Almanac "Culture and Contemporaneity"最新文献

{"title":"Frame Design in the Visual Culture of Modern Author’s Directing. Part 2. Projecting the Objective World in Films by Author-Directors","authors":"Galyna P. Pogrebniak","doi":"10.32461/2226-0285.2.2023.293745","DOIUrl":"https://doi.org/10.32461/2226-0285.2.2023.293745","url":null,"abstract":"The purpose of the article is to determine the artistic and aesthetic toolkit for designing the objective world of the frame in the visual culture of the author's film by the director, artist, cameraman. Research methodology. An integrated approach was used in the development of the topic, in particular, methods of systematisation, comparison, verification, comparative, and textual analysis. The analytical method and the method of figurative and stylistic analysis in their unity were used to consider the art historical aspect of the problem. The scientific novelty of the research lies in the fact that the director's creativity is investigated in the context of the visual culture of frame design and for the first time it became the subject of a special study. The appropriateness of using the systematic method in studying the features of the author's plastic film language has been proven. A comprehensive analysis was carried out and the features of frame design in the author's film creativity were revealed. Conclusions. The materials presented in the study expand the arsenal of knowledge about the specifics of the visual culture of the author's directorial film language in various worldview models and enable their application in educational courses, the creation of educational and methodological literature on the theory and history of cinema and television, directing. \u0000Keywords: fine art, artist, audiovisual art, director, shot, design, image projection.","PeriodicalId":180362,"journal":{"name":"Almanac \"Culture and Contemporaneity\"","volume":"126 26","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138953664","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Body without Organs Model of Corporeality as a Productive Corporeal Paradigm in Steve Paxton’s Concept of Contact Improvisation","authors":"Olha Babych","doi":"10.32461/2226-0285.2.2023.293738","DOIUrl":"https://doi.org/10.32461/2226-0285.2.2023.293738","url":null,"abstract":"The purpose of the article is to reveal the features of postmodern dance through the prism of the concept \"body without organs\" and to analyse the defined model of corporeality as a productive bodily paradigm in S. Paxton's contact improvisation. Research methodology. The analytical, typological, historical and cultural method, the method of cultural analysis (to understand the cultural meanings of the \"body without organs\" model of corporeality, which are revealed and constructed by postmodern dance practices), the phenomenological method, which contributed to the understanding of dance as a special type of socio-culturally oriented bodily practices, were applied, as well as generalisation method. Scientific novelty. The concept of \"body without organs\" is studied in the theoretical works of A. Artaud, as well as within the framework of the philosophy of postmodern corporeality of J. Deleuze and F. Guattari; the question of the body and dance as a possible overcoming of its automatisms is considered. The concept of postmodern dance along the lines of the \"body without organs\" model was analysed and its features as a productive bodily paradigm in the paradigm of contact improvisation by S. Paxton was revealed. Conclusions. In accordance with the specifics of postmodernism, the concept of \"body without organs\" is positioned as the result of a meaningful application of the fundamental idea about the immanent creative potential of the rhizome (a decentralised semantic environment to the phenomenon of corporeality. In the dimension of postmodern dance, the \"body without organs\" model has become the most productive bodily paradigm in Steve Paxton’s contact improvisation. S. Paxton’s concept, within which contact improvisation is considered as a specific formation of \"spherical space\", the result of a change in spatial-kinaesthetic orientation within a short time, involves focusing on the boundaries of body space, understanding its inner essence in relation to external space, the birth of movement in the process communication. Like most postmodern dance practices, contact improvisation is not focused on the final result, but is focused on the continuity of the process and the transformation of the aesthetic experience. According to S. Paxton, sustained movement and spontaneous movement are the poles of the spectrum of possibilities that define his research, as technical dance provides a basis for thinking about improvisation – dance techniques provide information about how movement affects the structure of the body. The model of the \"body without organs\", which is not limited by any standards of movements, in a duet is revealed in a variety of relationships with the partner’s body. Both bodies balance on the rules of continuous contact, weight transfer, and balance to ultimately acquire newly formed capabilities. \u0000Keywords: corporeality, postmodernism, \"body without organs\" model, A. Artaud, J. Deleuze, F. Guattari, contact