UKRAINIAN CULTURE: THE PAST, MODERN WAYS OF DEVELOPMENT
ISSN: 2518-1890 (Print edition) Registration of published mass media information: By the decision of the National Council of Ukraine on Television and Radio Broadcasting: Resolution No. 183 dated January 25, 2024. Media Identifier: R30-02518 Co-founders: Rivne State University of the Humanities and the Institute of Cultural Studies of the National Academy of Arts of Ukraine. Publisher: Rivne State University of the Humanities (Stepan Bandera Street, 12, Rivne, Ukraine) Year of foundation 1991 Frequency: Semiannual (June, December) Languages: Ukrainian, English. The journal is re-registered by the Ministry of Education and Science of Ukraine as a professional publication in the field of cultural studies (Appendix 4 to the Order of the Ministry of Education and Science of Ukraine No. 886 dated July 2, 2020) and included in Category "B" in the following specialties: B 4 — Fine arts; В 5 — Music and performing arts; B 6 — Performing Arts (Stage Art; Choreography); B 12 — Museology. Cultural Studies. According to the resolution of the Collegium of the Ministry of Education and Science of Ukraine (Appendix 4 to the Order No. 220 dated April 21, 2024), new professional scientific-metric categories have been added to the Category "B" journal “Ukrainian Culture: Past, Present, Ways of Development”:: B 2 — Design; B 14 — Organization of Socio-Cultural Activities. Published by decision of the Academic Councils of RSUH and the Institute of Cultural Studies of the National Academy of Arts of Ukraine. Certificate of state registration of other printed mass media issued by the Ministry of Justice of Ukraine, Series KV No. 22258-12158 PR, dated May 20, 2016. Authors grant the journal the right of first publication. Simultaneously, the work is licensed under a Creative Commons Attribution License CC-BY , which permits others to distribute, remix, adapt, and build upon the work, provided the original authorship and initial publication in this journal are credited. Open Access Statement: The journal provides immediate open access to its content, based on the principle that making research freely available to the public supports a greater global exchange of knowledge. Full access to the journal's scientific articles is available on the official website in the Archive . All of the above complies with the guidelines of the Committee on Publication Ethics (COPE) Budapest Open Access Initiative (BOAI) Berlin Declaration on Open Access to Knowledge in the Sciences and Humanities The editorial board has implemented measures to ensure high ethical and professional standards, based on the Principles of Transparency and Best Practice in Scholarly Publishing. See more in the Statement on Publication Ethics and Malpractice .
Рівненський державний гуманітарний університет
The article is dedicated to the study of the relevant topic of war in the context of the global transformations the world is undergoing. It addresses issues related to the existential challenges faced by an individual when experiencing radical changes in existence. The article traces the line of the individual9s acceptance of war as a new normality. By analyzing current military conflicts, such as the Russo-Ukrainian War, the Israeli-Palestinian conflict, and the Syrian War, it is possible to conclude the ontological uniformity of war as such, when thinking in existential terms. In this case, the article aims to make existential discourse relevant again in Ukrainian science and to explore the dimensions of war in three different planes: reality, actuality, and virtuality. Paper analyzes the existential challenges faced by an individual in a war situation. Research methodology. The research is based on hermeneutic and systemic approaches, which allow for the systematization and interpretation of the experience of war within the context of cultural studies and the philosophy of culture. Results. The results lie in the identification of four main existential challenges embedded within the dimensions of war (reality, actuality, and virtuality). These challenges faced by the individual contribute to the establishment of the normalization of war as the only possible state in which society finds itself. Specifically, the following factors should be noted: 1) mental and territorial division within a single group based on regional principles, 2) blurring of the concepts of truth and reality, 3) destruction of living space, and 4) existential rupture as factors influencing the normalization of war. Novelty. The novelty lies in outlining the interconnection between the dimensions of war (the planes it pertains to), the challenges within them, and temporality as a factor that transforms human existence by normalizing the state of war as the only possible reality. The practical significance. The research can be used as a starting point for seeking solutions to the general existential crisis faced by a society in a state of war. Oppressed by external circumstances and internally accepting war as a new normality, society may find a way out of this situation by choosing different development strategies, making decisions at a critical bifurcation point. This could provide an opportunity for the reorganization of society based on the principles of humanism.
Copyright (c) 2025 Владислав ПЕТРЕНКО http://creativecommons.org/licenses/by/4.0/
CONCEPTUALIZATION OF THE SOCIO-CULTURAL PHENOMENON OF IDENTITY IN THE THEORIES OF RESEARCHERS OF THE XX-XXI CENTURIES
Purpose of the research. To provide a general description of approaches to understanding identity. Research methodology. The study uses the following general scientific and specialized (cultural) methods and approaches: cultural-analytical; typological; chronological; comparative; systematic. They make it possible to identify common and distinctive conceptual features present in different approaches to understanding identity. The aforementioned methods facilitate the classification or differentiation of identity theories and make it possible to identify the interconnection between different scientific strategies for understanding identity. Results. The study found that identity is a multi-level and multifunctional phenomenon. It was found that it is carried out on two interrelated levels 3 individual and collective. In psychological theories, the emphasis is on the formation and transformation of individual identity. In sociological and philosophical theories, the research focus is on identifying the characteristics of the emergence and spread of collective identity. It was revealed that identity is constructed and determined by the following sociocultural elements: mentality, traditions, symbols, rituals, morals, ideals, and norms. It has been found that in transitional societies, the issue of identity crisis is actualized, which consists in the modification of the current configuration of identities or their replacement by others. It has been found that national identity encompasses various aspects or components of different sociocultural identities, influencing the latter. It is determined that the productivity of identity is determined by its ability to respond to sociocultural challenges and processes. It is established that in the postmodern era, a conceptual rethinking of identity is taking place. It acquires the characteristics of multiplicity, variability, and decentering, which indicates a change in its substantive and conceptual understanding. Novelty. This paper expands on the cultural analysis of theoretical approaches to studying and understanding identity. It offers an original classification of theories and approaches to understanding identity.
Copyright (c) 2025 Олесь ДОВГАНИК http://creativecommons.org/licenses/by/4.0/
УКРАЇНСЬКЕ КІНО МІЖ МИНУЛИМ І МАЙБУТНІМ : ТРАДИЦІЇ, ЗБЕРЕЖЕННЯ, ПОПУЛЯРИЗАЦІЯ
Український кінематограф є важливим засобом збереження та популяризації національної культури. Дослідження базується на історичному, культурологічному, порівняльному та соціологічному методах. Історичний підхід дає змогу простежити основні етапи розвитку українського кінематографа. Культурологічний аналіз виявляє як кіно відображає традиційні символи та етнічні особливості. Порівняльний аналіз дозволяє співвіднести українське кіно зі світовими тенденціями, а соціологічний метод визначає його вплив на суспільну свідомість. Український кінематограф пройшов значний шлях. Радянська епоха принесла водночас культурні досягнення та жорстку цензуру, але окремі митці, як С. Параджанов, зберегли національну самобутність. Сьогодні українське кіно активно відроджується, отримує міжнародне визнання та демонструє широкий жанровий спектр. Українське кіно є важливим інструментом збереження та популяризації національних культурних традицій. Воно відображає історичні та соціальні процеси, формує національну ідентичність і є значущою частиною світового кінематографа. Подальші дослідження у цій сфері допоможуть краще зрозуміти вплив кіно на суспільну свідомість і його роль у збереженні національних традицій
Copyright (c) 2025 Oleksandra POTOTSKA, Margarita KOROBKO http://creativecommons.org/licenses/by/4.0/
THE CONCEPT OF THE NATIONAL IN THE ALTERNATIVES OF THE PRODUCTION-PROGRESSIVE AND CULTURAL-HISTORICAL APPROACHES
The purpose of the article is to define the national in art through the lens of an alternative progressive understanding of national essence, focusing on the artistic significance of works created by representatives of nations that did not hold leading economic or political positions in the world. Their creative achievements clearly served to compensate, within the national consciousness, for the broader accomplishments of national self-identification. The research methodology is based on a theoretical analysis of literary sources, which enabled a cultural interpretation of art studies oriented toward the search for national self-identification. The application of methods of systematization and generalization contributed to identifying the compensatory core of cultural and aesthetic activity and the ideal-oriented nature of creative efforts. The scientific novelty lies in establishing a consistent cultural focus in the study of artistic phenomena, reflected in the emphasis on the compensatory and ideal significance of artistic achievements as expressions of national culture. It is revealed that in this context, commemoration plays a key role as a mechanism of cultural memory through which art preserves, reinterprets, and transmits ideal values across generations. Conclusions. The national, primarily understood in this discourse as a phenomenon of «national character», possesses clear advantages over industrial-economic progressivism, indicating the fundamental and even leading role of ideal cultural indices in the existence of a nation. Artistic culture also functions as a carrier of generational memory 3 the codified experience of a community accumulated in artistic works and reproduced at critical historical moments. The compensatory role of ideal cultural achievements in relation to economic and productive factors, aimed at ensuring the completeness of the nation's historical expression, became particularly evident in the artistic sphere at the turn of the 20 th and 21 st centuries. Thus, alternative concepts of the national tend to complement one another, as development in the ideal sphere is often followed by economic and industrial reinforcement at a subsequent historical stage, when ideal «compensatory» accumulations materialize in productive activation.
Copyright (c) 2025 В’ячеслав ЛУК’ЯНЕНКО http://creativecommons.org/licenses/by/4.0/
SOCIO-CULTURAL PRACTICES OF THE NEW 8NORMAL9: ADAPTATION TO THE LONG-TERM MARTIAL LAW
The aim: The article explores the phenomenon of «new normalcy», which is associated with the emergence of new and changing cultural practices in Ukrainian society in the context of the full-scale phase of the Russian-Ukrainian war. The author analyses how completely «abnormal» phenomena for modern civilisation are being integrated into everyday life, creating a new cultural space. Research methodology: The theoretical framework of the study is based on the concepts of «routinization» by E. Giddens, habitus by P. Bourdieu and cultural trauma by J. Alexander and P.Stompka, as well as the works of Ukrainian researchers. Results: The study shows that the «new normal» is a complex phenomenon that emerges as a result of the dialectical interaction between the destruction and reproduction of cultural practices in the context of the existential struggle for independence and national identity. Novelty: The study proposes a conceptual model of the «new normal» as a dialectical form of the process of destruction and reconstruction of socio-cultural practices in the context of the existential crisis caused by the war. The practical significance: The results of the study have important theoretical implications that will help to better analyse cultural transformations in wartime. Further development of the «new normal» may also have practical value in the form of a methodological framework for improving cultural policy in the context of a protracted war. In addition, understanding the principles of the 8new normal9 can also serve as a means to create new mechanisms for protecting Ukrainian identity in times of war and potentially plan for post-war reconstruction.
Copyright (c) 2025 Артем БОГУЦЬКИЙ http://creativecommons.org/licenses/by/4.0/
CULTURAL MEMORY POLICY AS A TOOL FOR RESTORING CULTURAL IDENTITY AND OVERCOMING THE CONSEQUENCES OF GENOCIDE
The relevance of this research lies in the need to identify qualitatively new methods for implementing cultural memory policies within the Ukrainian sociocultural context in order to preserve Ukrainian cultural identity in the face of genocidal practices. Accordingly, the aim of this academic article is to analyze existing cultural memory policies in post-genocidal societies, as well as the mechanisms of their implementation in the context of restoring and preserving cultural identity, with a view to their further adaptation in the Ukrainian context. Research methodology. The study employs a range of interdisciplinary scholarly methods, including critical discourse analysis, comparative analysis, conceptual analysis, and qualitative case study analysis. The research is grounded in a combination of academic approaches such as cultural, historical, sociological, and comparative perspectives. Results. The article analyzes relevant scholarly contributions to the study of cultural memory. Cultural memory is defined as a significant traumatic or sacred experience transmitted across generations through the mechanisms of social institutions such as ritual, politics, and art. Drawing on Raphael Lemkin9s theory of genocide and examining historical cases of genocidal practices (the Holocaust and the genocide of the Ukrainian people), the article demonstrates their destructive impact on the cultural identity of oppressed ethnic or national groups. Key approaches to understanding the concept of cultural memory policy are explored, along with selected examples of memory politics in Israel and Rwanda. Novelty and practical significance. Contemporary cultural memory policy in Ukraine includes several mechanisms comparable to those found in the post-genocidal societies analyzed. However, the genocidal experience of the russian-Ukrainian war requires the development of new tools for preserving Ukrainian cultural identity and for transmitting the consequences of this experience to future generations. Therefore, the information obtained through the study of memory practices in Israel and Rwanda serves as a foundation for identifying possible principles for implementing perfected cultural memory policy in Ukraine.
Copyright (c) 2025 Ірина КРАВЕЦЬ http://creativecommons.org/licenses/by/4.0/
INTERPRETIVE DYNAMICS OF THE CONCEPT OF ARTISTIC CREATIVITY IN ANCIENT CULTURE
The purpose of the article is to analyze what were the peculiarities of the study of artistic creativity in antiquity, what theoretical potential the ancient heritage has in understanding the phenomenon of artistic creativity, which can be useful in the modern cultural discourse. The methodological basis of the study is the use of theoretical tools developed in modern science, which allows to analyze the essential characteristics of artistic creativity with a sufficient degree of completeness, reflecting in its essential basis both phenomenological and ontological parameters of its social functioning. At the same time, it turns out to be effective to apply such methods as the method of system-structural analysis, the method of comparativism, which allow analyzing the essence and nature of the phenomenon of artistic creativity, the vectors of research of this artistic phenomenon as an important component of contemporary theoretical discourse. The scientific novelty of the study lies in the fact that artistic creativity is for the first time considered in the context of comprehension, a very complex phenomenon that has acquired, of course, sometimes unusual and hence complicated forms in the modern socio-cultural space, and the initial attempts to comprehend it, which were embodied in the works of ancient authors. The results of research. The article reveals the heuristically significant potential of the ideas of ancient philosophers in the context of clarifying the essential parameters of the phenomenon of artistic creativity at the present stage of development of science. Thus, the article shows that such ancient thinkers as Plato, Aristotle and a number of others managed to analyze the gigantic scope of all human relations to the world, and, at the same time, made a huge contribution to a specific matter 3 a deep interpretation of the creative process in art, revealed the most important regularities of the phenomenon of artistic creativity at the modern stage of cultural development, which became the basis for further searches and theoretical achievements by subsequent philosophers and philosophical schools.
Copyright (c) 2025 Цзяхуй Хуан http://creativecommons.org/licenses/by/4.0/
AN ATTEMPT AT A PHENOMENOLOGICAL ANALYSIS OF THE CONCEPT OF SAMPLING BASED ON PIERRE SCHAFER9S SOUND OBJECTS : CULTURAL STUDIES PERSPECTIVE
Purpose of the work. Purpose of the work is to reconceptualize use of the musical sampling beyond its technical execution. This article presents an interdisciplinary study of the phenomenon of music sampling as both an object of phenomenological analysis and a cultural artifact. The reuse of musical material is no longer seen as a purely technical technique, but rather is revealed in terms of the deep cultural meaning it encodes. In order to reveal the encoded meanings, the study draws on the theoretical work of Pierre Schafer, in particular, his conceptualization of the terms l'objet sonore and musique concrète, and offers a phenomenological view of samples as separate audio phenomena that manifest themselves through reduced listening. The article also explores the cultural rootedness of samples, with a purpose of suggesting that samples function as carriers of memory and cultural identity, moving from a state of perceptual presence to a state of semiotic depth depending on the listener's cultural context. Methodical base. The study uses phenomenological reduction based on Pierre Schafer's method of reduced listening, interpretive analysis of audio objects, comparative analysis of historical sound practices, discourse analysis of cultural and political dimensions of sampling, hermeneutical interpretation within cultural theory, and theoretical synthesis of phenomenology, sound studies, and poststructuralist thought. Scientific novelty. The novelty of the work lies in the attempt to analyze sampling as both phenomenological and cultural phenomena. This analysis has shown that music samples should be considered as intentional and acoustic sound objects, isolated from their original source and recontextualized in a new creative environment. Techniques such as looping and sound transformation reflect Schaffer's early experiments («closed loop» and «cut bell»), emphasizing the role of reduced listening in the sampling process. Reduced listening facilitates the isolation of a sound element from its functional or semiotic context, allowing the composer or producer to perceive and rethink the sample as a separate phenomenon. Additional discovery lies in the fact that the analysis encountered the limitations inherent in phenomenological reduction: samples, even when perceived acoustically, continue to carry cultural, historical, and symbolic meanings. Referring to theorists such as Don Ide, Roman Ingarden, and Salomé Voegelin, the study shows that samples resist pure abstraction and retain traces of their origins. These traces can include timbral memory, rhythmic idioms, or stylistic markers that refer to certain musical traditions or sociohistorical narratives. Thus, the sample becomes a site of multistable meanings shaped by the listener's cultural context. Conclusions. The study has shown that music sampling is a multilayered phenomenon that combines phenomenological and cultural perspectives. The sample appears as an intentional sound object that is perceived through reduced listening and recontextualized in a new environment. However, a complete phenomenological reduction is not possible, as samples retain cultural and historical responses that are manifested through timbre, rhythm, or symbolic codes. This shows the importance of the listener's presence for the actualization of meanings. In the cultural dimension, sampling functions as a carrier of traveling memory, capable of forming rhizomatic structures, as Hilgonda Rietveld has shown. Thanks to this, sampling appears as a form of cultural gesture that balances between preservation and innovation. The dual nature of the sample as a sound object and cultural artifact requires an interdisciplinary approach. Further research should be aimed at analyzing specific musical examples in a cultural context to deepen the understanding of the interaction between the perceptual form of the sample and its symbolic saturation.
Copyright (c) 2025 Maksym LIAPCHENKO http://creativecommons.org/licenses/by/4.0/
CULTURAL ACTIVITY AS A FORM OF PERSONALITY REPRESENTATION
The thematic content of Issue 50 of the professional scientific collection “Ukrainian Culture: Past, Present, Development Paths” is analyzed; its difference from previous editions is revealed; it is emphasized that the war deepened intercultural communication and turned scientific or cultural activity in general into an active factor in the consolidation of Ukrainian society; The expansion of the thematic range of research is emphasized due to new issues and works of foreign scholars who are trying to fit the cultural experience of their own countries into the modern world context.
