NaUKMA Research Papers. History and Theory of Culture最新文献

{"title":"Issues of Museumification of the Kytaiv Archaeological and Historical Complex","authors":"Sergii Pustovalov, Liubov Chukhrai","doi":"10.18523/2617-8907.2023.6.89-94","DOIUrl":"https://doi.org/10.18523/2617-8907.2023.6.89-94","url":null,"abstract":"Kyivan Rus was a powerful state in Europe. Since then, numerous architectural monuments have been preserved in Ukraine. However, the majority of buildings underwent multiple reconstructions during the Middle Ages. Therefore, the Kytaiv complex holds exceptional significance for Kyiv. After the invasion of 1240, it has remained largely intact until the present day, with only a few exceptions. Archaeological excavations of the settlement were conducted within a relatively small area.The purpose of the article is to explore the potential for transforming the Kytaiv complex into a museum site. It is situated 12 km south of Starokyivska Hora on the right high bank of the Dnieper River, near the confluence of a small stream. In close proximity, a burial mound was discovered to the south of the settlement, along with an open settlement. Within the settlement’s territory, in addition to the Old Russian, ceramics were discovered from the Trypillia, Scythian, dating back to the 14–16 centuries. The territory of the site is divided by beams, ravines, artificial ramparts, and ditches, forming five fortified platforms. These platforms can be grouped into three sections; two advanced fortifications and the area of the citadel itself. The shaft was constructed using cages filled with soil. The path to the top of the citadel went along the eastern and western sections of the settlement. In the southern corner of the citadel, there was a raised platform believed to be the location of the tallest tower of the citadel, the donjon. The flat top of the citadel served as the foundation for a spacious residential building of the terem type. In the northwestern part of the citadel there was a small gate leading to the nearby stream. The gate was also constructed in the form of a traditional gate. To the south, the settlement is surrounded by two ramparts and ditches, which are deepenings of natural gullies. It remains unclear how the passages through the ramparts were designed. Further excavations are needed to determine when they were constructed. It is possible that the flat top of the citadel also had additional fortifications along its edges. Within the territory of the settlement, there is an entrance to one of the horizons of the Kytaiv caves.","PeriodicalId":273276,"journal":{"name":"NaUKMA Research Papers. History and Theory of Culture","volume":"262 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133564945","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":"The Polystylistics of Svyatoslav Lunyov’s Paraliturgical Music","authors":"O. Yaremchuk","doi":"10.18523/2617-8907.2023.6.65-71","DOIUrl":"https://doi.org/10.18523/2617-8907.2023.6.65-71","url":null,"abstract":"Paraliturgical music is a sophisticated expression of the composer’s pure faith, acquired through knowledge of his craft in historical and technical progress. Many examples of sacred music have come down to us from the past, and most of them were in the territory of modern Ukraine, along with works by Russian composers that are still a priority in some churches. One way to rethink this topic is to study the work of Ukrainian composers, particularly in the context of paraliturgical music. One example is the work of contemporary Ukrainian composer Svyatoslav Lunyov. While many scholarly studies have been analyzing liturgical genres and music in the liturgy in various aspects, including canonical music and the work of S. Lunyov, the question of the place of the choral symphony “Strasna Sedmytsia” in the context of paraliturgical music remains unresolved. Due to its scientific novelty, the study of Lunyov’s choral symphony in the context of Ukrainian paraliturgical music became the subject of a special musical and cultural analysis for the first time. Since the beginning of the twenty-first century, the spiritual revival has become more and more important. The historical path of development of church culture, which was deliberately almost destroyed at the beginning of the last century, is being rehabilitated as a result of the establishment of church-state relations. Currently, sacred music is subject to very mixed opinions among scholars, composers, church leaders, philosophers, and people of different faiths. Music based on the canonical texts that form the basis of the church rite but interpreted by contemporary composers seems impossible to introduce into the service on an everyday level. Such music is defined as “paraliturgical.” Today, there are many different examples of music of this genre, as almost all academic composers turn to.","PeriodicalId":273276,"journal":{"name":"NaUKMA Research Papers. History and Theory of Culture","volume":"101 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131011871","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":"The Performative Dimensions of Academic and Public Philosophy","authors":"Mariia Lihus","doi":"10.18523/2617-8907.2023.6.57-64","DOIUrl":"https://doi.org/10.18523/2617-8907.2023.6.57-64","url":null,"abstract":"The article conceptualizes the phenomenon of performance in the context of academic and public philosophy as an innovative practice of philosophy teaching and a means to encourage wider communities to participate in the events of philosophical communication. The performative nature of philosophy is traced back to Antiquity when philosophy involved both practice and dramatic action alongside logical theorization. The author argues that the performative turn of the second part of the 20th century provides a theoretical basis for rethinking academic philosophy as performance and for actualizing public philosophy as a means of