Creative Searches Research Articles

Г.Г. Махов — видатний український учений у галузі агроґрунтознавства, організатор сільськогосподарської дослідної справи (1886–1952)

Goal. To reveal the milestones of life and creative path, generalize the main scientific achievements of the talented scientist in the field of agricultural science, one of the founders of reclaimed soil science, the organizer of the domestic branch research, and the highest professional education in Ukraine G.G. Mahov. Methods. General scientific — analysis, synthesis, classification; historical — problematic, comparative historical, retrospective, biographical. Results. The contribution is highlighted of the scientist in the formation of leading scientific research institutions on soil science and agricultural melioration, soil science, as a mandatory discipline based on institutions of higher agricultural education in Ukraine and the world. The creative searches of G.G. Makhov are revealed, the author of the first in the state textbook “Soil Science” and training manual “Soils of Ukraine”, to popularize branch achievements as a member of the editorial board of the journal “Soil Science”, the organizer of the First Congress of Soil Science of Ukraine, Director of the Agricultural Museum. Conclusions. The scientific heritage of the scientist is systematized in the following directions: agronomic and meliorative soil science, soil degeneration problems, forest plantation in the steppes, struggle against drought, soil erosion, fertilizer and soil cultivation systems, their influence on the agrophysical properties of the soil. As the priority development G.G. Mahov considered the first detailed map of Ukraine’s soils on a new morphologic-genetic basis, as well as the first map of soil erosion.

Lesya Ukrainka’s creativity in the aesthetic parameters of modern national puppet theatre

Problem statement: topicality, novelty, methodology of the research. The logical grounds of this article are a requirement of the scientific understanding of specific of Lesya Ukrainka’s work in the national puppet theatre and absence of articles from the marked question. Based on the comparative, diachronicsynchronic, historical, evolutional methods and principles of analytical and culturological approaches, the aim of the article – creation of panorama of the works by Lesya Ukrainka in the Ukrainian puppet theatre of last XX – early XXI century, with the exposure of specific of their interpretations, – is realized as an innovative element of the reseach. The results of the study. Lesya Ukrainka’s work, as a representation of the Ukrainian culture polyphony and Ukrainian nation’s mental horizons specificity, purchased sign status and meaningfulness of the modern scale conceptual, vivid, thematic and expression field for the intensive creative searches of modern representatives of national puppet theatre. Meaningfulness of the creative inheritance by Lesya Ukrainka in the context of the Ukrainian puppet theatre is certified by it representation on the All-Ukrainian festivals, and also activation of it introducing to the modern repertoire of puppet theatre. Research of aesthetic parameters of the specific versions of Lesya Ukrainka’s works allows to establish the presence of certain repertoire dominants – such as the “Forest song”; gravitation to implementation of the earlier not typical for the puppet theatre works as the “Old fairy tale”, and the creation of original presentations, such as the “Lesya Ukrainka. Woman fate”, “Lesya’s letters” (in particular, on the base of epistolary inheritance by authoress). The specifics of embodiment of Lesya Ukrainka’s works in the Ukrainian puppet theatre of last XX – early XX century lays in their inter-textual modification, gravitation to creation of associative artistic space and to use the unconventional systems of dolls (plane- silhouette paper doll in presentation the “Old fairy tale”). In accordance with originality of conceptual foundation of Lesya Ukrainka’s works – drama of ideas – the modern stage directors appeal to the dramaturgical type that marked by secondariness of eventfulness relatively to poetics based on updating of palette of facilities of expressiveness and ideological concepts. Such innovations in “re-reading” of works by the authoress is a dialogue of doll and living acting, that creates two dimensions in development of action (“Stone Lord”, “Forest song”), the symbolic manipulations with the piece of paper (“Lesya’s letters”), creation of synthetic artistic space of the spectacle, that combine light, color, elements of shadows theatre and theatre of reader, living acting, work with the dolls of different constructions and like other, and also intention to the conscious limiting of facilities of expressiveness (monochrome and maximum narrowing space of scenic action in interpretation of the“Forest song”). An innovative touch in the puppet versions of Lesya Ukrainka’s works is the accentuation of mental markers of the national worldview, saturation with the national attributes and folk rites, which to the attraction of contemporary artists to revive the sources of national spiritual culture. In the pluralism of puppet representations, Lesya Ukrainka’s work is marked by a general tendency to philosophical and innovative affirmation of the national foundations of the worldview and the creation of a synthetic artistic space. Conclusion. Lesya Ukrainka’s work is an open and inexhaustible thematic line for the modern national puppet theatre not only due to the lack of an established tradition of its embodiment. Philosophical, symbolic, appealed to the foundations of the national worldview the contents of her work and unbreakable connection of it with world art culture – the attributive features of the creative world of the writer, which determine its timeless relevance for contemporary artists, the conceptual and expressive diversity of its interpretations.