Copyright (c) 2025 Сергій ВИТКАЛОВ, Володимир ВИТКАЛОВ http://creativecommons.org/licenses/by/4.0/
UKRAINIAN CULTURE: THE PAST, MODERN WAYS OF DEVELOPMENT IMAGES RELATED TO INITIATION RITES IN CAVE ART OF THE STONE AGE
The purpose of the article: to consider the handprints of teenagers in Stone Age caves in relation to the accompanying images of the magical numbers of the lunar calendar and phytophagic (used in the magic of reproduction) as traces of initiation and to find out whether new ideas and concepts that arose as a result of progressive changes in the social development of society in the 40-35 millennium BC were reflected. in the names and religiophilosophical interpretations of the then-dominant zodiac signs of Libra, Virgo and Leo, in which at that time the conventional point of intersection of the ecliptic and the equator (the point of the spring equinox) passed. The methodological basis of the research were the works by Zh. Bezvershuk, G.-H. Luquet, L.-R. Nougier, A. Stolyar, V. Kabo, Cl. Ruggles, O. Gurstein, M. Chmykhov. As a result of the study, it was found that the handprints of teenagers in many Stone Age caves are combined with rows of red discs (spots) grouped in the numerical rhythms of the lunar calendar, which was used by women in reproductive magic to determine the dates of conception and birth of a child. Near palm prints, there are also images of phytophages, which in the minds of primitive man were perceived as zoomorphic images of the male fertilizing potency that gives the seeds of life. This unequivocally indicates that the handprints of teenagers were associated with initiation rites, the main purpose of which was to transfer teenagers from the asexual state of childhood to the status of fullfledged adult members of the collective, who were allowed to continue their lineage. The rite of initiation appeared as a result of the transition from primitive herds to tribal communities, where relations between members of clans and phratries were clearly regulated. New ideas and concepts that arose in the consciousness of Paleolithic man in connection with significant progressive changes in the social development of primitive society were reflected in the names and characteristics of the zodiac signs dominant at that time. The main principles and concepts of the sign of Libra (40,850 3 38,700 BC) 3 balance (balanced opposition), agreement, harmony, order correspond to the regulation of relations between two clans in dual-clan communities, the coordination of relations between their members, and the establishment of norms of behaviour. The zodiac sign of Virgo, which dominated from 38,700 to 36,550 BC, emphasizes the exclusive role of women in procreation. The sign of Leo, dominant from 36,550 to 34,400 BC, is associated with ideas about supremacy, power, hierarchy, and subordination 3 especially relevant due to the formation of tribal communities. The idea of power, which was affirmed in initiations, was embodied in the image of a lion. In the totemic religions of the world, initiation rites often concluded with the so-called «lion's grip». The reflection of basic ideas and concepts in the characteristics of the zodiac signs during the period of primitive history, when man did not know the zodiacal circle, indicates that this phenomenon is the result not of human thought, but of the Higher Mind, a designation of the stages of the spiritual evolution of society. The novelty of this research lies in the fact that, for the first time, handprints of teenagers on the walls of caves have been examined as evidence of initiation rites, in which reproductive magic rites played an important role, aimed at granting teenagers the status of full members of the community who can continue their lineage. For the first time, new ideas and representations of primitive man, which arose as a result of the transition of society to a new level of social relations - the formation of dual-ancestral communities, were considered in the context of the hypothesis put forward in the works of scientists of the 20 3 21 st centuries and consists in the fact that the main ideas and representations of any historical period are reflected in the name and interpretation of the dominant zodiac sign in that period, in which, due to the phenomenon of precession, the conditional point of intersection of the ecliptic and the equator (the point of the vernal equinox) passes for 2150 years. Practical significance. Theoretical conclusions can be used to further explore this issue, to teach the history of art, history of world and national culture, when writing scientific works on the history of art.
Copyright (c) 2025 Yaroslava BONDARCHUK http://creativecommons.org/licenses/by/4.0/
CULTURAL AND ARTISTIC PRACTICES OF LAVINIA FONTANA IN EARLY MODERN BOLOGNA AND ROME
The goal of the study is to identify and clarify the specifics of the cultural and artistic practices of the Bolognese artist Lavinia Fontana of the early modern period of Italian culture. The methodology is based on a comprehensive approach consisting of historical research methods: biographical, historical-chronological, historical-comparative, as well as iconographic and iconological. The study is based on the principles of objectivity and logic in combination with scientific approaches from the standpoint of socio-anthropological determinism and the dialectical relationship of the historical-cultural context and the life world of the individual, which made it possible to achieve substantiated research results. The scientific novelty of the study lies in substantiating the importance of Lavinia Fontana's cultural and artistic practices in Early Modern Bologna and Rome for modern cultural studies, art studies, and museology. For the first time, a comprehensive examination of her works of art has been carried out in the context of museum collections, deepening the cultural discourse, and the development of museum practices. As a result of the study, the cultural and artistic activities of women in Bologna were analyzed, which indicates a certain freedom of production in various spheres. The special role of the University of Bologna (1088), where girls had the right to study, is revealed, and the cultural influence of patrons of art is emphasized. The professional fulfillment of women artists lies not only in the nature of individual genius, but in the availability and access to art education. It is determined that the role of the father-artist, husband, or lover-artist is significant in the professional development of many women artists. However, a more successful artist could be a nun in a monastery, or an artist's daughter in her father's studio. To pursue a career in art, a female artist had to be unconventional, strong, especially in times past, to resist or find strength in the attitude of her family. It was found that thanks to her studies at the Mannerist school, the artistic and patronage contacts of her father, the artist Prospero Fontana, and the cultural academic environment of Bologna, Lavinia Fontana was able to obtain a diploma from the University of Bologna, build a successful career as a professional artist, and receive prestigious orders from the Italian nobility, cardinals, popes, the Spanish king, the king and ambassador of Persia for portrait, historical, mythological, and religious paintings, which are now in museums and private collections around the world. It was found that Lavinia Fontana was the first artist to depict nude nature. The managerial and promotional qualities of her husband, Gio. P. Zappi, who often acted as her guarantor, helped her to find new social connections and orders, and receive decent pay for her professional cultural and artistic practice. Thus, Lavinia Fontana carried out a quiet female revolution, combining a successful career as an artist, an academician of the Roman Academy of St. Luca, with the role of mother of 11 children. The cultural, artistic and socio-humanitarian realities of early modern Bologna and Rome testify to the transformation of the paradigm of perception of the image of a female artist.
Copyright (c) 2025 Олена Гончарова http://creativecommons.org/licenses/by/4.0/
CHINOISERIE STYLE WITHIN THE CULTURAL AND ARTISTIC TRADITIONS OF THE FAR EAST IN EUROPEAN CONTEXT
The purpose of the article is to study the development of oriental traditions on the example of the Chinoiserie style in Europe, in particular Ukraine. To examine the artistic phenomenon formed under the influence of the cultural traditions of the Far East and to trace its manifestations in painting, architecture, theatre, decorative and applied arts, and porcelain of the European space of the seventeenth and eighteenth centuries. This analysis also aims to identify the peculiarities of the perception of Oriental culture by the European audience and to outline the prospects for further study of Chinoiserie in Ukrainian art history. The methodology is based on an interdisciplinary approach, in which analytical, historical and cultural, arthistorical, cross-cultural, hermeneutical, and contextual methods were applied. The results. The Chinoiserie style in European art has become an expression of interest in another culture, a source of inspiration, and a unique way of artistic exploration of the exotic world. This phenomenon demonstrates the complexity of intercultural interactions and how cultural images can be transformed depending on the context. The study of chinoiserie as an artistic phenomenon allows us to take a fresh look at the processes of stylization, imitation, and cultural adaptation. In Ukrainian art history, the study of chinoiserie is a promising area that allows us to broaden our understanding of European art, as well as to include examples of Ukrainian estates with the interiors in question in the international discourse, by exploring in more detail the estates and gardening ensembles of Ukraine, which show the influence of oriental motifs and the chinoiserie style, which was adapted to local orders. The novelty. To date, there have been no fundamental works analyzing the Chinoiserie style in the context of the history of art, architecture, painting, and decorative and applied arts in the European space. This complicates both the formation of a holistic picture of artistic relations between Europe and the Far East and the understanding of the influence of Eastern culture on the European aesthetics of the modern period, as well as its influence in the art of Ukraine (interior design of estates, garden and park complexes, porcelain collections), which have not previously attracted the attention of researchers. Practical significance. The study can be continued in the context of a comparative analysis of Chinoiserie and Orientalism, an analysis of the influence of the Chinoiserie style on local artistic traditions in Eastern Europe, as well as the study of collections of decorative and applied arts with Chinese motifs in museums in Europe, the United States, and Ukraine to trace interdisciplinary, cultural ties and traditions.
Copyright (c) 2025 Nataliia DMYTRENKO http://creativecommons.org/licenses/by/4.0/
DOLLS OF THE MEZHYGIRSKY VERTEP IN THE CREATIVITY OF ARTISTS-BOICHUKISTS OF THE 1920 S
The purpose is to identify the artists and sculptors involved in the design of theatrical puppets and the development of the Mezhyhirsk Nativity Scene repertoire, and to outline the list of the latter's characters, characterize their stylistic and artistic-figurative features within the framework of avant-garde scenography. Results. So, the Mezhyhirsk Nativity Scene puppet theater was founded in the fall of 1923 on the initiative of the political instructor, representative of the People's Commissariat of Education, and art critic Pavlo Horbenko. It was supported by the head of the institution Vasyl Sedlyar, sculptor, professor Yevhen Sahaidachny, and student activists 3 Ilko Zaika, Mykola Tsivchynsky, Dmytro Holovko. Most likely, in addition to Yevhen Sahaidachny, Vasyl Sedlyar's wife Oksana Pavlenko and Mykhailo Boychuk's wife Sofia Nalepynska-Boychuk were involved in the development of graphic sketches of the nativity scene puppets. The choice of characters was based on a synthesis of the active figures of medieval mysteries and traditional Ukrainian folk nativity scenes (such as God, Tsar, Archangel, Pastor, representatives of various professions and people from the common people). But to spite the day, they were supplemented with foreign heroes, mostly famous capitalists, interpreted, albeit with humor and sarcasm, but mostly with a negative connotation. Among them are MacDonald (Ramsey MacDonald), Lord Curzon (George Curzon), sometimes he was passed off as Chamberlain, French diplomat (Paul Deschanel), American representative (Hugo Stinnes), General Ludendorff (Erich Ludendorff), Occasional diplomat (Woodrow Wilson), Occasional capitalists (Gustav Stresemann, Raymond Poincaré), some of whom were identified by the theater as political world figures of the 1920s in the last decade. In total, during the years 192331924, while the Moscow Art Theater troupe existed, about 30 nativity dolls were designed (21 are available, several are known from photos, 1 from a graphic design, 1 blank), and 7 heads for them, made of wood based on prototypes of African sculpture with enlarged, exaggerated, mostly in a cubist-futuristic avant-garde manner with recognizable facial features, as well as 1 plywood nativity house (30 items in total). The latter was designed as a one-story one, because in it the authors tried to equalize sacred and profane images. In addition, a white canvas was stretched in front of the «shopka» (nativity scene), behind which the characters of the Far Eastern shadow theater were demonstrated, which complemented the performances. The house was made according to the memoirs of M. Tsivchinsky, a local Mezhyhirya master under his leadership, and the production of dolls was directly related to prof. E. Sahaidachny and the above-mentioned representatives of the student community. Thus, these future artists of ceramics and heating engineering developed a repertoire of puppet nativity scenes, including individual mise-en-scenes and plays. They were tested on residents of villages near Mezhyhirya 3 Novy and Stary Petrivtsy, as well as Gostomel, Zhytomyr, Kyiv, Pryluky, Kharkiv, performing before Red Army soldiers in garrisons, peasants, townspeople in culture clubs and various reading rooms. Textile clothing for dolls was selected removable, some characters were somehow reshaped, transformed. Research methodology. The study used the following scientific tools: the principle of scientific reconstruction, art history and culturology approaches, ontological, axiological, hermeneutic, historical-genetic, historical-chronological, comparative, socio-cultural, typological, iconographic and method of analysis of works of art. Novelty. The novelty of the study lies in the clarification of information about the author of the idea of creating the Mezhyhirsk Nativity Scene, the artistic characters of this theater, and the house The practical significance. The results obtained make it possible to comprehend the sources of inspiration for individual cubo-futuristic searches for the scenography of avant-garde forms of dolls of the Mezhyhirsk Nativity Scene of 192331924. and to realize its historical, cultural and art-historical significance among the invaluable heritage of the Boychukists, as a whole layer of the «Shooted Renaissance» of Ukraine of the early 20 th century, and to reassess it taking into account the high assessment of Mykhailo Starytsky's granddaughter Iryna Steshenko, representatives of the «Berezil» theater, in particular Les Kurbas, etc.
Copyright (c) 2025 Ольга Школьна , Ганна КРЮКОВА, Оксана ПОПІНОВА http://creativecommons.org/licenses/by/4.0/
VIENNA FIVE-STRING DOUBLE BASS IN CONCERT AND CHAMBER MUSIC OF THE CLASSICAL PERIOD
The Purpose of the Article. The article examines the unique role of the Vienna five-string double bass in the development of concert and chamber music during the Classical period. It aims to analyze how the instruments distinctive tuning system (tertiary-quartal tuning centered on D major) influenced compositional style, performance techniques, and the emergence of a virtuosic repertoire for the double bass in late 18th-century Vienna. Research Methodology. The study employs a historical and analytical approach based on the examination of original scores, archival documents, and scholarly research. The methodology integrates comparative analysis of musical works composed for the Viennese double bass and structural examination of the instrument's construction and tuning system. Results. The findings reveal that the technical and acoustic features of the Viennese double bass facilitated the creation of a rich body of repertoire by composers such as Haydn, Mozart, Hoffmeister, Dittersdorf, and Sperger. The unique tuning enabled ease in executing arpeggios, harmonics, and scalar passages, thus broadening the instrument9s expressive capabilities. Moreover, it contributed to redefining the double bass9s role from a continuo instrument to a full-fledged solo and ensemble voice. Novelty. This research sheds light on an underexplored aspect of music history 3 the interaction between instrument design and compositional style in the Classical period. It introduces new insights into the historically informed performance of works written for the Viennese double bass. The Practical Significance. The study encourages modern performers to engage with historically accurate techniques and tuning systems, offering a deeper understanding of Classical repertoire. It also provides valuable material for educators, performers, and researchers aiming to revive and preserve this distinct Viennese tradition.
Copyright (c) 2025 Золтан СОЛАНСЬКИЙ http://creativecommons.org/licenses/by/4.0/
«BITE, BOTTLE, BEAUTY» – HIERARCHY OF NEEDS OF EUROPEAN FOLK PUPPET HEROES
Комплексно розглянуто розвідки провідних зарубіжних театрознавців у галузі історії театру ляльок Європи. Особливу увагу приділено текстам оригінальних лялькових комедій за участю провідних протагоністів європейського лялькового кону. Відтак, проведено компаративістський аналіз характеру їхніх вчинків та дій в окремих епізодах вистав. Виявлено основні інтереси, що формують сценічну поведінку лялькових героїв. Сформовано своєрідний тріумвірат – піраміду потреб лялькових маскотів. Прикладами з драматургічних текстів обґрунтовано вибір саме цих трьох тригерів та проілюстровано, яким чином вони впливають на манеру існування та гри персонажів. Таким чином, виявлено спільний патерн поведінки для узагальненого образу народного лялькового героя Європи.
Copyright (c) 2025 Дар’я ІВАНОВА-ГОЛОЛОБОВА http://creativecommons.org/licenses/by/4.0/
LES KURBAS9S 1933 PRODUCTION OF MAKLENA GRASA AS A SYNTHESIS OF ARTISTIC EXPLORATION AND THEORETICAL INQUIRY
This article examines the nuances of the interpretation of operatic arias by Italian composers from the late 19th century by Chinese soprano Hui He in collaboration with the string ensemble «Verona Lirica». In contemporary musicology, the significance of studying the operatic arts across various cultures is increasingly recognized, as it unveils unique aspects of interpretation and intercultural communication. The artistry of Chinese performers, particularly Hui He, represents an intriguing phenomenon that opens new avenues for understanding the interplay between different musical traditions. The aim of this paper is to identify the features of the musical and performance interpretation of individual operatic arias by Italian composers from the late 19 th century by Hui He and the string ensemble «Verona Lirica». The methodological approach of this research encompasses historical, textual, genre-stylistic, and comparative analyses, facilitating a deeper exploration of the intricacies involved in performance practice. The findings reveal that Hui Hes interpretations are marked by a distinctive originality while maintaining the traditions of Italian opera, all the while incorporating elements of Chinese musical culture. Special attention is given to arias such as «Io son l'umile ancella» and «La mamma morta», which exemplify not only the technical proficiency of the performer but also the depth of emotional expression, thus affirming Hui He9s ability to create vivid stage personas even in the context of concert performances. The novelty of this research lies in the integration of genre-stylistic and interpretive analyses, as well as the focus on performers who have not received widespread recognition within Ukrainian musicology. The practical significance of this work is that its outcomes can inform the development of educational programs and research initiatives in the field of operatic interpretation, which is particularly pertinent to musicology in both Ukraine and China. In conclusion, the article emphasizes that the interpretations by Hui He and the «Verona Lirica» ensemble serve as exemplary cases of the successful adaptation of operatic repertoire for concert settings, thereby fostering cultural connections and enhancing interest in the operatic arts within China.
Copyright (c) 2025 Дмитро ХОДАКІВСЬКИЙ http://creativecommons.org/licenses/by/4.0/
THE LUTSK OPERA STUDIO AS A UNIQUE PHENOMENON OF AMATEUR CREATIVITY IN THE MIDTWENTIETH CENTURY: REGIONAL STUDIES
Relevance of the problem. Contemporary Ukrainian musicology is increasingly incorporating regional studies into its research. This is quite natural. After all, Ukrainian musical culture, having gone through a difficult formation process, paid great attention to amateur creativity, which became a powerful foundation for the development of Ukrainian academic music. Amateurism flourished in Ukraine, with its distinct regional characteristics. Scientific novelty. This article is the first to present informational material highlighting the history of the creation and creative activity of an opera studio, an unprecedented phenomenon of amateur art, that was established at the City House of Culture in Lutsk in the mid-twentieth century. It is important to note that this phenomenon is unique because there has never been an opera infrastructure in the Volyn region. All of the studio's activities were based on its members' high level of enthusiasm and passion. Additionally, the political situation in the country was tense, so the studio members had to consider it. Party censors were particularly strict about the center's repertoire policy, especially regarding operas by Ukrainian composers. Conclusions. The opera studio successfully produced ten opera productions from the classical repertoire. The following are notable: «Rigoletto» and «La Traviata» by Verdi, «La Dolce Vita» by Mascagni, and so on. The students' notable achievement was staging opera performances by Ukrainian composers, including: «Kateryna» by M. Arkas, «Cossack Beyond the Danube» by S. Hulak-Artemovsky, and «Forest Song» by V. Kyreiko.
