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Home , Alexander Tarasov, Alexander Voytovych, Belobog, Bukachivtsi, Cherche, Dmitry Rodin

Ministry of Education and Science of Rivne State Humanitarian University

UKRAINIAN CULTURE:

past, present, and ways of development

Collected Works

Scientific Notes Rivne State Humanitarian University

Issue 20 In 2 tonnes. Volume II

Established in 2000

Rivne – 2014 BBK 63.3 (4Ukr) -7 U45 UDC 94 (477)

Ukrainian Culture: Past, Present and ways of development: Coll. Science. pr., Science. app. Rivnen. state. humanit. Univ. - Vol. 20. T. 2 / compilation. VG Vytkalov; redkol .: AG Bakanurskyy, SV Vytkalov, A. Goncharova and others. ; scientific-Ref. Scientific Library RSUH editing. - Exactly: RSUH, 2014. - 272 p.

The collection contains articles scholars of higher education institutions dedicated to the review of historical and artistic issues mostly Western lands. Some of the material highlights the diverse facets of theoretical and methodological problems of Ukrainian art. A separate section up posts, reviews, and reviews. For researchers, students and all those interested in domestic historical and artistic heritage.

Editorial Board: Editor: V.G. Vytkalov - Ph.D., Professor, Head of Department of Cultural Rivne State Humanitarian University

Bakanurskyy A.G. - Doctor of Arts, Professor Vytkalov S.V. - Ph.D., Associate Professor, Executive Secretary Goncharov A.M. - Doctor of Cultural Studies, Professor Zhylyuk S.I. - Doctor of History, Professor Zaharchuk Chugai R.V. - Doctor of Arts, Professor Ivanitskii A.I. - Doctor of Arts, Professor Kyyanovska L.A. - Doctor of Arts, Professor Kravchenko O.V. - Doctor of Cultural Studies, Professor Ovsiychuk V.A. - Doctor of Arts, Professor Postolovs'kyy R.M. - Candidate of Historical Sciences, Professor Sabodash Y. - Doctor of Cultural Studies, Professor Suprun Yaremko N.A. - Doctor of Arts, Professor Troyan S.S. - Doctor of historical sciences, professor Fedoruk O.K. - Doctor of Arts, Professor

Certificate of registration of print media KB № 15560-4032 R. Registered Ministry of Justice of Ukraine, Order № 1489/5 from 18.08.2009.

Compiled by: prof. V.G. Vytkalov Scientific bibliographic Edit: Scientific Library RSUH

Reviewer: Y.L. Afanasyev - Doctor of Philosophy, Professor, Head of the Department of Fine Arts and Design Kiev University. B.Grinchenko Published by the decision RSUH Academic Council (protocol number 4 from November 28, 2014) The editorial board does not always shared the view of the authors.

The collection is registered by the Bureau of HAC Ukraine as specialized edition of the problems of Art (Resolution № 2409/2 from 02.09.2000 g.) And re-registered as a special edition of Cultural Studies (Resolution № 1- 05/5 from 18.11.2009 g.) And Art (Resolution № 1-05 / 4 of 14.10.2009).

ISSN 2411-1546 Rivne State Humanitarian University, 2014 2 CHAPTER I. DYNAMICS OF CULTURE. CULTURAL MEMORY. TRADITIONS AND CULTURE

UDC 2-184.2+2-283 N.O.Stratonova

REFLECTION AND COMPREHENSION OF KIEVORUSSIAN BIBLIOGNOSTS OF PRE-CHRISTIAN BELIEFS

Relevance of research. The question of studying religious phenomenon has always played a significant role in the culture of the Ukrainian people throughout the history of its existence. The new paradigm of studying religiosity of ancient leads to review literature of Kiev Rus not only through the prism of , but also stimulates circulation to the origins of pre-Christian religion. Consequently, this topic is still relevant and needs further study. During the last period in the scientific literature can be found only a few works of local Theologians, historians and philosophers, examining the relationship issues of pre-Christian and Christian elements in the beliefs of our ancestors. However, given the subject matter covered in the context of scientific interests of scientists and Rus literature devoted only individual works. Theoretical and methodological bases of research the problems of relationship pre-Christian and Christian beliefs of the Ukrainian people in their interplay with the Orthodox cult is developed in the works of modern scientists: A. Golub, T. Gorbachenko, L. Konotop, G. Kulagin, A. Sagan, A. Coats, P . Yarotskiy. A detailed study of the spiritual heritage of Ukraine-Rus, its philosophical thought were of A. bulls, W. Gorski, J. Fediv. It should be duly noted and Ukrainian labor Theologians and philosophers - V. Bondarenko, M. Zakovycha, J. liked Mozgovyi I., P. KRALIUK, A. Kryzhanivskyi, VA Pashchenko, P. Saukh, A. Cherniya. In their scientific heritage found generalizations and methodological foundations of religious and philosophical , as well as some issues are investigated influence of religion on the spiritual culture of the Ukrainian people, which is essential to the understanding of Ukrainian national mentality. A detailed study of the spiritual heritage of Ukraine-Rus, its philosophical thought were the labors of A.Bulls, W. Gorski, J. Fediv. It should be duly noted also Ukrainian labor of theologians and philosophers - V. Bondarenko, M. Zakovycha, J. Mozgovyi, P. Kraliuk, A. Kryzhanivskyi, V.Pashchenko, P.Saukh, A.Cherniya. In their scientific heritage found generalizations and methodological foundations of religious and philosophical religion in Ukraine, as well as some issues are investigated influence of religion on the spiritual culture of the Ukrainian people, which is essential to the understanding of Ukrainian national mentality. In their scientific heritage found a generalization and religious and philosophical foundations of religion in Ukraine, and investigated some issues the influence of religion on the spiritual culture of the Ukrainian people, which is important for the understanding of Ukrainian national mentality. The purpose of this article is to analyze the relationship of the pre-Christian and Christian worldviews in the literature of Kiev Rus XI-XIII. The task: to reveal the nature of the correlation of pre-Christian and Christian religions; reveal some aspects of the relationship of the aforementioned phenomena in the literature of Kiev Rus given period. The main content of the article. Spirituality of Ukrainian formed through a combination of pagan and Christian beliefs, pagan everyday life and Christian officialdom. Without doubt, a careful study of the religious dimension is a necessary condition for Reconstruction pre-Christian worldview as the scribe XI-XIII., And ancient population of Ukraine in general. of Rus, being "accessible" to us in written sources and archaeological monuments, is presented as a multifaceted phenomenon, evident in its basic forms and is quite difficult to understand, if consider it in depth and sincerity of the personal experience of our ancestors. Naturally, the establishment of the new faith could not be an objective way to create a "uniform" and the same for all social strata Christian worldview. Every nation in its own experienced Christianity, respectively, and each layer had its public key to it, or at least their shades. In any society, culture as a "response" to the needs of the individual, group or society has a number of vital functions. In turning-era society is reconstructed, modifying inherent cultural institutions. However, it can not "force" themselves completely abandon them. Not degraded culture of the society as a social organism. Ancient Rus adopting Christianity as a new cultural tradition, it could not fill all the space of the former chronologically pre-Christian culture. Accordingly, those social institutions, whose main task - to meet important social needs could acquire Christian features only gradually. Rus fairly quickly became a Christian state. However, in the space of culture there was a gradual separation between "sectors", occupied the new religion of Christ and the old pagan faith. Niche, which filled two "industry", it chronicles, and pre-Christian beliefs have often unconscious nature. However, one could argue that in the genre of historical prose 3 of Kievan Rus seen literatureness priority. The most important material for reconstruction of religious and historical representations of ancient Rus chroniclers are religious considerations and remarks made to chronicle the story, lyrical digressions and descriptions of pre-Christian religion, offered as a deliberate critique of paganism, or as those in which the character display of pre-Christian views of Old scribe is unconscious. We believe that these considerations should be considered large semantic units that used chroniclers. Based chronicle monuments of Kyivan Rus it is possible to implement a coherent philosophical and religious view of the world scribes. The most constantly beliefs include the idea of a pantheon of gods, spirits, elements of demonology, belief in the afterlife, senders cult role in the life of contemporary Rus and their impact on some segments of society and so on. This indicates that not only archaeological evidence can give us information about the pre-Christian beliefs of the ancient population of Ukraine. Chronicles sources offer a more complete picture of the views of the scribes of the world, analyze and rethink certain values. All pre-Christian idea that existed in ancient chroniclers outlook, influenced the perception of the facts and them in real life. Rus scribe was open to the world, he lived his worries and concerns. He certainly took the truth of the Christian Orthodox faith, and did not suit theological disputes and did not write philosophical treatises. Common Cause scribes - call for righteous Orthodox life. Not only hagiographic genre, but also chronicles, teaching, traveling to holy places and "historical" stories Byzantine origin - all full of energy preaching; other meanings bookishness not looking. That's why communication literacy and holiness in is quite strong: the words spoken and written, accompanies sacrificial heroism or life - holy monastic based on voluntary patience, distance from family life to praying, poverty carnal, but spiritual richness. The soil on which grain fell Orthodox bookish wisdom, gods, heroes, friends, enemies significantly different from those prevailing as at the time of the Roman culture of Christianity and the barbarian tribes among Western European period of Christianization. This process in the X-XIII. composed without much influence of Christianity; he had developed motivated mythology, rich in a variety of characters and heroes gods (Odin, Loki, Helgi, Sigurd, Atli, Gudrun, Svanhild). Cultural long way from myth to epic with current cultural heroes and gods variety is certainly a form of cultural and social ordering epic. It indicates a high level of self-identification, understanding themselves through acts of their cultural heroes battling the forces of evil and win them to honor their gods. In national mythology or pantheon of gods, or of cultural heroes and mythological history virtually no evidence. The rule of lions, mermaids in the national epic may mean not that the beliefs of the people have not yet emerge more powerful heroes, and what - what these heroes did not get more explicit forms of poetry, epic and so eventually forgotten, leaving satellites, so to speak, a team of small fry folk mythology. The names of Slavic gods known from "Tale of Bygone Years", but this is only the names of the gods. Author of "The Tale" - Christian scribe, and its position - anti pagan, such that condemns pagan Vladimir innovation. However, traces of Slavic myth and teachings are hostile to religion, and biographies, and historical legends. East Slavic written sources, which mention pagan mythological figures clearly divided into two circles - chronicles and church teachings. The juxtaposition is based not only on the genetic origins of the texts (to some extent secular dominant chronicles and absolute ecclesiastical dominant teachings), but, first, the evaluative attitudes authors before these facts and, secondly, substantial differences over the very circle of facts. Yes, chronicles his testimony served to some extent "suspended", as statement (cf. swore by their god , and cattle god Volos) [1; 32], while Church teachings are full assessment of characteristics, "but also now in Ukraine praying to damned them God Perun, it can not deprive them damned attitude of other food, changing family and fertility" [3; 94]. Way of Western culture that critics launched a system of paganism and mass propagation of Christianity, which was made up in the bosom of Christian scholasticism and developed theology, and at the same time expanded became rational bookish world of Western Middle Ages, indifferent and unnecessary for Rus culture, which got a new archetype - scribe. The latter, on the verge of dual faith and Christian literacy, tried, following the literary samples reflect on their lives in the Christian, thereby contributing to the spread of Christianity. Thus there were no barriers or mental institutions within a whole Rus culture. External causes such as the need to resist foreign paganism (Mongol-), loss of Byzantium and its influence "betrayal" of the Greeks (Union), the fall of Constantinople - prevented a deepening of n scribes in their own contradictions. Historical features of the formation of Christian culture could lead Kiev Rus by intense confrontation folk pagan and Christian literature. She found originality in creating your own bookish culture. And "Lay", the first chronicle, and biographies of saints - the original creation of the Russian spirit - have combined equally as epic and Christian foundations. Cultural and historical synthesis of paganism and Christianity were successfully held in Russia, and has become so natural for her as a model and a strong shield against Western rationalize that the second half of the XVII century. including change it no one succeeded. The problem of the relationship of literature and pre-Christian beliefs in Kiev Rus - a problem of correlation of two worldviews and two artistic methods, at times, completely coincided or diverged in their fundamental irreconcilability. Exploring the pre-Christian world view reflected in the literature of Kiev Rus, should, above all, pay attention to the author's attitude to historical reality, how he evaluated the event and personality. Moral and philosophical theory of Christianity that supported the ruling ideology of the society level, needed other life ideals, different attitude to life and other human qualities than those offered pre-Christian religion. Instead of active heroes qualities, religious theory 4 demanded passive "charity" - humility, obedience to "God's will" and the power; Fortunately taught not to look on the ground and in the future eternal life. Show the fight in the literature of Kiev Rus two hostile ideologies - meaning closer to the definition of the problem of pre-Christian relations for Christian principles in the work of the authors. Striving for realism, scribes depicting events in the full reality of their course ("Tale of Bygone Years", "- Volyn chronicle" preaching against paganism), but when the advantage was given idealist philosophy of history, proposed religion, or emotional parts of the text (destruction idols "revolt of the Magi" in the "Tale of Bygone Years", the death of Boris and Gleb, hagiography etc.), the author sought the people's language and pre-Christian worldview. Relationship pre-Christian and Christian worldviews in the work of scribes observed in acute moments of the state where general danger threatens her freedom and independence, or in the course of social and political events, which were interested in the general population. Thus, the nation "The word about Igor's shelf ", his deep inner relationship to folklore is not that the scholar borrowed some artistic techniques of oral poetry, and that his protest against the princely strife, sorrow for the Russian land on which "pagans from all countries come from the victories" [4; 375], reflecting primarily the interests of "rataev" that the "princes sedition" " rarely kykahut". Installing internal kinship with ancient literature Christian worldview exposes the nature of its nationality. As we see, the very first monuments Ruthenian literature shows that preliterate it was extremely rich vocabulary, organically inherent expressiveness, stable military, legal and diplomatic phraseology. Elements of all these species live Ruthenian language, which formed out of bookishness, can be seen in ancient documents, monuments legislation, chronicles, and, in the literature of Kiev Rus XI-XIII. Portrait studying the language monuments of in the literature, it marks not only the precision and clarity, but also a special expressiveness and imagery. Total mergers reason pre-Christian and Christian worldviews in the literature of Kiev Rus is the latter via paganism reflect national interests. This phenomenon was to include the ability to capture the scribe something new in historical reality, which would correspond to the interests of the people and reflect this in a new art form. In the Christianized era Rus literary ages (at the lives, legends) place of "magic" forces occupying Christian "god" and "holy", on the one hand, and "the devil", "devil" - with another. But merit aid first and win the second person can not because of the quality of active and passive because " goodness" binding code of Christian social and individual morality; among them in the first place - humility, patience, forgiveness, renunciation of worldly pleasures. Thus, the image of the hero in literary epic if it is consistent with this ideology is reduced: the hero is not really active force, and being humble gods, which blows all the suffering in order to merit eternal life after death. The convergence of pre-Christian and Christian worldviews in the literature was not an accident. As soon as put forward new tasks of historical stories changed and attitude to paganism as a source of evidence assessments and artistic means. This was reflected directly in the literature. Chronicles XI-XII centuries., United in the "Tale of Bygone Years" in its ideological commitment was kind of soil to establish close links with the common people, especially his historical epic. History chronicle "Tale of Bygone Years" confirms that at various stages of drafting this set turned to paganism as a source of evidence, on the one hand, and as ideological support - the second. But you can not ignore the fact that the outlook chroniclers of the time more closely associated with the philosophy of Christianity. At the new level of historical consciousness deeply appreciate chroniclers state activities princes; pay attention to their international politics and more. However, the rules of Christian philosophy is introduced into the story of the author chronicler alien to pre-Christian norms idealistic interpretation of events where the other world forces intervene in the fate of nations and individuals. True, the chronicler of distant era, which he considers, the more it appeals to people's beliefs. That is why the pre- Christian period of history of the n most materials containing oral origin. By the thirteenth century. including chroniclers addressed in his works, to believe in witchcraft, which was riddled with pre-Christian religion. And no matter how often reminded Chronicle readers that "devils" and their representatives on earth - magicians, magicians - all of it heirs of the devil, and that the true God - "is in heaven, sitting on the throne" - yet, "she-devil instigation "[2; 61] for the scribe actually existed. Therefore chronicle preserved along with descriptions of real events, the traces of religious superstition in which a person is helpless before the forces of nature. And the gods of the Magi, and the same god chronicler intervene in the destiny of man; and the fact that the chronicler calls "demons" gods "bad" pre-Christian Russia, and true God - only the Christian, is not evidence of a fundamental difference between his outlook and statements of the Magi, which he denies. Accordingly, the myth of the creation of man (in 1071), the story of "Navier" - witness the existence of the remnants of the ideology that inspired in people the idea of resignation and the need to seek the help of the magician who knew the will of the gods and were able to subdue them. Idealistic foundations of pre-Christian mythology, philosophy does not contradict Christian chroniclers, on the contrary, both phenomena deduced person beyond reality. Scribe method remained the same, regardless of whether he depicted the emergence of "Navi" or "heavenly soldiers" among real people. It is noteworthy that none of the chronicles of the monument of XI-XIII. No trace of this belief in "gods" or "God", which interferes with the course of historical events. Love for the homeland and military honor, courage, ingenuity, cunning military - that's all that comes to the rescue to fight the enemies of his wife and the princes, "bad" and those who embraced Christianity. The only exception is the story of the death of Oleg provided Magi. Conclusions. Thus, denying paganism itself, separating itself along with other Orthodox nations from the "" and "heretics" Russia have sustained their identity through the adoption of Christianity. This process had its impact on 5 the internal development of mythological consciousness of the people that accelerated the emergence of epic and heroic in his Kiev cycles, which is easy, but dosed instilled Christian ritual principles and values. Bookishness Byzantine-Bulgarian passed circles of Rus are ready and clear truth, and the first of the Rus learned scribes as a model for their own lives. It is practical, Holy selfless idea became the basis of the n literature. The apparent ease of assimilation people outside of the Orthodox Church with the epic structures are not set conscious culture problems, long and organized opposition to the new faith the old pagan folk wisdom, representatives of which remained "small fry team national consciousness" because she folk wisdom in his epic design adopted Ritual Orthodox principles. This feature combination of both folk epic creativity with the assimilation of the principles of the Christian faith, primarily explains the phenomenon of dual faith not as an imposition of one, Christian culture to another, pagan, followed by a process of displacement and survival dual faith by type of Western cultures and forms right " two-faithful culture ", leaving both of those streams open to each other.

References 1. Hypation Chronicle // Complete Collection of Russian Chronicles [foreword. BM Kloss]. - M.: Languages of . - T. 2: Hypation Chronicle [Reprint. ed.]. - 1998. - 648 p. 2. The words and teachings against pagan beliefs and rites // Annals of Russian literature and antiquities [ed. N.Tihonravovym]. - : Vladimir Grachev Printing and Comp., 1862. - (T. IV). - P. 83-112. 3. Holy Word. our father I. Chrysostom on how early pagans believed in idols, and require them to put. The names they anoint / A.N. Galkovskіy // Christian struggle against the remnants of paganism in ancient (Old Russian words and teachings against the remnants of paganism in the nation). - M., 1913. - T. II. - P. 55-63. 4. Lay // Monuments of the literature of ancient Russia: XII century / [enter. Art. Likhachev; oform. artist. B. Vagina]. - M.: artist. Lighted., 1980. - 704 p. - P. 373-389.

Summary Stratonova N. Reflection and comprehension of Kievorussian bibliognosts of pre-christian beliefs The purpose of this article is to review the literature of Kiev Rus’ in the light of interaction and mutual influence of Christian and pre-Christian worldviews; to open and show the character of the relations of pre-Christian and Christian religions; to reveal some aspects of these relationships in the literature of Kiev Rus in XI-XIII centuries. Key words: pre-Christian worldview, Christianity, literature of Kiev Rus, the scribe.

Received 10.11.2014

UDC 0447/4 A.V. Poplavska

INFLUENCE OF CHRISTIANITY ON THE CULTURE OF HOSPITALITY OF

The relevance of the phenomenon conditioned by centuries-old tradition of hospitality respectful reception and entertainment of guests, inherent to all peoples of the world, including Eastern Slavs. Functionally hospitality promotes self-regulation of society, ensuring its stability under conditions of multicultural world and tolerance coexistence with the other actors. Hospitality rightly regarded as inherent patterns of a particular society, formed on the basis of established customs, traditions, local norms of morality and law and other public facilities. On the formation of the modern culture of hospitality of the Ukrainian people decisive influence of Christianity in Rus in the tenth century. Love for God pious person associated with love of neighbor, whom to love "as yourself", although the latter abundance and can result in manifestations of egocentrism and narcissism. The interpretation of the concept of "neighbor" has undergone historical evolution of the fellow Old Testament recording status (by union with God Yahweh) to the status of friend also roommate on the planet. The New Testament focuses on the teachings of reconciliation with others, selfless help anyone who was in trouble also conscious virtuous deeds. Part of the latter is active manifestations of hospitality - traditions with love and respect and make entertain guests. According to local scientists, mythological worldview Rus, both before and after the introduction of Christianity in Kiev Rus, influenced by the agricultural lifestyle. Sacred power of our ancestors acquired arable land, grain and bread. Borrowed from paganism, they preserve the Orthodox rituals important ritual significance. First of delicious home tried to feed the stranger. It was believed that guest to taste , and therefore so will receive the blessing of the Lord, will dare to offend those who treat us. As for the sacrament of the Eucharist the Church there canonical differences in the use of bread different denominations: Orthodox - soluble and Catholics - unleavened. This is to some extent affected the selection of breads and Ukrainian faithful to Christ in different regions of our country. In the modern reader little-known book "Book of good treasures", written in the first half of X century, arab traveler 6 Ibn-Dastom give emphasizes hospitality of the Russians: "Guests are revered and well disposed to foreigners seeking their defense, and those who often they happen, none of their not allowed to offend and distress of the people" [12; 9]. Famous Kyiv prince Vladimir Monomakh and philosopher (1053-1125 years) In his "sermons" notes that Rusyches always with respect for the traveler, stranger, as he traveled, much sees and knows. Therefore, edify by their descendants, "where you go and where state - beverages, feed better outside; and even more honor guest, where it's up to you [not] come - whether simple or noble or ambassador - if you can not gift, [then] food and drink. For they passing by the way, praise a man for all lands - either good or evil "[7; 64]. In the thesis Z. Sapyelkinoyi "Pilgrimage as a socio-cultural phenomenon: the formation and development in Ukraine (the middle of XX - beginning of XXI century.)" Indicates that the Orthodox Church for centuries has made prudent and reasonable network service of pilgrims: the availability of lodging houses (prototypes hotels) for travelers, their food items and even accompanying that provide essential services pilgrims [10; 12]. The powerful Rus Orthodox Church became the center of Kyiv. Places of pilgrimage in Russia have long been the sanctuary of Kyiv Pechersk, Pochayiv and Svyatogorsk Lavra. The above resulted in the creation of Orthodox monasteries lodging houses for travelers, diners and even accompanying that provided necessary services pilgrims [10]. B. Rusavskoyu investigated the functional nature of hospitality, its characteristics being investigated as a component of Ukrainian consumer culture ethno-historical retrospective. The researcher notes that the rites of hospitality, subject to guidelines Christian faith and filled with new symbolic meaning, kept the traditional nature and deep connection with the past [8; 8]. Historical prototype forms hospitality rightly assume ritual sacrifice and ceremonies intended to establish safe for human beings contacts with the hereafter. And relatives of deceased defenders seen her family in this life. Sacralization served as guest friendly dialogue not only with the living but also the dead, all sorts of deities, demons dangerous, fictional creatures and natural phenomena. So she took on hospitality mythological character [9]. A. Mikhailyuk considered worldview farmers through the symbolism of his world and the influence of Christianity on the psychology of the latter. To display the status of religious peasants A. Mikhailyuk used the term "dual faith, which combines pagan tradition and Christian faith, constant coexistence in everyday life in rituals and official religious canons [5; 54]. Although some research interest in the above issues, for the national cultural studies is a wide field of comprehensive study of the influence of Christianity on culture Ukrainian hospitality, which determined the purpose of this article - to analyze the impact of Christianity on culture Ukrainian hospitality. For specified (half pagan and half Christian) beliefs, all the more familiar and unfamiliar stranger could be a messenger of God and even by God with a human face. "Once Jesus came into view and the traveler, beggar came to the village two apostles" - told in one of the ancient living legends. The motif God-guest, previously fixed at Indo-Vedic and Greek texts chronologically reaches ancient Indo-European era. And further, Christianity gave moral sanction archaic phenomenon. In the culture Christianized Russia acted objective and embodied the moral ideal of holiness: the great Kiev prince, warrior, brave warrior - selfless defender of his homeland. The object of special veneration Rusichi still alive designated Svyatoslavich figure Vladimir, the Baptist of Rus land in people's perceptions Red Sun and therefore endowed Apostolic Church status. Bright displays virtues of hospitality reflected in the many banquets that are arranged Vladimir. In his "Life" describes, in particular, that the prince of his yard arranged in a series of holiday meals, one for the metropolitan with the and other clergy, the second - for the poor and needy, the third - for themselves boyars and men deliberately. Chronicle reports invitation Vladimir to his court elders, which were waiting for foodstuffs and money. For patients cripples who could not get there, he ordered the carts were sent bread, meat, fish, vegetables, honey and kvass in barrels. Every day in the princely great room “hrydnytsi” involving or without host banquets were held with the boyars, GRID, constables, police constables and deliberately men. In all cities, shows F. Sofonovych Vladimir "build many hospitals for the poor and gave them great fortune" [3; 90]. For patients cripples who could not get there on his orders delivered on carts bread, meat, fish, vegetables, honey and kvass in barrels. Every day in the princely hrydnytsi involving or without host banquets were held with the boyars, grid, constables, police constables and deliberately men. In all cities, shows F. Sofonovych Vladimir "built many hospitals for the poor also gave them great fortune" [3; 90]. The phenomenon of pilgrimage is important for understanding the importance of ideology and religious practices of Christianity in shaping the culture of hospitality. Pilgrimage (from the . Palma - Palm, which was brought from Jerusalem) - is the mass parishioners journey to holy places, based on the belief that prayer is more effective it is in the holy place [4; 430]. The pilgrimage in the Christian world was launched from the third century. BC influenced by the example of St. Helena, sacred journey which ended the Exaltation of the Cross. Pilgrimage clothing consisted of brown or gray cloak, a hat with a wide brim, complemented crutch, sack and bottle gouged pumpkin). To cloak and hat pilgrims attached red cross. Further development of the national culture of hospitality resulted in a deterministic synthesis of Christian morality norms and rules of conduct. This specificity is based secular and sacral hospitality invariants which led operation in the history of the Slavic Christian world two plausible models, which are essentially variations practiced custom of gift and giving in response [11]. The first structural models includes: the subject of action (the owner who meets and treats), object (visitor, guest) and a predicate - meeting and treats desire to receive visitors, of course willingness to do 7 good. While welcoming the second model of communication based on respect to the simple and noble people - media properties righteousness and holiness even. According to ancient Slavic beliefs acquired stranger in the house of God protection of the family, hence the strict taboo on the involved person ("a guest in the house - the house of God"). Ukrainian family's association, which is based on blood or marriage closeness of the people. Members of this family bind community life and mutual moral responsibility. Therefore, the Ukrainian sociocultural always being dominant was the concept of villages, homes, native huts. During the formation of the concept of native huts gradually associated with the concept of life stability, human security and the adoption of the Christian worldview is a syncretic idea becomes a holistic symbol of faith, hope and love. And to this day Ukrainian hut is seen as a religious entity, filled with deep emotions, sacred rituals and spiritual ups [6; 152]. In mythology Ukrainian people hut given extremely important. It is perceived as a world created by human and which in line with its ideas [1]. Peasant hut embodying living space and Ukrainian ideological space, combining earth, underground and heavenly principles, personifying by three spheres of life: the heavenly (spiritual), earth (the real) and underground (surreal) world. Categories reproduced picture of the world where the four walls of the house facing the four cardinal points, and three-dimensional symbols foundation, frame and roof meet the three levels of the universe: the underworld - land - sky associated with divine forces. From decorating the house roof cross various creatures of God, sacred figures who ask Heaven to send goods for the house and his family. The middle part of the home, presented their own homes, walls divided into separate rooms, are the Dwelling family spirit, guardian families from various disasters, diseases and various evil forces. The lower part of the house - its foundation, basement - symbolized by the relationship with the afterlife where souls of the dead departed relatives. Thus, all structural components Ukrainian villages are important. They objectified spiritual traditions and soul of many generations of relatives. Threshold distinguish between external - alien, hostile - and inner worlds. Therefore, the threshold was not desirable and welcome to submit hand. Then guests were invited to the table - respected things and domestic throne. This sacred place in the house required a series of warnings: nothing more to it can not be put for the rest, except the food is unclean. Steele was placed near the sacred places in the house - for penance, framed by rows, first for family food consumption and its guests. The table in its modern sense appeared in Ukraine since its adoption of Christianity. His appearance due to the need to find a pagan place for Ukrainian hut temple. Since then, planning has changed dramatically domestic interior oven set to the left of the entrance to the house, table penance oriented to the south. According to Christian tradition, even a peasant hut identified the temple, table it - the altar, the head of the family - from the , and the meal symbolized the sacrifice. Around the table were taken young ritual at the wedding and were newborns. Transfer ritual round table contributed to the displacement of a place of honor in the house on Penance, which further defines the whole routine in the house and the structure of family relations. Now, pride of place in an ordinary situation has moved on Penance, which held the head of the family or the guest of honor at a wedding celebration - the young with the young, new baby - the midwife-woman, while at the celebration of baptisms - cum. Corresponding changes have occurred in the ideological basis of housing - it gradually combines two religions, pagan (which has remained a symbol of the oven) and Christian (it became the spiritual symbol table). In these conditions the ancient customs not previously associated with Christianity, became a religious coloring. Eastern Slavs have long been considered sacred west side of the world. East along with the sun, heat, and hence associated with life also hope for better luck man. East denoted in blue was associated with wisdom and magic, silence, peace. With various charms, spells and prayers will certainly face turned to the east; inviting guests to their wedding, and the bride was in the course of the sun; ancient Slavs built a house door to the east. Adoption of Kiev Rus Christian religion has caused displacement of honor cardinal direction in Byzantium - to the south. Last borrowed and Byzantine symbols: the symbol of the n statehood became red Byzantine emperors. South side of the world has become associated with red. However, in the long tradition of Ukrainian Christians in their prayers continued to refer to the east and to build the church altar to the east, linking the latter with mythological representations of their ancestors deeply rooted image of the sun, which rises. This light concept top identified with that associated with the "divine", "main", "Honor" party. Duration Christianized family and household Rites in Ukraine predetermined order and stability of families with a clear family importance with a status subordination grandparents, parents and children and sacredness of parental authority (family values). Father's word was perceived as a law subordinate only to customary communities. In fact to this day in a Ukrainian family at the festive table wife holds pride of place to the right man. It is well known that, as elsewhere in the world, right arm and right side are much more important than the left. Right hand blessed, baptized, affirm the right hand handshake of agreement of sale, welcome, while leftists have long been suspected of involvement in unclean. According to Ukrainian folk traditions of the wedding, the bride were on the right side, and after the wedding the man holds his decisive right place. In pre-Christian period of history held the most honorable guest of the place - the fire, on the opposite side of the entrance - and sitting, as usual, on the increase, which was the privilege of a symbolic deity. The owner, according to 8 centuries-old tradition, hosted standing seating his penance on the table. In accordance with the requirements of family etiquette, junior sat at the table later and get up earlier. Start drinking congratulations granted the right not only senior in age, but also by social status [13]. The visitor, entering the house, greeted the first man, and after - his wife, thus emphasizing the dominance of head of household. Also welcomed and the presence of guests in the house, despite the already-established respect for them in Ukrainian environment. For the Christian ritual of family hospitality proper measure of the importance of greeting scored embodied in strict sequence bows. Stepping threshold of another's houses, visitors usually pray and worship icons owners and therefore turn to God, owners and all good people. Worship ritual inclination is above the head of the body as the most important and symbolic attributes of mind and the spiritual condition of man. The man bowed his head in a bow, as if "offer" themselves to others, his neighbor. In accordance with the Orthodox Church as a ritual, a small bow (inclination of the head and torso when the person is able to touch the ground by hand) was used for reading the Gospel, receiving blessings from spiritual person and other spiritual acts. Large or earthy, bow (head to the ground) is an integral component of the Lenten services also underlined fervent prayer. Basil was the day of Pentecost for an evening special prayer service, followed by genuflection. Kneeling and straightening constitution marks a further fall of man by sin and rising God through humanity. In churched peasants "great custom" (ie premortal bow) welcomed not only a spiritual person, but also rich villagers, "small but custom" (waist bow) limited at the entrance to someone else's house, and for an exchange of courtesies between spouses [ 2; 209]. Thus, a phenomenon caused by the hospitality Primordial human need to communicate and historically rooted in the culture and day original objective was the need to implement human deterministic mutual security. Later this cultural institution and taking care of guests entered the relevant regulation and ritualization enriched and moral Christian idea of love for God and neighbor. The adoption of Christianity contributed to the transformation of the old pagan forms of hospitality, filling them with new symbolic meaning of the requirements adopted a new faith. Religiosity guests provided a certain sacred status, determining the model of its behavior.

References 1. Baiburin A.K. Residence in the rites and beliefs of Eastern Slavs / A.K. Baiburin; Ed. 2nd, rev. - M .: Languages Slavic culture, 2005. - 224 p. 2. Bernshtam T. Weekdays and holidays: the behavior of adults in the Russian peasant community (XIX - early XX century.) / T.A. Bernshtam // Ethnic stereotypes of behavior / [ed. AK Baburin]. - L., 1985. - S. 120-147 3. Gorski V.S. Saints Kyivan Rus / V.S. Gorsky. - K .: outline, 1994. - 173 p. 4. Lark V.V. Signs Ukrainian ethnic culture: Dictionary-lapping. / Vladimir Lark. - K: Trust, 2006. - 703 p. 5. Mikhailyuk A.V. peasantry Ukraine in the first decades of the twentieth century .: Sociocultural processes: monograms. / O.V. Mikhailyuk. - Dnepropetrovsk, 2007. - 456 p. 6. Moses I. Mother hut - Ukrainian spirituality category / I. Moses // modernity. - 1993. - №7. - S. 151-163. 7. Instructions Vladimir Monomakh // History of Ukrainian Culture: Coll. material / structure. [W. I. Bilyk, A. Gorban, Kalakura Y.S. et al.]; Ed. S.M. Klapchuk, V.F. Ostafiychuk. - K., Visch.schkola, 2000. - P. 59-64. 8. Rusavska V.A. Hospitality in Ukrainian consumer culture XIX century. : Author. Thesis ... candidate. East. Sciences: 17.00.01 - "Theory and History of Culture" / V.A. Rusavska. - Kyiv. nat. University of Culture and Arts. - K., 2007. - 19 p. 9. Rusavska V.A. Historical forms of hospitality / V.A. Rusavska // Questions of Cultural: Coll. Science. Art. - K.: KNUKiM, 2004. Vol. 20. - P. 131-136. 10. Sapyelkina Z.P. pilgrimage as a socio-cultural phenomenon: the formation and development in Ukraine (middle XIX - the beginning of XXI century). .: Thesis. Thesis ... candidate. history. Sciences specials. 17.00.01 - "Theory and History of Culture" / Z.P. Sapyelkina. - K.: KNUKiM. 2006. - 20 p. 11. Proceedings of ethnographical-statistical expedition western Russenian region, curb the Imperial Russian Geographical Society. Southwestern department: Materials research collected by d.ch. P.P. Chubinskij - Saint-Petersburg, - S-Pb, 1872. - V.1. - Vol. 1 - 670 p. 12. Fedorchenko V.K. history of : Training. posibn. / V.K.Fedorchenko, T.A. Dorova; Preface. V.A. Smoliya. - K., HI. HQ., 2002. - 195 p. 13. Harhalis U.M. custom, tradition, ceremony, ritual as a form of public relations display / U.M.Harhalis Multiversum. Philosopher. Almanac. - K: Center of Spiritual Culture, 2004. - № 44. - P. 22-34. 12. Fedorchenko V.K. A History of Tourism in Ukraine: Study Guide / V. K.Fedorchenko, T.A. Dorova; foreword V.A. Smolіya. - K.: Visch. shkola, 2002. - 195 p. 13. Harhalіs U.M. Zvichay, traditsіya, rite, ritual as a form of public relations display / U.M.Harhalіs Multiverse. Fіlosof. Almanac. - K: Center spiritual culture, 2004. - № 44. - P. 22-34.

Summary Poplavska A. Influence of christianity on the culture of hospitality of Ukrainians The evolution of the hospitality is considered in the article, when the adoption of the Christianity the old pagan forms of the hospitality were exposed the appropriate transformation, filled with new content as it was required by 9 provisions of the new faith. Noted that hospitality is rooted in the era of the primitive culture and determined objectively by needs to implement the mutual security. Later this cultural institution of the receiving and taking care of tht guests acquired the relevant regulation and ritualization and encouraged by the Christian moral idea of the love for God and the neighbour. Key words: culture, Christianity, hospitality, Ukrainians, host, guest, Christian family.

