Art World Research Articles

Variants of concept representations in the works by Tatar and Bashkir writers

The article considers representation variants of the Tatar language concepts based on Tatar and Bashkir literatures of the Republic of Bashkortostan in terms of cognitive and cultural linguistics. Here, we briefly present the main approaches to the interpretation of such notions as ‘concept’, ‘artistic picture of the world’, ‘individual linguistic picture of the world’, etc.The artistic comprehension of the national-linguistic picture of the world is carried out by writers and poets as they are able to create new artistic worlds and in this way to expand the connotational field of a particular concept. To analyze this process, the article uses the works of Tatar and Bashkir writers: M. Kabirov, G. Gizzatullina, G. Gilmanov, M. Vafin and M. Zakirov. We present our experience of interpreting such meaningful concepts of Tatar culture as ‘кеше’ (Tat. keshe - person), ‘җан’ (Tat. zhan - soul), ‘кабык’ (Tat. kabyk - lubok), ‘шагыйрь’ (Tat. shagyir - poet), ‘моң’ (Tat. mon - melody / sadness), ‘юл’ (Tat. yul - road / path) possessing linguistic and linguocultural significance. The research proves the value of the concept analysis aimed to determine the combination of universal, national and individual components of the concept in the oeuvre of a certain author. The article shows that analyzing a text or texts of writers from the viewpoint of conceptual frameworks allows a deeper understanding of their artistic canvas as a representation of the writer’s world. The article highlights that the analysis of the conceptual picture of the text, based on Tatar literature, remains relevant and promising.

Glossing with Runes: The Old Northumbrian Gloss to the Lindisfarne Gospels

The purpose of this contribution is to offer a thorough examination of the use of the m and D runes in the Old English gloss to the Lindisfarne Gospels in the context of the studies of Anglo-Saxon Runica Manuscripta. The book known as the Lindisfarne Gospels is a religious and artistic world treasure and thus has received considerable attention for centuries. In this sense, it is highly regarded by palaeographers, art historians, linguists and collectors alike. From a philological point of view, research within diachronic variation studies has centred on the Old English gloss, and in particular on the analysis of the distinctive dialectal features. Other lines of research have focused on the English dependence of the Old English gloss on the Latin text. However, the glossator's use of runes has never been subjected to exhaustive scholarly study. In this sense, this article constitutes the first in-depth study to examine the runic material in the gloss to the Latin text.

Show “Ovo” of Cirque du Soleil: comparative analyzis of a circus performance and its stage demonstration (scenario, decorations, music, circus genres and characters)

The article will carry out an artistic analysis in the context of circology, namely: comparative and artistic analysis of the show “OVO” of the “Cirque du Soleil”. Research in the field of circus arts, its theory and practice will be carried out in the context of circological research.
 The problem of this article is that in domestic and world art criticism there are practically no serious scientific studies on the specifics of circus performances of the “Cirque du Soleil”.
 It is important to note that separate publications, announcements, programs of circus performances, popular articles from modern magazines in the press of the late 20th and early 21st centuries certainly took place. However, their exclusively narrative display without specific factors should be noted, namely: lack of clear connection between practical specifics of circus art and scientific transmission of information and analytics in the field of art criticism.
 The purpose of the article is to give clear and systematic analysis within circological plane, namely, to provide comparative analysis of the show “OVO” with other performances of the Cirque du Soleil circus as well as to reveal in detail the uniqueness of direction and features of the numbers of the show “OVO” in terms of circus genres, scenario and artistic design.
 Comparative analysis of various circus performances of the show of the Cirque du Soleil, defines diversity and different facts of difference of show "OVO" from such circus performances of the Cirque du Soleil as “Alegría”, “Zumanity”, “Kà”, “O”. The description emphasizes and gives clear description of decoration, modern methods of circus apparatuses, pyrotechnics and innovative technologies, lighting and musical accompaniment. Music was written separately for each show, musical samples were created depending on scenario and plot.
 “OVO” is considered a touring production of the Cirque du Soleil, written and directed by Deborah Kolker. This is the 25th “Cirque du Soleil” show since 1984 created to celebrate the 25th anniversary of Cirque du Soleil. The name “OVO” translated from Portuguese means “egg”. This corresponds to the theme of the series on life cycle and birth of insects. It is also the main threat of the show. Production designer Gringo Kardia was inspired by nests and colonies of various insects when creating the scene for the “OVO”. Acrobatic structure used during free throw is situated at an angle of 45°. The structure can be lifted up to 4.5 meters and weighs more than 5 tons. Costume designer Liz Vandal to create costumes for “OVO” used her signature style inspired by futuristic superheroes and a variety of armour.
 Thus comparative and artistic analysis of the show “OVO” is a combination of creative and unique, at the same time simple, but understandable plot, bright costumes and make-up that really turn artists into insects. Well-chosen numbers, the way they interconnect and an unsurpassed acting gives an excellent performance about fabulous world of insects which one can visit with the whole family and take a break from real life.

