New Means Of Expression Research Articles

La fonction des écrits dans les relations entre la théorie et la pratique en psychiatrie et psychologie clinique. À la mémoire de Georges Lanteri-Laura et de Jean Garrabé

Among the many ways in which knowledge is transmitted in psychiatry and clinical psychology, written communication has always been a vast field. But new means of expression and communication have brought about a diversity in the modalities used in teaching and personal training in the midst of the diversification of psychiatric currents, the means of exploration, and therapeutic methods. The relationship between theory and practice is central to the means of transmission in the specific characteristics of the different currents of French psychiatry: 1) Psychiatric conceptions which focus on the various neurobiological and biochemical networks, genetic research and artificial intelligence are confronted in their current evolution with the epistemological demands of explanation and understanding. And psychiatry, in all its complexity, cannot and will not be spared adopting these same demands; 2) The different psychopathological dimensions that underlie the various concepts of psychiatric disorders in children, adolescents and adults are constantly confronted with the relationship between theoretical conceptions and practical modalities, in the clinical relationship and in therapeutic conduct. In this article, we propose to address a certain number of reflections in this field, by questioning the principal psychopathological conceptions of today. And this reflection places great emphasis on the need to clarify concepts, perspectives and projects; 3) Epistemological dimensions can thereby render it possible to identify the numerous articles concerning the transmission of psychiatry and its fields: – First and foremost, studies on the relationship between theory and practice make it possible to distinguish between the various categories. They provide a clear understanding of the specific dynamics involved in understanding psychiatric disorders; – Studies on the relationship between the fields of time and life sciences correspond to very important epistemological attitudes that are very important to be taken into account. The neurosciences which are currently playing a key role in medicine and psychiatry usher us into “the knowledge of life”. These various studies compel us to consider just what the relationship is betweenthe “objectivity of the scientist” and the “subjectivity of the living”. We can then turn our attention to the anthropological concepts concerning the philosophy of life where we will find in the various psychiatric disorders the essential questions about the meaning of life that are present in the mind of every human being.

SCENOGRAPHIC IDEA AND CONCEPT IN CONTEMPORARY THEATER OF ANIMATION, FROM TRADITION TO ARTISTIC EXPERIMENT

In the era of accelerated digitization of all societal activities, artistic fields are also significantly affected by new technologies, which have a positive or negative influence on education as well. Visual arts have known surprising transformations and are increasingly faced with detachment and even delimitation from tradition. Puppetry, nowadays called theater of animation, has been favorable since ancient times to the constant mixtures specific to the language of visual arts, music and dance, since it relies on both tradition and modernity, on syncretism and functionality. The versatility of the language specific to the theater of animation largely appeals to the intellect of its audience, from the simple to the complex. The current superficiality of the artistic act is a consequence of the speed triggered by the alert rhythm of the search for new means of expression of the artist’s ideas and concepts, and also by people’s expectations. The transition from tradition to modernity can only be achieved through practice and experimentation. Unlike drama, the art of animation no longer preserves many constraints, this being a case-specific process. Various scenographers, puppeteers or companies, actors full of courage and vision such as Serghei Obrazțov, Yves Joly, Michael Meschke, Margareta Niculescu, Cristina and Cristian Pepino etc. made puppetry history for the new generations of artists passionate about puppetry. From scenographic idea to concept, the essential tool of the final perception’s shaping the message may be the actor’s stage improvisation, the scenographer’s spontaneous vision and the director’s openness to the present. The novelties brought about by numerous experiences contribute to the regeneration of the means, to the verticality of the evolution and the crystallization of the autonomy of the field.