Copyright (c) 2025 Мирослава НОВАКОВИЧ, Лариса Ігнатова http://creativecommons.org/licenses/by/4.0/
TRANSFORMATION OF FOLKLORE SOURCES IN YU. MEITUS'S OPERA «STOLEN HAPPINESS»
The aim of this paper is to identify the main compositional techniques of Yu. Meitus in the transformation of folklore sources in the nationally oriented opera «Stolen Happiness». Research methods. The study applies general scientific principles, methods and approaches. The methodology of the work has a complex character and is based on such methods as: historical, analytical and musical-textological. Results. It was investigated that the musical material of Yu. Meitus's opera «Stolen Happiness» is based on such compositional methods as: quoting and free stylization of folk songs, which generalize the characteristic features of the ethno-regional tradition. The author's transformation of folk sources was accomplished through the use of such compositional techniques as: expansion of the ladotonal system, dynamization of the rhythmic structure, enrichment of the timbre-sonor quality. The composer used an adapted stylistics 3 a key characteristic of the secondary-stylistic, interpretative complex, which includes intonation-mode variation and orchestral processing of folk motifs. Yu. Meitus also applied figurative and intonation modification of the quoted folk melodies and their characteristic elements, which contributed to the musical material acquiring a new semantic and textural-harmonic quality. Novelty. An attempt is made in this paper to explore the individual authorial style of Yu. Meitus and reveal the subtle combination of a deep synthesis between folklore tradition and modern musical techniques. The practical significance. The practical value of the work lies in the possibility of using the materials in the course «History of Ukrainian Music» and serving as a source of inspiration for fellow researchers in the field of Ukrainian music, facilitating their scholarly investigations.
Copyright (c) 2025 Оксана Пшенична http://creativecommons.org/licenses/by/4.0/
THE JOURNAL UKRAINIAN THEATRE AS A MIRROR OF FESTIVAL LIFE IN THE UKRAINIAN SSR : CRITICAL DISCOURSE OF THE 1970–1980 s
Between 1970 and 1990, the Ukrainian theatre journal Ukrainskyi Teatr published 40 articles related to theatre festivals, with only half offering in-depth analysis. A noticeable increase in coverage occurred after 1980. The content reflected not just artistic developments but also the role of festivals in Soviet cultural policy, which emphasized ideological education and international socialist solidarity. Festivals were organized primarily by state institutions such as the Ministry of Culture of the Ukrainian SSR and the Ukrainian Theatre Society. They were categorized into several types: festivals of national dramaturgy, republican and all-Union festivals celebrating Soviet anniversaries, international festivals (mostly within the socialist bloc), and events focused on specific genres like puppetry or youth theatre. Puppet theatre festivals, perceived as ideologically «safer», received relatively greater international exposure and media coverage. The journal highlighted Ukrainian participation in major international festivals, such as the Avignon Festival in France, the UNIMA puppet theatre congresses, and the Festival of the Nations in Nancy. Reviews often praised the artistic diversity and intercultural dialogue present at these events. Articles featured first-hand reports from directors and critics, such as S. Danchenko, Y. Bohdashevsky, A. Poliakov, H. Sherman analyzing trends in contemporary theatre, innovative staging techniques, and the public9s response. Despite travel restrictions, Soviet theatre professionals increasingly participated in international events during the 1980 s. This reflected a gradual easing of ideological control and growing interest in showcasing Soviet artistic achievements abroad. These festivals served as both a stage for cultural diplomacy and a platform for creative experimentation.
Copyright (c) 2025 Вікторія БУБНОВА http://creativecommons.org/licenses/by/4.0/
ROSETTE GERDAN AS AN EXAMPLE OF THE EURASIAN MIGRATION PROCESSES OF GLASS JEWELLERY
The article examines the genesis of the rosette gerdan breast ornament, searching for the origins of the form, the ways of migration and its use on the territory of Ukraine. The analysis of the etymology of the name «gerdan» (Burkic. «gerden» 3 neck) has revealed the primary location of the decoration, which is associated with the Central Asian cultural region. In Uzbekistan, Kazakhstan, and Kyrgyzstan, a common piece of jewellery is the zebi-gardon (Burkic for «chest jewellery»). The similarity of the artistic features of the gerdan and zebi-gardon allowed us to put forward a hypothesis about the Turkic origins of the compositional solution of Ukrainian jewellery. After all, by the 15 th century, the time of the Ottomans' active expansion into Ukraine, jewellery of a different design, such as the hryvnia and monisto, was widespread. A review of the historical contacts of Turkic peoples has revealed the routes of migration of the gerdan caused by the spread of the Ottoman Empire's power from the late 15th to the 17 th century to the southwestern part of Ukraine, as well as Moldova and Romania. The territory of the original location from which the rosette gerdan form spread was identified: Podillia, Pokuttya, Southern Hutsulshchyna, Bukovyna (Vinnytsia, the centre and south of Khmelnytskyi, southern Ternopil, southern Ivano-Frankivsk, and Chernivtsi regions). On the basis of the analysis of Eurasian contacts, the hypothesis of the appearance of the rosette gerdan on the territory of Ukraine in the 18 th century is proved. It has been found that the origin of the men's basma gerdan has archaic Asian roots, as a derivative of the Turkic bais0 («imprint») 3 a lexeme for a letter of trust, a symbol of power of the Tatar-Mongol khans of the 13 th-15 th centuries. The author proposes the concept of gerdan decoration as a multicultural object, in which archaic local traditions of creating coloured glass decorations have absorbed Turkic linguistic and artistic and constructive principles as a result of Eurasian migration processes.
Copyright (c) 2025 Ольга Коновалова http://creativecommons.org/licenses/by/4.0/
THE ART OF DANCE AS A TRANSLATOR OF CULTURAL MEMORY IN CONTEMPORARY UKRAINE
The aim of the article is to investigate the artistic and aesthetic possibilities of choreographic art in its ability to structure and reproduce cultural memory in Ukraine at the present stage. The methodological basis of the investigation is an art history and cultural studies approach. Within this approach, methods of semiotic, comparative, and historical-genetic analysis were used. Results. The connection between dance art and cultural memory is demonstrated. Cultural memory is characterised as a set of carriers and practices for reproducing national identity in a community. It is emphasised that art has the ability to preserve and interpret cultural memory in artistic images over a long period of time. It is noted that cultural memory and national identity in dance art are represented at different levels through musical and rhythmic images and means of choreographic expression. It is noted that the differences are due to the peculiarities of the trends and conditions of formation in the Soviet period. Ideological control over the training of future specialists and the repertoire of creative groups led to the deformation of Ukrainian imagery, but it contributed to the preservation of cultural memory. The artistic and conceptual possibilities of classical, folk, ballroom and contemporary choreography are demonstrated, the differences between which are determined by the variability of the use of Ukrainian material and the nearness to contemporary events, which ensures the formation of the cultural memory of the Ukrainian nation. Due to the globalised and digitalised world, a universal choreographic vocabulary contributes to Ukraine9s representation in the international context. At the same time, reliance on classical and contemporary Ukrainian material corresponds to the processes of nation building in Ukraine. Scientific novelty lies in the investigation of the artistic representation of cultural memory using the example of choreography and art education in the field of performing arts in modern Ukraine. The practical significance lies in the use of the research results in teaching practical and theoretical disciplines in dance art. The materials can be used in the development of art projects and international dance projects, as well as in further scientific work on the study of the nation-building potential of choreography.
Copyright (c) 2025 Олена КУРДУПОВА, Лариса ДЕГТЯР, Еліна САМОЙЛОВА http://creativecommons.org/licenses/by/4.0/
ART ON THE FRONT LINE : VISUAL CULTURE OF WAR AND THE IMAGE OF VICTORY IN UKRAINIAN ART DISCOURSE 2022-2024
The article is devoted to the study of the transformation of visual culture in Ukraine under the influence of the fullscale russian invasion in the period 2022-2024. The purpose of the study is to analyze the reflection of war in various forms of visual art and trace the process of forming the image of victory in the Ukrainian art discourse. The research methodology is based on a comprehensive approach, which includes: analysis of scientific publications on the theory of visual culture and art history, dedicated to the study of the impact of war on art; content analysis of visual materials presented at exhibitions, in social networks and media, reflecting the Russian-Ukrainian war; analysis of interviews with artists and curators of art projects (partially presented in the text of the article); synthesis and interpretation of the data obtained to identify the main trends and patterns in the formation of the image of victory. The results of the study demonstrate the significant impact of the war on Ukrainian visual culture, which was manifested in: the intensification of documentary recording of war crimes and humanitarian catastrophe; the use of art as a means of therapy and understanding of traumatic experience; the evolution of the image of victory from heroic resistance to a reflexive understanding of the price of freedom and the need for restoration; the active use of digital technologies and social networks to spread visual culture and cultural resistance; the shift of the thematic focus to issues of national identity, heroism and struggle; the emergence of new iconographic images of heroes and memorial practices (murals). The study revealed that the image of victory is dynamic and includes not only the liberation of territories, but also the mental restoration and affirmation of Ukrainian identity. The novelty of the study lies in the comprehensive analysis of the visual culture of Ukraine in the conditions of a full-scale war of 2022-2024, the identification of key trends in its development and the features of the formation of the image of victory in this crucial historical period. A generalization and systematization of various visual practices reflecting the war experience of Ukrainian society and its desire for victory has been carried out. The practical significance of the study lies in the possibility of using its results for further scientific explorations in the field of visual culture, art history, history and sociology. The materials of the article can be useful for the development of training courses, museum exhibitions and cultural projects aimed at understanding the war experience, preserving the memory of heroes and forming national identity. The results of the study can also be used to analyze the information space and counteract disinformation in conditions of military conflicts.
Copyright (c) 2025 Микола ЛЕВЧЕНКО, Лідія ЛИМАРЕНКО, Наталя ТЕРЕШЕНКО http://creativecommons.org/licenses/by/4.0/
INTERNATIONAL MUSIC COMPETITIONS AND FESTIVALS IN CHINA: CURRENT STATE AND DEVELOPMENT PROSPECTS
Formulation of the problem. The article comprehensively examines the current state and prospects of China's key international music festivals and competitions, with a focus on their role in the development of cultural diplomacy, support for young talent, and China's integration into the global music space. Artistic events in the field of classical music, jazz, rock, and popular music are highlighted, emphasising their dynamics, scale, and international significance. It is noted that artistic practices of the international level enrich the cultural life of the Chinese people, contribute to the inheritance and development of traditional culture through the integration of professional and amateur art. The research methodology necessitates the use of an interdisciplinary approach that takes into account the specifics of various fields of modern humanitarian knowledge. The scientific novelty of the study is determined by the attempt to bring new information to the scientific field on the current state and functioning of international music competitions and festivals in China. In recent years, Chinese music has also been influenced by Western styles, leading to the emergence of a vibrant contemporary music scene in China. Among them is the gradual introduction of the Chinese society, which was historically closed to the outside world, to the European traditions of academic musical culture and, in particular, to the instrumentation. Results.Thus, the development and functioning of international music competitions and festivals in China is a multicultural sociocultural phenomenon and a vivid reflection of the cultural and artistic processes of our time. It is proved that the disclosure and understanding of certain aspects of the socio-cultural space of China on the example of well-known international music competitions and festivals is extremely relevant in the present period.
Copyright (c) 2025 Ітао ДУН http://creativecommons.org/licenses/by/4.0/
CREATIVE CITATION OR PLAGIARISM? ON THE ISSUE OF ARTISTIC ORIGINALITY IN ART EDUCATION
Topicality. Plagiarism in the field of art is the use of someone else's ideas, compositions, stylistics, or even elements of a work without citing the author or obtaining appropriate permissions, a problem that is increasingly difficult to deal with in educational institutions of artistic direction. Copying, using the concepts of other artists without transformation or presenting them as one's own is happening more and more often. The purpose of the article is to consider the problem of plagiarism in fine arts, copyright, analyze tracking and possible ways to eliminate cases. The research methodology is complex and determined by the goal of the article. In the research process, the methods of analysis and synthesis were used, which were applied to consider the theoretical foundations, the comparative method, which was aimed at identifying various aspects of understanding the cause of the problem, as well as the methods of abstraction, generalization, and specification. Scientific novelty consists in making an attempt to reveal the above-mentioned problem. The work considers the most significant methods and ways of overcoming it. It is emphasized that visual art owes the initial development of creative plagiarism to mass enthusiasm for networks and applications for artists, although it is known that creative plagiarism took place in the distant times of the Middle Ages and the Renaissance. Over the past few years, the number of works created by artificial intelligence, based on the work of famous artists, has increased. Works of this kind appear more and more often as original works of artists. This phenomenon is especially common among student youth. Stopping and identifying the flow of plagiarism is becoming more and more difficult, and it often becomes a problem for academic supervisors and teachers of art educational institutions. The conclusions state that the problem of creative plagiarism in fine arts remains unresolved, despite numerous attempts to resolve the situation. The problem harms authors, the artistic community in general, reduces the uniqueness of creativity and violates intellectual property rights. The fight against plagiarism in art requires a complex approach - legal, ethical and technological. Protecting the rights of artists, creating a culture of originality, and implementing modern technologies can help minimize plagiarism.
Copyright (c) 2025 Ольга КАЛЕНЮК, Олександра ПАНФІЛОВА http://creativecommons.org/licenses/by/4.0/
TRANSFORMATION OF COMPETENCES OF SOCIO-CULTURAL ACTIVITY MANAGER UNDER THE INFLUENCE OF ARTIFICIAL INTELLIGENCE
The purpose of the article is to outline the transformations and propose a functional-semantic classification of the competencies of a manager of the cultural and social development organization, taking into account the impact of modern technological changes in the field of culture. The research methodology is based on an interdisciplinary approach that combines: content analysis of scientific publications, analytical reports and practical cases on the application of AI in the cultural sphere; a systematic approach to studying the role of AI as a factor that changes the institutional, managerial and communication environment of socio-cultural activity; functional-semantic analysis, which made it possible to classify competencies and structure them by content groups in accordance with the professional challenges of today. The scientific novelty lies in the systematization of the professional competencies of a manager of socio cultural activity, taking into account the challenges arising from the introduction of artificial intelligence, according to the functional-semantic principle (five clusters of competencies). Practical application of the research results. Modernization of educational programs for training managers of socio-cultural activities by including disciplines covering digital culture, AI ethics, generative technologies, algorithmic thinking, working with big data, and platform communication.
Copyright (c) 2025 Вадим ОСАУЛА http://creativecommons.org/licenses/by/4.0/
EMOTIONAL AND COMMUNICATIVE ENVIRONMENT OF BRAND IDENTITY OF HOSPITALITY ESTABLISHMENTS
The purpose of the article is to identify and analyze the main emotional and communicative components of the environment that affect the brand identity of a hospitality establishment. Research methodology. The study used an interdisciplinary methodology based on the integration of scientific approaches from cultural studies, psychology, and socio-cultural management. A number of general scientific methods were applied: analysis, synthesis, generalization, etc. Novelty. For the first time in Ukrainian cultural studies, a study of the brand identification of hospitality establishments is proposed, based on the importance of the emotional and communicative component in their management. Results. Companies in the hospitality sector face strong competition, in which differentiation becomes a key element of success. In such a scenario, the role of brands becomes vital, a determining factor that goes beyond the simple definition of an establishment. A key element of successful branding of hospitality establishments is emotional and communication identification, which contributes to the formation of a unique image, increasing customer loyalty and creating a competitive advantage in the market. Therefore, hospitality establishments should focus on creating a positive emotional communication experience that remains in the memory of customers. This is achieved through high-quality service, atmosphere, design, an individualized approach to the needs of guests, the use of emotional tools in marketing, such as storytelling, visual communications, sound and sensory elements that evoke a sense of authenticity and attachment to th e brand in customers. The use of social networks, online platforms and virtual tours allows hospitality establishments to strengthen the emotional connection with customers, expand the audience, strengthen their reputation, and ensure sustainable development in the long term.
Copyright (c) 2025 Роксолана ДЬЯЧЕНКО, Таїсія БЄЛОФАСТОВА http://creativecommons.org/licenses/by/4.0/
DIGITAL CULTURE IN THE CONTEXT OF GLOBALIZATION : CHANGING IDENTITY AND CULTURAL PRACTICES IN UKRAINIAN SOCIETY
The article examines digital culture as a key socio-cultural phenomenon shaped by globalization processes. The author (s) emphasize that digital culture is not only the result of the integration of technological innovations into everyday life, but also actively influences the change in models of communication, thinking, identity, and cultural interaction. Particular attention is paid to the analysis of the factors that contributed to the development of digital culture, including technological breakthroughs, mediatization, the information revolution, the COVID-19 pandemic, and generational shifts. The study emphasizes the dual nature of digital culture as a means of global cultural unification and, at the same time, a challenge to preserve local authenticity. Examples of hybrid identities formed in Ukrainian society through interaction with global digital platforms are given. The author analyzes the impact of global digital corporations on cultural norms of interaction, as well as the importance of social media as a tool for self-expression, creativity, and cultural resistance. In the context of Ukraine, digital culture is seen as an important element of social transformation, which has been especially intensified in the context of military aggression, information attacks, and social instability. The article shows how Ukrainian society is adapting to global changes while building a national digital identity. The article provides statistics on the use of the Internet, social networks, the state of digital education, the development of creative industries, and the digital economy. The emphasis is placed on the transition of the Ukrainian audience to the consumption of Ukrainianlanguage digital content, which has become a form of cultural resistance and identity restoration.
