПОРТРЕТ ХУДОЖНИКА В КОМИКСАХ

The article offers an analysis of graphic books based on the works of Thomas Bernhard (1931−1989), the classic of Austrian literature of the 20th century. The material for the study consists of graphic novels, graphic memoirs, and biographical books created by two Austrian artists − Nicholas Maler and Lucas Kummer. The techniques used by the creators in their work with the “hypotext” (G. Genette) − Bernhard's dramatic and narrative oeuvre: the play “The World-Fixer” (Der Weltverbesserer, 1978), the novel “Old Masters: A Comedy” (Alte Meister: Komödie, 1985), and the autobiographical novellas “An Indication of the Cause” (Die Ursache: Eine Andeutung, 1975), “The Cellar: An Escape” (Der Keller: Eine Entziehung, 1976), “Atem: Eine Entscheidung” (Breath: A Decision, 1978), and “In the Cold” (Die Kälte: Eine Isolation, 1981) – are analyzed. Special attention is paid to the methods of conveying the writer's poetics through artistic means, such as drawing techniques, color palette, panel composition, character stylization, and scenes. The selection of thematic complexes (theatricality and metatheatricality, the problem of truth and fiction, trauma, etc.) and the peculiarities of translating the writer's individual literary style (syntax, rhythm and rhetoric, etc.) are examined. The comparative analysis allows to identify similarities and differences in the ways of visualizing and interpreting the literary material, to reveal the diversity of visual solutions and approaches towards the artistic world of Thomas Bernhard. The research results enable a comprehensive understanding of the potential of comics as a means of conveying literary aesthetics and creating a unique visual space that complements and expands the textual dimension of literary works.

Інтермедіальна поетика біографічної кіноповісті І. Драча та І. Миколайчука «Київська фантазія на тему дикої троянди-шипшини»

The trend of syncretization of arts in the modern world is spreading and this causes interest in the method of intermedia analysis in literary studies. Today we can observe a kind of “intermedia boom” (H. Levchenko); studies on the problems of synthesis and interaction of arts have become relevant, an intermedia code is actively offered for understanding problems, architecture, artistic means, narrative strategies, images of a literary work. Intermediality is relevant to the methodology of modern literary studies and also offers a new perspective on those artistic texts that are on the periphery of theoretical interests due to the uncertainty regarding their inter-artistic identification. A film story about a composer is an interesting phenomenon of intermedial synthesis, since different channels of intermedial communication, such as literature, cinema and music, are simultaneously involved. The intermedial poetics of Ivan Drach and Ivan Mykolaichuk’s film story “Kyiv Fantasy on the Theme of a Wild Rose-hip” (1984), which is about the founder of Ukrainian classical music, public figure, musician-virtuoso and outstanding scientist-ethnographer Mykola Lysenko, is analyzed. Perfectly combining the private and creative beginnings, the successful tandem of I. Drach and I. Mikolaichuk is managed to present a rich and difficult life of a talented person and a brilliant composer from early childhood to his death. Using a two-level composition of the unfolding of events, the reader/spectator is presented with the journey of Mykola Lysenko in adulthood, where memories are retrospectively used: first childhood, then youth, and then student years, etc. The artists also tried to find out the complicated relationship of the composer with his wife Olga O’Connor and the mother of his children – Olha Lypska. In addition to this, the film story presents the image of the artist in the discourse of contemporary historical events, social processes, in the discourse of events that had significant cultural value, thus presenting the composer as a citizen-patriot, and as a public figure, and as an important cultural figure. The image of a rose-hip stands out as a symbol and a metaphor that combines saturated biographical material into a single whole – a symbol of the “people’s soul, song”.

Contemporary Ukrainian Visual Culture on the Way to the International Cultural Space

The article is devoted to the visual culture of Ukraine since independence. It pays special attention to the trends and phenomena of contemporary Ukrainian visual culture that have entered the context of world culture through recognition on international cultural platforms (competitions, festivals, biennials, etc.). The considerations concern the development of various trends in contemporary Ukrainian art, which use various artistic media: photography, installation, performance and film. In particular, Ukrainian conceptual photography was the most interestingly represented by several generations of photographers of the Kharkiv School, who combined radical bodily imagery and social criticism. The Ukrainian installation is represented by the works of artists of the REP (Revolutionary Experimental Space) group, which is focused on the unity of art and politics and considers artistic creation as a political act. An interesting sub-direction of the installation is the video installation, which delivers an original combination of contemporary Ukrainian artists with site-specific art and artistic means of reflecting on the traumas inflicted on Ukrainian society by the war. The article pays special attention to the development of contemporary Ukrainian cinema. The author demonstrates the connection between the work of contemporary Ukrainian filmmakers and the traditions of Ukrainian poetic cinema. In addition, other trends in Ukrainian cinema are identified: the experimental search for a new film language, the development of documentary cinema, on top of the convergence of fiction and non-fiction artistic languages in the work of contemporary Ukrainian filmmakers. The dominant issues of contemporary Ukrainian films selected for screening at leading European film festivals are identified: inclusiveness, reflection on Ukrainian history, war trauma, psychological rehabilitation of combatants, etc.