Подходы китайских композиторов Хуан Цзы и Хэ Лутина к проблеме синтеза западной и китайской музыкальных традиций

The paper aims to reveal approaches of the Chinese composers Huang Tzu and He Luting to the problem of synthesis of the western and Chinese musical traditions. The researcher analyses foundation of the artists’ creative searches. Scientific originality of the study involves identifying historiographical and structural models of their creativity. The conducted research allows drawing the following conclusions: 1) the new Chinese music contains an artistic image, i.e. philosophical and aesthetical components of the Chinese culture, both ancient (imperial) and national (basically peasant); 2) the West-European tradition encompasses a wide range of expressive means, which makes it possible to create typically Chinese compositions; it conditions the necessity to study them as the means expressing artistic images of the Chinese culture.

Trans‑Image in Viktor Sidorenko’ Creative Work

The aim of the article is to investigate the transformation of the image as a morphological unit of modern visual art on the example of the creative work of a Ukrainian artist and researcher of modern visual art Viktor Sidorenko. The research methodology is based on the methods developed in the works of J. Landsdown and S. Schofield, S. Yerokhin and others. The paper presents an attempt to study a new type of image – post-post-classical image, which has an ontologically transgressive character. The research has important implications for understanding the modern morphological changes in the visual sphere, the instrumental system of these changes that ensures the presence of its two mutually antithetical trends: transgressive and synergetic. The author analyzes the publications in which the link between the morphology of the visual sphere and the latest developments in the creation of visual space are explored. The choice of Victor Sidorenko’s creative work as a research material is not accidental. It is in the work of this artist that the genesis of the modern post-post-classical image and the transformation of its space as polymorphic can be clearly traced. The attraction to photographicity on the one hand, and author coding, on the other, becomes an ontological feature of V. Sidorenko’s authorial construction of pictorial space and in further creative searches. A certain culmination of this stage in the artist’s visual work is the already famous full‑scale visual project “The Mill of Time” (2003). It is in this project that V. Sidorenko creates a trans‑image as a space of a new type, in which photography, installation, painting, living objects and video projection create a post-classical type of image. The paper considers Victor Sidorenko’s creative work as a vivid example of the genesis of the image, whose ontological feature is its transgressive character. This is an image of the post-post-classical type, whose pictorial space can consist of classical, non‑classical and post-classical images. At the present stage, there have been changes in the strategies of representation of the trans‑image as such. The main strategy of its representation is a polymorphic visual project, which synergistically combines different types of images, bringing their semantic content beyond a stable visual form.

Аргентинская литература по обе стороны океана: Х. Кортасар и М. Пуиг

The article analyzes and compares two Argentine novels of the mid-twentieth century, Rayuela (Hopscotch), 1963, by Julio Cortázar and Traición de Rita Hayworth (Betrayed by Rita Hayworth), 1968, by Manuel Puig. The writers are similar in their innovativeness, a thirst for experimentation. Both of them mainly worked outside Argentina, which also influenced the poetics of the novels. The parallelism between the creative searches and the life situations provides a basis for comparing these Latin American authors. We show that that J. Cortázar creates a complex intellectual work. Together with the heroes, the author reflects on the future of the novel as a genre and the possibility of creating an antinovel, while at the same time embodying some of the ideas of the Nouveau Roman writers (N. Sarrott, A. Robbe-Grillet, etc.) in practice: he destroys the usual forms of narration and involves the reader in the process of the novel-creation. M. Puig turns to pop art and mass culture. Following the Nouveau Roman writers, he discards the plot and the main character. On the pages of the novel, Puig captures the image of a typical provincial town with the precision of a movie camera; remaining ‘behind the lens’, he ‘disappears’ from the narrative and allows the characters to tell the story themselves. The article concludes that both novels are complex postmodern works in which the influence of deconstructivism and poststructuralism is obvious. J. Cortázar and M. Puig adhere to different approaches to the novel, but both strive to find new forms of narration, to take a different look at the novel as a genre, which indicates a certain unity of Argentine literature created outside Argentina.