Copyright (c) 2025 Євгенія ОСИПОВА, Наталія ПАХОТА, Тетяна СЕМЕНЧУК http://creativecommons.org/licenses/by/4.0/
THE METHODOLOGY OF CINEMATOGRAPHIC LIGHTING ON A LIMITED BUDGET
The aim of this article is to analyze methodological approaches to the organization of cinematic lighting in a limited budget and identifying practical solutions for the effective formation of artistic space, the emotional tone of the scene and the visual style of the film with minimal resources. Research methodology. The paper uses methods of theoretical analysis, comparative review, case-stud, as well as generalization of practical experience of independent filmmakers. Various options for using natural and artificial lighting, low-key lighting methods, methods of combining light sources, as well as planning lighting solutions at the pre-production stage were analyzed. Results. It is established that low-budget projects can achieve a high artistic result due to the use of natural light, low-power LED panels and improvised materials. It offers optimization of technical equipment and use of low-key lighting to reduce costs. The psychological impact of lighting on the viewer and ways to control the emotional perception of the scene are determined. Promising directions for further research are also outlined – the integration of virtual studios, mobile applications for controlling light and the development of innovative technologies for nonstandard shooting conditions. Also the results of the study proved the feasibility of a creative approach to organizing cinematic lighting with limited resources. A rational combination of available technical means and thoughtful light planning allows you to create a high-quality cinematic product without significant costs. The scientific novelty of the study is the systematization of practical methods of economical cinematic lighting, adaptation of classical lighting schemes to the conditions of modern low-budget production and substantiation of the psychological impact of light decisions on the emotional perception of the viewer. The practical significance. The possibility of direct application by independent filmmakers and students of specialized specialties to organize high-quality cinematic lighting in a limited budget, as well as to optimize resources during the filming of low-budget projects.
Copyright (c) 2025 Павло НЕРЯНОВ http://creativecommons.org/licenses/by/4.0/
MUSEUMS IN THE SYSTEM OF HIGHER PEDAGOGICAL ADULT EDUCATION : PROBLEMS OF SOCIAL MISSION AND PROFILING
The purpose of the publication: to consider the specifics of public purpose and determination of the profile of museums in the system of higher pedagogical adult education (institutes of postgraduate pedagogical education). Research Methodology. Based on a case study of the «Education of Vinnytsia Region» museum at the Vinnytsia Academy of Continuing Education, the study investigates the features of museum functioning within specialized adult education institutions. Results. The scientific-research function of museums in the system of adult higher pedagogical education is diminishing, as adult students aim to improve their qualifications mainly in subject competencies; therefore, the informational potential of the museum is more often used in an applied context. The educational component of museums, which is generally important in pedagogical education, is also losing its relevance, since the creation of auxiliary materials for the museum a priori is not a priority for adult students. Instead, the importance of museums as representative units capable of showcasing the past and present of the educational institution and the educational environment is increasing. And depending on the mission and vision of the museum it is possible to form it mostly as either pedagogical or historical. However, this does not exclude the existence of a museum with another profile, depending on the available collections. Novelty. First, the experience of the «Education of Vinnytsia Region» museum at the Vinnytsia Academy of Continuing Education is analyzed. Second, the specifics of the functioning of museums in the higher pedagogical education system for adults are considered. Third, the representative functions of museums in modern higher education institutions are recognized. The practical significance. Self-determination of the public purpose of the museum and its profile will help to use the material resources of the higher education institution for the future development of such structural units.
Copyright (c) 2025 Тетяна КАРОЄВА http://creativecommons.org/licenses/by/4.0/
GLOCALIZATION AND DEVELOPMENT OF MUSEUM ACTIVITIES IN UKRAINE
The purpose of the article is to highlight the processes of the Ukrainian museology development in the conditions of coexistence of multidirectional trends of unification of socio-cultural life, museum forms and activities, on the one hand, and articulating the content of national heritage, regional history, and culture by museum means, on the other hand. The scientific novelty of the study concerns the comprehensive analysis of the processes of globalization and localization, which, in their interpenetration and combination, determine the development of the modern museum world, in general, and Ukrainian museology, in particular. Research methodology. In the article, glocalization in the development of museum activity in Ukraine in the first decades of the 21st century is considered based on functional, comparative, and comprehensive approaches, a set of general scientific and special methods. Conclusions. Globalization has a dual impact on the development of museum work in Ukraine. On the one hand, it contributes to the homogenization and hybridization of museum activities, cultural exchange, and enrichment, and on the other hand, it gives rise to localization processes based on the preservation, presentation, and popularization of the unique national cultural heritage. Digital transformations have opened up great opportunities for the integration of Ukrainian museums into the international information space. Diversification of institutional models of museum institutions (interactive museums, museum-type institutions, private museums, economic museums, narrowly profiled, specialized local museums) and types of museum activity allows Ukraine to implement the best foreign practices of cooperation with the audience and, at the same time, implement the policy of preserving and updating national and regional heritage. Globalization processes have stimulated a more active inclusion of museums in the tourism industry, deepening international museum cooperation. By expanding the scope of its activity, museums unite with local communities, contributing to the formation of national and local identities. All this testifies to the strengthening of glocalization processes in the development of Ukrainian museum management. Prospects for further research. The issues of the formation and development of new types of domestic museums, the transformation of the mission of regional museums in the postmodern era, and the ways and forms of interaction between museum institutions and local communities to form respect for cultural heritage among Ukrainians require more extensive study.
Copyright (c) 2025 Валентина НАДОЛЬСЬКА, Світлана ГАВРИЛЮК http://creativecommons.org/licenses/by/4.0/
THE OVERTOURISM MANIFESTATIONS AND MUSEUMS : IDENTIFYING THREATS AND PREVENTING THEM
The purpose of the article is to research the coexistence of various phenomena of overtourism and museum institutions. In order to achieve this goal, two tasks can be distinguished from it: 1) to determine which phenomena of overtourism threaten museums and their activities; 2) to establish how museums can address these threats through active or passive actions. Research methods. To obtain objective scientific data, a complex of necessary scientific research methods was used. The method of inductive generalisation allowed us to identify common features and signs from the disparate (chronologically, territorially, typologically) facts of anti-tourist protests. Cases of collision between Ukrainian cultural institutions were studied using general scientific methods of analysis and abstraction: each incident was divided into several components (place and conditions of the conflict, its intensity, accusations and responses to them). Further, the necessary information was extracted by abstraction, including the reaction of cultural institutions to the manifestations of excessive tourism. To study the facts of museums' prevention of overtourism, the author used the method of synthesis. This allowed us to identify the state's assistance to museums. Results. It was found that the manifestations of excessive tourism have not only economic but also socio-cultural reasons. This makes it possible to consider museums as one of the places where the interests of the local community are represented, its contact with the conditional 8outside world9 and a 8fuse9 against the manifestations of overtourism. It has not been possible to establish whether museums can fulfil this role on their own 3 without the help of the state. The scientific novelty is that it has been shown that museums have the potential to occupy a special place and play a prominent role in attempts to overcome the manifestations of overtourism. It also further develops the argument that it is not always appropriate to copy 8market9 management methods in the cultural sector. Practical significance. The results of the article can be used to demonstrate the feasibility of amending local and central legislation in an effort to eliminate the existing problems of coexistence between tourists and local communities.
Copyright (c) 2025 Віталій БОНДАРЧУК http://creativecommons.org/licenses/by/4.0/
EXHIBITION AS A FORM OF CULTURAL AND EDUCATIONAL INTERACTION WITH THE COMMUNITY : ON THE EXAMPLE OF THE PROJECT «OURS/OTHERS. STORIES ABOUT...»
The article analyzes the changing role of museum exhibitions in modern society 3 from the traditional way of displaying collections to an interactive platform for cultural and educational interaction. The authors emphasize the growing importance of emotional experience, personal narratives, and audience involvement in the process of cognition and comprehension of socio-cultural concepts. The challenges faced by curators in meeting the needs of multi-age, socially and culturally heterogeneous groups of visitors are outlined. In this context, the experience of implementing the exhibition project «Ours/Stranger's. Stories about...» by the Volyn Museum of Local Lore as an example of a curatorial approach: from idea to implementation. The project was aimed at creating an open space for dialogue, reflection, and identification through the understanding of the concepts of «friend» and «foe» in different contexts: local, national, and personal dimensions. Through the use of interactive methods (improv theater, quests, quizzes, game elements for groups of children, families, and individual visitors), as well as the active use of digital communications (social media, video promotion), the project contributed to a deeper emotional engagement of visitors. The study confirms the potential of a museum exhibition as an important tool for cultural dialogue and civic participation.
Copyright (c) 2025 Світлана ЧИБИРАК http://creativecommons.org/licenses/by/4.0/
DOCUMENTARY LINGUISTICS AS A THEORETICAL AND APPLIED DISCIPLINE : CURRENT STATE AND DEVELOPMENT PROSPECTS
Documentary linguistics is an interdisciplinary scientific field that integrates principles of linguistics, document science, and information sciences to provide a comprehensive analysis of the linguistic, structural, and functional characteristics of documents. This article offers an in-depth exploration of the theoretical foundations of the discipline, encompassing concepts such as document text, linguistic standardization, and semantic structure, which enable the consideration of documents as both linguistic and social phenomena. It analyzes the methodological frameworks, including linguistic, semiotic, pragmatic, and content analysis, alongside modern text processing technologies such as corpus linguistics and artificial intelligence methods. Particular emphasis is placed on the practical applications of documentary linguistics, which span records management, archival practices, jurisprudence, and information systems. The study examines the role of linguistic standardization in creating unified texts that ensure accuracy, clarity, and efficiency in organizational and managerial communication. The impact of digitalization on the discipline9s development is thoroughly explored, highlighting advancements in automated records management, the creation of electronic documents, and the use of intelligent systems. The article also addresses the challenges of globalization, particularly those related to processing multilingual documents, and the need to adapt to rapid technological changes. It underscores the critical role of documentary linguistics in enhancing information communication within the global information society and outlines its future prospects, including integration with artificial intelligence technologies, the development of international document standards, and the advancement of interdisciplinary research. Recommendations for future research include improving methods for analyzing multilingual texts, preserving contextual information in automated systems, and establishing ethical principles for technology use. The article is intended for researchers, educators, graduate students, and practitioners interested in interdisciplinary approaches to document analysis and their significance in contemporary information processes.
Copyright (c) 2025 Лідія ПРОКОПОВИЧ http://creativecommons.org/licenses/by/4.0/
THEORETICAL PARADIGMS OF COMMUNICATION : THE INTERDISCIPLINARY DIMENSION OF COMMUNICATION STUDIES
Communicology, as an interdisciplinary discipline, integrates methods from linguistics, sociology, psychology, philosophy, and information sciences to study complex communicative processes. The article analyzes the main theoretical paradigms of communication 3 informational, interactional, semiotic, critical, and systemic 3 focusing on their evolution, methodological foundations, and impact on contemporary communicative practices. Special attention is given to the role of digital technologies, globalization, and intercultural communication in transforming these paradigms. The challenges of information inequality, disinformation, and ethical issues related to automated systems are highlighted. The article emphasizes the importance of an interdisciplinary approach in adapting communicology to the realities of the information society and suggests directions for future research, particularly in improving methods for analyzing digital and intercultural communications. It is intended for researchers, educators, and practitioners interested in communicative processes and their interdisciplinary study.
Copyright (c) 2025 Алла МОРГУН http://creativecommons.org/licenses/by/4.0/
CHANGING MEDIA CONSUMPTION PRACTICES IN UKRAINE : FROM TRADITIONAL TO DIGITAL
The aim of this article is to examine the evolution of media consumption practices in Ukraine from traditional statecontrolled formats to a diverse digital media environment. The study aims to identify the key historical, political, and technological factors that have shaped these changes, with a particular focus on the role of media during pivotal socio-political events such as the Revolution of Dignity, the annexation of Crimea, and the full-scale Russian invasion in 2022. Research methodology. The article is based on a qualitative analysis of open-source materials, including academic publications, expert reports, media analytics, and statistical data. More than twelve relevant sources were reviewed, encompassing cultural research, digital media studies, public statistics, and media literacy programmes. Historical contextualisation and comparative analysis are employed to trace long-term shifts in Ukrainian media behaviour. Results. The research identifies several stages in the transformation of media consumption in Ukraine: from the centralised media of the Soviet era to the liberalisation of the 1990 s, the commercialisation of the 2000 s, and the digitalisation intensified by military conflict and crisis. The study demonstrates how digital platforms 3 especially social media and messaging apps 3 have become crucial tools for communication, news, and civic mobilisation. A generational gap in media preferences is highlighted: older audiences continue to rely on television and print media, while younger users engage with interactive and mobile formats. The study also documents the decline of regional media outlets and the emergence of new forms of user-generated journalism. Novelty of the article lies in its integrated approach to analysing Ukrainian media consumption as both a technological and socio-cultural phenomenon. It highlights how war, crisis, and digital infrastructure jointly reconfigure the media environment, and how media platforms shape patterns of public communication and information resilience in real time. The practical significance. The findings are relevant for media researchers, cultural scholars, educators in the field of media literacy, and civil society actors countering disinformation. The article also contributes to a better understanding of how digital media function under conditions of hybrid warfare, political instability, and societal transformation.
Copyright (c) 2025 Марина Байда http://creativecommons.org/licenses/by/4.0/
AI IN THE MUSIC INDUSTRY : TRANSFORMING CREATIVE PROCESSES
Purpose of the study. This article aims to examine the role of artificial intelligence (AI) in transforming creative processes within the modern music industry and to analyze the cultural implications of human3machine co-creativity. The study investigates how AI technologies redefine traditional notions of musical authorship, aesthetics, and emotional expressivity, offering new models of collaboration between human artists and algorithmic systems. Research methods. The research is based on an interdisciplinary methodological framework that integrates cultural analysis, aesthetic criticism, and comparative techniques. The study also employs a critical review of relevant academic literature and explores contemporary examples of AI-assisted music production, including models such as Music Transformer, WaveNet Autoencoder, and generative platforms like AIVA and Flow Machines. The study further draws on empirical cases from the AI Song Contest and other hybrid collaborative practices. Results. The findings reveal that artificial intelligence has become more than a tool; it acts as an autonomous agent capable of generating structurally complex, harmonically rich, and stylistically nuanced compositions. AI9s ability to process massive musical datasets and generate outputs based on learned stylistic models enables unprecedented creative experimentation. However, the increasing algorithmization of musical creativity also raises a set of cultural and ethical concerns-particularly regarding authorship, authenticity, and the preservation of artistic individuality in the face of machine-led standardization. Existing scholarship remains fragmented, often lacking a comprehensive cultural perspective on the implications of AI in music. Scientific novelty. This article contributes to the growing body of cultural research on AI by proposing a critical rethinking of creativity as a hybrid, co-constructed process. It is one of the first Ukrainian academic contributions to frame AI not merely as a technological innovation but as a cultural actor that reshapes the value systems and production logic of contemporary musical art. The paper outlines prospective pathways for harmonizing traditional and algorithmic methods of music creation within the broader context of digital culture.
Copyright (c) 2025 Інна АНТІПІНА http://creativecommons.org/licenses/by/4.0/
INTEGRATING DIGITAL HERITAGE INTO EDUCATIONAL PRACTICE : OPPORTUNITIES AND CHALLENGES
Background. The ongoing digital transformation of society is reshaping both the preservation of heritage and the practices of education. Digitized cultural heritage includes virtual museums, 3D reconstructions, gamified platforms, and online archives. These tools introduce new ways to engage with the past by enhancing access to heritage resources and enabling dynamic learning environments that support interpretive depth and inclusive participation. Education provides a key platform for integrating and evaluating these developments. Objective. To investigate how digitized heritage materials can be meaningfully incorporated into educational settings, and to assess their pedagogical value, implementation challenges, and ethical implications. Methods. The study adopts an interdisciplinary approach at the intersection of education, digital humanities, and heritage studies. Methods include critical literature review, interpretive analysis, and comparative reflection on current practices. Particular attention is given to immersive learning technologies, hybrid instructional formats, and teacher readiness. Results. Digitized heritage expands access to learning for diverse and remote audiences, fosters critical engagement with historical narratives, and supports multimodal, student-centered approaches. These formats support experiential exploration and critical learner engagement with historical content. However, they are only effective when supported by infrastructure, teacher training, and an awareness of representational ethics. The findings underscore the importance of balancing digital and traditional approaches, especially in heritage education, where historical context and plural interpretation are essential.
Copyright (c) 2025 Надія Бедріна http://creativecommons.org/licenses/by/4.0/
FUNCTIONING OF CULTURE CLUB INSTITUTIONS IN THE CONDITIONS OF THE MODERN LEGAL FIELD
The urgency of the problem. In the conditions of reforming the legal system of Ukraine, decentralization and integration into the European space, club institutions are faced with the challenges of insufficient funding, outdated material and technical base and unregulated aspects of some activities. The relevance of the study is determined by the need to improve the legislation to ensure the stable operation of these institutions, increase their social role and adapt to modern cultural and legal realities. The research methodology is based on the application of a systemic approach and a set of the following methods: comparative, analytical, cultural 3 for comprehensive coverage of the outlined issues and the formulation of substantiated conclusions. The scientific novelty consists in a comprehensive analysis of the modern legal field of the functioning of cultural club institutions in Ukraine, taking into account the latest legislative changes and reforms. Conclusions. The functioning of club establishments is based on a broad regulatory and legal basis. At the same time, it is worth noting that certain normative acts need to be updated, they are outdated. Thus, the norms of providing the population with cultural institutions, which are mainly clubs and libraries, were approved back in 1998. The issue of financing club institutions of communal form of ownership also needs improvement. Shifting the maintenance of cultural institutions to local budgets does not always yield positive results. We believe that certain binding factors for local authorities are needed: a clear definition of the share of funds from local communities that should go to support the activities of club institutions. Today, the activities of many institutions of culture and art are regulated by separate laws. The absence of a law regarding club institutions blurs and diminishes their socio-cultural significance, making them secondary among other institutions of the industry, despite their powerful network and indisputable advantage in providing cultural services to the population.
