Vìsnik Deržavnoï akademìï kerìvnih kadrìv kulʹturi ì mistectv最新文献

{"title":"Ondes Martenot at the World Exhibition in Paris in 1937","authors":"Dmytro Holubov","doi":"10.32461/2226-3209.3.2023.289851","DOIUrl":"https://doi.org/10.32461/2226-3209.3.2023.289851","url":null,"abstract":"The purpose of the study is to reveal the figurative, semantic and symbolic specificity of the interpretation of the timbre of \"Ondes Martenot\" in line with the musical, cultural, and socio-political guidelines of the World Exhibition in Paris in 1937. Research methodology. Cultural-historical, interdisciplinary historical-cultural, as well as analytical-musicological methods were essential for this work. The scientific novelty of the work lies in the fact that it introduces for the first time into the circulation of art historians the materials related to the musical component of the artistic events of the Paris World Exhibition of 1937, voiced, including with the help of the timbralness of the \"Ondes Martenot\", which became the personification of the union of art and technology as a leading symbol of its shares. Conclusions. Interwar France, being at the edge of a difficult socio-political and cultural situation, grasped at the saving idea for it – the holding of another \"World's Fair\" in 1937, the slogan of which was chosen as the thesis – \"Art and technology in modern life\". Achieving the set goals and demonstrating to the whole world the high-tech side of France's existence became possible thanks to the musical part of the exhibition, namely \"concert-performances\" and night shows on the banks of the Seine – \"Holidays of sound, water and light\". An important component of most of these presentations is the electronic musical instrument \"Ondes Martenot\". As a result, the popularity of \"concert-performances\" and night extravaganzas \"Saint of Light\", the essential component of which were the spiritual and mysterious timbral features of the \"Ondes Martenot\", stimulated the aesthetic preferences of modernist composers. It was during this period that a significant part of the musical repertoire was created for this instrument, which was always connected precisely with the sphere of the Sacred and the Cosmic. This also marked the leading spiritual, social, and aesthetic guidelines of the World Exhibition of 1937, which, in the most difficult political situation on the eve of the Second World War, tried, including through the diverse involvement of the timbrality of the \"Ondes Martenot\" involved in the mysterious spectacular actions of this project, unite the human community and avoid global catastrophe.
 Keywords: World Exhibition in Paris in 1937, \"Feasts of sound, water and light\", \"concerts-spectacles\", Ondes Martenot.","PeriodicalId":497790,"journal":{"name":"Vìsnik Deržavnoï akademìï kerìvnih kadrìv kulʹturi ì mistectv","volume":"12 2","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135218046","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":"Monumental Art by F. Tetianych in the Context of Transavant-Garde Traditions","authors":"Iryna Soliarska-Komarchuk","doi":"10.32461/2226-3209.3.2023.289828","DOIUrl":"https://doi.org/10.32461/2226-3209.3.2023.289828","url":null,"abstract":"The purpose of the article is to analyse the decorative and monumental works of the Ukrainian artist Fedir Tetianych, created in the 1970s, and to identify the traditions of the transavant-garde in their design and methodology. The research methods are based on the fundamental principles of art historical analysis with the involvement of interdisciplinary connections (psychology, cultural studies, and philosophy). The method of epistemological analysis is used in the process of clarifying the concepts of a number of art historical concepts, in particular, neo-expressionism, transavant-garde, mythopoetics. The systematic-analytical method is used to highlight the artistic and technological features of F. Tetianych's monumental works as an original example of the Ukrainian transavant-garde. The scientific novelty of the study is to identify the formative and compositional achievements of F. Tetianych's monumental works, which stylistically correspond to the traditions of the transavant-garde of the last third of the twentieth century. Conclusions. After analysing the monumental works of F. Tetianych, which were created in the 1970s, it can be argued that this period was important in the formation of both the philosophical and poetic doctrine of “Fripulia”, the author's original mythopoetics, and interesting techniques and methods of implementation, which involved the use of industrial and consumer waste. The described artistic and technical techniques and methods of F. Tetianych, who belonged to the representatives of the “unofficial” art of Ukraine, correspond to the traditions of the transavant-garde and are in tune with the style of many foreign artists of the last third of the twentieth century.