WORLD LITERARY STUDIES AS A FIELD OF SCIENTIFIC KNOWLEDGE: TRADITIONS AND TRENDS

Literature and art are continuously in search of new means of expression, and communication. In the process of renewal, artistic culture acquires new aesthetic principles, an artistic fusion of the objective and the subjective. The idea of a work in a realistic narrative sounds gradually, naturally. The plot develops around a fact that reveals the meaning of the work. The aesthetic assimilation of reality proceeds in several directions, in different genres of prose and poetry, drama and journalism, in a diverse creative manner, which is unique for each author of a work of art. The relevance of this article lies in the fact that it traces the evolution of the basic concepts of world literary criticism, which has its own scientific principles, systems of methods and terminology. Literary criticism and critical thought create a special associative field, confirming the importance of the transition in the literary process from ideology to issues of personal existence. Domestic and world literary studies are included in the research field of the humanities, but there are frequent attempts to absorb them into intensively developing interdisciplinary research. The scientific novelty of this research is seen in the generalization of the theoretical views on modern world literary criticism of major literary scholars and critics in Europe, the USA, the CIS countries, authors of sections of collective monographs of the Auezov Institute of Literature and Art «The latest foreign literature», «The world literary process of the 21st century», «Kazakh-American literary connections: current state and prospects», the textbook «The world literary process: content, directions, trends». The basis for the research is the scientific concepts of literary text analysis, theories of critical discourse analysis of literary works, existential criticism and others. Based on the analysis, review of the current state of the leading theoretical schools of world literary criticism (with cultural studies, literary criticism, structural poetics, the concept of semiosphere, theory of cultural transfer and others). It has been established that the science of literature has its own object of study, a special essence, which distinguishes it from the exact and natural sciences.

Analiza simetrije u šarama makedonske nošnje

Ornaments are a particularly important aspect in textile design, influencing the visual and aesthetic value of textile products. They are part of every culture in the world. Decorative ornaments applied in Macedonian costumes and textiles combine the tradition and techniques of manufacturing and decoration, which have been developed and passed down from generation to generation. This work investigates the ornaments in Macedonian folk costumes and textiles from the aspect of applied symmetrical operations. A number of traditional textiles with different classes of motifs, borders and two-dimensional patterns were analysed. In the era of globalizations of textile trends and designs, ornaments remain an important aspect offering creativity and innovation in design. They are a fundamental part of the textile industry continually developing onto new means of expression and functionality.

Oleksandr Dovzhenko, Ivan Kavaleridze, Leonid Skrypnyk: The avant-garde and philosophical explorations of Ukrainian filmmakers of the 1920s


 
 
 The filmmakers Oleksandr Dovzhenko and Ivan Kavaleridze created bold avant-garde works at the time when Ukrainian cinema was being established, at the end of the 1920s and early 1930s. In effect, the works of these two directors shaped the defining features of Ukrainian cinema. This article discusses the creative methods used by Dovzhenko in his three films Zvenyhora (1927), Arsenal (1929) and Earth (1930), which clearly depict Ukrainian worldviews and mentality. Kavaleridze’s approach is considered in the light of two of his films, Downpour (1929) and Perekop (1930). Already a recognized sculptor at the time, Kavaleridze sought unique forms of expression in film. The approaches these directors took towards framing scenes, montage, lighting and rhythm underpinned the theoretical propositions of their contemporary, Ukrainian film theorist Leonid Skrypnyk. The author suggests that this testifies to a deliberate and comprehensive search for new means of expression in all phases of filmmaking.
 
 