Copyright (c) 2025 Ірина ВІЛЬЧИНСЬКА, Анна СВЯТНЕНКО, Марія СТАХОВСЬКА http://creativecommons.org/licenses/by/4.0/
CULTURAL AND ARTS INSTITUTIONS : INNOVATIVE MANAGEMENT, CULTURAL PRACTICES AND CREATIVE FORMS OF LEISURE
This paper aims to investigate innovative approaches to the management of cultural and artistic institutions in Ukraine, analyze existing cultural practices, and identify promising creative forms of leisure within the context of contemporary socio-economic transformations. The study seeks to determine the potential of culture as an effective tool for overcoming crisis phenomena, stimulating socio-economic growth at the local level, and ensuring diverse and meaningful leisure activities for citizens. The methodology of this research, focused on exploring innovative management approaches for cultural and artistic institutions, analyzing cultural practices, and creative forms of leisure, is determined by the stated aim and is based on a comprehensive application of several scientific methods. Specifically, the descriptive method was employed to examine the specifics and characteristics of existing management models, cultural, and leisure practices in cultural institutions. Empirical research methods, such as observing processes within cultural institutions and comparing different management models and forms of activity, provided data for analysis. The application of the systemic method ensured a holistic understanding of the interrelationship between various elements of management, cultural offerings, and forms of leisure. The generalization method facilitated the formulation of conclusions regarding effective innovative strategies and promising directions for the development of cultural and artistic institutions. Results. The findings of the study highlight the dominant role of local communities in the management of the majority of cultural institutions in Ukraine, which forms an important basis for the effective implementation of cultural policy at the regional level and the consideration of local specificities. While decentralized management fosters greater community involvement in cultural life and more targeted use of local budget funds, the paper identifies a number of systemic problems hindering the full development of the cultural sphere. These include uneven financial provision across regions, insufficient qualification of managerial personnel at the local level, a lack of proper coordination between national and local cultural policy, and insufficient attention to the preservation of national cultural heritage. The research underscores the absence of a systematic and consistent state cultural policy that adequately assesses the situation, considers the interests of all stakeholders, and aligns with global trends. The study reveals that the longstanding focus on preserving the existing network of cultural institutions has inadvertently delayed their development and resulted in inadequate funding, particularly at the local level. The formula-based approach to the distribution of state transfers does not always account for the specific needs of regions, especially in the area of cultural heritage preservation. The paper argues for a transition to a progressive funding system based on clear standards for social services in the cultural sector and the volume of services provided. The introduction of project-based funding and other flexible mechanisms is proposed. The importance of establishing effective interaction between vertical and horizontal levels of governance, as well as creating favorable conditions for the development of creative potential and support for artists, is also emphasized. Novelty. This paper presents an analysis of the current state and challenges in the management of cultural institutions and the development of cultural practices in Ukraine, offering insights into innovative approaches and the potential of culture for socio-economic development at the local level. The research contributes to the understanding of the complexities of cultural decentralization and the need for a more systemic and coordinated national cultural policy. Furthermore, the study highlights the initial stages and potential of international cooperation projects, such as the Council of Europe's «Creating Cultural Capital» initiative and the development of a Cultural Portal, as novel tools for cultural exchange and development in Ukraine. Practical Significance. The information contained in this article may be useful for Ukrainian educators, policymakers, and cultural managers in developing new strategies for the management and funding of cultural institutions, fostering creative forms of leisure, and enhancing the role of culture in local socio-economic development. The analysis of existing problems and the exploration of innovative approaches, including the potential of international cooperation and digital platforms, offer practical guidance for reforming the cultural sphere in Ukraine and ensuring greater access to cultural values for its citizens.
Copyright (c) 2025 Віктор ШОСТАК, Ольга МОСКВИЧ, Наталія СТОЛЯРЧУК http://creativecommons.org/licenses/by/4.0/
MUSEUMS OF THE HUTSUL REGION AS A MEANS AND FORM OF PRESERVATION OF CULTURAL HERITAGE
The article comprehensively covers the functioning of Hutsul museums as centers of preservation and popularization of the unique culture of the Ukrainian Carpathians. The leading museum institutions of the region representing folk art, traditions, life, spirituality and crafts of the Hutsuls are analyzed. Their contribution to the formation of national identity and the development of ethnographic tourism is noted. It is proved that, despite the difficult realities of today in Ukraine, the museums of the Hutsul region contribute to the preservation and popularization of traditional folk culture, educating a new generation of Ukrainians on the basis of national traditions. Museums of the Hutsul region are not only repositories of material and spiritual culture, they help to preserve artifacts, art, documents and other objects that illustrate the history and culture of different peoples, contribute to the formation of historical memory, support folk crafts, tourism development and fostering respect for national heritage, play an important role that goes beyond the traditional preservation of artifacts, become active participants in cultural dialogue, contribute to the preservation of identity and create opportunities for a deeper understanding of our roots. Some museums in the Carpathian region are introducing the latest technologies, creating interactive and educational exhibitions to better immerse themselves in the cultural context of the Carpathian exhibits, which undoubtedly contributes to a deeper understanding of the intangible heritage of the highlanders and provides a prospect for further research.
Copyright (c) 2025 Василь ОЗОРОВИЧ, Ольга ФАБРИКА-ПРОЦЬКА http://creativecommons.org/licenses/by/4.0/
UNIVERSALISM OF THE CREATIVE PERSONALITY OF MYKOLA HUBCHUK
The proposed article conducts a cultural study of the universalism of the creative personality of Mykola Gubchuk, a Ukrainian opera and chamber singer, artistic director of the Oleksandr Kozarenko Kolomyia Philharmonic, volunteer, active participant and initiator of social change. The purpose of the article is a comprehensive coverage of the multifaceted activities of Mykola Gubchuk, which combines artistic, organizational, volunteer and social dimensions. Research methodology. The work uses an interdisciplinary methodology that combines cultural analysis, biographical description, elements of comparative analysis, as well as an author's semi-structured interview. Results. Mykola Gubchuk's performing activity as an opera singer is evidenced by his performances on the opera stages of Ukraine and Europe. His managerial activity was manifested in the organization of the Kolomyia Philharmonic named after Oleksandr Kozarenko. M. Gubchuk9s public activity unfolded during the Russian-Ukrainian war as a volunteer. The singer9s concert activities are currently taking place abroad in order to draw attention to Ukraine and its fight against the enemy. Considerable attention is paid to the role of Mykola Gubchuk as an agent of cultural transformations during a difficult period for the country, in particular during the full-scale Russian invasion of Ukraine. An example of a person capable of harmoniously combining personal creative realization with an active civic position and useful social activities is given. Novelty. The scientific novelty lies in understanding the role of Mykola Gubchuk not only as a performer, but as a bearer of humanistic ideas, a cultural diplomat who promotes the integration of Ukrainian art, and a driver of innovative changes in society. The practical significance. The universal activity of Mykola Gubchuk is an example for practical implementation by other heads of philharmonic institutions of Ukraine. Attention is drawn to the social significance of artists capable of showing signs of active universalism, and a vector for further research into the activities of Mykola Gubchuk, as well as other universal artists of Ukraine, is given.
Copyright (c) 2025 Назар ГОЛЕЙ http://creativecommons.org/licenses/by/4.0/
FOLK SONG CULTURE AS A PHENOMENON OF CULTURAL KNOWLEDGE
The purpose of this article is to outline folk song culture as a musical phenomenon in the context of culturological analysis, to identify its structural components, historical stages of formation and transformations, as well as its role in preserving ethnic identity through musical forms of expression. The methodology for studying folk song culture as a phenomenon of cultural knowledge is based on structuralfunctional, system-analytical, descriptive and comparative approaches, which provide a holistic understanding of folk song as a carrier of cultural memory and spiritual values of society. Results. In the process of studying folk song culture, it was established that it is a unique phenomenon that integrates musical, verbal, ritual, symbolic and mental components, forming a multidimensional system of ethnocultural existence. Folk song culture acts not only as a form of artistic self-expression of the people, but also as a mechanism for preserving and transmitting historical memory, spiritual values, ethical norms and models of world perception. It is an important factor in the formation of national identity, contributing to the awareness of belonging to the community and the preservation of cultural heritage. The novelty of the study lies in the culturological analysis of folk song culture as a factor in the formation of the national identity of Ukrainians. The practical significance of the study lies in the possibility of using its results to preserve and popularize Ukrainian folk song culture in the modern cultural space. The research materials can be implemented in curricula in cultural studies, folklore, contributing to the formation of national identity and cultural self-awareness.
Copyright (c) 2025 Павло ХЛЄБНІКОВ http://creativecommons.org/licenses/by/4.0/
VISUAL STUDIES OF MODERN CULTURE AS A RESULT OF THEORETICAL AND METHODOLOGICAL RENEWAL : FOREIGN EXPERIENCE
The aim of this paper is to systematize the positions of foreign scientists and to prove the need to update the theoretical and methodological foundations for the analysis of modern culture and art. Research methodology. Eighteen major publications on the subject have been reviewed. It allowed for revision traditional approaches of hermeneutics, semiotics, art historical analysis and the formation of interdisciplinary visual research, in which the main point is the support of the mobility of borders in combination with their strengthening. Results. It has been found that the concept of visual turn, which reflects a theoretical and cognitive shift. New relationships between the visible and the verbal have been discovered through restructuring research optics, operating with hybrid structures such as «text viewing» and «image reading». The reasons for the complex formation of the object of visual research and the paradigms of their formation have been described. There is a strong tendency to adopt methodological techniques of art history for the analysis of new, non-artistic objects and everyday experience. Novelty. An attempt is made in this paper to show the interdisciplinary expansion of visual research methodology based on foreign theoretical works with the aim of a holistic view of modern culture. The practical significance. Ukrainian scholars may find the information contained in this article useful for the role of various cultural actors and agents in the visualization process, establishing the degree of relevance of ethnic, political, and historical aspects.
Copyright (c) 2025 Юлія МАРЦІЙЧУК http://creativecommons.org/licenses/by/4.0/
THE FIGURE OF VITALIY KULYKOV IN THE CONTEXT OF THE ARTISTIC CULTURE OF KHARKIV REGION IN THE EARLY 21ST CENTURY
This article explores the artistic and pedagogical work of Kharkiv-based artist Vitaliy Kulykov (1935-2015) in the context of sociocultural transformations that shaped the artistic landscape of the Kharkiv region from the second half of the 20 th to the early 21 st century. A comprehensive approach allowed for the identification of the specifics of his individual style, defined by the terms «geometric montage» and «portrait-mask». It was revealed that Kulykov was not only a prominent representative of the Kharkiv school of painting but also a reformer of art education, who infused structural drawing with features of academic thinking within the framework of the architectural school. The article is based on an analysis of sources from the last few decades, particularly publications by O. Shtok, V. Nemtsova, M. Ponomarenko, L. Smyrna, D. Klochko, and T. Luhovska, as well as materials from exhibition projects dedicated to Kharkiv art. The author substantiates the view of Kulykov9s unique position in Ukrainian visual culture as an artist who combined constructivism, intellectual reflection, and pedagogical innovation. His contribution to the development of visual resistance in the post-Soviet context and his significance for younger generations of artists are also examined. As a result, it is concluded that Kulykov represents a transitional epoch, whose legacy deserves broad academic attention in both the history of art and contemporary Ukrainian cultural identity.
Copyright (c) 2025 Дмитро БОРОВИК http://creativecommons.org/licenses/by/4.0/
RESEARCH ON INTERCULTURAL INTERACTION IN THE CONTEXT OF «OTHERNESS STUDIES» : UKRAINIAN AND INTERNATIONAL ACADEMIC PERSPECTIVES
The article explores the phenomenon of intercultural interaction within the framework of Otherness studies as a contemporary philosophical and humanitarian paradigm. Special attention is given to the analysis of both Ukrainian and Western scholarly approaches to the concept of the «"ther», focusing on its role in shaping cultural identity, educational policy, and social dialogue. The paper emphasizes that in the Ukrainian humanities discourse, the notion of otherness is actively developed in the context of post-Soviet transformations, national self-determination, and multiculturalism. The works of Ukrainian scholars such as M. Popovych, V. Andrushchenko, A. Yermolenko, and V. Sukovata are analyzed, where the «"ther» is interpreted as an ethical and sociocultural category crucial for intercultural harmony. The article also explores the impact of Otherness studies on educational policy, including Western models of intercultural competence (such as those by D. Deardorff and D. DiBenedetto) and Ukrainian initiatives for incorporating the principles of otherness into educational content. It is emphasized that the humanization of the educational process through Otherness studies approaches promotes empathy, tolerance, and dialogue with representatives of other cultures. A comparative analysis of Ukrainian and Western contexts of inshology reveals shared conceptual orientations (ethical attitude toward the other, openness to diversity) as well as specific national features. The conclusion highlights the relevance of Otherness studies as a tool for overcoming cultural barriers and creating an inclusive educational environment in the context of globalization.
Copyright (c) 2025 Альона ДАНІЛОВА http://creativecommons.org/licenses/by/4.0/
AUTHORIAL DOCUMENTARY FILMMAKING IN UKRAINE IN THE LATE 1980 TO EARLY 1990 s : BETWEEN POLITICAL AWAKENING AND NATIONAL IDENTITY
The article explores the transformation of Ukrainian documentary cinema during the late 1980 s to early 1990 s – an essential period marked by the collapse of Soviet ideological control and the rise of national consciousness. It focuses on the emergence of author documentary filmmaking as a response to newly accessible, previously suppressed subjects, including political repression, the Holodomor, Chornobyl, Ukrainian dissidence, and distorted historical narratives. A central feature of this transformation was the application of kino-pravda (film-truth) – a technique pioneered by Dziga Vertov – where subjective observation, minimal mediation, and immersion in real events replaced traditional propagandistic cliché. Films such as Steps of Democracy, July Thunderstorms, and Chornobyl: Chronicle of Difficult Weeks illustrate how Ukrainian filmmakers adopted these methods to reconstruct public memory and challenge official narratives. The article underscores the importance of documentary cinema not only as a medium of filming historical events but also as a powerful cultural instrument in constructing national identity. Through its capacity to interpret collective trauma, articulate suppressed voices, and reflect the evolving societal values of an emerging independent Ukraine, documentary film became a powerful tool for national self-definition. Future research should further examine the role of documentary cinema in constructing Ukrainian post-Soviet national narratives and its long-term influence on cultural memory and identity formation.
Copyright (c) 2025 Максим ДЕМИДЕНКО, Дмитро Коновалов, Софія КОНОВАЛОВА, Станіслав ОСТРОУС, Наталія МАРХАЙЧУК http://creativecommons.org/licenses/by/4.0/
PSYCHOLOGICAL FEATURES OF PERCEPTION OF STAGE ART : INTERACTION BETWEEN ACTOR AND SPECTATOR
The article analyzes the psychological features of the perception of performing arts, in particular in the context of the importance of the interaction between the actor and the audience. Research methodology. General scientific and special methods and approaches drawn from psychology, art history, and sociology were used. Among the general scientific methods, the following were used: analysis, synthesis, explanation, and generalization. Scientific novelty. For the first time in Ukrainian art history, the emphasis is on the psychological factors of interaction between actor and viewer, which influence the perception of stage action. Conclusions. It is stated that modern stage practices are increasingly focused on the audience's perception and interaction between the performer and the audience. Research indicates the importance of psychological, cognitive and neurophysiological mechanisms that determine the emotional response of the audience. The key aspects of effective stage performance in this context are: the actor's emotional expressiveness 3 the use of methods of experiencing and physical actions to create a deep connection with the audience; psychophysiology of acting – control of voice, facial expressions, gestures and various techniques to influence the audience's perception; psychology of perception – understanding the mechanisms of attention, identification and empathy to enhance emotional involvement; theater therapy – the use of stage practices in social adaptation, psychological support, personal development, etc.
Copyright (c) 2025 Ірина ПЕРСАНОВА http://creativecommons.org/licenses/by/4.0/
INCLUSIVE PRACTICES IN THE SOCIO-CULTURAL ACTIVITIES OF THE RIVNE REGIONAL UNIVERSAL SCIENTIFIC LIBRARY
This study aims to identify and analyze current trends in the field of inclusive socio-cultural activities, using the activities of regional cultural institutions, in particular, the Rivne Regional Universal Scientific Library, as a case study. Research Methodology. The research is based on the analysis of twenty-two key sources, including individual publications, articles from peer-reviewed journals and serial editions, as well as conference proceedings. The multidimensional and interdisciplinary nature of the topic has led to the development of a substantial body of scholarly literature addressing the subject both directly and indirectly. These works cover the fields of cultural studies and general library science. Results. A structural analysis was carried out to examine the implementation of socially significant community initiatives through the project activities of the Rivne Regional Universal Scientific Library and its cultural experience in adopting inclusive practices. Originality. The article attempts to identify and describe specific projects, including «Library – an Inclusive Space for Youth» (competition organized by the Regional State Administration’s Department for Youth and Sports); «Cultural Leader’s Workshop» (competition of the Department for Information Activities and Communication with the Public of the Rivne Regional State Administration); «Read, Listen, Watch: Pro Art» (competition of the Ukrainian Cultural Foundation); «Military Personnel Read Ukrainian… And What Do You Read?» (mini-grant competition of the NGO “Rivne Regional Branch of the Ukrainian Library Association”); «Digital Memory of Rivne: Creating an Online Platform Rivne and Rivne Residents in Photographs» (prepared jointly with the Department of Information Technologies and Electronic Resources; grant competition of the Head of the Rivne Regional State Administration and the Head of the Rivne Regional Council in the fields of literature, theater, music, visual arts, choreography, folk art, and cinematography for the creation and implementation of creative projects); and the «Library for People with Disabilities: Social Services» programme. Practical Significance. The findings may serve as a basis for developing conceptual frameworks for the further advancement of inclusive practices in the socio-cultural activities of the Rivne Regional Universal Scientific Library.
Copyright (c) 2025 Марина ШАТРОВА http://creativecommons.org/licenses/by/4.0/
TRANSFORMATION OF INFORMATION CULTURE UNDER THE INFLUENCE OF TECHNOLOGICAL INNOVATIONS
The acceleration of technological innovations and digitalization necessitates a profound theoretical understanding of the transformation of information culture within the knowledge society. Purpose: This article analyzes the interplay between the knowledge society, information culture, and technological innovations. Methods: The research is based on conceptual analysis and the synthesis of scholarly literature from related humanities and social science disciplines. Results: The analysis reveals that technology not only provides tools but fundamentally changes the practices of knowledge creation, dissemination, and interpretation, strengthening the role of visual culture and algorithmic systems. Globalization of the information space creates conditions for both unprecedented access to information and the spread of manipulation and reinforcement of the digital divide. It was established that effective navigation in this environment requires developed competencies – not only basic information literacy but also critical media and visual literacy to counter disinformation and understand media effects. Key threats to information security at individual and societal levels arising in the digital environment, including data privacy and cybersecurity issues, were investigated. The dynamics of the modern information market were outlined, particularly issues of platform monopolization and their influence on shaping public opinion. It is argued that the resilience of information culture depends on society's ability to critically comprehend technological impacts and adapt social institutions by developing mechanisms for ethical reflection and responsible technology use. Practical Value: The results will contribute to the development of educational strategies and cultural policies for fostering an adaptive and critical information culture.