 Keywords: neo-expressionism, transavant-garde, mythopoetics, monumental art, techniques, methodology, research.","PeriodicalId":497790,"journal":{"name":"Vìsnik Deržavnoï akademìï kerìvnih kadrìv kulʹturi ì mistectv","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135167954","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":"Implementation of the Concept of Infotainment into the Practice of the Event Industry: Definition of the Problem","authors":"Oksana Krupa","doi":"10.32461/2226-3209.3.2023.289814","DOIUrl":"https://doi.org/10.32461/2226-3209.3.2023.289814","url":null,"abstract":"The purpose of the article is to consider the defining trends and aspects connected with the implementation of the conception of infotainment in the practice of the event industry. The research methodology predicts the usage of, firstly, the descriptive level combined with an analytical method to characterise the current stage of the event industry, its events category B2C and B2B, secondly, context-structural analysis of infotainment as a concept and model thanks to which the author has managed to identify the causal links between certain types of event activities and essential features of infotainment, which is the condition for the possibility of implementing the practice of the event industry. Scientific novelty is, first of all, that on the article level, the problem of implementation of the conception of infotainment in the practice of the event industry was actualised, which was mainly considered in the context of journalism and TV. Conclusions. It is affirmed that the concept of infotainment is one of the methodological platforms that can be used for reasoning and explanation of the logic of deployment and the content specifics of individual event activities, and also their place in modern (world and national) mass culture. The author suggests the statement according to which the given model of the media culture helps in registration content and information creates favourable conditions for the development of event management through synthesis educational-cognition and entertainment components in event activities, helps to decode and perceive complex meanings and images in their continuous flow and frantic information dynamics. It is underlined that initiating cultural-intellectual “game”, infotainment stimulates heuristic potential of thinking, especially in terms of perception and assimilation of cultural codes, and with the help of fragmenting the content, activates the initiative of event participants in terms of creatively completing the full picture of what is happening.
 Keywords: infotainment, event industry, event activities, entertainment, game, mass culture, media culture.","PeriodicalId":497790,"journal":{"name":"Vìsnik Deržavnoï akademìï kerìvnih kadrìv kulʹturi ì mistectv","volume":"55 4","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135167965","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":"Stages of Collecting European Portrait Miniatures of the 16th – 19th Centuries","authors":"Mariana Varchuk","doi":"10.32461/2226-3209.3.2023.289830","DOIUrl":"https://doi.org/10.32461/2226-3209.3.2023.289830","url":null,"abstract":"The purpose of the article is to ascertain the stages of collecting European portrait miniature of the 16th – 19th century from the outset of this art until now as an important factor for the research of the Bohdan and Varvara Khanenko National Museum of Arts miniatures, Kyiv. The research methodology is based on historiographical analysis coupled with axiological and holistic approaches to identify the relationship between the history of collecting and the evolution of the art of portrait miniature. The scientific novelty of the article lies in determining the general trends in collecting works to clarify the reasons for collecting European portrait miniatures in Ukraine, inter alia, at the Bohdan and Varvara Khanenko National Museum of Arts in Kyiv. Conclusions. Transformation of portrait miniature from an object of private property to a museum artefact began in the 17th century. Portrait miniature was recognised as a separate artistic genre. The processes of studying the term “miniature portrait”, researching of the art tradition, and creating the first museum’s collections were launched. It was at that time that the core of the miniatures collection was set up by its founders in the Bohdan and Varvara Khanenko National Museum of Arts. Now it is one of the greatest in Ukraine. Understanding of the artworks value have been proceeding during decline of demand for the traditional portrait miniature after invention of daguerreotype. Nowadays, the works are of interest to collectors, but the painting tradition continues only among amateurs. 