Развитие эстетических способностей учащихся начальной школы в процессе художественного образования

In the XXI century, more and more teachers are turning their attention to the possibilities of creative develop-ment of children, which are provided by visual activities. This educational aspect is especially important for primary school students, since during the designated period the child is at the stage of intellectual and physio-logical development that allows him to fully immerse himself in the world of art and express himself in it. Crea-tive activity contributes to improving the effectiveness of the educational process in primary school through the development of fine motor skills of the child, his imagination, spatial thinking. In addition, an art lesson is an important way of aesthetic education in elementary school. At the same time, it is important for the teacher to transform the pupil from an outside observer into an active participant of the creative process. The article identi-fies some practical problems that a teacher faces in the process of educating aesthetic abilities in the condi-tions of the modern educational situation. It is noted that their solution has a pronounced relevance for the prac-tice of art education. Strategies for educating the aesthetic abilities of primary school students based on tradi-tional and innovative concepts of art teaching are proposed.

Mobile Marketing in the Art Industry

The rising prevalence of mobile devices has transformed consumer behaviors and created new opportunities for audience engagement through mobile marketing in the art world. However, there has been limited research on implementing effective mobile strategies for art professionals. This study aimed to systematically review mobile techniques over the past five years based on academic literature and industry reports. It analyzed key mobile marketing campaigns from prominent art institutions focusing on approaches like apps, augmented reality, and location-based services. The literature revealed several important findings about mobile marketing effectiveness. According to Pew Research Center data from 2019, 81% of Americans now own smartphones frequently used for internet access, demonstrating widespread mobile access. Studies of apps found those displaying artist portfolios and enabling ticket purchases had high audience engagement. Augmented reality apps providing interactive experiences attracted more first-time museum visitors than non-users. Location services increased nearby gallery foot traffic up to 35% by capitalizing on proximity. Case studies indicate mobile strategies can significantly boost participation when integrated across digital and physical channels through profiles, ticketing, content, and location promotion to spur visits. As a result, mobile technologies may help arts institutions connect with broader demographics in novel ways. However, usability and data privacy must be addressed. The review concluded that mobile techniques are highly impactful for boosting audience involvement, working best as an omni-channel approach across platforms and interactivity. Adopting established mobile marketing best practices is essential for arts professionals and organizations to thrive in today’s digital landscape and engage wider audiences.

Księgozbiór specjalistyczny Henryka Grohmana (1862– 1939) a jego kolekcja grafiki nowoczesnej