„Děti, děti, z toho kouká buď blázinec, nebo vězení!“ Vídeňský akcionismus jako reakce na válečné, osobní i společenské trauma

A group of “Viennese Actionists” was formed in Austria around 1961, ceasing to be active in 1970. One decade of their collaboration comprised creation of a series of multimedia artistic works, often in the form of provocative actions using the so-called Schweinvocabular (“nasty vocabulary”): fake violence, vulgarity, explicit sexuality, profaning state and church symbols, etc. The aim of such aesthetics was not a dull provocation; it was rather an artistic means by which the first generation of post-war artists, who personally experienced the horrors of World War II and the reverberations of the first, responded to the lack of denazification and the internal conflicts in the Austrian society. The paper will present the thesis that the designation of the group as “Viennese Actionism” is probably not derived from the noun “action”, but it is a reference to the current in behavioral psychology called sensomotoric actionism, which originated in the early 20th century and emphasized physical and performative coping with the trauma the Actionists experienced in young age (pain, suffering, loss of loved ones, mass scale of murders, etc.); sensomotoric actionism as a metaphor of artistic response to social trauma. One of the main impulses for the Actionists was thus the war trauma, both on an individual and socio-cultural level. The aesthetic means they employed were based on the actual contemporary methods of treating trauma. Using repulsive “images” that presented the horrors of war, the Actionists “forced” their audience to confront them and, if possible, go through social catharsis, giving back to the theater its ritual function it had in the society of the Classical Athenian polis.

ВЕРБАЛІЗАЦІЯ ПОГЛЯДІВ В. СОСЮРИ В ОНІМІКОНІ ПОЕТИЧНИХ ТВОРІВ

The article identifies the problem of verbalization of V. Sosiura’s views in the onymic of poetic works. It is emphasized that it’s expedient to study the idiostyles of writers whose work is symbolic both for a certain people and for the aesthetic context in general. It is noted that the processes consisting in the semantic transformation of a word, the formation of its artistic meaning, and the transformation of a word into an aesthetic sign deserve special attention in the analysis of individual features of poetic texts. The question of studying the individual stylistic features of V. Sosiura’s poetry in the semantic-functional aspect, the need to rethink and analyze his creative output from a new point, taking into account the mechanisms of word transformation in poetic texts, becomes relevant. It is determined that V. Sosiura played a significant role in the depiction of the era through the onymicon, although today we state ambiguous views on his personality, and sometimes on his creative output. In the minds of the Ukrainian people, V. Sosiura is a vivid representative of the new generation of lyric poets, who were doomed to adapt to the conditions of the ideological leadership of literature, trying to preserve the best folk song traditions. The analysis of the texts of the poems showed that among the categories of the toponymicon of V. Sosiura’s poetic picture of the world, the most numerous are the groups of choronyms, hydronyms, and oikonyms, in particular, astonyms (names of cities), hodonyms (names of streets), and urbanonyms (names of inner-city objects), to a lesser extent oronyms and dryonyms are presented, and the most diverse are oikonyms and urbanonyms, which presents the open poetic space of the author’s picture of the world.

РЕСТАВРАЦІЯ БРАМ МОНАСТИРСЬКОГО КОМПЛЕКСУ СВЯТОГО ЮРА У ЛЬВОВІ

The main gates were intended for the passage or passage of a large number of people in public, defensive or sacred complexes. They also had a symbolic meaning. In monastery and temple complexes, the main gate served as a boundary between secular and divine space with high spiritual values, a place of prayer and repentance. The article examines the main entrance gates of the St. George complex, which have survived to this day in an almost authentic form.The architectural, artistic and compositional solution of two gates - important structural elements of the St. George complex - was considered and analyzed. Architects created high-art works using architectural and artistic means, which according to their proportions, artistic and compositional solutions fit harmoniously into the structure of the St. George complex. The architecture of the gates reflects the skill and talent of artists of a certain historical era. They belong to unique works of art that have historical and cultural value, therefore their protection and preservation is relevant nowadays. In the process of research, the technical condition of the two gates was studied and restoration measures were developed in order to preserve them from further destruction.