 Keywords: portrait, painting, miniature, European miniature, collection, history, research, the Bohdan and Varvara Khanenko National Museum of Arts.","PeriodicalId":497790,"journal":{"name":"Vìsnik Deržavnoï akademìï kerìvnih kadrìv kulʹturi ì mistectv","volume":"AES-12 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135168335","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":"S. Moniuszko's Songs for High Voices and Multi-Genre Palette of their Stylish Expression","authors":"Qingqing Ying","doi":"10.32461/2226-3209.3.2023.289852","DOIUrl":"https://doi.org/10.32461/2226-3209.3.2023.289852","url":null,"abstract":"The purpose of the research is to trace the Biedermeier background of the expressiveness of S. Moniuszko's Songs in their borderline to the musical realism-verism of the middle of the 19th century, using the example of the songs for high voice from the collection \"Pieśni wybrane\", 1, na głos wysoki (Polskie Wydawnictwo Muzyczne: Kraków, 1972), which timbre-register corresponds to the lyric soprano of the author of this essay. The methodological basis is the intonation approach of the school of B. Asafyev in Ukraine, represented, among other things, by the works of O. Markova, O. Muravska, Yu. Oleinikova, other authors, in which the basic method of analysis is stylistic comparative, musicological holistic analysis with hermeneutic approaches, as well as the historical-biographical method from the perspective of the \"intellectual biography\" of the subject of the study. The scientific novelty of the work is determined by the author's primacy of unfolding the stylistic vision of Moniuszko's Songs on its Biedermeier basis in relation to the nascent method of musical realism-verism. Also innovative is the analysis of the named Songs from the perspective of the stated stylistic interpretation of the expressiveness of the works of the great Polish composer. Conclusions. The 12 analysed Songs by S. Moniuszko within the stylistic Biedermeier attribution demonstrated the breadth of identifying signs of a small form – from monologue-serenades, three-strophe type bar-form to the \"minimalism\" of genre couplets. This gives birth to Biedermeier's characteristic combination of high Europeanism and demonstratively simplified \"provincialisms\" (the latter due to the genre of Kraków and Mazurka). The compensability of the parts of the voice and the piano gives the sound of the vocal-instrumental model of the madrigal-motet, which became one of the means of revealing the realism of life's \"polyphony\" (see the madrigal genre in the French lyric opera of S. Gounod) together with frank folkloristic findings that indicative of the aesthetics of musical realism of the middle of the 19th century.
 Keywords: song genre, musical genre, style in music, Biedermeier, realism-verism.","PeriodicalId":497790,"journal":{"name":"Vìsnik Deržavnoï akademìï kerìvnih kadrìv kulʹturi ì mistectv","volume":"34 2","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135218049","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":"Post-Avant-Garde and German Neo-Baroque of the 21st Century","authors":"Vasyl Babukhivskyi","doi":"10.32461/2226-3209.3.2023.289847","DOIUrl":"https://doi.org/10.32461/2226-3209.3.2023.289847","url":null,"abstract":"The purpose of this work is to identify stylistic clarifications regarding such an all-encompassing and extremely influential direction from the last century as neo-baroque, which was perceived as an offshoot of the overall neoclassicism of the 20th century, taking into account the post-avant-garde contribution from the 1970s and the post-post-avant-garde (\"neo-post-avant-garde\") addition from 2010s – in the conditions of the German music world. The latter has held basic positions in art music since the times of the Viennese classicism, significantly supplying the repertoire of performance even today. The methodological basis of the study is the intonation approach, as it was noted in the works of B. Asafiev's followers in Ukraine (see the publications of D. Androsova, O. Markova, O. Muravska, and others), as well as based on the development of instrumental performance of the Odesa school (works by Z. Bupkatskyi, K. Muhlberg, other scholars). The scientific novelty of the work is noted due to the originality of the presentation of the meaning of the stylistic diffusions of instrumental art from the 20th to the 21st centuries, which made it possible to revive in the performance of works that bypassed artistry in favour of either church aestheticism of expression or frankly traditionalist thinking, which was not associated with ideas about the stylistic dynamism of German music of the last two centuries. Conclusions. The neo-baroque stylistic eclecticism of German art from the 20th century was based on the contributions of the stylistic extremism of P. Hindemith, which bypassed the \"soft\" detections in the works of A. Zemlinsky, Z. Wagner, F. Schmidt, and more, leading to the \"neo-Schubertianism\" of V. Rimm, which became the recognised leader of the German musical world at the break of the post-avant-garde and post-post-avant-garde heritages. Performance practice, performing the works of German post-avant-garde composers at the level of B. Zimmerman, J. Widman, A. Raiman, and other masters, organically combined it with the revival of the legacy of A. Zemlinsky, F. Schreker, Z. Wagner, F. Schmidt, as well as composers of the Baroque era – J. Molter, H. Telemann, and so on, whose thinking did not coincide with the criteria of the author's work of the New Age, but corresponded to the neo-baroque filling of the post-avant-garde with compositions marked by church aestheticism in bypassing the criterion of artistry, which we denote by the term \"post-avant-garde neo-baroque\" in music.