This article is the first study of the library belonging to the Łódź industrialist and art collector Henryk Grohman (1862–1939). It attempts to answer the question of the degree to which analysing these volumes, which are now housed in the collections of the University of Warsaw Library and the National Museum in Warsaw, can prove helpful in the study of art collections. The methodology for researching historical book collections was used to reconstruct and describe the library. These inquiries resulted in more than 165 titles being determined, which originally belonging to Grohman and covered oriental and European arts and crafts, as well as graphic and drawing arts (about 60). These included monographs, albums, and critical catalogues, exhibition and antiquarian nature, published mainly in Western Europe before 1914. The collector’s specialized book collection, built up on an ongoing basis, overlapped with his artistic interests and had the character of a utilitarian library. From the point of view of the study of graphic collections of the late 19th and early 20th centuries, the reference libraries of their creators seem to be of particular importance. In times when taste no longer sufficed to create a valuable collection, and quality and rarity became the main criteria for selecting graphic works, specialized literature on the subject was of help. Created by art historians, collection curators, art market experts, and also private collectors, it introduced the nuanced world of graphic arts. It provided a tool to help identify a print, determine its state, edition and quality, and thus determine the value of a given work. The preserved publications from Grohman’s library were therefore regarded as sources of specialized knowledge that the collector could not acquire either during his education or in his native environment. Three publications have been analysed in detail in the context of Grohman’s graphic arts collection: the series Le peintre-graveur illustré by Loys Delteil (1906–1926), the two-volume catalogue of Jean-Louis Forain’s lithographs and etchings by Marcel Guérin (1910, 1912), and the album devoted to the engravings of Fank Bangwyn prepared by Frank Newbolt (1908). These are publications reflecting the thriving activity of the circle of print enthusiasts of the late 19th and early 20th centuries, which had a significant impact on the dissemination of knowledge about this field of art. The series of relationships revealed between the collection of prints and drawings and the reference library significantly expanded the knowledge on its creator and how the collection was formed. It made it possible to appreciate the collector’s expertise and artistic taste, to observe how his awareness grew, influencing decisions on subsequent purchases, and also to detail the provenance of certain works. Thanks to the research field being expanded to include Grohman’s library, the findings on his graphic collection have become more complete and reliable.

Decolonizing African (hi)stories through visual arts: African contemporary art as a way of looking back and moving ahead

AbstractConsidered for a long time by the art world as “primitive,” African art has always been used by Africans as a way of telling the story of their time, of establishing a connection between the visible and the invisible, the here and the hereafter. With colonization and then Independence, the notion and forms of African art have evolved through complex and diverse encounters with modernity to a contemporary art form that reflects the multiple identities of the continent and its diasporas. While the notion of modern art was initially strongly influenced by the West, as evidenced by the first schools of arts established on the continent, it gradually asserted its place and identity as both universal and specific to the continent and its history. This (r)evolution is taking place through two parallel movements, both within and outside Africa, supported by the organization of major international and regional events and the establishment of dedicated art spaces in Africa and globally.

Poetics of the northern space in poems by А. A. Bestuzhev-Marlinsky

The relevance of the topic is dictated by the fact that the problem of the northern space in the poems by A. A. Bestuzhev, written during the period of exile in Yakutsk, has almost not been considered. The subject of interest of researchers, both Yakut and Russian, has become the prose works and lyric-epic poems of the writer. Meanwhile, it is the small forms of the Decembrist poet’s lyrics that demonstrate the beginning of the formation of the sacred image of Yakutia in Russian literature. The purpose of the article is to consider the poetics of the northern space in the poems by A. A. Bestuzhev-Marlinsky. The northern locus becomes the spatial point at which the lyrical hero opens up the prospect of mythological otherness. A textual analysis for the purpose of studying the poetics of’ lyrics by A. A. Bestuzhev-Marlinsky allows us to write out a system of images in the author’s artistic picture of the world, which are determined both by the worldview and the worldview of the romantic poet. The poet uses a variety of techniques as tools for creating a system of images: from tropes to the author’s words. The specific combination of the categories of time and space, subordinated to the main motives of the author’s poetic works, is also of considerable importance. This work examines not only how the means of artistic expression convey a picture of the poetic world of the lyrical hero, but also form the attribution of northern spaces. Northern spaces, through the prism of romanticism, represent an ideal situation in which the category of home is most often conveyed through the categories of memories or dreams. It is through the contrast of the topoi of the house and the North that the final picture of the surrounding world is built, within which the lyrical hero finds himself. Also in the poet’s artistic world, one can trace the difference between external (real) and internal (perceptual) space. However, in this case, the space of reality often merges with the pictures of introspection, blurring the boundaries between the external and the internal. Associations that endow the ideal inner world of the lyrical hero with real pictures of nature (the space of the North) perform the function of achieving harmony between the internal and external spaces.