Received 11.14.2014

UDC (94: 002.2):271.4(477) R.M. Sheretyk

CULTURAL AND ART ACHIEVEMENTS OF PUBLISHING ACTIVITY OF POCHAIVSKIKH VASILIAN

Relevance of research. Pochaev Basilian printing on the territory of the Right Bank to its autocratic Orthodox liquidation has gained considerable potential in the field of publishing. Its activities made a powerful influence on the spiritual culture of the indigenous population, was a major contribution to the fostering of national culture. It is therefore noteworthy are the factors that eventually led to the destruction Pochaev Basilian publishing branch and its consequences. Condition of topics. Research publishing activities Pochayiv Basilian found fragmentary coverage in Russian historiography of the nineteenth century. Whose members not only criticized publishing achievements Uniate (A. Hoynatskyy) and even questioned its operation (Yu.Tihovsky). In modern national historiography specified topics important place occupied by thorough studies Ya.Zapaska “Art book on Ukraine in the sixteenth to the eighteenth century.” Ya.Zapaska, Ya.Isayevycha “Sights book art. Product ancient books published in Ukraine, “the intelligence contained in vol. III of fundamental five-volume edition” History of Ukrainian culture.“ Was used also scientific achievements V.A. Bilyk, A. and A. Hudyma Buliga that sheds light on the formation and development Pochaev Basilian publishing center. However, the lack of a comprehensive study on its achievements in the field of book publishing, their destruction of Russian autocracy late XVIII – the first half. of 19th century encouraged to turn to a more detailed study of this problem. The aim – to analyze the achievements Pochaiv Basilian printing and find out the main causes, methods and consequences of their destruction. The main content of the article. One of the priorities of the Order of St. Basil the Great, which marked significant achievements in the spiritual and cultural life of the Right Bank, was the publishing business. Basilian print shop that operated in Vilnius, Univ, Pochayiv, Suprasl and elsewhere, joined the Roman Catholic religious orders in the case of a radical change in attitude towards books in Ukrainian lands. In Orthodoxy for centuries it was regarded primarily as a cult object, sacred, and on the development of education gradually took place of regular Desacralisation – book turned into a necessary tool of knowledge [18; 131]. The most powerful of the Basilian printing Pochaev Right-Bank Ukraine was founded in the early 30-ies. XVIII. According to researchers, in the period from 1734 to 1800, that the so-called Uniate day of its existence, it operated most actively: there were 394 names published books in Church Slavonic, Ukrainian, Polish and Latin languages [1; 297]. The advantage it provided in the first printing of liturgical literature “Missal” (1734), “Psalm” (1737), “Psalter” (1748), “Akathists” (1756), “The Apostle” (1759), “formulary” (1760), “Book of Hours” (1793) and others. An important direction of Pochayiv Basilian publishing was the publication of literature for the laity. These publications include works of dogmatic and moralizing content aimed at clarifying the basic Church instructive principles. Among them: “Word to the people through Catholic of St. rank. Basil the Great in the province Polish… “(1765, 1768, 1778), M. studio Olshavskoho « Word of the holy between the eastern and western church compound… “(1769), “ The seed of the Word of God, in the field of human hearts scattered …... “(1772),” A brief summary on the questions and answers of the catechism way …... “(1776),” Instruction about the rites of the Christian … “(1779), Double published work Yu Dobrylovskoho” Sciences parochial …... “(1792). Note that all these printings concluded a language close to Ukrainian folk “ for convenient for everyone understanding “ [10; 13]. According to A. Hudyma, the prevalence of books in Church Slavonic and Ukrainian publishing products in the Basilian monks of the monastery because among them were many of those who wanted to support the national consciousness of the people and traditions. Therefore Pochaev Uniate printing, including church sermons Ukrainian and other publications liturgical, preaching, catechism and economic content had a distinct national character [5; 24-25]. Along with printing out this book completely secular, including counselor “good tone” youth “ Secular politics from foreign authors briefly gathered, Mlada decent all the same common of the latter “ (1770), the work of I. Lenkevycha “ Booklet for the economy …” (1788) and Polish-“Pharmacy house” (1788). Of particular note is the publication of her scientific studies in philology, pedagogy, philosophy, mathematics, logic, psychology, cosmology, physics and the history of Polish and Latin. These books are used in great demand because of 10 their required schooling on the Right Bank, regardless of religious affiliation of students. At the same time they were indispensable link between science and the then Western European cultural and educational space of Ukraine. The analysis of the Basilian publishing Pochaiv printing, conducted by the author on the basis of thorough work Zapaska J. and J. Isaievych “Sights book art. Product ancient books published in Ukraine, “showed that in 30-50 years. XVIII. It carried 1.2 edition print a year. In the 60’s. In Art. Their number increased to 4-5. Were extremely fruitful 70- ies. XVIII century .: Pochaevskaya while printing preparing to print every year for almost 14 titles. Approximately the same in its performance continued in the coming decades. Note that prior to joining Right-Bank Ukraine to the as a result of the third division of (1795), Basilian printing in Pochayiv worked quite powerful. Thus, in 1793 published 18 books, and in 1794 – 14. So, in fact, it was the heyday of its activities. Emphasize that Pochaevskaya printings Uniate period marked by a high level of artistic and printing performance. From the earliest years of printing to design books attracted many experienced artists. Joseph worked most prolific (30-ies. XVIII.), J. Hochemskyy (40-60-ies. XVIII.) And A. Hochemskyy (70-80-ies. XVIII.). To some editions of prints performed Pochayiv Basilian A. Golota, John, Manuel, Theodore Strilbytskyy, MI monohramisty and NGOs, and engravers Ivan Filipovic and G. Vyshlovskyy. It is through the creative work of artists Pochaevskaya edition Uniate days there were high decoration art books, including art prints. Buliga analyzing edition Pochaiv printing from the stock collection Rivne regional museum (only 45 copies of it.) Notes that after 1833 (ie return Pochayiv monastery Orthodox), they not only quantitatively but also qualitatively inferior to their predecessors. In his opinion, this confirms the fact that the monastery most prolific printing it worked during the jurisdictional accessories Uniate Church [2; 52-53]. By Art and artistic achievements of the Basilian publishing activities primarily include original cover pages that appear already in the first book (“Missal” (1734-1735 years.) “Psalter” (1755)). In particular, the “Missal” (1734-1735 gg.) Created two title pages. One of them, designated in 1734, carving the wizard Joseph, and the second, dated 1735 – midoryt A. Golota. Without exaggeration they can be called works of high art [9; 239]. Thus, the title page, made Joseph, there was the novelty of the composition, and the artist is not really something special invented. His ingenuity was customarily book decoration – cartouche, which until then was in the intro, limbs and frontispiece compositions, he moved to the title page. The result was not everyday a work that is lost in a variety of ornaments Ukrainian book title XVIII. The title of “Missal” (1735) by A. Golota although shown quite traditional composition – at the top, under the arch we see heads of cherubs, and bottom – with the three holy throne, but it affects a high level of performance, photography workshops, bar perfect artist models easily and naturally form. On the back of the Pochayiv titles often housed engravings, depicting the miraculous icon of Our Lady of Pochayiv. However, much attention was paid to the master frontispiece, which was one of the key elements of artistic design Pochayiv books. Almost all publications Pochaiv Basilian printing of such books as “Missal”, “Psalter”, “apostle”, “Gospel”, contained several large frontispiece prints. In particular, original character had the expressive and multi frontispiece Joseph Hochemskoho (“Oktoikh” (1758)). Pochaev screensavers, limbs and artistic initials belong to the best achievements of Ukrainian book art of the eighteenth century. Among savers most numerous and notable are those that are based on the Baroque acanthus similar letters combined with plot stamps (“Akathists” (1740), “The Apostle” (1759), “Book of Hours” (1760)). From the middle of the eighteenth century. Are spreading rocaille saver. Dominated songs where freely available small branches, ribbons wrapped in floral garlands, there are also images of vases and baskets of flowers and fruit. It is significant that in many cases these motifs treated vividly and directly, what is the influence of folk art [9; 239]. The limbs generally have the same motives as the screensaver. This applies above all rokaille compositions. Vases, baskets of flowers and fruit, light floral cartouches in the frame, playful Putto among branches – typical motives of many publications limbs Pochayiv second half of the eighteenth century. Artistic initials “Missal” (1755) – original ornamental-scene works in which striking compositional ingenuity engraver, which is every time more and more new options for decoration of the same letter. Thus, art and artistic achievements Pochaiv Basilian printing became important contribution to the development of ancient Ukrainian book art. Artistic solution Pochayiv books, including the original title pages, screensavers, limbs, initial letters, engravings and illustrations frontispiece belonging to the heritage of Ukrainian book art XVIII., Showed a high level of professionalism Pochaiv Basilian publishing center. However, the geopolitical transformation of the Commonwealth in 70-90-ies. XVIII. And their impact on the situation of Greek-Uniate Church led to radical changes, particularly in the area of the Uniate book. In the newly territory of the Russian Empire begins to operate issued July 27, 1787 imperial decree of Catherine II, followed by “printing church books and such that the law relating Orthodox assigned only spiritual publishing that are administered by the Holy Synod” [7; pp. 7]. At the same time gradually unfolds pressure tsarist Synod and publishing and printing. Imperial decree of 16 September 1796 introduced a series of measures “to cease all kinds of inconveniences that occur from free and unlimited printing of books” [13; 933-934]. It is clear that this policy Russian government quickly affected the activities of the Uniate printers. In particular, more 15 November 1795 to Pochaiv Basilian Monastery came titular counselor smooth, which, doing ordinary instruction has description Uniate churches and monasteries. After the audit products Pochaiv Uniate printing, smooth banned for their monks print and distribute [7; pp. 2]. The main reason for this order was that “it (Pochaevskoy printing. – Ed.) Are printed are different, including 11 those containing the confession of the Uniate faith religious books, spreading can sometimes, especially among the common people, cause denial that do not meet the desired inducement (Uniate transition of the – Ed.) “[7; pp. 1]. While publishing Pochaiv printing has been temporarily banned, it nevertheless actively published and disseminated among the population Uniate printing. Finally, while another could not be it, because they had a daily need: Greek Uniate Church as of 1796 had 1,398,478 faithful and 1388 parish churches [14; 98]. March 10, 1796 to the Office of the Orthodox Podolsk and Bratslav Ioannykiya received a report from Dean L. Dvernytskoho Kremenets districts. It is known to the Bishop of was heard printed “in the monastery Pochaivs teachings that are in every church and to preach the Uniate them weekly, and urged people to Rome and the Pope, which it is, above all respected” [8; pp. 1]. As a reaction to this report from Bratslav spiritual consistory Podolsk in provincial government received an order banning the press “Uniate these teachings” “to cease such temptations,” which was informed Governor General the Right Bank Tutolmin T. [8; pp. One called. – 2]. Only in May 1800 issued a decree of Emperor Paul I named Metropolitan S. Sestrentsevycha “to allow printing in Pochayiv spiritual and other dioceses to be Board-Office of Justice Roman Catholic Department, spiritual books printed under the supervision of local bishops, and secular – under the supervision of the St. Petersburg censorship “[6; pp. 49]. So after nearly a five-year break (1795-1800 gg.) Pochaiv Uniate printing continued its activities now controlled by censors and was under close supervision spiritual hierarchy. However, in some pre-revolutionary researchers of book publishing products at the time caused the complaint because it “spoiled Uniates printed liturgical books” [16; 32]. A. opposing views followed Hoynatskyy that, having carried out a detailed analysis of the Basilian Pochayiv editions, claimed that “except Missal Missal and other liturgical books printed in the former Basilian Pochaiv printing house, placed in a very slight deviations from the same Orthodox books” [17; 20]. Although Pochaevskaya printing was Uniate, she often reprinted Orthodox liturgical texts from the editions. Moreover, given her translation work F. Kempis “ About the Imitation of Christ “ (1764) was soon rewritten and edited a Russian Orthodox priest – archpriest S. Svyetlym-Zabyelkinym. Thus, according to J. Isaievych, “representatives of denominations that are declared public life intransigence, valued mutual religious and a cultural work” [11; 781]. Indicative in this context is the friendly relations and cooperation prefect (head) Pochaiv S. Koberskoho with the head of the Kiev-Pechersk printing Iyustynom late eighteenth century. They are “given their belonging to one nation and an old acquaintance,” agreed on joint publication of two printing [11; 782]. Polish uprising of 1830-1831 forced Russian Tsarism not only to take a series of preventive measures to combat certain “detachment” right-bank territories and secure “attachment” of the Russian Empire, but also speed up the implementation of “re-processed”, but really – old Catherine has plans to destroy the Greek Uniate church. One of the first consequences in this context concerted government action was the elimination in 1832 of the Order of St. Basil the Great, whose possessions were confiscated by the state or designated Orthodox departments. Analyzing the situation OSBM while S. Wise wrote that “the great Basilian Order, in the middle of the eighteenth century. (1772) in this space totaled 1,235 monks, including 950 priests remained as it remains under Austrian freehold “[15; 380]. “And in 1839 they were left for only monastery in prison Torokanah, Byteni, Lyadi, Tadulini, Orsha, Lyubar, Zagora, Tryhir’yi etc and kind of monastery in exile for Alec Kursk hardest among” carts “Basilian and then … scattered throughout the empire slow place of fulfillment and forgotten graves “- as quite emotionally spoke in his monograph M. Vavryk [3; 61]. Among the tsarist regime was repressive measures and strengthen control over printing in publishing empire. In particular, the decree of Nicholas I on March 25, 1831 put forward the request, “to all supervisors and all holders of public private printing presses was entrusted the duty to submit to the Third Department of His Imperial Majesty’s Chancellery one copy of all printed in the Empire newspapers, magazines and almanacs, immediately after their in the world “[12; 266]. According to the imperial decree of 14 October 1833, the Russian Orthodox Church was transferred Pochaiv monastic cloister that “in times of unfavorable Orthodoxy became the Uniate Basilian monastery, and in this situation for a long time enjoyed tolerance of the Russian Government, finally, because of events dependent on its new inhabitants, the fate of a righteous God, returned to the original … its purpose “[4; 587-588]. Thus was eliminated and Pochaiv Basilian printing. Conclusions. Thus, the book publishing business was one of the priorities of the OSBM. That is why during the eighteenth century. On the right bank faced an extensive network of Basilian publishing centers (Vilnius, Univ Suprasl et al.), the most powerful of which was Pochaiv printing. Artistic solution Pochayiv books, including the original title pages, screensavers, limbs, initial letters, 15omanization engravings and illustrations belong to the heritage of Ukrainian book art of the eighteenth century. Products Pochaiv Basilian printing goes well narrowly confessional boundaries, including some of them spread not only among Uniate, but also people of other Christian confessions Ukraine. Developed spiritual and cultural ties between the Orthodox and Uniate monastic cells, such as Kyiv-Pechersk Pochayiv and that carried out active publishing activities, contributed to the establishment of their creative collaboration and even the emergence of joint publications. All this, of course, rendered a powerful influence on the development of Ukrainian culture. Pochaevskaya Basilian printing, responding quickly to the needs of the indigenous population, gave theological and religious books instructive language close to Ukrainian people’s conversational. Consciously or unconsciously, but opposed further Pochaiv publishers 16omanization Uniate rite polonization the region. This is the contribution of the Basilian publishing centers in fostering national culture. 12 Geopolitical Transformation Right Bank because of the three (1772, 1793, 1795) led to radical changes in the Greek Uniate Church, including in the field of Basilian publishing. The Tsar’s government, implementing a number of interrelated activities aimed at familiarizing the right bank close to the Empire territories, among which not last place occupied destruction of the Greek Uniate Church, carried out repressive acts Basilian on printing, including respect Pochaiv. They gradually ceased operations or were transferred to the subordination of the Orthodox clergy. Finally, gains Uniate publishing centers on the Right Bank, operating under considerable European influence, over the next several decades of domination of Russian autocracy in the Western territories were almost destroyed.

References 1. V. Bilyk Publishing Pochayiv Basilian during the liquidation of the Greek in Ukraine Right Bank (end XVIII – 30-ies. XIX century.) / V. Bilyk // Volyn museum: history and modernity: science. Coll. – , 2004. – P. 297-299. 2. Buliga O.S. Typography Pochayiv Holy Dormition Monastery. Analysis publications from the collection Rivnen. Museum / O.S. Buliga // The role of Christianity in the statement of education, science and art history lessons, perspectives: science. Coll. – Exactly: Wolin. Charms, 2000. – P. 50-54. 3. M. Vavryk about. OSBM. Essay development and condition of the Basilian magnitude of the seventeenth and twentieth centuries. : Topographic and statistical intelligence / o. M. OSBM Vavryk. – Rome, 1979. – 218 p. 4. Imperial approval of the Senate report “On naming enrolled in Orthodox Office Pochaev Dormition Monastery Lavra” from October 14, 1833 // PSZRI. Coll. The second. – T. VIII. - № 6.492. – P. 587-588. 5. A. Hudyma Pochayiv monastery in the historical fate of Ukrainians / O.N. Hudyma. – T.: “textbooks”, 2003. – 40 p. 6. State Archives of Volyn region. – F. 382. – Op. 2. – conjugation. 27. The case of the conversion of Uniate churches and monasteries of the Orthodox in 1800 – 122 p. 7. State Archives of region (hereinafter – SAZR). – F. 1. – Desc. 1. 1, 795 g – conjugation. 103. Relations Podolsky Verderevsky civil governor for permission Kremenets districts Pochaev Basilian monastery monks in held in the same monastery typography, re-print books, and printed to make the sale. – 10 p. 8. SAZR – F. 1. – Description 1. 1796. – Case 195. The report Kremenetsky dean Fr. Leonty Dvernitskogo, with a report on the printing of the hold in the county in Pochayiv Monastery Uniate teachings. – 4 p. 9. Zapaska J.P. Book Art in Ukraine in XVI-XVIII centuries. / JP chute. – Lviv: Izdatel’stvo Lviv. Univ, 1971. – 312 p. 10. Zapaska J.P. Sights book art. Product ancient books published in Ukraine. Bk. II. Charles II (1765-1800) / JP spare tire, Y.D. Isayevych. – AL, HI. HQ., 1984. – 128 p. 11. History of Ukrainian culture: Encyclopedia: 5 t. – T. 3. Ukrainian culture of the second half of the seventeenth and eighteenth centuries. – K.: Science. Opinion, 2003. – 1246 p. 12. Imperial decree announced by the civil governor managed by the Ministry of Internal Affairs “On the representation in the Third Branch of the Office of His Majesty, one copy of all printed in the printing of newspapers, magazines and anthologies” from March 25, 1831 // PSZRI. Coll. II. – T.VІ. - №4.451. – P. 266. 13. Imperial decree, the Senate “On Restriction of freedom of printing and importation of foreign books; the establishment of this end Tsensur in the cities of St. Petersburg, Moscow, Riga, and Radzivilovskoy Customs, and the Abolition of the private press “from September 16, 1796 // PSZRI. – T. XXIII. - № 17.508. – P. 933-934. 14. Lentsyk Vladimir. Ukrainian Catholic Church in Russia to its liquidation (1772-1839 / 75) / V. Lentsyk // (1596-1996): Articles and materials. – LA: Logos, 1996. – P. 95-111. 15. S. Wise, OSBM Bishop. Essay on the History of the Church in Ukraine / OSBM Bishop S. Wise. – Ivano- Frankivsk: Type-in Ivano-Frankovsk. Catechist-theological. Spiritual Inst, 1999. – 526 p. 16. Yu. Tihovsky Imaginary printing house Pochaev Monastery (from the end of the seventeenth century to the 1st quarter of the eighteenth century.) / Yu. Tihovsky. – K.: Typography GT Korczak-Nowicki, 1895 – 68. 17. Chojnacka A.F. Orthodoxy and the union in the people, or the Monk Job, of Pochaev and glagolemaya Uniate holy Jehoshaphat Kuntcevich / A.F. Chojnacka. – Pochaiv: Printing Dormition Pochayiv Lavra, 1883. – 48 p. 18. N. Yakovenko Essay on the history of medieval and early modern Ukraine. – 2nd ed., Be refurbished. And widening. / N. Yakovenko. – K: Criticism, 2005. – 584 p. : Ill.

Summary Sheretyk R. Cultural and art achievements of publishing activity of Pochaivskikh Vasilian This article explores the history and landmarks of art and artistic achievements Pochaiv Basilian printing, the influence of geopolitical transformations related to the partition of Poland, and found causes, mechanisms and consequences of its gradual elimination. Key words: Greek Uniate Church, the Order of St. Basil, Basilian Pochaevskaya printing, engraving, title page, frontispiece, initials, miniatures, ending, censorship.

Received 02.12.2014

13 UDC 7.034.5 O.V. Semyanik

A DIALOG OF CULTURE AND A HISTORICAL TRADITION THROUGH THE PRISM OF HERITAGE OF THE

Formulation of the problem. In the current social and political conditions worsened particularly attracted to the historical and cultural traditions. Despite the high level of politicization of public life and the search for the historical memory of the Ukrainian state, military victory, much attention is paid to the national cultural heritage. It was such a finding can be described Ukrainian Baroque, which, having European origins, absorbed completely unique to Ukrainian cultural features and even more - has become the mouthpiece of certain mental stereotypes. The scientific relevance of our research due to the need of complex, theoretical research in uncovering the specific features of the Ukrainian Baroque and its historical transformation in the present. Analysis of recent research and publications. Domestic science has accumulated a sufficiently large body of research that reveal the nature, content and ideological foundations of Ukrainian Baroque. In this regard, it is necessary to distinguish the study of such scholars as C. Aytov [1] A. Tytar [9] B. Paterykina [7]. However, the problem of historical and cultural retrospective Ukrainian Baroque ideas in relation to the present and their impact on the popular consciousness and gracefully mentality in domestic science has not received adequate attention. Setting objectives. The aim of our research is the scientific basis of modern culture of dialogue and Ukrainian baroque culture as a fundamental concept of traditional Ukrainian nation. The main material research. As noted in his study of V. Paterykina late twentieth century. there was a gap of previous cultural stereotypes that lead to a review of basic principles and the rejection of traditional philosophy [7; 226]. Actually, our time is running a continuous search for something new, totally unconventional, controversial. The most striking of these searches occur in culture and the arts. However, in Ukraine, in our opinion, is not complete departure from the traditional cultural and artistic trends or search for new styles, and the process of so-called personalization of national culture, which naturally brings us to their own historical and cultural traditions. About decisive influence on the present Baroque successfully put Yu. Knyzhanovskyy Polish literature: "Baroque completed the matter that was not brought to the end of the Renaissance, namely - it made more humane culture across Europe and despite obstacles posed by political and religious antagonism phenomenon gave rise to common intellectual and spiritual culture whose value starts to properly understand and assess only momentary science "[5; 8]. For Ukraine Baroque value is determined by the fact that Soviet science was trying, if not to avoid studying, then blacken this cultural era, fearing the high social and artistic resonance, which would have a significant impact on national liberation and cultural movement. One of the first researchers of Ukrainian Baroque D. Chizhevsky, described it as the central day in the spiritual , considered the first Ukrainian Renaissance [1; 56]. Another Ukrainian B.Parahonskyy researcher claimed that Baroque Ukrainian people has the same value as the day for the of the Renaissance, for France, for the English Victorian era national consciousness [6; 104]. For a thorough elucidation of the degree of influence on the traditional baroque national cultural heritage and Ukrainian mentality should reveal features of the cultural spread directly on Ukrainian territory and its achievements. Actually, the term "baroque" was introduced into general circulation in the XVIII century., Not direct representatives of this area, and their opponents - classicists. Last baroque art characterized as wholly negative phenomenon. The very style of Baroque appeared in at the end of the XVI century. and replaced the Renaissance. In Ukraine, the Baroque acquires specific features, divided into two separate areas. In Western Ukraine (Podlasie, Galicia, Volyn, Podolia) it retains the Jesuit Baroque form that remains closer to its source, and in Central and Eastern Ukraine (Sloboda and ) modyfikuvalosya and it became quite original color - the so-called Cossack Baroque . The difference between these two sectors at the heart of one style is particularly evident in the architecture, less - in sculpture, though clearly visible in the decorative sculpture; least follow in her . [4] Actually, do not focus on practical content and visual art heritage of the Ukrainian Baroque style and outlook on a system that was established by this artistic direction. The inner meaning, which was full of Baroque, so much that suggests not only as Baroque artistic style, but also as a special model worldview. This worldview Baroque culture specificity is due, above all, its , incomprehensibility and complexity in understanding the surrounding world. Rights for the surrounding world is changing baroque, full of characters, and reality becomes ambiguous content. The specificity of the Baroque as ideological trends is the growing influence of the church and the state, combining their artistic motifs. Such secular and spiritual relationship to Ukrainian XVIII century. was completely new and rather difficult been understanding since domestic tradition provided clear separation of church and state role in the surrounding world. In this perspective, pay attention to the specifics of a baroque, which is primarily manifested in literature. The creators of this era inherent complexity of images, metaphors and allegory. It is natural that literary works of the time are full of meanings and superimposition of images. This layering happened in human consciousness and perception of the world. That is why the 14 Ukrainian outlook XVII. imbued with a sense of tragic contradictions of man and the world in which it holds a leading position is not, and is dissolved in its diversity, subordinate to the environment, society and state. [10] The reality is in Baroque masters as admiration and great sadness. It features baroque attitude: anxiety, aspirations, feelings of power and if imperfection, attempts to unite the opposition, even contradictions. Therefore, in the Ukrainian Baroque art coexist impossible desire and pessimism; the pathos of struggle and victory and reconciliation with the idea that good is stronger than evil, stronger than death and life; praise the glory and sadness, resentment for people covered vanity, vanity [10]. If we extrapolate baroque metaphors and worldview of today, it is possible to formulate a clear historical and cultural parallels in understanding the basic phenomena of human nature and society. The difference lies in the mechanisms and means, which operates the same person. At the time of existence baroque uncertainty surrounding world was due to the lack of information about it, and therefore gave rise to strange and sometimes quite strange idea that had directly reflected in the artistic field. This, in turn, leads to amorphous understanding of events and phenomena that escape from reality. Art, culture and spiritual sphere in these circumstances play a catalytic role human consciousness. These specific features of the Ukrainian outlook due to the spirit of the Baroque, specify the nature of our mentality. The spread of ideas baroque accompanied unstable historical destiny, the lack of their own state, a constant struggle for their rights, but because a man formed an idea of the infinite, vast world full of contradictions and injustice. The result was its creation in the minds of a Ukrainian melancholy that was based on the concept of a difficult world, a clandestine manner, such in which there are different forces [2; 95-96]. If we make a brief analysis of the Baroque artistic images, they were the search for truth irregular life, deep spiritual meaning of history. Baroque Art looked as if the depths of the human soul, its reflected light and darkness - it was light and shade in the European and Ukrainian Baroque one of the main artistic techniques [10]. Culture baroque by A. Makarov, widely opened the doors to imagination, all its chimeras and snovydnymy most incredible stories - here and poetics of "magical realism" with the contrasts of light and dark, and materializuvannya imaginary and many other forms of irrationalism [3; 83]. It is no coincidence modern scholars are in Baroque similarity to surrealism, and there are sometimes combined completely incompatible things: a naturalistic worldview abstraction and concreteness in detail or, conversely, photographic, zhyttyepodibne images and blatant implausibility of artistic design. These art images are extremely important in terms of historical and cultural retrospective. In determining influence on the Baroque mentality and worldview Ukrainian system it is necessary to analyze the nature of the works of contemporary artists. They have sought to reproduce his works figurative abstract concept - humility, conscience, virtue, honor, heroism, sacrifice. Artist Baroque era believed in the power of imaginative thinking and so boldly combined conventional with real pulling riznoprostorovi and riznochasovi plots at one time and space, boldly depicted the Virgin Mary with sharp swords in the heart (emblem heart wounds) or Christ as the mythical Pelican (symbol sacrifice) [10]. Search these ideal images of Ukrainian Baroque figures quite strongly imprinted in Ukrainian mentality. Ukrainian "revolution of dignity" socio-political processes in our country have shown the desire and search for Ukrainian his images with a high moral, spiritual and cultural content. The current outlook is full of some ordinary Ukrainian semantics, which, in spite of political realism makes exercise a constant search for something better, new ideals and forms, both in public life and in culture. Ukrainian baroque tradition worldview has a clear projection on the current socio-political ideas and their Ukrainian mentality. Ukrainian researcher S. Aytov in his work "The study of mental philosophical and cultural contradictions of Ukrainian Baroque and unlimited autocracy: the historical-anthropological and semiotic aspects" made a thorough comparative analysis of Ukrainian and Russian baroque [1]. Paying attention to spreading the ideas of the Baroque in Russia, it is not likely to perception, he concludes that Russian philosophers and statesmen focused not on the Baroque artistic content, but solely on the idea of unlimited government proposed European philosophers XVII century. R. Bacon, John Locke, Spinoza, Leibniz [1]. It was under the influence of Nation concepts of philosophers in the Russian Empire Peter I was confirmed theory of autocracy on which the emperor was at the top of the pyramid ranks and he was highly in which his "appointed" God [1]. Actually in the Russian baroque classical art drawing held search of the ideal, which is under the influence of power, was the appearance of unlimited autocracy - king. In contrast to Ukraine Baroque characterized the image of the "ideal warrior", the defender of his people, his country [11]. The essential difference between these ideal images of Russian and Ukrainian Baroque is opposite spheres submission. If the Russian tradition characterized by complete subordination and obedience to authority ideal king, the Ukrainian image of the "perfect soldier" is an example of serving ruler to his people. This approach is crucial in Ukrainian mentality and is particularly evident in our time. Ukrainian modern image - the image of a fighter for freedom, for the freedom of his people. As aptly noted N. Yakovenko, Baroque strongly supported the new man "national" type, speaking close to her language - of religious symbols understandable to a literal implementation of national languages in all spheres of literature [12; 452]. Actually, nowadays the concept of Ukrainian national identity associated with the . Another important aspect of the Baroque, directly reflected in the mentality of the modern Ukrainian, isa philosophy. It is in the Baroque era zapochatkuvalasya traditional Ukrainian philosophical thought, the most prominent representative of which is H. pan. In this sense, it is necessary to agree with the assertion of N. Sidorenko that "recourse to philosophy H.Skovoroda in the modern scientific community has become trivial" [8]. The researcher explains that the fact that the study of philosophy Ukrainian naturally meant H.Skovoroda study philosophy, and the question of 15 Ukrainian philosophers who you know unfamiliar with the intricacies of historical and philosophical science philistine immediately replied: Skovoroda [8]. What is the reason for this situation and how the philosophies of Ukrainian thinker displayed in terms of contemporary Ukrainian mentality, can understand knowing the so-called "philosophy of the heart" H.Skovoroda. His philosophical ideals and opinions H.Skovoroda drew from the Bible. For this thinker - not just a book, and the world, which is mediating a divine and earthly worlds, guaranteeing their integrity. It is through the Bible a person can join the divine truth. But this source is not available to everyone, because hidden from the "unworthy" world of special characters Bible - a symbolic world [8]. Actually a focus on the spiritual sphere, particularly in the Bible and in her search for ideals, is a traditional phenomenon of the Baroque. H.Skovoroda added this traditional qualities inherent element of Ukrainian spirituality "heart" as the central image of human existence. All the anthropological concept of his theory, including such as "Dying", "transformation", "birth", "srodnist" one way or another connected with the idea of the heart. The spiritual ideal of the Ukrainian thinker advocated the presence of God in their hearts. This approach defines the main slogan H.Skovoroda, that person may not be the best due to scientific, technical or social progress, but rather in spite of him [3; 178]. The answer to the question of the historical and cultural retrospective of the Baroque, its philosophical teachings and today's world gives in his monograph A. Makarov. Revealing the contents and the essence of philosophical views H.Skovoroda, its philosophy and guidance of the heart of man to God, he argues that such spiritual teachings - one of the most interesting points of the ancient poetry portrait Ukraine [3; 178]. The main argument for A. Makarov in this regard are the tumultuous events of our time (industrialization and urbanization, world war and revolution, the defeat of STR and the global environmental crisis) showed no triumph and frustration of many generations that once the future of humanity will live in conditions "unlimited production of complete freedom and unrestricted happiness" (Erich Fromm) that it is not waiting for the mercy of God, the same build paradise on earth, opposed the City of God, St. Augustine, a science-based Grad Progress [3; 178]. With this statement is difficult to disagree, because the rapid development of society, accelerated the pace of economic, political and cultural development, provoked a situation that the current generation was not a witness to the triumph of humanity, as witnessed numerous mistakes and terrible consequences that leads scientific, technical, social and even cultural progress. Modern humanity has forgotten about rice spirituality, replacing it with material idealistic traits. Conclusions. Thus completing the historical-cultural retrospective of the basic ideas of Ukrainian Baroque and determining their level of influence on the present, reached the following conclusions: 1) Ukrainian Baroque is a complex combination of traditional Western cultural ideas of national spiritual content, which suggests it as a separate direction not only cultural life but also as a type of worldview; 2) type of baroque worldview can be traced in literature, art, philosophy, full search of the ideals of justice. This approach formed the Ukrainian mental characteristic feature - enhancing the feeling of freedom and fight for it. World history is full of numerous examples of heroic and sacrificial Ukrainian struggle for their country and for their rights. Finally today and demonstrates the high level of consciousness and svobodolyubstva among ordinary citizens; 3) Ukrainian baroque phenomenon gave rise to a specific model of Ukrainian mentality, which in our timeis extremely pronounced. Focusing on the mental component of the so-called "philosophy of the heart", rejection of foreign ideals, give reason to hope about prospects for cultural, social and political development of our nation.

References 1. Aytov S. Sh. Research philosophical and cultural systems of mental contradictions Ukrainian Baroque and unlimited autocracy: the historical-anthropological and semiotic aspects [electronic resource] / S. Sh. Aytov // Humanities magazine. - 2011 winter-spring. - P. 55-61. - Access mode : http://eadnurt.diit.edu.ua/jspui/bitstream/123456789/987/1/ RABOTAbarokko.pdf. 2. History of Ukrainian culture: teach. guidances. / ND palm, TE Hetalo. - H., ed. KhNUE, 2013. - 296 p. 3. Makarov A.M. Light Ukrainian Baroque / A.M. Makarov. - K. Arts, 1994. - 288 p. 4. Myth "Ukrainian Baroque" [electronic resource]. - Access: http://uk.wikipedia.org/wiki/ 5. D. Nalyvayko Ukrainian baroque typology and specificity [electronic resource] / D. Nalyvayko // Ukrainian Baroque. - K.: Act 2004. - TI - P. 7-20. - Access: http://www.acta.com.ua/download 6. Parahonskyy B. baroque poetics and symbols / B. Parahovskyy // Philosophical and sociological thought. - 1993. - № 6. - P. 99-114. 7. Paterykina V.V. postmodern motifs in Ukrainian baroque culture [electronic resource] / V.V. Paterykina // Intellectuals and power. - 2011. - Vol. 23. - P. 226-237. - Access: http://nbuv.gov.ua/j-пдф/iiv_2011_23_27.pdf. 8. N. Sidorenko heart idea in his philosophy: aspects of interpretation [electronic resource] / N. Sidorenko. - Access: http://www.medievist.org.ua/2013/05/blog-post.html. 9. Tytar A.V. Baroque style and people in shaping the mentality Slobozhanska: Author. Thesis. ... Candidate. philosopher. Sciences specials. 09.00.12 - "Ukrainian" (philosophical sciences) / A.V. Tytar. - H., 2003. - 16 p. 10. Ukrainian and foreign culture: teach. guidances. [Electronic resource]/ M.M.Zakovych. - K: Knowledge, 2007. - 567 c.- Access: http://www.ebk.net.ua/Book/cultural_science 16 11. Shevchenko L. Savchinsky-perfect image of the warrior and derzhavtsi etiquette in Ukrainian poetry [electronic resource] / L. Shevchenko-Savchinsky. - Access: http://www.medievist.org.ua 12. N. Yakovenko Essay on the history of medieval and early modern Ukraine / N.A.Yakovenko. - 2 ed., Be refurbished. - K: Criticism, 2005. - 584 p.

Summary Semyanik O. A dialog of culture and a historical tradition through the prism of heritage of the Ukrainian baroque This article, tells about an analysis of historical and cultural ties of the Ukrainian baroque and modernity. The main attention is focused on the influence of Baroque culture on the level of spiritual consciousness of Ukrainians. There is also Established the degree of influence on the development of baroque ideas of spiritual and aesthetic values of the Ukrainian people as the fundamental principles of national self-preservation. The author a historical and cultural retrospective and carried out a comparative analysis of the causes and characteristics of the spread of Baroque culture and philosophical thought of that time and their transformation on the modern consciousness. Key words: baroque, historical and cultural retrospectively, historical heritage, artistic heritage, mentality, spiritual culture, national consciousness.

Received 28.10.2014

UDC 7.035(450)«178/188»(045) J.S. Sabadash

THE ART AS A METHOD OF FORMING OF NATIONAL CONSCIOUSNESS (ON THE EXAMPLE OF THE ITALIAN CULTURE OF THE END OF XVIII-XIX CENT.)