Dialogue on the turns. Vasily Surikov and “modernism”: relationship сonflict

The article deals with the peculiarities of the dialogue which occurred at the turn of the 19th century between the creative searches of Surikov and the newest modernist trends in Russia: from Symbolism of the artists of the World of Art (known in Russian as Mir Iskusstva) group and the Blue Rose (Golubaya Roza) circle to the different stages of the Russian avant-garde – from the Jack of Diamonds (Bubnovy Valet) to Suprematism. The composition of the study is based on the counterpoint of two questions – how Surikov perceived “modernism” and how “modernism” perceived Surikov. The concept of “modernism” in this case is interpreted in the extended sense of the creative search to the early 20th century for unconventional art of magical and plastic means of expression that went beyond the limits of the Itinerant (Рeredvizhniki) Movement’s realism. The collision of relationships is viewed through the prism of the stable plastic and emotional features of the artistic poetics of Surikov himself. That is why the author touches the issues of the artists’s personal understanding of the nature of art and the problems of innovation, which worried him until the end of his life and found expression in the decorative, lyrical and expressive features of the late creative period.

«МОЯ ПРАВДА, ПРАВДА ВСЕГО МОЕГО СУЩЕСТВА…» : САМОСОЗНАНИЕ М. ЦВЕТАЕВОЙ В ПИСЬМАХ К А. ТЕСКОВОЙ

The object of the article: letters from M. Tsvetaeva to A. Teskova (1922 - 1939) as documents of his personal biography, past events, which became a reflection of creative searches and reveal the innermost essence of the poet. The subject of the article: M. Tsvetaeva's self-consciousness and world perception in the emigrant period, which represent the life of the Poet's Soul as much as possible. The article is devoted to the consideration of reflection in the act of writing, deepening loneliness, and a break with the reader. The task is to analyze the letters of M. Tsvetaeva to A. Teskovoy as a literary text, the internal space of which is united by the translation of spiritual unity with a pen pal, to identify semantic dominants. Research methodology: a holistic analysis of letters in the light of the reflection of the methodology of poetic thinking involves an appeal to the structural-semiotic and biographical methods of research. Results: autobiographical episodes in the assessment of reflective self-consciousness are considered. Scope of application of the results: literary studies.

ІННОВАЦІЙНА МЕТОДИЧНА ДІЯЛЬНІСТЬ ЯК ОСНОВА РОЗВИТКУ ТВОРЧОГО ПОТЕНЦІАЛУ МАЙБУТНЬОГО ВЧИТЕЛЯ МУЗИЧНОГО МИСТЕЦТВА

Education modernization in the process of intensive development of society in the country is aimed at nurturing each person’s inner need to generate and implement innovative ideas. Therefore, one of the main objectives in organizing academic and methodological work of a future music teacher is to develop a highly qualified, competent, competitive specialist, without whom it would be impossible to modernize education in Ukraine. In the current context, the professional competence of a teacher, their ability to learn constantly, their desire for self-improvement and self-actualization come to the fore. A future music teacher must be a person educated in culture, pedagogy, psychology and specific methods. Without this knowledge, a teacher loses their professional qualities, the main ones being the capability to pedagogical creativity, academic, methodological and experimental work, and interest in improving their skills. The use of innovative approaches to the organization of academic and methodological work is an important factor in stepping-up those processes. Currently, there is significant interest in the issue of developing the creative potential of students of various majors, including those related to the training of future music teachers, who will carry out the process of music education for schoolchildren in the future. Artistic innovative activity does not only reflect the specifics of updating the traditional education system through rationalization, introduction of innovative experience, or modernization, but also presents an individual creative style of a future music teacher. An important condition of this process is the optimal combination of external factors and the system of internal personal transformations, which allows students to become subjects of self-development, to achieve a certain level of personal and professional orientation from the moment of awareness of their abilities and opportunities in artistic activities. The need for a creative solution to life’s tasks is endless, it constantly motivates a person to search, and the successful, productive completion of creative searches causes satisfaction and a new wave of the need to test yourself in solving life’s tasks creatively, and to find self-fulfillment.

