{"title":"A Series before the TV Series: George Martin’s First Fantasy Story","authors":"Mykhailo Sobutsky","doi":"10.18523/2617-8907.2022.5.16-20","DOIUrl":"https://doi.org/10.18523/2617-8907.2022.5.16-20","url":null,"abstract":"In the article we concentrate our efforts on the detailed analysis of “The Lonely Songs of Laren Dorr”, the first fantasy story written by George R. R. Martin in 1976. Before that, he had written science fiction; and by now, we know him as the creator of the famous Game of Thrones. In this very first manifestation of George Martin’s creativity we can see some kind of a draft for future worlds of his own guided by the power of the Seven. They do not represent as yet different avatars of one and the same deity; rather, they are separate gods. Those gods are envious, cruel, and persecutory, which characteristics remind us of Ancient Greek ones. They steal Laren Dorr’s memory and even his dreams. Once he opposed them, and now he sings his lonely songs in a castle. Forever, because he is immortal.As well as immortal is a girl named Sharra who travels between worlds, searching her lost lover. Ancient gods hated excessive happiness of humans, and so do the Seven. The girl must struggle through innumerable gates between innumerable worlds, and after such a struggle she occasionally enters the lonely world of Laren Dorr. He tries to soothe her by his songs and his compassion, so that inevitably two solitary rebels against gods fall in love with each other.But not for a long time, in her case. After a while, she feels remorse and longs to return to her endless and hopeless search. He sighs and shows her a gate in the neighboring tower, explaining that there is always a guardian. Some try to stop her with force, some with lies. Only he tried to detain her with love, but he was true and never sang her false. He shoves her to the door. Now, he sings his lonely loving songs about her.George Martin’s Shakespearian inspiration obvious in the Game of Thrones was not enough to interpret this early story. We had to actualize ancient theories of love, as well as some medieval ones originating from the 12th century. As we know, Martin always combines those types of imagination.In our analysis we used the following concepts: ethics, desire, truth, and sentimentality. The former two are Lacanian and postmodern, the latter two ones lead us to the metamodern world of today. We cannot ignore the date of 1976 which is too early for a conscious metamodern outlook, but we believe in some kind of the writer’s insight of the forthcoming revival of sentimental moods, sometimes silenced and ephemeral, but always true.","PeriodicalId":273276,"journal":{"name":"NaUKMA Research Papers. History and Theory of Culture","volume":"17 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":"129576351","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":"Instead of the Foreword. Qui pro veritate pugnat, pacem obtenebit bonam","authors":"Yurij Dzhulay, Denys Korol","doi":"10.18523/2617-8907.2022.5.3-6","DOIUrl":"https://doi.org/10.18523/2617-8907.2022.5.3-6","url":null,"abstract":"","PeriodicalId":273276,"journal":{"name":"NaUKMA Research Papers. History and Theory of Culture","volume":"60 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":"115794834","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":"Visual Anthropology: Formation Stages and Basic Elements of Analysis","authors":"O. Pavlova","doi":"10.18523/2617-8907.2022.5.47-53","DOIUrl":"https://doi.org/10.18523/2617-8907.2022.5.47-53","url":null,"abstract":"The article contributes to the history systematization of the visual anthropology area. The author considers and conceptualizes the stages of this discipline formation not only in accordance with the logic of self-understanding of its representatives, but also taking into account the genesis of optical media. The parameters of video production prove not only the instrumental role of visual anthropology in relation to the field of cultural anthropology, but also allow the latter to be a science in the strict sense of the term; that is, to have not only theoretical generalizations but also a rich empirical base. The inability of textual forms of recording anthropological material to adequately capture the cultural practices of traditional communities has also revealed the preserving and even salvage potential of the video production. However, the dominant of writing as a basic practice of science and its definition as a transparent carrier of scientific discourse did not allow to understand, at the initial stages. the innovative potential of visual anthropology, the specifics of its optics and methodology. The article pays attention both to the specifics of the practice of fixing video products (painting, photography, cinema, and the Internet) and to the forms of the representatives reflection of anthropological thought about their influence on the anthropology subject field. In this article, particular attention is paid to the degree of differentiation of cultural anthropology subject fields and visual anthropology against the background of basic transformations of cultural research. The influence of basic theoretical