Choral performance art as a category of a modern choral studies

Statement of the problem. During the Soviet period, the development of the domestic choral studies was inhibited due to the impossibility of publishing researches in the Ukrainian language. Single, but significant researches of the outstanding Ukrainian practicing choirmasters Konstantin Pihrov and Mykola Kolessa became the summation of their experience, which gained unparalleled importance for the development of choral studies, its performing branch. During the time of Ukrainian independence, the situation changed for the better thanks to choral culture urgent issues study, which necessarily requires a systematic approach to the Ukrainian choral studies categorical apparatus development. The relevance of the study topic is that nowadays the choral studies categorical language remains incompletely studied, in particular, such an important component of it as choral performance. Recently research and publications. Analytical studies of the Ukrainian choral experts and practicing choirmasters in the performance field are devoted to topical issues regarding universalization of the choral conductor profession (Yu. Kalyniuk, Yu. Tkach), searching for new means of expression in choral performance (Yu. Puchko, Ye. Bondar), working with choirs of various creative directions and age specifics (Yu. Ivanova, O. Letychevska). In particular, Nataliia BielikZolotariova, Olena Zaverukha, Oleksii Fartushka were involved in the choral studies of categorical apparatus. Objectives, methods, and novelty of the research. The purpose of the study is to reveal the essence of the “choral performance” category of modern choral studies. The research is based on the application of historical-contextual, systemic, terminological, choral studies methods of analysis. Its scientific novelty lies in the fact that, in this study, for the first time in domestic musicology and choral studies, the category of “choral performance” and its components was considered, the specific regularities of the choral performance process were clarified. Results and conclusion. As a result of the “choral performance” category analysis, a definition of the chorus as a representative of choral performance was provided, as well as the essense specifics of choral performance containing, first of all, in the characteristic of the actual performer presented as the symbiosis of the choral team and the conductor. As a conclusion, the components (levels) of the studied categories are determined: professional, amateur, educational choral performance. In turn, at certain levels of choral performance, additional branches are formed: academic, folk, church, pop, children’s and other directions. Since the defined levels of the category “choral performance” have a systemic nature, the category as such appears as an open-ended metasystem.

Cultural Stereotypes and Their Reflection in Transnational Advertising

An attempt was made in the article to analyze cultural stereotypes and their reflection in the advertising of Dove and Olay cosmetic brands. For the first time, stereotypes of beauty in Chinese, Russian and English video advertising of international companies are compared. On the example of transnational advertising, the ways of transmitting verbal information in a commercial message are studied, cultural differences in the perception of beauty stereotypes are revealed, their transformation is established, and new means of expression are described. A contradictory trend has been identified in marketing: on the one hand, international companies actively use national and cultural stereotypes, which allow creating an emotionally significant image in accordance with the ethno-cultural worldview of the consumer, paying attention to it, making a decision in the face of a large flow of information, on the other hand, they oppose standardization and stereotyping. Their role in the perception of the value of information has been established.

СТИЛІЗАЦІЯ УКРАЇНСЬКОГО НАРОДНОГО ТАНЦЮ В ПРОЦЕСІ ВИВЧЕННЯ ДИСЦИПЛІНИ «ТЕОРІЯ ТА ПРАКТИКА УКРАЇНСЬКОГО НАРОДНОГО ТАНЦЮ»

In the article, the author defines the main methods of stylization of Ukrainian folk dance. One of the most important forms of preservation and transmission of accumulated experience from one generation to another is the ability of Ukrainian folk dance to give birth and form new stage forms. The basis of any stylized number is folklore and ethnographic material, which conveys the entire atmosphere of the historical environment and reproduces the national flavor. The stylization of Ukrainian folk dance consists in the ability to competently combine modern acrobatic tricks and virtuosic movements with purely folk dance movements. Stylization makes it possible to reflect and convey the entire atmosphere of the national and historical environment, contributes to the strengthening of expressiveness in choreographic works. Ukrainian folk dance developed throughout the history of our people, accumulating new means of expression, because from its original ceremonial form, it underwent a thousand-year development, as a result of which it was enriched, complicated by new movements, accompanied by songs. Currently, Ukrainian folk dance occupies a significant place among the cultural heritage of our people, and its high popularity in Ukraine and abroad is explained by the wealth of plots and themes, humor, sincerity, cheerful character, etc. The presence of expressive everyday features, common and different, combined with technically virtuosic movements, gives Ukrainian folk dance its originality, originality and unique flavor. All structural elements of Ukrainian folk dance are subject to transformation: music, imagery, plot, vocabulary. All this is developed and developed by the choreographer, based on his own vision and creative individual style, the presence of thorough knowledge of classical, folk, modern, ballroom dance, knowledge of national choreographic features and culture of various peoples, etc. Ways of stylizing Ukrainian folk dance are built according to a clear algorithm. First, the ways of stylization, its stages and components are determined, and only then practical work on the choreographic piece begins. The methods of stylization used by the choreographer-producer to create a choreographic work based on Ukrainian folk dance must meet the interests of modern performers and spectators on the one hand, and on the other - preserve traditions, nurture personality through folk music and dance folklore.