improvisation, S. Paxton.","PeriodicalId":180362,"journal":{"name":"Almanac \"Culture and Contemporaneity\"","volume":"13 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138955941","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Colour Therapy: Psychological and Physiological Aspects","authors":"Ilona Dorohan","doi":"10.32461/2226-0285.2.2023.293876","DOIUrl":"https://doi.org/10.32461/2226-0285.2.2023.293876","url":null,"abstract":"The purpose of the article is to reveal the significance of colour therapy and to determine its methods and applications for preserving human health. Research methodology. In the course of the study, the procedures of theoretical and methodological experiments of scientists and doctors, the method of scientific comparison, analysis and synthesis of empirical data were applied. Scientific novelty. The article examines the subdivision of the science of colour studies in the aspect of colour therapy, which is experiencing a second birth. The influence of colour on a person in everyday life has always attracted the attention of researchers. Colour was the first form of therapy used by our ancestors. Even Adam and Eve, living in Eden, without realising it, were treated with the green comfort of bushes and fruits of different colour. Today, doctors are returning to treating patients with colour. After all, scientists have long proven that colour has its own character and affects the human psyche. Every day, a person is faced with many environmental factors that affect them. One such factor is colour. Everything we see is processed by our brain, and it, in turn, tells the body how to react to information, often by connecting an associative series. For example, a yellow-brown colour is similar to an orange, green – to a forest, rest, peace. Conclusions. It has been determined that colour therapy is an ancient practice based on the interaction of colour with the human psyche and physiology. Different colours can have different effects on a person's psychological state, for example, blue can calm, red can stimulate. It was found that the physiological interaction of colours is manifested through their influence on the heart rate, blood pressure and other parameters of the body. Colour therapy can be used as an additional method in the complex treatment of a number of diseases or for general well-being. For effective colour therapy, it is necessary to take into account the individual characteristics of each person, as well as cultural and social contexts. \u0000Keywords: colour, health, therapy, physiology, psychology, treatment.","PeriodicalId":180362,"journal":{"name":"Almanac \"Culture and Contemporaneity\"","volume":"80 24","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138956896","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Modern Ukrainian Theatre in the Dimension of Internet Culture","authors":"Taisia Khvostova","doi":"10.32461/2226-0285.2.2023.293742","DOIUrl":"https://doi.org/10.32461/2226-0285.2.2023.293742","url":null,"abstract":"The purpose of the article is to reveal the peculiarities of the functioning of the Ukrainian theatre of the second – beginning of the third decade of the 21st century in the dimension of Internet culture. Research methodology. The principle of scientific objectivity, analytical, cultural, systemic, typological, and structural-functional method was applied to generalise the theoretical and methodological foundations of the study of Internet culture, to identify the peculiarities of the functioning of modern Ukrainian theatre in the cultural environment of the Internet. Scientific novelty. The trends of the development of modern theatre culture were studied through the prism of the specifics of the Internet space. The cultural environment of the Internet was considered as an important factor in the functioning of theatrical culture in the modern digital society. The peculiarities of the representation of modern Ukrainian theatre in the Internet space were revealed using the example of interactive sites and virtual tours. The concept of \"Internet culture\" was clarified. Conclusions. Internet culture forms a high level of general human culture due to the property of representing modern progressive cultural practices; oriented on the principles interconnected with modern culture (montageability, clipability); characterised by dynamism, interactivity, variability, a special ratio of heterogeneity and unity. The Internet space represents a new dimension of interaction between the theatre and the audience, the discovery of new ways of creating and presenting theatre, as well as new forms of interaction between the actor and the audience in these theatrical contexts. It acts as a part of cultural communication, in which multimedia technologies allow creating a new type of communication, and the Internet is a channel for broadcasting. The consequence of this is the formation of theatrical content as a specific sphere of the Internet environment. The nature of these changes is a promising subject of further scientific reflection. At the current stage, the Internet space and its cultural environment lead to the emergence of innovative ways to satisfy the informational needs of potential theatre viewers, provide forms of