Кафедра культурології

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Art Galleries as an Important Component of the Art Market in Kyiv during the Years of 1990–2010
(2016) Pavlichenko, Natalia
The article focuses on the analysis of Kyiv Art Galleries during the period of Ukraine’s independence. Based on interviews with two renowned Kyiv gallerists Tetiana Savchenko (director of "Tryptykh Art" gallery) and Victor Khamatov (the founder of the "Soviart" center), we address problematic issues in galleries the art market in general. The art market is a holistic system that includes a number of components. Participants of the art market whose role is to implement works of art are as follow: an art dealer, who works directly with the artist and the buyer; a gallery owner, who keeps a special "shop"; and the auction house, which works with both individual pieces and collections at the top level. Galleries differ depending on their openness to the public. An Art Gallery serves as a moderator; is serves as an expert platform. The Gallery not only displays the contemporary state of art, emphasizing popular themes, trends and fashion trends, but also forms artistic tastes of the society, engaging it in a dialogue with all actors of the art market. There are three stages of Kyiv art galleries development, as it is observed by Viktor Khamatov. The first period (the late 1980s – early 1990s) is characterized as a stage of "uncontrolled formation of galleries." The second period (the end of the 1990s) is "positioning and coordination of galleries in Ukraine." At that time there were about 120 galleries that settled important tasks of institutional, cultural and creative development. The third period of the deployment of art galleries started in 2002 and continues to this day, resulting in "The transition to new technologies, exhibitions, information, management, creative opportunities, infrastructure development." This leads to expansion of cooperation with foreign institutions and other cultural and artistic institutions. Kyiv plays an important role in the coordination of Ukrainian art galleries. Historical events in the country and political and economic changes in the society affect the development of modern Ukrainian art galleries. New conditions for the existence of national art provide further adaptation to international relations in the global art market.
The artist who knows the voice of grass
(2016) Petrova, Olga
The article analyses the artistic method of the painter Oleksiy Lytvynenko. It presents the ecological perspective of the artist's creativity in the context of Taoist philosophy and European pantheism. The painting system is reviewed as innovative, effectively elaborates traditions of Dutch pictorial arts of the 16th century. It makes the uniqueness of the artist's topics and pictorial forms in the Ukrainian art environment evident (late 20th -early 21st cc.).
The Commodification of Music: Performative Dimensions
(2023) Lihus, Mariia
The article focuses on the phenomenon of the commodification of culture that is analyzed through the prism of the art of music. The premodern, mechanical, electronic, and digital stages of the commodification of music are defined and discussed. The article demonstrates the narrowness of the critical theory approach in considering the commodification of culture as a threat to the cultural value of art. The phenomenon of commodification is reinterpreted from the perspective of cultural sociology. In particular, based on the ideas of J. C. Alexander’s strong program in cultural sociology, the performative dimensions of communication concerning cultural objects as commodities are considered. Such theoretical framework enables to justify the contextuality of the artwork’s “aura” and its sociocultural value as a collectively created meaning in the process of performance communication. The research demonstrates that commodification creates new opportunities for the performative success of cultural communication widening its contexts. At the same time, it is emphasized that commodification may lead to the degradation of the sociocultural value of musical compositions in case of the audience’s passivity in musical performances.
Discourse of Male Erotomania in Knut Hamsun's Pan
(2017) Klymchuk, Oksana
Abstract: In this article classical and Lacanian psychoanalysis is applied for interpretation of discourse and conduct of lieutenant Glahn, the protagonist of Knut Hamsun’s novel Pan. The analysis is based on the theory and case studies of psychoses from the main works by Sigmund Freud. The scene of Glahn shooting his hunting dog Asop – one of the most complicated episodes in a novel – became the starting point of this research. The application of psychoanalytic conception of paranoia to the narrative helped throw light on the logic of action and clarify the connection between the protagonist’s deed and his discourse. A comparison of Hamsun’s text with Salvador Dali’s autobiographical writing The Secret Life of Salvador Dali and with the Lacan’s interpretation of the crime of Papin sisters helped identify paranoid mental structures in the narrative.
