Путівник як дзеркало смаку: естетичні судження на сторінках київських путівників зламу ХІХ-ХХ ст.

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dc.contributor.author Диса, Катерина
dc.date.accessioned 2017-11-16T16:35:22Z
dc.date.available 2017-11-16T16:35:22Z
dc.date.issued 2017
dc.identifier.citation Диса Катерина Леонідівна. Путівник як дзеркало смаку: естетичні судження на сторінках київських путівників зламу ХІХ-ХХ ст. / Диса К. Л. // Наукові записки НаУКМА. Історичні науки. - 2017. - Т. 194. - С. 47-59. uk_UA
dc.identifier.uri http://ekmair.ukma.edu.ua/handle/123456789/12234
dc.description.abstract Судження про смак стають темою інтелектуальних дискусій лише у XVIII ст., а вже у ХІХ ст. такі міркування проникають на сторінки путівників. У статті відстежено еволюцію суджень про смак у київських путівниках від появи цих суджень у другій половині ХІХ ст. до їхнього розвою в публікації мистецтвознавчого путівника 1917 р. uk_UA
dc.description.abstract The notion of taste which turned to denominate the judgment of beauty at the turn of the 16th and 17th centuries, entered philosophical discussions on aesthetic judgments by the 18th century. Gradually, taste judgments became an essential part of the popular European guidebooks such as Baedeker’s. Until the mid 19th century, Kyiv guidebooks aimed at pilgrims were not using the language of aesthetic judgment whatsoever. From this ‘aesthetic blindness’ of the first half of the 19th century, Kyiv guidebooks passed a long way through rich in judgments of taste guidebooks of the late-imperial authors such as V. Bublik and S. Boguslavski up till the subtle guidebook of the historian of art K. Sherotski. During this period of time, dramatic changes affected not only the way of presenting the city sites but also the sites which were potentially interesting first for pilgrims and then for tourists. Over time, the vocabulary for the description of architecture and works of art got richer and more oriented to aesthetic representation. Though some objects were persistently considered ‘beautiful’ (some churches, landscapes, and works of art), the judgment about other objects considerably changed. Through the presentation of attractive city sites, we can trace how the context for that presentation shifted from the local (or imperial) to a wider European one. If Bublik was comparing the best site of Kyiv with other sites of the Russian empire, while Kyiv was always winning, and Boguslavski was orienting at ‘beautiful’ Great-Russian style, and for this reason Kyiv sites were losing to Moscow and St. Petersburg, Sherotski parted with this narrow tradition and placed Kyiv sites into the context of European art tradition. For the latter, the Great Russian was never conceived as beautiful and stylish, but only as outlandish and foreign. All the three authors agreed that baroque was a respectful and worthy style, which was against the current trend in European guidebooks, considering baroque a “Degenerate Renaissance.” This praising of baroque as a style inherent to Kyiv spirit was especially intrinsic for Sherotski who called on modern architects to follow baroque samples if they wanted to preserve Kyiv’s authenticity. en_US
dc.language.iso uk uk_UA
dc.subject смак uk_UA
dc.subject естетичні судження uk_UA
dc.subject путівник uk_UA
dc.subject Київ uk_UA
dc.subject бароко uk_UA
dc.subject taste en_US
dc.subject aesthetic judgment en_US
dc.subject Kyiv en_US
dc.subject guidebook en_US
dc.subject baroque en_US
dc.subject стаття uk_UA
dc.title Путівник як дзеркало смаку: естетичні судження на сторінках київських путівників зламу ХІХ-ХХ ст. uk_UA
dc.title.alternative A guidebook as a mirror of taste: aesthetic judgments in Kyiv guidebooks of the turn of the 19th–20th centuries en_US
dc.type Article uk_UA
dc.status published earlier uk_UA
dc.relation.source Наукові записки НаУКМА: Історичні науки uk_UA

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