The Culturology Ideas最新文献

{"title":"Peculiarities of genre formation in 21st century cinematography","authors":"","doi":"10.37627/2311-9489-23-2023-1.55-67","DOIUrl":"https://doi.org/10.37627/2311-9489-23-2023-1.55-67","url":null,"abstract":"This scientific exploration is an attempt to consider the theoretical problems of genre development in modern cinema. Even today in the 21st century, modern cinematography remains one of the art forms that continues to develop dynamically. It is this development that continues to transform its genre classification rather quickly. This process occurs because the large number of modern films does not fit into the traditional genre classification and creates the need to search for new principles regarding the formation of the genre as such. The process of genre creation takes place permanently, both in cinematography and in art in general.\u0000In relation to this process it is important to highlight the clarification and understanding of the specifics of existing film genres, the classification of which must be constantly reviewed in order to understand the directions of the development of modern film art and to realize its specifics. Solving such a task requires taking into consideration the evolution of the genre system, which has turned into a continuous process that lasts throughout the 20th-21st centuries. Moreover, with regard to this process it is crucial to define the main trends related to the tradition of genre creation, which is influenced by artistic and socio-cultural factors.","PeriodicalId":338481,"journal":{"name":"The Culturology Ideas","volume":"33 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125933834","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 influence of the ethical principles of the philosophy of Confucius on Chinese cinema","authors":"","doi":"10.37627/2311-9489-23-2023-1.120-128","DOIUrl":"https://doi.org/10.37627/2311-9489-23-2023-1.120-128","url":null,"abstract":"The article examines the films of Chinese cinema of the 20th — early 21st centuries, which reflect the main ethical principles of Confucianism. It is noted that in contrast to the processes of commercialization of cinematography, when, first of all, emphasis is placed on the vivid visualization of the film, many outstanding Chinese directors pay attention to ethical principles in the life of society and an individual, relying on the teachings of Confucius, which continue to play an important role in spiritual life of China. The films \"Goddess\" (1934), \"Spring Waters Flow to the East\" (1947), \"Hero\" (2002), \"The Horn is calling\" (2007) were selected for analysis, which allow us to explore the ethics of Confucianism presented in them in historical discourse. The behavior models of the main characters, which were formed under the influence of Confucianism and are characteristic of Chinese society, reproduced in the films are considered and analyzed. It is noted that although the commercialization of films is taking place in Chinese cinema under the influence of globalization processes, there is a tendency to preserve the ethical principles of Confucianism and embody them in artistic works of cinema.","PeriodicalId":338481,"journal":{"name":"The Culturology Ideas","volume":"62 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121875587","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":"Screen mirror: the fractured Reality of wartime","authors":"H. Chmil","doi":"10.37627/2311-9489-23-2023-1.8-26","DOIUrl":"https://doi.org/10.37627/2311-9489-23-2023-1.8-26","url":null,"abstract":"The presented conceptualization of the discursive field of the screen mirror as a reflection of the Reality of Russia's war against Ukraine fits into the situation of the presence of multiple discourses of this war, where each author builds their own version, articulating it in their reflections. Non-verbal practices are connected to the discourse-analysis of the Russian aggression against Ukraine — images, when the events of the war are framed by the screen through semantic images as a visual series, according to the time of their progress. War as an event in specific circumstances and time is considered through the concept of \"split Reality of the screen mirror\", transformed into a collage of continuous replacements of \"real\" reality by constructed Reality.\u0000Without claiming the transcendentality of the idea of the screen mirror as containing a semantic boundedness, we try to give epistemic significance to a greater extent not to images, forms of depicting war, but to the idea of the \"split Reality of the screen mirror\" as a semantic phenomenon.