Göbekli Tepe and Norte Chico: Structural monumentalism and protocivilization manifestations in pre-pottery societies
(2015) Korol', Denis
This publication covers the specific phenomenon of monumental structures in such Pre-Pottery communities as Göbekli Tepe (Anatolia Region, X-IX millennium B.C.) and Norte Chico (Central Peru, IV-III millennium B.C.). The discovery of the above-mentioned sites has altered the existing viewpoints on civilization processes, therefore this publication is a step towards seeking new answers. Of all the key approaches mentioned in this publication, the author advocates the concept of communicational network as a driving force in complex societies. Transregional intercultural exchange of information during ritual feasts and religious practices in similar monumental sanctuaries appears to be a plausible incentive to innovation and, in the end, to civilization.
Graecia Capta: соціокультурна специфіка еллінізму в епоху римського принципату
(1999) Чумаченко, Борис
У статті представлено римську Грецію як соціокультурний регіон (Педагогічна провінція) у період, відомий під назвою другої софістики або грецького Відродоісення (50- 250 pp.н.е.). Автор досліджує нову ситуацію еллінізму під римською владою, головним чином у Балканській Греції та Анатолії. Особливу увагу приділено питанню, як грецький соціум (насамперед його еліта) залишається традиціоналістським і "старомодним" на основі принципів полісного э/сиття, всупереч змінам, які приносить імперська античність і римський контроль. Ця стадія еволюції грецької культури з її наголошуванням на мовному пуризмі та історії (особливо V-IV ст. дон.е.) окреслюється як неокласицизм.
Hieros gamos в тематиці розписів Софії Київської
(1999) Демчук, Руслана
Homo imperii
(2015) Демчук, Руслана
У статті на прикладі Російської імперії розглядається "імперія" як концепт. Поєднання гібридної природи та політичного міфу в підвалинах державної конструкції є характерною ознакою імперії. Імперська ідея виступає деміургом сучасної російської державності не лише в політичному сенсі, а й у метафізичному вимірі. Імперія прагне перетворити сакральну географію на реальну геополітику, що обумовлює агресію задля збільшення ареалу існування. Утворені шляхом російської експансії маріонеткові квазідержави продукують власні міфологеми з огляду на імперський мейнстрім. Проте розбудова імперії була б неможливою в принципі без культивації певного культурноантропологічного типу – "людини імперії". "Людина імперії" є живим носієм імперської традиції, що не мислить своєї історичної та екзистенційної самореалізації поза імперськими структурами. Імперський модус світосприйняття спонукає відповідний розвиток громадської активності, наукової діяльності, різножанрової творчості, спрямованої на глорифікацію будівничих імперії.
Lina Kostenko jako scenarzystka Sprawdźcie swoje zegarki — kto powróci, pokocha do końca. Scenariusz i film
(2022) Briukhovets'ka, Larysa
Why did Arkady Dobrovolsky and Lina Kostenko, the talented authors of the critically-acclaimed screenplay Check Your Watches, take their names out from the credits of Leonid Osyka’s film Who Return, Will Love to the End based on their screenplay? Using archival materials analysis, this article shows collisions that revolved around Kostenko’s notorious work between 1964–1966 at the Dovzhenko Film Studios in Kyiv.