In a previous article [3] considered humanistic dimensions Rysordzhymento era, dwelled on politics, which at that time was "ardent passion" Italians. In the same paper it comes to art, which in the era Rysorzhymento generate a idea of national unity and love of country, embodied in the Italian culture and contributed to the awakening of national consciousness. Italian romantic artistic thought and their immediate predecessors tried, first, to find the formula for new art, capable of most effectively influence the most numerous strata of educating indifferent to the social interests of people active citizens and patriots. This new art was certainly become deeply national and humanistic. F. Portinari in his review ("Open Hearts era") on the bow of A. and P. Hunzburha writes: "In Italy, romanticism and rysordzhymento perceived as similar concepts, because our rysordzhymento - a phenomenon that led to the emergence of our romanticism. That, combined with the processes rysordzhymento Italian romanticism acquired its original features and was strikingly different from the pan-European Romanticism. These two are so in touch in our minds that when you think about one of them, automatically comes to mind and the second "[2], but the difference is still there, the author notes, because" when we talk about Rysordzhymento, prevailing political and ideological elements peculiar to this particular historical period, while, recalling romanticism, we largely have in mind the emotional and sensual side of this phenomenon. However, if you look deeper, our romanticism is hard to imagine beyond political and ideological connotations and Rysordzhymento - out emotional and sentimental load "[6]. At the beginning of the XIX century. direct impact of political events on the national culture grounded thinker and writer Vincenzo Cuoco (1770-1823 gg.). He said that the original national culture should be based on the national soil. Cuoco statement contains a number of provisions to adopt romantic aesthetics. In particular - a requirement emotional art as an expression of direct feeling and imagination. At the same time held the view that the real contemporary art is born from life that it, in turn, should actively participate in solving critical social problems. "Conscience Italy" contemporaries called the poet Ugo Foscolo (1778-1827 gg.), Which is his first poetry collection "Ode" (1795) devotes Alf'yeri and in the same year for the freedom of his inquisitors interrogated and subjected to throw in Prison. Coming to freedom, he, like most Italian patriots enthusiastically welcomes the French republican army, and January 4, 1797 in the Venetian Theater of San Angelo is a huge success of his tragedy "Tiesto", then repeated 30 times. Foscolo lives interests of the country - and as a poet and as a citizen. In late April 1797, he recorded a volunteer in the army. A striking document of this period was his novel "The last letter Jacopo Ortiz" (1802). The novel is permeated with sadness and great joy of the liberation struggle; he conveys the pain and despair of the hero-patriot who saw in Napoleon's regime to release frustration Italy as well as his willingness to die for their enslaved homeland. Book were read all the young people of Italy. She loved poet Leopardi D. and novel Mazzini knew almost by heart. The epigraph to the magazine "Young Italy", he chose words from the novel by W. Foskolo. U. Foscolo, opposed the ideas of the classical principle of imitation in art builder power of creative imagination, not limited rules than the laws of nature. In his new theory of art should be closely related to the urgent problems and needs of human existence. U. Foscolo also said that the subject of new poetry must become a national past. He urged Italian writers refer to national history for examples that would be brought up in love for the motherland compatriots. Italian romance embraced the concept of citizenship 17 literature U. Foscolo and should be followed by other seen in the country's history means for shaping national identity. Among young Italians who enthusiastically read the works of U. Foscolo, was the Paganini (1782-1840 gg.). In his rebellious art embodied the spirit of struggle of the Italian people, a bold protest against the oppression and humiliation of the human person. Paganini was a friend of U. Foscolo and other active leaders of national liberation movements that were under constant surveillance by the Austrian secret police. Supervision established and Paganini: in 1812, after a concert in Ferrara, police brutally expelled musician from the city. In 1818 the governor of Turin banned Paganini concerts in the cultural center. For agents Vatican undeniable proof of atheism and karbonarstva talented musician was his concert repertoire: almost constantly performed Paganini Variations "Carmagnola", "witch", variations on themes from Rossini operas patriotic "Tancredi" and "Moses." In the ranks of the revolutionary Carbonari were many prominent Italian writers and poets. Among them - Pelliko S., D. Bershe, P. Dzhannone, R. Rosset. They took an active part in karbonarskiy Revolution 1820-1821 biennium. An important role in the approval of romanticism in Italy played a debate that took place in Milan in connection with Article writer Germaine de Staël "The nature and spirit of Translation", published in the pages of the magazine "Library Italiano" (1816). According to de Stael, Italians to bring their culture and literature of the crisis, have become acquainted with the works of contemporary and British writers and translate them, because such transfers enrich the modern Italian literary language and will serve as a new source of inspiration. De Stael wrote that its recommendations should be understood as not to replace one form of imitation of another, and as a call to expand knowledge, overcome national isolation. Article de Stael initiated the acute and long discussions, these "romantic battles" led to a marked rise of national art, stepped up the process of formation of national consciousness, called to fight new strength. A fresh stream of thoughts and approaches made Ludovico di Brehme (1780-1820 gg.), The famous theoretician of Italian romanticism in his pamphlet "On some wrong judgments literary Italians" (1816) urged his countrymen to abandon the glorification of the past and begin a new creation culture. Outstanding Italian poetry, presented the names of Dante, Petrarch, Ariosto, Tasso, says critic always been romantic that could express the experiences and feelings that occur in humans due to its sensual andcontemplative capacity. L. di Brehme initiated the newspaper "Konchilyatore." Its activity - one of the most brilliant pages in the history of Italian culture and journalism. Milan romance, believing literary activity inseparable from the moral, sought to ensure that their newspaper is actively promoted humanistic education and civic consciousness of Italians, moral unity of the country, it seemed the key to national unity. The original name "Shiloh" point to the desire to reconcile and unite various groups Milanese romantics. But soon she began to be perceived as a call for unity of all patriotic forces, including classics and romantics to create a single national front to fight against the Austrians and restored absolutist regimes. Publishers and staff "Konchilyatore" the newspaper covered a range of issues - it has published articles on humanistic, cultural, socio-economic, educational, ethical, aesthetic, historiographic and other topics. The most prominent among employees "Konchilyatore" - art theorist E. Visconti (1784-1851 gg.) Had a significant influence on the theory and practice of the Italian romantics. In "The initial concept of romantic poetry" (1818), it requires the artist citizenship, according to which source of poetic inspiration should be the same reality, that of the people is the well of stories and themes and largely determines the artistic form of the work. In the same treatise Visconti formulated political, humanistic and aesthetic program of all the romantic movement in Italy "aesthetic tasks in all areas of art should conquer one of the most important goal - the improvement of humanity, the good of society and the individual" [1, III, p. 107]. "Dialogue of dramatic unity of time and place" (1819), also published in "Konchilyatore" - the work of Visconti on issues of aesthetics and one of the most famous and important manifesto of Italian Romanticism. The theory of the drama was the focus of Italian Romantics, who were convinced that the dramatic genre better than any other, can convey the character of the new post-revolutionary era. Keeping true to the tradition of national culture, Italian romance out of view of educational theater as the most affordable and effective means of civic education. Visconti, in his treatise examining the problem of theatrical illusion, establishes a new principle of credibility, based on the nature of the character motivation, which in turn is determined by the social conditions. He said the artificiality and harm to the requirements of drama classic unity of time and place actions that hinder the implementation plan playwright. Time limits prevent demonstrations and place the inner world of characters to violate naturalness in the image of characters and destinies. Visconti departs, therefore, from the classic principle typing, character-based independence from the environment. The new principle involves typing image character and fate of the hero in the relationship with the environment, in their natural evolution. A lot of attention to the problems of humanity, art, theater devoted to articles published in "Konchilyatore", editor of the magazine, known for dramatic poet S. Pelliko (1789-1854 gg.), Who championed the idea of national theater. According Pelliko, playwright must address serious social issues that affect the interests of the nation; his work should be understood ordinary people and educate civil feelings. The most successful of these problems are solved with the plot of the tragedy of national history. By such a tragedy is not entitled to deviate from historical facts, but his characters have vyvyschuvatys of ordinary people, be romantically elevated to strongly affect the viewer. Theoretical search Italian romanticism became his generalizations in the works of Manzoni (1785-1873 gg.), Who 18 in the mid-1820s was the recognized head of the romantic school, but the problems of humanity, art, aesthetics of romanticism developed mainly on the material of national history. The sharp rise in Italy at the turn of XVIII-XIX centuries. interest in history due primarily ideological quest caused by turbulent events of the era. The historic event - the main theme of European prose and drama of the era of romanticism. In the historical material dating tried to resolve the current political, social and moral issues: history became for them a kind of means of communication with contemporaries. The flourishing of culture conceived by Italian artists as a prerequisite for future political struggle. But at the same time in Italy was popular and other opinion expressed by the most prominent thinkers throughout XVIII - early XIX century .: political freedom is essential to the flourishing of art. Its absence deprives the creators of opportunities to openly express their opinions, tell the truth and thus contribute to the good of society. Thus, in the early years of the XIX century. Italian Cultural and aesthetic thought had to address the problem of veracity in art. Manzoni took part in this quest as a theorist and has achieved outstanding success in their artistic creativity. Arts Manzoni scored and Italian poetry and Italian drama, moreover, paved the way for modern realistic novel, completing a great influence on the development of Italian prose. "Manzoni - our common passion, his name merges all that is noble and great in Italy. Renaissance people was his goal, his desire for ever "- wrote Mazzini. Great strength and aesthetic contemporary patriotism attracted to his work. Manzoni dreamed of a united and independent Italy and urged compatriots to fight for it. He warned against hopes for military aid from the outside and constantly maintained that in the struggle for the liberation of the homeland Italians should rely on their own strength. With poetry the most significant are written by the poet in the early period of his oratorio "The Triumph of Freedom" (1801), which glorified the revolution; full of reflections on the meaning of life and civic motives poem "On the death of Carlo Imbonati" (1806), where Manzoni creates an image of the ideal poet-citizen, herald of truth. This poem is an appeal always "keep a clean heart," never "not be anyone's slave," never "not to betray the holy truth." Reflecting on the purpose of poetry, the poet concludes that it should be, above all, the "true" and serve the educational task. In 1810- 1820-ies Manzoni creates poetic cycle "sacred hymns", which contemporaries saw "no major episodes poetizatsiya Christian calendar and is not a call to humility, and ... call for stability, patience and encouragement ... the spirit of future fighters for national independence "[5, III; 530]. Manzoni saw the purpose of art in its capacity for civil and moral improvement of society. Such goals to Manzoni art were inseparable, so his own political poems 1814-1821 biennium. Civic-philosophical understanding of moral problems of art - a full cycle of internal unity civic poetry. Besides, he was not only one of the greatest Italian poets of the XIX century., But also a talented playwright and writer, author of the world famous novel "betrothed". His historical tragedy "Count Carmagnola" (1820) and "Adelhiz" (1822), with "Francesco and Rumina" Pelliko, marked the beginning of the Italian romantic drama. They actually devoted to one topic - the historical reasons for the decline in Italy. They clearly perceptible mourning the fate of Italy, tormented alien feudal strife and oppression, and call for the unification of the motherland. Imbued with a protest against the foreign yoke and enslavement of free people of brute military force, Manzoni novel "betrothed" is one of the best historical novels not only Italian, but world literature. The depth and breadth of penetration liberation ideas in an environment of artists by the fact that the movement was linked karbonarskym and founder of Italian romanticism in painting Hayyets Francesco (1791-1882 gg.). Since 1818 Hayyets approaches in Milan with Pelliko and Manzoni and soon became the head of Italian artists and romantics who opposed official academic classicism. National liberation and humanistic ideas were reflected in his work in historical . One of the best paintings Hayyetsa - "fugitives from ," which depicts an episode of the Greek uprising in 1819. Another equally famous painting of the artist - "The Count of Carmagnola", which Stendhal wrote: "In Italy alone say about a picture of this young Venetian models in Milan, which portrays Count Carmagnola, which is going to die, says goodbye to his wife and daughters [4, VI; 484]. " I should add that significant achievements Hayyetsa considered his small paintings, full of direct, live feeling, such as "Romeo and Juliet Farewell" and his later realistic portraits (A. Manzoni, M. D'Adzelo, D. Rossini, and others. ). The Revolution of 1848-1849 and garibaldine movement were known Italian artists - Domenico Induno (1815-1878), Domenico Morelli (1826-1901), Giovanni Fattori (1825-1908 gg.), Silvestro Lega (1826-1895) Telemachus Synorini (1835- 1901 biennium.) and others. At one end aesthetic and humanistic tendencies of the era Rysordzhymento acquired in the works of Francesco De Sanctis (1817-1883 g.). One of its key provisions was the recognition of the concept of cultural autonomy of art - a work of art was seen as a work of free spirit. The basis of art is not an imitation of nature or history, claimed De Sanctis art developed by inherent laws. The content of art is not limited to beauty, truth, justice and so on. Art must content to become a living reality in all its forms and demand a comprehensive understanding of the ideal. In common world beautiful and ugly proved inseparable from one another, and the ideal of art, absorbing all shades of reality, acquired vitality, capacity and diversity. Originality Art De Sanctis saw as the free manifestation of creative inspiration: pre- formulated idea has nothing to do with art. Another important aspect of the aesthetic theory of De Sanctis is provision for a harmonious unity of form and content. Shape, said De Sanctis - an internal substance, spirit activity that converts matter into sensual artistic presentation. As a work of art "concept is nothing but a form of everything." Through her and in her knowledge of the process. Embodied in 19 the form of specificity and enduring value of art, as De Sanctis first uses the concept of "form" in the broad philosophical sense. This art he calls "form", because it is a reflection of "a particular historical reality." His theory of organic unity of form and content De Sanctis has opened a new way in the development of Italian aesthetic thought. The main goal was Rysordzhymento unity and independence of Italy. In an effort to form a national identity, create their romance aesthetics that meets the needs of our time. Pronounced citizenship of Italian romanticism led to its specificity: the desire to adopt a high moral ideal that bring together civic and moral virtues. The most effective form of art Rysordzhymento was theater, because there was born a revolutionary atmosphere; addressing the audience, the actors mouth as he united them into a nation of Italians, while politically separated. The main task of the theater was the education of civil consciousness, humanism and patriotism. His voice was clearer and closer improperly mostly Italian population than the voice of printed literature. Despite persecution by the censorship, the scene sounded sincere calls for freedom and the unity of Italy, to fight against foreign oppression, for heroism in the name of independence of the homeland. Performances are often turned into demonstrations. Rebellious mood of broad audience in the era Rysordzhymento most consistent genre of tragedy, especially because it is suited for the expression of political ideas and patriotism, so it is a tragedy and defined the face of the Italian theater of the nineteenth century. and the nature of its social impact. Buyers national liberation movement became the basis for reforms in the theater, which was launched in the 40 years of the nineteenth century. a wonderful actor and politician Gustavo Modena (1803-1861 gg.). He set the task to radically transform the Italian theater; make it a weapon in the struggle for freedom and independence of Italy; create a new national scenic style that corresponds to the way the thoughts and feelings of his contemporaries. "Calling the theater - he thought - for promoting the Venetians, Genoese, the Romans, Neapolitans single people - Italians." Already in 1836 in a programmatic article "theater educator" Modena noted that the biggest flaw of modern theater is that it does not serve the purpose of forming people. The first theater in the Italian Modena rejected melodious recitation and brought to the stage a man without any theatrical conventions. Game of Modena true, sincere, natural and at the same time bright, full of plastic and scenic beauty. To reach the stage of truth in terms of Modena, the actor may, by transformation of the image created by the playwright, and provided direct experience role at the time of the stage play. Modena, as opposed to finding theatrical effects, initiated in the Italian acting objectively study the psychology of the character and the circumstances of his existence, which was considered real. This was the way to a significant transformation, which offered Modena actors. Of course, he made a big step on the way to a new art - laying the foundations for a new national style execution tragedy contributed to the formation of realism in Italian art of the actor nineteenth century. Prominent representatives of the school, founded Modena, were Italian tragedians, who earned worldwide recognition - Adelaide Ristori, Ernesto Rossi and Tommaso Salvinni. Following the Modena they saw theater as a platform for public education at the highest contemporary humanism, civic and patriotic feelings. Their creativity is reflected Rysordzhymento as heroic and at the same time full of deep tragedy epoch in the history of Italy. Art Ristori, Salvini and Rossi, all rooted associated with Italian national soil, was close to the audience in many countries. A national - to the universal - that was the motto of Italian tragedians large that became typical of the outstanding artists of world culture. In an era Rysordzhymento exceptional role belonged to the Italian operatic theater. Opera, which had a long tradition in Italy and enjoyed the love of all social strata, was the spokesman of the ideals of a nation that fought for freedom. Successes of Italian opera, picked up the works of Rossini, Donizetti, Bellini and Giuseppe Verdi later, gained worldwide recognition. "Poor enslaved and forbidden to speak Italian and she can tell only music feeling his heart" - wrote in 1828 Heine, under the direct impression of the music of Rossini. Musical theater has always occupied a special place in the cultural life of Italy, it is not surprising that opera, appearing at a time when divided, torn to pieces country finally came under foreign yoke, was for the Italians second national language. For two centuries, opera united the disparate and disadvantaged compatriots, nourishing and sustaining in them a sense of national pride. Retrospective analysis shows that most of the opera, this leading role was defined in the nineteenth century. Through which the opera takes place as a full member of the liberation movement, when a new school is born romantic opera as an art and consists of national revival. With karbonarskym stage movement Rysordzhymento related activities of the founder of the Italian romantic opera Gioacchino Rossini (1792-1868 gg.), In the early operas which distinctly felt the coming developments heroic era: his opera "Tancredi" and "Italiana in Algeri" in 1813. shook the entire country. Creative activities Rossini distinguishes steady desire to preserve and transform the Italian national opera genres - opera buffa and opera series. The main feature comedy drama Rossini became stormy keen sense of modernity. It is from this perspective "Barber of Seville" (1816) - not only unsurpassed masterpiece of opera buffa, but like a new "romantic style", the result of early creativity Rossini, a work that reflected the real social relations characteristic of Italy beginning and Art. In the wake of the growing liberation movement took drama "Moses in Egypt" (1818), "The Virgin Lakes" (1819) and "Mohammed II» (1820) - heroic and patriotic opera, which came on the eve of the revolution in 1820 -1821 years of strong public response and greatly influenced the development of European heroic and romantic drama. Opera "William Tilly" (1829) became as it were the result of creative work by Rossini, completing the evolution of opera and absorbing those heroic and patriotic aspirations, he expressed from the beginning of his work. In "William 20 Tilly," followed by "Moses" by Rossini in new ways to solve the classic opera XVIII century. the problem of the hero and the people, and the solution is, of course, was associated with the growth of the national liberation movement in Italy and other European countries. A worthy contribution to the struggle for the liberation of Italy gave Rossini and younger contemporaries, he founded representatives romantic opera school - Saverio Mercadante composers (1795-1870 gg.), Vincenzo Bellini (1801-1835 gg.) And Gaetano Donizetti (1797-1848 biennium. ). His culminating embodiment Italian musical art Rysordzhymento finds in monumental, titanic works of Giuseppe Verdi (1813-1901 gg.). From 1842 throughout Italy it sounded patriotic opera, causing a storm of feedback, making the play for political demonstrations. Art Verdi turned to the people and consistent so powerful swing Rysordzhymento, which were involved in the masses. In 1836 more Mazzini in his "Philosophy of Music", which became the manifesto of opera aesthetics Rysordzhymento, excitedly talked about the tremendous effect that music should celebrate the people, preparing it for the uprising. The main attention is paid Opera Mazzini, dreaming of flowering in Italy genuine musical drama, endowed with powerful effective force that would be expressed thoughts and feeling of people. And the culminating phase of Verdi in Italian Rysordzhymento launched its unsurpassed works of truly popular musical theater, which strengthened and mobilized national revolutionary spirit of the Italians. Baptism of fire "maestro of Italian Revolution" is the opera "Nabucco" (1842). This biblical legend of the suffering of the people, which is in captivity - very clear allegory of the fate of Italy, which Verdi gave unusually modern and passionately. And all further his opera somehow related to issues of freedom, equality, brotherhood and love of country - "Lombardiytsi the first Crusade" (1843), "Ernani" (1844), "Two Oscar" (1844 ), "Attila" (1846), in which the phrase Roman general Aetius in a duet with the conqueror Attila "Take the whole world, only Italy leave me" aroused passionate cries of the audience: "We, us Italy!" In 1847 Verdi puts "Macbeth" and "The Robbers", and in 1848 - "Le Corsaire", which many political allusions. Verdi even accused of "abuse of the ability to trigger patriotic speeches." The famous Mazzini thought highly humanistic and patriotic music of Verdi and in a letter to the composer wrote in 1848: "What I do in Garibaldi policy that our common friend A. Manzoni makes poetry, you're doing in music. Italy Now more than ever needs your music. " At the request of Mazzini Verdi was revolutionary anthem "Sounds pipe" in the words of R. Mameli. In the 40 years after the defeat of the revolution sounds tragically austere music of Verdi, like calling for courage and indestructibility Rysordzhymento fighters. Across Italy took intense rebel fighting spirit of the opera "Il Trovatore" (1853), and the heroic kabaletta MANRIQUE become one of the most popular Italian revolutionary songs. Lyrical and humanistic tendency to reveal the works of Verdi opera devoted to the problem of social inequality, and lyric-psychological drama "Luisa Miller" (1849), "Rigoletto" (1851), "La Traviata" (1853). Verdivskoho masterpieces of operatic realism is the opera "Aida" (1871), "Othello" (1887) and "Falstaff" (1893). Thus, in the works of Verdi opera that combined political acuteness and boldness of ideas artistic perfection of implementation, Rysordzhymento art found its deserved monumental accomplishment. Age of spiritual rise caused Rysordzhymento nation spawned a new consciousness. Literature, music, theater, painting achieved in this time of unprecedented prosperity. New in this era began to be the role of a woman who along with her husband makes history and unfortunately, notes Folk Portinari, "all it lasted only until 1870 - the fateful year closing colorful spectacle Rysordzhymento era. Since then, all rysordzhymentalnyy glow from the arena of struggle moved to the level of purses, the war turned into a class struggle, birthplace emigrated to other countries on other continents ... but we must recognize that the era Rysordzhymento, its very existence forever radically changed our culture "[1] . The most characteristic feature of the day was the era Rysordzhymento influence on the artistic culture of the awakening of national consciousness. Art culture of that time was looking for a new art form capable of indifferent to educate the public interest of people, active citizens and patriots.

References 1. The history of aesthetic thought: [6 m.]. / Institute of Philosophy Academy of Sciences of the USSR, the sector of aesthetics; M.F. Ovsyannikov [et al.]; Ed. T.B. Lyubimov. – MA: Art, 1985 - Volume 3: Europe and America. End HVIII - the first half of the nineteenth century. - 1986. - 496 p. 2. History of Italian literature XIX-XX centuries: Proc. benefits for students. filol. f-ing schools / I.P. Volodin et al. - M.: Higher. HQ., 1990. - 286 p. 3. Sabadash S. Politics and art culture as a basis awakening of national consciousness / Yu S.Sabadash // Current Issues of Cultural: Alm. Science. of the Society "Athena" Department of Cultural RSUH / ed. V.G. Vytkalova. - Exactly: RSUH, 2011. - Vol. 11. - P. 13-17. 4. Stendhal F. Collected Works [15 m.]. : Lane. with fr. / F. Stendhal; under the total. Ed. B.G. Reizova. - M: True, 1959. - T. 6: The History of Painting in Italy. - 559 p. 8 liters. Ill. 5. H. Tomaszewski Italian theater era national revolutions / H. Tomaszewski // History of Western European theater. - T. 3. - M., 1963. - 680 p. 6. Folco Portinari. The era of Open Hearts [electronic resource] / F. Portinari. - Access: http://www.russ.ru/Kniga- nedeli/Epoha-otkryhy-serdec 7. Storia d’Italia. Annali. Vol.22: Il Risorgimento. – Enaudi. – 2007. – 883 p. 21 Summary Sabadash J. The art as a method of forming of national consciousness (on the example of the Italian culture of the end of XVIII-XIX cent.) The specific character of thehumanism interpretation in the conditions of the Risorgimento movement, when humanistic ideas servde as the ideology of national liberation, democratic movement (1780-1870), was outlined. It is proved that the humanitarian habit was appropriated to the theoretical exploration of that period in philosophy, aesthetics and art criticism (V. Alfieri, C. Balbo, V. Gioberti, G. Leopardi, De Sanctis, U. Foscolo etc.). Key words: Risorgimento, humanism, artistic practice, patriotism.

Received 25/09/2014 UDC 78.1 S.S. Saldan

MUSICAL AND ESTHETICAL ASPECT OF THE PHILOSOPHICAL SYSTEM OF THE WORLD VIEW OF Y. GOETHE

Formulation of scientific problem and its significance. "Creative J. Goethe figure occupies a place of honor among the few Titans, each of which embodies in his work a spiritual experience of an era" [1; 7]. These words of the researcher works of J. Goethe A. Anikst reflect the greatness of the poet and thinker who in 70-80 years of the eighteenth century. was the inspirer of the movement "Storm and pressure", and in the future path of life was in the vortex of German culture. In exceptional sense of personality J. K. Svastyan Goethe emphasized: "We are talking about the" era of Goethe "and this phrase has long been a technical term for historians of culture, but what does it mean? I vyslovlyusya mythologeme - the golden rain. Event Location - . Time - the second half of the XVIII - XX centuries. Actors: Herder, Goethe, Schiller, Lavater, Wieland, Klopstock, Kant, Lichtenberg, Jacobi, Fichte, Hamann, Schelling, Kreuzer, Holderlin, Jean- Paul, Carus, Hegel, Baader, Novalis, Tick, Kleist, Hoffmann, Brentano , Mozart, Beethoven, Schubert and - twice the amount brothers Schlegel, Humboldt, Grimm (list incomplete). On the front page, the "era of Goethe" [10; 20]. Works great German writer and philosopher JW Goethe is one of the major places of cultural reception Franko: "Being one of the founders of the German national feeling, he (JW Goethe - SS) at the same time was one of the founders pass-through of the new times universalism, embracing the whole world of ideas, flair and beauty to the greater love is, the higher elevate his home "[11; 367]. The main material and study the latest materials research. One of the first researchers of natural works of Goethe J. R. Steiner drew attention to the other side of the creative legacy of thinker, which at that time remained completely unnoticed. And the essence of it was not accurate (not exact) match research results thinker of the then science. R. Steiner focuses on the question: how J. Goethe studied the subject, it was his ways of thinking and of the problem, the essence of which was to investigate any matter ambitious comprehensive principles and methods, appealing to nature: "We never see in nature anything unit or individual - everything is combined with something else that is in front, beside, behind, below or above ... "[2; 138]. According to the Secretary and friend J. Ekkermana poet, Goethe in his studies sought to cover the whole of nature, sometimes giving professional naturalists in the knowledge of small details; He lived a magnificent contemplation of the general laws of world harmony. In the approach to natural phenomena J. Goethe reveals the nature of the relationship of a single phenomenon and at the same time diverse, whole and parts, universal and individual. Nature as the real world is in perpetual motion, constant development generates from its bosom new and ever higher forms, according to the same general law: "Surrounded and covered it, we can not get out of it, not deeper into it penetrate. Uninvited, Unexpected, it takes us into the vortex of his dance and sweeps us until, exhausted, we did not fall out of her hands "[6; 38]. In his work "The Metamorphosis of Plants" Goethe reveals the role praroslyny, one species prafenomen (Urphanomen), as so special that contains in itself universal. Movement proymaye all organic forms which treats as a thinker not a static structure and dynamic "one form to another goes unnoticed and eventually completely absorbed following" [6; 320]. In this form of the similarity of J. Goethe sees the harmony of the whole: "It is therefore possible harmony an organic whole that it is composed of identical parts that are modified in a very subtle abnormalities. Related to its deep nature, they seem to be in form, purpose and actions of those that run very far, sometimes even to the opposition "[6; 92]. J. Goethe believed that the analysis of natural phenomena or art should comprehend the divine idea, starting from "prafenomen" and emphasized the role of instinctive capacity for perception without which it (the idea) will always be protected. From this statement it was clear that the roots of science and art only because they have perceived and interpreted according to their nature. The essence of the subject thinker saw its spiritual basis. He came to this conclusion contemplating ancient art that deeply studied, especially during his trip to Italy. Finding "prafenomen" in nature (plants, animals, geology) J. Goethe saw it as the basis of all spheres of human existence and from this position analyzed all the processes of artistic creation and the theory of metamorphosis as modifying the basic type is the basis of understanding the processes of any industry. The laws of all the arts of influence thinker sought in the human soul. Art exists because of man for man. Therefore, according to J. Goethe, the laws of all 22 the arts of influence can be detected only by examining the human soul, "because people are not only thinking, sensual at the same time being. It is a crossroads of various forces, closely related. This unity must apply an art that must meet this diversity. Kant argued that there is a critique of reason ... and I would like to declare the same content objective criticism feelings needed to art in general, German, including "[5; 588]. Of all the arts J. Goethe gave preference to music. "The greatness of art is most in music, it has no meaning, that should be considered. It all form and content. It makes a grand and noble is that which seeks to express "[5; 588]. Because music, in his opinion, does not need words, always insufficient, can become special intermediaries between man and the whole idea that there is the assumption and sensation. This belief arose from thinker to hear music S.Baha. In a letter to Zelter he wrote: "... if eternal harmony leads a conversation with itself, a state of mind could be in God before the creation of the world" (letter to Zelter on June 21, 1827) [9; 630]. It is known that J. Goethe received musical education. His family actively followed the visit to his performances and concerts. Preserved interesting in the book of budget expenditures, which shows that in 1763 in Frankfurt, Johann Goethe was at the concert, which was made by Leopold Mozart with children: Wolfgang Amadeus and his sister (spent nearly five guilders). J. Goethe himself playing the piano, writing lyrics to operas and conducted research in the field of acoustics. He considered the nature of its sound, the physiology of the ear and larynx, the question of rhythm, melody, harmony and so on. He tried to explore music as a phenomenon that combines the natural processes and human capabilities. Although the doctrine of sound remained unfinished - has remained on the table - a circuit that hung in the house of J. Goethe on the wall. A special treasury thinker considered folk song. She attracted him "... soft, gentle tone, setting souls on the total commitment when we listen to sounds like aeolian harps, happy viddayemosya gentle pleasure, so that it always re- seek" [5; 482]. Following J. Herder (1744-1803 gg.), Who called for the collection and recording of folklore, J. Goethe explores German folk songs. From folklore genres he singled out is a ballad, calling it "pranasinynoyu" art. In Strasbourg the collection of folk songs dominated the young J. Goethe ballad he wrote with melodies, and drew attention to the manner of performance. "As the words and melodies in it attracted typical, symmetrical than crude, foreign," barbarian ". Most of all, it was a soul in tune, proportional to the structure of musical harmony that relieves stress "[14; 27]. Folk ballad was the prototype for the thinker art, his primary form of national power as the combination of epic, lyric and dramatic principles that are akin to the ballads of all nations, and in the power relations ballads with music, song and dance often. Mixing genres J. Goethe considered negative, disturbing harmony, a phenomenon that is not conducive to coherent sound, so consequently, there may be no deep effect on people: "Music can be a spiritual and secular. Religious fully complies with its grandeur, it is based in this huge impact on her life that is constant at all times and in all times. Secular be definitely happy. Music, in which a mix of spiritual and secular - godless. Half-hearted music that seeks to express weak, compassionate, whiny sense - is tasteless. It is not serious to become sacred, and at the same time it lacks basic as its antipode - fun, joy "[5; 588]. J. Goethe considers the opera as a relatively independent system, which obeys its own special laws. In the article "Truth and verisimilitude in art," he wrote about it: "If opera is good, it definitely is like a certain microcosm for itself, in which everything is a known law that requires of him judged by its own laws , would perceive it according to its own qualities "[5; 141]. Thinker believed not correct the word "composer» (Komponist), believing if the musician seeking to become a real artist, it must develop "any image that lives in the depths of his soul," seeing determinant not elements and their layout and in-depth nature of the process [6; 141-142]. In the light of J. Goethe perceived music and painting. An interesting observation in his work "The doctrine of color" borrowing and use in painting musical terms "tone" and "tone". He compared the effect of a powerful picture of the musical play a major, and the canvas of the "soft effect" in a minor key, and examines their possible modification. Musical art inspired Goethe to J. interesting creative experiments in his literary work. In particular, in the spring of 1773 Goethe created «Concerto dramatico», lyrical work, which featured all the nuances of his virtuosic command of the language. Written in the form of a concert of several parts, each one followed by various stanzas of verse sizes and rhythmic organization, accompanied by music, starting from «tempo guisto» and ending «presto fugato» [8; 199]. Thus, rather wittily J. Goethe reflected possession of all means of expression - of pathos, folklore elements, song and ecclesiastical tone - to secular tone. Music - an integral part of the works of J. Goethe, music and images - a characteristic feature of his poetic art. Deeply knowing the specifics of musical language, he believed that music opens up opportunities for the fullest expression of the artist. Poems tragedy "Egmond", "Faust" and his other poems are reflected in the works of composers around the world. The creative genius of J. Goethe inspired to create musical masterpieces of Beethoven, Mahler, Liszt, Gounod, Schubert, Wagner, A. Webern, H. Wolf and others. Already at the turn of XX-XXI centuries. scientists have confirmed the universality of the theory of metamorphosis as the doctrine of procedural formation forms, applying it also in research in the field of music, since the time is its core, a key quality: "... the phenomenon of a single form based on generating momentum prafenomen, most clearly embodied in the romantic musical arts, caused the aesthetics of the era. But the idea of procedural consideration continuous series 23 of internal, deep smooth shaped metamorphosis can be fruitful for research and other music-style events, including those that do not belong only to the composers' creativity, but also to traditional music "[13; 16]. A. Babiy, analyzing the works of Wagner, also draws an analogy with the theory hetenivskoyu prafenomen and metamorphosis, "Wagner uses related Goethe's Metamorphosis of Plants principle germination. Each subsequent motif preceding caused all stems from the original work initio "; and further: "... the formation of Tannhauser and Wotan can be likened to the idea of germination, the metamorphosis of life. Concentrates on heroes opinion formed with their spiritual ascent that has a number of clearly marked steps, drawing into its orbit semantic field works "[3; 16]. In the study of the works of Webern P and V. Yu Kholopova Kholopov also found the concept of ideological influence on Goethe J. composer, including his desire for a harmonious unity of diverse and opposite. The idea prafenomen as the primary form that is the basis of all life and absorbs the harmonious unity of antitheses and metamorphosis as the development of musical thought interest famous composer A. Webern (often quoted JW Goethe) and brought him to the conclusion that variability as a basis organization of music works. Conclusions and recommendations for further research. 1805 in the book devoted to the works of Winckelmann, Goethe J. points out: "When nature brings together all the forces: order, measure and harmony - only then we get a sense of art" [15; 38]. Among the various arts, he singled out the music, considering it "very first way to influence people" [12; 414]. Thus, the musical aesthetic aspect organically woven into the overall concept of the great thinker ideological basis of creativity was to discover the deep essence of reality through art and science. Based on the idea that people are not only thinking, but at the same time sensual creature, J. Goethe maintained that she (the person) is a complete unity of various forces, harmoniously interconnected. For such a harmonious integrity should gravitate work of art. J. Goethe attached great importance to the problem of individual artist's unique creative personality solved in close unity with the question of the social significance of art as an important moment of transformation of society. This perspective he, in turn, linked to the philosophical and aesthetic issues of universal, separate and specific in nature, human life and the arts. Conceptual Goethe's views on the world in which we live and the art is not exhausted and in need of further research development.

References 1. Anikst A.A. Art universalism of Goethe / A.A. Anikst // read Goethe. - Moscow: Nauka, 1986. - 286 p. 2. Asmus M.F. Selected philosophical works: 2 m. / M.F. Asmus. - Moscow: MGU, 1969. - T. 1. – 410 p. 3. Babiy A.P. J.W. Goethe in the artistic consciousness and creativity Wagner: Author. Thesis. ... Candidate. mystv. : 17.00.03 - "Art of Music" / A.P. Babiy. - H., 2008. - 20 p. 5. Goethe I.V. On the Art / Goethe. - MA: Art, 1975. - 624 p. 6. Goethe I.V. Selected Philosophical Works / Goethe. - Moscow: Nauka, 1964. - 520 p. 7. Gorokhov P.A. Philosophical Foundations outlook Johann Wolfgang Goethe: Author. Dis. ... Dr. Philosophy. Sciences: 09.00.03 - "History of Philosophy" / P.A. peas. - Ekaterinburg, 2003. - 50 p. 8. Conradi K.O .Goethe. Life and work: in 2 v.: Per. with it. / K.O. Conradi. - Moscow: Raduga, 1987. - T. 1. - 592 p. 9. Conradi K.O. Goethe. Life and work: in 2 v.: Per. with it. / K.O. Conradi. - Moscow: Raduga, 1987. - T. 2. - with 648. 10. Karen Swassjan K.A. philosophical worldview of Goethe / K.A. Karen Swassjan. - M.: Evidentis, 2001. - 224 p. 11. Franco I. Coll. op. : In 50 vol. / Redkol .: E.P. Kyrylyuk and others. / IY Franco. - K.: Science. idea, 1976-1986. - T. 13 - 670 p. 12. Эkkerman I. P. Razhovorы Goethe s / J. P. Эkkerman; Per. s Nam. H. Mann. - Moscow: artist. lit., 1981. - 687 p. 13. Yarosh O. Zapadnoevropeyskyy romantic monotematyzma principle in the context of the theory of metamorphosis IV Goethe: Author. Thesis. ... Candidate. art. : 17.00.01 - "Muzыkalnoe art" / O. Yarosh. - Novosibirsk, 2010. - 26 p. 14. Albrecht M. Goethe und das Volkslied / М. Albrecht. – Darmstadt : Wissenschaftliche Buchgesellschaft, 1972. – 134 p. 15. Steiner R. Das Wesen des musikalischen und das Tonerlebnis im Menschen / R. Steiner. – Dornach. Schweiz : Goetheanum, 1989. – 416 p.

Summary Saldan S. Musical and esthetical aspect of the philosophical system of the world view of Y. Goethe The article deals with the category of harmony and its influence on the art of music in the outlook of J. Goethe. Emphasizes that the musical-aesthetic views Goethe included in the overall picture of his perception of the world that is displayed not only in his literary works and natural history studies, but also in understanding the role of music in human life. A common approach of the thinker to science and to art is the idea of the archetypal phenomenon and metamorphosis. Key words: Goethe, harmony, archetypal phenomenon, metamorphosis, music.

Received 05.11.2014

24 UDC 044.17(444) K.S. Yakimenko

INTERPRETATION OF JOHN CRYSOSTOM IMAGE ON THE UKRAINIAN ALTARS OF THE XVIII-XIX CENT.

Formulation of the problem. At preserved wooden altar Ukraine occupy an important place icon-painting images of saints of the church, which had not previously been described and studied by scientists. Analysis of recent research and publications. Among the rich spiritual heritage study of the iconography of saints of the church to this day has not been given much attention, but significant in our study is the primary source of the authors Liturgy. Among them we note the work of St. John Chrysostom "Creation of our holy father John Chrysostom, of Constantinople. T. VII. In two books. Bk. II: Treatment at St. Matthew the Evangelist (Conversations XLV-XC) », the work of M. Assumption [13] I. Myhalko of sh8, 9], the book" God's law "A. Bochkarya [2], a separate section which reveals the meaning of the Liturgy . Fundamental in the study of sacred art XVIII-XIX centuries. and work is [12]. Presenting main material. Liturgy as a central service daily range in which there is the Sacrament of the Eucharist is an essential part of all worship in the Orthodox Church. During the service is performed Eucharist - brought Bloodless Sacrifice transformation of bread and wine into the Body and Blood of the Lord Jesus Christ. Sacrament of the Eucharist was found Christ himself at his last supper with his disciples when he took the hand of bread and thanked the Father to his and said, "Take, eat; this is my body" - then, picking up a cup of wine, saying: "Drink ye all of it; for this is my blood of the new testament, which is shed for many for the forgiveness of sins "(Matt. 26: 26-28) (Emphasis added. - K. J.) [2; 782]. But long before this event Christ revealed to His disciples the meaning of carrying the sacraments. After saturation wonderful five thousand people with five loaves Christ said in his sermon Kapernaumskiy synagogue Bread of Life: "I am the bread of life; Those who come to me shall not hunger, and he who believes in me will never thirst ... Bread also, which I will give is my flesh, which I will give for the life of the world ... Whoever eats my flesh and drinks my blood abides in me and I in him "(Yn.6: 35, 51, 56) (Emphasis added. - K. J.). It is understood that the body and blood of Christ to resurrect souls who partake. Partaking of the sacrament - of ritual sacrament of the Eucharist, during which the faithful take the Holy Gifts and consume. The second part of Jesus' speech suggests that the Eucharist unites all people (members Sacrament). "Subsequently, the holy Apostles began to thank God for His love because the word" Eucharist "in Greek means" gratitude ", the highest expression of gratitude to God for His mercy to the people. In the Gospel texts can be seen as a "meal", "Lord's Supper", "bread refraction" [3; 782]. Thus, as noted above, during the sacrament of the Eucharist Liturgy pravytsya. "In the Orthodox Church, three magnitude of the liturgy: St. John Chrysostom (is the most common), St. Basil the Great and St. Gregory Dialogist. Less use Liturgy of St. James as its rule once a year "R2; 785]. It was during liturgical Partaking of the sacrament is faithful. Yes, this action researcher I. Myhalko writes: "But even more terrible and goes beyond our understanding by its grandeur is at the very communion: He who eats my flesh and drinks my blood abides in me, and I in him (Jn. 6, 56). When the Holy Communion. Mysteries of Christ is our union with Christ, so that everything in a person worthy to take St. Sacraments, is Christ. A person in this state may follow the Apostle Paul say that I no longer live, but Christ lives in me (Gal. 2, 20) "[9; 123]. According to Christian preaching canon was divided into three parts: "1) reading the Epistle in the churches for which they were written; 2) reading passages from the Gospel; 3) the culmination of all the preaching that promovlyalasya in the community during the Eucharist. Sacrament manages bishop who proclaims instruction, then said a prayer of thanksgiving over the bread and wine, he and partake prychaschaye all present during the sacrament "R2; 785]. Appropriate to elaborate on the Liturgy of St. John Chrysostom, because it gives an understanding that icon-painting the image of St. no coincidence on the altar. It is performed almost every day, except for the days in which the Charter on Liturgy is not sent. "The order of this: first prepare stuff for the sacraments. This bread (unleavened bread), which has two-syllable form, as a symbol of Christ's dual nature. Red grape wine - the blood of Jesus Christ which believers partake as flesh and blood. Source of this action comes from the Early Church when the faithful bring bread, wine, other food joint for a meal after Mass - a meal of love or Negro "[2; 788-789]. It was after the liturgical reform Basil the Great and Ionic Chrysostom offering these acquired new and reinterpreted shade of deep symbolic meaning - a place offering of Himself as a sacrifice to the Lord Jesus for the salvation of men. "This semantic relationship characteristic theological and liturgical works of P. Graves, the top of which were" Missal in 1639 "and" formulary in 1646 "that give us both the liturgical and on issues ekziolohichnu Christ, which by dogma is head of the Church as the mystical divine-human body, is both a source and by mysterious mystical union of the believer with God, and the source of all order - the Church and the world ... "cerkov our bloodand prenaydorozhsheyu Christ the Savior cleared, have the science and the order from him podanыy ... Taemnytsы But Christ the Savior in favor postanovlenы shower myrskyh otpravovatysya World Health Report. " P. Grave is much higher appreciates the Christian sacrament. Christ is seen as a source of mystic sacraments: "... the Church of Our Lady in Onyezhe nychtozhye svyateyshee and polyezneyshee, nychtozhe vыsochaysheye or Bozhestvennyeysheye is, moreover Taynъ, PA chelovecheskaho salvation from Christ the Lord oustavlenыhъ ..." [10; 69]. P. Grave stresses that 25 only faith in Jesus is the key to the implementation of the sacraments and salvation: all church sacraments and rites, even the Old Testament and have had their power only through the atoning sacrifice of the Savior and trust in them. Liturgy of St. John Chrysostom and St. Basil the Great can be divided into three parts: 1. The liturgy of preparation. 2. Liturgy of the catechumens (those preparing to take baptism.) 3. Liturgy of the faithful. "Going up to the altar, the priest proclaims three words of repentance" God cleanse mja sinner ", is in the hands prosphora, copies prorizuye her triple image of the cross three times saying:" In remembrance of the Lord and God and Savior Jesus Christ. " These words should indicate to whom is dedicated Sacrament. Then the priest cuts out communion bread cubes in the middle of reading the following words: "like ovcha on zakolenye vedesya. And like a lamb neporoche directly stryhuschaho ego bezhlasen, tacos not otverzaet Svoyh mouth. Vaud humility Ego Ego vzyatsya court. Rhode same ego yspovest someone? Yako vzemletsya from earth ego belly "(IS. 53: 7-8)" [2; 788-791]. Cut a piece of communion bread - a symbol of the Lamb as bloodless sacrifice brought to God with gratitude in memory of the suffering and death on the cross of His Son, who "as perfect Lamb was laid for the human race" [ibid]. Following this Lamb put on the paten, the priest its crosswise incision. Conducting liturgy is a very painstaking process because the holy bread should be five, first, as noted above, is dedicated to God, the second - the Blessed Virgin as gratitude for her purity and piety, the third entitled "dev'yatychynnoyi" removed from her virgins' Five pieces, each of which is dedicated to the memory of a particular rank of saints: John the Baptist, prophets, apostles, saints, martyrs, saints, bessrebrenikov, Joachim and Anna, along with the temple and the holy day, and in honor of the saint, which is performed in rank Liturgy (in this case in honor of St. John Chrysostom). Fourth unleavened bread belongs to the living memorial and remembrance of the dead fifth. Analyze in detail the procedure, because this procedure is carried out on the altar, for which it is specifically and created. Thus, the Eucharist is the sacrament essential because of the theological-liturgical churches equipment best reveals this mystery is the altar. Iconic image in it we find the saints' icons of the Virgin Mary Church Entering in the church of St. Arch. Michael 1808 s. Upper jelly, intermountain district, where the image of the Three Hierarchs (Basil the Great, John Chrysostom and Gregory the Theologian) "[1] and the altar of Pereyaslav. As the image of St. John Chrysostom, as of the altar, until today has not been put into scientific circulation will rightly dwell on it. Analyzing the iconography of the altar should be noted that the images tend to perform Western manners passion and martyrdom of Christ as a symbol of the vine and the lamb, "pledged by family human. " Vine - the symbol of the chosen people of God (Is. 5: 1-6). "The vineyard of the Lord of hosts is the house of Israel, and the men of Judah - his pleasant plant" (Isa. 5: 7). In the New Testament the Lord - "the true vine," and God the Father - grower, yet the people who are with Christ - the branches of the Vine (Jn. 15: 1-6) "[8]. Assumption notes that, according to the teachings Chrysostom, "incarnate Son of God Himself in the Eucharist offers us the flesh and blood by which He became akin to us:" I want to be your brother; For I have joined flesh and blood. And this flesh and blood, through which I have affinity with you, I'm teaching you again. " Chrysostom says that Christ "Himself nourishes us with his own blood" and "we become one body of Christ in one flesh (with Him. - NV)." And this flesh Christ ascended into heaven "[13]. The left wing altar from the National historical and ethnographic reserve "Pereyaslav" a depiction of St. John Chrysostom, Patriarch of Constantinople, Ecumenical teacher (438). Memorial Day: 13/26 November. "John Chrysostom was born into a wealthy and pious family in the middle of the fourth century. Studied lawyer and had some time to practice. Raised by Christian canons, it is night and day devoted to prayer to the Lord God and the grace of the Holy Spirit descended on him. According to legend, St. appeared to Saints Peter and John the Evangelist. Last svytok gave him with the words: "Take this svytok of my hand. I - John, during the Last Supper lying on the chest of the Lord, and he received a divine revelation. So he gives you the depth of wisdom, so that you taught people "sh11; 199]. Hierarch Peter handed the keys to the church with the words: "Take the keys, because I - Peter, who entrusted the keys of the kingdom of heaven. Lord and hands you the keys of the church to which you bind was connected ... "[ibid]. It is no accident on the altar and present images of St. Peter in the story "Repentance of Peter." After years of monastic life in the desert and St. was called Lord for the great service. In the rank of priest John spoke excellent sermon was a brilliant orator and religious polemicist. He received the honorary title of "Ecumenical Teacher". In Chrysostom, these high Church honored the name of two of their leaders: St. Basil the Great and Gregory the Theologian. "Chrysostom" - is also the title (officially fixed at Chalcedon Church Cathedral in V c.), Received by the saint extraordinary eloquence. In the life of St. elected patriarch, he enjoyed boundless love and respect of his people, helped orphans, the poor, the maimed, why has dedicated many works and moralizing sermons [6]. We can not remain silent and that did for John Chrysostom Church Liturgy. In Chrysostom were his favorite themes, which he constantly addressed. First, the doctrine of the Church for him is inextricably linked with the doctrine of the atonement of Christ the High Priest as a victim. It revealed the doctrine of the Church as new life. And, secondly, the doctrine of the Eucharist as sacrament and sacrifice (Chrysostom teacher called the Eucharist). "In Chrysostom was not a theological system. It is useless to look for his dogmatic and theological formulas, particularly in Christology and mariolohiyi it is not always free of inaccuracies and the usual one-sided Antioch theological language "[5]. On the road to exile (m. Koman) saint died. Transferring his holy relics was only thirty years after his death at the request of the pupil St. Proclus. The events took place during the reign of Emperor Theodosius II. 26 Face of St. John Chrysostom is written on the left wing altar (not from "Pereyaslav" XVIII.) Nearly upright. This interpretation is not canonical, because the figures or saints depicted in full-length or waist. In his right hand the saint is holding an open holy book, but it is not the gospel, because it belongs to the text of John Chrysostom - perhaps it is his teachings (conversation). Book white, black cinnabar inscription: "Prayer ego sobesyednyka do chtozhye syeho kolshye mozhyetъ be alone. ..yako sobyesyedovaty chyelovyeku BHOMЪ Ck. Zlatoustъ nravou .. .67. " A similar text is found in the work of Theophanes Recluse "The Holy Fathers on prayer and sobriety. Patristic teaching about prayer and sobriety or attention in his heart to God. Chapter II of St. John Chrysostom prayer and sobriety. " This interpretation leads us to believe that this instruction Chrysostom, where he emphasizes the miracle of prayer in communion with God. During his sermons Chrysostom exhorted the faithful to the moral character of repentance, which is required in prayer for the Eucharist. However, the need for detailed decoding depth study of the works of the saint, because even liturgists hesitate to broadcast this message, which undoubtedly connected with the Liturgy. The edges of the book framed gold paint. Right Hand drawn up in the name of the holy bishop perstoskladenni (writing the letter using assembly fingers), means the following letters: "direct index finger - Slavic letter I, indicating the first letter Jesus; middle finger bent sickle - the letter C, which stands for the last letter in the name of Jesus (Five drops as indescribable letter); with large and ring fingers crossed together formed the letter X that marks the first letter of the name of Christ; finger, bent sickle, forms the letter C, which means the last letter of the name of Christ "[14]. So fingers Christ, the bishop or priest to bless compiled read the name "Jesus Christ". Preparing the finger historically portrayed in iconography in two positions: "The first thing before: straight pinkie, it denotes the letter« I »; almost bent ring finger faces big as to form a "C" and straightened bent index of middle - the letter «I». So come initials IC XC ". "Not just perstomъ dolzhna ego [krestъ] yzobrazhat, but this dolzhnы predshestvovat cardiac raspolozhenie and serdechnaya vera" [4; 412]. Identical perstoskladannya see D. Rostov (Tuptalo). Icon last third of the XVII century .: in the upper left corner - the icon of Our Lady Vatopedskogo - St. in secret. D. Rostov confirming Ukrainian icon painting school, as Saint lived and worked in Kiev (Cyril Church) and , and then in Rostov. This perstoskladannya popularly called "malaksa." "The first description imenoslovnoho perstoskladannya, as stated above, first appears in the work of Venetian and Greek publisher Archpriest Nikolai Malaksy" [7]. Considerable attention perstoskladannyu pays researcher Alexander Tarasov: "Symbolism old perstoskladannya was provable in" Pomeranian answers "Trinitarian dogma. Interpreting "Cyril Book" (1644), novoobryadtsi found that on her "fourth finger" marked the hypostasis of God the Word. Bearing in mind the decision Hundred Chapters of the icon of the Holy Trinity. Official church after Moscow ordered to correct cathedral on old icons dvoperstya and tittle "IC XC" [12; 89]. Find it and fragment yepitrahili XVI. from Mount Athos. It is important to emphasize perstoskladanni John Chrysostom, since the seventeenth century. this gesture was not accepted by Old Believers, "novoobryadtsiv monogram of Christ" IYS XP "in the eyes of conservatives was sacred. This monogram was taken from the new Greek books infected, as did the "Latin" and "iconoclastic heresy" sh12; 90]. St. depicted in bishop's vestments, namely pidryznyku in green (long, straight dress, worn by bishops and priests, similar to the surplice). It is worn under the vestments. Floor pidryznyka - sakos (long garment with wide sleeves, symbolizing the purity of the soul, which began to carry IV., It is usually portrayed story "The Crucifixion" and "Descent into Hell"), with local brown-yellow shades (worn sakosa over the shoulders symbolizes concern for the salvation of his flock "image of the Shepherd") [3; 77], episcopal next yellow with conventional decoration in the form of diamond and spots. Nearby there is a mandatory attribute clothing bishop symbolized bond, which was linked to Jesus Christ when He fought in court to the high priest and Kaiafy to the governor Pilate. Sakos decorated with floral ornaments, such as green, brown, white and yellow leaves. At the aegis of St. depicts three crosses, gold paint spelled out: two on the back, and the third centered mantle. "Omophor - a garment similar to a deacon orarion, only larger in size, is carried on the shoulders of the bishops; it symbolizes humanity, died from his sins that Christ took upon his shoulders, as "Lost Sheep" sh3; 78], like the redemption of human sins by His death on the cross. On the left side icon painter wrote "stick" - rhomboid cards that bear the bishops at the hip, symbolizes the spiritual sword (the power and duties of the bishop) [ibid], it is yellow, a means - brown on it five round yellow flowers average greatest. The points made with white paint on the perimeter stick. Limbs topped with yellow tassels. Clothing holy red (with shades of yellow and brown shades), usually dressed for the holidays Cross and the days of the holy martyrs, who shed their blood for the holy faith. Red - "the color of martyrdom, the color of the blood of Christ, a symbol of suffering and death," and even the color of sacrifice. For example, the robe of Christ on the icon "ascent to Hell" is red. Red vestments - the image of the soul of the Lord, "For the life of all flesh is its blood" (Lev. 17:14) [3; 85]. In red vestments sent Easter Liturgy. Floor hraf'yi (Figure, scratched icons on gesso or plaster on the wall, who then prescribed color) written coarse gold vestments land lines. Usually hrafyly circle halos and painting the parts that overlap "opaque" colors for a more expressive effect. Head of St. crowning no miter (headdress higher clergy, top with a cross, adorned with precious stones, symbolizing the crown of thorns on the head of Jesus in the suffering, and also serves as the embodiment of spiritual power who it is), like most of the holy fathers and patriarchal cowl, because the life of St. was elected patriarch - hemispherical shape, golden color, with cross administers, usually it seraphim embroidered pictures or crosses. 27 With arms hanging Panagia John Chrysostom - round scapular that bishops wear on the chest with a cross. "From the Greek" Panagia "means" Holiness ", it may be kept holy relics particles and particles of the Holy Sacrament to sanctify patients. In portrayed Panagia All-Holy Mother of God, but there are Panagia imaging "Crucifixion" and "Ascension" [3; 84]. Face St. directed to the viewer, features tonal softly modeled, lips, eyelids and flush spelled out in red. Hair, eyebrows, beard and mustache dark brown. The hair falls on his shoulders, twisted. The nose is shown in its acute form, large eyes, almond. Nimba has a clear circular shape it - bright yellow (golden). The figure shows a dark green background. On both sides of the saint, three on the right and three left - brown spots, resemble cloud, obviously, was recorded some images and maybe specifically painter did so. On the shoulders of John Chrysostom see inscription tittle gold color on Old Church Slavonic language «Σ Ioanъ Zlatoγъ." That is, "This is John Chrysostom." Iconography John Chrysostom known since the middle of VII century. The oldest images are frescoes of Santa Maria Antikva in Rome. Another likeness of St. characteristic image IX-X century. Hludovskiy in the Psalms (HOUSE. Hlud. number 129-d. L. 47 of, approx. 850 g.). The saint is depicted with a short beard, short dark hair, bordering the correct oval face. He wears a felon brown, white mantle with black and red crosses, light pidryznyk, book in hand. Gradually established two iconographic types Prelate: 1) in the form of a young black-haired man with a small rounded beard and short hair; 2) in the form of an old man. Investigated images, and stone altar fresco Trinity Gate Church (Kyiv), belong to the second type. Image is a saint in all Orthodox and Catholic churches. Icons with his picture can be seen in svjatitelskogo tier iconostasis, in niches altars, sacred vestments for. In general, the Ukrainian Baroque iconography appealing images povchalnytskoho character, prominently among them took pictures of the church fathers who had to instruct the faithful to the law of God and sincere repentance. But theologians see the images among the folk icon painting as an example for a three-part icons. There is no doubt that St. John Chrysostom is written on the monument not only as a teacher and author of the Liturgy of the Eucharist, but as a "companion" of believers with Christ. Mention of Basil the Great find only in the literature: as an example, in the work of A. Bolyuka "Wooden machinery spaces liturgical and theological Western churches (typology issue)", where the author describes the interior of the Church of Our Lady Writing in the church of St. Arch. Michael 1808 s. Upper jelly. Detailed description of art by this author liturgy scientists still have to perform. Of the remaining icons that probably were parts of altars, St. portrayed in bishop's vestments, which can be found on the fresco Trinity Gate Church in Kyiv. Picture St. Gregory the Theologian on the altar still not been identified, giving a new basis for research in this link of sacred art. Conclusion. It is safe to assert significant influence on theological thought in Ukraine in Art. on iconography and wooden churches equipment. It was a day are spreading Baroque altars for the celebration of the Divine Liturgy, which is the most famous authors John Chrysostom and Basil the Great. In the context of studying the content of the liturgy we consider necessary deeper theological study of sacred objects and crafts house which will allow correctly interpret iconographic images that will undoubtedly carry a Eucharistic character. Since the altar, and iconography at all, each character has his or sign sacral and dogmatic significance, iconography should have two functions: to serve God's image in paint and determine the uniqueness of the spiritual life of people in a certain historical period.