transferring philosophical inquiry to the public space to address global and local challenges. The author suggests that both modern academic and public branches of philosophy enable actors’ self-presentation and can be analyzed as platforms of performance communication given their open, creative, and reflexive character. This perspective is based on H. U. Gumbrecht’s concept of the production of presence, which explains the performance’s potential for transformation in the public realm. The article demonstrates how performance can challenge the collective representations and norms by suggesting alternative worldviews and defines performance as a collective action and event of communication that can shape a public space. The article argues that performances can be reflexive and creative events that visualize social scripts, making them an effective instrument of public self-reflection and democratic change. Thus, the author analyzes educational performance in the context of modern academic and public philosophy, demonstrating the heuristic role of performance as a cause and platform of public discussion, its transformative role as an event of the common experience of moments of intensity, and its effectiveness as an innovative educational model based on the principles of presentation, self-presentation, interactivity, and co-presence.","PeriodicalId":273276,"journal":{"name":"NaUKMA Research Papers. History and Theory of Culture","volume":"63 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126279102","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":"Narrative Complexes about Sign Boards in Moscow by F. Distribuendi and S. Krzhizhanovsky (Imperial and Soviet Perspectives).","authors":"Yurij Dzhulay","doi":"10.18523/2617-8907.2022.5.7-15","DOIUrl":"https://doi.org/10.18523/2617-8907.2022.5.7-15","url":null,"abstract":"The study appeals to two works on Moscow sign boards: F. Distribuendi’s brochure and S. Krzhizhanovsky’s essay were aimed at examining the authors’ final conclusions and visions of both the imperial and soviet in conceptual form, rather than an ideological marker of chronological time of analysis of street sign boards in Moscow. The maximum coverage of the components of each of the stories about the decoration of sign boards guaranteed the presentation of these authorized stories as a completed narrative complex, which excludes the possibility of involving these works in premature, external to the consistent course of each of these stories, comparison.An analysis of Distribuendi’s narrative complex of Moscow signs showed that the continuing deterioration in the artistic level of ordinary signboards could not preserve the legendary history of their origins and preserve the possibility of reviews of these signboards as a new historical monument.A possible reform of the design of signboards in the form of unified completed forms is hindered not by the lack of calculations but only by the lack of omnipotent desire. F. Distribuendi’s vision of the desire for the final basis of the reform in the design of signboards connects this reform to all previous reforms in the empire, which were implemented only by the power and makes the whole narrative complex of Distribuendi’s work an organic imperial vision. Analysis of the narrative complex of S. Krzhizhanovsky’s essay on Moscow signs made it possible to identify a certain core in it, which streamlines the analysis of the presence of signboards in the city. This core was the vision of capturing the signboards of visual attention and memory of the average person as result of the organization of thinking in a pattern.The last option of thinking can level the sense of difference between people and everyday phenomena. Therefore, the liberation of sight and attention of the sign, an instruction of Soviet institutions from the performances of symbolic signs as the most powerful pattern of hunting for the buyer, was proposed to study further, but under the Soviet vision: transmission of knowledge about the final victory over thinking in patterns on sign boards to new generations.","PeriodicalId":273276,"journal":{"name":"NaUKMA Research Papers. History and Theory of Culture","volume":"209 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-09-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115723941","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":"Transformation of the Museum Sphere in the Convention of the COVID-19 Pandemic","authors":"Оleksandr Romanukha, Lilia Bershova","doi":"10.18523/2617-8907.2022.5.61-69","DOIUrl":"https://doi.org/10.18523/2617-8907.2022.5.61-69","url":null,"abstract":"The article draws attention to the development of cultural and cognitive tourism in Ukraine in the context of the spread of the COVID-19 pandemic. The degree of information technologies introduction as an effective form of museum work in the conditions of lockdown is analyzed. The level of activity of “museumvisitor” communications in social networks as the main platform for dialogue and work was assessed. Attention is paid to the role of panoramic photos, virtual tours, online tours as an effective marketing tool for self-promotion and a mechanism for saving the internal visitors in order for them to return in the future.Based on the collected material on traffic congestion, in the number of visits, posts, reposts, and preferences, a cluster analysis of information activity of cultural and cognitive tourism facilities was conducted and four centers were identified: Central-Eastern; Western; Southern; Northern. It was stated that the dynamics of information technology dissemination was more active in the Central-Eastern and Northern regions. The presence of a big number of large museums facilitated the involvement of volunteers or investors to digitize exhibitions or create virtual tours, in contrast to small regional ones which were distributed in the western regions of Ukraine. The seasonality