Multiple Types of "The Good" in Hryhorii Skovoroda's Philosophical Discourse: Dobro vs Blaho : [book chapter]
(2018) Dovga, Larysa
This chapter is dedicated to the formation of philosophical terminology in the history of Early-Modern Ukrainian culture. Two philosophical concepts - dobro and blaho (добро and благо) - are the focus here. Both are related to notions of good and wellbeing, but contextual nuances may affect their discrete meanings rather significantly. My main goal is to track the differences between them and discover the rationale behind them. I consider the manner in which these two words functioned in the works by the prominent 18th century Ukrainian philosopher Hryhorii Skovoroda. My study is based on a close reading of thirteen of his colloquies. In the process, I have also tackled the problem of translation posed by these complicated terms. My study has led to the following conclusions: 1) Skovoroda uses the word blaho when discoursing about the Creator, the Sacral World, and reflections of the sacral in profane human life. In such contexts he uses blaho as a philosophical concept. 2) Skovoroda reserves the term dobro for the profane sphere, while describing things that are positive from a moral point of view. In such cases, the semantic field of the word is clearly defined, though it can hardly be called a philosophical term. 3) The common, conversational application of dobro does not have clearly defined boundaries and as such it does not represent a discrete concept. 4) When translating Skovoroda’s works into other languages, it is desirable to select the closest equivalents of each term. For example, the Greek κάλλος (τὸ κάλλον) or τὸ εὐ and the English Everyday Good are good analogs for dobro. On the other hand, the Greek τὸ ἀγαθόν and the English The Highest Good or The Ultimate Good closely render blaho.
Music Of Ukrainian Poetic Cinema As A Space For Constructing National Identity In Ukrainian Culture
(2023) Lihus, Mariia; Lihus, Olha
This article examines the means of constructing and performing Ukrainian national identity in the music of Ukrainian poetic cinema. Cultural identity is considered a dynamic performative process, whereas film music is justified as a performative instrument of the organization and construction of cultural identity in situations of shared experience. The problem of Ukrainian national identity is exemplified by music in Shadows of the Forgotten Ancestors, A Spring for the Thirsty, The Evening on Ivan Kupalo, The Stone Cross, White Bird with a Black Mark, The Lost Letter, and Babylon XX. Authentic folklore and author music are regarded as the main music dimensions of constructing cultural identity in Ukrainian poetic cinema. In particular, Ukrainian authentic folklore and modern performances of the folk melodies of different national cultures are analyzed as a musical foundation of Ukrainian poetic films. The article also considers neo-folklorism of Myroslav Skoryk, avant-garde musique concrete of Leonid Hrabovskyi, and Volodymyr Huba’s music characterized by a combination of national musical timbres with intonations of different eras and national cultures.
Nie zmieniając poglądów. Przedstawianie okrucieństwa i zła w filmach Andrzeja Wajdy
(2018) Briuchowecka, Łarysa
Among Andrzej Wajda’s legacy, the image of the totalitarian regime and its repercussions for people, countries, and humanity holds a significant place. Films of Andrzej Wajda, who was a liaison officer in the anti-Hitler Polish underground, are a kind of chronicle of the survivors of twentieth century. The article is dedicated to study the various forms of evil and its effects on real people. The study is applicable for our time because the world again deals with the recidivism of evil which the Soviet government spread in its own country and beyond its own borders. In the USRR, the perception of Andrzej Wajda’s films was dependent on the political play in action: when the relations between two countries were friendly, he received awards, however after the Solidarity was established, no one ever mentioned Wajda. The epic work Danton, about the French revolution, made in France during times difficult for Poland because of the martial law imposed on Poland, reveals the effects of revolution that paradoxically destroyed its most dedicated revolutionists, including Danton. Wajda’s refusal to American producers to direct a motion picture based on a screen play of Aleksander Slozenicyn had se-rious reasons, primarily commitment to his homeland. He made up for the missed opportunity to show Stalin’s evil empire when he shot the film Katyń. This word echoes deep tragedy in the heart of every Pole and the director succeeded in portraying the cruelty of mechanism of punishment in totalitarian USRR. The second most important aspect was the discovery of the lies of this regime, which tried to place the responsibility for the execution of Polish officers on the Nazis. After a premiere of Katyń in Ukraine, Andrzej Wajda was awarded the medal of Jaroslaw Madry. The article also includes the theme of influence of Fyodor Dostoyevsky’s novels on Andrzej Wajda’s work — the director not only used Dostoyevsky’s work for his filmmaking and staging, but as well he was inspired by Dostoyevsky’s deep analysis of dangerous social phenomena and the courage in discovering the evil. In Wajda’s films, which belongs to the so-called “cinema of moral unrest”, the tragic fate of a talented journalist Jerzy Michalowski, the hero of film Bez znieczulenia who personalizes the characteristics of a professional and a good man, simply horrifies. In his last film Powidoki, the director masterfully shows circles of hell survived by avant-garde artist Wladyslaw Strzeminski, the lecturer of Fine Arts Academy. All the films mentioned above are deemed necessary warning for future generations, they cannot put up with the aggression — on a political and private levels. Wajda’s lessons are universal, timeless, and everla-sting, like an eternal battle of good against evil.