Copyright (c) 2025 Юрій ГОРБАНЬ, Оксана Олійник http://creativecommons.org/licenses/by/4.0/
СПЕЦИФІКА АСИМІЛЯЦІЙНИХ ПРОЦЕСІВ У СЕРЕДОВИЩІ ВІРМЕН ПІВНІЧНОЇ БУКОВИНИ КІНЦЯ XVIII-ПЕРШОЇ ПОЛОВИНИ ХХ СТОЛІТТЯ
Метою статті є виявлення основних моделей і шляхів етнокультурної асиміляції вірменських мігрантів Північної Буковини й частково Покуття з новим локальним соціокультурним середовищем. Методологія дослідження. У роботі використано базові наукові принцип та методи культурології, історії, філософії та соціології, зокрема, метод мікроісторії, компаративного аналізу та синтезу та історико-культурної реконструкції. Результати. З’ясовано, що дослідження стосовно регіональної / локальної специфіки асиміляційних процесів вірменських мігрантів на землях України відсутні. Доведено, що в соціокультурному середовищі вірмен Північної Буковини кінця XVIII – початку ХХ ст. суттєво посилилися асиміляційні процеси. Незважаючи на відчутне тяжіння вірмен до співвітчизників із країні походження або до їхніх нащадків, розмивання етнокультурного поля у вірмен у ХІХ ст. під впливом зовнішніх факторів стає помітним. Визначено, що основними чинниками, які найбільше вплинули на процес асиміляції, були історична динаміка політичної влади та характер внутрішньої міграційної політики урядів, позитивна компліментарність автохтонного українського населення, загальна мультикультурність соціального поля Північної Буковини тощо. Доведено, що основними шляхами полонізації та українізації були міжконфесійні шлюби, освіта та церква (зміна конфесії). Виявлено, що істотною відмінністю між процесом українізації вірмен і процесом асиміляції з поляками став тотальний характер рутенізації, в результаті якого вірмени ставали українцями з єдиною етнокультурною ідентичністю – українською, тоді як полонізовані вірмени мали подвійну ідентичність («польські вірмени»). У ХІХ-ХХ століттях чимало представників вірменської діаспори вже чітко демонстрували модифіковану/подвійну ідентичність: державну – польську/австрійську, а етнічну (історичну) – вірменську. Етнічна ідентичність тісно пов’язана з релігійно-міфологічною свідомістю та історичною культурною пам’яттю. Тоді як національна ідентичність визначається дискурсом влади/держави та має переважно політичні форми виразу. Наукова новизна дослідження полягає у визначенні основних шляхів та механізмів асиміляції вірмен у конкретному соціокультурному середовищі Північної Буковини на основі знайдених автором і вперше введених у науковий обіг документів із Чернівецького та Івано-Франківського державних архівів.
Copyright (c) 2025 Iryna Haiuk http://creativecommons.org/licenses/by/4.0/
MEMORY INFRASTRUCTURE AND PROVENANCE IN POSTCOLONIAL DISCOURSE: AN ANALYTICAL PERSPECTIVE ON J. BACH9S APPROACH
The article examines postcolonial narratives conveyed through memory infrastructure and provenance research, practices actively implemented in Germany. It highlights the significant contribution of J. Bach, who conceptualizes historical memory as both a moral and political phenomenon and identifies provenance research as a fundamental tool for uncovering the essence of colonial discourse. In his works, Bach explores how the German government creates a memory infrastructure that addresses the Nazi and colonial past and analyzes public reflections within the dichotomies of «activists-government», «colony-metropole» and «colonial past3 postcolonial narratives», focusing on the issues of responsibility, acknowledgment of guilt, reconciliation, and trauma. Bach proposes reinterpreting the provenance research method as a «moral paradigm» in cultural and political practice, viewing artifacts as historical witnesses that expose violence and compel the recognition of guilt and responsibility. In the Ukrainian context, provenance research is not seen as an act of repentance or atonement but as an instrument for defending national cultural heritage, preserving memory, and documenting evidence of colonial and wartime violence.
Copyright (c) 2025 Ірина ПЕТРОВА http://creativecommons.org/licenses/by/4.0/
ALEKSANDER BRÜCKNER AND THE JOURNAL «LUD»: A HISTORY OF COLLABORATION
The proposed article aims to bring to light a lesser-known aspect of the collaboration between the PolishGerman Slavist and the Ethnographic Society in Ukrainian scholarly circles. The research methodology is determined by the purpose of the article and is based mainly on a complex of methods of textual analysis, such as content analysis and hermeneutics. Since the subject of the study is Aleksander Brückner's publications, considerable attention is paid to the reconstruction of the details of the scientist's biography related to the Ethnographic Society. In this context, the biographical method was applied. Results. The Ethnographic Society in Lviv, at the turn of the 19th and 20th centuries, established itself as a prominent center of ethnographic studies of a pan-European scale. The society's primary publication, the journal «Lud», played a significant role in publicizing its activities. One of the founders of European Slavic studies, Professor Aleksander Brückner of the Friedrich Wilhelm University, was an active member of the Ethnographic Society and a regular contributor to the journal «Lud». During the first quarter of the 20 th century, no fewer than ten articles by Brückner, mostly reviews, appeared in the ethnographic journal. The author emphasizes that Brückner's review publications are an underestimated source in the history of ethnographic science, as well as in the fields of cultural history, Slavic studies, and comparative linguistics. A distinctive feature of Brückner's reviews is their encyclopedic nature, polemical style, and the presence of a research component even in relatively short notes. Within the scope of a single publication, it is challenging to cover the entire body of work of Aleksander Brückner presented in the journal «Lud». However, the article attempts to highlight aspects such as Brückner's general reception of the Ethnographic Society's activities, his assessments of the state of ethnographic studies in Central and Eastern Europe, and the identification of promising directions for further development. All these conclusions are drawn based on the analyzed reviews by Brückner. Attention is also given to the only known research publication by the Berlin professor, which marked the end of Brückner's long-term collaboration with the Lviv ethnographic center. Novelty. This article is the first overview of Aleksander Brückner's publication activity within the framework of his co-operation with the Ethnographic Society in Lviv. The practical significance. The materials of the publication may become a starting point for a more in-depth study of cooperation between Ukrainian scientific societies and European scientific centres.
Copyright (c) 2025 Євген ГОРБ http://creativecommons.org/licenses/by/4.0/
SOCIO-CULTURAL LANDSCAPE OF MELANIA NYZHANKIVSKA9S PUBLICATIONS IN THE MAGAZINE «DILO» IN THE 1930-s)) CENTUR'
The aim 3 is to characterise the thematic and content-related content of Melania Nyzhankivska9s press materials, which were published in the Lviv magazine «Dilo» in the 1930-s under the full signature of the author «Melania Nyzhankivska» and the two-letter cryptonym M. N. Research methodology. The research methodology is based on a combination of general scientific and art history methods, in particular source studies and historical and cultural studies, which are used to examine the volume and place of Melania Nyzhankivska's publications in the 1930-s in the magazine «Dilo» and highlighting the pages of the historical and social life of Lviv. The article also uses special methods: content analysis 3 to characterise the essence of M. Nizhankivska9s publications; descriptive analysis 3 to highlight the thematic and content-related content of the articles; biographical analysis 3 to represent the little-known pages of the artistic personality of Eastern Galicia; systematisation 3 to summarise the results of the research and formulate conclusions. Novelty. Based on the scientific research conducted, an analysis of the little-known publications of Melania Nyzhankivska from the Lviv period of her life in the 1930s was carried out for the first time. It has been proven that these press materials record the unique sociocultural events of that period. The newspaper reviews in the pages of the magazine «Dilo» were examined, which covered the activities of the women9s society «Soiuz Ukrainok» («Union of Ukrainian Women»), artistic events in the field of choreography, and the achievements of young musicians in the field of education. The journalistic content is analysed, shedding light on concert programmes featuring prominent Ukrainian artists and musicians, as well as their repertoire. The practical significance. The article will serve as a valuable basis for research in the field of the historical past of Eastern Galicia and musical journalism of the 20th century.
Copyright (c) 2025 Уляна МОЛЧКО http://creativecommons.org/licenses/by/4.0/
MURALS AS AN INDICATOR OF SOCIO-CULTURAL TRANSFORMATIONS IN URBAN SPACE: GLOBAL EXPERIENCE AND THE UKRAINIAN CONTEXT
The article examines the development of mural art in the world and in Ukraine, analyzes its main functions and impact on urban space. It identifies the peculiarities of the formation of murals at the global level4from political propaganda murals of the early 20th century to contemporary street art practices that have acquired a social, aesthetic, and tourist character. Particular attention is paid to the evolution of Ukrainian mural art after 1991, in particular the rapid development of murals after 2014 in Kyiv and other cities under the influence of socio-political changes. Murals in Kyiv, Kharkiv, Mariupol, and other Ukrainian cities are analyzed in terms of their content, social messages, and impact on the community. It is shown that murals perform a number of functions (aesthetic, communicative, social, tourist-economic, ecological, cultural-educational, etc.) in the urban environment. A comparison of Ukrainian mural art practices with international ones is carried out, and common trends and differences are identified. The conclusions outline the significance of murals for the transformation of urban space and public consciousness, and identify prospects for further research in this area.
Copyright (c) 2025 Ганна БІТАЄВА http://creativecommons.org/licenses/by/4.0/
THE HISTORIOGRAPHY OF THE VERYOVKA CHOIR'S ACTIVITY (1943-2025) IN THE CONTEXT OF SOCIOCULTURAL TRANSFORMATIONS
The purpose of the article is to highlight, structure, and analyze the historiography of the Veryovka Choir in the context of sociocultural transformations, and determine the state of research on the choreographic aspect of the Veryovka Choir. Research methodology. The article applies a comprehensive approach, the method of historical-system analysis, the comparative method, the method of generalization, and the cultural method. Results. The historiography of the Veryovka Choir in the context of sociocultural transformations has been identified. An attempt was made to classify and analyze the source base of the ensemble, relevant under current conditions. The level of thematic elaboration in scholarly discourse regarding the activity and functioning of the Veryovka Choir has been revealed, with an emphasis placed on the choreographic component. Novelty. The article uses a comprehensive approach to studying the historiography of the Veryovka Choir. A classification and structuring of a universal source base of the ensemble is proposed, which may be relevant for any academic research related to the Veryovka Choir. Practical significance. The article will be useful for researchers intending to investigate the thematics of the Veryovka Choir in the future. The described and analyzed historiography will allow for a more thorough study of the history, activities, and characteristics of the ensemble. In the long term, this work will serve as a supplementary material for identifying cultural transformations in Ukrainian society.
Copyright (c) 2025 Микита БОЛОГОВ http://creativecommons.org/licenses/by/4.0/
ANTHROPOLOGY OF FOOD: FOREIGN DISCOURSE OF THE 20TH CENTURY
The purpose of the article is to consider the specific and development trajectory of the foreign anthropological and ethnographical discourse in the 20 th century, in the frameworks of which food is studied as a socio-cultural phenomenon and different food practices. Methodology of the research. In the article, the historical approach was used to follow the dynamics of approaches in measures of food anthropology and also the method of content-analysis which allowed to single out the key aspects and ideas in the scientists-anthropologists9 works of the 20 th century. Results. The foreign (mostly Western) studios presented in this article, such as functionalist, structuralist, materialist, and feminist approaches, laid the foundation for the further development of anthropological discourse on food in the late 20 th and early 21 st centuries. Is it confirmed that the study of the structural features of food and eating practices has played an important role in the process of analyzing gender norms and the differentiation of labor between cultures. The article notes the ever-growing number of studies that examine the role of food in the modern world and outlines the scope of the discussions and theoretical specializations presented in them, which reflect the level of conceptualization of food anthropology and Food Studies, which is also evident in the number of readers, journals, and research programs. Scientific novelty is that it is the first time that the dynamics and vector of development of the foreign anthropological discourse of the 20 th century related to the study of food as a socio-cultural phenomenon and the study of world food practices are considered within the framework of Ukrainian cultural studies. Practical meaning. The results of the research are interdisciplinary and that9s why can be used for developing and teaching the following courses as «Cuisines of the World», «Cultural Anthropology», «Food Anthropology», etc.
Copyright (c) 2025 Олена ПЛЮТА http://creativecommons.org/licenses/by/4.0/
THE UKRAINIAN ARTISTIC COMMUNITY IN THE UNITED STATES OF AMERICA : INSTITUTIONAL TRANSFORMATIONS
The paper presents rare materials on the issue and introduces contemporary art institutions founded by Ukrainians in the United States; systematises the institutional experience of the Ukrainian art community in the United States and identifies its peculiarities in different historical periods. The author analyses formation of Ukrainian artistic entities in the United States of America in the period after World War II and up to the present day. Attention is focused on the most influential and significant diaspora organisations created by representatives of the third wave of emigration and influencing the development of Ukrainian fine arts in the United States. Their programme goals, organisational models, and main achievements are clarified. Some art institutions founded in the United States by Ukrainian immigrants during the period of Russia's full-scale war against Ukraine are identified. The purpose of the paper is to identify the peculiarities of art institutions9 establishment and development in the Ukrainian community in the United States in the period after the end of World War II and at the present stage. The main stages of the institutional experience in the Ukrainian artistic community in the USA are identified. It is stated that the representatives of the third wave of emigration created a system of cultural and fine art organisations in the United States aimed at preserving and developing the national fine arts in exile. It is emphasised that the established Ukrainian museum and archive structures in the United States integrate Ukrainian art into the global context and drawing the attention of American society to the topic of the russian-Ukrainian war. New artistic institutions founded by Ukrainian immigrants to the United States against the backdrop of the russian-Ukrainian war demonstrate an active dialogue with the broader American community and integrate the Ukrainian theme into the global artistic map.
Copyright (c) 2025 Оксана ПІДСУХА http://creativecommons.org/licenses/by/4.0/
FEATURES OF OLEG SEMENOVYCH TYMOSHENKO'S ARTISTIC MANAGEMENT
The purpose of the article is to analyze the features of O. Tymoshenko's conceptual management in the context of the development of the Kyiv Conservatory. The research methodology covered such scientific research methods as cultural, historical-comparative, and generalization methods. The scientific novelty of this research is that the article analyzes significance of the figure of Oleg Tymoshenko as an effective and unique rector-manager of a higher educational musical institution. Conclusions. Despite the difficult management challenges, thanks to the initiative and determination of the rector, the continuous functioning of the Opera Studio of the Kyiv Conservatory was ensured, which continues to play an important role in shaping the cultural space of higher art education. The expansion of its repertoire in cooperation with theater institutions became an example of the successful implementation of a cultural strategy that combines the preservation of traditions with the modernization of the national artistic environment. Thanks to such activities, rector established himself as a cultural leader, whose role became decisive for strengthening Ukrainian identity in a period of profound social changes and challenges.
Copyright (c) 2025 Ірина ДАЦЬ http://creativecommons.org/licenses/by/4.0/
THE AESTHETICS OF LOSS : TRANSFORMATIONS OF MEMORIAL SPACE IN VISUAL ART AND DESIGN OF THE 20 TH–21 ST CENTURIES
The article explores the transformation of memorial space within visual art and architectural design of the 20 th321 st centuries. It traces the evolution of artistic and design strategies 3 from sacred polycentric structures of antiquity and the monumental forms of modernism to contemporary conceptual interpretations grounded in principles of minimalism, embodiment, affect, and materiality. The study emphasizes a shift in the semantic focus: from heroic rhetoric to personalized mourning, from figurative representation to abstract conceptuality, and from representation to empathetic engagement. Memorials are reinterpreted as spaces of co-presence rather than narrative delivery, with architecture functioning as a visual and spatial mediator of memory. Notable examples of postmemorial architecture are examined, including the Holocaust Memorial in Berlin by Peter Eisenman, the 9/11 Memorial in New York by Michael Arad, and the Jewish Museum in Berlin by Daniel Libeskind. These projects embody a design language of ethical silence and traumatic presence through spatial voids, monochrome surfaces, and the absence of literal imagery. The memorial becomes a performative environment rather than an illustrative object, evoking reflection and emotional intensity. Particular attention is devoted to the Ukrainian context after 2014. The article investigates a significant cultural shift in commemorative practices, conditioned by the experience of war, processes of decommunization, and the rise of grassroots initiatives. Examples include the Memorial to the Heroes of the Heavenly Hundred in Lviv, the Wall of Remembrance in Kyiv, and newly created memorials in Bucha and Irpin. These cases demonstrate a move toward ethical, affectively charged, yet restrained memorial forms that reject triumphalist narratives in favor of dignity and silence. The research defines conceptual foundations for designing Ukraine9s future Mars Field 3 a space of national conscience and moral presence under the conditions of war. The memorial is no longer treated as a fixed genre but is understood as a living cultural structure, creating a spatial field for presence, attentiveness, and intergenerational dialogue. It articulates a new memorial paradigm: one that does not impose meaning but enables memory to emerge through form, material, and affective atmosphere. Ultimately, the article argues that the contemporary memorial reflects a broader cultural rethinking of memory in post-traumatic societies. Rather than monumentalizing the past, the new memorial creates a silent visual core for ethical memory 3 a place not to glorify, but to remember, through the very structure of space.
Copyright (c) 2025 Інна ПРОКОПЧУК, Юрій КАНТАРОВСЬКИЙ, Віктор ПРОКОПЕНКО http://creativecommons.org/licenses/by/4.0/
HARMONY AS A CONCEPT OF DESIGN, AESTHETICS, DESIGN EDUCATION AND ART EDUCATION : THEORETICAL AND METHODOLOGICAL ASPECTS
The aim of the study is to analyze the range of interpretations of the concept of harmony in different fields of modern science and scientific developments, in particular philosophy and aesthetics, to clarify its form-creating meaning and heuristic potential in the theory and practice of design, art education and design education. Methodology: the methods of comparative analysis, semantic analysis, synthesis, extrapolation have used to identify the range of ideas about the content of the concept of harmony and the features of its denotate, as well as its significance for assessing the products of modern artistic practice. Results: the relationship of harmony with aesthetic experience and the role in the emergence of a humane, human-dimensional subject environment, as a factor in the sustainable development of society, as well as the significance of this concept in assessing the principles and results of form-building in design, artistic activity were analyzed; the range of opinions of scientists, domestic and foreign specialists in the field of design on the interpretation of the main components of harmony was clarified. Scientific novelty: the popularity of the idea of the specificity of harmony developed by classical aesthetics has been established; the identification of the concept of harmony and composition in modern design theory has been revealed, the importance of its further development for the development of the theoretical and methodological basis of research in design and art education has been indicated. The practical significance of this study is that it draws attention to the need for a clear explication of the components of the phenomenon of harmony to improve the aesthetic competence of designers and other specialists involved in form-building, creative projects in artistic practices of the 21 st century.