of bursts of interest in information resources during the New Year holidays or summer vacations has been revealed.Statistical analysis of visitors to the information resources of museums by age, sex, geography of residence helped to draw attention to the characteristics of visitors. The data showed that the majority of visitors (80 %) belonged to local users, which suggests the need to promote them, especially in other regions of Ukraine, in order to intensify domestic tourism. This practice will not only increase the tourist flow of Ukraine, but also the cultural and tourist integration of citizens. At the same time, women showed greater interest in information resources, which indicates the need to take into account these features in building the marketing strategy of museums in the information space.","PeriodicalId":273276,"journal":{"name":"NaUKMA Research Papers. History and Theory of Culture","volume":"43 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-09-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126947731","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":"The Modernism Apocalyptics and an Alternative Path of Civilization for Ukraine. Review: Shchelin Pavel. 2022. “Poslednyaya voyna Moderna, ili Otkrytaya dver v novuyu epokhu.” Khvylia. April 14, 2022","authors":"D. Korol","doi":"10.18523/2617-8907.2022.5.87-93","DOIUrl":"https://doi.org/10.18523/2617-8907.2022.5.87-93","url":null,"abstract":"The Modernism Apocalyptics and an Alternative Path of Civilization for Ukraine. Review: Shchelin Pavel. 2022. “Poslednyaya voyna Moderna, ili Otkrytaya dver v novuyu epokhu.” Khvylia. April 14, 2022","PeriodicalId":273276,"journal":{"name":"NaUKMA Research Papers. History and Theory of Culture","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-09-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131207876","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":"Prince’s Trident on Frescoes and Graffiti of St. Sophia of Kyiv","authors":"N. Nikitenko","doi":"10.18523/2617-8907.2022.5.27-37","DOIUrl":"https://doi.org/10.18523/2617-8907.2022.5.27-37","url":null,"abstract":"The article, for the first time in academic research, puts and comprehensively considers a unique phenomenon of picturing seven images stylized under the lily of the prince’s tridents of Volodymyr on the frescoes and graffiti of St. Sophia of Kyiv, which elucidates the time of the cathedral construction and its prince-builder. They are singled out as separate compositions, “inserted” in the center of large narrative scenes of the religious and secular nature. Four tridents of Volodymyr are present in four frescoes of the vestry, decorated with scenes from the cycle of the Virgin; two more are present in the fresco of the north stair tower, which is part of the secular cycle that tells about the conclusion of dynastic marriage between Prince Volodymyr and Byzantine Princess Anna. Two inverted tridents of Volodymyr, drawn by his warriors after the death of the prince, were found in the graffiti of St. Sophia. They appeared around 1017 after Yaroslav’s capture of the Kyiv throne. Volodymyr’s trident on the walls of St. Sophia is a sign of his ownership of the temple and the glorification of the prince in the eyes of contemporaries and descendants. On the wall of the St. Michael’s altar of the cathedral there is a trident of Iziaslav Yaroslavych, similar to the lilies on the frescoes of the cathedral, which in the conditions of feud marked the right of this prince to Kyiv and St. Sophia, its heart. Iziaslav’s trident appeared here during the difficult period between 1068 and 1078. The prince’s tridents did not appear in the graffiti of Sophia spontaneously, as their authors were inspired by the urgent needs of life at that time. Like the oldest dated graffiti on its walls, mosaics, and frescoes, Prince Volodymyr’s tridents confirm the inference that St. Sophia was founded by Volodymyr the Great in 1011, and during his reign the cathedral was built and decorated with mosaics and frescoes. Instead, Yaroslav’s tridents were not found on the walls of St. Sophia.","PeriodicalId":273276,"journal":{"name":"NaUKMA Research Papers. History and Theory of Culture","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-09-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134339659","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":"Early Metallurgical Production on Ukraine Territory within Museum Expositions","authors":"Sergii Pustovalov, Liubov Chukhrai","doi":"10.18523/2617-8907.2022.5.54-60","DOIUrl":"https://doi.org/10.18523/2617-8907.2022.5.54-60","url":null,"abstract":"The rich archaeological heritage of Ukraine is represented in museum expositions by various finds. Almost every region of Ukraine has unique archaeological sites. A much higher level of attraction gives the visitor a display in the exposition of the context of the find. However, there are almost no such contextual reconstructions. The purpose of this article is to highlight the place and role of contextual models of metallurgical production of the population of Ukraine in the Late Bronze and Early Iron Ages in the archaeological and historical exposition. Coal pits and ditches, ash pans, metallurgical furnaces, forges, slag dumps, etc. occupy a special place among archaeological objects for mock-ups. The remains of these industries have been studied at many Chimerian, Scythian, and early Slavic sites. Here are the most informative memos containing the remains of metallurgical production and related industries.At the settlement of Lymanske Lake of the Bondarykha culture, a raw-oak forge was found, attached to the wall of the dwelling as a shelter. This is a typical blacksmith’s metallurgical workshop, which can be subjected to a graphic reconstruction and reproduced in a museum exhibition. An oval raw-hearth furnace was discovered at the Sharpov settlement of the Scythian era. A device for slag release