Perspectives on Ukrainian Cinema: Constructing National Identity and Cultural Resilience
(2023) Lihus, Mariia; Branco, Castello
Cinema plays a central role in shaping national identity, particularly in postcolonial contexts such as Ukraine. This issue of Cinema –Journal of Philosophyand the Moving Imageembraces the fundamental premise of regarding film not only as an art or mass media form but also as a means of political engagement, serving as a catalyst for constructing social and political identities. Films not only depict specific ‘realities’ but also convey statements. Therefore, understanding how Ukrainian cinema portrays Ukrainian society, politics, and national identity, especially amid the ongoing military, civil, cultural, and political conflict in the country, becomes vital. All articles within this issue delve into Ukrainian cinema’s exploration of national history, deconstruction of imperial narratives, and construction of identity. Contributors analyse themes such as the mobilizing potential of Ukrainian cinema during times of crisis, the role of music in constructing national identity, and the cinematic heritage of Kira Muratova as a form of narrative resistance. Additionally, the articles explore representations of gendered violence, cultural trauma, and collective memory in contemporary Ukrainian cinema. By employing postcolonial perspectives, the authors collectively argue for Ukrainian cinema’s significance as a dynamic cultural phenomenon that reflects and shapes the nation's intellectual and artistic traditions
Philosophical conceptual apparatus formation in Ukrainian literary works of the 17th century: 'dobro' and 'blaho'
(2017) Dovga, Larysa
The history of the formation of theological and philosophical apparatus in the Ukrainian literary works in early modern era period remains today almost untouched field of humanitarian studies. Meanwhile the ratio to the text and to the word, understanding its (word) significance, search of the semantic relations between different words/concepts/terms as well as the establishing semantic fields of individual lexemes are the signs that signal about the type of cultural area, thinking practices that prevalent in it, finally, about the formation of their own philosophical discourse within the particular culture. The article defines the semantic fields and the principles of use of lexemes “dobro” and “blaho” in the Ukrainian publications ofthe first quarter ofthe 17th century, in particular in the book “Likarstvo na ospalyi umysl cholovichyi” (Ostrog, 1607). On the basis of the conducted analysis the following conclusions are offered: 1) in texts written in Church Slavonic there is a trend towards diluting the semantic field of lexemes “blaho” and “dobro”, where the first is reserved for the defining of the area of the sacred, and the second describes all the positive things that occurs in life on earth; 2) the texts written in old Ukrainian language, completely missing the lexeme “blaho”, in return “dobro” applies to the sacred, and morally advanced plots in the profane world; at the level of everyday usage this lexeme is usually replaced by the synonyms of the other, not symbolic order; 3) the difference between the discourse that operates with the concepts and everyday language is less fixed on the choice of language (sacral, Church Slavonic or just “simple” old Ukrainian), but on the level at verbalized intellectual activity, fixed in the specific variations of word usage within every linguistic usage. Refs 20.