Artistic and stylistic features of creative searches of masters of Kosovo painted ceramics

Artistic and stylistic features of creative searches of masters of Kosovo painted ceramics

Интервью с Ваней Ангеловой

The interview with Vania Angelova is devoted to the topic of multipotentials – versatile gifted people. By her own example, the Bulgarian researcher tells how she took part in the different projects as a writer, philologist, poetess, journalist and in many other guises. At the same time, such versatility is not a burden for her – on the contrary, the participation in different projects and the performance of various social roles allow her to reveal more deeply and fully each of them, stimulates new creative searches. What for the older generations was the result of overwhelming or unique personality is increasingly becoming a widespread norm, a way of life for the younger generation. This allows us to speak now of the new generation as a generation of multipotentials, whereas earlier it was possible to observe only extremely rare phenomena of multipotentials on the example of individuals. Vania Angelova believes that the formation of a person as a multipotential begins in early childhood, therefore it is extremely important to educate children that will enable them to develop as multipotentials. Vania Angelova critically assesses the onset of modern digital culture, its dominance, and encourages young people to turn to books and not limit their world to digital technologies. At the same time, the Internet, social networks, online classes can partially compensate for the lack of communication in emergency situations, such as a pandemic and the accompanying lockdowns. Also, digital communications contribute to the establishment of international contacts – the implementation of both scientific and other creative projects. However, any successful projects are based on live human communication – it is this that reveals the personality as a multipotential. Therefore, personal communication is especially important in the field of education.

TRADITIONS BACKGROUND IN THE UKRAINIAN PROFESSIONAL THEATRE (THROUGH OUTSTANDING THEATRE ARTISTS’ WORK)

The purpose of the article is to analyse the continuity of traditions in the Ukrainian drama theatre, its signs in the work of outstanding theatre artists and the study of artistic phenomena that reflect the national heritage of theatre culture in Ukraine. With this objective in view, and to justify the need for a combination of skill, innovation and tradition for updating the culture of society, we have used methods of analysis and synthesis, an interdisciplinary approach and the principle of historicism. The scientific novelty lies in the fact that the development of the national Theatre is analysed taking into account cultural traditions, their influence on the work of leading theatre figures, and the main principles and traditions of the performing arts. Conclusions. We have found out that Ukrainian artists, despite the Imperial pressure, in the 80-90s of the 19th century got an opportunity to stage performances in the Ukrainian language, although with certain restrictions, and subsequently organise the Coryphee Theatre. Since that period the national tradition had been developed in professional Theatre. We can state that for the support of Maria Zankovetska and the activities of Hnat Khotkevych, the Hutsul theatre of folk art and a combination of cultural traditions with the theatrical art of that time was founded. It is shown that the success of creative searches and experiments of stage figures of the 1920–1930s, which is evident in the activities of Les Kurbas and Hnat Yura and defined as a new chapter in the development of the Ukrainian drama theatre that took place as a result of the synthesis of the tradition of Coryphee Theatre stage school with innovative methods and acting skills. In the future, Serhii Danchenko was able to take the national theatre art to a new level. Particular attention should be paid to Bohdan Stupka’s experimental search. He founded a Theatre in the Foyer, and later a Chamber stage at the Ivan Franko National Academic Drama Theatre, which created new hottest features for communication with the audience, helped to reach the potential of the so-called “small stage”. The plot and sense-creative series tend more towards poetic utterance. It is proved that only a combination of skill, innovation and tradition can provide a high-quality result for performances are filled with deep meaning, awaken thought, emotionally unite the audience, vibrant and exciting to watch. Introduction of new elements gives an impetus to the development of Ukrainian theatre and updates the culture of society.