 Keywords: baroque, neo-baroque of the 20th century, neoclassicism, post-avant-garde neo-baroque, German style in music, style of the era, post-avant-garde.","PeriodicalId":497790,"journal":{"name":"Vìsnik Deržavnoï akademìï kerìvnih kadrìv kulʹturi ì mistectv","volume":"30 3","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135218432","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 Golden Hoop\" by B. Lyatoshynskyi in the Inheritance of Spiritual and Mythological Instructions of the Musical Theatre of Europe","authors":"Olha Muravska","doi":"10.32461/2226-3209.3.2023.289839","DOIUrl":"https://doi.org/10.32461/2226-3209.3.2023.289839","url":null,"abstract":"The purpose of the research is to reveal the poetic and intonation uniqueness of B. Lyatoshynskyi's \"The Golden Hoop\" in the stream of spiritual and mythological instructions of the European musical theatre of the XIX-XX centuries. Research methodology. Interdisciplinary, historical-cultural, genre-stylistic approaches, which allow us to reveal the spiritual and mysterious foundations of the opera \"The Golden Hoop\" by B. Lyatoshynskyi and its literary primary source, were essential for this work. The scientific novelty of the article is determined by its analytical perspective, which reveals the spiritual and mysterious genesis of the opera \"The Golden Hoop\" by B. Lyatoshynskyi, imprinted not only by the poetics of the Ukrainian musical theatre and its spiritual and aesthetic guidelines, but also by the Christian and mythological foundations of the Western European opera of the Romantic era. Conclusions. “The Golden Hoop” by B. Lyatoshynskyi (1929) became an outstanding work of Ukrainian and European musical theatre in general in the first half of the 20th century. On the one hand, this opera arose at the intersection of the “social” ideas of I. Franko and their artistic embodiment in the story “Zakhar Berkut”, as well as the spiritual and ethical guidelines of the work of B. Lyatoshynskyi, formed against the background of the mysterious and mythological background of the Ukrainian “image of the world” and cultures. On the other hand, the spiritual and semantic specificity of the analysed opus with the obvious minimisation of the actual historical factor in it, the strengthening of the mythological beginning (the coexistence of three worlds – gods, heroes and people), the reinterpretation (in comparison with the literary original source) by the authors of the opera of its finale with an emphasis on its sacrificial-redemptive meaning – all this evokes certain analogies between “The Golden Hoop” and a wide range of themes and images of European culture of the past and present and its biblical and Christian mystical background.
 Keywords: “The Golden Hoop” by B. Lyatoshynskyi, “Zakhar Berkut” by I. Franko, mystery and opera, Ukrainian musical culture.","PeriodicalId":497790,"journal":{"name":"Vìsnik Deržavnoï akademìï kerìvnih kadrìv kulʹturi ì mistectv","volume":"44 11","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135218590","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":"“Kuyavian fantasy” by V. Malyszewski in Review of Spiritual and Ethical Instructions of Polish National Revival of the First Half of the XX Century","authors":"Natalia Petrovska","doi":"10.32461/2226-3209.3.2023.289863","DOIUrl":"https://doi.org/10.32461/2226-3209.3.2023.289863","url":null,"abstract":"The purpose of the research is to reveal the poetic and intonation uniqueness of V. Malyszewski's “Kuyavian Fantasy” in the stream of ideas of Polish national revival, actualised in the 20s and 30s of the 20th century. The methodology of the work is based on the intonation concept of music from the perspective of intonation-stylistic, etymological analysis. Analytical-musicological, genre-stylistic, and interdisciplinary approaches were essential for the work, which made it possible to reveal and investigate the genre-intonational nature of V. Malyszewski's “Kuyavian Fantasy” and its correlation with the ideas of Polish national revival at the beginning of the 20th century. The scientific novelty of the work is determined by its analytical perspective, which takes into account both the genre-stylistic specificity of V. Malyszewski's work and its correlation with the historical realities of Polish national state-building and the representation of his ideas in the culture and music of the first half of the 20th century. Conclusions. V. Malyshweski is an outstanding composer, teacher, whose multifaceted activity became a brilliant embodiment of personal Renaissance encyclopedism and creative universalism against the background of an organic synthesis of Slavic cultures, the genesis of which went back to the spiritual-national and religious-ethical guidelines of the Polish-Lithuanian Commonwealth. The latter became relevant during the period of restoration of Polish statehood (1918) against the background of the ideas of Prometheus. “Kuyavian fantasy” by V. Malyshewsky, which combined genre features of fantasy, suite and concert, became an artistic embodiment of the leading ideas of its time, symbolically directed to the ancient instructions of the Slavic world and Polish statehood, which is also evident in the programmatic appeal to the image of Kuyavia as an ancient Polish region; and to the etymological affinity of the name of these lands with ancient Kuyavia, related to ancient Ukrainian territories and Kyiv. “Kuyavian fantasy”, on the one hand, carefully reproduces the genre palette of Kuyaviak both as a regional dance-suite and as an example of Polish dance culture in general. On the other hand, the composer's overcoming of the purely applied role of this dance, which demonstrates the code section of the work, which acquires the characteristics of a majestic hymn to the revived Motherland, is indicative.