Hitler's Favorite Jew: The Enigma of Otto Weininger by Allan Janik

Reviewed by: Hitler's Favorite Jew: The Enigma of Otto Weininger by Allan Janik Vincent Kling Janik, Allan. Hitler's Favorite Jew: The Enigma of Otto Weininger. New York: Simply Charly, 2021. 191 pp. Ludwig Wittgenstein, Karl Kraus, Heimito von Doderer, Hermann Broch, Arnold Schoenberg, Elias Canetti, and numerous others in Austria; August Strindberg, Gertrude Stein, James Joyce, and Italo Svevo elsewhere—these are only a handful of the artists profoundly influenced by Otto Weininger, who nonetheless is still often dismissed as a self-hating Jewish anti-Semite, a venomous misogynist, and a generally unbalanced fanatic. Weininger's suicide at an early age contributed further to the image of a disturbed crackpot trading in dubious, half-baked philosophical and psychological concepts of his own eccentric devising. In his lucid and helpful new study, Allan Janik confronts these distortions head-on, pointing out that mangled editions and clumsy translations have long fostered misunderstanding of the actual work, much of which was dismissed without even being read anyway, since "scholars" had already made their minds up that Weininger need not, indeed could not, be taken seriously. As Janik notes, goodwill is often lacking, especially to reconstruct the then-current state of the disciplines on which Weininger drew. It takes time and effort to clear away impeding misconceptions, and indeed, "We have to work hard to re-contextualize Weininger" (xiv), who is victimized by the prevalent error of being judged according to today's knowledge and insights, not within the framework of his own time. Janik succeeds so well here, especially in linking Weininger to his culture [End Page 95] at large, that his study is likely to remain definitive. Although in a different context, Martin Mosebach offers the helpful reminder that Vienna around 1900 was a hotbed of great and near-great minds devising new systems of order, new modes of understanding, new means of expression, new ways of seeing and hearing. Janik shows that Weininger was a full participant in these many-sided explorations and not the lone wolf or outlier he is made out to be. (Again, how could so many creative and analytical minds have been so fascinated by Weininger unless he were embodying currents and streams of thought in many disciplines?) For instance, Janik demonstrates Weininger's full familiarity with psychoanalytic thought, knowledgeably participating in the prevailing discourse, aware that the future of the discipline lay with Freud (15–16). Weininger occupied a position at the center of philosophical thought, too, as a member of the Philosophical Society, regularly meeting with Ernst Mach, Ludwig Boltzmann, Sigmund Exner, and Friedrich Jodl, among others (11–14), and his presentations at the Viennese Sociological Society, even though he was still an adolescent, were greeted with esteem by specialists (12). Only in retrospect does the negative view of Weininger seem to have arisen; in his own day, and for a good many years after his death, he was regarded as a first-rate, formidable intellectual. Another area of unfair disparagement is the glibly cited snap judgment that Weininger was a Jew filled with Jewish self-hatred and therefore not to be taken seriously on the basis of purported psychological imbalance. Janik skillfully challenges this irresponsible distortion in his excellent chapter on "Judaism and Anti-Semitism" (93–109), demonstrating that Weininger's views were shaped by Kant's moral thought, not by personal dimensions; he counters false assessments by citing Weininger's own understanding of Judaism (94–96) and even more by offering a nuanced discussion of the topic as treated in Sex and Character based on Peter Pulzer's The Rise of Political Anti-Semitism in Germany and Austria (99–104). The four varieties of anti-Semitism Pulzer outlines are powerful and apt guides for understanding the subtlety and depth of Weininger's arguments. Three chapters devoted to Sex and Character again present Weininger's thought against the backdrop of his culture and show how comprehensively that major work amalgamated and organized many areas of contemporary thought. The first of those chapters (38–56) is uniquely excellent in its discussion of "Early Sexology and the Theory of Plasms." No other treatment [End Page 96] of the matter is this lucid; Janik has...