A PSYCHOLOGICAL DEVELOPMENTAL INTERACTION DURING EDUCATION AND ITS CONCEPTUAL BASES

The article substantiates theoretically and methodologically the conceptual foundations of psychological developing interactions between participants of the educational process at higher school. The authors, within the life-cultural paradigm characterizing the normative worldview and socio-psychological contexts of specific-research work organization, reveal the main issues of psychological-developing interactions at education with the following structurally logical sequence: “a modularly developing learning system as an innovative psychological-social technology for national education humanization - developing interactions as a parity educational activity - classes of socio-psychological impact (cognitive-subjective influence, normative-personal mutual influence, value-individual self-influence, spiritual-universal self-creation) - varieties of the developing interaction content (psychological-pedagogical, educational- subject, methodological, instrumental, managerial- technological) - styles of educational interactions (facilitation, moderation, inhibition) – psychological didactical tools for educational interactions - psychological-art techniques for interpersonal interactions”. The authors defend the thesis that the most promising technology for national education humanization is a developing learning system with modules, based conceptually on the problem-dialogic form of equal relationship between lecturers and their students. In these circumstances, the central link of the innovative educational process is not so much the training content but continuous developing interactions between lecturers and their students and the new educational ethics - parity educational co-activities. Thus, the professional work of all educational participants is provided by taking into account the psychological-pedagogical content of the various stages of a holistic modular development cycle; relevant interpersonal relationships are filled with life-cultural content; and learning stipulates creative searches, rule-making, mental modeling of life situations, moral choice strategies, reasoned defended of one’s own position, one’s own ideals and values. These developing interactions is oriented towards the parity cultural-creative work of lecturers and their students, when subjective, personal, individualistic and universal activities prevail alternately to establish equal partnership relations with open developmental dialogues as their essential characteristic. Such  dialogues play an important role for the formation of educational multi-motivation, thus students’ desires and motivational aspects are regulated and their internal desire to acquire, rethink, enrich and disseminate the best ethnic-national experience, to self-improvement and positive self-concept development  is awakened.  

ЦВЕТ КАК ВАЖНЕЙШЕЕ СРЕДСТВО ПРЕОДОЛЕНИЯ ПАРАДИГМАЛЬНЫХ ИЗМЕРЕНИЙ В ОБЩЕНИИ ДИЗАЙНЕРА И ПОТРЕБИТЕЛЯ

В статье рассматриваются принципы гармонизации цветов и закономерности их комбинаций в аспекте экологического подхода в дизайне среды. Экологический подход к проектированию представляет собой определенный срез мыслей и образ действий, задающий ориентацию проектной деятельности.
 Экологический и художественно-образные аспекты, используемые с целью обогащения возможностей дизайнерского творчества, являются важнейшими компонентами синтетического проектного мышления. Создание специальных эвристических методов проектирования на основе раскрытия синтетического характера проектного мышления позволяет использование природной экосистемы для создания целостности объекта дизайна. Популярность данного метода при проектировании достигается многими факторами, с его помощью воссоздается природная, гармоничная среда, которая включает признаки и закономерности цветовых гармоний на основе различных природных биосистем и их воздействие на эмоциональное состояние человека в общественном интерьере. Современный интерес к цвету почти целиком носит визуально-материальный характер и игнорирует смысловые и духовные переживания. Проектируя общественные пространства нужно учитывать, что дизайн опирается на научное знание, находясь на перекрестке многих дисциплин, он приобщает к ним всех, кто следует его законам и проектирует, соотнося с ними результаты своей деятельности. Экологический подход к проектированию, основанный на когнетивном процессе осмысления природной формы, демонстрирует преодоление парадигмальных измерений при создании дизайна интерьера.
 Когнитивное отношение к природной среде формирует способность человека преобразовывать мир по законам красоты, целесообразности и не отрываться от природных корней, чутко относиться к среде обитания, являться ее неотъемлемой частью. При этом имеется в виду, что указанные установки не отрываются от задач креативных поисков современных инновационных решений. В этом реализуется неисчерпаемый творческий потенциал гармонизирующей проектной деятельности. Проектирование становится экспрессивной, коммуникативной формой истолкования окружающего мира и общества, его ментальной, сенсорной и духовной деятельности.
 Ключевые слова: дизайн интерьера, цветовые отношения, парадигма, проектирование интерьера кафе.