Copyright (c) 2025 Олена ПОЛІЩУК http://creativecommons.org/licenses/by/4.0/
METHODOLOGY OF CONCEPTUAL EXPLORATION IN DESIGN DEVELOPMENT
Design is evolving beyond its traditional functional and aesthetic roles toward an integrative, interdisciplinary practice in the context of accelerating technological development, sociocultural complexity, and the globalization of creative industries. This transformation foregrounds the need for structured conceptual thinking and strategic foresight from the earliest stages of the design process. This article addresses the methodological gap in the organization of conceptual search in design, arguing for a systematic approach that unifies cognitive, cultural, communicative, and innovative components of creative ideation. While existing practices often rely on intuitive and fragmented methods, this research proposes a comprehensive framework that enhances the originality and applicability of design solutions across complex environments. The study outlines the theoretical foundations and practical modeling of a methodology for conceptual search. It can be adaptable to diverse design contexts. Emphasis is placed on the conceptual tools – such as moodboards, stakeholder maps, associative arrays, and conceptual maps – in guiding the transition from abstract ideation to coherent design vision. The methodology is presented like a multi-stage process encompassing analytical, generative, and structural phases, each supported by distinct methods and visual instruments. Drawing upon recent interdisciplinary research, including the integration of artificial intelligence and speculative design, this work contributes to a more rigorous and pedagogically viable model for concept generation in the development. Ultimately, the proposed methodology supports the formation of critical thinking, project culture, and professional identity among future design practitioners, addressing current demands for innovation and responsiveness in design education and practice.
Copyright (c) 2025 Лідія КОВАЛЬ http://creativecommons.org/licenses/by/4.0/
KEY POSITIONS OF SEMIOTICS IN SHAPING PROFESSIONAL IMAGE THROUGH COSTUME
The purpose of the article is to analyse the main positions of semiotics in revealing the stylistic and image characteristics of clothing in the context of professional image formation. Methodology: the study used biographical and historical-chronological methods, as well as methods of figurative-stylistic and formal analysis of costume samples and photographic materials. Results. The article highlights the symbolic-semiotic and image characteristics of clothing. Using the example of Winston Churchill's image, it shows the evolution of individual style in the context of the importance of a politician's image. It is emphasised that the development of clothing is dependent on general anthropogenesis, in particular the evolution of material and spiritual culture. The degree of development of society and the state was directly and indirectly present in the design, aesthetics, culture and philosophy of the suit. It has been established that considering the contexts of its emergence and existence makes it possible to objectively study its external (form) and internal (content) characteristics. Using the example of the evolution of Winston Churchill's style, it has been established that the main characteristics of the status of a costume are: material, its quality and type of modelling, colour, decoration, ornamentation, accessories (their number), footwear, and headwear. This determined the hierarchical position in society occupied by its owner. In addition to its narrowly utilitarian (protective) function, a suit also performs representative, communicative, and artistic-aesthetic functions, each of which includes sub-functions. The scientific novelty lies in the identified characteristics of the components of the individual style of the outstanding politician of the 20 th century, W. Churchill, taking into account the symbolic and semiotic nature of the suit. The sources of the study were photographic materials of public and informal images of W. Churchill and personal wardrobe items. Practical significance. The results of the study can be used to write monographs, textbooks, and lecture courses on the history of design, image, and style.
Copyright (c) 2025 Лаура ОВАКІМЯН, Тетяна КРОТОВА http://creativecommons.org/licenses/by/4.0/
MONETARY NOTES OF THE UKRAINIAN PEOPLE'S REPUBLIC : GEORGIY NARBUT'S GRAPHIC SOLUTIONS AS AN EXPRESSION OF NATIONAL IDENTITY
The article explores the artistic concept developed by Heorhiy Narbut in the creation of the banknotes of the Ukrainian People's Republic as an important manifestation of national identity through the means of graphic design. The study analyses the artist9s original solutions in the composition, typography, colour schemes, and ornamentation of karbovanets banknotes, hryvnias, and Shah Stamps, which became not only functional elements of the young republics state-building and financial system but also carriers of profound cultural significance. Special attention is given to the use of national symbols, heraldic motifs, decorative typographic styles, and plastic means of artistic design, which, combined with the traditions of Ukrainian Baroque and the trends of European Modernism, formed an original visual language of the era. It is established that Heorhiy Narbut9s design projects reflect the aspirations for cultural selfdetermination and the ideas of national revival, thus demonstrating the artist9s significant contribution to the formation of Ukraine9s national visual culture at the beginning of the )) century.
Copyright (c) 2025 Світлана ФЕДОРЕНКО, Лариса БУТКО, Володимир МАСЛАК http://creativecommons.org/licenses/by/4.0/
THE IMPACT OF INNOVATIVE FORMS OF ART EDUCATION IN THE 1920–1930 S ON THE DEVELOPMENT OF UKRAINIAN AVANT-GARDE ART
The aim of this study is to explore the intrinsic relationship between the theoretical contributions of leading Ukrainian avant-garde artists and their artistic practice. Research methodology. The analysis draws upon twelve publications relevant to the article9s subject matter. The study identifies key trends, and examines specific features and characteristic traits of the discourse. Results. The research establishes that the dissemination of avant-garde movements permeated all spheres of artistic life in Ukraine during the 192031930 s. It demonstrates how educational institutions served as testing grounds for the theoretical developments of avant-garde artists, where methodological foundations for non-traditional pedagogy were laid and experimental teaching practices were implemented. Selected avant-garde concepts developed by Ukrainian artists are examined, alongside an analysis of major works representative of each masters unique style. The study also reveals the influence of studio heads and professors on the creative formation of their students. Scientific novelty. The research identifies a logical continuity between theoretical frameworks, educational processes, and the practical formation of a new artistic milieu shaped by dominant avant-garde trends. Practical significance. The findings of the study are of value to art historians, educators in fine arts and design isciplines, as well as students specializing in these fields.
Copyright (c) 2025 Сергій ПАПЕТА, Олена ЯРЕМЧУК, Оксана ЛАТІЙ, Олена ЯКІВ’ЮК, Вячеслав СОЛОПОВ http://creativecommons.org/licenses/by/4.0/
VIDEO DESIGN AS A MODERN TOOL FOR CREATING INNOVATIVE PICTURE LEXICAN OF STAGE SPACE
The purpose of the article is to identify the features of the innovative figurative vocabulary of video design in the context of the specifics of the stage space. Research methodology. The methods of analysis and synthesis, the typological method, the method of system analysis, the method of comparative analysis, the method of art historical analysis and the method of generalization were applied. Scientific novelty. The features of video design were studied through the prism of the problems of image creation in stage art. Based on the analysis of scientific literature, the concepts of <image creation= and <video design= were clarified. A definition of video design in stage art (the process of creating artistic design of stage space using technical and creative aspects of video content in the form of a static or dynamic image in order to enhance the spectacularity of the visual series and the ideological sound of the production) and its typology (by type of projections, image dynamics, creation technologies, type of stage space, type of stage action) were proposed. Practical significance. The material expands information on the use of web design in contemporary performing arts.
Copyright (c) 2025 Роман ПРАЦКОВ http://creativecommons.org/licenses/by/4.0/
INNOVATION AND EXPRESSION : THE CREATIVITY OF MYROSLAV VAIDA IN THE CONTEXT OF CONTEMPORARY ART
The purpose of this article is to analyze the artistic practice of Myroslav Vaida through the prism of innovative approaches and expressive techniques within the context of contemporary art. Special attention is given to examining how the artist’s methodology models new forms of audience interaction with visual images. The study also explores the philosophical and aesthetic dimensions of his artworks, which function as visual narratives of modernity. Research methodology. The research is based on a synthesis of phenomenological, hermeneutic, structuralsemiotic, and discourse-analytical methods. The study also incorporates comparative analysis and poststructuralist theories, including concepts of deconstruction and intertextuality, enabling the identification of deep connotations within Vaida’s work. This interdisciplinary approach allows a comprehensive understanding of the expressive and innovative aspects of his creative practice. The novelty of this study lies in positioning Myroslav Vaida’s work as a postconceptual transgressive phenomenon that combines metaphysical reflection with experimental material techniques. The research offers a multidimensional interpretation of Vaida’s installation and performative art as manifestations of aesthetic nomadism and post-anthropocentric artistic strategies. His work is presented as a unique synthesis of form and meaning that challenges traditional interpretative frameworks. The practical significance of the article lies in its contribution to the expansion of interdisciplinary discourse in contemporary art studies. The results may be of use for curators, art historians, and cultural researchers interested in postmedia art, performative practices, and the transformation of aesthetic paradigms. Vaida’s approach can serve as a model for analyzing innovative artistic strategies within the broader field of cultural theory and art science.
Copyright (c) 2025 Алла ДЯЧЕНКО http://creativecommons.org/licenses/by/4.0/
LANDSCAPE AS A SIGN OF SACRED SPACE : SEMIOTICS OF NATURE IN THE BYZANTINE ICONOGRAPHIC CANON
In this article, a comprehensive cultural study is conducted on the landscape as a visual component of the icons semiosphere. The author analyzes nature (physis) as an unstable and temporary phenomenon within the biblical worldview, which directly influenced the formation of the specific imagery of medieval icon painting. The landscape in the icon is viewed as a symbolic reflection of spiritual reality, expressing the idea of the fragility and impermanence of material Creation. Depictions of nature in iconography are based not on the principle of mimesis characteristic of ancient art, but on the attempt to convey hidden spiritual meanings through stylization and the conventionality of forms. The article is based on an interdisciplinary approach, combining methods of cultural studies, art history, and theology, allowing for a comprehensive examination of the sacred semiotics of natural imagery. The analysis covers a range of representative plots from the Byzantine iconographic canon, including «The Transfiguration of Christ», «The Prophet Elijah», «The Good Shepherd», «The Flight of the Holy Family into Egypt», and the genre of «visions» (e. g., «The Vision of Saint Eustathius Placidas»). Special attention is paid to the ways natural environments are stylized and to the symbolic meaning attached to these elements within the sacred visual language. The study emphasizes that landscape elements (rocks, trees, streams, depictions of animals, etc.) in iconography function not merely (or even primarily) as realistic objects but carry additional semantic meaning, acting as signs of higher spiritual truths and thus creating layers of meaning. Nature loses its autonomy and becomes part of the divine hierarchy of being. Specifically, the mountain symbolizes the place of divine revelation, the rock signifies the steadfastness of God's nature, water embodies purification and new life, and trees symbolize the Cross and salvation. Animals, such as the raven and the deer, appear as intermediaries between the earthly and heavenly realms, enhancing the sacred content of the depicted scenes. Particular attention is given to the deformation and stylization of natural forms, highlighting the instability and transience of the material world in the context of Christian eschatological thought. The Byzantine icon constructs a new type of space-a space of spiritual reality ‒ where matter is symbolically «transfigured» and subordinated to the invisible Divine order. Thus, the landscape does not simply accompany the sacred narrative but becomes an integral part of its semiotic structure, an active participant in the formation of religious meanings.
Copyright (c) 2025 Марія ЧІКАРЬКОВА http://creativecommons.org/licenses/by/4.0/
FORMATION IN THE «SMALL» 9SONATAS OF CHINESE COMPOSERS IN THE EARLY PERIODS OF THE GENRE DEVELOPMENT(ON THE EXAMPLE OF THE SONATA FOR PIANO BY YANG LIXIN)
The purpose of the article is searching for of haracteristic signs of musical form Vn the «small» sonatas of the China composers that showed up during development of genre of sonata as such from appearance of him the first standards to the decline of this sort of works after 1966. Research methodology. The paper uses combined historical, analytical, comparative research methods. Results. Analysis of the musical form of Yang Liqin's Sonata indicates that this work has an original three-part form, in which the first part is a sonata allegro, the second is built on the principle of three-part, the third is in the form of a rondo, where one of the episodes is presented in the form of a theme with three «variations». A characteristic feature is the three-part structure at the heart of each part of the work. This is evidence of the composer's adherence to the rule of «tripleness», which has historically been established in the Chinese musical tradition. In Yang Liqin's Sonata, reprise, development and serial three-parts are clearly manifested. Evidence of adherence to the European tradition is the composer's use of the principle of development, which alternately repeats the melody, free imitation with the transposition of the melody to a fourth or fifth, etc. These and other features of form formation were also manifested in the Sonatas of this type by other composers. For example, Sonatina No.6 by Guo Zurong, which also presents a three-part form-making concept, where the first (fast) part embodies the form of a sonata allegro, the second (slow) 3 a simple three-part form, and the third (fast again) 3 a rondo form. The latter is similar to the rondo in Sonata No.4 by Jiang Wenye «Carnival Day», because it also closes the three-part composition. In addition, the rondo of all the named Sonatas has a noticeable homogeneous thematism and a clearly expressed, almost contrasting, texturedynamic dissimilarity between the refrain and episodes. This is explained by the genre-stylistic peculiarity of the thematic nature of all those rondos, namely the dominance of a dance nature with a noticeable preservation of song intonations. Thus, during the heyday of the genre in China, samples spread that in their form demonstrated deviations from the types of musical construction established in the European tradition. The growing composer's skill and original musical thinking contributed to the emergence of interesting form-forming concepts, which, at the same time, have common features in a separate form «small» piano sonatas. Novelty. The scientific novelty of the proposed work lies in the fact that it is the first attempt to conduct a formal analysis of one, separately taken, type of piano sonatas to identify characteristic features of the organization of their musical material. The practical significance. The materials of the article can be used in studies of musical forms in Chinese sonatas of later periods, and in general, of the piano works of Chinese composers.
Copyright (c) 2025 Оксана ГНАТИШИН http://creativecommons.org/licenses/by/4.0/
HARMONIC STASIS AS AN AESTHETIC PRINCIPLE IN THE MUSIC OF THE POSTMODERN ERA
The article explores harmonic stasis as an aesthetic paradigm of postmodern music, emphasizing its function beyond compositional technique. The study analyzes the transformation of harmonic verticality in the second half of the twentieth century, focusing on the shift from functional harmonic development to a model of contemplative presence and spatial sound experience. Research methodology. The research combines analytical and comparative approaches to examine harmonic organization in minimalism, sonorism, and spectral music. The study draws on theoretical insights from musicology, poststructuralist philosophy, and cultural theory, engaging with the work of M. Rychter, K. Saariaho, L. Teodorescu-Ciocanea, and A. Kaiero Claver. Results. Harmonic stasis emerges not merely as a stylistic phenomenon but as a manifestation of broader aesthetic transformation in postmodern music. It reflects a move away from teleological musical forms toward structures of presence and spatiality. Vertical sonorities lose their functional-semantic roles and become self-sufficient acoustic events. The concepts of acoustic presence, silence, and contemplative temporality redefine the role of the listener and challenge traditional notions of musical time and directionality. Novelty. The article reframes harmonic stasis as an ontological and aesthetic gesture rooted in postmodern sensitivity, highlighting its links with the phenomenology of sound, deconstruction, and the reconfiguration of musical experience. Practical significance. The study offers a new interdisciplinary perspective for understanding harmony in contemporary music and opens up directions for further research in aesthetics, sound studies, and post-tonal compositional practices.
Copyright (c) 2025 Олена СЄРОВА http://creativecommons.org/licenses/by/4.0/
THEATRE MUSIC OF THE FIRST QUARTER OF THE 21 ST CENTURY IN THEORETICAL AND ART HISTORICAL RESEARCH
The purpose of the article is to reveal clarify the definition, main directions, and theoretical and methodological principles of the study of theatrical music in art historical works of the first quarter of the 21 st century. Research methodology. The method of theoretical analysis and the source research method, the application of which is necessary for the study of scientific literature; analysis of basic research concepts, the method of systemic analysis and the method of generalization. Scientific novelty. Revealed the peculiarities of the interpretation and study of theatrical music of the first quarter of the 21 st century in art history works. The definition of the concept of «theatrical music» in a broad sense is proposed as music in theatrical productions of various types of theater (from musical and musical-dramatic, to dramatic, plastic, puppet theater, etc.), which is characterized by a number of features and functions in accordance with the specifics of genres and types of musical-theatrical and dramatic art. Promising directions of art history analysis of theatrical music in Ukraine of the first quarter of the 21 st century are outlined, in particular: variability of the modern musical-theatrical space; specificity of theatrical music in post-dramatic theater performances; comparative analysis of theatrical music of modern musical, dramatic, plastic theater; understanding of the essence of opera and ballet music in the work of Ukrainian composers of the first quarter of the 21 st century; interaction of authentic and innovative in theatrical music of large and small forms; representation of the idea of national identity, etc. Practical significance. Individual aspects and conclusions of the study can be used in further scientific development of the problem of theatrical music in Ukraine in the first quarter of the 21 st century.
Copyright (c) 2025 Усеїн Бекіров http://creativecommons.org/licenses/by/4.0/
DIGITALIZATION OF THE ART MARKET : A NEW ERA OF ART AND COMMERCE
The purpose of the article is to analyze the main factors and trends that have influenced the digitalization of the art market. The research methodology is based on the application of observation, analysis, synthesis and generalization methods, as well as an interdisciplinary approach that integrates the methods of art history, economics, and digital technologies. The scientific novelty lies in the deepening of the analysis of trends (digital technologies, commercialization of art, etc.) that influence the transformation of the modern art market and the transformation of art into a commodity. Conclusions. Digitalization has significantly transformed the art market, expanding access to art, changing the mechanisms of its evaluation and commercialization. At the same time, digitalization has posed a number of challenges for the art market. First of all, this is the issue of authenticity and exclusivity of art, because digital works, unlike physical ones, can be replicated without loss of quality. This changes the traditional mechanisms of art evaluation and can affect its value. Another important aspect is the growing role of digital platforms in shaping the market. Online auctions and marketplaces give artists more opportunities for independent promotion, but centralize control of the market in the hands of technology companies.