Principles of quoting the Holy Scriptures in works by 17th century Ukrainian authors: approaching the issue
(2018) Dovga, Larysa; Kyselov, Roman
Ukrainian attitudes towards the holy scriptures, and the ways in which they were quoted and referred to, indicate the specificity of the Ukrainian intellectual culture and the range of freedom that this culture set as a frame for its own development. The Bible quotations used in the selected 17th century texts in Old Ukrainian (prosta mova) and Church Slavonic show that the scriptures were treated by Ukrainian religious intellectuals as the most authoritative source for legitimizing new ideas and concepts which were adopted from the texts of non-Orthodox authors and were to be integrated in the Orthodox theological discourse. At the same time, the authors did not feel excessive reverence towards any of the printed versions of holy scriptures and admitted independent translations (from Latin, Church Slavonic, Polish) as well as the possibility of specifying meanings. What is most significant was the comparison of different codices of the scriptures in search of the one they considered most favorable for their goals. It is worth emphasizing that the Church Slavonic translation of the Bible served as one of the possible versions and not as a sacred literary canon. If needed it was quite acceptable to translate the holy scriptures into the Old Ukrainian literary language, based on vernacular practice and easily understood by ordinary lay believers.
Structuring the “Sacral Axis” in the Architectural Landscape of Kyiv (From the Modern Age)
(2017) Demchuk, Ruslana
In the Kyiv topography of the Modern Age there exists a "sacred axis” of the architectural landscape. It was modified during Imperial, Soviet and Ukrainian periods. In the article there are analyzed memorable locations determining "axis" specificity. Special attention is paid to the central image of the Motherland in different contexts of time and place. There is made reflection on modern memorial politics.
Uncanny of Chornobyl
(2012) Briukhovetska, Olha
Ставиться питання про те, чи можливо говорити про Чорнобиль без потрапляння у пастку проговорювання нації-жертви (української, білоруської)?
Volodymyr Vynnychenko and the Early Ukrainian Decadent Film (1917-1918)
(2017) Kirillova, Olha
The article is focused on the phenomenon of the early Ukrainian decadent cinema, in particular, in relation to filmings of Volodymyr Vynnychenko’s dramaturgy. One of the brightest examples of ‘film decadence’ in Vynnychenko’s oevre is “The Lie” directed by Vyacheslav Vyskovs’ky in 1918, discovered recently in the film archives. This film displays the principles of ‘ethical symbolism’, ‘dark’ expressionist aesthetics and remains the unique masterpiece of specifically Ukranian film decadence.
Welcoming the Hero: iconographic parallel between Pontic Region and Scandinavia
(2004) Korol', Denis
Article is dedicated to the review of cult and mythological parallels in some outlook ideas of peoples of ancient North-Pontic and North-Germanian regions using the burial stones' images. Belonging of scenes with images of a 'rider' and a 'female welcoming deity' on the plates of the Pontic peoples of I — III AD to the Iranian ideology of steppe nomads is confirmed (materials ofV—I cent. BC). Some comparisons with a similar tradition in Gotland burial steles ornamentation of Vendelperiod are made with the attempt of its interpretation.
Актуальні міфи імперської ідентичності
(2017) Демчук, Руслана
Мета роботи полягає в дослідженні міфологічного дискурсу імперської ідентичності. Методологія визначається комплексом наукових методів, зокрема, аналітичним, типологічним, порівняльним. Провідним є спеціалізований міфореставраційний метод, що дає змогу відстежити у будь-якій культурній формі міфологічні алюзії, мотиви, образи, сюжети, які своєю чергою дають змогу виявляти багатошаровий зміст явищ і феноменів. Для підбиття підсумків дослідження застосовано метод теоретичного узагальнення. Наукова новизна полягає у виокремленні міфів російської ідентичності: фундаментального – імперського ("Москва – третій Рим") з темпоральними модифікаціями ("Кримнаш" і мономіф В. Путіна) та технологічного – ліберального ("міф Правди" Б. Єльцина). Висновки. Процеси ідентифікації РФ реалізуються у продукуванні ірраціональної моделі реальності, що історично забезпечена взємозв’язком міфології та політичного процесу. Алгоритм формування сучасного міфу збігається з міфом традиційного суспільства. Політична міфологія свідомо й інструментально задіяна в інформаційних конфліктах та пропагандистських проектах.

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