THE IDEA OF VERTICAL ZONING IN TOWN PLANNING CONCEPTS OF THE 1920–1930’s. AND ITS DEVELOPMENT IN MODERN ARCHITECTURE

In the 1920–1930’s in the Soviet Union much attention was paid to urban planning. From the very beginning, it was not only practical work related to solving the social, economic and technical problems of the city. In the process of creative searches, many different town-planning proposals were put forward, designed for a more or less distant perspective. One of the most interesting ideas in the town planning of that period was the idea of vertical zoning. Vertical zoning of the city is associated with the desire to eliminate the intersection of traffic flows and separate transport from pedestrians. In the most noteworthy projects, the houses were raised on pedestals, the intersection of pedestrian boulevards with transport highways took place at different levels. The first tier of urban development was allocated for public and communal institutions, higher residential floors were located. Such a development led to a completely different perception of the city by the townspeople. The houses lost the role of familiar screens, organizing the space of streets or squares. Now the buildings were overhead, and the spatial perspective acquired new opportunities. Such conditions changed the approach to composition of the city, opened new ways of its construction. As the solution to this issue appears the idea of a «top facade», which was to become the main concern of future architects and artists. On simple rectangular volumes standing on the ground of buildings, the upper tier of the city was to be complex in composition and form. It was designed for perception from various kinds of towers and overpasses, with air transport facilities. In this zone were to be located gardens, fountains, attractions, light posters, made in laced metal structures bridges between houses. In the absence of technical capabilities, these plans were not implemented. Despite the fact that the social ideas that fueled the town-planning projects of the 1920–1930’s. Gone, the idea ofvertical zoning proved to be fruitful and promising and developed in the architecture of the ХХ–ХХІ centuries.

Karol Szymanowski and multiculturalism

Karol Szymanowski and multiculturalism

Current trends in directing opera performances

The purpose of the article is to identify trends in the development of 21st-century operadirection in the context of symbiotic processes of theatrical and musical art. Methodology is basedon the use of complex theoretical interaction – systemic (for holistic research of operaperformances as an artistic phenomenon), historical (for analyzing the further development ofoperatic direction), analytical (for researching trends of operatic direction in the context of themodern sociocultural process) and empirical (for purposeful studying object of study) methods.Scientific novelty. The tendencies of the development of modern opera in the context of the specificsof directorial activity have been determined; analyzed the symbiotic processes of theatrical andmusical components of the opera on the example of the productions «Masked Ball» (dir. P. Pizzі, in2014), «La Traviata» (director A. Bernard, 2017), «Aida» by G. Verdi (dir. M. Kavanagh, 2018)and «Tosca» by G. Puccini (dir. A. Talevye, 2018) proved that innovative directorial principles andmethods have a positive effect on the development of performing skills of opera artists.Conclusions. The innovation of opera productions at the present stage is due to the pronouncedindividuality of the direction, the characteristic features of which are: an understanding of theimportance of the creative analysis of the specifics of the modern socio-cultural space; originalartistic thinking, etc. Summarizing the practice of opera and dramatic direction, leading artistscreate new staged culture using the discoveries of modern world theater, preferring the naturalexpression of emotions, reflection and revelation of the spiritual life of a person in performances,since it is the energy component of the play and its spectacle is the key to success with the viewer. The main principle of directorial cooperation with performers is the creation of holistic stageimages due to the accuracy of vocal interpretation and enhancement of acting. The classic legacy ofopera art is currently the basis for innovative creative searches of directors, dominant in which isto preserve the structure of the work as a holistic phenomenon, strengthening the leading role ofmusical dramaturgy, non-standard possibilities of stage decisions, according to the features of themusical score.Key words: opera, musical score, directors, opera performances, conductors, operaperformers.

Проблема духовности в творчестве Абая и Шакарима

The article examines the state and prospects for the development of spirituality in modern Kazakhstani society in the context of the modernization of public consciousness and the spiritual revival of culture. Spirituality as one of the fundamental principles of the socio-cultural code of the people is rooted in the historical past. To master and understand the spiritual culture of modern society and to take a panoramic view of the future, it is necessary to extract from the cultural heritage the meaning-forming socio-cultural spiritual values. Spirituality acts as a moral concept in the philosophical searches of Abai and Shakarim. As you know, the basis of the moral teachings of Abai and Shakrim is the spirituality of the Kazakh people, which is preserved in traditions and customs in oral folk art and the works of thinkers of the Great Steppe. The article emphasizes that spirituality is a kind of measure for defining true humanity, an indicator of the degree of meaningfulness of a person’s being. The whole life of a person in the creative quests of Abai and Shakarim is the process of the birth of a personality, self-improvement of the inner spiritual world. By joining the spiritual, moral experience of other people as well as thinkers of the past, a person realizes his spiritual self-determination in the socio-cultural space of the modern world. The spiritual potential of the creative searches of Abai and Shakarim is relevant and in demand at the present stage of the modernization processes taking place in Kazakhstan.