was traced, which is the most ancient in Ukraine (the 6th century). Thus, among the Scythians, two types of horns can be traced. The first species has two subspecies. The first subspecies are round forges deepened into the ground and the second subspecies are ground round or oval forges up to 1 m in diameter. Thus, the creation of models of metallurgical and other industries for the archaeological exposition of historical museums is an important component of creating strong museum communication. Due to the absence or impossibility of transferring the monument to the skansen, a full-scale model is the only way to convey outstanding archaeological monuments to visitors.","PeriodicalId":273276,"journal":{"name":"NaUKMA Research Papers. History and Theory of Culture","volume":"73 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-09-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121682028","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":"Reasons for Changing the Painting Style of Orthodox Churches in Eastern Ukraine at the Turn of the 20th–21st Centuries","authors":"Yuliia Khlystun","doi":"10.18523/2617-8907.2022.5.38-46","DOIUrl":"https://doi.org/10.18523/2617-8907.2022.5.38-46","url":null,"abstract":"Orthodox churches in the east of Ukraine, built (or restored) during the period of the state independence, are painted either in the style of academic painting or in the Byzantine style. Moreover, the style of academic painting is more typical of temples painted in the 1990s and the early 21st century; and in the last two decades, the customers and icon painters prefer the Byzantine style of painting. Answering the questions related to the reasons for changing the style of painting of Orthodox churches in the east of Ukraine at the turn of the 20th–21st centuries, the author offers her point of view from the standpoint of culturology. In contrast to the style of academic painting, the Byzantine style of painting conveys through visible images the invisible, spiritual, mystical, spiritual, which was the subject of search in the analyzed historical period.The author of the article analyzes the processes taking place in the religious culture and art of our state after gaining independence and comes to the following conclusions.There are several main reasons for the change in the style of painting Orthodox churches in the east of Ukraine at the turn of the 20th–21st centuries: the search for national identity as one of the important and defining processes in the culture of Ukraine, which is relevant for all regions of Ukraine (both for the West and for the East); the perception of Kyivan Rus as the main (in historical retrospect) monument in the history of Ukrainian statehood (the time of Rus, of course, is associated with the Byzantine style of temple painting); the spread of icon-painting schools and the increased interest in canonical (Byzantine) iconpainting; the desire to adhere to the ancient Byzantine statutes in monastic life; the development of religious tourism and exchange of experience between masters.The prospect of further research on this topic can be considered the study of regional features of church painting, creativity, and various components of the work of individual Ukrainian artists, including icon painters.","PeriodicalId":273276,"journal":{"name":"NaUKMA Research Papers. History and Theory of Culture","volume":"10 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-09-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133471796","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":"The Fakes of Sexual Narrative in the Information Warfare","authors":"R. Demchuk","doi":"10.18523/2617-8907.2022.5.81-86","DOIUrl":"https://doi.org/10.18523/2617-8907.2022.5.81-86","url":null,"abstract":"The proposed article is based on the report presented at the conference “The Days of Science at NaUKMA” on January 26, 2022, just one month before the Russian invasion. Back then it seemed impossible. The active phase of the previous military confrontation ended in 2015 and it transformed into a positional and hybrid warfare. Since then, some representatives of Ukrainian scientific community, under the guise of “science without politics,” continued to cooperate with Russia, from publishing their research in Russian journals to holding joint conferences and more. The author of the article, despite the rejection, did not see this as an intention but rather a misunderstanding of the objective reality. Therefore, the purpose of the report was to prove that hybrid warfare is a covert but real war in the context of post-truth.Post-truth as a mode of meanings functioning is a shift of boundaries between the real and the imaginary; it does not equal lie but rather is negligence, indifference to the truth, which entails uncertainty of positions and substitutions of concepts. Fake, on the other hand, is a specific form of misinformation which has accompanied hybrid warfare. However, on February 24, 2022, the war took the form of an open escalation, the planning of which was denied by Russia in accordance with the genre of hybrid warfare with its cortege of fakes.The choice of the topic focused on the sexual narrative is relevant, in particular due to the public joke of Russian President Putin towards Ukrainian President Zelensky at a press conference in Moscow on February 8, 2022, directly related to rape, which became widely known in the media. As it turned out later, it was not a joke but a certain affirmation, an intention of thinking, which turned into mass rapes of Ukrainian women and children by Russian soldiers in the new stage of Russia’s war against Ukraine.","PeriodicalId":273276,"journal":{"name":"NaUKMA Research Papers. History and Theory of Culture","volume":"65 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-09-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126758334","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}