References 1. A. Bolyuk wooden machinery spaces liturgical and theological Western churches (question typology) / O. Bolyuk [electronic resource]. - Access: http://irbis-nbuv.gov.ua 2. A. The law of God Bochkar / A Bochkar. - K.: Prologue, 2008. - 848 p. 3. Budur temple Pravoslavnыy N. / N. Budur. - K .; MM: "ROOSSA", 2009. - 271 p. : Ill. 4. Holubynskyy Russkaya E. History of the Church. T. II. / E. Holubynskyy. - Moscow: University. typohr., 1911. - 616 p. 5. Doroshenko Yu. Law Practice St. / Yuri Doroshenko [electronic resource]. - Access: http://www.cerkva.kiev.ua/ biblioteka/statti/364.html 6. Y. Doroshenko St. John Chrysostom / Yuri Doroshenko [electronic resource]. - Access: http: //www.parafia.org. ua/biblioteka/zhyttya-svyatyh-i-podvyzhnykiv/ioan-zolotoustyj/ 7. Melnikov F.E. Publychnaya Beseda about ymenoslovnom perstoslozhenyy / FE Melnikov [electronic resource]. - Access: http://www.krotov.info/history/20/1900/19080316.html 8. Myhalko I. Yu. Evharystyya Creation by St. Chrysostom Yoanna / Myhalko I. Yu.. - K., Kiev. Spiritual Acad., 2008. - P. 134-172. 9. Myhalko I. Yu. Secrets and obryadы Creation by St. Chrysostom Yoanna / Myhalko I. Yu. - K., Kiev. Spiritual Acad., 2009. - P. 123-138. 10. The image of Christ in the Ukrainian culture / V.S. Gorsky, Y.I. Svatko, O.B.Kyrychok and others. - K., ed. house "KM Academy", 2001. - 200 p. : Ill. 11. K. Ostrovsky live Svyatыh, yzlozhennыe Reduction in Rostov on to St Demetrius / K. Ostrovsky. - Moscow: ZAO "BMM", 2011. - 864 p. : Ill. 12. Tarasov O. Ykona and piety: Essays ykonnoho affairs in Russia ymperatorskoy / O. Tarasov. - Moscow: Progress, 1995. - 495 p. : Ill. 28 13. Assumption ND Svyatootecheskoe Scientists at Evharystyy Appearance and mezhkonfessyonalnыh rashozhdenyy / ND Assumption [electronic resource]. - Access: http: // azbuka.ru / otechnik / Prochee / svjatootecheskoe-uchenie-o-evkharistii- i-vozniknovenie -konfessionalnykh 14. Chernyshova V. Large explanatory dictionary / V. Chernyshova [Electronic resource]. - Access: http://www.e- slovar.ru/dictionary/17/15324

Summary Yakimenko K. Interpretation of John Crysostom image on the Ukrainian altars of the XVIII-XIX cent. An attempt to expose maintenance of Liturgy (Mysteries of Eucharist) is given central divine service of day’s circle, the authors of which are John Zlatoust and Vasyl the Great. Attention is accented on the liturgical setting of святоот- цівських texts, as they were foundation for writing of iconography canon of not only icon-painting євхаристій- них plots but also sacral art in general. Key words: Liturgy of John Chrysostom, Basil the Great, Eucharistic images, iconography, icons, Communion.

Received 10.11.2014 UDC 730(477.83-25)«18/19» Y.S. Kostko

SPECIFIC AND THEMATIC VARIETY OF SCULPTURESQUE DECORATION ON THE FRONT ELEVATION OF LVIV BUILDINGS OF THE SECOND HALF OF THE XIX TO EARLY XX CENT.

The study decorative sculpture and architectural ensembles of the city the second floor. XIX - early XX century. engaged Austrian, Polish and Ukrainian researchers, who worked in Ukraine in late XIX - the first third of the twentieth century. Mostly, they were architects. Therefore, in these sources about the work of sculptors and sculpture decoration of buildings mentioned mainly in the context of developments in the field of architecture. The earliest information on the subject of our work is found in the books of architects T. Hansen [10] Y. Zachariewicz sh14] I. Levinsky [11], periodicals 1880-1900 gg., In the writings of Karl Moklovskoho [13] T. Mankowski [9]. An important source is labor Ukrainian historian Ivan Krypyakevych "Historical passages in Lviv" [5], reprinted in 1991. On the sculptural decoration of buildings Lviv find material in the writings of W. Ovsiychuk "Architectural monuments of the city" [7], in the fourth chapter of the third book "Ukrainian Art". The important role of monumental and decorative sculpture in the architecture of the city of Lviv researchers wrote Ivan Zhuk [3] J. Biryulov [1-2] and others. However, they touch only partially subject sculptural decoration in architecture, did it in different contexts. Literature review gives grounds to speak about the lack of separate scientific studies on selected us directly. Sculptural décor in the city architecture of the late nineteenth - early twentieth century. plays an important role in the decoration of facades. While in Lviv as the capital of the province of the Austro-Hungarian Empire, opened a large-scale expansion. In fact begins to form a new "face" of the city as a major cultural center. The leading role is played by the magnificent plastic decoration of buildings. Species diversity and thematic sculpture is quite broad. Architecture graduates period of create architectural schools of , whose representative was primarily Yu Zakhariyevych and Berlin, represented by S. Yu.Hohberher and Gorgolewski [12; 104]. With the new style, Art Nouveau or Art Nouveau, when the architecture concept of the functional purpose of the building is dominant, sculptural decoration is indispensable to provide originality and sophistication structures for various purposes. At the turn of the century in Lviv, erected mostly houses. Among the architects and the creators of Art Nouveau style in Lviv, while working Zakharevych A., J. Lewinski, T. Obminskyy, V. Sadlovskyy and others. In contrast to the period of historicism, when the main element of the decor appeared round the sculpture and high relief, leading role in decorating the facades, built in the Art Nouveau period, plays a relief. At the same time formed a "synthesis" constructive foundations and structures of architectural and artistic form [2; 47]. In plastic decoration have spread plant, animalistic, fantastic motives and Atlanta, Telamon, mind, mascaron. Consider the composition of the plastic and artistic features décor has been preserved on the facades of buildings Lviv second half. XIX - early XX century. Feature of secession, a kind of reaction to the then scientific and technological progress, was an appeal to the embodiment of nature and motives of the art, so dominant role, compared with historicism, in that period played vegetable decoration. He noted the specific composite structure on the facade, variety of floral motifs. Among the common plants, of which komponuvaly decor were chestnut, , palm branches, chamomile, daisies, sunflowers, cedar, oak, poppies, cranberry, grape, dandelion, rose, apple fruit and some others. We can also trace, compositions of flowers, leaves and various fruit bouquets and garlands hytrospletenyh forming independent frieze composition. These motifs occur also as an element in the compositions of mascarons, cartouches, architectural motifs. Floral motif can be seen in conjunction with other motives plastic decoration and as a self-contained decor. Especially it is refined during the secession. Contemporary artists are freer and more original interpretations stylized floral motifs in comparison with 29 the period of eclecticism. It is also characterized by the subordination of the different shapes of architectural details, such as sandriks or other, placed in them. He often framed windows and doors, decorated cornices, consoles and other architectural details. The original is geometrization plants. For example, flowers inscribed in a square or a circle, a triangle, etc. petals. It should be noted rhythm tracks, which assign an important role stems and flowers. Rhythmically alternating distances between colors. Stems are shown as curved lines, which often break down at unexpected angles sharply changing direction. For plant decor leave empty space on background rusta and its original inscribed there. Among the many facilities are some of the clearest examples of decor can see on the facade of the house on Prospect Shevchenko T. Obminskoho the project, the building on the street. Horodotska, 45, projected I. Vichnyartsom or I.Nechuy-Levitsky, 13, where the architect is a builder and sculptor K. Yu Dranevych. Motive, which can often meet, the image is embossed mind. This allegorical, mythological and thematic compositions are often in unexpected characters such as Putt, roles. There are images in the way of such attributes Fame and Victory as palm and laurel branch. In a wreath, a single and dvofihurnyh compositions (House of Scientists) and Garland that the way of holding the two and multifigured images (Kotselovskoho 15, Horodots'ka str., 2, 4 Fredro, Konopnicka, 10). Allegorical stories of mind can be traced on the facades of buildings on the street. Green, 30, Prince Roman, 26 and Lychakivska, 36. Here in the way presented as allegories of architecture, painting and sculpture, music, science, as well as allegories of Commerce and trade on the facade of the former Chamber of Commerce on Prospect Shevchenko. To mythological subjects addressed sculptors Z. Kurchynskyy in relief astray on the street. Horodotska, 117, and S. Plihal on the street. Horodotska 2. In the first case can plainly see in the image paniskiv. One of them plays the flute, which sounds hear Mr. In the second act in the way of the heroic defenders of images - winners chimeras. Str. Horodotska 50 Putt act not characteristic for them the role of Atlantis. On the street. Pekarska, 3 and Gross, 13 depicted mind, dancing accompanied by playing musical instruments. The example of sculptural decoration motif can be seen in the way the stylistic evolution of the plastic language in the process of changing styles in architecture, from historicism to modernism. Characteristic of sculptural decoration mainly in the architecture of historicism and less likely to have an image of Lviv Secession - Atlantis. Composition of the Atlanteans are paired, they were used in most cases as resistance balconies, sometimes with decorative design portals. They depicted two symmetrical mirror sculptures or statues of two asymmetrical and symmetrical pair equally located on the facade. In case of the Atlanta Grand Hotel ascertain the classic image, mirror-symmetric compositions. Powerful figures in the present calm and static. Obviously inspired by the ancient classic authors in their creation. You can draw parallels in compositional and plastic interpretation of ancient sculpture of Hercules Farnezkoho (probably of Greek sculptor Lisipa). Sharp contrast seen in comparison with the Atlanteans on the facade of the National Casino (now House of Scientists). This symmetrical composition locations on the front with asymmetrical male figures who prop balcony above the portal. One of them depicted frontally, the other from the back, they have a dynamic, tense posture and this dynamic is reinforced actively solved drapery. The authors are the Viennese sculptor T. and R. Volkel Fridley. Stylistically of Atlantis can be attributed to Baroque, common at the time in Vienna. Balanced asymmetry in the figure at Atlantis note the house on the street Saksaganskogo. Dressed in animal skins massive, they give the impression the original power. Their author is P. Viytovych, famous Ukrainian sculptor who began his journey in the studio L. Marconi, and after the Vienna Academy, took a leading position in its industry [4; 56]. The influence of Gothic plastic interpretation can be described Atlantis Prince Roman Street, whose author was C. Plihal. Again, as in the case of Atlanta at the Grand Hotel are seeing here mirror-symmetrical composition in the depiction of medieval knights in armor, which, based on swords, holding on his shoulders a powerful bay window. An interesting and logical difference in the interpretation of the Atlanteans see in the Secession period when Atlantis act as female figures - caryatids. We can trace this in the design portal house on the street. Hnatiuk, 20-22, was authored by prominent Lviv sculptor S. Kurchynskyy. This sculptor presents new sculptural language foundations formed under the influence of artists such as Rodin, Rosso, Vigeland [6; 186]. Author zakomponuvav them in niches, which entered caryatids. In the review of the frontal figure seen in three quarter position. Author inspired by Egyptian art in the creation of sculptures, but interpreted them in his grace. Unusual composition of three figures - two male and female, seen on the facade of the building on the street. A. Horska, 5. Instead muscular figures of Atlantis, here depicted youths apparently symbolizing the students depicted on either side of the central female figure with attributes of arts. In ancient garments woman in her right hand she holds a pen and the left roll, at her feet schematically piece Ionic capitals. Boys clothing depicted in that time, a young man, standing left, holding a statuette. A common motif plastic decoration city architecture of this period is also Telamon (from the Greek. Tlenai - resistant, hardy, patient). At its core functions and Telamon - this is the only Atlanta pivfihurnomu image. It acts as the architectural details - console. In most cases, the architecture of the city Telamon under balconies or propping them complete plastic pilasters and bay windows support. In fact, they perform more decorative than structural function. Telamon portrayed in almost all cases an even composition that could be copied at one another depending on the architectural features of the 30 facade construction, length balcony or bay window, which is holding up the Telamon. In their creation using both male and female figures in various variants paired tracks. Most pieces were created on the basis of a balanced symmetry, mirror symmetry and copying each other sculptures in multiple copies. By the principle of a balanced symmetry is sculpture on the facade of the building Krushelnytska, 5. These are two men pivfihury quite active in the movement of the actively treated drapery. These features their item is not logical in terms of function Telamon, but create momentum. Note on this basis, the attraction to the Baroque style, which is typical for artists of Lviv reference to historical styles during this period. You can call a balanced mirror symmetry principle Telamon images on the facade of the building on the street. General Chuprynky 28. Here we see depicted male and female figure in a mirror-symmetric position with minor differences that we see in the formulation and brushes lying drape differently because the mirror symmetry is formulated as balanced. Their posture is not dynamic, and his face is calm and emotionally detached from their load caused by heavy Telamon function. An example of mirror symmetry is Telamon on the facade of the building at Gogol, 10. This figure depicts two men in adulthood. They stood in the way of soldiers dressed in armor respectively, they most likely provided the image of guards. Their posture and slender shoulders holding up the balcony is not in a bent position of the body, as in most cases, and heads. At home on the street. Krushelnytska, 21, see example of Telamon as architectural elements - pilasters. For four pilasters copied using a single sculpture. This powerful male figure is depicted frontally, at attention position, arms down along the body, keeping all wear head. The author of the sculptural decoration of the house and Telamon in particular, is of Italian origin Lviv sculptor L. Marconi. For this artist's typical of traditional academic style, he came to the city in 1874 to a teaching position Figure , where he worked until his death [8; 188]. Widespread in Ukraine, due to the increasing scale and pace of development was duplicating sculpture. This mainly concerns the plastic decoration of residential architecture. Telamon on the house on the street. Krushelnytska, 5, also meet on the houses on the street. , 19 Street. D. Vitovskogo, 10 and Elena Stepanovna 1. Telamon on the house on the street. General Chuprynky 38, authorship Bronislaw Soltys, as we see on the street. General Chuprynky 28 Rusovykh 1, Order of the November, 12. Analogies trace also on Prospect Shevchenko, 22 Street. Franko, 43. replicated the same composition J. Wise, 12 and 12th. In compositions Telamon, as an auxiliary element often see draperiyi. This transition and connecting element between the lower and upper geometric figurative parts of the composition. Just as there are different decor floral motifs to geometric parts of the composition. Meet the attributes in the compositions of Telamon, like many in Lviv can mascaron lion skins. They dressed or on the head or on the body. Telamon as a motive played an important role in the decorative sculpture architecture in Lviv late XIX - early XX century. It is worth noting and fantastic motifs and compositions with Chimeras. They can be found in mascaron various reliefs and architectural inlays. Str. Pekarska, 3 and Franko, 71, meet the composition dogs with bat wings. The facade of the building on the street. Pekarska 3, the draft shows the influence of Gothic buildings in relief in the background zakomponovanyy piece of with a colonnade. Bizarre mascaron meet on the facade of house number 13 on the street. Valova. Here they zakomponovani in the frieze of Garland, as well as separately, tympanum. On the same street at number 21 on the attic under the roof, are original, small, winged chimera S. Kurchynskoho authorship. He also performed many other works of sculpture on the facades of buildings, among which we can mention bizarre creatures on the facade of the building on the street. Chernihiv, 2. An interesting example chimeras meet on the street. Yu Mushaka, 48; you need to pay attention to the original plastic language of work. Reliefs of bizarre creatures also decorated portal house on the square. Mickiewicz, 8. Mascaron - kind of sculptural decoration as a mask human, animal or fantastic creatures, known since ancient times. They served as the talisman, scaring away evil spirits, they later became one of the elements of architectural decoration. In decorating buildings in Lviv second half. XIX - early XX century. mascaron plays an important role; often encounter this motif plastic decoration on the facades of various buildings. In the era of historicism and eclecticism, mascaron when decorating buildings, architects are paying secondary importance. It is observed on administrative buildings, cultural and educational purposes, where the main act allegorical figurative compositions and other motives plastic decoration. During the secession, as in Lviv erected mainly houses, mascaron often a major element compositions in decorative plastic ornaments. Its diversity observed both in thematic terms and in the plastic interpretation. Thematic and species diversity mascaron particularly widespread in plastic decoration historicism and eclecticism, despite its minor importance in the compositional structure, plastic decoration. We can observe male and female characters, theatrical masks and mythological images. In mascaron during the secession, despite a more significant role in its sculptural decoration, we see it narrower diversity. Particularly preferred female masks present in various embodiments, the image of the national image to image various nymphs and mystic images. Much attention is paid to sculptors emotional expressiveness and internal tensions. Less attention was paid to the decoration of buildings theatrical masks. Zoomorphic mascaron present mainly in the form of a lion - the symbol of the city. Animalistic motif is present to a lesser extent, but it can also be traced as an independent motive. Most of the animals can meet owl - a symbol of wisdom. Interesting design portal using sculpture of an owl on the street. Vitovskogo, 33, in a niche house on the street. Frank, 66, also on the street. P. Berynda where the owl is depicted sitting on a gross book imprinted date on which construction of the building. Look for interesting interpretations of plastic in each case. In particular it should be noted the original plastic solution owls relief images on the building on the street. Mikhnovsky 33 inscribed in a rectangular 31 niche. In the manner of stylization operates sculptures by straight lines and planes and so departs from the naturalistic images that do not immediately recognize the owl can not, at first glance reliefs resembling giant insects. Images can meet a lion on the facade of University. Franko, where sculptures in static sitting postures based paws on the shield. Also on the street. Prince Roman, which shows the reliefs of lions. They are depicted symmetrically in dynamic poses. It should be noted active, expressive style sculpture sculptor S. Plihala. It is impossible not to notice a rather exotic for the city, pictures of an elephant, elephant heads precisely depicted in the console on the street. Frank, 90, and instead of capitals, on the street. Gene. Chuprynky 49). You can also meet with function eagle pidpyracha balcony (str. Krushelnytska, 7), which is usually performed Atlas or Telamon. His encounter in a standard version of the composite structure on the facade, such as on the street. Fredro. Present isolated cases with images of other animalistic motives in the architecture of the period. For example, pivfihur rams, acting as consoles at home on the street. T. Kosciuszko and images of dolphins in the design of balconies on the building of the National Bank of Ukraine. Their images are stylized. Vertical composition, dolphin shows the reliance on the head and fins, with an open mouth. A typical compositional device for their image in the compositions fountains. Thus, we can state the sole role of plastic decoration in architecture the city the second floor. XIX - early XX century. In fact, without the fusion of sculpture and architecture in buildings of various purpose would be formed not so unique face now Lviv, which all know and who are able to enjoy. Analyzing composite structure sculptural decoration on the facades of buildings Lviv, can state its thematic and species diversity. In the Secession period witnessing a special synthesis of modern European and traditional architecture, and the impact of the national image.

References 1. Biryulov Y. Lviv secession: architecture, decorative arts, drawing, book, painting, sculpture / Y. Biryulov. - L., 1986. 2. Biryulov Y.O. Lviv Art Nouveau / Y.O. Biryulov. - L. Centre of Europe, 2005. 3. Architectural decoration Beetle I. Lviv Secession / Art criticism Ivan Zhuk // studio. - 1993. - № 2-3. 4. Krvavych D.P. Ukrainian art: 3 h. / D.P. Krvavych, V.A. Ovsiychuk, S. Cherepanov. - LA: World, 2005. - Part 3. 5. Krypiakevych I. Historical passages in Lviv / I. Krypiakevych. - L., 1991. 6. Lobanovsky B.B. Ukrainian art of the second half of the nineteenth - early twentieth century. / Boris Lobanovskiy, PI Hovd. - K. Arts, 1989. 7. Ovsiychuk W. architectural monuments Lviv / V. Ovsiychuk. - L., 1969. 8. Cielatkowska R. Retail residential architecture of Lviv of the century / R Cielatkowska, L. Onyszczenko-Szwec. - Issue II improvements. Gdansk: MIREX-Mirotki, 2008. 9. Mankowski T. House Galicijskego Credit Society / T Mankowski. - Lvov, 1916. 10. T. Hansen K.K. Das Inwalidenhaus in Lemberg / T. Hansen. - Wien - 1860. 11. Lewinski J. bydownictwe utilitarian / J. Lewinski // Magazine Technichne. - 1902, No.3, p. 12. Biriulow J. Lviv sculpture from the mid-eighteenth century until 1939: Since the announcement of classicism to авангарді / J. Biriulow. - : Neriton, 2007. 13. Moklowski K. Folk Art in Poland / K Moklowski. - Lvov, 1903. 14. J. Zachariewicz art monuments in Poland. Notebook 1-4 / J. Zachariewicz. - Lviv, 1885. 38-39, nr / 4, S. 54-56.

Summary Kostko Y. Specific and thematic variety of sculpturesque decoration on the front elevation of Lviv buildings of the second half of the XIX to early XX cent. In the article the plastic decoration in architecture city study period. We consider the attractions of historicism and secession, analyzes their artistic expression: composite structure on the facade of the building, communication architecture, a variety of topics. Also analyzed the specifics of plastic language of works. A comparison of decoration, its stylistic features. Key words: decorative sculpture, relief, high relief, аtlas, cherubs, mascaron, chimeras, styling, floral decor.

Received 15.11.2014

UDC 75.03:7.03(045) I.G. Dydich

THE HISTORICAL STYLE AS A METHOD OF FEMALE IMAGES IN PORTRAIT PAINTING OF MAURYCY GOTTLIEB

Actuality of theme. Dr. Fine Arts. Pol. XIX century., Particularly in eastern Galicia, mainly formed school of painting, which were influenced by the Arts Academy of Krakow, because there was going to the studio talented young people from the private letters of recommendation from teachers, artists of the city. It was a way of becoming creative and M. Gottlieb. 32 Types and subtypes portrait genre M. Gottlieb require study, because the artist is famous as an unrivaled portrait. Researchers examined his work only in general terms, outlining the stylistic and genre affiliation picturesque heritage artist. Mostly his name associated with the Krakow artistic school of Jan Matejko and mentioned in passing, but M. Gottlieb begins on art history Haskalah - Jewish Enlightenment ideas in the interpretation of the art of forming Israel is Jewish art as such. The purpose of the article is to identify the features of historical paintings of female portraits M. Gottlieb. The major monograph on the artist's work is a Polish researcher E. Malinowski, which was issued in 1997 It lays the foundation to study painting heritage M. Gottlieb. However, since the catalog of his works expanded - came "from the shadows" hitherto unknown to researchers and the public works of the artist from private collections, as well as works that have received a new attribution of museum collections in the world: Poland, Germany, Israel, USA, Ukraine, private collectors. In the opinion of Ukrainian art-name M. Gottlieb and Jewish art in general revived G. Hlembotska. She was curator and initiator of the opening of a number of exhibitions of Jewish art from the collections of the Lviv National Art Gallery, which today bears the name B. Voznytsky. However, in its publications, particularly cultural magazine "Ji" (2007-2008 gg.) And the catalog of the exhibition "Images vanished world" (introductory article "Judaica. History of private collectors and museum in Lviv"), it broadly outlined Contemporary Jewish artistic environment, trying to reconstruct the names of the artists, "restoration" of their contribution to the art of the era. It was running-general scheme of the artistic processes taking place in the cultural life of others. Pol. XIX - early. The twentieth century. The newest work concerning the works of M. Gottlieb, is the work of researchers from the US E. Mendelson "Portraits. M. Gottlieb and Jewish Art "(2002), however, the researcher in the foreword of the book said that is not an art critic, and social historian [8; 6], so of art side portraits analysis has not been done properly. He focused his attention on the social history and reconstruction of names, personalities, including the formation of the society political and financial elites of the time [8; 9]. Analyzing recent research and publications, we can affirm that the portrait genre in picturesque heritage M. Gottlieb still needs to implement its classification, a more detailed study on the appropriate level. Maurytsiy Gottlieb entered the history of European fine art second half. Nineteenth century. unsurpassed asa portraitist. Although the artist lived short life - only 23 years old, his genre painting heritage rich in various types of portraits, among which an important place female image, open the gallery in the work of artist portraits. Among them images created by the imagination of the artist, but by then the dominant spirit of academic studies with a focus on living nature and natural sketches student at the Academy, dominant among these images are portraits of female contemporaries of the artist. Fundamentals of art and drawing in particular, M. Gottlieb moved from his native Drohobych study in the city. In high school he was not the best student of the main subjects. His favorite was the art of discipline. On the other lectures artist often drew caricatures and cartoons of teachers, for which he was not kicked out of school. The decision to study art was more taken by his father, who listened to the opinions of teachers Drohobych. Yes upcoming artist gets to study in Moscow Ґodlevskoho who instilled in him the academic foundations. G. Hlembotska argues that in terms of style art to artists of his generation characterized by a mix of Classicist, realistic and romantic tradition in the spirit of historical [3; 240]. Two years (from 1871) Maurytsiy studying in Vienna, which falls to the class of prof. K. Maher and Karl von Blaasa. Vienna's art scene at that time was quite active and diverse. While studying at the Academy, he studied the works of old masters from Viennese collections. At the same time in Vienna (1873) is a large exhibition of contemporary European artists that has gained publicity. Among the exhibited works presented and the French school, including Delacroix painting, works of Feuerbach and Pilotti [7; 10]. So the young artist meets with European art, standing at the turn of the appearance of the first Impressionist exhibition. A formation creative manner of the artist is at the intersection of vectors and various movements and trends in art. However, the biggest impression he made works of Polish artist Jan Matejko. M. Gottlieb leaves studying in Vienna, which finances his father, trying to study at the famous Polish historical painting master. Then there is a conflict between father and son and the emerging long correspondence with her sister Anna, which eventually will go into a permanent habit and will be a valuable source of information about the artist. Once in a difficult financial position (parent stops paying his training if he does not studiyuvatyme in Vienna), the artist is looking for sponsors and patrons drawn to the portrait genre for earnings [3; 238-239]. So there are many images of the artist's contemporaries [5; 217], valuable for its realism, historical truth [1; 14]. However, he went to study in Krakow, finding funds and support from Vienna and Krakow Jewish community - shtetlu. M. Gottlieb had creative uncertain temper. His mood and desire are often changed, which affected his artistic education, which is irregular. This was for several reasons. Not self-criticism is the very first artist. He long pondered his works, which work often stretched in time. So many of his works remain unfinished or sketch stage. Among them were portraits. In particular studiyuyuchy drawing and painting class Matejko School (Academy) of Fine Arts (Krakow), he created his first work period of 1873-1874 years. Among them are drawings and paintings sketches the history of Poland, genre scenes, and many portraits. This we learn from the letters to the artist's sister Anna sh7; 11]. At the time, the artist undoubtedly falls under the influence of Jan Matejko creative manner with its appeal to historicism. We know that M. Gottlieb interrupted his studies in Poland. One reason for his frequent journeys were Semitism 33 among Polish students that zneviryly artist and pushed him in search of a better life. It is to that period is the first known female portrait. This is "Portrait of Anna" - younger sister of the artist (50h39 cm, oil on canvas, Collection of the Museum of Art in Tel Aviv), written probably in Drohobych, because the artist often dropped in to the home. This is quite a large format work for both creative artists of the period. Therefore, there is reason to assume that it could be a portrait of the academic task [7; 15], and the artist wanted to return to teaching in Cracow, making a break to lay down riots and attacks against him. "Portrait of Anna," as defined by Polish researcher works of artist E. Malinowski, established in the manner of academic studies, appealing to Renaissance designs. E. Malinowski argues in his monograph is devoted to M. Gottlieb fact that in this work the artist draws attention to information [7; 15], and not on the person portrayed, her psychological state. However, the researcher can not agree. In particular, the guidance regarding the comparative parallels with Renaissance portrait. After Renaissance portraits often colder in its coloristic range, despite the presence of a dark background, more "air" than what we can see in his works. I believe that an artist in the early period of his work began to confirm that nickname, it will be much later - namely, the "Jewish Rembrandt". Aesthetics and general style of the work is full of Baroque, its intense emotionality and psychology. With paintings on the deep background of dark green color, the artist takes his model in three-quarter bust portrait position. Its dark color clothes covered only the right sleeve dress deep burgundy color, which lies on the chest. From the sleeve is thin lace, and the hand is gloved in white silk, over which the index finger skillfully and realistically all the details prescribed inlaid gold ring with big red ruby. The artist is so meticulous in the picturesque modeling of parts that you can see exactly CUT precious stone, and only skilled jeweler from an image of this portrait could fulfill replica ring. As the younger sister of the artist's hand goes through a massive gold chain with a large round mace-shaped pendant inlaid blue stone. The chain is composed of many elements ornate replica-issued interest to researchers goldsmithing and jewelry aristocracy appeals to Germany and Holland, again bringing us compared to Rembrandt. But the parallel is not only this. Sister artist represented in the hat with ostrich-feather berettsi, which comes to the left side. Ornamental hat embroidered red satin fringe. In similar headdresses depict Rembrandt himself loved and known by his many self-portraits, similar in mood and style, as well as enhancements to the fabric of M. Gottlieb. Portrait scene may seem far-fetched, artificial and theatrical. However, the artist does not show the talent of synthetics. Instead, somewhat swollen face of the artist's sister golden ocher color surrounded by small dark curly hair, harvested in hat and brown eyes expressive view from the thin dark eyebrows turned to the audience, not without zhyvosti. Besides her face, as if deliberately indicative of luxury surrounded by lace on the Spanish or Dutch style with another gold chain that many inlaid with precious stones and is adjacent to the hidden neck model. Her ears round gold earrings that resonate with a massive pendant around his neck. Light shadow resolve this portrait close to the style of the great Netherlander, despite the presence of red color, still significantly overlaps with ahromatychnistyu determine the form in the works of Rembrandt. It is likely the flimsy Gottlieb jewelry accessories as specified dramatized story and rather gleaned from ornamental tables "Regina", common at that time to study art history. The desire of artists to reproduce true reality forced the artists to study historical and ethnographic material sh1; 13]. This can explain the other fact. The desire to exponential luxury was natural for the artist and his family, which at that period begins bidnity. His father was an artist co-venture with oil refiner destroyed a large fire, so impoverished family Gottlieb and got in a difficult financial situation. This may explain a possible stay of the artist in Drohobych, when he also had the opportunity to pose sister. In July 1874 the artist returned to Krakow. Here, students of the Academy at the exhibition, he presents his portraits. But anti-Semitism did not abate, and he returns to Vienna and Drohobych. Thanks to the success of his portraits of friends and support letters of recommendation from Jan Matejko, M. Gottlieb decided to go to study in Monaco 1875- 1876 biennium. (Class of prof. K. Pilotti, who was famous style of painting in the style of historicism). We know that at the same time, in parallel with Gottlieb studied in Pilotti Semiradsky G. and V. Chahurskyy. School historicism Pilotti was even more static in its artistic style than Matejko. After Semitism in Krakow and a failed attempt at assimilation Polish Catholic environment, he begins to actively seek the Jewish motives. As to the student of the artist begins work on canvas "Shylock and Jessica" on motives of the play of Shakespeare's "The Merchant of Venice." This is quite a lot of work artist (166,5h109,5 cm, oil on canvas, 1876, location unknown). An obvious reference to the historical, as scenes from the turn of the XV-XVI centuries. [5; 211]. In Monaco Pinakothek M. Gottlieb had the opportunity to learn more about the works of Rembrandt, who lived near shtetlu and liked to play Jewish genre scenes and portraits created many genre. Perhaps M. Gottlieb identified himself with Rembrandt through life conflict - recognition, non-recognition, wealth-poverty. But that can clearly be seen, the manner of Rembrandt finds a worthy successor in the person of the artist. His "Shylock and Jessica" full ahromatychnosti Rembrandt. But, probably, it is difficult to find an artist more expressive female image than the image of Jessica based on Shakespeare's plays. Her youth opposed to the figure of the father-tall elder. Jessica golden face contrasts with the old face, beard characteristic profile and Shylock. She is striking in its subtlety and tenderness in the arms of his father, who appears stocky, stooped figure with dark fur collar and a massive key in his hands on a background of heavy oak doors closed. Jessica's eyes filled with plaintive lyrics, they languidly half-closed. She dresses in a bright Renaissance, 34 published in the era Gottlieb theatrical scenery, but not devoid of credibility. This specific focus and is shown in terms of historicism in a creative manner of the artist. The image of Jessica artist depicted his muse - Laura Rosenfeld, whose image is often meet in the works of the artist. Definition of Jewish identity and Jewish artist grows, giving it an artistic confidence [5; 216]. A striking example is the painting "Rachel" in 1876 (Israel?). Although Rachel weeping for her children, can be attributed to religious motives Bible or Torah, it appears as a self-portrait resolution of the image. Rachel waist depicted in the portrait format. It luxurious dress, embroidered with precious stones from a deep cut on his chest in the manner of Moorish fashion with numerous transparent voile, muslin over it. They shrouded her head. Rachel anxiously takes away from the viewer look to the left, like seeing something unexpected. Traditional portrait for Gottlieb and style of historicism deep dark brown background silhouette emphasizes the model reveals numerous transparent haze. Rachel's face light golden ocher with the right expressive beautiful features. It is full of grandeur and aristocracy. On the neck of Rachel rows pearl necklace that its light spot coincides with light reflexes in the dark eyes of the model. With the advent of the female image as a creative artist can assert his influence on the aesthetics of Romanticism. With the image in Rachel Gottlieb increasingly manifest through historicism implicit appeal to sentimentality. Romanticism and sentimentalism in portrait painting artist in its entirety manifested itself in a little essay "Lady with Fan" (40,5h33, board, oil, 1877, National Museum, Warsaw). In contrast, male portrait, female images in the works of artists gravitate to the image of theatrical scenery [7; 27], as defined by E. Malinowski. However, when viewed from the standpoint of historical and aesthetics of romanticism and sentimentality, they will not be issued secondary. In contrast portraiture M. Gottlieb, revealing images of women plays interesting character types. This deep and worthy paintings, though the young artist. We can state that after the "Portrait of Anna," images of "Shylock and Jessica," "Rachel" and "Lady with a Fan" become more feminine, deep femininity and coquetry that most clearly embodied in the past. Portrait "Lady with Fan" - a type of belt profile portrait. On neutral background graduation green vyrysovuyetsya clear profile of a beautiful young woman. In it we see a gold ring ear-drop, which underlines its beauty. Looking woman turned down. Her dark expressive eyes hidden in the shadow of long dark eyelashes. Profile woman full of special softness. It avoids ahromatyzmu prorysovtsi author. Form found clear light ocher Blick as accents. Long dark brown hair woman clothed with hair and decorated with precious gems thread. Her dress transferred energetic expressive strokes of light blue color with greenish hues, successfully simulates transparent chiffon. In his hand fan with gorgeous colorful peacock feathers fastened to the intricate silver-golden handle. The artist as a young woman beauty contrasts with the beauty of Pavia. This portrait in the style of historicism appeals to the late Renaissance portraits of Elizabethan England. It was at that time lived and reigned, and other artists often depicted "Lady with Fan" - Queen Elizabeth I Tudor. M. Gottlieb contrasts the beauty of his contemporaries with the beauty of the legendary queen, who sung in numerous ancient ballads and portraits, finally utverdzhuyuchys as master female portrait in the style of historicism. The artist wore elegant young women in historical costumes and antique accessories, which again suggests an analogy with Rembrandt. His accent images women found jewelry and details. M. Gottlieb tried dopasuvaty suit the type beauty woman. One of the most famous female portraits painted by the artist in the style of historicism is "Portrait of Laura Rosenfeld" (79h63 cm, oil on canvas, 1877, Museum of Art, Tel Aviv). L. Rosenfeld came from Moravia kind of rich, well brought up and educated, she was an ornament assimilated Jewish society Vienna, where, in fact, met with the artist. Their relationship completed in summer 1877, when the artist's muse marries Berlin banker L. Henschel. We know that Laura Henschel-Rosenfeld was a supporter of the feminist movement. After her husband's death in 1909, she worked in abandoned children and orphans, had its own charity fund, which in 1933 operated in the Netherlands. Died muse and inspiration of the artist on the way to Auschwitz in 1944. This portrait transferred to the museum in Israel granddaughter Laura Bat-Sheba Sheflan. From the deep dark background face turned to us L. Rosenfeld. Her image is full of subtle features. Length portrait of the artist's muse, dressed in Renaissance dress the way to the French-German style with rich dark colored ornamental gold embroidery. However, the upper part of the dress contrasts with bright white expensive delicate lace. Like other female portraits M. Gottlieb in the style of historicism, the neck of Laura massive gold medallion round shape in elegant wide chain. Her face flush with a gentle light ocher transferred. Clearly defined thin dark eyebrows and big brown eyes curiously turned to the viewer. Dark Hair Laura lost in the dark, which is almost imperceptible black hat with ostrich feather. Only glimpses feather on the hat and buckle give subtle shape of the latter. This portrait by way of filing stylistic surroundings close to the portrait of the artist's sister Anne. "Portrait of Anne's sister" (27h21,7 cm, Oil on canvas, 1878, National Museum, Warsaw) was painted by the artist for the second time four years later the first. The second portrait is much maysternishyy. He reveals the rapid growth of the young talent of the artist. Method feeder models are not only discovers beauty young woman, but also reveals its character psychology. This bust portrait of the most dynamic in the artistic heritage of the artist. Anna dressed in a dark dress with a high lace collar light. On her chest again see a number of gold chains with pendant inlaid ruby. In the ears massive gold earrings models. Whimsical face with soft lips stretched out in a rather long line in a three-quarter angle. The movement of 35 the head opposite line of the shoulder girdle. Curly long hair falling on his forehead and hiding under a big wide-brimmed hat decorated with flowers and easy ostrich feather. This portrait is similar in its style and means of expression to portrait L. Rosenfeld, indicating the formation of individual style of painting artist, his style. The last known portrait of a female artist in the style of historicism is "Portrait of a Woman" (126h86,5 cm, oil on canvas, private collection, Israel). There is speculation that it again shows the artist's sister Anna. This is one of exceptional Gottlieb generation for portraits. His manner of performance and style appeal to feed the model parade portrait XVII. Certain details and lyricism common canvas portraits resemble T. Ґeynsboro particular colors and translucency povitryanist atmosphere. The portrait depicts the knees of a young woman who, in fact, very similar to the sister of the artist. She is dressed in a dark blue dress with light blue sleeves. Her neck pomerezhane light fringe, revealing clothes aristocratic face and shoulder girdle. Left hand gesture women in prim lowered. In her little finger thin gold perstenyk. In models ears small gold earrings. Long dark hair decorated with pearls and removed a number of your favorite hat for him with valuable buckle and ostrich feathers. View model lyrically dark eyes and somewhat anxiously turned to the left. The woman depicted in the background of a heavy brown curtains. The space behind her on the stage pidmalovka made lisyruvannyam gray-green tones. This picture shows pointer psychological model that is increasingly characteristic of an artist in his creative vykrystalizovuyuchys manner. Gallery of female portraits in picturesque M. Gottlieb heritage is rich and varied. Portrait of a Woman in the style of historicism he gets a special place and zhanrovosti. Through the prism of female portraits can be traced to artists whose work has influenced the formation of the artist. It is in a woman's portrait begins to develop an individual style of the artist, which eventually manifest in biblical grounds and genre scenes. "Historical" female portrait sheds light on little known facts from the biography of the artist, reveals the spirit and atmosphere of the time - the era of Dr. Paul. XIX century., Which proved to be an era of changes and contrasts, as the artist himself - the so-called "Jewish Rembrandt".