Jan Sawka: Theatre of Image and Metaphor

Jan Sawka: Theatre of Image and Metaphor

The activities of the ukrainian media during the russian-ukrainian war

The purpose of the article. The research is related to the analysis of the activities of the Ukrainian mass media during the Russian occupation and the coverage of their role in the information struggle from the beginning of the war until now. The research methodology includes the use of a descriptive method, the method of analysis and synthesis to identify the importance of mass media functioning in society. Scientific novelty. The scientific novelty is in the fact that the article clarifies the main aspects of the activity of the Ukrainian mass media since the beginning of the full-scale Russian invasion of the territory of our country. In addition, it emphasizes the change in their information content, substantiates the strengthening of its patriotic direction, аnalyses the emergence of new means of expression that fill the language media practice with topical content. Conclusions. A detailed analysis of the activities of the Ukrainian media during the Russian occupation revealed the importance of media communication, which significantly increased during this period, which enables the increase of the information product as well as contributes to the increase in awareness of society in general. The topics and contents of the content have changed: the main focus is now on information about the course of war events, the reaction of the world community to them, the creation of new forms of television and radio broadcasts, the publication of patriotic works, changes in the content of advertising products, etc. The modifications, observed in the Ukrainian language, are also noted and perceived as a reaction to the terrible events of today: regrouping of vocabulary, emergence of new means of expression, consolidation of new language norms, etc. Modern mass media, performing informational and social functions, transform the traditional system of spiritual values of Ukrainian society into the global information space. Keywords: mass media, social networks, information content, neologisms, idiom, obscene language.

Effects of fine art print artworks on the art viewer in contemporary art presentation

The social and cultural changes brought about by industrialization and the Industrial Revolution highlighted the value of printmaking as a new means of expression in artistic presentation. The innovative mechanical production methods influenced their artistic production through the interest and experimentation of many artists, whose numbers should not be underestimated. On the other hand, the transfer of examples of traditional Japanese printmaking (Ukiyo-e) to Europe in 1700-1900 caused profound effects on Western art, beginning with Impressionism, one of the modern art movements. Especially in the last two decades, rapidly digitalizing technology has also provided radical changes in many social-cultural and economic fields. As a reflection of this, it has caused a change in the presentation of contemporary art and caused the formation of an innovative attitude that transforms-triggers the perception of the audience. Two effective factors are emphasized in the context of the effect of fine art print works on the phenomenon of art. One is the artist of the time, who uses all the media tools of his time with pure intuition to transform his artistic expression, his dreams into reality, and another is the audience of the artwork, who accepts only a part of his artistic presentation, which is helped by all technological tools, by discussing, and few of which will be praised by future generations. In this context, digital technology promises a free space to thousands of artists who produce screen presentations or artistic prints on many different media, enabling us to see them everywhere. It has indisputable that digital technologies are a new tool with a different line for artists, apart from the usual art presentation of contemporary art, which is in different quests with an innovative attitude in every period. From this point of view, in addition to the dynamic visual presentations in different places and platforms where the art audience can be involved and integrated into the contemporary art environment, the innovative attitude that fine art print artworks brings to the effect and behavior of the audience should also be considered. The purpose of this paper is to investigate how digital print technology and print works influence audience perception. The survey data analysis is interpreted in this article through excerpts from the dissertation titled “Effects of fine art printmaking on phenomenon of the art” which is still in progress.