\u0000The method of typology introduces a conceptual character — the figure of a media person as someone who has access to screen means of depicting the course of war, who is the culprit of the \"split reality of the screen mirror\" and fragments this mirror. Borrowed from Žižek's philosophical psychoanalysis, the concept of \"real\" reality\" made it possible to develop the problem of the existence of the truth of the event of war due to \"(dis)trust in the image\", which, in turn, raises the question — whether the screen image of war is an embodiment of the symbolic order.","PeriodicalId":338481,"journal":{"name":"The Culturology Ideas","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131245390","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":"Cultural Labor as the core subject for cultural policy","authors":"O. Oliinyk","doi":"10.37627/2311-9489-22-2022-2.158-167","DOIUrl":"https://doi.org/10.37627/2311-9489-22-2022-2.158-167","url":null,"abstract":"The article hypothesizes the necessity to assess the potential of \"cultural labor\" - the social role of cultural workers, their needs, and the economic potential of creative employment to update approaches to cultural policy. The economic potential of culture directly depends on the subjectivity of artists, on the regulation of organizational and economic features of cultural space as an economic entity, the effectiveness of which should be reflected and maintained in the priorities of cultural policy. The definition of strategy and appropriate tactical actions are expected to maintain an effective balance between cultural value and economic potential, not contrasting, but combining these characteristics for the common good of society. The article considers the subjectivity of artists, as well as the methodology of cultural labor research, probable causes and definite inconsistencies in the analysis of cultural space (and cultural labor) in theoretical research in cultural studies, sociology of culture and economic theory.\u0000Based on the fact that \"cultural labor\" is an interdisciplinary category by definition, the article presents both theoretical developments in the methodology of its research and practical context. Crucial for understanding of cultural labor is the changing subjectivity of cultural worker, which focuses on the protection of labor rights, participation in political and social movements, etc. However, the changes in social perception for artistic subjectivity remain equally important to disclose.","PeriodicalId":338481,"journal":{"name":"The Culturology Ideas","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125687390","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":"Creativity of O. Gerdan-Zaklynska within the development of Ukrainian and world choreographic culture","authors":"L. Turchak","doi":"10.37627/2311-9489-21-2022-1.93-101","DOIUrl":"https://doi.org/10.37627/2311-9489-21-2022-1.93-101","url":null,"abstract":"The article investigates creative activity of one of the V. Avramenko’s well-known students, Galician choreographer O. Gerdan-Zaklynska in homeland and in emigration. It analyzes her contribution to the development of \"expressive\" dance in the first half of the 20th century within the specificity of Ukrainian choreographic art. The performing and pedagogical activity of the choreographer is considered in the context of the preservation and development of the national historical and cultural heritage. It is stated that the direction of creative and pedagogical activity of O. Gerdan-Zaklynska in emigration speaks of the desire not only to preserve individual spiritual values and achievements of Ukrainian dance culture, but also to popularize them and concurrently contribute to the synthesis of Ukrainian and foreign choreography. Synthesizing the best traditions of national art with the innovative experience of Western European choreography, O. Gerdan-Zaklynska presented a unique Galician style of performing modern dance at the global level. While searching for the originality and authenticity of Ukrainian folk-stage dance, she invented the so-called motor symbols that contributed to the formation of a new coding of dance.","PeriodicalId":338481,"journal":{"name":"The Culturology Ideas","volume":"19 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132749024","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":"Around the moving image","authors":"V. Skurativskyi","doi":"10.37627/2311-9489-23-2023-1.38-44","DOIUrl":"https://doi.org/10.37627/2311-9489-23-2023-1.38-44","url":null,"abstract":"The article is devoted to the analysis of the \"moving image\" as a phenomenon of noospheric significance, a phenomenon of historically unavoidable, existential-authentic, extremely objective symbolic fixation of the temporal-spatial processuality of the world. It was found out that this \"moving image\" put an end to the polemic presented by the German educator Lessing in his treatise \"Laokoon, or on the limits of painting and poetry\", outlining the boundaries between \"spatial arts\" that reflect \"space, objects in it\" and poetry (properly language art), which embodies first of all time, and in this way connected Time and Space in its very structure.