presentation of Ukrainian theatre and opportunities for interactive engagement that are relevant for the modern digital society. \u0000Keywords: Internet culture, Internet, theatre culture, digital society, Ukrainian theatre, official sites, virtual tours.","PeriodicalId":180362,"journal":{"name":"Almanac \"Culture and Contemporaneity\"","volume":"108 13","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138954181","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"EXHIBITION AS A SOCIO-CULTURAL PHENOMENON AND OBJECT OF EVENT MANAGEMENT","authors":"Yelena Kovalenko, Yaroslav Martynyshyn","doi":"10.32461/2226-0285.2.2023.293884","DOIUrl":"https://doi.org/10.32461/2226-0285.2.2023.293884","url":null,"abstract":"The purpose of the article is a theoretical analysis of exhibition activity as a cultural phenomenon and an object of event management. The research methodology is based on the use of dialectical, systemic, cultural and interdisciplinary approaches, which makes it possible to comprehensively investigate the multifaceted phenomenon of the organisation of exhibition activities. The scientific novelty lies in deepening the understanding of the nature of the exhibition phenomenon and the peculiarities of its event management in the conditions of complicated social relations, uncertainty, and turbulence. Conclusions. The exhibition is a special cultural phenomenon, an object of event management, a source of information about the achievements of individual enterprises, industries, regions, and countries, as well as an effective marketing tool of intercultural communication. It is a semiotic space formed for the purpose of presenting ideas, things created for their presentation to society. Exhibits as semiotic signs form certain meanings, emotional and figurative cognitive activity, contribute to the growth of interest in the relevant products, the development of national culture and economy. Considering the exhibition as a product allows you to look at this marketing tool in the event management system in a new way, identify all the opportunities it provides and use them to get the maximum effect from the exhibition. The market of exhibition services is steadily growing. However, there is a conflict of interests between the organisers and the exhibitors: the organisers cannot offer a product that satisfies the communication needs of the exhibitors, and because of this, the exhibitors do not fully use all the possibilities of the exhibition. The reason for this is insufficient methodical support of the exhibition activity, as well as failure to take into account the assessment of the level of organisation of the exhibition and the quality of services provided by its organisers. \u0000Keywords: exhibition, event management, exhibition product, market of exhibition services, effectiveness and efficiency of the exhibition.","PeriodicalId":180362,"journal":{"name":"Almanac \"Culture and Contemporaneity\"","volume":"31 5","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138954984","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Goryan Rotunda in the Context of Traditions of Monumental Painting of the 13th and 14th Centuries","authors":"Yuli Skakandi","doi":"10.32461/2226-0285.2.2023.293880","DOIUrl":"https://doi.org/10.32461/2226-0285.2.2023.293880","url":null,"abstract":"The purpose of the work is to study the traditions of monumental painting of the Goryan Rotunda near Uzhgorod in the context of the development of art of the XIII-XIV centuries. The research methodology lies in the application of the analytical approach in order to highlight the peculiarities of the monumental paintings of the Goryan Rotunda. An important element of the research was observation and description, which made it possible to investigate and outline the evolution of the development of the traditions of monumental painting in the context of the general artistic trends of the 13th and 14th centuries. The novelty of the research lies in the systematisation and generalisation of research on the monumental painting of the Goryan Rotunda, which belongs to the outstanding monuments of the XIII-XIV centuries. Conclusions. Amazing frescoes even today impress visitors with the high skill of execution and at the same time the simplicity and vitality of the characters. The harmonious colour of wall paintings, graceful plots and elegant silhouettes of images are filled with deep spirituality and evoke a pleasant feeling of beauty. Today, scientists are of the opinion that the frescoes in Goryany, those on the surface, represent the era of the early Renaissance and were made in the 14th century by the unsurpassed Italian masters of the Giotto school, but they were then applied on top of images painted here much earlier. The main plots are \"Annunciation\", \"Flight into Egypt\", \"Passion\", \"Gifts of the Magi\", \"Christmas\", / \"Resurrection\". It is likely that the new frescoes were commissioned by the family of the Italian Counts of Drugeti, who have been the owners of our lands since 1318 and ruled here hereditary for 360 years. The researchers recognised the technology of their execution – this is a complex technique that is no longer used today: a wet, \"fresh\" surface absorbed a 10-centimeter layer of paint during painting. Scenes