Дизайн и бизнес в цифровом мире: организационные особенности формирования дизайн-мышления

The relevance of the study is due to the fact that emerging digital environment has given designers new means of expression and a new area of their use, and companies have the opportunity to reconsider their products and services. Currently, the concepts of “user experience” and “user interface” (UX and UI) are used to assess the digital product quality. The author presents how these categories correlate to each other and gives their understanding. The growing scale of production has forced industrialists to think how to simplify and reduce the cost of creating large quantities of goods. The aim of the study is to analyze the best practices for using design in business while forming constructing features of products at the project development stage of industrial design. At the same time, against the background of the market development, there is a need to highlight and label own products to distinguish them from those of the competitors’. Designing has become an integral part of branding and communicating with consumers. The author stresses three important elements for a company to be able to reinvent itself over and over again, namely a viable business model, technical capabilities to implement it, and knowledge of its clients. The first and second elements are often based on the industry expertise, the work of analysts and business experience, and the third requires a special skill that is to go beyond the office and find a common language with the client. In this regard, the author proposes the staging of design thinking. The article presents the areas of design thinking application from the product design to the service designs, as well as the mechanism for forming design thinking. The practical significance of this study 
 lies in the fact that it will help companies to improve business processes and understand internal customers’ problem solving.

Novam viam или «тупик» оперы в современном социокультурном пространстве

The aim of the study is to comprehend in a theoretical manner the principles of opera as a synthetic genre, namely taking into account the symbiosis of the properties related to the plot and storyline and musical properties themselves. The paper examines the development of opera in modern realities, the phenomenon of hybridity and openness of the genre. The author focuses on the mixed nature of opera as a result of the search for new means of expression. The scientific novelty of the study lies in defining modern opera as a hybrid, mixed genre, which together with modern technologies, means of performance and interpretation creates new contexts of musical expression, temporality and imaginary space. As a result, it has been determined that the evolutionary movement of opera has a centuries-old history and has always consisted of the confrontation of the new and the conservative, the elitist and the democratic, while opera was able to absorb the “intonation vocabulary of a specific era” and remain viable.

High-Performance Image Acquisition and Processing for Stereoscopic Diagnostic Systems with the Application of Graphical Processing Units.

In recent years, cinematography and other digital content creators have been eagerly turning to Three-Dimensional (3D) imaging technology. The creators of movies, games, and augmented reality applications are aware of this technology’s advantages, possibilities, and new means of expression. The development of electronic and IT technologies enables the achievement of a better and better quality of the recorded 3D image and many possibilities for its correction and modification in post-production. However, preparing a correct 3D image that does not cause perception problems for the viewer is still a complex and demanding task. Therefore, planning and then ensuring the correct parameters and quality of the recorded 3D video is essential. Despite better post-production techniques, fixing errors in a captured image can be difficult, time consuming, and sometimes impossible. The detection of errors typical for stereo vision related to the depth of the image (e.g., depth budget violation, stereoscopic window violation) during the recording allows for their correction already on the film set, e.g., by different scene layouts and/or different camera configurations. The paper presents a prototype of an independent, non-invasive diagnostic system that supports the film crew in the process of calibrating stereoscopic cameras, as well as analysing the 3D depth while working on a film set. The system acquires full HD video streams from professional cameras using Serial Digital Interface (SDI), synchronises them, and estimates and analyses the disparity map. Objective depth analysis using computer tools while recording scenes allows stereographers to immediately spot errors in the 3D image, primarily related to the violation of the viewing comfort zone. The paper also describes an efficient method of analysing a 3D video using Graphics Processing Unit (GPU). The main steps of the proposed solution are uncalibrated rectification and disparity map estimation. The algorithms selected and implemented for the needs of this system do not require knowledge of intrinsic and extrinsic camera parameters. Thus, they can be used in non-cooperative environments, such as a film set, where the camera configuration often changes. Both of them are implemented with the use of a GPU to improve the data processing efficiency. The paper presents the evaluation results of the algorithms’ accuracy, as well as the comparison of the performance of two implementations—with and without the GPU acceleration. The application of the described GPU-based method makes the system efficient and easy to use. The system can process a video stream with full HD resolution at a speed of several frames per second.