THE VARIETY OF «POSSIBLE WORLDS» AS THE MAIN SOCIO-PSYCHOLOGICAL FEATURE OF MODERN YOUTH SOCIALIZATION

Centre for System Analysis and Strategic Research, National Academy of Sciences of Belarus The article deals with the actual problem of socialization of modern youth from the point of view of such a socio-psychological feature as the presence of «possible worlds» affecting young people.The life world of a modern young person is formed in the conditions of the existing variety of «possible worlds», each of which has one or another influence on the socialization of young people. The purpose of the study is to build the initial typology of such «possible worlds». The author of the article gives numerous interpretations of scientists from various fields of knowledge about the artistic world, the external and internal worlds, about the virtual and real, about the world of models and simulacra, and many others. A multidimensional picture of the worlds surrounding modern youth is being created and providing ample opportunities for the realization of creative abilities, the accumulation of knowledge, the mastery of various skills and abilities, the formation of competencies. The socio-psychological conditions of socialization provided by modernity are designed to create a versatile, creative personality capable of adapting to the rapidly changing conditions of modern society.

The role of urban space in А. Ilichevsky's novel "Newton's drawing"

This article is devoted to the study of the urban space features in the modern novel. The purpose of the study is to analyze the spatial-temporal organization of the work artistic world and its role in the study of the subject sphere poetics of Alexander Ilichevsky. The subject of the study is the urban space in the novel "Newton's Drawing" as an extra-project form of expression of the author's consciousness. It is created from architectural dominants, the microcosm of everyday space and the macrocosm of the city, which interact with each other.Space is a dynamic model of interaction between the author, the hero and the reader. The change of space in the novel reflects the internal changes of the characters, indicates their causes and main features.The opposition of the urban and non-urban spaces becomes important for understanding the author's thought underlying the integrity of his artistic world. The hero at the stage of maturity feels the need for solitude and runs away from people, having a mental dialogue with his father and trying to follow his routes, he finds his own way. And this is reflected in the dynamic picture of changing spaces in the novel.

The Janus Face of Polish Cultural Diplomacy in Paris during the Khrushchev Thaw

The Khrushchev Thaw allowed Poland a slightly larger margin of freedom in its cultural exchange with Western Europe than it had since the end of the Second World War. In this newly relaxed political climate, two models of Polish cultural diplomacy emerged in the West. The first constituted the official foreign policy of Poland’s communist authorities, while the other remained unofficial, relying on a network of contacts with Poland’s government-in-exile. An examination of contemporary Polish art exhibited in Paris during the 1950s and 1960s reveals this dichotomy. The first type of cultural patronage was coordinated in Paris by communist representatives of the Polish Embassy. The second emerged in Paris within Polish political émigré circles. Its key proponents were the Literary Institute (Instytut Literacki), including the intellectual and artistic milieu of the monthly journal Kultura (“Polish-based Culture”) and the Lambert Gallery (Galeria Lambert). State foreign policy, funded by the state budget and anchored in agreements between Poland and France on cultural cooperation determined the former, while the latter constituted an oppositional stance against the Eastern Bloc, deriving its strength from the resolve of Polish political émigré circles, their extensive network of sympathetic foreign contacts, and an understanding of the mechanics of the art market. The communist model sought to build a friendly image of Polish culture despite the apparent ideological rift between Eastern and Western Europe. The émigré approach stemmed from a refusal to accept the political division of Europe and involved searching the world of art for evidence of forces in Poland that opposed the political status quo. Finally, the patronage model adopted by communist authorities followed the state-imposed policy of favoring figurative art over Polish abstract art, whereas the model championed by émigré circles pursued the opposite strategy. It showcased unrestrained, spontaneous, and mostly abstract art. It evidenced an affinity for international trends in the art of the time, including abstract expressionism and, in particular, Parisian Art Informel. How can these two strands of cultural diplomacy co-exist? Which resonated more with international audiences?