from the New Testament are depicted on the walls of the temple, which run in two lanes, without destroying the impression of the integrity of the interior. \u0000Keywords: Goryan rotunda, monumental paintings, architecture, colour, frescoes.","PeriodicalId":180362,"journal":{"name":"Almanac \"Culture and Contemporaneity\"","volume":"9 4","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138956015","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Art Practices in Modern Culture","authors":"Olena Afonina, Viktor Karpov","doi":"10.32461/2226-0285.2.2023.293863","DOIUrl":"https://doi.org/10.32461/2226-0285.2.2023.293863","url":null,"abstract":"The purpose of the article is to analyse modern creative practices in interaction with cultural values. The research methodology includes scientific methods: analytical, structural-functional, generalising; comparative analysis techniques to reveal the specifics of modern creative practices from the perspective of the formation of cultural values. The scientific novelty of the work is based on the analysis of modern artistic practices. Conclusions. It is noted that creative practices influence the educational process with the preservation, reproduction, and formation of cultural values. Artistic practices are a complex communicative process, a connection between a person’s worldview and the environment, means of expressiveness of the arts and everyday life and customs. The versatility of modern creativity is noted with the involvement of synthesised projects, which have more opportunities to attract recipients. The complexity in the relationships between personality education and the formation of cultural values is noted. It is supported by the facts of a change in ideals in modern creativity, reaching the dialectical level of the art of negation, art showing different sides of human existence. Project of the Czech National Ballet with the organisation «Consent» – the ballet “A Streetcar Named Desires” with the problem of violence, changing approaches to education according to the dominance of ethical norms and values of certain groups of youth: respect for oneself, the world around us, loved ones, partners and friends; treating another person as oneself. Ballet by D. Neumeier based on the psychological drama by W. Tennessee “A Streetcar Named Desire” as an example of modern creativity in understanding violence and trauma from it. The modern discourse of art about norms and rules, socio-political relations and cultural values is examined using the examples of the original sculpture by D. Czerny “ Sycophancy” (2003, Prague); artistic project of the Italian theatre troupe “Malatheatre” on the occasion of the celebration of the 452nd anniversary of the birth of the Italian artist Caravaggio in the Church of San Michele Arcangelo. All examples are paralleled by memory studies by psychologists: J. Miller, J. Santa, C. Jung. It is noted that art practices help young people understand cultural values with the accents of the present. Keywords: artistic practices in modern culture, cultural values, art history, musicology, baroque music, ballet, psychology of perception.","PeriodicalId":180362,"journal":{"name":"Almanac \"Culture and Contemporaneity\"","volume":"324 ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139170633","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Historical Cossack Portrait in the Work of Natalia Pavlusenko","authors":"Volodymyr Pekarchuk, Tetiana Filina, Yuliya Maystrenko-Vakulenko","doi":"10.32461/2226-0285.2.2023.293865","DOIUrl":"https://doi.org/10.32461/2226-0285.2.2023.293865","url":null,"abstract":"The purpose of the work is to explore the genre of the historical Cossack portrait in the work of contemporary Kyiv artist Natalia Pavlusenko. The methodology of the research consists in the application of the art method, biographical, research, as well as analytical, historical, descriptive, which together made it possible to achieve substantiated research results. The scientific novelty of the work lies in the fact that for the first time the work of the contemporary Kyiv artist N. Pavlusenko is examined within the framework of the author's artistic project \"Heroes of Cossack Ukraine\". Conclusions. As a result of the conducted research, it was established that the work of N. Pavlusenko in the genre of historical Cossack portrait belongs to modern artistic phenomena and is a notable contribution to the development of the Ukrainian historical genre of painting. The series of the artist's works, united by the artistic project \"Heroes of Cossack Ukraine\", is a series of portraits of hetmans and atamans of the Cossack period in the author's performance with high professional skill. Each of the works is the author's interpretation of the image based on the study of a significant number of historical sources, which conveys not only the authenticity of the era, but is marked by a certain psychologism and character. The designated project of the historical Cossack portrait is a significant contribution to the popularisation of Ukrainian history and art, as well as the promotion of patriotism and national-cultural identity. \u0000Keywords: Natalia Pavlusenko, historical Cossack portrait, historical painting, picture, \"Heroes of