Том 4

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https://ekmair.ukma.edu.ua/handle/123456789/20493

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Browsing Том 4 by Subject "article"

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    Controlling fictions: methodological paradoxes and political dead ends of the new melanesian ethnography
    (2021) Osiievskyi, Yevhenii
    The paper contributes to the anthropological debate surrounding the methodology of the New Melanesian Ethnography and the model of the dividual personhood it is based on. The author introduces a disciplinary and historical context in which the theory was formulated and proposes an extended explication of the monograph The Gender of the Gift that is generally credited as the seminal work for the theoretical movement. Two points of critique are introduced and foregrounded in the ethnographic material from Papua New Guinea and Vanuatu: the limited heuristic potential of the dividual model and its ideological relativism that is fraught with dangerous political consequences for the disciplinary project of anthropology.
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    Performance art: interart, intermediality and interdisciplinarity
    (2021) Shkliarenko, Zhanna
    At the end of the 20th century performance art, as a rule, avoids pigeonholing itself as a separate form of the creative process, particular scientific orientation, or a definitive kind of art; it is an art of subliminal hints that everyone can perceive at their own discretion. Performance art involves mandatory involvement of the public and active communicative function. In an attempt to draw the attention of the public to the problem in performance art irony, epatage, exaggeration, metaphor, and association highlights of social phenomena that provoke the viewer indirectly or directly to some action or reflection on certain social issues, connecting the moment of interactivity are widely used. In addition, public art, which includes performance art, focuses on the unprepared spectator and involves communication with the city’s space and its inhabitants. Democracy in performance art is manifested through the choice of a topic that can relate to any aspect of life. All performances art in the early 21st century are united by external orientation, having an onlooker in mind, but any individual performance art is aimed at the idea of awakening the mind of the viewer.