Preludes and fugues for piano in the polyphonic works of Chinese composers

The objective of the study is to identify the role of the small cycle “Prelude and Fugue” in the piano work of Chinese composers in the field of polyphonic genres, to consider the most striking examples of Preludes and fugues from the standpoint of the interpretation of the genre, the use of musical and expressive means, performing implementation. The research methodology is based on an integrated approach that combines theoretical methods with historical ones, reflecting the evolution of musical thinking. All the issues raised in the process of analyzing fugues are considered in combination with certain artistic tasks generated by the internal content of the work. The analysis of piano Preludes and fugues by composers Ding Shande, Chen Zhi Ming, Wang Lisan, Rao Yu Yang, Lin Hua made it possible to deduce a number of features of their construction and musical language in connection with the issues of form formation, thematic content, tonal lighting, rhythmic features, polyphonic ways of development and qualitative transformation of the material. In the Preludes and fugues of Chinese composers, essential and fundamental factors come into close interaction: deep connections coming from the polyphony of the “strict style” and the fugues of J. S. Bach, the organic implementation of the principles of national folk melos and the polyphonic warehouse of instrumental folklore, innovation rooted in the incessant search for new means of expression and enrichment of the musical language. The latter is determined by the content of the composers' music, its fullness with a variety of moods, experiences, reflections on the meaning of human life, about our complex century, saturated with the most serious events and phenomena. In the fusion of these qualities, a subjective moment plays a primary role: the uniqueness of the composer's creative individuality, which leaves a certain imprint on all the compositions — in close-up and in detail.

Traditions and Innovations in the Works of Oleh Mashkevych

The article is dedicated to the analysis of the works of the Honored Artist of Ukraine Oleh Mashkevych exemplified by the collection of the National Museum of Ukrainian Folk Decorative Art. The collection consists of 37 carpet products, 2 sketches for carpets and 9 embroidered pillow-cases, made according to the artist’s sketches by the craftswomen of the Kharkiv Region Embroiderer crew. The time range of the works is from 1951 to 1992. The development of artistic and stylistic changes in the artist’s works has been traced, the influence of traditional carpet ornamentation and the search for innovative solutions in the elaboration of compositions, plots, technical methods, coloristics have been revealed. During the artist’s lifetime, his significant creative heritage hasn’t been studied and appreciated properly. The works of O. Mashkevych are investigated in the article. They are described in the context of the development of Ukrainian carpet making. The 1970s – 1980s are considered as the heyday of the Ukrainian carpet, which, along with the innovative trends, demonstrates a close connection with traditional folk art. The use of the artistic heritage of the past is palpable in the early works of the artist. Preserved traditions have been of a great significance in the transition from ordinary carpets of industrial production to the development of a unique woven panel – a tapestry, basing on the experience and methods of execution of the predecessors. In the period from the 1980s to the 1990s the Ukrainian tapestry has experienced the way from a classical plane ornamental carpet to a texture and relief one with textile structures, in the creation of which weaving methods, picturesqueness and voluminosity are used simultaneously. At the late 20th century various artistic and stylistic trends have been developed in this genre of Decorative and Applied Arts. The search for new means of expression has been continued, the rhythms of linear and color combinations are changed, new compositional solutions appear. Cossack Mamai – True Soul (1991) and Black Pain (1992) are such tapestries in Oleh Mashkevych’s heritage. Their thematic orientation is clear: the beloved image of a national hero and the pain from the consequences of one of the greatest industrial disasters of humanity in Chornobyl in 1986. The artist builds the composition and colour according to the theme. The artistic heritage of the master has become rightfully an integral part of the history of Ukrainian Decorative Art.