 Keywords: the work of V. Malyshewski, “Kuyavian fantasy” by V. Malyshewski, the Polish-Lithuanian Commonwealth, prometheism, polonaise, kuyaviak, mazurka, Polish dance music.","PeriodicalId":497790,"journal":{"name":"Vìsnik Deržavnoï akademìï kerìvnih kadrìv kulʹturi ì mistectv","volume":"39 2","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135219288","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":"Television as a Factor in Formation of Common Cultural Space and Integration of Society","authors":"Tetiana Kuprii","doi":"10.32461/2226-3209.3.2023.289815","DOIUrl":"https://doi.org/10.32461/2226-3209.3.2023.289815","url":null,"abstract":"The purpose of the article is to reveal the essence of the integration function of television and, at the same time, the factor in the formation of a single cultural space. The research methodology is based on the application of the principles of analysis and synthesis, the unity of the logical and systematic approaches. The scientific novelty of the results obtained lies in understanding the essence of the integration function of television and, at the same time, the factor in the formation of a single cultural space. Conclusions. It is emphasised that the role of television in the process of integration lies in its ability to combine all participants of the social dialogue, to be its driving force. Integration as a transformation of the system of values, a long-term aspiration that guides society based on the acceptance of the value of cooperation, is directly related to the formation of a socio-cultural space, one of the subjects responsible for filling which is television. As a subject of the informational and sociocultural space, television structures and fills this space in accordance with the interests of its viewer – the nature of television broadcasting allows, influencing the audience, to appeal to almost all the feelings and emotions of a person. It is noted that television contributes to: a) consistency between cultural standards, norms, patterns of behaviour; b) the introduction of cultural standards in people's behaviour by regulating public opinion; c) is the subject of the exchange of cultural meanings, symbols and meanings in an integrated society; as well as a factor of social differentiation and at the same time its product, playing its specific role in the modern world. It is summarised that television actively promotes national values, patterns of behaviour, moral and ethical norms, and broadcasts these elements of culture not in an abstract form, but in their socio-cultural context, in the form of concrete and accessible images. The interaction of television and culture provides communicative forms and methods of informational and cultural integration.
 Keywords: television, information space, cultural space, society integration.","PeriodicalId":497790,"journal":{"name":"Vìsnik Deržavnoï akademìï kerìvnih kadrìv kulʹturi ì mistectv","volume":"20 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135167369","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":"Role of Folk and Author’s Dolls in Intercultural Communication","authors":"Svitlana Sobolievska","doi":"10.32461/2226-3209.3.2023.289780","DOIUrl":"https://doi.org/10.32461/2226-3209.3.2023.289780","url":null,"abstract":"The purpose of the article is to find out the role of folk and author's dolls in intercultural communication. The research methodology in the cultural discourse is based on the comparative method for comparing the peculiarities of using folk and author's dolls in the dialogue of cultures, the method of comparative analysis for systematising information about dolls from different nations of the world, and the method of generalisation for forming the conclusions of the article. The scientific novelty. The classification of the main folk and author's dolls is supplemented to study the role of the doll in intercultural interaction in different countries of the world, and it is found out how exhibitions of folk and author's dolls promote intercultural communication. Conclusions. It has been found that the author's doll is a reflection of the author's worldview and his/her interpretation of the world. In turn, the folk doll as a part of the cultural heritage of a particular nation and a national and cultural symbol contributes to the realisation of one's own national identity in intercultural communication. As a result, both folk and author's dolls can become intermediaries in the dialogue of cultures during exhibitions and contribute to the preservation of national cultural values.
 Keywords: author's doll, dialogue of cultures, cultural values, intercultural communication, folk doll.","PeriodicalId":497790,"journal":{"name":"Vìsnik Deržavnoï akademìï kerìvnih kadrìv kulʹturi ì mistectv","volume":"33 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135168191","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}