References 1. G. Hlembotska Images vanished world. Judaica. History museum and private collectors in Lviv / AG // Hlembotska center of Europe. - L., 2013. 2. Debra R. / Illustrated Bible. Old Testament. New Testament / Debra R. // Family Leisure Club. - H., 2012. - 272 p. 3. Jewish art in Galicia / G. Hlembotska // "Ji": an independent cultural studies. magazine, h. 51 "Hebreyskyy Lviv" - L., 2008. 4. A. Mondadori / history of art / A. Mondadori SA // PMM. - M., 1998. - 730 p. 5. The Genera VI / Jewish art. Coll. Art. // Cultural Bridges. - M., 2002. 6. Haas W / Nightingales In і silk velvet. // Zzyciawielkichprimadonn Polish Music Publishers. - Krakow, 1975. - 487 р. 7. J. Malinowski / Maurycy Gottlieb // Arcade. Warsaw, 1997. - P. 84. 8. Mendelsohn E. / Paitingapeople: Maurycy Gottlieband Jewish Art / Mendelsohn E. // Brandeis Univ UPNE. TelAviv, 2002. – 279 р.

Summary Dydich I. The historical style as a method of female images in portrait painting of Maurycy Gottlieb This article shows the women’s portrait in historic style at the end of XIX century, which was formed in a painting by Maurycy Gottlieb like a special genre of characteristic of the hascalah – Jewish lightening movement and also shows the artist’s and the European artistic schools which had place in a years of study of M. Gottlieb. Key words: women’s portrait, painting, Jewish art, hascalah.

Received 5.10.2014

UDC: 7.071.1:821.161.2 M.M. Kovtun

A THEME OF MATERNITY IN CREATIVE WORK OF SHEVCHENKO AS AN ARTIST

Formulation of the problem. At the beginning of the XXI century. there is an urgent need for new thinking creativity Shevchenko according to the worldview of modern Ukrainian society. Modern literary criticism has many scientific papers relating to the works of the poet Shevchenko, particularly those devoted to the study of women's themes in the works of the poet. Then, as his expressive activity is not sufficiently investigated. Given that Shevchenko relationship to art displayed in the unity of word and image, his work as a poet and as an artist not only essentially identical, but vzayemovariatyvna and complementary. Shevchenko and the visual arts, and literature raised woman to the highest pedestal of purity, depth, feelings of loyalty, moral beauty and grandeur of the parent. Based on the fact that art was stylistically defined period of Romanticism, the artist was able to develop its own view and approach work through the idea of humanism, nationalism, the struggle for a better future mothers. 36 The focus of research is accentuated in the artist's works of art on the theme of motherhood, where the image of mothers was a symbol of Ukrainian mentality. State study. The first documentary and other material relating to the activities of Shevchenko-artist, dating from the 1835-1845 biennium. These are different documents was first taken into account in the publication "Shevchenko in the Academy of Arts" from the magazine "Kievan antiquity", which is published in Kiev in 1882 -1907's. Overall the study of its fine works began with the first steps of art criticism science. Since the beginning of the XX century. E. Kuzmin emerging research "T. Shevchenko as a painter and engraver "(1900), M. Sumtsova" Paintings and drawings H.Shevchenka TV "(1905), O. Slastyon:" Shevchenko as a painter "(1906)," Shevchenko in art "(1911) and others. In the Soviet period out such works on artistic creativity Poet: O. Novitsky "Shevchenko as a painter" (1930), M. Burachek "Great People's Artist" (1939), S. Rajewski "Life and art of "(1939), P. Hovd" T. Shevchenko - artist "(1955), V. Kasian" Art Shevchenko "(1963), S. Birch Tarhan," Shevchenko - poet and artist "(1985) and others. The end of XX - beginning of XXI century. marked B. Ovsiychuk fundamental works that most fully presented Paint achieve Shevchenko, their national orientation - "Artistic heritage of T. Shevchenko in the context of European art culture" (2008), D. Antonovich "Shevchenko-painter" (2004 .), L. Heneralyuk "Universalism Shevchenko interaction Literature and Art" (2008) and others. However, the theme of motherhood in the artistic heritage of the artist is still not the subject of a separate systems research. To analyze the works of art Shevchenko on motherhood is taken into account work concerning the evolution of women's themes in his poetic creativity: D. Chaly "The image of women in Shevchenko's poetry" (1956), J. Holumbyovskoho - "images of women in Shevchenko assessment Franko "(1972)," Evolution of the image of the mother in the poems of Shevchenko "(1973), T. Bovsunovskiy" Artistic concept of women in the work of Shevchenko "(1999), N. Zborowski "Code of " (2006). The aim - to identify the artistic aspects of the image of the mother in the painting works of Taras Shevchenko, reflecting the peculiarities of perception of the world of the artist. Shevchenko not imagine a family without children. A woman who marries must prepare to become a mother for being a mother - happiness for a woman to have - a big public thing. He gives honor and respect women and mothers who adequately perform their motherhood. Shevchenko and the visual arts, and literature idealized mother, identifying it with the image of the Virgin. The theme of women's fate was leading in his work as an artist and poet. Artist transforms the image of the mother, mainly through the downtrodden and unfortunate women, similar to the poetic heroines. Art artist Taras Shevchenko deeply symbolic, with a strong national focus that characterizes the then era of Romanticism. According to N. Zborowski "... In the Ukrainian realistic romance, which is Shevchenko, experienced sublime love of Mother from realistic vision of womanhood as Ukrainian unconsciousness, deep in its development potential, able to revive not only national but universal courage ... "[1; 96]. This exploration deals with several works - "Catherine" (1842), "Peasant Family" (1843); graphic pictures - "blind daughter" (1842), "The prayer of Mother" (1853), which allow us to trace the special situation of mothers eyes Ukrainian genius. Researchers picturesque heritage Shevchenko noted that the painting "Catherine" he wrote in 1842 Before the "Catherine" in Ukrainian, and art was not all-work with such an acute and topical social plot. First heroine art-piece was man of the people - serf girl, a victim of aristocratic debauchery, humiliated and offended in the best feelings [6; 5]. Catherine - Ukraine allegorical symbol of suffering, humiliated in love and a sense of desolate mothers, embodying, while the image of Ukrainian Madonna. It sounded spontaneous protest against social injustice and serf slavery. Ovsiychuk W. wrote that "painting" Catherine ", which is true of life and man's fate seen through the projection of the historical past, personifikuyuchys in the fate of the country. The combination of symbolic and allegorical principles of associative and combining historical trends with household difficult genre of expression work that even before has the bright monumental epic expressive and positive social and aesthetic values - all work Shevchenko separated from contemporary, emphasizing therein and colorful tradition Renaissance altar paintings "[3; 650]. "I drew Catherine while she said goodbye to her Moskalyk and returned to the village; in the area under the hut grandfather sitting struzhe a spoon, and it unfortunate, but not crying ... and Muscovite article itself, only dust falls; ugly dog has allegedly reprimanded him and barks. On one side of the grave, the grave of a windmill, and there has just plain dreaming. So is OTA picture! "[7; 346]. These words, taken out of context correspondence Shevchenko G. Tarnowska to indicate that this picture can not be considered an illustration of the poetic work of the same author. This independent work on a common theme of the poem and built according to the specifics of art. Shevchenko in "Catherine" used wide enough informative material and led him to a special resolution. Here the author traced the awareness of European art of the Renaissance and Baroque, with iconography and ancient Ukrainian culture. It is believed that the composition of the painting is built in compliance with the guidelines of academic art. It is an isosceles triangle (figure Catherine) inscribed in an oval, which includes side figures that flow into the events and promote monumentalizatsiyi image of Catherine, the dramatic tension of the work. Numerous objects, symbols reveal the profound content of the picture: a few broken stalks of corn, empty ears, oak branch, ax and others. Clearly traceable traditional academic tracks diagonally. Image confounded girl - not only the compositional and semantic center and work. Of particular note is the artistic 37 gesture of the hands of Catherine and drawing her legs, which can be compared with the "Sistine Madonna" by Raphael. Thus, Shevchenko identifies a simple village girl with Madonna, focusing on the main issue - the symbol of motherhood. Color painting work dependent on the position K. Bryullov. Red stands dominant, emphasizing the main - tragedy girl pokrytky and cold, greenish-blue background emphasizes her sad mood. Shevchenko created this picture outside Ukraine without being able to draw from nature. However, noticeable is pronounced national orientation that characterizes the author as representant nation. It affirmed the sanctity and dignity of motherhood. The artist makes it clear which social status Catherine. In an effort to strengthen the emotional sound work by filling small details (elements of clothes); indicates loneliness girl, depicting Catherine and the officer moving from one point, but in opposite directions [2; 11]. Shevchenko "Catherine" - fundamentally, meaningful work that is socially revealing content. It interpreted the image of Mother pokrytky the image of the Madonna (who will eventually become the archetype of Ukrainian art), the tragedy of the girl symbolizes the tragedy of Ukraine. Shevchenko is one of those artists that are capable of self-reflection, filling works on maternity thoughts, doubts, feelings, analyzing the mental state of the mother. In contrast, embodied by the artist, offended the image of Catherine stands serene scene pictures - "Peasant Family," in which Shevchenko addressed the topic of holiness spiritual mystery of motherhood. Dan picture of most critics, including art Stepovyk D. and E. Zhaboryuk, enlisted in the works of genre. At its base lay a simple plot discuss performance father and mother of the child. This philosophy can be traced graphic author, his analytical virtuosity. The "peasant family" felt inner roll with gospel theme - the "Holy Family". The plot of the Virgin Mary, Joseph and little Jesus Christ Shevchenko moved to the national soil. Action in the foreground (the kid that played) is narrative plot. Speaking of parents, gestures, facial expressions and postures outlines the characters of women and men, their interest in the child's behavior sh4]. The idea of "Sistine Madonna" premonition of inevitable torture and are seen in maternal ethics, typical Ukrainian family life. By rethinking simple village woman, which contrasts with the parent entity idealization inherent romantic views. After searching the image of maternal gesture that should inform the meaning of the work, the artist, who always tried to communicate with the people of his native language, creating a "peasant family" image Bereginya. The woman - a homemaker, heat, ie family comfort - was for Bereginya Shevchenko Ukrainian people. Strengthen and establish meaningful space structure of ethnic group or nation being, fill the sacred meaning of the people initially important aims ritual. Ritual gesture keepers in Ukrainian folk art can be considered instinctive movement- preventing mother of the child, compositional uvyraznenyy well spelled accent lighting. This picture describes the use of sunlight not only as a means of creating songs, but also as a primary means of disclosure of the contents of the work. Thanks to the soft light reflected multifaceted storyline religious and community values. Romantic atmosphere enabled the artist to see the real blessed moments in people's lives. His quest sunlight outdoors Shevchenko 30 years ahead of the opening of the French Impressionists, who practiced writing his works in different light and used sunlight as the main factor. He was able to reproduce the vibration of air but without slavish copying. However, while the Impressionists so destroyed contour image, sometimes completely abandoning it necessary retained Shevchenko expression, which in the nineteenth century. able to withstand not everyone was committed to the clear contours of artist-academics. "Peasant Family" for the artist - ideal to which he aspired for life. So clearly primordial, integral image of the Ukrainian people - family - the first time in a national painting failed to realize just Shevchenko. It emphasized the humanistic values of the author, in particular, the worship of the woman-mother, attitude to which was social dimension of development of human society. On the motive of the poem "Slepaya" Shevchenko executed in pencil, sepia and ink drawing titled graphic (avtoilyustratsiyu) and six sketches and sketches. The figure "blind daughter" focuses on the faces and postures; Oksana asleep, his head on the lap of the mother. Mournful mother image contrasts sharply with the beauty of a young girl - and this further emphasizes the tragic fate of blind-pokrytky. Critics say that this appearance of women (mother and daughter) depicts idealized. Realistic blind and her daughter, the artist depicted on sketch pencil. In the center there is the heroine happy, but with a sense skorbotnosti. In the sketch sepia can be seen burning chamber, crazy figures Oksana and her mother. Obviously, the author tried to sound emotional story, to find the most successful versions of its own design. "Prayer Mother" - another graphic design artist made sepia. Information about this work very little. There are assumptions [5; 31] that the story could serve as a figure difficult disease Uskov son - Dmitry, who later died as a mother reminds portraits of Alexander Uskov. Center work stands the figure of the mother depicted in praying that symbolizes the rejection of themselves for the sake of the child. It is obvious how deeply Shevchenko suffered the tragic fate of the mother. All compositions Taras Shevchenko marked quite powerful artistic spirit, atmosphere Shevchenko-artist, described as artistic and meaningful reality. They marked individuality, originality of the artist; image mothers - deep, mysterious, mystical, mysterious. Shevchenko had a fusion of spirituality and spiritual vision and technology, identifying physical life of the mystic. Conclusions. The theme of motherhood was one of the leading works of Shevchenko. However, the range of subjects which present the topic, typologically quite limited. For the most part, the artist transformed the image of the mother through the image of "Mother pokrytky", which was intended to draw attention to the acute social problems pohlumlenoyi feminine holiness, radical change in the status of women in society. His expressive activity also filled with 38 simple, everyday scenes with multiple objects, characters that personify the mother as homemaker, the personification of religious worship. In poetry Shevchenko portrayed Ukraine and the Ukrainian people as the unity of the mother and child. And it is such a mother it was intended to perpetuate and fine arts. Therefore, in the picturesque images of mothers also embodied the image of the motherland. Natural genius Taras Shevchenko parse world culture, to feel the spirit of the romantic era and create an image of mothers in which its "picturesque" word turns into a picturesque image. Tracing the evolution of the theme of motherhood in the visual artist found that a mother reflects the national character, oriented to national freedom and sacrifice mothers. Questions and psychological characteristics of the national image of the mother in the fine of Shevchenko in its infancy and requires further study.

References 1. Zborowski N. Code Ukrainian literature / N. Zborowski. - K.: Akademvydav, 2006. - 504 p. 2. Ivanyshyn V. Shevchenko unread / V. Ivanyshyn. - Drohobych: Rebirth, 2001. - 32 p. 3. Ovsiychuk V. Reflections on the painting Shevchenko "Catherine" / V. Ovsiychuk // ethnology notebooks. - 1999. - Notebook 5. - P. 650-659. 4. Stepovyk D. Shevchenko unique contribution to the art (to the 150th anniversary of the poet and artist repose) [electronic resource] / D. steppe. - Access mode : http://www.kda.org.ua/statti/1145-unikalnyi-внесок-tarasa- shevchenka-v-obrazotvorche-mystetstvo.html. 5. Taras Shevchenko. Full cit. op. : 10 t. / Shevchenko. - K., 1964. - T. 9: Paintings, drawings 1851-1857. - Eyelashes with. + 177 ill. + 112 pp. 6. Hivrich S. artistic techniques creating images in the paintings Shevchenko / C Hivrich // Ukr. language and literature in the modern school. - 2013. - № 4. - P. 55-59. 7. T. Shevchenko Works: in 2 t. / Shevchenko. - SPb., 1911. - Vol 2: Letter to GS Tarnavskoho on January 25, 1843 - P. 346-347.

Summary Kovtun M. A theme of maternity in creative work of Shevchenko as an artist The article deals with the artistic aspects of the image of the mother in the Painter of Shevchenko which reflect the features of the worldview of the artist transformed through the prism of national identity. Key words: image, creativity, artist, mother.

Received 10.11.2014

UDC 792.07 N.V. Kukuruza

LIFE AND CREATIVE WORK IN LITERARY CONTEXTURE OF SHEVCHENKO: MODERN GENRE SOLUTIONS

Genre literary compositions - a unique phenomenon that appeared on the verge of artistic expression of art and theater. It exists at the intersection of theoretical aspects of art history, cultural studies, theater studies, literary studies and practical, related to the specific "creation" and implementation on the stage. Relevance study the life and works of Taras Shevchenko in the genre of literary composition as an example of contemporary artistic practices due to the fact that, firstly, socio-cultural processes of late XX - early XXI century. led to the destruction of the traditional hierarchy of genres and genre art transformation of artistic expression; secondly, implementation needs analysis Shevchenko words in the work of individual artists and theater companies. The purpose of the article - the figures reveal a new vision of Shevchenko in the cultural space and a modern interpretation of the life and work of poet scenic means. Today the life and work of the Great Kobzar takes a variety of treatments, including the practice of professional artists, theater studios that experiment with no dramatic material, individual theater productions and art projects. As the director S. Proskurnia, there are "many different Shevchenko: Shevchenko administrative, school Shevchenko, Shevchenko modern, space Shevchenko, Shevchenko bohorivnyy ..." [12]. Genre literary compositions presented today as a traditional genre model, and postmodern. Conditionally can distinguish the following layout primordial literary compositions: - Made directly by the works of Shevchenko ("The Gospel of Taras", "Duma" B. Kozak, "Duma Kobzarev" A. Palamarenko); - Combined different genres of dramatic type of material is not dedicated to his work and biography (poetry Shevchenko other poets, fiction, journalism, archival materials, memoirs, letters, publications shevchenkoznavtsiv) (I. Bernadsky "Shevchenko, whom we do not know" ) - Poetic compositions on the works of various authors dedicated to the figure of Shevchenko ("Shevchenko thoughts" M. Bulat); 39 - Installation of a single piece Shevchenko means exclusion of separate pieces specified by the author-performer (widely used by amateur reader). Staging literary compositions on stage can differentiate into: - Classical artistic performance (reading), as an option - in combination with music; - Artistic performance combined with theatrical means of expression (plastic mizanstsenuvannya, music and lighting design, props, costumes); Separately, you can talk about: - Genre monodrama ("Hireling" L. Kushkovoyi, "Gaydamak" M. Miller, "Sleep. Comedy" theater "in basket" I. Volytsko); - Art projects (a joint theater workshop «Vinora-playing-tovn» () "New Theatre" Pryluky) «KOBZAR plays WWWevchen.come.today" (dir. Ivan Kobzar) show "Passion for Taras" dir. B. Vovkun composer Stankovych); - Drama ("Catherine" dir. B. Revkevycha National Academic Ukrainian Drama Theater. Zankovetska): - Recitation competitions where performance Shevchenko's poetry begins to move away from the traditional, acquiring various imaging features. Note that the literary source compositions serve as an object for their own reasons, its own expression. Therefore, the master of the genre of literary composition linked his work with the genius Shevchenko not only for the stage incarnation of his works, but also for the study and understanding of his personality. Each era worked their way Shevchenko, respectively, each artist was looking for "their" Shevchenko. During the totalitarian era "reprinted almost every year canonized poet huge circulations, carefully propolyuyuchy inherited genius, looking it seditious lines, removing ambiguity and adding their own interpretation to the fact that it was impossible to remove" [3; 164]. So, to some of the creative heritage of the poet if access was, it could not be a source of literary creation and have a primordial stage embodiment. Soviet ideology supported only civil, revolutionary orientation in the interpretation of the works of the poet, which is then covered favorably by the media. A special place in the artistic expression of the master, People's Artist of Ukraine, Hero of Ukraine, Shevchenko Prize winner A. Palamarenko takes his pain, his great love - Shevchenkiana. Thinly feeling the wounds soul of a poet, he created original stage canvas: the song "Kobzarev Duma", "Dream," which involves singing poet, music. A program for the poem "Gaydamak" created with the participation of producer - Honored Artist of Ukraine Ivan Gamkalo and B. Lukashev, State Symphony Orchestra of Ukraine, is considered by specialists and students an outstanding event in the artistic life of the late twentieth century. sh10]. A. Palamarenko claims that work with Kobzar as long as he lives, because it goes to all the time. Only recently, says a great actor-reader, he found the correct, logical emphasis "Testament": "Previously, without going intuitively made emphasis on the word" blood. " Now think, and what "blood" and not "enemy"? I always try to find the main word, and only then add emotional shades. When did the emphasis on "vorozhuuu" I thought, and who prevents us build Vkrainu? Vorizhenky? They also visible and invisible ... "[8]. An unusual figure on the cultural and artistic horizons Ukraine - People's Artist of Ukraine S. Maksymchuk (Lviv National Academic Ukrainian Drama Theatre. Zankovetska), author and performer of numerous literary compositions on the works of Shevchenko. Actor says: "Speaking scale, it helped me most - and in the work and in life - Shevchenko and Franko. Who are the first to the second, do not presume to decide for Shevchenko - wakes and Franco - teaches ... "[4]. Analyze the work of famous theater actors, who are also working in the genre of literary composition Shevchenko theme. By poetic-musical composition "poslasha ..." Shevchenkovsky title of laureate awarded People's Artist of Ukraine, B. Kozak (Lviv National Academic Ukrainian Drama Theatre. Zankovetska). This is not the first creative work of the actor- intellectual. At the time, he created a television Shevchenkiany "Caucasus", "And the dead and alive ..." "Great cellar." In B. Kozak also a way for a literary fundamental principle: "I never read" Cherry Orchard Circle house "or" I passed thirteen. " But when creating songs I lacked the topic. It turned out that this is perhaps one of the best moments of poetic and musical composition. In preparing it, I discovered something incredibly interesting. In school anthologies, for which we have learned with their peers, the poem "I passed thirteen" ends with the lines: "And we, joking, driven / Aliens lambs to the water." We take academic publication, and then: Hateful .. but still, as I remember, That heart weeps and aches, Why Lord did not give live Small age in that paradise. Died like Pasha in the field, Nothing in the world would not know. Would not the world fools, People and God curse! These lines never been a reader. So always finds things that need thinking "[14]. The repertoire of the People's Artist of Ukraine Leonid Kushkovoyi (Dnipropetrovsk, Academic Music and Drama Theatre. Shevchenko) occupies a special place for solo play poem "Hireling" which zastosuvavsya principle spectacular theatrical performance art piece. Among the solo performances as actress poem "Poplar". 40 In the repertoire of the poster winner of the National Prize of Ukraine. Shevchenko M. Miller (Dnipropetrovsk, mono-theater "Scream") listed performance "Gaydamak" the poem by Shevchenko. As an extraordinary approach to composing literary primordial composition of the great poet, called "Shevchenko thoughts" M. Bulat (Ternopil, one-man show "Stray Cat"), where the poetry of Shevchenko use only the refrain poem of the same name, and the same Shevchenko speaks words poetry VI Hnatiuk, O. Oles, Yuri Rybczynski, V. Symonenko. With works experimenting theaters Shevchenko also working as unique methodological centers. "Theater in the basket" at the National Center for Performing Arts. Kurbas long takes elitist niche in the cultural space of Ukraine and is looking for abutting modernist and postmodern aesthetic principles, conducts research in the field of theatrical sign, symbol, , is building its own, unique means of expression and theatrical expression. The repertoire - solo play "Dream. Comedy ", declared as" farewell to zashtampovanym sided Shevchenko. " At its core - Shevchenko poem "Dream", which combines political satire and features misteriynoho action. This poetic and philosophical reflection on the historical fate of Ukraine, but at the same time - a unique word in the cultural context of the first half of the nineteenth century. Peresikalysya where Gogol, Pushkin and Mickiewicz. "The lyrical hero Shevchenko dream of flying above the ground and opened it bizarre images: three crows, symbolizing evil forces Ukrainian, Russian and Polish peoples; Ukrainian idyll of nature and psevdonatsionalnyy expression of feelings; and drill soldier soldiery; Peterburґ the king and queen, with autocrats and bureaucrats, imperial monuments. Phantasmagoria visions and visions, images, presented in parody, sarcastic, ґroteskovomu detects increases the tragedy of Ukrainian history "sh9]. Note that this performance received an award for Best Actress at the International Festival of solo performances in Moscow (2004). Shevchenkiana become an integral part of the creative artists of . At present it has prominent representatives among theater artists living, particularly in the USA and did not abandon the arts of artistic expression on the stage and literary stage. The positive is the fact that the Ukrainian word in the genre of literary composition is subjected to experiments in the area of theater (W. Weaver), which is consistent with the spirit of the time. 1990, with a few random encounters, conversations and rehearsals born first performance art group "Yara" "Light from the East", where in the heart of New York's young American actor read poetry Shevchenko Ticino [13]. Since the 90 th century. lives in Canada Ukrainian actor G. surface. Very rarely, depending on the request, he turns to the genre of literary composition. Canadian magazine "Meeting" notes: "memorable present Shevchenko poem" To Osnovyanenko. " It read Gregory surface. It was one of the points nayzahoplyuyuchishyh holiday. Hladiya recitation accompanied by virtuoso violinist Ivan Zavada game »sh15]. The current theme of literary genre compositions expanded new wave of parents workers. The producer of the New York theatrical premiere of "There's the good my mother ..." I. Bernadsky (former actor Lviv National Academic Ukrainian Drama Theater. Zankovetska) reflects on the Ukrainian Shevchenko's wife time and day of the holy name of Mother , the forced separation of mothers and children, and about what a modern immigration - forced or free. This performance - a conversation with America, modern Ukraine, which forced the powers that mothers poneviryatsya worlds, talk with Taras Shevchenko, which remains valid at all times. Writer, director, People's Artist of Ukraine, actor Ivan Bernadsky said: "If even a mother sitting in the hall, back home, it will be my great merit as a director. And those mothers who stayed so long, would have to think about that for so long in leaving their children can not ... "[6]. Today, Drama Studio theater I. Bernadsky over 10 years. In poetic repertoire performances of works by Shevchenko to which it involves a large circle of amateur singers and solo play "Shevchenko, which we do not know." The basis for drama took an unknown artist pislyaradyanskiy (and, consequently, the entire fourth wave of workers in America) outstanding custom book shevchenkoznavtsya P. Zaitsev. His monograph "Life Shevchenko" - detailed, studied step by step, day by day, and adjusted in the archives of the story of Shevchenko path from birth to death. The actor refused to theatrical gestures-game music and design. Intellectual and emotional impact of increases laconic scenography centered on the exceptional beauty antique chair, upset raspberry edge. It symbolizes the same chair in which after Shevchenko so no one could get. And on stage it remains intact ... [7]. Returning to the cultural space of Ukraine should note one of the brightest theater in the National Academic Ukrainian Drama Theater. Zankovetska "Catherine." Director B. Revkevych said: "Shevchenko - Mystic, existing mentalities. When I worked on the staging, amazed that he alone speaks directly through God. Taras penetrated loneliness because his entire confession poured out on paper. I am interested in it before all its relevance today. Shevchenko worked with soul speak through the soul. Soul - is substance, it does not change ... "Catherine" - a generalization that the fate of women - a reflection of our country, such a sad parallel. If we carefully trace in his work, is permeated with the words: "people do not see the heart, say lazy", "people will not forgive", "our people are strangers," etc. - all words that indicate about our mentality. Woe to us, because we only home of his house, and as long as we do not give it down, until then we will not have peace "[2]. The image of Catherine on stage doing six mermaids. Each tells a story and every story at some point becomes the protagonist from Catherine that I love - to Catherine, who goes mad and heated. Plastic decisions dictated exaggerated performances wreath. In addition, it serves as a metaphorical figure of the actor: wreath, baby, roads, loop around his neck. Let the creativity of theater studio «Vinora-playing-tovn» (Kharkiv), which now belongs to the "Kharkiv cultural space." His poetry in the repertoire is one of the leading places. Director Ivan Kobzar Studio actress primarily not by accident marked the figure of the poet in the interpretation of the word "vinora": "I knew that the title should be sound" P 41 "for now this is a breakthrough sound ... shall have power and wealth passing through time and space - Christ, faith, poet, Ukraine. But I heard a program about water source, which is squeezed from the depths of tectonic shifts in the surface and brings about worlds that were to the left and disappeared or are on the lower layer mentality, background, support ... For Ukrainians same as a system, as civilization during the Soviet era were destroyed. In Kharkiv horrible - Famines, wars, repression, oppression - all basic features Ukrainians gagged so deeply dug these holes, cliffs such as history, culture, Ukrainian mentality here in the east that is all I had to wake ..., remind fill, throw grain ... in whatever ground, hoping that something will come down "[1]. The first performance the studio called and so called "Childbirth memory". There were poetry Shevchenko, Lesia Ukrainian and pans, a good representative of the Kharkiv ground. Equally momentous creative work "Vinory", which later developed into a joint project with the New Theatre (m. Pryluky) - a poetic show «KOBZAR plays WWWevchen.come.today." This modern view youth creativity Shevchenko. Shevchenko word increasingly exposed imaging in staging, as evidenced by the recitation contests in recent years. There is a departure from the recitation begins to predominate method actor perform literary material. Represented artists of Kharkov theater "Postscript" Buckeye K. and M. Vedzenovym (actors won the Grand Prix of V All-Ukrainian competition for readers of them. R. Cherkashina) excerpt from the play "And the dead and alive ..." (prod. - S. Pasichnyk) by works of Taras Shevchenko struck a new look at the familiar Reciting interpretation of works of the poet: texts through physical action (attempt to escape from the shackles of chain), costume artists, etc. Another striking art project - the embodiment of Shevchenko words together with music, singing, choreography, performance (form of the genre), "The Passion According to Taras" where semantics His poetry with music organically combined into a single Stankovych revelation. The libretto Honored Artist of Ukraine V. Vovkun (director) "Passion ..." G. T. texts used, which reveals the drama dehumanization of social life, the disintegration of traditional ideals and values. In the center of stage event - a person deprived of the experience itself and harmonious outlook. This conflict is updated and becomes the highest meaning of human existence Shevchenko's maxim "Boritesya - you will overcome!" As the only path to liberation. [11] The product was made in performance: the chapel "Dumka" (artistic director and chief conductor E. Savchuk), soloists - O. and A. Boyko Pogrebnoy, the National Symphony Orchestra of Ukraine (conductor Vladimir Sirenko), the text reading Honored Artist of Ukraine Yevhen Nyschuk. According to V. Vovkun "message of sounds, fight and overcome, and then the orchestra stops and sounds" cherry circle garden houses. " And when we say that we all dream of this garden, this garden can be when win yourself - bezkulturiye, immorality "[5]. The great advantage of Shevchenko in the art of literary composition is that before you make Shevchenkove word to the general public, the author is a "path to Calvary" in the knowledge of Shevchenko's merits. Passes way to "own" Shevchenko clean through, thinking, rethinking. And then he appears before the audience. This creative process is endless, because the Great Kobzar always ahead of his time. His strength is his word - at all times.

References 1. Archive N.V. CORN. Interview with Ivan Kobzar. 2. Halkanova A. Catherine. Taras Shevchenko [electronic resource] / A. Halkanova. - Access: http: //www. zankovetska.com.ua/repertoire/small stage / kateryna.html 3. Evgrafova A. Ukrainian spiritual idea as Ukrainian spiritual [electronic resource] / A.A .Evgrafova, A. Tkachenko // Bulletin of SSU. Series "Philology". - 2008. - № 1. - Access: gtr: // webcache 4. Zobro Svyatoslav O. Maksymchuk: "Shevchenko wakes and Franco teaches" / O. Zobro // High Castle, 2011 - Dec 23. 5. Kazakova E.V. Shown in Natsyonalnoy opera Premier performance of "Passion of Taras" [Electronic resource] / A.V. Kazakov, S. Bear. - Access: http://podrobnosti.ua/podrobnosti 6. L. Korsun Shevchenko ingenious interpretation of John Biernacki [electronic resource] / L. Korsun // "Time Event", 2009. - Feb. 4. - Access: http://www.chasipodii.net 7. L. Bernadsky and Korsun .: "I do not blame the mothers-workers, I sympathize with them" [Electronic resource] / L.A. Korsun // "Time Event", 2008. - 13 march. - Access: http://www.chasipodii.net 8. Konstantinov K. One in "Word" - a warrior. A. Palamarenko: "... and what it is with our Ukraine?" / K. Konstantinov // Zerkalo Nedeli. - 2009 - 27-July 3 cherv.. (№ 24.) 9. National Centre for Performing Arts. Kurbas. Theatre "In basket" [electronic resource]. - Access: http://tuk.lviv. ua/?page_id=45 10. A. Palamarenko electronic resource. - Access: http://www.filarmonia.com.ua 11. Taras Polishchuk National Opera world premiere will honor the poet "Passion for Taras" Stankovic [electronic resource] / Taras Polishchuk // "Day", 2013. - 07 march. - Access: http: //www.day.kiev.ua/uk/news/070313-nacionalna-opera 12. Slavinska Sergey I. Proskurnia: Shevchenko Shevchenko against [electronic resource] / I. Slavinska // "Ukrainian . Life "2014 - 17 February. - Access: http://life.pravda.com.ua 13. Turning pages Slipchenko K. Theatre / K. Slipchenko // Thursday, 2008 - 10 July. (№ 28 (679). 14. V. Hudytskyy actor Bohdan Kozak: "The Secretary of the Central Committee once vykreslyuvav Shevchenko" "- and wrote" gentlemen "[electronic resource] / V. Hudytskyy. 42 15. Shevchenko concert in Montreal, March 10, 2003 [electronic resource]. - Access: http://www.zustrich.quebec- ukraine.com/news03_1.htm Summary Kukuruza N. Life and creative work in literary contexture of Shevchenko: modern genre solutions In the article the analysis of life and art of Shevchenko is first presented in the genre of literary composition on the example of modern artistic decisions of the greatest Ukrainian actors and theatrical collectives. Key words: T. Shevchenko, literary composition, genre decisions, actor implementation.

Received 7.11.2014 UDC 371 (477.86) «XVIII / XIX» L.M. Bilous

CULTURAL AND ART LIFE OF IN THE END OF THE ХІХ TO EARLY ХХ CENT.

At the turn of XIX-XX centuries activates social revival Galicia important role it played in the creation of many towns and villages affiliates Society "Enlightenment". As - remained a multinational state, its government proclaimed the equality of all religions, supporting education, schools Creation of the "local language" for peasants and townspeople, creating high schools for the clergy. These factors contributed to the rise of the Ukrainian spirit in Galicia [13; 40]: Developing national schools, cultural associations, open libraries, reading rooms, develops publishing activities, including concluded and published textbooks for Ukrainian schools. The cultural movement revived especially in the second half of the nineteenth century. Then acted Ukrainian Gymnasium in Lviv University was allowed to study in Ukrainian. 1873 started operations in Lviv Literary Society. Shevchenko, which in 1893 reorganized into Scientific Society. Taras Shevchenko. It took over the functions of Ukrainian Academy of Sciences of the historical and philosophical, philological, mathematical and natural-medical offices. Freely operated independent of the authorities Ukrainian Greek Catholic School - one of the most important factors in education Ukrainians. In 1868 a group of students led by A. Vakhnyanyn founded Society "Enlightenment", put the goal to raise the level of education among the people, promote knowledge that would help intellectualization and spiritual revival of the Ukrainian nation [7; 33]. Under the new statute, approved March 25, 1891, the Company reorganized with educators in educational and economic. Supposed introduction shpihliriv (warehouse) to store grain, agriculture and the creation of economic and industrial unions, opening stores, loan and savings banks. Educational organizations helping members to purchase seeds, agricultural machinery and implements, looked for sources of earnings. Charter signed then a young lawyer, the future president of the Union of Provincial Audit, politician K. Levitsky (1859-1941 gg.), Who was closely associated with Rohatyn [7; 34]. Activities of "Enlightenment" in Galicia definite period studied such scholars as R. Harat [6] A. Hrytsan [9] A. Malyuta [14]. The thesis I. Vorobets [5] L. Henyk [8] T. Zavgorodniy [11] W. Ketsyk [12] B. Stynskoyi [19] B. Stuparyka [20] revealed problems of training and education in contemporary educational institutions. In studies these authors partially raised the issue of cultural and artistic life and Rohatyn. In times of the Austrian and Polish occupation during 1880-1939 pp. on Rohatyn were more than 100 settlements. Its territory covers modern Rohatyn and northern part (to the district. Dniester) Galician districts of Ivano-Frankivsk region. 1891 county town of Rohatyn based subsidiary of the Company "Enlightenment" [7; 34], which contributed to the organization of reading clubs in different parts of the county. Its first head was the priest of the village. Putyatyntsi about. J. Jaworski [16; 69]. A year on, there were 15 reading rooms Rohatyn. Founded in 1894 and Zhovchivska Burshtynska reading have become two reference points for the organization of such institutions. Process foundation actively reading rooms took place in the western world. Most of the reading rooms emerged here to 1900 .: village Zagorje (1893) Christmas (1894) Kolokolyn (1895) Zaluzhzhya (1895) Dehova (1896) Vasyuchyn (1897 g.), Chahriv (1897), Czerny (1898), Church (1898), Pidmychajlivci (1898), while in the eastern part of the county after reading function Chesnyky .: 1900 (1901 ) Zhelybory (1901) (1903) Korostovychi (1904) Bovše (1907) Dytyatyn (1909) (1912), etc. [21]. The founders of branches in towns and villages in the reading rooms were Greek Catholic priests. In particular, the 1914 branches in Rohatyn led on. S. Gorodetsky (p. Verbylivtsi). He became chairman of the Ukrainian Pedagogical Society "Native school" led "the Committee structure of Ukrainian school in Rohatyn", which donated part of the proceeds. Teachable children priest held Charities, provided shelter and food, contributed to the development of culture, participated in the political life [1; 193]. Later organized several Ukrainian institutions both in economic, social, as i in the cultural area. The organizers of these initiatives, initiated the establishment of institutions aimed at strengthening the Ukrainians were priests [17; 20, 16; 69]. Thus, the founders of "Enlightenment", "Native School" cooperatives molocharen, religious and sports associations to Rohatyn priests Sozansky I., II Ratych, Kravchuk (p. ) about. V. Solovey (p. Pukiv) about. Paul and his brother Theodosius Kudryk (Dean Rohatyn), about. I. Shcherbaniuk (p. Verbylivtsi) about. M. Peter (c. ) about. D. Haburskyy (p. Yavche) about. B. Smyk (p. Kolokolyn) and others. Almost all of them have made great efforts to educating the youth in the religious, national and patriotic spirit Plast [3; 61]. 43 Before World War educate rural reading rooms was carried out more quickly than in towns, where with the educational movement hindered for any reason. In towns that have the status of towns (, Amber, , Kniahynychi, Kukilnyky, Pidhoroddya, Pidkamin, Stratyn City, Fyrleyiv), a significant impact on public life had Russophilism, Polish and Jewish societies. [21] In Lviv, came the annual "Letters reading rooms" Enlightenment ", in which information was provided on the activities of branches. In one of them in 1912 describes the establishment of trade and cash rates in Rohatyn "The course began day 1 and padolysta zhlyadno 9. padolysta 1911 because of chasyi 1-8 padolysta udyilyuvano exclusively science readings, writings and counted, and doperva 9 / XI. Started inherent professional science subjects. " The report says that the "rate Pisarsky zholosylosya vicinity of 100 participants, and the course of trade involved barely 15 disciples" [15; 287]. So, in this period sought to be educated Ukrainian. In February 1909 about. S. Gorodetsky branch at a meeting of the Society addressed the audience on the need for establishment of private Ukrainian school in Rohatyn. Its history began with private courses in the village. Zalanovi who founded several years earlier on. Oh Wan. Ministry of Education and religions September 6, 1909 gave permission to open a school in Rohatyn [18; 2]. Celebrations on the occasion of this event took place on Sept. 15, 1909 [18; 3]. In "Richnyku VI. Prosvity of Scripture "in 1912 stated that" Ukrainian Gymnasium Private Branch R.P.T. Rohatyn can serve as a model even for public ґimnazyy. Its light scatter during each inspection naykrasshyy gives proof of vitality of our people and cultural motor of our hromadyanstva "[15; 57]. In Rohatyn school to help students from poor families founded January 20, 1910 Company "School help." Members of paid contributions and collected donations to fund "School's help" organize paid concerts, performances and fun. "The main purpose of society - assistance cash expenditures on food, clothing, housing students, the seminary building (hostel) care for pupils and students in the time of their illness" [4]. In the 1923-1924 biennium. Gazette published Rogatyn branch Ukrainian Pedagogical Society named "Rohatynets." Edited it Lototsky A., M. Venhzhyn (Uhryn-Bezhrishnyi) and artist Yu Pankevych. Herald published articles on school and literary themes, accommodate materials from local history, called for a joint struggle in the field of education [4]. During World War I stopped reading clubs activities. Only in 1917 single reading resumed its work, the main focus of which in the postwar period was amateur theater. The most successful project can be considered a branch of a Ukrainian traveling theater "Ray," which operated until 1939 the main place of residence was Rohatyn. Head Theatre - M. Komorowski (d. 11/24/1972 p. In Zalischyky). Theater: Bobel, Ostapovich, Tchaikovsky, Golovko, iron ore, Ivantsiv, Ilkiv Andrew niello, Sofia Chervinska with fork, Vasily Levitsky of Vasyuchyna. After 1939, most artists have moved to Ternopil and Stanislav theaters. It is known that the former theater "Ray" C. Miller and his wife worked for a long time in Ivano-Frankivsk Drama Theatre [4]. Setting anti-government plays led in 1923 to the final ban branch of the county center. However, the branch continued to work under the name "Alma Mater." Since the mid 1920s. The situation worsened in Rohatyn and Burshtinskiy branches when leadership took representatives of liberal and radical political parties whose views diverged on the vision of Ukraine's future. Opposition absorbed most of the time and effort that negatively affect the activity of rural reading rooms. Since 1925 their number grew steadily, but relations remained tense with branches, resulting in 1928 Burshtynska reading room with eight other neighboring villages came under the jurisdiction Rogatyn branch. Forms of "Enlightenment" Rohatyn in the 30-ies. XX century. varied: organization of courses of elimination of illiteracy, conducting educational autumn-winter themed courses, founding the villages of economic, educational and youth associations, replenishment of libraries, reading rooms. In 1922 Eastern Galicia was ruled by Poland, whose government has promised to Ukrainian through a separate law give autonomy and stop colonization. Although this act of Ukrainian granted extensive rights in schooling and even university education, the Polish side has not fulfilled its obligations and increased colonization of land. In such circumstances, Ukrainian searched for ways to self-defense and affirmation. Schooling took over their hands on Society "Native School", which maintained Ukrainian school, teacher workshops, industrial and primary schools. This work "Native school" carried through "circles" in some areas. In 1927 on the territory of Rohatyn, there were 16 such circles with over 1500 members [2; 55-56]. In August 1930 Ukrainian Galicia moral humiliation endured during the "pacification". In villages destroyed Rohatyn punitive detachments reading "Enlightenment", cooperatives, dairy, cash Rayffayzenky, household, property taken food or dumped them. In the most affected Rohatyn reading "Enlightenment" and Ukrainian gymnasium. In the halls and premises lying on the floor reading books torn, broken cabinets, paintings destroyed [2; 55-56]. The Polish authorities closed the school on Sept. 25, 1930 Sponsored by Metropolitan A. Sheptytsky Indoor Gymnasium opened a small branch of the Lviv Theological Seminary under the shadow of sacred and martyr Josaphat [18; 7]. Founded in the first half of 1931 the so-called "Small Seminary" undertook obligations to serve as the school to "prepare wishing to further theological studies" [2; 56]. Start seminary associated with the persecution of the Polish side, for it is June 31, 1931 Polish police and school inspectors conducted an audit in it, sealed the office, school halls and classrooms, took many school records. After two years of high school in Ukrainian Rohatyn restored. At the end of the 1930s. Political confusion in Rohatyn branch "Enlightenment" ban caused the mother company in Lviv its activities. Among rural reading rooms "Enlightenment" created "Young Enlightenment", whose main objective 44 was the preparation of young people for political and armed struggle for independence of Ukraine. The Company is expanding its ties with the Association of Ukrainian nationalists. That is why Rohatyn eldership closed reading "Enlightenment" in Bovše, bile, and others. [21]. Thus, the features of the cultural and artistic life in Rohatyn contributed to the consolidation of Ukrainian society, strengthening of national revival and Ukrainian traditions. The leading role in this process was played by representatives of the Ukrainian Greek Catholic Church and secular intellectuals and local activists. Thanks to their initiative created pockets of society "Enlightenment" in the villages and towns of the province. Business partnership created the conditions for future state processes among the Ukrainian nation.