The concept of <i>family</i> as a key concept of the artistic world of K. G. Karnyshev

The concepts that are understood as structural units of human consciousness that store a set of knowledge, primarily about the phenomena of the surrounding world that have accompanied a person since ancient times and are part of the national culture, are of the greatest interest for modern humanitarian research. That is, it is a multicomponent mental entity, which is the result of reflecting the real world in a person's consciousness in the context of ethno- and socio-cultural specifics. The aim of the work is to study the features of the artistic embodiment of the primary concept of family in the prose of K. G. Karnyshev. The aim of the work is to study the features of the artistic embodiment of the primary concept of family in the prose of K. G. Karnyshev. Achieving this goal involves solving the following tasks: 1) consideration of the concept of "concept" in the humanities; 2) study of the implementation of the concept of family in the Russian literature of the 20th century; 3) definition of the components of the basic concept of family; 4) study of the conceptualization of family relations in the prose of K. Karnyshev; 5) analysis of the central secondary concept of the house; 6) identification of the features of the embodiment of the secondary concept of the genus. Procedure and methods. The paper uses problem-thematic (analysis of the themes and issues of the writer's works, taking into account the peculiarities of their worldview), historical and literary (the study of the writer's creativity in the context of the historical process), conceptual and cultural methods. Results. The analysis showed that the "Family" in K. G. Karnyshev's prose is the basis of human life, it is in the family that the system of values and life attitudes is determined. Considering interpersonal relationships in the family, the author speaks bitterly about the loss of a kindred spiritual connection between close people. Frames are being erased, stereotypes are being destroyed – the traditional concept of family is being destroyed. But for K. Karnyshev, it is still the family that is a necessary condition for the formation of a person's personality; moral foundations are laid in the family. Research implications. The work of K. Karnyshev provides rich material for studying the history, culture and life of the region. The themes and problems that the author solves in his works remain relevant and interesting, since literature is a reflection of life.

“HOROSHI HLOPTSI FINISHUYUT PERSHYMY”: INTERTEXTUAL AND INTERMEDIAL PECULIARITIES OF NARRATIVE POETRY OF LYUBOMYR SERNYAK

The article – in fact – is an attempt to analyze intertextual and intermedialpeculiarities of the edition “Horoshi Hloptsi Finishuyut Pershymy” by Lyubomyr Sernyak (2018). The edition is considered to be a unique example of contemporary artistic artefact, which consists of narrative poetry (verbal component) and illustrations / cover (graphic component) by means of which the textual field is extended, as graphic decoration of the edition, obviously, repeats, strengthens and broadens the margins of senses and artistic world of the poems. By the way, the research focuses on the fact that the urban space plays an important role (especially – subway topos) as it deals not only with the setting of the book but it influences its architectonics, even more profoundly – it creates a cultural context of the edition as a whole artistic artefact. It is stressed that the study deals with a contemporary narrative poetry, plainly, story as a “trip” with its own system of characters and plot on the pages of a fore-mentioned poetry edition. It is highlighted that intertextual and intemedial dimensions of the edition are so closely connected that it can be stated that it may be called the diffusion of intertextual and intermedial features and connections of the edition. The intertext is represented both in verbal and graphical layers of the texts: personality-references or graphic artefacts sometimes become quasi-characters of the edition with their unique “voice” and features in imaginary and expressive levels of the text. As for literary intertext, it is broad: mostly it deals with Ukrainian futurism, the writers of the period of the Lost Generation, Franz Kafka and the others. In spite of just literary references the poems of the edition “Horoshi Hloptsi Finishuyut Pershymy” are filled with the allusions to fine art (“Lovers” Rene Magritt, “Guernica” Pablo Picasso), poster art (American poster art of the mid-XXth century), music (jazz and John Cage), games (Super Mario), performances (sport shows, John Cage) etc. Actually, all of these peculiarities create a cultural context of the narrative poetry of Lyubomyr Sernyak, that is the mixture of mass and elite culture, blurring their borders. It is remarkable that frequently the references are duplicated, or the allusion is double, not only referring to an exact text or to the author, but both of them. Some of the artistic artefacts are stressed and pointed out several times in the texts of different poems throughout the book. The specific of these intertextual-intermedial connections is the central problem of this short research.