Cossack Ukraine\" project, historical figures, Cossack hetmans.","PeriodicalId":180362,"journal":{"name":"Almanac \"Culture and Contemporaneity\"","volume":"18 18","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138955150","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Restoration of Monumental Painting in Ukraine in the 1950–1960s. Social Aspirations and Ideological Collisions","authors":"Viktor Karpov","doi":"10.32461/2226-0285.2.2023.293868","DOIUrl":"https://doi.org/10.32461/2226-0285.2.2023.293868","url":null,"abstract":"The purpose of the article is to consider the peculiarities of restoration of sites of monumental painting of Ukraine in the post-war years 1945-1960s in the context of the influence of social, economic, and ideological factors. The research methodology consists in the application of general scientific and special research methods, in particular, analysis, synthesis, induction and deduction, generalisation and abstraction, semitic, descriptive, which together made it possible to obtain well-founded conclusions. The scientific novelty consists in outlining the general directions and approaches in preserving the artistic heritage of the post-war period of the 1950s-1960s, identifying gains and losses. Conclusions. Against the background of the global scale of the destruction of cultural heritage monuments, which required the implementation of complex monument protection and restoration tasks, the foundations of scientific methodology in the field of restoration of wall paintings were formed. The increase in the pace and volume of the restoration of cultural and artistic monuments after the Second World War was affected by new challenges caused by the lack of a material, technical and methodological base, qualified human resources, and shortcomings in the organisation of work. At the same time, deep destructive manifestations caused by atheistic state policy with a pronounced totalitarian colour have become fatal for a number of Ukrainian historical and cultural monuments, introducing a contradictory character into the establishment of the restoration work in the country. Thanks to the active position of leading cultural figures and the founders of the new Ukrainian restoration school of monumental art – Luka Kalenichenko, Olha Plihusch, Yevhen Mamolat, the first post-war decades became decisive in the formation of the national restoration and monument protection industries. \u0000Keywords: monumental painting, restoration, restoration workshop, preservation of monuments.","PeriodicalId":180362,"journal":{"name":"Almanac \"Culture and Contemporaneity\"","volume":"16 12","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138954936","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Conceptosphere of cultural mediatisation","authors":"Anton Levchenko","doi":"10.32461/2226-0285.2.2023.293740","DOIUrl":"https://doi.org/10.32461/2226-0285.2.2023.293740","url":null,"abstract":"The purpose of the article is to clarify the essence of the concept of \"mediatisation of culture\" in the modern context, to analyse the range of its conceptual sphere and its impact on the socio-cultural space of Ukraine. Research methodology. To achieve this goal, a number of research methods were used. Thus, to consider the interaction of cultures in the traditional space of communication and the space of social networks, the method of comparative analysis was used. To identify the mechanisms of formation of cultural boundaries, as well as their overcoming, the method of analysing open sources of information which are information resources on the Internet was applied. For qualitative and quantitative study of documents characterising the modern content of the concept of \"mediatisation of culture\", analytical synthesis was used. The method of theoretical generalisation allowed summarising the data obtained in the course of the study. The scientific novelty of the study is due to the need for new scientific views on the processes that shape and characterise the mediatisation of the cultural sphere of our time. An attempt to do this by defining a number of related concepts, united by the concept of conceptosphere, is qualitatively new. This study, which is comprehensive, takes into account the changes taking place in the cultural environment under the influence of the media. It takes into account their role in shaping the modern socio-cultural space of Ukraine, especially in the context of Russia's military aggression against Ukraine. Conclusions. The study examines the concept of \"mediatisation of culture\" in the modern context and its impact on the socio-cultural space of Ukraine. The work takes into account important changes in the cultural environment caused by the influence of the media, in particular their role in shaping the modern socio-cultural space of Ukraine. \u0000Keywords: mediatisation of culture, conceptosphere, concepts, concept, modern media technologies, mass media, social networks, socio-cultural space of Ukraine, cultural environment, cultural freedom, media spaces.","PeriodicalId":180362,"journal":{"name":"Almanac \"Culture and Contemporaneity\"","volume":"22 6","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138956408","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}