guidelines, in particular the principle of historical rationalism, participation in the formation of visual anthropology area itself, is also defined. In addition to theoretical principles and procedures of description, as well as comprehension of visual products and guidelines of research communities, the methodological significance of other parameters, formed as basic units of visual anthropology, are analyzed: technical parameters of optical media, the order of signifiers of visual representations, communication between video production and the audience. The author presents the disciplinary and historical context of the genesis of visual anthropology, as well as analyzes the conceptual logic of collective work edited by Paul Hockings “Principles of Visual Anthropology,” which is considered a fundamental work for self-awareness of this research area.","PeriodicalId":273276,"journal":{"name":"NaUKMA Research Papers. History and Theory of Culture","volume":"81 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":"123904942","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 and Cultural Heritage and Preservation of Traditions during Ethno-festivals in the Space of Creative Industries","authors":"K. Pletsan","doi":"10.18523/2617-8907.2022.5.70-80","DOIUrl":"https://doi.org/10.18523/2617-8907.2022.5.70-80","url":null,"abstract":"The article offers the theoretical and methodological analysis of the role of preservation, revival, and promotion of Ukrainian narratives, through the prism of holding ethno-festivals in the space of creative industries. The author carries out a retrospective analysis of the activities of ethno-festivals in the creative space in Ukraine as a tool for development and opportunities for cultural self-realization of representatives of creative industries. Emphasis is placed on the regional features of the authenticity of the Ukrainian people, creative initiatives, history, cultural values, customs and traditions, art and creativity during ethnofestivals. The importance of ethno-festivals in preserving traditions and historical and cultural heritage in Ukraine from generation to generation has been proven in the cultural aspect.","PeriodicalId":273276,"journal":{"name":"NaUKMA Research Papers. History and Theory of Culture","volume":"1 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":"128922870","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":"Iconic in the Thought of David Bentley Hart","authors":"Tina Mosiakina","doi":"10.18523/2617-8907.2022.5.21-26","DOIUrl":"https://doi.org/10.18523/2617-8907.2022.5.21-26","url":null,"abstract":"The article examines the phenomenon of the iconic in its connection with everyday, social, and political practices. Based on the distinction between idol and icon, it was found out that violent practices are often disguised as Christian narratives, which should not really be related to violence in their speech about the disadvantaged or in the immediate reality of existence. With the help of the theory of David Bentley Hart, Jean-Luc Marion, and Rene Girard, models for the functioning of totalitarian consciousness were proposed, which under the Christian wrappage conceals the justification of injustice and aggression and legitimizes its own power.An analysis of the “wisdom of this world” as a truth that claims to broadcast non-contextual and nonhistorical “eternal truth” as a “cultural sublime” for its audience was carried out. Using the model of Heraclitus (Dionysian) and Parmenides (Apollonian), different types of violence are analyzed, which imitate their own opposition and rebellion. Due to this, it was found out that in a totalitarian state there are both types of violence, which make it possible to satisfy different categories of people to ensure their loyalty. It is concluded that the narratives of a cultural hero or a tragic hero who destroys the social order are incompatible with the Christian narrative of the Servant God.The phenomenon of metaphysical consciousness and its connection with idolatry and belief in the formless abyss as a deity is also analyzed. It is shown that in the theory of David Bentley Hart, an important place is occupied by the “resurrection” of the aesthetic premise as the only possible reason for the ethical in the modern world. Involving the theory of a sensitive society, an attempt was made to combine the theory of the iconic as a special perception of the world with the possibility of changing social and cultural attitudes for a better future.","PeriodicalId":273276,"journal":{"name":"NaUKMA Research Papers. History and Theory of Culture","volume":"14 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":"134603682","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":"Performance Art: Interart, Intermediality and Interdisciplinarity","authors":"Zhanna Shkliarenko","doi":"10.18523/2617-8907.2021.4.99-105","DOIUrl":"https://doi.org/10.18523/2617-8907.2021.4.99-105","url":null,"abstract":"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 socialphenomena 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.","PeriodicalId":273276,"journal":{"name":"NaUKMA Research Papers. History and Theory of Culture","volume":"45 