\u0000A very specific interaction of spatial and temporal information in the very architecture of the human brain has been established, in which the left hemisphere forms language-speech, and the right hemisphere forms spatial representationsformations, and the human brain itself \"films\" the surrounding world in the same way as a movie camera, but in full awareness.","PeriodicalId":338481,"journal":{"name":"The Culturology Ideas","volume":"20 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134398435","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 Semantics of Sets of Signs on Paleolithic Artifact from Plugatel (France, Brittany)","authors":"Yevhen Prychepii","doi":"10.37627/2311-9489-15-2019-1.41-50","DOIUrl":"https://doi.org/10.37627/2311-9489-15-2019-1.41-50","url":null,"abstract":"The article attempts to interpret a set of signs (points and lines) on two Paleolithic artifacts found by French archaeologists near the town Plugatel (Brittany). The author considers that the sets of signs on archaeological artifacts and folk ornaments hid sacred sets of ancient people and were formed by dividing the cycles of the Sun, the Moon, Venus, and Mercury, as well as the menstrual cycle and the pregnancy cycle of a woman into relatively small (and sacral!) numbers (7, 8, 28 & 5).\u0000The presence of the set of 13 on the artifact (Figure 1) in front of the animal's muzzle and 13 “rays” around the bison's head is the basis for concluding that the semantic connection of horned animals and the Sun was already formed in the Paleolithic. This is evidenced by an artifact called «Venus from Laussel», representing an engraved image of a woman holding in her hand either a horn or a sickle moon with 13 lines painted on it. The same number of marks on the animals' horns is found on a number of artifacts of later times. There is every reason to assume that the horns symbolized the Moon, and the 13 signs on them denoted 13 lunar cycles (28 days each) per year.\u0000In general, it can be stated that the sets on artifacts from the Plugatel are embedded in the framework of the concept of sacral sets, which was formed by the author based on the study of many archaic artifacts, folk ornaments, and fairy tales.","PeriodicalId":338481,"journal":{"name":"The Culturology Ideas","volume":"51 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130956735","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 King and Commoner tradition within English Medieval and Early Modern literature","authors":"George Lovell","doi":"10.37627/2311-9489-23-2023-1.101-119","DOIUrl":"https://doi.org/10.37627/2311-9489-23-2023-1.101-119","url":null,"abstract":"This paper explores the King and Commoner tradition within English ballads written during the Late Middle Ages through to the Early Modern Period. The tradition is defined by monarchs being either deliberately or mistakenly unrecognised by a member of the labouring class.\u0000The author chronologically examines the way in which the fifteenthcentury radicalism was gradually erased and how later examples of the motif became more conservative in nature, reinforcing rather than challenging the social hierarchy of medieval England. In particular, it highlights how the rare voice afforded to the commoner in the earlier ballads is absent during those of the sixteenth and seventeenth centuries. It is replaced by declarations of loyalty to the king.\u0000Alongside this research, the author draws on similar examples from a great variety of sources, including religious writings, folktales, historical accounts and many more. The inclusion of these is not intended to suggest a causal relationship between the two but only to ground claims made about the ballads in a broader literary context.\u0000The paper touches on the dissolution of the monasteries and state regulation of texts after the introduction of the printing press as causal factors. The information contained in this paper may be used for further research into these developments.","PeriodicalId":338481,"journal":{"name":"The Culturology Ideas","volume":"14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132115526","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":"Species specificity of the art of the age of metamodernism: features of transformational processes","authors":"O. Onishchenko","doi":"10.37627/2311-9489-23-2023-1.45-54","DOIUrl":"https://doi.org/10.37627/2311-9489-23-2023-1.45-54","url":null,"abstract":"The material of the article focuses on the problems of metamodernism, which today is becoming an active form of artistic practice. As the last stage in the more than one-century history of the modernist art movement, metamodernism tries to initiate a new model of artistic development, and this - in the theoretical aspect - leads to a revision of established aesthetic and art-scientific problems, in particular, the problem of species specificity of art, the origins of which go back to Antiquity.