Art language of contemporary Ukrainian ceramics

The article raises the issue of generalization and systematization of means of expression used by artists to create works of modern ceramics. It is argued that modern ceramic art in Ukraine demonstrates a wide range of experiments with materials, textures, various approaches to the processes of shaping, decorating, and firing to create unique effects on the surface of the work. The art language of some contemporary Ukrainian artists is considered in the context of connections with traditions on the one hand and the search for new means of expression to visualize the author's idea — on the other. Particular attention is paid to the analysis of artists' works: Nelli Isupova, Leonid Boginsky, Mykola Telizhenko, Volodymyr Shapovalov.

ОСОБЛИВОСТІ СОНАТНИХ ЦИКЛІВ СЕРЕДНЬОГО ПЕРІОДУ ТВОРЧОСТІ Л. ВАН БЕТХОВЕНА

The article is devoted to the analysis of Beethoven’s piano work, and more specifically to the sonatas of the middle period of creativity. The study provides a detailed analysis of the sonata cycles, Op. 26, 27, 31. The main purpose of the work is to study modifications, which the composer brought to the sonata cycle. The article uses methods of analysis, synthesis, analogy and biographical context. The results obtained allow us to state the composer’s dissatisfaction with the canons of the structure of the sonata cycle. He was constantly looking for new means of expression to embody his creative potential. At the beginning of his search, he decided to diminish the role of the sonata form in the sonata cycle. For example, sonatas No. 12, 13 are absolutely unique in their structure. These are sonatas without a shitty sign of a sonata cycle: a movement that is written in sonata form. With these extraordinary sonatas, Beethoven opens a new, experimental section of his work. In Sonata No. 12, he for the first time introduces a sonata cycle, a part written in the genre of a funeral march. In the future, a part written in the genre of a funeral march will be used by many composers of the era of romanticism (for example F. Chopin in Sonata #2, P.Tchaikovsky in Symphony #6). Sonata No. 13 (Sonata quasi una fantasia) is the first of the composer’s sonatas where the division into parts is rather arbitrary. This structure will be typical for many of Robert Schumann’s works. In the sonata cycles, Op. 31 Beethoven, on the contrary, increases the number of partsin the sonata cycle written in sonata form. In this cycle, the composer found a way to further modify the sonata form. Sonata No. 18 was the first in which one can feel the structure of a sonata cycle in two parts (which will become characteristic of Beethoven in the future). The article analyzes the ways of modifying the sonata cycle in Beethoven’s work, shows the connection between the composer’s personal experiences and the figurative content of the sonatas of this period. This work will help to better get acquainted with the different content of the works of the middle period of the composer’s work for a better understanding and performance.

Жанр новогодних поздравительных текстов в социальных сетях

The article examines the content and stylistic features of modern greeting discourse in social networks based on the texts of the professional community of business coaches and communication specialists in social networks. This type of greeting discourse is conventionally referred to a written electronic formal professional discourse variety. The content and style of these texts, on the one hand, preserve the cultural traditions of greeting speech rhetoric, on the other hand, they require innovative ideas and new means of expression. Congratulations become one of the informational reasons for creating advertising messages. Through the texts of greetings, their authors promote ideas and advertise their companies. When focusing on a common system of common places-ideas, communication in social networks requires content-stylistic dynamism and a variety of language tools, which are manifested in the contamination of bookish style and professional terms with colloquial and argotic elements. Each author tries to create their own style, expressing their ideas either in the expanded figures of speech, or in the utmost conciseness. It is necessary to state spelling and punctuation negligence, as well as sometimes deliberate violation of punctuation rules as a stylistic device. The greeting discourse in social networks is an expressive example of modern trends in the “use of language” and the creation of a “language taste of the era”. Creative innovations in the compilation of greeting texts in social networks require an active “introspection” of the activities of philologists themselves, who also participate in such greeting events and could become “legislators of style and taste”. Therefore, the article ends with examples of greeting texts written by specialists in Russian philology who show creative ingenuity and style originality in creating such texts.