From Tradition to Diversity, Innovation, and Breakthrough: Key Conversations on Dance Therapy Around the World

In the World Arts & Embodiment Forum 2023, a key conversation was held with an international panel. This panel convened 16 international experts in dance and movement therapy to discuss their personal contributions to the field’s development in their respective countries. The aim was to create a space for sharing experiences and knowledge paradigms, embracing the diversity of emerging forms. Encouraging a creative environment, the panel fosters open dialogue to support the uniqueness of approaches and experiences. These presentation summaries have, in some instances, been edited for publication. These discussions provide insight into the profession’s evolution in a diverse world, fostering a collective understanding of key developments. The panel reflects a spirit of global collaboration and consolidation.

«Bleuet» by the Guillaum Apolliner`S poem: the first war song by Francis Poulenc

Relevance of the study. The vocal miniature Bleuet is one of the pearls of Poulenc's chamber and vocal work. This is evidenced by its numerous performances at concerts dedicated to the remembrance of those killed in the First World War. However, even on the pages of the fundamental monographs of the leading European researchers of Poulenc's work, this opus is given literally a few lines, and it’s absolutely absent in the Ukrainian musicological space. The lack of research on the vocal miniature Bleuet, its indisputable importance for a deeper understanding of the whole artistic world of Francis Poulenc, as well as the exceptional topicality of the subject of this mélodie in the modern Ukrainian context determine the relevance of its research.
 The main objective of the study is to reveal the specificity of Francis Poulenc's creative awareness of the war’s subject through Guillaume Apollinaire's poetry in mélodie Bleuet ("Cornflower").
 The scientific novelty is determined by the fact that Francis Poulenc's chamber-vocal miniature Bleuet by the Guillaume Apollinaire’s words is being investigated in Ukrainian musicology for the first time.
 The methodology of the article is based on historical, biographical, phenomenological and genre-stylistic research methods of analysis.
 Results / findings and conclusions. Bleuet (1939) is one of the most inspired mélodies in the work by Francis Poulenc. A moving epitaph to a young recruit, imbued with a sense of humility and tenderness, it’s the first creative realization by the compositor of the Second World War’s tragedy. This miniature appears in the same row as the great compositor's monumental works, which reflect his spiritual search and are an echo of the deep religious consciousness. Patriotism is interpreted through the sacredness of the sacrifice of a young man who "knows death better than life." The lyricism that permeates the mélodie is extremely intimate in its essence.
 To some extent, the autobiographical nature of the recruit's image (due to the events of the First World War in the life of the composer) is significantly strengthened by the commonality of the situation's archetype with Blanche de la Force (the main character of the opera Dialogues of the Carmelites), with whom Francis Poulenc personified himself while working on the opera. This proves that Poulenc never sought to separate his creativity from his own “I”.
 Regardless of the specifics of the chamber genre mélodie and the brevity of Bleuet (54 measures), due to the multi-layered and meaningful poetry by Guillaume Apollinaire, Francis Poulenc's miniature impresses with its depth, semantic polyphony, a kind of "crucifixion" between the verbal series and the musical text.

Pelatihan Alat Musik Drum Band Untuk Menambah Kreatifitas dan Disiplin Pada Siswa SDN Pragaan Laok I Kecamatan Pragaan Kabupaten Sumenep

Marching Band or Drum Band refers to a group of people who play one or several songs using a number of combinations of musical instruments (wind, percussion, and a number of pit instruments) together. SDN Pragaan Laok I Marching Band Team was formed based on the Decree of the Principal of SDN Pragaan Laok I on July 22 2023 regarding the inauguration of extra-curricular members of the Marching Band.The partner's problem is the lack of extra-curricular deumband trainers, which makes the students (Gita Eka Praga Drumband Players) get less motivated to practice drumband musical instruments and causes a lack of discipline in following and undergoing extra-curricular drumband training. Based on the partner problems, researchers or providers create several questions or questionnaires which related to the causes of lack of discipline among Pragaan Laok I Elementary School students in participating of extracurricular drum band training and do the training in an ccording to the practice schedule so that they can provide solutions in increasing creativity and discipline for students in art world..