К ИСТОРИИ ФОРМИРОВАНИЯ ИКОНОГРАФИИ СТАМБУЛА В АЗЕРБАЙДЖАНСКОЙ ЖИВОПИСИ

In the visual arts of Azerbaijan, the formation of the iconography of Istanbul is a multi-level and stage process. Its relevance is due to a number of factors of both the socio-ethnocultural aspect, historicism of relations, and creative searches of a personal nature. The purpose of the study of this article is to identify the context and the main priorities of the formation of the pictorial signature of Istanbul in Russian painting at certain stages of its development. The choice of the iconographic method as the main one made it possible to most clearly trace the specific semantics of the city, and also led to an appeal to the iconology of plots and genres associated with the image of Istanbul. The formation of canonical schemes took place against a complex background of a complex of historical mutual influences of related states, which necessitated the use of the diachronic method as one of the main tools. As a result, a rather capacious empirical base was analyzed, which included works of Azerbaijani painting from successive historical eras. Along with them, the initial base was considered, a series of interviews with the authors of the work was conducted. A generalization of the study was the conclusion that the image of Azerbaijani artistic creative consciousness was gradually formed, starting from the Middle Ages, within the framework of canonical art and against the background of constant close historical contact, which also led to periods of recession (Soviet period) in the development of themes. Stable positions during the new time are traditions of European romanticism, and in particular, Orientalism, reflected in the monumental painting of Azerbaijan. The stylistic and genre diversity is rapidly gaining momentum with a period of independence within the framework of both classical and postmodernism.

"Cosmic Style" Discourse In Fashion: Presentation Of Personality’s Freedom

Introduction. In the article cosmic in the fashion of ХХth c. as a system of rich in content symbols, principles of construction of suit, that expresses aspiring of young people to the personal freedom is investigated. The aim of the study is to enlighten the individual's freedom and self-presentation as a discourse of cosmic style. The object of research is the cosmic as a system of meaningful symbols, the principles of costume design in the given period of time as an actual component of fashion. The question arises, in what way the youth's desire for freedom found expression in the space style? Why and how, in fact, this style was in fashion not only able to express young people's desire for freedom, but also to give it a proper expression? Hence, the tasks the study is to identify the fundamental changes of the creators of cosmic made in the system of modern costume as a figurative system, contributed into its democratization and personalization. Research Methods. In accordance with the aim and tasks of the article, a sociocultural approach was applied, which best allows to reveal the content of the topic. The complex of methods, in particular analytical, system-logical, phenomenological, cultural-semantic analysis, was used too. Research Results. In the second half of the XXth c. fashion in a variety of directions and styles demonstrates unprecedented polyphonicity in the aesthetic expression of man. Most facilities which the fashion of this period began to operate, in the first time was presented and offered within the framework of cosmic style. By the in a civilized manner-semantic analysis of artefacts an author exposes fundamental changes that the creators of space brought in the system of modern suit as a vivid system, his democratizations and personalisations promoted. Discussion. Philosophical understanding of the phenomenon of fashion, the dynamics of changes in styles, their proposed meanings since the end of the XXth c. has attracted increasing attention of researchers. The philosophy of fashion is a separate direction both in cultural studies and philosophy. Thus, accumulated material and research methods allow us to move to a more detailed cultural and philosophical analysis of the peculiarities of the manifestation of man's desire for freedom in fashion, its styles and directions. This topic is very broad, so the article attempts to partially cover it, namely in the context of cosmic style. Conclusions. The cosmic of the 60's gave the youth an adequate form of outward expression characteristic of its desire for freedom, self-affirmation, uniqueness, a form that perfectly corresponded to the non-conformist attitude of the youth, its dynamism, and desire to live brightly and freely. The young people of 1960s searched new-style of life, new forms, for creation of the external appearance which would express personality vision of himself in the world. The creators of cosmic gave these searches and aspirations of adequate form. In obedience to the spirit of time, they began widely to draw on accomplishment of high-tech in the field of materials. Influence of development of high-tech is shown in the field of production of materials on deep changes not only in a clothing but also in a lifestyle. It is underlined that scientific achievements and innovative technologies, connection of them with the creative searches of designers was given to the young people clothing and style, adequate to their aspiring to expression and claim of personality freedom.

Media art practices as factors for creating creative spaces

The article deals with the main types of media art practices, analyzes the interdependence of sound art, performative practices and the art of new media on example of the most relevant foreign and domestic festivals. In particular, on the example of art residences, initiated in the space of pavilion 13 VDNG, creative searches and experiments at the intersection of these arts were analyzed. Post-industrial buildings have been found to be the most suitable for the deployment of media art practices.