References 1. Arsenych P. Cultural and social activities of Greek Catholic priests of the second half. XIX - early XX century. / A.P. Arsenych // Rohatyn land: history and modernity. Materials and science. Conf., 24-25 march. 1995, m. Rohatyn. - AL-Rohatyn, 1995. - T. 1. - P. 193-196. 2. V. Belous history education in schools and Rohatyn / V. Belous // Rohatyn land: history and modernity. Materials and science. Conf., 24-25 march. 1995, m. Rohatyn. - AL-Rohatyn, 1995. - T. 1. - P. 53-58. 3. Bilous L. religious-social activities of Greek Catholic priests in Western lands late nineteenth - in the first half. The twentieth century. (for example, the local situation in the Rohatyn) / L. Bilous // Materials Intern. Science. Conf. "Ukraine-Vatican: state-church relations in the context of the experience of a united Europe", 26-28 May. 2011 - Galich: Inform.- views. from. Nat. reserve "Ancient Galich", 2011. - 2 notebook. - P. 60-67. 4. Boykevych A. Rohatyn names, names, events [electronic resource] / A. Boykevych. - Access: http://rogatyn. info/?m0prm=40&showItem=62 5. Vorobets I. Adult Education in Galicia (1891-1939 gg.): Abstract. Thesis. ... Candidate. ped. Sciences: 13.00.01 / I. Vorobets. - Ivano-Frankivsk. - 2001. - 20 p. 6. Activities Harat R. Society "Enlightenment" in Galicia (1868-1921 gg.): Abstract. Thesis. ... Candidate. East. Sciences: 07.00.01 / R. Harat; Mob. nat. University of them. Fedkovych. - Chernivtsi, 2004. - 17 p. 7. S. gels Rohatyn in the context of Ukrainian revival in Galicia / S. gels // Rohatyn land: history and modernity. Materials and science. Conf., 24-25 march. 1995, Rohatyn - L., Institute of Ukrainian Studies. I. Krypyakevych Sciences of Ukraine, 1995. - P. 30-38. 8. Henyk L. religious and moral education in Ukrainian schools of eastern Galicia late XIX - early XX century. : Author. Thesis. ... Candidate. ped. Sciences: 13.00.07 / L. Henyk. - K., 2003. - 25 p. 9. Hrytsan A. Activities Society "Enlightenment" in the Carpathian region (1920-1939 gg.): Abstract. Thesis. ... Candidate. East. Sciences: 07.00.01 / A. Hrytsan; Mob. nat. University of them. Fedkovych. - Chernivtsi, 2003. - 20 p. 10. Hrytsan star Carpathians. Essays on the history of the company "Enlightenment" in the Carpathian region between the two world wars (1921-1939 gg.) / A. Hrytsan. - Ivano-Frankivsk: Siversiya, 2000. - 180 p. 11. Zavhorodnya T. Development of the theory and practice of education in Galicia (1919-1939).: Author. Thesis. ... Dr. ped. Sciences: 13.00.01 / T. Zavhorodnya. - K., 2000. - 49 p. 12. Ketsyk W. Civic education students professional schools Ukrainian Galicia (the first third of the twentieth century.): Abstract. Thesis. ... Candidate. ped. Sciences: 13.00.01 / William Ketsyk. - Ivano-Frankivsk. - 2005. - 19 p. 13. A. Kravchenyuk Rohatyn over the centuries. Rohatyn in Austria, 1772-1918 / O. Kravchenyuk // Rohatyn land. - New York ; Paris; Sydney; Toronto, 1989. - T. 1. - P. 39-44. 14. Malyuta A. "Enlightenment" and the Ukrainian state (the second half. XIX - first floor. XX century.) / A. Malyuta. - K: Education, 2008. - 840 p. 15. Letter from Prosvity. Governments on Society "" in Lviv. Richnyk VI / ed. Yu Balytskiy. - L., 1912. - 382 p. 16. J. Field clergy Rohatyn / J. Field. - Leningrad: Izd Lviv. Museum of the History of Religion "Logos", 2013. - 528 p. 17. Field J. priests Rohatyn / J. Field. - Leningrad: Izd "Logos", 2008. - 212 p. 18. Rohatyn gymnasium. . 100 years. - Rohatyn, 2009. - 15 p. 19. V. Stynska schooling system in Galicia (late XIX - early XX century.): Abstract. Thesis. ... Candidate. ped. Sciences: 13.00.01 / V. Stynska. - Ivano-Frankivsk. - 2004. - 21 p. 20. Stuparyk B. Development of schooling in Galicia 1772-1939 biennium.: Author. Thesis. ... Dr. ped. Sciences: 13.00.01 / BA Stuparyk; Pedagogical Sciences of Ukraine, Institute of Pedagogy and Psychology of Professional Education. - K., 1995. - 48 p. 21. Z. Fedunkiv with the educational movement in Rohatyn [electronic resource] / S. Fedunkiv. - Access: http:// www.inst-ukr.lviv.ua/files/21/030Fedunkiv.pdf

Summary Bilous L. Cultural and art life of Rohatyn in the end of the ХІХ to early ХХ cent. The article deals with foundation and activities of the Prosvita society on the territory of Rohatyn Region Ivano- Frankvisk Oblast from 1891 till the 1930s, its contribution to the development of cultural and art life. 45 Key words: «Education» society, «Alma Mater», gymnasium, reading rooms, amateur theater, Rohatyn Region.

Received 30.10.2014

UDC: 168.522:72 R.V. Kiuntsli

BARREL SHOP AND PUB AS THE PHENOMENON OF COEXISTENCE OF JEWRIES AND UKRAINIANS IN A CULTURAL AND ARTISTIC SPACE OF THE UKRAINIAN VILLAGE

Formulation of the problem. Ukrainian traditional architecture - is that, whereby man recreated himself, his inner world outlook and worldview. Therefore, the study of traditional and its elements is a demonstration of the features of its identity in space and time. Taverns and ham are the structural elements of the Ukrainian village, and therefore deserve a separate study. Analysis of recent research and publications. Questions inn and a tavern, as part of the architectural silhouette villages in Ukraine investigated J. Janson, P. Chubynsky A. Danyluk. Presenting main material. Harmony functionality and aesthetics is a unique phenomenon of the Ukrainian village, which found its expression in compositional rural development. Harmony functionality and aesthetics manifested itself in an intuitive arrangement of structural elements of the village, where three-dimensional parameters buildings in harmony not only with the size of the person, but in proportion to coexist with vegetation, street networks. Separate horizontal and vertical compositional elements not violate plastics, whose parameters are set the same nature as the basis. Rural church as dominant village dominates up on household and commercial architectural solution, but does not dominate their shapes on the smooth track village, its architecture pointing to the spiritual emphasis villagers authority of the church, rallying the community. Galantine, wells, springs were an important element in the public space of the village. This can be attributed, and a school, reading, crosses and figures, pub, tavern, mill, forge, which, although they were in the majority cases private (smithy, mill), but performed important social functions: communication, information exchange, discussions affairs of the community and so on. All the above buildings form the architectural and artistic image of the village. Taverns and ham, prototypes of modern restaurants and motels were structural element of Ukrainian village. When remembering these establishments, you will certainly remember and their owners, who were an integral part of Ukrainian community - Jewish innkeepers and innkeeper. Ukrainian from «... as in Galicia, Volyn, Polissya or tail, in Chernihiv region, accounted for population ... one where sometimes three Ukrainian fell one or two Jews and» no case was solved between the Ukrainian is not no Jew «( Galician saying that remembered the Ukrainian-Jewish Conference S. Franco) «[9; 20]. Jews are well fit with the economic life of Galicia. Nikolai Leskov, who lived a long time in Ukraine, rejecting the idea spread by imperial press and not forgotten yet, like «Jews have taught Slavic drink spoyily them», wrote: «In lyubom mestechke, where there are five, six innkeepers - all ostalnoe evreyskoe Population In other promыshlyaet; and in this meaning global Global inhabitants IZ nahodyat peasants toil technical evreev Significant udobstva ... stolyarnychayut Evreux, kladut furnace, shtukaturyat, malyaryat, portnyazhnychayut, sapozhnychayut, keep Crumbers, pekut bread, forging horses, lovyat rыbu. Oh trade necheho and says «[9; 90]. In «Etymologically, semantic dictionary Ukrainian language» King James I. delivers token Inn: «The Tavern - zayizdnyy house accommodation facility. On the topic of origin and first meaning of the word that is in all Slavic languages, being further discussion. Meaning of the word held a lengthy process of mutation. Old Slavic word for p k h b m a l i t and meant «to engage in petty trade.» In Ukraine, the word «tavern» meant a strong alcoholic drink. Subsequently began to define the place of sale and drinking of alcoholic drinks. Afterward its use was to define accommodation facility with a stop. The right to be the owner of the tavern had nobleman only. Of course, gentry rented inn in pidnayem (rent). In Lithuania metric XV-XVI centuries. Lease on written many taverns, sometimes even spiritual persons «[4; 272]. Tavern by King James, comes from the German Schenke [5; 510] - give. Taverns and ham - two prototypes of modern restaurants and motels - were still embryos stationary points of trade relations. That is, farmers no longer had to carry eggs or beans on the market, they can deliver their products innkeeper, and instead buy salt, oil, matches. Tavern usually located on the outskirts of the village or at the intersection of major roads. The role of tavern life in the village wrote P. Chubynsky «Tavern - is People’s klubъ: syuda shodyatsya vъ Clock DOSUG Men and Women and zavodyatъ druzheskiya besђdы Ck znakomыmy and priyatelyamy, kotorыe pryhodyatъ inn vъ not tsђlyu Ck Meanwhile, Avto and drunk or on your Zakus schetъ strange, but bolshe javljajutsja Ck namђrenыemъ posmotrђt people themselves and show, and vыhodatъ ottuda Almost always, If not vъ vydђ drunk, then at mђrђ, vipyvshy «[8; 448]. 46 In the nineteenth century. Podolsky inn remained the venue even some festivals, such as holiday known or defeat Rusal (rosali) ... Tavern was also a kind of notary office. Here are processed and retained garnish various treaties, agreements. She also served as the inn, which could stay the night and person roadway. Worked tavern the night. At 10.11 pm it was almost the only place in the countryside, where the light was still [6]. The work Chubynsky ham wrote: «Tavern otkrыtъ vsyakoe IN TIME; Among Even a night, If anybody postuchytsya vъ Window, Sleep innkeeper nemedlenno vstaetъ, zazhyhaet svђchu and otvoryaetъ door posђtytelyu, although bы poslђdniy vzyalъ Only in nђskolko kopђekъ [8; 86]. In the village tavern was a place where you can learn the latest information on events in the country, village, work and so on. I.Nechuy-Levitsky, describing inn in steppes, wrote: «In the tavern sat the Jews, kept vodka and snacks and all took big money. Boatmen ... drank a glass of vodka, ate a piece of bread with onions and lodged in the inn. They questioned as Jews, is not possible in the near village where sex work for a week or two. Among them was short of money, and to Bessarabia was still far away. Gide made them Kolontayivku the village where Mr hired for the whole summer period haulers [3; 62]. What was an inn? Enough details on the exterior and interior of the inn we obtain academic publication «People’s Ukrainian Carpathians architecture XV-XX centuries:» ... Taverns XVI-XVII century. As noted auditors, are no different from rural houses. Tavern in. Turk (then village), built of Protestants (squared from the inside edge on one deck - author), consisting of porch and house-p’yatystinky at the floor of the closet wall, which led to the entrance of the house. In the house were two small windows, dusty clay oven ridge near the ceiling. For verification Act 1747 in the village inn. Lypovets covered with straw, consisting of porch and p’yatystinky in which the door to the closet-vankyr conducted with the house, and from the porch. In house had three windows [2; 201] ... tavern in the village. Thicket (Turka district) of the same plan, but here are presented some additional data to better provide room inn. In particular, states that «porch published clay oven with pot Racing vodka, the stove trough for water and other equipment, from which it can be concluded that the arches were fairly broad. Another interesting description Rooms: clay oven, three windows, a table of five cubits long (over 2.0 m.), Two benches and three mysnyky dish. Desk stationary, dug in columns. In the closet, as specifically indicated - wooden floor. To tavern attached stables; the whole building was common, thatched roof «[2; 202-203]. Museum of Folk Architecture in. Pereyaslav-Khmelnitsky kept building tavern early XIX century. The plan is divided into two halves. The middle part, which corresponds sinyam used as check. On the left wall, cut a door to the hotel, which occupies half of the building and consists of two rooms (rooms for guests). The right half of the building takes shelter innkeeper and a dining hall. The room is illuminated by means of windows: two are in favor of the facade and one on prychilkovomu. To host the floor side room attached barn. [1] Availability inn in the village spoke about its solvency. From the table we see that trade flourished in Zhytomyr, Vladimir-Volyn, Dubniskomu counties where the tree was the biggest and taverns, poor people are living in Ovruch, Kovel, Rovno counties. County Number inn and Tavern tavern or how Inn, tavern, on the Shymkiv many residents square. miles Vladimir-Volyn 364 495 11.5 Dubno 338 416 10,3 Zhytomyr 409 674 16.5 Iziaslav - - - Kovel 205 796 31 Kremenetskiy 241 1196 23 Lutsk 253 620 26 N. Volynskyy 243 900 26 Ovruchskyi 98 1498 94,8 Ostrog - - - Rivne 160 1125 47 Starokonstantinovsky 403 751 13,1 By province 2714 760 23 History shows that the presence of Jews in Ukrainian villages and towns contributed to the development of trade and circulation of goods. «The small Austrian city of Chernovtsy in the XIX - early. Twentieth century. It is a special phenomenon in the Jewish world. In the eyes and opinion of many who got acquainted with the city, heard about him or communicated with its citizens, Chernivtsi had a reputation of a rich business and financial center, and its inhabitants were reputed intellectuals. There is much evidence of journalists, writers, politicians and ordinary citizens, containing the characteristics of the city. It was called «Little Paris» and «Little Vienna», said that the Chernivtsi - a pleasure craft with the Ukrainian team, German 47 officers and Jewish passengers. The ship, which constantly runs between the West and the East. As for the ship, which spoke the famous Austrian writer G. Heinz, the paradox is that the officers were not only and the team - not only Ukrainians or , as they called themselves in the nineteenth century. Jews could not be called simply passengers. Continuing the metaphor, we can say that the Jews worked in the hold stokers, sailors on the deck, often standing at the helm, were navigators, pilots and ship captains. In it lies the phenomenon of Chernivtsi «[12; 215]. According to the masters of artistic expression inns and taverns were not very attractive, as is evidenced by the fact that taverns were available to the poor Jews. P. Chubynsky describing korchmarstvo in Ukraine, notes that the industry engaged in poor or poor Jews from simple class and it is these Jews, unlike the rich were honest in relation to Christians [8; 85-87]. Confirmation of this can provide evidence Petriw R. (1927 born) from the village. Will Big Mykolayivsoho district, Lviv region. «... In the village tavern located in the village center. It was not a large building, but rather a peasant hut, pure bleached. In the village innkeeper was a Jew-Hasid Aaron Kelman - honest and God-fearing man, and therefore its farmers respected and trusted him. Resolve disputes or misunderstandings in the family even went to the priest or the tavern. « However, the appearance of the tavern could be a model in the poor owner, so literature shows a rural inn shabby and unattractive «Tavern was built of gray sandstone rock and was not smeared» [3; 62]. «Working day and night filled the space, dirty and damp shynkivnyu ... [10; 223]. «In the pub there was none; dirty, dank room was poorly educated one lamp that softly swinging on the ceiling, and the old thick shynkvasom dormant Jewish women «[11; 62]. Do not disregard Frankove and subjective vision. Gen. Ukrainian village portrays in his works and even in the studies are extremely unattractive. However, documentary records give us a completely different vision of the exterior appearance in the Ukrainian village inn. In a village Lukavica Sambіrskogo p-well, tavern, vіdoma inventory for 1795 p., Scho could pohoditi s kіntsya cob chi XVII XVIII century., Skladalasya s zhitlovoї Chastain (p’yatistіnki rozmіrom 9,7h 6.01 m.) Is the broad sіney (3 47 m.) to yakih at napіlnіy stіnі CCB pribudovany great zaїzd (9,5h 11.56). We were sіni shirokі dvostulkovі gate and zaїzd іz sіney - wide prorіz. Dverі s sіney pravoruch were at kіmnatu, zvіdti - at vankir and s expanses vankira (6x4 m.), Served as odnochasno scho Zhitlo i Komora for sіm’ї Shinkarev have Murowana loh led convergence. In kіmnatі was great Murowana pіch that grubka scho odnochasno obіgrіvali i vankir. W pechі spetsіalny great otvіr for pіdvіshuvannya proved vihodiv have sіni. Kіmnata small Vier vіkna: two - at pіvdennіy that the two have zahіdnіy stіnі, vankir - odne vіkno have zahіdnіy stіnі «[2; 204]. In takіy korchmі bachimo Pershi virіshennya for zruchnostі zaїzhdzhih people that їh horses. «A wide on all napіlnu stіnu Tavern zaїzd MAV have napіlnіy pіvnіchnіy stіnі shirokі podvіynі gate at skhіdnіy that zahіdnіy - two vіkna. Vzdovzh skhіdnoї stіni CCB vlashtovany chute for thinness, and pіvdenno- zahіdnomu codend at pіvnіchnіy stіnі vankira znahodivsya toilet («vihodok») «[2; 204]. Such a tavern could Buti dark i vologa, oskіlki stіni small zavvishki 3.47 m. Skladenі s hewn tree rows spіlny for vsogo budinku, chotiriskhily, Nakheel s 45 °. Tavern not tіlki buduvali s soundly hewn wood, ale th muruvali. At p. Sіde Sambіrskogo p-well, tavern - zaїzd vimuruvali s tsegli 1806 p. Її zovnіshnі rozmіri dosit vagomі (9.5 x 21.26 m.). Yea there is already kіmnata bedrooms for guests at zbudovana pіvnіchnіy stіnі vankira, tobto for rakhunok zmenshennya ploschі zaїzdu. Rozmіri vіtalnі i vankira odinakovі - 6x4. Dah spіlny, chotiriskhily [2; 205]. Tavern postіyno udoskonalyuvalis have planuvannі. In CMT. Solotvino (Bogorodchansky district) great pub - zaїzd vіdrіznyalasya od already zgadanih tіlki breadth, there іz protilezhnogo side sіney Bula zbudovana trading hall, tavern Vlasna and vivіlnena such rank kіmnata vikoristovuvalasya yak dodatkova guest bedroom. Rozshirennya budіvlі gave mozhlivіst vlashtuvati stіyla for thinness vzdovzh skhіdnoї i zahіdnoї stіn zaїzdu w2; 205]. Visnovki. Yak seen writhing s opisіv XVIII-XIX century., Arhіtekturne virіshennya, planuvalna that constructive її Chastina nerozrivno pov’yazana s traditsіynim folk budіvnitstvom. Against komertsіynі motives yakimi keruvalisya Pershi restaurateur Ukraine, diktuvali udoskonalennya pervіsnih arhіtekturnih varіantіv, sprichinyayuchi rozvitok arhіtekturi ukrajins’koho village. Identity can stverdzhuvati scho to rozvitku arhіtekturnogo silhouette village doluchilisya i єvreї, yakі target of Ukrainian villages in the prototype Suchasnyj motel the one restaurant i, krіm, the target image Suchasnyj restaurateur: terplyachogo i tolerant, more «outside observer can not Hanadiv terpђnіyu Shinkarev or Innkeeper, Sh kakim they perenosyat whims pyanago night posђtitelya that trebuet the order, then another, then vdrug zatyanet loud pђsnyu and wake vsђh dђtey «[8; 86].

References 1. Krapivko G.A. Scientific substantiation of construction Historical and Cultural Complex «Sich» [Electronic resource] / G.A. Krapivko. - Access: http://donklass.com/arhiv/histdisk/inskoz/inskoz/stati 2. Folk Architecture Ukrainian Carpathians XV-XVII century. - K.: Science. opinion, 1987. - 269 p. 3. Nechuy-Levitsky I. Nicholas Jerry: story / J.S. Nechuy-Levitsky // Works in 2 vols. / Ed. colleagues. I.O. Dzeverin, M.P. Bazhan, O.T. Gonchar and others. - K.: Science. opinion, 1985. - T. 1: Novels and stories. Play. - P. 435-536. 4. King James I. Etymologically semantic dictionary Ukrainian-language / King James Version. - Canada, 1982. - Vol 2 - 400 p. 5. King James I. Etymologically semantic dictionary Ukrainian-language / King James Version. - Canada, 1995. - Vol 4 - 557 p. 6. Petrosyuk M.I. Tavern as part of public life Podolyan XIX century. [Electronic resource] / MI Petrosyuk. - Access: http://museum.vn.ua/articles/etno/petrosyuk 48 7. Trade and usury [electronic resource]. - Access: http://puliny.at.ua/material 8. Proceedings ethnographer statistical expedition to the West Russian region, curb Imperial Russian Geographical Society / ed. PP Chubinskogo). - SPb., 1872 - T. 7 - 608. 9. M. Feller Searches thoughts and memories Jew who remember their grandfathers, the Jewish-Ukrainian relations, especially on the language and attitudes / M. Feller. - Drohobych: Rebirth, 1994. - 229 p. 10. Ivan Franko snail / Franko // Coll. op. : 50 t. - K.: Science. opinion, 1978. - Vol 15 - 507 p. 11. Ivan Franko Mulyar / Franko // Coll. op. : 50 t. - K.: Science. opinion, 1978. - Vol 15 - 507 p. 12. Ivan Franko ethnographic expedition to Boykivshchyna / Franko // October, 1972. - № 9. - P. 137-143. 13. N. Shevchenko Chernovtsy How phenomenon эmansypyrovannoho Jewry / N. Shevchenko // Coll. material sciences. Conf. «Preservation of Jewish historical and cultural heritage as a share of Ukrainian and world culture: legal, historical, artistic and museum aspects» (Nov. 12-14. 2007, m. Lviv) and «Ukraine-Jewish relations, cultural, historical, sociological aspects» devoted to the 90th anniversary of the proclamation ZUNR (27-28 Oct. 2008, m. Lviv). - Charles II. - LA: Science. Center for Judaica and Jewish Art. F. Petriakova, 2010. - 230 p.

Summary Kiuntsli R. Barrel shop and pub as the phenomenon of coexistence of jewries and Ukrainians in a cultural and artistic space of the Ukrainian village In architectural space of Ukrainian village important place belongs to inns and taverns as an essential structural element of the architectural and cultural environment of Ukrainians. Taverns and inns , which were built by Ukrainian masters, but operated by Jews served as not only a place of public communication, but were also the first prototypes of cultural entertaining facilities in rural areas. Key words: inn, tavern, Jewish, Ukrainian village, the architectural space of the village.

Received 10.10.2014 UDC 7.072.2 T.V. Shnurenko

RESEARCH OF TRADITIONAL SHIRT OF CARPATHIANS REGION ON THE PAGES OF MAGAZINE «FOLK ART AND ETHNOGRAPHY»

Investigating an issue in any field of science, must appeal to periodicals appropriate direction. Among the publications ethnological and etnomystetstvoznavchoho direction: «Kievan antiquity» (Kyiv), «ethnology notebooks» (Lviv), «Soviet эtnohrafyya», «Эtnohrafycheskoe Review», «Living Antiquity» (Moscow), the magazine «Folk art and ethnography» (with 2011 - «Folk art and ethnology») IMFE them. MT Rila NAS Ukraine occupies a prominent place in the study of theory, history and current state of popular culture. Labour Ukrainian and foreign scientists, researchers diaspora tribune young researcher heading «Exploration and footage», reviews of new publications and reviews, descriptions riznomanitnyyi funds, collections and rare books - not a complete list of publications directions of this publication. On the pages of scientific journal Intelligence and found a place devoted to the study of traditional clothing and in particular shirts. Taking up to study Ukrainian shirts as noticeable phenomenon of popular culture, we can not ignore the work of those scientists who have studied it in Soviet times. Their work requires references and estimates which had been done in detail. The object of the proposed study is the reader articles published in this magazine devoted to coverage and Ukrainian part of the traditional device - shirts - from the point of view of modern researcher. Of great historical and artistic value Ukrainian national costume unconditional as its basic element - shirts. Materials archaeological excavations, research suggests that the traditional shirt in Ukraine was formed back to Kievan Rus. From ancient times and throughout the life of shirt satisfy not only material but also spiritual needs of people performing the required domestic, social, ritual, magic function. In the context of research turn to traditional shirts rats renowned scientists and young scientists of materials published in this journal. This article is an attempt to review items Researchers Carpathian region, I am Prylypko, M. Kostyshyn, A. Pathrusim- Carpathian, A. Poritskoho, L. Shevchenko, A. Komandyrova, A. Polyansky, T. Nikolayeva T. Kara-Vasilyeva, J. Kozholyanko. The first study traditional clothing Carpathian mountain people in the magazine is dated 1940 («The Art of Ukrainian highlanders»). L. Shevchenko describes the everyday life, traditional dwelling, decorating the home, domestic things carpet. The author pays attention to traditional costumes such as ornamentation male and female shirts. In addition to the techniques of embroidery, COLOR, placement of embroidery on the sleeve, we find the description of the man’s shirt with embroidered collar, cuffs, upper and bottom sleeve shirts. This shirt wore trousers, a belt must pidv’yazuyuchy [12; 48]. The study of folk costume and its elements in historical and ethnographic context of the Ukrainian nation - considered this question in his article well-known ethnographer J. Prylypko [12]. Analyzing the work Kuftina B., N. Hrinkova, T. Hook, N. Lebedeva, V. Belitser, M. Shmelev, F. Wolf, Vladimir Bogdanov, J. Prylypko examine every object of national service, its material, shape, cut principles and tailoring, color 49 scheme. He traces the close relationship between traditional clothing and ethnic, national, local estytychnymy tastes traditionally consist in particular complex or suit specific ethnographic area. Much attention is paid to study Ukrainian traditional shirts. By the method of communication pilok fabric on the shoulders identifies four main types of cut: shirt inserts, with a solid sleeve shirt and tunikopodibna «taliykoyu.» J. Prylypko explored the relationship between the width of fabric and sewing vustavok principle: where traditionally manufactured fabric width of 45-50 cm., Vustavky sew on the basis of where the width of 75-80 cm. - Sew in weft. The author draws attention to the following pattern: vustavkamy shirt with sewn on by traditionally are made of three paintings, and those on the weft - with two. As an example etnokulnyh cross ties, J. Prylypko traces the existence habitat shirts, sewed in two and three Gore, comparing them to traditional kroyamy shirts northerners, and Vyatichi Drevlyane sh12; 15]. Of great importance in the study of traditional costume and shirts as the main part of the service, according to the author, the color embroidery, various machinery, decoration seams, location and nature pictures sh12; 16]. In the article «From the folk costume of Chernivtsi region» [11] J. Prylypko details the traditional women’s and men’s clothing skirts , which he had the opportunity to see at the regional celebration of song and dance in the city. Chernivtsi in May 1959, which were presented tunikopodibni Women’s shirts and skirts the appliances Bukovinskogo Huzulschyna female Bukovynian shirt with two parts, the traditional shirt «morshynkoyu» [9; 85]. The author describes them in detail, draws attention to the changes in traditional tailoring and embroidery shirt in connection with the use sew national costume (shirt) factory tissues [9; 89]. Renowned scientist M. Kostyshyn during the 1975-1978 biennium. In the magazine «Folk art and ethnography» published three articles of clothing-research Bukovina. The work, dated 1976 [4], the author has analyzed samples of female costumes that existed in the modern Novoseletska, Zastavnivsky, Kitsmansky Hotin, Kelmenetsky and Sokyryany areas. So-called «shirt zmorshynkoyu» M. Kostyshyn regards as the oldest and which exists in two versions: polykova and bezpolykova. The researcher notes that the embroidery sleeveless shirts Zastavnivsky area is characterized by continuous patterns without gaps canvas strokes border on three sides. This forms a border frame, embroidered with gold or silver threads - «Hiromi» [4; 60]. Under Floor panels on top of sleeve sewed a strip of 5 to 15 cm. Wide - «wrinkle». This element geometric embroidery. Based sleeveless shirts ornamentation of the neighborhood, the observations of researcher, put small geometric shapes combined with plant motifs geometrized bright green, orange, purple, blue, yellow. As noted by M. Kostyshyn, unlike small ornamental motifs Zastavnivsky area for patterns shirts Kitsmansky area characterized by large vegetable elements performed appliances relief flooring burgundy, crimson, violet colors combined with green leaves. Shirts outskirts. Chernovtsy different floral ornaments, embroidered symmetrically. Comparing Zastavnivsky shirts, shirts Kitsmansky areas with Kelmenetsky ratsonu, M. Kostyshyn said difference in width «zmorshynky» no covers (cuffs). Instead sleeve shirts going in this assembly - «pshenychku.» Restrained colors of embroidery shirts Sokyryany area zobumovlyuye «Chernyatka» - fancy oblique stripes of the pattern embroidered in black only. Embroidery, surface counting technique is executed, according to the author, the impression woven pattern [4; 61]. The researcher studied the principles of dressing, finishing, embroidery on shirts this partition of the region and the relatively recent (30 years of the twentieth century.) The emergence of new kroil traditional shirts (sleeves on the shirt) [4; 62]. In his work «The decoration Bukovina folk costume mountainous areas» [5] M. Kostyshyn notes that, in the foothills, lowland areas of the Carpathians, for objective reasons, in particular, the impact of urban clothing, changes in traditional costume artistic solution occurred rather than in mountainous areas. Meanwhile, traditional folk clothing complexes mountaineers survived until the 50s of XX century. [5; 54]. This opinion is shared and A. Pathrusim Carpathian-in «a new way of life and culture of mountain villages» [8]. In particular, he notes that it is a traditional mountain villages shirt best preserved to this time (1950) and at the time did not come out of everyday use [8; 94]. By studying all elements of male and female costumes, M. Kostyshyn [5] research focuses shirt. She points out that male and female shirts to mid XX century. saved forms, formed the beginning of XX century .: embroidery techniques «Lo», «flooring», «cross», geometric motifs tunikopodibnyh men’s shirts, the same technique tunikopodibni women embroidered shirts and shirts with «zmorshynkamy.» The material for embroidery were wool, silk, silver and gold threads and beads [5; 54]. Using these techniques of embroidery, sewing principles of modeling modern clothes dedicated to the works of Kostyshyn «Bukovina traditional motifs in modern dress» [3]. Exploring the work of fashion art products factory them. Fedkovych, it draws attention to the use of motifs Bukovinskogo shirts skirts [3; 20], as well as elements shirts «rukav’yanky», which prevails in the mountainous area Putila Bukovina (River Valley Putila) sh3; 21]. This district Kostyshyn explored in his previous work. The application of elements of different types of shirts, embroidery techniques, modern materials, the author sees the relevance of the use of simulation in modern clothes. Among the many studies scholar A. Poritskoho, the article «Ethnographic research Carpathians» [10] is a methodological guide, to help you learn the Carpathians as a distinct historical and ethnographic region. Home study Carpathians Ukrainian ethnography author connects with activities I. Vahylevycha (pseudonym Dalibor VI, XIX c.), J. Glovatskiy. Further research phase dropping author connects with the activities of the Scientific Society. Shevchenko, which emerged in the late XIX century. in Lviv. According to scientists, important for the study of the material culture of Ukrainian Carpathians were foreign scientists K.Moshynsky, R. Kayndlya, J. Falkovsky and others. (9, p. 22). The problem Carpathian historical and ethnographic generality author sees a close connection with the study of ethnic 50 groups of the Ukrainian people, who have long been living in the Carpathians. The article defined by similarities in the traditions of Ukrainian highlanders - Lemko, Boyko, neighboring nations, some of whom live on the other side of the Carpathians - , Poles and Slovaks. This theme examines the material and traditional folk costume housing (for example, Carpathian male sorochky- «cornflower» examined the characteristics of all Slavic peoples) (10, p. 24). Among ethnographic studies of certain areas, regions, the magazine find study materials from the traditional culture of individual settlements. One of these is Article Komandyrova A. «People’s suit Ryahivschyny (pp. Yassin Transcarpathian region).» [2]. The author focuses on the impact of traditional clothing neighboring peoples - Romanians, Czechs, Slovaks and Poles, graphic design and color scheme costume, which prevails in this village. A. Traditional costume Komandyrov studies by the names of clothing, types of production and material [2; 83]. As part of the suit and shirt investigated. The author notes that in the village. Yassin traditional shirt sewn from homespun cloth. Canvas tchetsya Hutsulka of purchased yarn. The shirt has two paintings. We can assume that the width of these paintings 75-80 cm (this in his work «Ukrainian national costumes as a source of ethnic history study» explores J. Prylypko). If the width of two paintings insufficient sewn on both nod wedges - «tretynytsi.» Based on the title, we can assume that this is the third segment of wide width fabric. The main canvas with «tretynytseyu» connected manually colored stitching - «circus» [2; 84]. According to the author, characteristic of women’s and men’s Ryahivschyny is covering collars, Duda, wide embroidery sinus. In YASYNIVSKYI men’s bosoms, sometimes embroidered embroidery in capital letters - the initials of the owners. By the author finds interesting nadezhyt and tie - «holer» worn by men embroidered shirts. For traditional embroidery technique, execution and materials A. Komandyrov divided into four types: 1) the oldest (cross without canvas); 2) low-lying (black displayed graphic pattern, which is then filled with primary colors); 3) fettered (like double-sided surface); 4) beads (rather late type) (2, p. 87). Ethnographer O. Poljanskaya in his article «Features of population of Transcarpathia clothes» [9] explores the wider area of the region, in particular the problem of Ukrainian interpenetration of cultures, Hungarians, Romanians and Slovaks who live in the area. Complex of folk costumes researcher divides into four types: northern, southern, eastern and western. According to the observations of the author, for the eastern region is characterized by women’s shirt embroidered with bright setting (for Ryahivschyny typical black embroidery basis, and for Kosivschyna - red-yellow) [9; 23], shirts - tunikopodibnoho type. For women’s shirts northern type characterized by rich decoration around the neck and thick bands fees that go from collar to cuff and waist. This embroidery called «frames.» A. Poljanskaya notes that this principle of decoration characteristic of shirts southern Transcarpathia. The local difference here is «Voloska» women’s shirt tunikopodibnoho cut with quadrangular neck Neck [9; 24]. Exploring the western part of the Carpathians, where closely spivmeshkayut Ukrainian, Romanians, Hungarians and Slovaks, A. Poljanskaya notes that, for example, shirts uhorok who lived in Transcarpathia, reminiscent of traditional women’s shirts, characteristic for many regions of Ukraine - the traditional shirt «to podtachivanie «in which the upper part sewn with thinner fabric and the bottom - with rougher. However, here there was another kind of shirt - on the territory of Berehovo, Vynohradiv districts and sewed a shirt without sleeves, worn over her white blouse with short puffed sleeves very [9; 25]. Blouses were traditional Ukrainian wearable garment. This perceived impact of the Hungarian tradition. As the AA Poljanskaya in Hungarian villages in Transcarpathia there are different motives Hungarian embroidery several ethnic groups of the nation: kolochayi, mezekevedzhi, lilac and polotsi. This zobumovleno different territorial origin of immigrants [9; 25]. At the study A. Polyansky Transcarpathian region there were two types of Romanian folk costume. Traditional costume in general and its individual elements similar to the Southern [9; 27]. Men’s this area for cut and saved tunikopodibni Slavonic name - «scab» [9; 28]. Slovak clothes on A. Polyansky studied in Transcarpathia found only in a small area of Slovak settlements. This dress shows the influence of the two regions in Slovakia - Liptov and hasty. There existed a typical «lyptovska» shirt («Galena»): a short, very broad and long sleeves, bottom decorated with embroidery, lace and top - woven ornament. Embroidery adorned the sleeves, collar, lap, prydol shirt. Author zazanachaye that women’s traditional shirt Slovaks («by side») under the influence of Ukrainian traditions had a cut, gathered thickly around the neck, vyshyvalas around the neck, shoulders and cuffs. Along with the shirt «Gehlen» There is here Common type of underwear men’s clothes - tunikopodibna shirt «shirt» [9; 29]. A. Poljanskaya notes that, despite the centuries-old territorial isolation Ukrainian Transcarpathia from central areas, they have managed to preserve their language, culture, name and tradition of making clothes. Research apparel Ukrainian Carpathians, once held Kostyshyn M. [4], scientists continued Nikolaeva T. and T. Kara-Vasilyeva [6]. In August 1987 conducted research expedition along the foothills of the Carpathians rivers Dniester and Prut (northern Bukovina) and Pokuttya. The aim of the study was to identify local features traditional folk costumes and embroidery. The material was going to prepare the release of «Ukrainian Folk Costumes», which became part of historical and ethnographic atlas of Ukraine [6; 67]. In his work, the researcher noticed that traditional clothing in the area almost completely out of the everyday, but every family has preserved national costumes function complex modern manufacturing. Ancient costumes are mostly elderly people. Exploring the full range of traditional folk costumes, T. and T. Nikolaeva Kara-Vasilyeva detailing the local features tradition of cutting, sewing and embroidery traditional shirts. They defined the boundaries of existence relic shirts tunipodibnoho cut, which in each location had its own peculiarities vertical or horizontal composite constructions. Researcher detailed Pokutsko local women’s shirt with «twisted» sleeved shirt «rukav’yanky», «to coquette», «Chernyatka» 51 appearance beads in embroidery shirts (50 years of the last century), features embroidery festive shirts (adding silk gold and silver threads, metal plates - spangles). Comparison of compositional techniques, how to cut, embroidery techniques and colors of shirts Bukovina, namely Zastavnivsky, Kitsmansky, Kelmenetsky, Sokyryany, Vyzhnytskyy, Storozhynetsky, Novoseletska areas helps to identify similarities and difference vzayemozapozychennya [6; 71-72]. A similar detailed description of the traditional shirts regon find in the works of Kostyshyn, as described above [4]. Pokuttya - area, Snyatynsk, Kolomiyskogo and part areas Nikolaeva T. and T. Kara-Vasilyeva distinguish in clearly defined by their art-shaped signs ethnographic region. Traditional shirt in the region - «chornyenka» (women’s shirt) and «chervonyenka» (maiden). The name comes from the basic tone embroidery (black and red). These shirts are mostly decorated with geometric motifs. Same, they have different names if thread for embroidery were from different raw materials, «chervonyenku» embroidered cotton threads, embroidered half-strands called «kotsyk.» The study, T. and T. Nikolaeva Kara Vasilieva discovered diversity palette of red color used in the embroidery Pokuttya - from orange-red to cherry and beet. According to the researcher, dresses feature is Pokuttya existence of several villages in the area Snyatynsk embroidery shirts «white on white». Heometychni patterns - vosmypromeneva socket, a broken line, diamonds, were made cutting techniques and puncturing. The same technique embroidered shirts Tlumach some villages in the area. Archaic motifs cross, cross diamond, square with hooks and broken line embroidered by the same thread cutting and puncturing black. These shirts on related techniques of embroidery and color with traditional shirts older women southern Kyiv region. According to observations Nikolayeva T. and T. Kara-Vasilyeva, at a certain community Carpathian folk clothes and shirts in general as one of its main elements, there is a variety of cutting, sewing, embroidery and pryzbyruvannya techniques (drawing, morschennya), colors [6; 73]. Soon after the article Nikolayeva T. and T. Kara-Vasilyeva in the magazine «Folk art and ethnography», published an article by J. Kozholyanko «Traditional Ukrainian Folk Costumes northern Bukovina» [1]. According to the author, natural and geographical conditions of northern Bukovina, location of the region at the crossroads of trade routes and considerable migration flow in XV-XIX centuries. Moldovans, Romanians, Russians, Lipovans, Germans and other nations have influenced the tradition of sewing, cutting, folk costume decoration of ethnographic zone [1; 46]. Part of the research dedicated by traditional shirts. At the northern Bukovina J. Kozholyanko recorded its three main types: 1) tunikopodibna; 2) with a single cut sleeves, which exists in two versions - polykova and bezpolykova. The two subspecies shirts, according to the author, different design neck. Polykova shirt northern Bukovina, unlike bezpolykovoyi, embroidered luxuriant (like a shirt neighbors - Moldovans). Shirts tunikopodibnoho cut, detailed J. Kozholyanko, more common in the foothills area between the rivers Prut-Syretskoho. According to observations by the researcher, these shirts will roll different shape: Round, diamond, triangular. The oldest form is round, which kroili form attached to the fabric bowls (remember tunikopodibna shirt kroyitssya of one cloth, folded in half). Next section did pazushky middle of the chest. Sometimes this cut made through one or both shoulder [1; 47]. The most common motif embroidery tunikopodibnyh shirts Northern Bukovina are «Pougy» - geometric and floral ornament, which longitudinal or transverse stripes, sometimes completely, cover sleeve obramlyuvav front grooving - «wreath» came two stripes on the back, adorned division. According to J. Kozholyanko in 50-70 years of the last century, traditional shirts out of use, leaving only tunikopodibni without much ornamentation and sleeves. We used these shirts to sleep sh1; 48]. The author notes that, despite all the above factors influences (intersection of trade routes, migration flows) in the formation, existence as traditional costume and its elements, Bukovina costume retained the features characteristic of folk costumes of all Slavic peoples [1; 51]. Pidsumovuyuyuchy, one could argue that ethnographic regions of the Carpathians, Bukovina, Pokuttya Transcarpathia Boykivshchyna, Lemkivschyna and Huzulschyna in the context of the study of traditional costume and its elements, including the shirt, at different times studied renowned young scientists and ethnographers. The most thorough studies concerned Bukovina. In particular shirt, which paid most attention, studied in detail in the works of J. Kozholyanko, M. Kostyshyn, T. and T. Nikolayeva Kara-Vasilyeva. The problem Carpathian historical and ethnographic community in the Ukrainian ethnographic science is closely connected with the study of ethnic groups of the Ukrainian people, who have long been living in the Carpathians [9; 21]. Studies clothing is of great importance in the overall study of culture, history and art of every nation. For clothing as its main and oldest element - shirt, carry a lot of information, some of which require further study, research and decryption. And in this work is exceptional assistants periodicals, which are constantly updated and zkontsentrovano much valuable information. In the study of traditional Ukrainian shirt so the magazine is «Folk art and ethnography» of the Institute of Art Studies, Folklore and Ethnology. M. Rilskogo Academy of Sciences of Ukraine.