Natives of Ethnic Ukrainian Lands at the Venice Biennale: Louise Nevelson

The purpose of the article is to study the peculiarities of the presentation in the projects of the Venice Biennale of 1962 and 2022 of the works of the outstanding American sculptor, assemblage master, L. Nevelson (1899-1988), a native of Pereiaslav, Kyiv region, to consider the specifics of the artist's creative biography from the point of view of the influence of various sociocultural factors on her professional progress. Research methodology. Achieving the goal of the research ensured the application of a set of such methods as art criticism, biographical, historical, and among general scientific methods – observation, generalisation, analysis and synthesis. Scientific novelty. The issue of presentation of L. Nevelson's works in the projects of the Venice Biennale was not previously considered separately in the scientific literature. For the first time, a review and generalisation of three art projects of different years, which exhibited the sculptor's artistic works as part of an international art exhibition, was carried out. Conclusions. The article expands knowledge about the artistic heritage of a prominent artist, introduces her name into the Ukrainian cultural context, emphasising the significance of the sculptor's work for modern world art and culture. L. Nevelson's works presented at the Venice Biennale characterise her as an extraordinary artist, the progenitor of the idea of installation in American art. Her work is not limited to this format, but it is the monumental monochrome assemblages immersed in the plane that brought her true fame. In American art circles, L. Nevelson was as famous as Andy Warhol, she made an important step in the history of art, which due to eternal sexism, when women artists were not taken seriously, did not receive due recognition. Keywords: Louise Nevelson, Venice Biennale, exhibition, contemporary art, sculpture, installation, assemblage, intercultural dialogue.

SLOW READING AS A METHOD FOR REVEALING IMPLICIT MEANINGS IN THE LITERARY WORK

SLOW READING AS A METHOD FOR REVEALING IMPLICIT MEANINGS IN THE LITERARY WORK

SHARED PAIN, THE WAR AND IDENTITY: PECULIARITIES OF UKRAINIAN LITERARY METAMODERNISM

This article examines specific manifestations of the metamodern structure of feeling and features of metamodern poetics represented in contemporary Ukrainian literature, as well as the influence of the state of war, in which Ukraine has been involved since 2014, on the perception of the universal aesthetic characteristics of metamodernism in the national artistic discourse.The global phenomenon of metamodernism is considered in the article in its connections with the previous modernist and postmodern traditions and in the context of the political and cultural processes of the end of the 20th — beginning of the 21th centuries. While scrutinizing Ukrainian fictional works, we referred to the main contemporary research on metamodernism, post-posmodernism, metamodern structure of feeling, and metamodernist aesthetics but the basis of the literary analysis of Ukrainian texts included mainly the studies by Timotheus Vermeulen and Robin van den Akker, Alison Gibbons, Seth Abramson, and Greg Dember. On the basis of their research the specific set of traits of the Ukrainian literary metamodernism was developed, including oscillation, hyper-self-reflexivity, open potentiality as a spatiotemporal characteristic of the artistic worlds, eccentricity of characters («quirky»), ironesty, return of metanarratives (notably, metanarrative of the Ukrainian national identity), attention to influence of media on the identity shaping, imitation of the formal features of postmodernism, the cultivation of immersion in someone else’s felt experience (a «need for a we»), adherence to the ideas of transhumanism and the Anthropocene, cautious optimism and normcore. Despite the unique historical background of the formation of Ukrainian metamodernism (in particular, the persistent attempts of re-colonization of Ukraine by russia during the period of the State Independence, three revolutions and the current war), the key features of this phenomenon in Ukrainian literature are considered to be a «need for a we», hyper-selfreflexivity, and awareness of the importance of a person’s connection with the community.

If Looks Could Quill

Porcupine quillwork has long been practiced as a form of self-adornment by the Mi’kmaq peoples. The Mi’kmaq peoples reside on the unceded territory of Mi’kma’ki, the region spanning across what is now known as Nova Scotia, New Brunswick, and Prince Edward Island, as well as parts of Québec, Newfoundland, and Maine. Following the arrival of colonial settlers, this decorative art form was redirected toward the production of souvenirs and became a highly tradable commodity, appearing on household objects such as chair backs, straight razor covers, and, most commonly, trinket boxes. Thanks to the tireless efforts of several Mi’kmaq artists, quillwork has been revitalized and reimagined, thus affirming its place within the contemporary art world.