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131813329","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 Phenomenon of “Distrust” as a Drive in the Development of Visual Art","authors":"Olga Petrova","doi":"10.18523/2617-8907.2021.4.113-118","DOIUrl":"https://doi.org/10.18523/2617-8907.2021.4.113-118","url":null,"abstract":"The article researches the topic of “artistic distrust” as a possible rebel path of the rebellious artists from the mainstream to the underground existence. The artist’s existence of reality on the principle of doubt about any norms (the model of “anthropology of distrust”) has a long historical longevity. Through the analysis of both high-quality works of art and safe normative art in different periods we observe various examples that may show this point of view. In medieval art we notice the precedent of “disobedience” and non-compliance with the norms of the official church in decorations of the temples and overcoming of anonymity. Thus the artist Anton Pilgram resorted to self-affirmation, as long as the master signed his own work in the spotlight and made a self-portrait on it.From the Renaissance, the idea of individual search, experiment, that is, disobedience and doubt in traditions, has been working in the minds of Europeans. The latest philosophical thought of the beginning of the “anthropology of distrust” sees its origins in the worldview models of the Renaissance. Leonardo da Vinci, with his curiosity and the genius of exploration, has remained an iconic figure to this day and an obvious symbol of total doubt and distrust of all that is established. With the ideal of a beautiful, flawless man, philosophy and art parted with difficulty, in the dramatic realization that it was time to present the unattractive, the ugly, the unfinished, and the negative as artistic qualities in the works of the New Age. “Anthropology of distrust,” doubting the inviolability of existing (at different times) norms manifests itself dualistically. In the works of great masters the denial of norms thatexisted in the art of a particular era had a progressive, positive meaning, because it opened up new levels of worldview to culture. In global art practice, the vast majorities of artists were and are conformists. Conformism in art supports tradition, holds the level of skill, but has no pretensions to open new horizons in the artistic reflection of the world. The situation is quite different when the artist questions any stability in art, or totally denies them. This is not a riot for the sake of a riot, but a feeling of something missing that the artist himself is not yet able to explain. According to the promising thinking of the bright philosophers of the 17th–20th centuries, self-distrust, doubts about the perfection of one’s own achievements, and a look into the non-existent are productive for culture. These impulses of the psyche proved to be fundamental and indisputable in the mentality and culture of modern times. The most radical were the programs of Dadaism and Futurism. In a person of the pre-modern era, the deviation from the norm caused stupor. Now the procedural features of the “anthropology of distrust,” the feeling of one’s own deficiency activate the artist’s creative thought and encourage a reckless search, sometimes even complete self-denial","PeriodicalId":273276,"journal":{"name":"NaUKMA Research Papers. History and Theory of Culture","volume":"48 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132361708","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":"In Memoria: Problematic Fields of Cultural Archaeology in the Context of Leo Klein’s Observations","authors":"D. Korol","doi":"10.18523/2617-8907.2020.3.97-102","DOIUrl":"https://doi.org/10.18523/2617-8907.2020.3.97-102","url":null,"abstract":"comparison carry – of the material component, of information. a (“objected”) of the","PeriodicalId":273276,"journal":{"name":"NaUKMA Research Papers. History and Theory of Culture","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-11-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129622182","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":"Visual Art: Facilitated Conflict Transformation. Approaches and Limitations of the Instrument","authors":"Olesya Geraschenko","doi":"10.18523/2617-8907.2020.3.62-71","DOIUrl":"https://doi.org/10.18523/2617-8907.2020.3.62-71","url":null,"abstract":"","PeriodicalId":273276,"journal":{"name":"NaUKMA Research Papers. History and Theory of Culture","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-11-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128935039","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":"Glass-blowing Production Models in Museum Expositions","authors":"Serhii Pustovalov, Liubov Chukhrai","doi":"10.18523/2617-8907.2020.3.103-108","DOIUrl":"https://doi.org/10.18523/2617-8907.2020.3.103-108","url":null,"abstract":"with the of of","PeriodicalId":273276,"journal":{"name":"NaUKMA Research Papers. History and Theory of Culture","volume":"16 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-11-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116756400","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}