References 1. Kozholyanko J. traditional Ukrainian folk costumes of Northern Bukovina / J. Kozholyanko // Folk art and ethnography, 1988. - № 5. - S. 45-51. 2. A. Komandyrov Folk costume Ryahivschyny / O. Komandyrov // Folk art and ethnography, 1959. - № 3. - P. 82-88. 3. Kostyshyn N. Bukovina traditional motifs in modern dress / M. Kostyshyn // Folk art and ethnography, 1978. - № 4. - P. 19-23. 52 4. M. Kostyshyn features traditional folk Bukovina skirts women’s clothing / M. Kostyshyn // Folk art and ethnography, 1976. - № 6. - P. 59-67. 5. Kostyshyn M. decoration Bukovina folk costume mountainous terrain / M. Kostyshyn // Folk art and ethnography, 1975. - № 4. - P. 54-56. 6. T. Nikolaeva Features folk costumes and embroidery Ukrainian Carpathian population / T. Nikolaeva T. Kara- Vasilyeva // Folk art and ethnography, 1988. - № 3. - P. 67-73. 7. Pathrusim-Carpathian A. New in the life and culture of mountain village / A Pathrusim-Carpathian // Folk art and ethnography, 1959. - № 1. - P. 93-94. 8. Poljanskaya O. Features of population of Transcarpathia clothing / O. Poljanskaya // Folk art and ethnography, 1976. - № 3. - P. 23-29. 9. A. Poritskyy ethnographic research Carpathians / A Poritskyy // Folk art and ethnography, 1964. - № 4. - P. 21-24. 10. With Prylypko J. folk clothes Chernivtsi region / J. Prylypko // Folk art and ethnography, 1960. - № 1. - P. 85-90. 11. Prylypko J. Ukrainian folk costumes as a source for studying the ethnic history / J. Prylypko // Folk art and ethnography, 1971. - № 5. - S. 10-18. 12. L. Shevchenko Ukrainian highlanders Arts / L. Shevchenko // Folk art and ethnography, 1940. - № 1. - P. 45-51.

Summary Shnurenko T. Research of traditional shirt of Carpathians region on the pages of magazine «Folk art and ethnography» They are manufacture of materials, traditions of cut, ornamentation, range of colours, regional peculiarities, ritual functions of folk costume and its elements. The area of investigation is Carpatian region. The works published in the journal «Folk Arts and Ethnographi» from 1939 to 2012 are examined. Key words: journal, reseach, folk costume, dress (sorochka), Carpatian region.

Received 29.10.2014

UDC 75.052:39(477.43/44)«19» N.V. Studenets

THE ART OF A HOME PAINTING IN A REGIONAL OCCUPATION OF WORKING SCHOOL OF THE EAST PODILLIA OF THE FIRST THIRD OF THE ХХ CENT.

Domestic wall paintings - conspicuous artistic phenomenon of the traditional culture of the Eastern skirts. Intensive study painting accounts for the 20 years of the twentieth century. - The period of large-scale deployment of regional traffic caused by interest in their own history, national culture and folk art. Studied painting as professional researchers and amateurs. Among the latter - teachers and pupils trudshkil Mohylivschyny. Activities narodoznavtsiv-gatherers on the tail covered in ethnological works. Thus, the research centers of the region 1920-1930 years, different forms of field data fixing explores L. Bozhko [1, 2]. Articles S. Zaremba [4] S. muzychenko [9, 10] M. Parakhin [24] skirts mentioned in the context of the organization of expeditions and correspondent network. In some editions of art considered collectively activities on the theme of domestic painting of the region. [25] However, investigations devoted purely bots trudshkil of mural painting in the scientific literature there. The basis of the study were samples of mural paintings from the collections of the National Museum of Ukrainian Decorative Folk Art (hereinafter - nmundm) and little-known source of archival manuscripts and scientific foundations Phonorecordings Institute of Art Studies, Folklore and Ethnology. M. Rila National Academy of Sciences of Ukraine (hereinafter - anfrf imfe nasu). Purpose of the article - to analyze samples sketch teachers and students trudshkil, describe the features of their fixation. It is important to draw domestic historiography research, museum practice and cultural sphere in general. Much of the collection of mural painting in the collections of skirts NMUNDM make copies of sketches collectors and researchers. In the 1920s many of these images were sent to the Ukrainian Historical Museum. Shevchenko (hereinafter - vimtsh). After many reorganizations Museum in 1954 samples submitted to the Kiev branch of the State Museum of Ukrainian Art, to which in 1964 created Kyiv State Museum of Ukrainian Decorative Folk Art (now - NMUNDM). The only method of fixing the mural include sketches made head ethnographic group s. Ozaryntsi, a member of the All- Ukrainian Ethnographic Society (hereinafter - vuet) - A. Krivitsky and researchers Parasunkom V., D. Hayvoronyukom, N. Bartsyhivskoyu, S. Cossack, teacher trudshkoly K. Kozlovsky. Alexander Krivitsky - Head of the local primary trudshkoly them. Shevchenko on the tail and the first school museum, for a long time directed the activities of regional studies students. Captured antiquity Study group collected samples of oral folklore, a collector Easter eggs, embroidery. During the tour travels to the village TN - Palette Yaruzki (now - Chernivtsi district of Vinnytsia region). Voyevodchyntsi, Karpovka, Skazantsi, Sloboda Yaryshivska (now - Mogilev-Podolsky district, Vinnitsa region.) And Haivoron (now - the city Kirovograd region.) 1923-1928 years students 53 zamalovuvaly painting motives, and then send them to VIMTSH [3, pp. 19-22 BC.]. In a letter in 1926 to D. A. Krivitsky Shcherbakivsky requests help professional advice on this search operation, «thus sending pysanky for more local copies embroidery and ornament the walls of our peasant huts corner (m. Ozaryntsi 10 kilometers from Mogilev in Dniester). That and second pozbyraly students of our semylitky [...] The pictures that convey not very carefully ornamental motifs inside and outside, confess, made without the system: just have captured the beauty and their ingenious method of selection of colors and composition [...] I am convinced that even corrupted largely subjectivity transfer (students and teachers) have on you vrazhinnya wonderful. No [...] inexhaustible source of motivation. With more skills, system and detailed instructions for your we could give to the museum is greater. Sorry, have no literature, no management collection ... «[8]. Sketches made on sheets of watercolor paper and cardboard granular standard format watercolor and gouache, sometimes using black mascara (contour image). Each numbered sheet, accompanied by more information about placing paintings on the walls of the building, tracked its local name. Samples impression of finishing materials not made in the field. The collected materials give an idea of drawing many cells East TN Podolsk, although the authenticity of fixing something lost. Recreated researchers wall painting plant motifs marked diversity, richness and expressiveness of interpretation, the richness of detail. Ornament features combines local tradition with eastern European loans and artistic styles. Many kopiynyh materials dating from 1924-1926’s., N. Bartsyhivska performed mainly in villages Skazyntsi, Voyevodchyntsi and Karpovka (now - Mogilev-Podolsky district, Vinnitsa region.) [11]. Mostly this belt composite structure, various motifs bouquets, branches. Several sketches painted researcher made a peasant hut Oliynyk. In their copies N. Bartsyhivska sought to recreate the features characteristic of mural cells Mohylivschyny - a combination of a large number of colors, using black or blue contour image, asymmetrical arbitrary composition. Specimens fixed it, similar in technique to C. Kozlovsky collected in the villages and Shlyshkivtsi Skazyntsi [12] B. Parasunkomu with. Voyevodchyntsi [13] D. Hayvoronyukom in the village. Skazyntsi [14]. Special attention to the names of a number of reasons features paintings, reproduced in A. Krivitsky Voyevodchyntsi villages, and Skazyntsi Karpovka [15]. Among examples of attention-grabbing sketches signed by S. Kozachka recorded in villages and Skazyntsi Borschyvtsi [16]. Keeping the style of local paintings, they have a certain creative vision of stamp collector. The grounds for this conclusion makes comparison sketches performed by various researchers in one cell, including one house. Besides kopiynyh material has scientific value authentic album of drawings on paper (22 sheets) and «doves» for ceiling beam that made 19-year-old painter G. likeness of s. Skazyntsi (now - Mogilev-Podolsky district, Vinnitsa region.) [17]. With inventory books Scientific archive National Art Museum of Ukraine (hereinafter - ON NAMU) it was found that the samples collected A. Krivitsky [7; pp. 19-19 BC.]. Painted «pots» are masters concise asymmetric structure accented with curly sprout tip - big bright flower. The basis of «pots» - inverted triangle filled lines. The variety of floral motifs characteristic band composition «doves» that are made of white paper, decorated on one side with rounded vytynannyam ruffles and fringe. Twine, bahatopelyustkovi flowers, buds painted rich blue, red and pink colors. Organic meansof expression in the paintings of G. likeness is a dot and line extension that details, softens, enriches decorative image. During the execution of the painting on paper master used «Glinka» (a mixture of white clay with aniline dyes and protein), which posluhovuyutsya for domestic drawing with. Skazyntsi. The result of field studies in cells Vinnichiny A. Krivitsky was the work «Wall painting of a peasant hut on the tail,» which he sent to VUET 1928 (to find it, unfortunately, failed). The collection of samples of mural painting from the collections of many NMUNDM atrybutovanyh fragmentary sketches executed in gouache and watercolor on pages of school notebooks (sometimes - clerical books), originating mainly from the villages of the former Mogylivsk districts. This individual motifs, fragments and carpet tape compositions, etc. [18]. Most of these samples mentioned in 1926, but supporting documentation is not always indicated their origin, the names of collectors. Many sketches are from the village. Forks Yaruzki. Plant motifs, complemented ornitomorfnymy, have a realistic interpretation, and distant from the natural prototypes. Presented in the museum specimens as decided by means of lines and color patches [19]. For example, this concise schematic image of flower shoot, branches, bouquet in two or three colors, soft monochrome linear resolved «pot» with small details [20]. Several sketches reflect widespread in drawing motif «bird on a branch.» Image wavy shoot with various branches, flowers, clusters, leaves typical of many band compositions with the museum’s collection. Among the favorite motifs recognizable eel (v’yunok) vine and so on. The same compositional structure is shown in the paintings of different interpretations, particularly from the ceiling beam sketch signed by Mr. Kotenko. [21] Related pictures by style G. Kotenko from nature [22]. The peculiarity of these images - a flower with chimney, plant composition with ceiling beam evident in comparing large, expressive silhouette colored spots and small parts. «Pot» sketch collector has a symmetrical structure with a dedicated main stem, soft flexible branches. Most of the compositional space filled with large flowers, buds, clusters and leaves. A number of museum samples of wall painting recreates villages braids, gardens and Bush Mogylivsk province (now - Chernivtsi, Yampolsky and Mogilev-Podolsky districts of Vinnytsia region). [23]. Sketches fixed wall paintings with thin transparent lines, small details, large lumen white background with s. Scythe, variable in its outlines with floral motif. Gardens, expressive style on the carpet with composition. Bush. Certain parallels to the sketches of the museum’s collection can be traced in archival sources. In the aspect of the study mural painting scientific interest are students Vylyanskoyi notebooks (p. Yaruzki fork) of Seven Years trudshkoly 54 collected during the summer vacation in the 1924-1926 biennium. Samples of oral folklore. In 1920-1930 years trudshkola this was one of the best in the field of local history on the tail [3; 267]. Writing has been sent to the Commission Ethnographic Ukrainian Academy of Sciences (UAS) - a leading academic folklore-ethnographic focus on the study of traditional Ukrainian culture and the formation of a database from various fields of ethnology in 1920. The task of the commission - an association of scientists, organization of researchin different regions of Ukraine, creation of new cells and so on. The search activity performed numerous correspondents on the ground [4, 23]. The ethnographic and local history groups, organized in schools, colleges, universities, worked closely with kademichnymy institutions. A prominent role in this movement played podolyane [1, 19]. The Commission developed a methodology for collecting and studying folklore and ethnographic materials prepared relevant programs and instructions. Compiled according to the school curriculum, methodical development skerovuvala individual work of students in local history, collecting taught to observe the phenomenon in the development and natural environment [9; 130, 10; 26]. Methodological issues devoted a special issue of «Bulletin of Ethnographic commission uas» (1930, № 16). Making student notebooks Vylyanskoyi school work using ornamental screensavers (at the beginning of the text), extremities (end text) paged illustrations and framing tends to book. Folk entries from the surrounding villages (Bandyshivka, Berezovka, Borschivtsi, Bukatynka, Yaruzki, Petrashivka, Scythe) organically combined with pictures of eggs, carpet motifs, and most of all - with typical domestic Drawing East TN Podolsk plant ornamentation. Among full-scale drawings can identify with the desire to reproduce wall paintings (evidenced by notes), and random patterns based on domestic drawing. Yes, notebooks with folklore recordings Dmitry and Lida Miller, M. Grigoriev postorinkovi see some sketches of compositions and motifs painted with housework. Scythe (now - Chernivtsi district). Climbing expressive lines, floral asymmetry feature images from walls, ceiling beam furnace obscure, as evidenced by the accompanying notes in a notebook D. Miller [1; pp. 130-132]. Bright colors, expressive sketches of details inherent L. Miller. Plant motifs are accompanied by explanations of their placement in the domestic space: «... this flower sketch between windows in the house»; «... It was so drawn. A piece of wallpaper «; «I peremalyuvala this chain from the eaves to the grave»; «... Was depicted above the door» [2; pp. 87-88]. Reported schoolgirl «pot» has a flexible stem and small foundation, the emphasis is on large flower - the executors. Static, restraint and transparency colors dominate the tape compositions notebook pages with recordings of carols, songs and stories M. Grigoriev. One of the sketches from the wall, as the collector has a composition similar to carpet zalavnyka. In the medallions, diamonds, occupying the main field composition contains a variety of images - bird houses and trees. The space between is filled diamonds «pots». Along student designs recreated «from his thoughts» under the influence of local mural painting [5; pp. 143 BC. 145 BC.]. Close to natural reasons are gouache drawings of trees and «pots» that page booklet filled with ancient folk songs P. Marynovskoho [6; pp. 63-68]. For pictures of student used a few colors. Similar images plant recorded in a notebook Horodynskoho I. [6; pp. 15 BC., 17-17 BC.]. A typical tune «pot» reproduced G. Humenna [2; pp. 29, 32]. In notebook G. Miklashevsky carpet sketch can be seen from the village. Bush - a report on the composition of stellate traditional motifs and bordering on a white background [5; pp. 189]. The impact of local ornament painting noticeable in the pictures students villages Forks Yaruzki, Bukatynka (now - Chernivtsi district) Bandyshivka (now - Mogilev-Podolsky district). Folk entries on the pages of notebooks and Frederick P. Kotenko, T. Rozumik out with. Forks Yaruzki accompanied tape screensavers (at the top at the beginning of the text) of common motif in paintings loach [1; pp. 25-42]. Each student in his interprets this motif. Random patterns of composite structures recognizable painting tape Eastern skirts create a frame for clear recordings of folk songs in notebooks I. Zablotskyy [5; pp. 51-52], V. Rizunyka [5; ark.57-60] F. Rizunyka [5, pp. 62] from the village. Yaruzki Forks, N. Belokon the village. Bukatynka [5; ark.11-14] F. Stasiuk from the village. Bandyshivka [5; ark.75 called. 76]. In the complex weaving baroque floral frame turns texts notebook M. Ivanyuk out with. Bandyshivka [2; pp. 36-38]. Features performance drawings in notebooks, the individual names of students (including AP Kotenko) support the view that the paintings from the collection of samples NMUNDM served as local students. Thanks to the selfless work search gatherers, now nonexistent kind of folk art - indoor murals - recorded in museum and archive samples of the 20 th century. Along with professional materials research is important sample copy, teachers and students gathered in villages Bandyshivka trudshkil, Borschivtsi, Bukatynka, Bush Forks Yaruzki, Voyevodchyntsi, Haivoron, Karpovka, braids, gardens, Skazyntsi, Sloboda Yaryshivska and Shlyshkivtsi. They expand the idea of the existence of pockets of painting, and its regional artistic and stylistic features make it possible to understand the deeper and more long-standing tradition in the culture of the Podolsky edge.

References 1. Bozhko L.M. UAS Activity Ethnographic Commission for the Study of Folk Culture skirts in 20-ies. XX century. / L.M. Bozhko // Bulletin of Kyiv. nat. Univ them. Taras Shevchenko. - K., 2004. - Vol. 75. - P. 60-62. 2. Bozhko L.M. Ethnographic research skirts in 20-30 years of the twentieth century. : Dis. ... Candidate. East. Sciences: 07.00.05 - «Ethnology» / L.M. Bozhko. - K., 2010. - 213 p. 3. Halchak C. Development of local history in the eastern tail: XIX - early. XXI century. / S. Halchak. - Ball: 55 Mercury-skirts, 2011. - 788 p. 4. Zaremba S.Z. Local History Ethnographic Commission activities UAS / S.Z. Zaremba // Folk art and ethnography. - 1985. - № 1. - P. 46-48. 5. Ethnographic Commission. Vylyanska c-d profshkoly and trudshkola. Vinnitsa region. Songs, proverbs, riddles village Kosi, beliefs, games and others. 1924-1926 biennium. 193 ff. // ANFRF IMFE NASU, f. 1-6 units. Coll. 495, pp. 1-193. 6. Ethnographic Commission. Vylyanska trudshkola and c / d profshkoly Vinnytsia region. Songs, riddles, proverbs, beliefs, games, fairy tales. Recorded disciples. [B. d.]. Manuscript. 125 ff. // ANFRF IMFE NASU, f. 1-6 units. Coll. 496, pp. 1-125. 7. The inventory book of ethnographic exhibits accounting department at 1926-1938 g., E-number 26778-26841, 27348-27400, E. // ON NAMU, op. 1 units. Coll. 51 conjugation. 1/209, pp. 19-22 BC., 58-61. 8. Correspondence D. Shcherbakivsky. 150 letters (including from B. Klinger - Nov 14, A. Krivitsky - 12 N. Kotsiubynska - 8, Kozlovsky V. - 4, smoking PA - 20). Manuscripts. - AT IA NASU, f. 9 units. Coll. 168 / c 444, pp. 55-55 BC. 9. S.M. Muzichenko the 50th anniversary of Ethnographic Commission YUAN / SM Muzichenko // Ukrainian historical journal. - 1971. - № 6. - P. 128-130. 10. Muzichenko S.M. 10. At the root of Ukrainian Soviet ethnography (Business Ethnographic Commission UAS) / SM Muzichenko // Folk art and ethnography. - 1986. - № 4. - P. 21-27. 11. NMUNDM, 1824-1849-DR, DR-3821. 12. NMUNDM, DR-3703, DR-3716. 13. NMUNDM, DR-1823, DR-3708. 14. NMUNDM, DR-3709. 15. NMUNDM, DR-3643, DR-3704-3714. 16. NMUNDM, DR-3719-3724,3738-3739. 17. NMUNDM, 3827-3830-DR, DR-3737, DR-3854-3855. 18. NMUNDM, 1809-1822-DR, DR-3694-3702. 19. NMUNDM, DR-1813, DR-1820, DR-3695. 20. NMUNDM, DR-3817. 21. NMUNDM, DR-1819. 22. NMUNDM, DR-1822, DR-3697, DR-3727. 23. NMUNDM, DR-1812, DR-3700-3702, DR-3731, DR-3816. 24. Activities Parakhin MB ethnological centers Ukrainian Academy of Sciences in 1920’s - early 1930’s,.: Thesis ... candidate. East. Sciences: 07.00.05 - «Ethnology» / MB Parakhin. - K., 2003. - 209 p. 25. Traditional Studenets N. murals skirts late XIX - early XX century / H. Studenets. - K.: Biznespolihraf, 2010. - 224 p., 20 sec. il. Summary Studenets N. The art of a home painting in a regional occupation of working school of the East Podillia of the first third of the ХХ cent. For the first time in the scientific literature, the article examines collecting activities of labour schools’ teachers and students dedicated to the house decorative painting. The samples of paintings from the collection of the National Museum of Ukrainian Decorative Folk Art (Kiev) are analyzed. The little-known archival sources of 1920s, i.e. school students’ sketches made from nature, as well as their interpretation of local house decorative painting, are introduced into scientific use. Key words: house decorative painting, sketches, collectors, labour schools, museum.

Received 6.11.2014

56 Section II. PROBLEMS AND CONTRADICTIONS OF MODERN CULTURAL

UDC 130.2:81’22 G.P. Lukash

THE HISTORIC NAME AS INTERTEXT OF NATIONAL AND WORLD CULTURAL SPACE

Understanding the intertextual nature of text began in the 60s of the twentieth century. and has not lost its relevance. The main intertextual discourse remain in Bakhtin names and J. Kristeva. The theory of intertextuality is also associated with the names of French researchers the second floor. The twentieth century. - R. Barth, J. Zhenetta, M. Riffatera, Jenny L. et al. Current understanding of intertextuality presented several theoretical approaches. J. Shoemaker including conventionally identifies three groups: 1) pragmatic uniting all models of intertextuality derived from the ideasof Ferdinand de Saussure; 2) dialogical, covering models related to bahtinskoyu tradition; 3) evolution that the Prague vypratsovuye ideas semiotic school and school Zhenetta J. [12]. In the works of J. Shoemaker, in our view, given the most detailed description of the modern typology of intertextuality. She even drew attention to metaphorical paraphrases that researchers seek to vividly convey the semantics of the relationship texts and phenomena in the global cultural space. Thus, the textual world kaleydoskopichnist R. Barthes describes as "echo chamber" (we think, will be more successful translation of "echo-chamber"), M. Riffater - as "ensemble presupozytsiy other texts," Yu Kristeva - as a "mosaic citation," J. Zhenett - as a "palimpsest," Lotman - as "embedded fragments of other texts" [12]. In semiotics became particularly important ideas of Riffatera. He takes the category of intertextuality based semiotic triangle Frege. The vertices of the triangle correspond to the text, intertext, interpretanti. It is through interpretanti text and intertext overlap. According to M. Riffatera, this suggests that the text and intertext unrelated as "donor" and "recipient", and their attitude is not confined to primitive ideas "borrowing" and "effects" [12]. The key theoretical problems of intertextuality that has interested many scientists, is the question of its typology. Yes, today is still valid "p'yatirna" classification between J. Zhenetta text links, which he proposed in his book "Palimpsests: literature in the second degree." Classification G. Denisova in perspective semiotics marked an appeal to the notion of the situation. She identifies intertext stereotypes and "quotes from life" [4; 71]. In her opinion, they should be described as similar to a "foreign words" play a role in stylotvorenni reference to the stereotypical situations. Based on this, it offers a "regarded as intertext any sign cited culture and any reproduction of existing phrases in the language of discourse" [4; 75]. Another important theoretical question - types of inclusions other texts - researchers interpreted differently. They are called intertext, markers of intertextuality, pretsedentnosti means of expression, traces of someone else's text, intertextual vocations and more. A special place among intertextual elements occupied by borrowing from other semiotic systems, also known intermedialnymy patches and mizhtekstovi of these types - intermedialnistyu. In summary, we note that at the present stage of science researchers understand intertextuality as a continuous process of interaction between text and world views in total space of world culture. The purpose of the article - refer to the concept of intertextuality in terms of semiotics and consider into Ukrainian language practice in the form of proper names as a sign system that, firstly, materializes the author's work (broadcast media language), and secondly, is the basis of the appearance of the work of the recipient (companion ), stressing that both are caused by a common cultural memory. The main advantage of the theory of intertextuality is that it allows you to identify specific forms of dialogue text with world and national cultures - "modifications strange word" (reminiscences, allusions, framework components); traces "poetic memory" at different levels of the text (ideological, thematic, imaginative, compositional, rhythmic and intonation) as a mechanism for innovation on the basis of cultural tradition. This theory, on the one hand, exemplifies the idea that "history does not repeat, but that did not disappear, but that all modified" (Eichenbaum), and, on the other hand, the basis for understanding the specificity uvyraznyuye , specific "mechanisms" innovation culture. By R. Barth, "each text being intertext; other texts present in it at different levels in more or less recognizable forms: texts preliminary culture and the culture around them ... Excerpts cultural codes, formulas, rhythmic structures, fragments of social idioms, etc. - they all swallowed text and mixed in it, as always to text and around it there "[1; 324]. P. Florensky wrote about the extraordinary power of words, which matured in the human soul and breaks out, burning and burning, if not expressed. "Function words - is to be expressed and, once and ukorinyvshys another soul, make it the action" [11; 261]. And he adds that most syntetychnosti all words have their own names, which after terms and formulas are at the next step of magical power. So our task semiotic analysis - to determine the levels present in the Ukrainian language practice, especially in their own names, other cultural texts. In particular, we note on the historical level as a means of expression intertekstemy precedent situations of the past. Thus, expressions intertekstualizmu traced in historical references to famous names and events. The Ukrainian language was strongly strengthened intralinguistic 57 konotonimy (Intralingual emotive own name) associated with the sorrowful pages of our history: Babyn Yar Bazar, Berestechko, Baturin, Colima, cool, Kodnia, Pereyaslav, Siberia, Solovki, Chernobyl, Sandormokh. They can the tragic events in the history of the Ukrainian nation, national tragedy or even climb to the symbolic meanings of the universal tragedy can gain general philosophical significance of human life tragedy. This tragedy, sadness, sometimes with some desperation, characteristic mainly for the Ukrainian language paradigm 80-90-ies. XX century. At the beginning of the new millennium connotative place names used much less frequently. These historical place names have different load represent different stages of our historical path. But the way they repeat generalizations certain historical events as a victory or defeat, witnessed in the global language practice. For example, in Russian interlinhvalna intertekstema Waterloo has developed value 'defeat, frustration, ideas': me kazhetsya in kazhdogo IZ us lived in эtoy earth neskolko desyatyletyy, That was the although bы one vesomoe, oschutymoe defeat in life - svoё Waterloo [10; 102]. The same value and in such use occurs in intralinguistic Berestechko place names. Intertekstemnoho mentioned national tragedy became a historic place name Baturin - of Left Bank Ukraine residence, which in 1708 Moscow's troops captured and destroyed, and the Cossack officers crucified on the cross. And no matter where we were going and went and always come in Baturin, and leave it for anything we can not. All our roads lead here, and from here - not get no (V. Kordun). The statement that Ukraine always crucify transmitted via Baturin place name: Here again propikaye fire back, afraid to look back walls fallen - Do bloody Baturin or disappears Troy (J. Zavgorodniy). Echoes of world history can be called a number spivznachen that developed in Egypt semantics place name. Koreferentne spivznachennya emerged in the ancient Orthodox text where the place name meant the land of Egypt, under the power of the devil [2]. Based on this value, in our view, developed konotema "sinful", which translated into such constructs intertekstemnyh: Egyptian woman: ... Egyptian woman - a very evil woman (muma); Egyptian captivity - very hard captivity; Egyptian labor - hard, exhausting work; Egyptian darkness - midnight (Lark W. Marks Ukrainian ethnic culture). Egyptian darkness - "impenetrable, thick darkness": Baba sits in a corner and only his eyes shining, and we still target dozyrayemo. Surely if someone namknuvsya - woman in flooring, in the darkness of Egypt (V. Portyak). Egyptian night - "sinful": Where? But even on this sofa, standing on a street corner. He threw caring home, and now George can make it another Egyptian night (I. Kymlychenko). Egyptian penalty (knyzh.) - "Slave incredibly hard work". Por. Egyptian: Not severity of otsiyeyi Egyptian oppresses it oppresses that for a person you do not find (O. Gonchar). Egyptian captivity; Egyptian captivity - "difficult, needy, dependent life": - hatokraystvo isolation and keep us, John, the Egyptian captivity nobility and the Jesuits (Shevchuk V.A.). Based on other spivznachennya Egyptian adjective - "old" forms phraseologism return to Egyptian pots - "start over"; «Back to its original state." National historic names presented as dumb from the scope of history, politics, national culture. For example, Cossack Mamay - the image of a Cossack traditionally depicted folk paintings (my mother). The common feature of them is the image of a Cossack, sitting cross-legged cross-legged, playing the bandura or smokes his pipe, next - horse, always portrayed the tree - a symbol of the world tree; it hanging arms. Hence the importance of "lonely man", "philosopher", "unknown man", "man without a name", for example in the poem L. Kostenko "Berestechko" I do not know who he is. When appeared. Location. Or maybe he mother. There was, and everything. Interestingly, the name of the Ukrainian television movie "Mama" in the English translation is presented as "No» («Nobody»). Ancient meaning is "warrior knight desert last doomed to loneliness" and "stone figure" because researchers believe that Polovtsian Tatar name comes from the mother idols on the tops of the mounds, which in ancient times was called mom. Various konotemy in Russian and Ukrainian language because of unequal perception of shapes different peoples developed intertekstema Potemkin. In ES Otin Potёmkyn - "lucky", "darling of fate" "Man caught" with John in masters "," darling "[10; 265]. In the Ukrainian language, according to our observations, such konotema not developed. Instead, we have another - "window dresser." We had already Potemkin, you may not be equal - Baglai smiled. - Behold the first window dresser. Genius pretentious (O. Gonchar Cathedral). Hence - quite common in idintertekstema Potemkin - "made for fraud", "false", "artificial": Ukraine agreement with Russia on gas - Potemkin compromise ("Zerkalo Nedeli" 11-18.12.2013). Different reference content intertekstemy Zaporozhskaya Sech / Zaporizhzhya Sich. N If the name has a meaning of "libertines" [10; 195], the Ukrainian language is - "holy place" and synonymous with this intertekstemy often a name similar to the Great Meadow konotemoyu. Returning to the synthetic scheme conceptual and linguistic universe, we note that the joint sector interlinhvalnoyi intertekstemiyi and base to create intralinguistic intertext is passed through sensory perception proper names involved for naming I. universe; II. Rights, including: 1) the person as a living being; 2) as a social human beings; 3) man as a spiritual being. III. Man and the universe: 1) this objective: intertekstemy time-spatial parameters of intertekstemni derivatives; 2) acquired experience (intertekstemy originating from hrematonimiv, prahmatonimiv, erhonimiv, artionimiv etc.). Heterogeneous factor value determines the structure of the national language of space, but the key concepts in this scale are the concepts of spiritual values: social notions of good and evil, beauty and ugliness, justice, sense of history 58 and destiny of man (usually established in culture archetypes). Each subsystem has formed a national set of features and value base reference designs that are endowed with these attributes (stereotypes). This characteristic meets the classification level of linguistic space proper names. At the heart of national and cultural linguistic world view is basic symbolic system that values the language matrix that is superimposed on the flow of information, perception of the world like the coordinate grid. From branching and structuring of the symbolic system depends on the effectiveness of human orientation in the socio-cultural and natural environment, and the quality and intensity of the recycling process information. Based on the basic archetypes actually Ukrainian intertekstemy retain features of ancient perception of the world in demifonimnyh intertekstemah. Yes, nature is sacred intertekstemamy names Perun, Mara Bereginya, Mr. Boss. For example, Mará - mythical creature, often in the form of ugly wicked witch; pre-Christian personification of evil spirits; evil spirit, the devil that people zamorochuye mind and they do themselves damage. B. Grinchenko cites the following examples: "And Mara knows! Did guess? There thought and here thought "," He turned himself good for nothing, walked like a ghost, pale, with crazy, restless shining eyes "," and to them the house darkness came - in the corners black Maro was "(cf. In language: rave , delusions, useless look haggard, insignificant thing) [3, vol.2; 405]. The old value hidden in modern konotemah: 1. The devil, the devil. Idiom Mara knows - who knows, the devil knows, nobody knows; Maru let in - charm someone let in spell on someone; that in spirit! - It is! What the hell! (B. Lark). 2. Suggestion, delirium And soon organized his business as though stryahnuvshy himself eternal Gavrilov Maru, which still swaddled him (Ivanyna B. Love and Death usurper). Numerous are vidintertekstemy: máryty, márennya, márnyy, zmarníty, márnytsya, obmáryty - get captured Mary, to feel someone's suggestion. Echoes of ancient mythological significance VV Lark sees behalf of Mr. Hospódar. This ancient pagan deity, the oldest god heaven light or perhaps , the father Dazhboga; He carols in a beautiful, lush, rich and proud; living on the mountain on the large courtyard, which is on the seven pillars of gold fenced with thorns, with expensive gilded gate; servants around him, and he sits on ponakryvanymy tables. "The image of a light see the Lord God may old, wise and venerable, clearly a senior goddess of the sun and other heavenly bodies ... There was, went to the moon heaven Zarnitsa sister said:" Come to me to seek God "have found we god Pan Master (carol) "[6; 75]. As intertekstema this Theon used in the ritual of Christmas songs - konotema, familiar to modern media language - "master", "master of the house" (usually owner-farmer), which respectfully refer carolers (schedruvalnyky), welcoming family a Happy New Year and Merry Christ, zychachy her all the best, Is home, home-host this gentleman? This gentleman host to them, "I Michael? (carol); To born and bread, that plodyvsya cattle, and to our host Mr. Nothing distressed (carol). A transformation under the influence of the internal structure has undergone a period Bereginya. Bereginya Mother - in pre-Christian beliefs - the Great Goddess, the goddess of life, goodness and protection from all evil, patroness of crops; defender villages and small children from disaster, disease, death; portrayed on white towels (amulets), which hung on the windows, doors and had to protect people from black forces; image Bereginya - yasnocholoyi mermaid, carefully guard virgin virginity and marital fidelity can be seen in Krolevets towels; schematic image of the goddess (the symbolic figure of a woman with raised hands) vyshyvavsya on clothing, vyrizblyuvavsya in trees, on the doors, shutters, porches; its image has come to us on idol. In dialect speech - Mermaid ("keeper" <"Bank"). Yuri Karpenko in one episode of "Culture of speech" noted that the word "keeper" returned the V. Skuratovskyi vypustyvshyu 1987 book called "Berehynya" which clearly depicts national customs and rituals, especially on the territory of Polissya. Then Bereginya started calling those women who keep, preserve something of social value, including family warmth, seven "yu, the cultural heritage of the people. In fact, keepers of ancient mythology were not talismans and nothing protected. "New Dictionary of Ukrainian language" takes the modern meaning of the word "mermaid" with a "dialect" [9, v. 1; 128]. In ancient monuments Bereguinias also associated with water, not protect. For example, the text "Word of Saint Gregory izobreteno in toltseh", which was made of old monk-scribes in the XII century. and came to us in the four lists XIV -XVII., We find the following: "A pieces (pray) to fire and kamenyyu and rЂkam and ystochnykomъ and berehynyamъ"; "First and that I must put ghouls and Bereginya" [8; 93]. Intertekstemy modern meaning, "a woman who protects and supports the hearth, stands the shadow around the family circle, first woman-mother" [5; 33-34]. A peculiar aspect of the value given in M. Matios: For current civilization is associated exclusively with male hegemony, even milyonnodolarova woman weighs no more than a woman in the history of Ukraine, which is quite transparent, but not publicly, she assigned the role of concubines, and for the official historical opus Ukrainian woman invented the role of guardian of sexless. Only (M. Matios Blog executed). The remains of pre-Christian beliefs are observed today in the new co-reference values intertekstemy Danube. When the value of this slogan intertekstemy roots date back to the past. So, firstly, the Danube - the mythical image of the river; flood, flood, high flow. "The sea, lake, river, spring, well, fountain and so was called in ancient times" Danube "(V. Voytovych). Confirms this and Vladimir Lark "is not only the embodiment of the Danube River, but the sea:" As I go to the Danube, Huknu shout-not little - ozvetsya my destiny beyond the blue sea "and well," It was me drown where a fountain- Danube "[5; 135]. In B.Grinchenko is "spilling water all the great accumulation of water. "Oh Danube waters around the corner, oh there kozachenky horse watered. Over Danube water Stoyan, oh there kozachenky horse watered. Flow the River, flowing from quiet Dunayenku bystrenki. Dunayechka of flowing water and the sea Another "[3, v. 1; 456]. This led to the emergence names mentioned mythical water creatures diva-like Mermaid - dunavky (by V. Voytovych). 59 The second old value - the mythical image of the hero in the epics. Values remained in Russian phraseology Danube Business look - (obsolete). "Gloomy about, stern look", where the Danube - "symbol character in the epic folk poetry that characterizes strong and violent man" [7; 12]. In modern language hydronyms Danube River as well indicates, fast water, but only with a slight aura of ancient mythical forces. Thus, the aggregate consideration konotem similar in form but different in meaning intertext Russian and Ukrainian convinced that the conceptualization names directly affects people's experience, especially the perception of reality, reflected in every culture. There are proper names, absorbing mythological, theological, philosophical and intellectual information generally, are the kind of cultural texts collapsed, forming in the historical, social, national cultural and other contexts and are able to reflect the emotional evaluation of the object. Obviously, national intertext of culture as a form of existence is not owned by one level semiozysu sociocultural and cognitive space formed in the transitions between them.