Copyright (c) 2025 Костянтин Іщенко http://creativecommons.org/licenses/by/4.0/
THE MAGIC OF THE NIGHT IN WANG XIE'S «FALLING NIGHT FLOWER»: FROM FOLKLORIC MOTIFS TO IMPRESSIONISM
The purpose of the work is to study the peculiarities of the musical language of the famous contemporary Chinese composer Wang Xi. To identify the stylistic features of the composer's language in general and in particular in the chamber instrumental work Falling Night Flower for yangqing and piano. Demonstrate how the work embodies a broad interpretation of the symbols declared in the title. To explore the compositional logic and style of the work through a detailed analysis of its structural, tonal, and musical and expressive features. The methodological basis of the work is determined by the structure and artistic specificity of the object and includes a musical and stylistic approach and a comprehensive musicological and structural analysis of the musical material itself. The scientific novelty of the work is determined by the fact that it is the first to study the chamber-instrumental composition «Falling Night Flower» for yangqing and piano by Wang Xie. The expressive means, architectonics, dramaturgy, and program compliance are analyzed in detail. Conclusions: Wang Xie's «Falling Night Flower» for yangqin and piano ensemble is a programmatic work in which flowers have a symbolic meaning. In conveying his creative intention, the composer used the timbre features of the instruments, different ways of playing both the yangqing and the piano. Their ensemble sound, with some predominance of the Chinese cymbals, gave composer Wang Xie the opportunity to reproduce with the means of the piano and yangqing the richness of poetic pictures of Chinese nature, a diverse palette of moods, against which one can imagine a number of contrasting plots unfolding. The cycle's quite clearly defined architectonics is skillfully combined with a number of expressive means that include elements of traditional Chinese music and features of impressionistic music writing. The principles and methods of development of thematic material, where variant development in combination with improvisation is dominant, are inherent in Chinese folklore and are also characteristic of impressionism.
Copyright (c) 2025 Оксана ПИСЬМЕННА, Жень ЦЗЯЦІ, Катерина ЧЕРЕВКО http://creativecommons.org/licenses/by/4.0/
INTERPRETATION OF A. KOS-ANATOLSKIY9S CHORAL WORKS IN A MODERN PERFORMING CONTEXT
The choral heritage of A. Kos-Anatolskyy is a significant component of the Ukrainian national musical culture of the 20 th century, in which the folklore basis, lyricism, genre diversity and deep patriotic and spiritual expressiveness are organically combined. In modern conditions of the renewal of concert and educational practice, caused by the development of digital technologies, changes in performance strategies and the actualization of cultural memory, there is a need to understand the ways of adapting this heritage to the requirements of the 21 st century. The problem of preserving artistic authenticity during the modern stage embodiment of the composer9s works requires special attention, which is a challenge for both conductors and teachers and choral groups. The purpose of the study is a comprehensive analysis of the choral work of A. Kos-Anatolsky as a component of the national musical heritage, identifying modern approaches to its interpretation and adaptation in the concert and educational environment, as well as outlining the problems associated with preserving artistic authenticity in the modern stage context. The work uses an interdisciplinary approach that encompasses historical and cultural, genre and style, comparative and performance and interpretation analysis. Elements of musicological analytics, observation of the activities of choral groups, analysis of modern concert programs, repertoire trends and educational initiatives are used. The study shows that the adaptation of A. KosAnatolsky's choral heritage to the requirements of the modern choral environment is carried out in several directions: interpretative renewal of works with the involvement of modern choral technology and stage direction; multimedia enrichment of performances; integration of works into curricula and pedagogical practices; popularization of heritage in the digital space. At the same time, a number of problems related to the preservation of the composer's authentic style have been identified, in particular the risk of excessive modernization, loss of national flavor, emotional sincerity and folklore intonation, which are fundamental features of his musical language. The need for scientifically based interpretative strategies capable of harmoniously combining tradition and innovation has been highlighted.
Copyright (c) 2025 Світлана ІРИГІНА, Олена ЛЄСНІК, Олена МАРГІНА http://creativecommons.org/licenses/by/4.0/
«SONNETS» BY M. DREMLYUGA TO POEMS BY FR. PETRARCH: VOCAL-PERFORMANCE DISCOURCE
The aim of this paper is to reveal the specifics of the vocal-performing aspect in the field of interpretation of romances-«sonnets» as a form of artistic expression, combining musical and literary discourses, in M. Dremlyuga9s vocal cycle on Fr. Petrarch9s poems. Research methodology. The article uses general scientific approaches and methods: analytical, structural, hermeneutic; a special part is made up of special musicological methods: musical-analytical, interpretive, vocaltechnical and vocal-performing. Results. On the basis of the analysis of the vocal and musical components and artistic context of the selected romances by M. Dremlyuga based on the texts of Fr. Petrarch's sonnets («Songs of Love»; Ukrainian translation by B. Ten), the specifics and characteristic features of the vocal and performing aspect in the sphere of interpretation of these romances as a form of artistic expression combining musical and literary discourses were determined; the main musical and artistic features characteristic of these romances in the sphere of vocal and performance interpretation were identified; it was found out that the expressive sensual mood of the musical statement of each of the romances, coordinating them with each other, creates a unified lyrical and expressive atmosphere of the entire vocal cycle; the important role of the mutual interaction of vocal-technical factors and the meaningful text in the singer9s embodiment of the artistic image of the vocal sonnet is noted. Novelty. The article reveals the specificity and characteristic features of the vocal-performance component in the field of interpretation of vocal sonnets by the Ukrainian composer of the 20 th century. M. Dremlyuga on the poems of Fr. Petrarch («Songs of Love», Ukrainian translation by B. Ten). The practical significance. The article contains information that is useful for professional representatives of the spheres of music art in terms of improving their vocal and artistic performance.
Copyright (c) 2025 Олена ЄРОШЕНКО http://creativecommons.org/licenses/by/4.0/
MUSICAL DRAMATURGY OF CONTEMPORARY UKRAINIAN CHILDREN9S BALLET : THE CASE OF YURIY SHEVCHENKO9S «THUMBELINA»
Statement of the Problem. Despite the growing interest in children9s musical and theatrical art, the issue of musical dramaturgy in Ukrainian children9s ballet remains insufficiently explored. In particular, there is a lack of in-depth analysis of such aspects as the system of leitmotifs, orchestration, and musical characterization. Yuriy Shevchenko9s «Thumbelina» (2023) is a significant example of a contemporary work for children, yet it has not received adequate scholarly attention from a musicological perspective. Studying this production makes it possible not only to reveal its artistic value but also to highlight children9s ballet as an important component of contemporary Ukrainian culture. The purpose of this article is to conduct a comprehensive musicological analysis of Yuriy Shevchenkos children9s ballet Thumbelina (2023) in order to reveal the key features of its musical dramaturgy. Research Methodology. The study is based on a combination of analytical, comparative, and descriptive methods commonly used in musicological research. Contextual and hermeneutic approaches are employed to interpret the philosophical and pedagogical dimensions of the work within the broader framework of contemporary Ukrainian children9s musical theatre. Results. The article explores key aspects of musical dramaturgy in contemporary Ukrainian children's ballet based on Yurii Shevchenko9s Thumbelina (2023). For the first time, a detailed musicological analysis is carried out, highlighting timbral and intonational features of the characters, the leitmotif system, and orchestration style. The study focuses on the musical embodiment of characters, scenographic solutions, and the synthetic nature of children's ballet as a genre. It demonstrates how Shevchenko9s music integrates Andersen9s fairy-tale plot into a modern soundscape with philosophical undertones, balancing theatrical vividness, accessibility, and emotional depth. The practical significance. The obtained results can be used in further research on Ukrainian children's ballet, as well as in pedagogical practice, particularly in the training of specialists in the field of musical theatre and choreographic art.
Copyright (c) 2025 Тетяна БОГОЄВА, Анжеліка ТАТАРНІКОВА http://creativecommons.org/licenses/by/4.0/
THE DEPTHS OF WATER SYMBOLISM IN CHU WANHUA9S COMPOSITION «THE GREAT RIVER»
A comprehensive analysis of the piano composition The Great River by Chinese composer Chu Wanhua, written in 1984, demonstrates that the composer9s musical language merges traditional thinking with modern artistic expression at the intersection of Western and Eastern cultures. The musical and philosophical-aesthetic foundations of the composition are examined through the lens of water symbolism-a key image in traditional Chinese art. The image of water is not merely a background element; it plays a structuring and meaningful role, shaping both the development of the musical texture and the deep meaning of the work. Attention is focused on the musical-expressive means through which the composer conveys the metaphor of the Yangtze River as an embodiment of power, historical continuity, spiritual depth, and national identity. The specific features of melody, harmony, texture, and architectonics demonstrate a synthesis of Western compositional technique with traditional Chinese aesthetics. The analysis of The Great River allows for a deeper understanding of the stylistic features of contemporary Chinese piano music and its philosophically symbolic multidimensionality.
Copyright (c) 2025 Ян Цзілінь http://creativecommons.org/licenses/by/4.0/
GENRE AND STYLE FEATURES OF THE PIANO PIECE «BALLAD – SONG OF THE GUERILLAS» BY WANG LISAN
The aim of the article is to identify the genre and stylistic features of the piano ballade «Song of the Guerillas» in Wang Lisan's creative understanding. Research methodology. The research methodology is based on both Chinese and Western sources, which allows for an intercultural comparison of the traditions of European ballads with Chinese national characteristics. An analysis of recent studies and publications devoted to the consideration of the work of the outstanding Chinese composer Wang Lisan was conducted. Results. Wang Lisan's piano work 3 Ballade «Song of the Guerillas» combines the features of a European instrumental ballad and the national features of Chinese music. Narrative features are manifested in his musical dramaturgy of the work. The main thematic material (the song of the partisans) undergoes a few transformations: from heroic-patriotic sounding through gloomy and tragic intonations to a triumphant finale. Lyrical-dramatic contrasts occur with marching rhythms and drum imitations, which enhances the «fighting spirit» of the work. The performance features of the work are associated with high technical skill, which achieves a clear articulation of rhythmic and intonation elements, control of dynamics, rapid passages, and flexible changes of tempo. The novelty lies in the analytical consideration of Wang Lisan's piano work Ballade «Song of the Guerillas», which allows for a deeper understanding of how the composer constructs a musical narrative in a genre traditional for European romantic piano music. The practical significance of the study is related to the expansion of the piano repertoire. The results of the study provide a detailed report for pianists, helping to clarify the expressive and technical difficulties of the work and encouraging further study of Chinese contributions to the genre of piano ballads in the 20 th century.
Copyright (c) 2025 Гао ДАЦЯНЬ http://creativecommons.org/licenses/by/4.0/
The purpose of the article is to consider the historical development of radio theatre and its influence on society. It is noted that radio theatre, which first appeared in the early 20 th century, began to be widely used as a means of mass media, especially during the war years and in subsequent periods. The article presents the main stages of radio theatre, its technological and artistic development, as well as examples from different countries. It also compares classical and modern formats of radio theatre, emphasizing its connection with drama and acting. Finally, the role of this art form in the modern era and its future prospects are discussed. Methods: The study used such methods as analysis of historical information, observation, comparison, systematization and generalization. Scientific novelty: The article is the first in Russian scientific literature to systematically analyze the historical development of radio theater, consider the reasons for its emergence, stages of formation and innovations in this area. It is noted that from the beginning of the 19 th century to the present, the genre diversity of radio theater, the expansion of its technical capabilities and its impact on the audience have been considered. The article also introduces scientific novelty by analyzing the role of radio theater in intercultural communication and its integration with other forms of modern media. Conclusions: The study shows that radio theater has developed over time, adapting to new technologies and changing audience demands. It plays an important role both in the production of classical literary works and in the formation of experimental genres. The widespread use of podcasts and Internet radio formats in modern times opens up new opportunities for radio theater. The article proposes further prospects for the development of radio theatre and its integration with multimedia platforms.
Copyright (c) 2025 Нігяр Яшар гизи ПРИМОВА http://creativecommons.org/licenses/by/4.0/
IMPORTANCE OF PHYSICAL TRAINING FOR POLE DANCE PERFORMERS
Pole dance requires good physical and technical training from the performers. The traditional pole dance program only partially helps to solve the problem of physical training of performers. In order to improve the training program in pole dance, we developed a comprehensive program of physical and technical training in aerial acrobatics and pole sports, which is aimed at developing all the necessary physical qualities. Pole dancing is an art that requires not only good technical training, dance, acrobatic, gymnastic, but also good physical fitness. Physical training helps to develop strength, endurance, coordination, and helps to hold the performed elements for 3-4 seconds, which is a requirement for performers during competitions. Daring tricks and high hangs require great strength in the arms, legs, and back of the performers, which is why we decided to develop a comprehensive physical and technical training program in aerial acrobatics and pole sports. This program was focused on the comprehensive development of performers, their physical and technical capabilities. The peculiarity of the program we developed was that instead of traditional physical training, our experiment used par terrre gymnastics, which helped to develop the necessary physical qualities. The purpose of our study was to test the effectiveness of a comprehensive physical and technical training program on the development of performers' physical qualities. The study proved the effectiveness of a comprehensive program of physical and technical training in aerial acrobatics and pole sports and the development of physical qualities of performers, as well as the importance of physical training for pole dancers.
Copyright (c) 2025 Тамара ДРАЧ http://creativecommons.org/licenses/by/4.0/
FROM THE FOUNDING AND DEVELOPMENT OF PICTORIAL PHOTOGRAPHY TO NEOPICTORIALISM BY PHOTOGRAPHER SVITLANA TKACHENKO
The purpose of this paper is to trace the development of artistic photography and, using the example of an exhibition project by photographer Svitlana Tkachenko, to outline the emergence of new forms of visual content. Research methodology. The following general scientific methods were used in the course of the study: subjectanalytical, system-analytical, typological and historical-cultural, which ensured the objectivity and validity of the results obtained in the context of the stated research problem. Results. The main aspects of the emergence and development of pictorial photography and its influence on the creation of new visual content in the field of artistic photography are traced. Particular attention is paid to the coverage of the creative work of individual Ukrainian pictorialist artists of the second half of the 19th and early 20th centuries, who were involved in global artistic processes and contributed to the popularisation of Ukrainian photographic art on the international stage. The evolution of photographyapos;s artistic status is examined4as a form of visual art that, in its formal techniques and creative essence, is akin to the painting and graphic works of the great masters of world art. The formation of the new artistic trend4neo-pictorialism4is traced through the example of an exhibition project by the photographer S.Tkachenko. The study identifies the key features of the neo-pictorialist creative method, its connection to artistic traditions, its engagement with contemporary technological innovations, and the integration of artificial intelligence tools in the process of creative experimentation. Scientific Novelty. For the first time, the term neo-pictorialism is introduced into academic discourse. The study explores the origins of its emergence as a new artistic trend within the framework of contemporary visual practices and technological innovations. The practical significance. This research may serve as a foundation for the formulation and definition of the concept of neo-pictorialism in reference and encyclopedic publications. It can also be incorporated into sections of manuals or textbooks dedicated to the study of trends and new directions in the development of contemporary artistic photography.
Copyright (c) 2025 Лілія Шпирало-Запоточна, Іван Дудич http://creativecommons.org/licenses/by/4.0/
THE WORK OF VOLODYMIR PATYK IN THE CONTEXT OF SOURCE STUDIES: A REVIEW, PROBLEMS AND RESEARCH PROSPECTS
The article explores the source base for studying the artistic legacy of Volodymyr Patyk (1926-2016), one of the most prominent figures in Ukrainian visual art from the second half of the 20 th to the early 21 st century. The study reviews the main types of sources, including art historical research, memoirs, epistolary materials, periodicals, exhibition catalogues, archival documents, and visual artworks. It analyzes the existing approaches to examining Patyk's painting practice and identifies key challenges in the current source studies discourse, such as the fragmentary nature of archival collections and the insufficient systematization of materials. Special attention is given to the interpretive difficulties associated with the diversity of the artist9s styles, his ongoing stylistic transformation, and the nature of his creative work. The article outlines prospects for further research, including deepening intertextual analysis, developing a digital repository, and incorporating hard-to-access privately held sources. This study aims to contribute to the formation of a coherent narrative about the artist within the context of contemporary Ukrainian art history.
Copyright (c) 2025 Роксолана ПАТИК http://creativecommons.org/licenses/by/4.0/
SAANS – CRIMEAN TATARS VARIANT OF TAGINES
The aim of this study is to conduct a comprehensive analysis of the Crimean Tatar saan as a local variant of the tagine, within the broader system of Crimean material and artistic culture. The research focuses on the historical origins, functional purpose, ornamental features, and symbolic reinterpretation of saans in both past and contemporary contexts. Research methodology. The study is based on interdisciplinary methods combining comparative art history, material culture studies, and field research. Particular attention is given to the transformation of North African and Middle Eastern ceramic traditions under the influence of Islamic domestic aesthetics and their adaptation in the Crimean context. Visual analysis of historical specimens and contemporary ceramic reconstructions plays a key role. Results. The research establishes that saans, although inspired by the tagines of the Maghreb and the Middle East, represent a distinct development in Crimean Tatar material culture. Made traditionally from tinned copper with conical lids and engraved decoration, saans were used exclusively for food serving rather than cooking. Their ornamentation includes vegetal motifs, inscriptions in Arabic calligraphy, and geometric patterns aligned with Islamic concepts of ritual cleanliness and beauty. The loss of the saans tradition during the 20 th century was closely linked to the forced deportation of the Crimean Tatars in 1944. However, in the late 20 th and early 21st centuries, the form was revived by contemporary ceramic artists. Figures such as Rustem Skibin, Abdul Seit-Ametov, Aider Abibulaiev and Eldar Gusenov have reconstructed the saans as a symbol of cultural memory, post-genocide resilience, and national identity. Novelty. This article presents the first focused scholarly study of saans as a phenomenon of cultural transformation, revealing their significance in preserving Islamic and Crimean Tatar artistic traditions. Practical significance. The findings contribute to the understanding of traditional forms in modern ceramic practices, educational curricula in art history, and the development of museum and heritage preservation initiatives.
Copyright (c) 2025 Олексій Власов http://creativecommons.org/licenses/by/4.0/