Тема одиночества в трилогии Туфана Миннуллина

The study aims to shed light on the features of the theme of loneliness in T. Minnullin’s trilogy. The paper examines the connection of this theme with the idea of the playwright’s work, the peculiarities of its reflection in plays written during different periods of T. Minnullin’s creative life. Special attention is paid to the role of the figurative means used by the author to develop the theme of loneliness. In the trilogy, the playwright managed to describe the fate of an entire generation of peers: from the young age to the end of their lives. From play to play, the life goals, desires, victories and defeats of the characters, their joys and experiences etc. are consistently revealed. The scientific novelty lies in identifying the features of the theme of loneliness in T. Minnullin’s trilogy, as well as its connection with the writer’s artistic world. As a result, it has been determined that, firstly, the theme of loneliness unites the storylines of all three plays through the image of the main character Milyausha; secondly, it helps to depict the personality of the characters of the trilogy; thirdly, the theme of loneliness manifests itself through such artistic means as memories, the game motif, the motif of parting ways etc.

Art as Pedagogy: A Multiple Case Study of Participatory Socially Engaged Art

Abstract In recent decades, contemporary art practices have expanded into social processes as art, and even to educational experiments. Artists create participatory projects combining art with educational activities and goals. Despite the prevalence of these art works, contemporary art literature continues to focus primarily on the artist, thereby displacing the experiences of participants. Hence, from the stance of an art educator, I carried out qualitative multiple case studies to examine the learning experiences of the participants as well as the pedagogical frameworks of the artists. On-site observations and individual interviews were carried out with the artists, core group members who directly collaborated with the artists, and public audience members of three participatory, socially engaged art works. Through a cross-case thematic analysis, the findings demonstrate the value of intrinsically motivated learning enabled by a learning approach grounded in (art)making. In these works, a critical social consciousness was promoted among the participants by means of an enhanced social imagination provoked by the interplay between political content and artistic means. Essentially, the art works examined in this study serve as models of transdisciplinary art for learning and teaching social justice issues and civic engagement. Moreover, the results of this study encourage collaboration between artists and educators, as artists’ approaches diversify pedagogy and, conversely, educators play a critical role in enhancing the learning experience of participants.

Semantic parameters of the plot of a literary work

The subject of research in this article is the plot organization of a literary work, considered from a hermeneutic perspective, namely as one of the aspects of actualizing the meaning of a literary work. In the work, based on the material of a number of works related to the epic kind of literature, the semantic parameters of the plot-event organization of the work are investigated. The article identifies and describes the differences between the vital ethical way of understanding the plot, associated with the value position of the characters, and the aesthetic way of understanding the plot, associated with the values of the author and recipient. In the latter case, the plot is understood as a dynamic aspect of the incarnation (embodiment) of artistic meaning. The scientific novelty of the article is determined by the fact that for the first time the plot-event organization of a literary work is considered in connection with a specific way of actualizing the artistic meaning, defined in this work as an incarnation. The incarnation of meaning in the article is understood as its "transformation" into the being (life) of the hero as a whole. If in the life context of comprehension, the sequence of events (the "plot" of life) is correlated by the character with the private and incomplete horizon of the semantic future, then in the aesthetic context of comprehension, the plot acts as an articulation of the integral meaning of the hero's being, as his "fate". As a result of the interpretation of the text of the Grimm brothers' fairy tale "Hansel and Gretel", as well as E. A. Poe's novella "The Mask of the Red Death", the author of the article shows that through plot articulation in the aesthetic semantic "dimension" of the work, heterogeneous moments of meaning are collected, linked into a consistent unity.

Soviet Unofficial Art and the Chinese Juelan Art Society in the twentieth Century: Compositional and genre searches and creative parallels

The article is devoted to the exhibition and creative activities of representatives of the Juelan Society and figures of Soviet unofficial art – a comparative analysis allows us to see common points regarding the choice of artistic means and techniques, themes and motives, the fate of creative associations. The purpose of the article is to determine the similarities and differences of the process of the origin of unofficial art in China and Soviet Russia. The author's field of attention includes identifying similarities in the choice of genre, composition, artistic means, as well as the semantic content of the images revealed in the works of artists. It is important for the disclosure of the topic to determine the features and common features in the organization of creative activity and communication between members of artistic associations. The study concluded that Chinese and Soviet figures of unofficial art rallied around small associations, "circles", clubs, societies, offering an alternative to the official and, from their point of view, regressive art view of independent creativity. The artists of the Juelan Society sought to instill a modernist vision in Chinese culture, and Soviet conformists decades later developed their own understanding of contemporary art. Their attempts had a strong influence on the work of Chinese painters of subsequent generations and became a phenomenon in the art of their countries, still have an impact on its development. Their ideas and creative findings are the sources of the processes that take place in the artistic worlds that cooperate in the field of culture of Russia and China.