\u0000Based on the systematization of historical experience and new ideas developed in the space of modern humanism, in the article we define those outlines of the problem of species specificity of art, which are more or less clearly presented in the artistic productions of metamodernists. It is emphasized that during the last two decades it was they who managed to transform cultural and artistic processes in such genres as literature, painting and cinematography into the plane of new artistic and emotional expressiveness. The first attempts at transformative processes in music, which are known in the context of a \"new interpretation\" of sound stimuli, are also traced, which will allow later to consider multi-genre musical art as an example of a metamodern experiment.\u0000The reconstruction of the species structure of the art of the age of metamodernism actualizes a number of tangential aesthetic and art-scientific problems.This, first of all, concerns the problem of the structural elements of the work of art, which metamodernists try not only to revise, but also in some places to remove from the context of the work: the consequence of this is the \"imagelessness\" of art, the absolutization of \"polystylism\", a hypertrophied, even compared to postmodernism, defeat \" of mimesis — reflection\" for the sake of \"simulacrum\". The space of such \"theoretical foundations\" also includes \"form\", experiments with which can \"blur\" the boundaries of any kind of art, bringing it to the level of \"artistic activity\".\u0000In the logic of such an approach, it is also about denying the stable foundations of artistic creativity, which leads to an arbitrary or spontaneous creative process, the consequence of which is \"permissiveness\", which, in particular, is manifested in modern cinema. Deformation of the fundamental principles of the theory of artistic creativity prompts a revision of the phenomenon of \"creative personality\", and the artist loses his or her historically developed significance, falling into the trap of \"template\", \"conjuncture\" or \"fashion\".\u0000The article argues that it is precisely the problem of the specific nature of art that allows us to reproduce the process of fundamental changes that marked the transition from \"postmodernism\" to \"metamodernism\". At the same time, attention is focused on updating both the conceptual and categorical apparatus, which \"ensures\" the study of transformational processes, and on the correlation of the existing system of concepts and categories w","PeriodicalId":338481,"journal":{"name":"The Culturology Ideas","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131982143","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":"Creativity of female artists in Italian fine arts of XV–XVII centuries","authors":"H. Stakhevych, N. Kokhan","doi":"10.37627/2311-9489-22-2022-2.46-62","DOIUrl":"https://doi.org/10.37627/2311-9489-22-2022-2.46-62","url":null,"abstract":"The article provides an overview and reveals the features of the professional formation, development and social status of female artists’ creativity in the Italian fine arts of the XVI-XVII centuries. The value of their artistic heritage for future generations has been established. It was stated that the role of a female artist in society was influenced by both social and gender factors, in particular, the fact that the profession of a master artist was assigned to men, and the teaching of art to girls was related to obligatory household chores or hobbies. It has been proven that already in the XV century, artists appeared in Italy whose activities went beyond these boundaries. Initially, they were self-taught nuns, such as Catherine of Bologna, but by the end of the century, the work of female artists acquired a professional character (for example, Pr. de’Rossi). It is noted that, since that time, works of art by female artists have influenced the change in social stereotypes about their work.\u0000It was found that Italian female artists of the Renaissance and subsequent centuries turned mainly to the genres of portrait, landscape and still life. However, there are cases of creation of monumental works (Pl. Nelli) or reflections of dramatic events (A. Gentileschi). It was revealed that by the beginning of the XVIII century in these genres, female artists were in full competition with men and were the inventors of both new genres (S. Anguissola) and new painting techniques (R. Carriera). There is also a manifestation of their author’s vision in compositions on religious themes, on historical and mythological themes. It has been proven that the achievements of Italian female artists of the XV–XVII centuries were no less significant than those of male artists.","PeriodicalId":338481,"journal":{"name":"The Culturology Ideas","volume":"2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125152808","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}