References 1. Bart R. From the product to the text / Roland Barthes // Selected Works: Semiotics. Poetics. - M., 1994. - 594 p. 2. Grigoriev A.V. Textual Slavic Bible / A.V. Grigoriev, A.A. Alekseev. - SPb. : D. Bulanin, 1999. - 256 p. 3. B. Grinchenko dictionary Ukrainian language: in 4 vol. / B. Grinchenko. - K.: Izdatel'stvo USSR, 1967-1969. - T. 2, 3. - 506 p. 4. Denisov G.V. In the world of intertextuality: language, memory, translation / G.V .Denisov. - M.: Progres, 2003. - 210 p. 5. Lark V.V. Signs Ukrainian ethnic culture: slov.-argument. / Vladimir Lark. - K: Trust, 2006. - 703 p. 6. V. Lark Ukrainian ethnolinguistics: Essays: teach. guidances. for the studio. HI. teach. bookmark. / Vladimir Lark. - K: Trust, 2007. - 262 p. 7. Ikonomidi I.Y. Phraseological units, proverbs and sayings from the national component of the specific values in modern Greek and Russian languages. Experience the dictionary / ed. Isayeva LA / I.Y. Ikonomidi. - Krasnodar: Kuban. state. University Press, 2005. - 72 p. 8. Karpenko Y.O. ancient mythology as poetic weapon / Y.O. Karpenko // Notes on onomastics: Coll. Science. pr. - O.: Astroprint, 2002. - Vol. 6. - P. 93-108. 9. The New Dictionary of Ukrainian language [way .: V. Yaremenko O. Slipushko]. - K.: Akont, 1998. - 1.4 tons. 10. Otin E.S. Dictionary connotative proper names / E.S. Otin. - 3rd ed., Rev. and add. - 2010. - 318 p. 11. Names Florensky P.A. / P.A. Florensky // Experience: Literary and Philosophical Sat. - Moscow: Sov. writer, 1990. - 380 p. 12. J. Shoemaker of the term intertextuality and intertext modern communicative linguistics [electronic resource] / Y. Shvets. - Access: http://ena.lp.edu.ua:8080/bitstream/ntb

Summary Lukash G. The historic name as intertext of national and world cultural space Statt prisvyachena problemі іntertekstualnostі іstorichnogo іmenі in natsіonalnomu th svіtovomu cultural prostorі.Z'yasovano scho mova Yea one h nayvazhlivіshih elementіv culture whether yakogo people i factor zberezhennya samosvіdomostі people. Manifested svoєrіdnostі natsіonalnoї culture rozglyanuto on prikladі appears dodatkovih spіvznachen have Vlasnyi references. Posted analіz ponyattya іntertekstualnostі krіz prism semіotiki culture. Zaproponovano pіdhіd to semіotichnogo analіzu іntertekstualnostі. Key words: іntertekstualnіst, іntertekstema, Vlasna NAME, cultural Prostir, semіotika culture.

Received 18.11.2014

UDC 168.522 O.V. Ovcharuk

THE IMAGE OF A HUMAN BEING IN THE MODE OF CULTURE-PHILOSOPHY OF THE UKRAINIAN LITERARY ART OF THE LATE XIX – BEGINNING OF XX C.

In the European Research Area in the late XIX - early XX century. there were dramatic changes in the formation of dominant worldview. Humanities, separated from the social, pretend to study not only of social systems, but also the culture. It appears as a regulative ideal that allows you to find ways and methodological categorical synthesis in a wide range of human knowledge, and thus acts as an integral image of contemporary humanities, specific form of expression which is art. Outlined context causes the development of Ukrainian literary arts, the formation of cultural space in which Ukraine late XIX - early XX century. occurred in circumstances where the transformed and integrated artistic achievements and experience of different ages and generations, in literature, in accordance with the requirements of the time, appear strange 60 regions still themes, motifs, images, system of genres, there is a "diffusion" stylistic trends and currents. However, on the basis of ideas of European philosophy actualized the problem of the relationship between man and the world, singled out as a dualism concepts of the individual and the culture, the artist and the work, and search for a new image of man is the semantic core of the Ukrainian national literary process, revealing its ideological and anthropological meaning. Its disclosure is possible through the involvement of a multidisciplinary approach as a methodological tool culture, and to put to the process of scientific cognition experience philosophy, philosophical and cultural anthropology, philosophy and cultural history, art history, ethics, aesthetics and so on. Despite existing in the national literary and art criticism on significant developments in the dimensions specified period of development as a whole Ukrainian literary arts and the study of the creative heritage of its specific representatives, presented in the works of local scientists - T. Hundorova, A. Zabuzhko, LA Kolomiets, in . Levin, S. Pavlichko, V. Sheiko Shumilo N., Y. Polishchuk Ilnytsky M. et al., the problem of understanding the image of man in the work of Ukrainian Writers late XIX - early XX as the dominant ideological and anthropological kulturosofiyi Ukrainian literary art does not become the subject of cultural studies. It also determines the relevance of the proposed exploration. The article is isolation in understanding cultural aspects of image rights in Ukrainian literary process late XIX - early XX century. As remarked W. Gorski, national spiritual tradition within European culture demonstrates the kind of thinking that tends not to "Platonic-Aristotelian" line philosophy, which, according to the canons of scientific thinking, seeking truth, independent of man and mankind, and to another, "Alexandria biblical" focused on competition is not as impartial truth, as the truth which is constructed as a drama of human life [1; 21]. This causes inherent aversion to Ukrainian spiritual tradition of abstract, detached from life theorizing. With this in mind, rooting in the Ukrainian spiritual culture of understanding the philosophy determines the presence of clearly identified on the significant ideological and philosophical layer in the ground of a variety of works of this culture. This leads to appeal openly nefilosofskyh layers within which are emerging, including at the level ofthe direct intuitive comprehension of the world (image or symbol), the life purport idea that later can be formulated as kulturfilosofskyh ideas and concepts. According to orbit hermeneutical analysis logically fall to mainstream scientific theory forms, especially art, as a philosophical "subconscious culture" (A. Zabuzhko) for directly - personal, existential- semantic levels produces specific knowledge and ways of understanding the culture. Ability to conceptualizing art in art- shaped ideologically important ideas kulturosofskyy determines its specific character. This is especially true Ukrainian literary art, which in the late XIX - early XX century., Because the period under national intellectual school did not provide ready-mature philosophical systems, professional models of philosophical thinking. Evidence in favor of this idea is J. Chizhevskogo, who in the 1920s. Noted that "within national Slavs still close to the pure theorists can be supplied mentally that only outlined the idea, just throwing ideas without thinking through them through, not giving them the latest philosophical treatment "sh9; 12-13]. Mirchuk [2; 11] indicates a lack of system "as the specific features inherent Slavic philosophical thinking that is not vertical, but horizontal trend. However, this powerful replacement flashy "no philosophic" (O. Zabuzhko) became active Ukrainian literary career writing, which representants during the late XIX - ten years of the twentieth century. was the generation of "Young Ukraine" and its most prominent spokesman and leader Franko. It should be noted that this situation intensified in literature and world culture in the territory since the second half of the nineteenth - during the twentieth century. As pointed out by the modern researcher Alexander Onishchenko, its essence was that at that time began to emerge quite clearly a trend that proved the attraction to artists of original research, predetermined their direct appeal to the outstanding theoretical achievements in the field of humanities. The obvious priority in this area, give in to the side of the representatives of literature, because it is capable of outstanding works of art enrich modern aesthetics, cultural studies, psychology, ethics, literature, art history [4; 10]. Another factor that encourages it limits appeals XIX - early XX century. in the context of literary art in the history of both domestic and world culture, is the phenomenon of "rubizhnosti." The complexity and ambiguity of these periods activates new research initiatives in their development. However, the main feature of the cultural space of the late XIX - early XX century. is its "openness" multiplicity of creative contacts at various levels between cultures, going beyond European cultural area and as a result - the existing boundaries of knowledge in the world are torn and the main problem of choice, facing homo Faber transitional cultural period becomes the benchmark, creation a new system of values. In other words, "becomes effective transition period" law passionarity ": the desire to complement, compensate for the" open "world picture. This requires research ... new aesthetic territories appears to strengthen integrative processes at different levels of cultural communication "[6; 6]. Designated features of "transition" Skrypnyk allowed to define its essence for Ukrainian culture as having brought it to provincial status, "regional" to "independent path of development" and, thus, on the way to full-fledged subject - subject dialogue (what M. Buber ymenuvav dialogue such as "I-Thou" opposite the "I-they") with other cultures. As pointed D. Chizhevsky, it is the turn of the century the new Ukrainian culture first takes "full frame": not only artistic and aesthetic, but also scientific, religious, political "subsystems" consisting Ukrainian spiritual life and developing organically, "inside", according to Ukrainian community needs [2; 18]. 61 Definitely "literaturotsentychnyy" stream of Ukrainian culture in the late XIX - early XX century. When Ukrainian national cultural renaissance, like most Slavic unfolded by romantic model, where the language itself, but for her and verbal creativity, writing and the whole Ukrainian literature assumes "tsentralizatorskih" system-organizing function in an emergency skondensovanosti course of spiritual processes, causes irrational, romantic exaltation of Ukraine and Ukrainian "spirit" and thereby defines one of the main trends in contemporary Ukrainian culture that logically fits into the European philosophical tradition . It is in the context of its uvyraznyuyetsya problem of forming a modern hero, which in socio-political projection transformed into the image of a man who embodies the artistic ideal level of public personality. This aspect is a key in kulturfilosofskiy eseyisttsi works of art and prominent figures of Ukrainian literature - Franko and M. Wave. Their artistic heritage and cultural practice has a significant contribution to the process of Ukrainian national culture creation, namely the original form of art acted as a reflection of perception of reality, figurative art and philosophizing on the problems of national culture and the formation of the human person. In that sense there is the most expressive musical legacy Franko. It is there formulated pivotal idea that is the basis of his kulturfilosofskoho Search - is the idea of the hero, personality, individuality, free in the community, but not free community. Even in "bricklayer" formulated by calling for the writer hero - people devote themselves to laying the way to a happy future, the idea of the hero, who is the bearer of the spirit and is an integral part of the native nations and people. The hero Frank keeps himself from individualistic rebellion against society and social norms, bringing the energy of a strong identity for the community. History, in the opinion Franko certainly not the heroes of history, it is always history "Mass movements and won." But the masses in the representation Franko no impersonal because smyslobuttyevym task, implemented by each unit must be human-transformation of the unconscious of the masses to its independent components. This process is realized through the transformation of the ethnic group as "natural" component of the history of the nation, which is a public cultural body. An important prerequisite for this process is the awareness of individuals that make up the nation "ideal" that unites them, and faith, which involves not only awareness, but also the perception of the heart of this ideal. Giving a definition of the ideal projection on public life, Franco comes from the fact that "every ideal - a synthesis of the desires, needs and competition close and distant desires and competitions, such that the eye lie beyond the possible." "We must, - the thinker in his article" Beyond the possible "- heart feel his ideal, we have a mind uyasnyuvaty it must use all the forces and means to approach the he ..." [7; 285]. Mason emphasizes synthesis: a) desires, needs and events, which by their contents certainty are close and distant, light and difficult to comprehend, but there is still achievable; and b) the wishes and competitions that are far and "lie beyond the possible." The latter is a characteristic feature ideal for the European mentality. "Beyond possible - said Ivan Franko - that much different cultural ideals and impulses of European civilization." Hence the growing view "that these ideals can rise up can ignite the hearts of a wide range of people to lead the people to the largest effort to the most serious casualties, add them strength in the most terrible torments and sufferings, this is, perhaps, the blood of Indo-European race and only of each other; among other races we did not encounter the phenomenon "[7; 285]. Based on the fact that any ideal - this synthesis desires, needs and competition rights, people, humanity, and thus in deciding the ideal origin should proceed not only in production, but above person. According to Franko, source of human action is "a range of its physical and spiritual needs, who wants a calm" [7; 284]. These physical and spiritual needs - depth, primary, source roots, connected with the man who pushed her towards finding ways, ways and means of facilitating their living conditions, improving and improving production of wealth and ensuring their spiritual nature, which can be achieved by using knowledge of nature and society, science and technology development, creation of material and spiritual and cultural values. This is the soil in which grow ideals mobilize, organize, animate, direct person and society to implement social progress. So the ideal concept kulturfilosofska Franko was an important methodological basis of projections understanding of life as a human person and the whole nation in its cultural and political self-determination. Finding Ivan Franko image of the ideal man took place in the context of the deployment of Ukrainian national movement in the mid-nineteenth century. Caused by the relevant European processes, and reflected the social conception of man fighter for national ideals that were formed under the powerful influence of Romanticism with its increased interest in ethnic culture . Thus, the formation of a new type of culture, namely, national, resulted in the need to develop a new image of the ideal man - a national image "I". Writers Careful attention to the inner world of man during the neo-romanticism - a wave of spiritual revival in Ukraine stepped artistic consciousness of sustainable national figurative archetypes thinking. The new artistic expression, they began to function as topoi spirituality. In the early 20-ies. XX century. in modernist works referred symbolized archetypes polyvalent acquired additional semantic load due to the new concepts of man, his inner world, individual and social reflection. Climbing a single strong personality to the "strong man" omriyuvalosya inseparable from the ascent to maturity of the Ukrainian nation in the sense of the nation. That is why the philosophical concept of Nietzsche "God is dead", which expresses thinker zneduhovlennya contemporary era, not dealt with Ukrainian culture in which just happened resuscitation national consciousness, which resulted in a interspektyvne reflektuvannya develop modern image of the new man. For Ukrainian literature 20-ies. XX century. became the defining neo-romantic trends that emerged, particularly in 62 the split between the national idea and revolutionary romanticism in finding a solution to the crisis spiritual and social, of the need to enhance the value of the product of the author's "I". Modern scholars emphasize the characteristic features of this literature and fragmentation kaleydoskopichnosti narrative, Blur plot hold attention on inner feelings of the characters. Duality of personality eschatological motifs and balancing on the edge between life and death are the main line of many works of writers' dvadtsyatnykiv. " Among them work and one of the founders of modern national - M. Wave. These features were characteristic common language modernism. However, in this case, the writer gave them another quality, deliberately directed them through different ideological mythology that brings out the human self in space expanded to a holistic sense of peace consciousness. Thus, the wave of literary work by a person begins to build a "conscious life" - a category level for which a person is able to gain real freedom, and therefore as close to him in spirit artists dvadtsyatnyky Kurbas and Tychyna directs his gaze Cooking man of the future. He assumes this ecological function in the human soul. Anti-utopian writer shows what can happen in the future if people completely lose freedom, lose yourself in the illusory world of pseudo ideas and ideologies. However, it is not enough for the wave, it also shows the level at which inevitably will be soul-searching (internal human "I"), how complicated the process can be and how may concern all mankind. Therefore Khvylovy - autobiographical, but not in the usual sense of the word: it is a biography of his soul, his experiences in his ascent to the high end. On a personal level individual wave in permanentnыy volitional thought and intellectual dynamics that can be realized in search of "willful", "Faustian" man. After the foundation of philosophical quest writer was his present, which is a particular person, which may be its development as an integrated personality. "Asian renaissance" is determined not only the revival of classical education, but also the revival of strong and whole man, the resurgence of a new type of brave conquistadors that them toskuye European humanity "- notes writer [8; 614]. Such a person is able to feel and realize in their practical life immensity historical perspectives of the revolutionary era. "Horizon of expectations", "dream culture" in such a situation could be the only type of European intellectuals that it symbolizes the image of Faust - the hero of one of the greatest works of world literature. According to Spengler, this image is treated as "prafenomen" all of Western culture, which in its internal samorozhortanni determines all forms of social life, religion, philosophy, art. Wave seems most interesting to strengthening European cultural significance of human individuality, which expresses its sovereign dignity Worst external circumstances. According to Kolomiets LA, is the image of the European citizen Faust as the personification of the creative life of activism, is one of the symbols nayzmistovnishyh M. Wave, his concept of the new Ukrainian man. "The moral imperative Western Faust, which is embedded in the formula" I must, because I can "- a dynamic category will" [3; 34]. That dynamic will wave offers a new principle of response as a way of life for his contemporaries. However, because of the "I" man's inner world wave was much bigger challenge - the individual human "I" it leads to the epic of a people - its existence and finding new culture, new logos. Thus, "Zahirna distance" - this promised new Jerusalem, so nakreslyuyutsya work across the associative weave of the Apocalypse, which is present at a level of compositional elements. Revelation of John also multi - because it is the vision of a soul directed to all cultural eras. By apocalyptic revelation sends wave, alluding to the revelation of the soul - searching "beast" in itself, a distorted understanding of the future adoption of a method of "the beast". In this sense we can speak of "I (romance)" as a dystopia that exposes all the horrors of the Soviet era. In addition, despite all the internal and mystical aspects of the work manifests the contradiction between human nature and ideology. Ideology, which is always sketchy, according to anthroposophy belongs the kingdom Ariman. It is contrary to the spirit element of human nature. Ideas about the power of art to transform the world and Ukrainian culture special role in this process, activated in literary discussions Wave 1925-1928 biennium., And were echoed in the works of other writers and poets. The focus for the future and a sense of himself as a young force that can bring a new creative spark to world culture by educating the new man are common manifestations in Ukrainian literature of the time. And it appears as an attempt to bring the situation into their own hands, return it to another channel - universal, beyond ideological. After interpretation of the history and culture of the position of a person, making an individual feel involvement in the world, to the present, after all, the beauty and wisdom, was discovered close to artists that feel builders of a new church in the heart of the individual.

References 1. Vladimir Gorsky. Philosophy in Ukrainian culture / W. Gorski. - K., 2001. - 235 p. 2. Zabuzhko A. Philosophy of the Ukrainian Idea and the European Context: Franko period / O. Zabuzhko. - K: Fundamentals, 1993. - 125 p. 3. Kolomiets L.A .Ethics phenomenon of "social rights" Khvylovy: the image of Faust as a symbol of revival of the Ukrainian / L.A. Kolomiets // Young Nation, 1996. - № 1. - P. 31-40. 4. A.I. Onishchenko as researchers Writers: potential theoretical ideas (O. Wilde, Thomas Mann, A. France, Franko, S. Zweig) / A.I. Onishchenko. - K., Institute of Cultural Studies IAB Ukraine, 2011. - 272 p. 5. Pavlichko C. Discourse of Modernism in Ukrainian Literature / C. Pavlichko. - Kyiv: Lybid, 1997. - 360 p. 6. Redya B. Music in kulturnoy compositions "Serebryanoho century": Essays yssledovatelskye. Monograms. / V. Redya. - K.: DAKKKiM, 2006. - 276 p. 63 7. Ivan Franko Outside the possible / Franko // Coll. op. : 50 t. - K., 1981. - T. 45. - P. 284-285. 8. Wave M. Works: in 2 t. - T. 2. Pamphlets / Khvyliovyi. - K. , 1990. - 924 p. 9. Chizhevsky D. Essays on the History of Philosophy at the Ukraine / D Chizhevsky. - Kyiv: Lybid, 1983. - 176 p.

Sunmmary Ovcharuk O. The image of a human being in the mode of culture-philosophy of the Ukrainian literary art of the late XIX – beginning of XX c. In the article the specific nature kulturosofskyy Ukrainian literary art of the late nineteenth – early twentieth century. On the basis of the creative legacy of I. Franko and M. Hvilovogo singled cultural aspects of artistic and imaginative way of philosophizing in human dimensions of national culture in the global cultural context. Key words: kulturosofiya art, image rights, interdisciplinary, cultural aspects.

Received 27.10.2014 UDC 168.522+130.2 V.V. Luchanska

«CULTURE AND EXPLOSION» OF U. LOTMAN AS A METAPHOR OF THEORY AND HISTORY IN CULTURE

Formulation of the problem. Background work is determined by the following factors. Yuri Lotman (1922-1993 gg.) - A cultural, founder and head of the Moscow-Tartu semiotic school, vice president of the World Association of Semiotics (1968), corresponding member of the British Academy of Sciences (1977), member of the Norwegian Academy Science (1987), the Royal Swedish Academy (1989), the Academy of Sciences of Estonia (1992), whose work is being reprinted and cited [1-9]. He owns more than 500 original publications. Before his death, lost his sight and scholar students dictated his last work - "Culture and explosion" (1992) [7]. In this paper the author from the perspective of semiotics tried to outline the differences between the "explosive" socio-cultural processes in Russia, with its controversial dihotomiynoyu culture and Western civilization. The aim - to consider the concept as a central concept semiosfery structural semiotic cultural studies Lotman. Analysis of research and publications. Lotman scientific heritage devoted to conferences, congresses held in Tartu State University, where scientists worked most of his life. In recent years a number of theses defended, dedicated to scientific heritage of the scientist. In the National Library of Ukraine. Vernadsky, where the author is working on dissertation research [10] is work Lotman "Culture and the explosion" [7]. Drew attention to the inscription on storyntsi (probably already known scientist!) That "karatelno opredelyl" referral Lotman as mathematical research. In XX century. many philologists, historians, philosophers became closely as part of its science. Bakhtin, for example, said their "last call friends" that he was not literary, not a scholar and thinker. Varied in how to identify their specialty V. Propp, Bogatyrev P., R. Jacobson, N. Conrad, O. Losev, D. Likhachev. Only Lotman went safely to the goal - the creation of a new universal humanitarian science - the science of culture. And no objective and subjective obstacles have not stopped him along the way .... [4]. The term "explosion", first as metaphors used Lotman literary works in the late 1960s - early 1970s. Priorto the formation of philosophical concepts and correlation gradual and "explosive" processes in the book "Culture and explosion" (1992), Lotman uses the concept of a separate cultural works. In the preface to the work of Lotman [5] Ivanov outlined that the main theoretical problem which Lotman took the end of his life, was an explosion of culture and history and the related fundamental unpredictability of events for the next explosion. Put Lotman distinction between gradual evolution and explosion is the modern form of debate around different models of development that began in the late XVIII century. and found a continuation in the teachings of Darwin and speeches against him, including a famous book Danilevsky, the famous works of Berg and the noosphere anttdarvinskih these works. Fundamental questions of any semiotic system is, first, the attitude to pozasystemy, the world that lies beyond, and, secondly, the attitude of statics to dynamics [7; 7]. Metaphor explosion Lotman chosen to describe the process by which limit a stable and orderly semiosfery broken. The explosion and evolution that Lotman associates, on the one hand, the discontinuity and unpredictability, on the other, with continuity and predictability. The explosion appears fundamental process to further dynamics and updates, and semiotic increase. The author notes that the unpredictability of explosive processes in no way is the only way to the new. Moreover, whole areas of culture can make its move only in the form of gradual change. Progress and explosive processes, being the antithesis, exist only in relation to one another. Destruction of one pole would lead to the disappearance of another. All explosive dynamic processes implemented in a complex dynamic dialogue with the mechanisms of stabilization. We should not be misled that the historical reality they act as enemies who seek the total destruction of the other pole. 64 Such destruction would be the death of culture, but, fortunately, it is feasible. Even when people are firmly convinced that implement in practice any ideal theory, practical field includes opposing trends: they can take ugly shape, but can not be destroyed [7; 17]. Culture as a complex whole formed of layers of different speeds, so that any simultaneous cut it detects simultaneous presence of its various stages. Explosions in some layers can be combined with the gradual development of others. This, however, does not preclude interaction layers [7; 23]. Even more substantially simultaneous combination of different spheres of culture explosives and gradual process. The issue is complicated by the fact that they arrogate to themselves inadequate self. This usually mystifies researchers. The last characteristic synchrony to reduce structural unity and aggression of any self interpreted as establishing structural unity. First - Self-wave, and the second wave - research terminology - artificially unify painting process, smoothing the contradictions structures. Meanwhile, in these contradictions laid the foundations of mechanism dynamics [7; 23]. Lotman emphasizes the difference between his views with those of Vernadsky, who are close. Noosphere - a certain stage in the development of the biosphere associated with the right to human activities. Noosphere, as well as the biosphere is a cosmic mechanism that causes structural unity of the planet. Semiosfery is not a shell of the Earth and is abstract. Semiosfery not step in the evolution of the Earth. To understand the possibilities of communication processes and the development of new information Lotman has defined the concept semiosfery. And incremental and explosive processes running simultaneously structure performing important functions: providing innovation among others - continuity. In self contemporaries, these trends are analyzed as hostile, and the struggle between them is interpreted in terms of military battles of attrition. In fact, they are two sides of a single associated mechanism, its synchronous structure and aggressiveness of one of them does not destroy, and encourages the development of the opposite [7; 23]. Lotman repeatedly emphasizes that semiosfery is a dialogical open system. Dialogue or mutual exchange of information at all levels is semiosfery and on metarivni when there is communication between different semiosfery. Semiosfery asymmetric structure. This is reflected in the system of internal transfers directed currents that permeated all strata semiosfery. The expression of the essence of some means of another language - the basis of identifying the nature of this entity. And since most of the different languages semiosfery semiotically asymmetrical, that are not mutually unambiguous semantic correspondences, the whole semiosfery generally be regarded as a generator of information. The scientist believes that the future is uncertain, however, their, albeit blurred boundaries. Of excluded that within this system is obviously not possible to enter. The future appears as a space of possible states. The ratio of present and future pictured that way. Present - this outbreak is not yet expanded semantic space that contains potentially all the possibilities of future development paths. It is important to emphasize that the choice of one of them is not determined by the laws of causality or probability: the explosion in the mechanisms completely disconnected. The choice is implemented as a future accident. Because it has high information content. At the same time there is a moment of choice of cut-off roads, and destined to remain only potentially possible, and the time when the laws of cause and effect relationships again come into their power. The explosion at the same time - a sharp increase in information content of the system. The curve of jumps is a whole new, unpredictable and complex way. The dominant element that occurs as a result of the explosion and defines the future movement may be any element of the system or even another element of the system accidentally pulled explosion binding capacity of the future movement. However, the next stage it is already creating a predictable chain of events [7; 24-25]. The dynamic development of culture, Lotman says associated with the nature of human society itself. The term "semiosfery", first developed and introduced Lotman, is used today in many papers in various fields of study in relation to a wide spectrum of social and cultural phenomena. Construction "semiosfery" culture as its model, can decipher the language of the culture, to exercise its own concepts and specific logic. Consider the main features semiosfery (Fig. 1). The most important structural element is semiosfery limit. On the one hand, it is necessary to maintain the integrity of the system. its semiotic homogeneity, as distinguished from the surrounding semiosfery vnesemiotychnoho or inosemiotychnoho space. Semiosfery vidmezhovanist characteristic of the surrounding vnesemiotychnoho or inosemiotychnoho space. Lotman considered culture as well as a generator codes. Scientists believed that culture is interested in a variety of codes and culture can not be built on the same code. All cultural phenomenon scientists treated as different kind of communication mechanisms, ie as a different kind of language. Therefore, awareness of the border depends on the method of coding. Semiosfery has structural irregularity, that nesemiotychnist outer space in one relationships can turn semiotychnistyu another. Semiosfery inherent mechanism "Intersection" of cultures and their mutual influence. This feature is very important to study the processes of integration in the culture. Lotman concludes that the world intervene in its effects unpredictable events that give impetus to a number of further processes. The moment of the explosion, as already mentioned, as though it excluded since, and he goes way for a new phase of a gradual movement that marked the return on the time axis. However, the explosion creates a chain of events. First, its result is the emergence of a set of equally probable consequences. Of those destined to be realized and become historical fact only a single. The choice of which became historical reality, units can be defined as casual 65 or as the result of other interventions, external to the system and are outside the laws. That is, some other term, it can be completely predictable, but within this structure, it is a coincidence. Thus, the implementation of the potency can be described as a set of other nerealizatsiya [7; 53]. Thus, the concept semiosfery Lotman enables structural construction of scientific models of cultural invariants, adequate complexity of the object. Based on the concept semiosfery scientist builds a typology of culture, explores the value of regular and unpredictable processes in culture, the relationship of culture and nature, culture and identity, justifies building a common historical semiotics of culture. Thus, under semiosfery Lotman understands semiotic space, which in its object, essentially equal culture. In our opinion, the concept semiosfery developed by scientist and philosopher, is original and contribution to the theory and history of culture. Center semiosfery form the most developed and structured language. First of all, it's natural language of culture. Semiosfery has certain characteristics and laws of construction. Binary and asymmetry is mandatory laws constructing any semiotic system. Semiosfery different heterogeneity. Semiosfery - a multidimensional space, keeps internal stress due to having different nature.

References 1. In honor of the 70th anniversary of professor Lotman. - Tartu: Tartu University Press, Department of Russian. Lighted., 1992. - 230 p. 2. Egorov B.F. Life and Work Lotman / BF Egorov. - M.: New litas. Review, 1999. - 382 p. 3. Iskusstvometriya: The methods of the exact sciences and semiotics / Sost. and ed. Lotman, V. Petrov. -Ed. 2nd, ext. - Moscow: Publishing House of the LCI, 2007. - 368 p. 4. Kondakov I.V. Lotman as a cultural studies (in the midst of a "big structures") / I.V. Kondakov /a. Ed. V.K. Kantor. - M.: ROSSPEN, 2009. - S. 221-239. 5. Lotman Y.M. Inside minded worlds. Man - the text - the semiosphere - History / Lotman. -MM: Jaz. Rus. Culture, 1996. - 447 p. 6. Lotman Y.M. Selected articles in 3 t. T. I. Articles on semiotics and cultural topology / Lotman. - Tallinn: Alexander, 1992. - P. 13-149. 7. Lotman Y.M. Culture and explosion / Lotman. - M.: Gnosis, 1992. - 270 p. 8. Y.M. Lotman semiosphere. Inside minded worlds / Lotman. - St. Petersburg: The Art of St. Petersburg, 2000. - 704 p. 9. Lotman Y.M. Articles on semiotics and cultural topology: selected articles in 3 t. T. I. Text text / Lotman. - Tallinn: Alexander, 1992. - 472 p. 10. Luchanska V. Ecology of culture as a subject of cultural studies: methods of formation and functioning / VV Luchanska // Science and the value of human life / by Society. Ed. V.P .Melnyk. - LA: LNU. Franko, 2013. - P. 289-298.

Summary Luchanska V. «Culture and explosion» of U. Lotman as a metaphor of theory and history in culture The paper considers the concept of semiosphere as a central concept of structural semiotic cultural studies M. Lotman – a metaphor for the theory and history of culture. Key words: theory of culture, history of culture, Lotman, cultural studies, ecology of culture, informative society, ecological consciousness, ecological thought, nature, spiritual values, moral values.

Received 10.11.2014

UDC 130.2;7.036 M.Y. Zaremskyi, L.V. Kolesnikova

FEATURES OF THE UKRAINIAN SPIRITUAL CULTURE DEVELOPMENT IN THE BEGINNING OF XXI CENTURY: TRADITIONS AND INNOVATIONS

Humanity in the current period of its development, it seems, came to the realization that rational theoretical system that served as benchmarks social behavior, spiritual basis of culture, organic connection ratio with the principles of human life, of objective sensory-vagina, areas and correlation practical life spiritual culture, not withstood the test of time, fiasco and require rethinking. When it comes to culture, then obviously it should be borne in mind that it is formed by individuals in their common life in a community which produces it as sensually perfect reality-the universe relations of human existence. Last fullest extent substantsiynist characterizes human existence, acting to some extent, its attributive characteristic. The analysis of scientific sources shows quite fully and comprehensively elaborated in the national philosophy and related fields of knowledge with her on spiritual culture in general and focusing on a certain historical period particular: this issue is devoted to the work of scholars such as G. Batyschev, L. Batkin, Bakhtin, B. Bibler, Wundt, O. 66 Losev, V. Mezhuyev, Foucault and others. thinkers. A significant contribution is scientific research on spiritual culture of Ukrainians, committed in particular A. bulls, bulls J., E. Bystrytsky Dzyuba, B. Grinchenko Hrushevsky, A. Zabuzhko Zahriychukom I., V. Forest , E. Malanyuk, Mirchuk, Pachlowska, M. Popovich. Important role in this context acquires understanding of the meaning of tradition and innovation taking place in this unique ontological structures pidmurivku huge Ukrainian spirit, during the formation of the modern Ukrainian spiritual culture. With this in mind, the purpose of sex is to study some "epilohovyh" (tradition) and "Maternity" (innovation) aspects of spiritual culture of Ukrainians in the most modern period of evolution. Considering that the spiritual culture of the Ukrainian people, as an integral part of the treasury of world culture, embracing the philosophy and art, as the system develops in the closest connection with the ethno-genetic, linguistic and historical, natural and geographical, socio-political , economic, civilizational influences and changes, taking into account the interaction with other cultures, these circumstances actualize their understanding of the need for objective scientific and methodological "field" Ukrainian spiritual culture. Spiritual self-identity during the current season is much more difficult, and causes significant institutionalization of culture where social and cultural institutions are ready to provide individual and meanings of the scheme, ask understanding of norms, values, assessments, ideals, regulations etc, fulfilling the role of "transcendental subject" (of course Well, not in its Kantian sense). It should be stressed that such a change when the system begins to function as the opposition of man and his activities, limiting the creative mind in its zakorinenosti in existence, is consonant with the general methodological turning modern , aimed at overcoming the limitations of the "philosophy of consciousness" through recourse to ontological and "Practical" philosophical knowledge bases - the life, languages, communication, social systems "[4; 256]. As we see, self rationality led at some point to realize the limits of its own truth, emphasis in the understanding of itself and its role in world view, understanding the need for addition of the irrational component, rethinking their functions rebuilt the structure of human understanding. It does not scare the magnitude of the task, but in fact it is about changing the paradigm of social and cultural life - as a powerful basis for "new buildings" already has some ontological status. Culture exists in time described Parmenides (kin.VI-Vst. BC): the time is eternity, devoid of temporal modes - the infinite present, in which there are deprived of any status, past and future. Therefore, the category of "existence" in the field of culture, unlike other areas has specific, because in the world of culture exists and that directly operates or included in the "removed" form, and that the seemingly long been plunged into oblivion and nothingness. The elements or layers of culture that are in otherness may subsequently become aktualizovuvatysya and significant streams of spiritual sphere. Awareness of their own cultural horizons of life "translates as super national understanding ester human existence as a cultural Absolute shots neabsolyutnoho" [5; 70], the absolute undergoes reflection and result of such an operation begins demonstrate their necessity and limitations, allowing a certain level of such reflection to distinguish the characteristics of the culture in traditional and innovative components. The subject of lengthy discussions have been and continue to be problems of heredity, tradition and innovation in culture. Saving and learning achievements of previous eras regarded as tradition (Lat. Traditio - transfer); What happens when uryvannya continuity - it is seen as a departure from tradition, innovation. Detailed analysis, however, shows that uryvannya gradual, often, too, is a continuation of the tradition, but - other. Thus, the ancient Greek art of the late Archaic breaks with convention stylized their traditional culture and creates a fundamentally new art, which long remain unsurpassed for future model. However, "rejected" art is not gone. It is more than two millennia remain parmenidivskomu time in culture. What art reaktualizuvavshys late nineteenth century. Temporal change its status and become a source of art modernism. Another source of it in Western and Eastern Europe will be the art of the Middle Ages, once ancient tradition interrupted in order to move away as the time-eternity (parmenidivskoho time culture) in the Renaissance and Baroque. P. Ricoeur calls the tradition of "transistorychnoyu" [10; 28]. It caused no chronological gap, and features the art of heredity. In figurative statement Shklovsky, it is not the "father" to "son" and the "uncle" to the "nephew" [12; 5]. We have noted that the real cultural and historical continuity solution process often comes from "Santa brother" to the "grandson"; as a graphic representation of the history of art not constitute a continuous and intermittently broken line. Similar processes occur in other areas of cultural life, striking evidence of what was in his time a new appearance, the reincarnation of the Middle Zarubintsy ceramics (development Zarubintsy culture falls on the third. BC - I century AD.) In the seventeenth century. , in the same ranges. An important factor of formation of modernism art were also the traditional culture of the peoples of sub-Saharan Africa, Polynesia, America and Eastern culture. They, in addition to enriching new figurative artists of Europe means giving others the philosophical principles and presented a different picture of the world. Europe by exploring the cultural East and South, escaped the danger of a "European provincialism" (M. Eliade), to include both own artistic palette of powerful layer still unknown. Almost simultaneously with these processes the subject of philosophical reflection is the problem of the Other and Otherness that change their ontological and axiological status, significantly expanding the boundaries of traditional notions of rule [3; 106-107], which eventually led to sometimes blurring the boundaries and the actual destruction of the "boundary 67 pillars" that ensure human survival over the past millennia. And then we can not agree with V. Nesterenko responsibility of the significance of the artist in the art world of creation and transformation of the real world according to the ideals of the artist. It is defined as a philosopher indyvidualizuyuchyy principle, as a sign of freedom, the mechanism of maintaining and strengthening its irreversibility sign: "Because of the responsibility as if freedom returns to life, giving him their achievements" [9; 176]. Artistic practice and theoretical exploration exemplifies a hitherto unknown facets of "otherness," the paradox which was not catchy in the previous era. It turned out that the "foreigner lives in us: he - the hidden face of our identity, space, destroying our homes" [7; 7] - a situation that eloquently outlined Yu.Krystyeva "strangers to themselves." Conflict of "their" - "their alien" is quite noticeable in the "objectification of subjectivity" [8] of every famous artist of the day "turn of the century." It can be seen in the previous period. In the age of modernism Ukrainian art breaks colonial restrictions and is subject to European and world cultural process. This contributed to the spiritual atmosphere created by hard work galaxy of artists of the new generation; emanation of Spirit gave rise to a powerful aura, whose influence is felt even today. Own originality and uniqueness of the new art owes as two powerful pervnyam that influenced the work of artists and their super results: 1) traditional folk culture, which have started even romantic, but its deep layers remained «terra incognita» for posterity; 2) Tripoli culture, open late nineteenth century .; it had an impact primarily on painting and sculpture, but, indirectly, on other kinds of art [2]. This difference is due Ukrainian modernism of Western Europe, which relied on archaic "Exotic" countries. It is possible that in this way would go and domestic art, and its real path Development undergone correction under the influence of scientific discoveries. Achievements archeology and history - especially Kiev historical school - have demanded those discoveries, so pidmurivkom Ukrainian modernism was another archaic: Tripoli, Ancient and traditional folk. That, centered spirituality generations of anonymous creators, ob'yektyvovana in their artifacts, rozpredmetnylasya creative impulse in people who deliberately combine in his work a political nation needs cultural needs of artistic fulfillment. In the art of sculpture for millennia authors, embodying his thoughts revealed the possibility of a certain plastic material, wax, stone, metal, bone, etc. or their combinations. Trypillian masters were the first who attempted to reveal the plastic possibilities Void. In the minds of our contemporaries still prevalent science formed the New Age idea which emptiness, nothing identified with absolute lack of Genesis, although science of the twentieth century. close to the Eastern understanding of the Void, "where there are no restrictions - it is itself" [13; 42]. Nothingness, Nothing is, according to the Eastern sages, in fact, are being pre- "fullness undeveloped world truly exists, mysterious and beautiful" [13; 42]. Such changes in the scientific world picture, the interpretation of the Void will take place during the first half of last century. In the work of Alexander Archipenko (1887-1964 gg.) Clearly demonstrated "kasandrivske principle" art, because the artist for half a century ahead of science in the interpretation of the Void. The realization that blank space between objects in the interior hides a plastic possibilities and can take certain shapes, o- become formlennym, came to him in early childhood, encouraging reflection and to all kinds of experiments. So to explore the creative achievements of artists Alexander Archipenko tripol already passed a certain way, acquiring artistic and existential ("svoyistoho" K. Moskalets) experience. Using techniques trypilska sculpture, the artist began experimenting with emptiness as figurative means. Like predecessors, Trypillia masters Archipenko discloses plastic potency Void, and, moreover, its creative, constructive and compositional possibilities. His creative search and experiments largely determined the development of world sculpture of the twentieth century. By designing artistic universe approached and founder of secular Ukrainian monumentalism M. Boychuk (1882- 1937 gg.), Who combined their lives different worlds: the Kyiv Rus times, the western village of Viennese Baroque, Ukrainian identity, which broke through the stratification of denationalization and spiritual depersonalization, national and cultural renaissance and more. He believed a mistake common views on the autonomy of individual works of art or works of a particular artist as the full expression of art. And "even the entire painting considered independent art can not be" [1; 23] - claimed M. Boychuk. According to him, painting reaches perfection only in the synthesis of architecture, dekoratyvno- crafts, heritage of all material and spiritual culture "in union with color, sound and motion" [1; 23]. In search of his style of Boychuk analyzes millennial achievements of folk art, monumental art of Kievan Rus, a modern European art and concludes that the best works obey only laws. And this brilliant insight, he is ahead of science for several decades, which also comes in the last century to conjecture about the universe, based on the opinion of modern scholars, are fundamental principles, resulting in different spheres of life are the same laws. World class phenomenon could be domestic and literature of the twentieth century. Modern Ukrainian Lesya drama, prose and drama Vynnychenko, poetry Vorona, early Tychina and M. Rila, neoclassical work and now, after 80-100 years give the impression of novelty. On this basis, would form a new generation of artists and new art, and more - two generations of artists. And there was another, almost aferyzmom M. Fishbein: "Muzhchina, syevodnya nyepriyomnyy dyen! / Tomorrow ochyeryedi orders! Zakroytye dvyeri with one / side! "- Harknuly the Messiah" [11; 19]. Art Modernism formed their "language" and a new recipient is able to read and understand it. It is, at the same time, had a significant impact on the development of art 20-30-ies. Thought and language are linked historically and genetically, 68 and dichotomy "language broadcasting," according to the concept F. Saussure, the problem of the expression and the value of the content in the language (it is the so-called Association Identification and signified) to all zafiksovuye urgent need to ensure the identity of the artist signs and values being correspondence between language and consciousness in all its samotozhnosti. And many scientific research - artistic, literary, philosophical - are increasingly devoted to the problems of literature, poetry and art of words, reflection of the creative process. This organic understanding stylistic and creative discourse as "Side" and "inside" - by artist, at introspection and insight / guesswork - to realize poet human choices, decisions smysloznachuschyh exercise of the freedom of reliance own J. If the art of the twentieth century. developed smoothly as an open system, the problem of tradition, innovation, continuity and heredity uryvannya would be decided on the basis of synergy and logic of cultural-historical process and not on the basis of the dictatorship of the proletariat. Artificial uryvannya same cultural and artistic processes led to confusion and recipients artists and strain of spiritual life. Each new generation of artists obeyers intuition, had to somehow overcome the gap formed between them and predecessors, spending effort to reproduce what has already been done in the past. Moreover, the brutal treatment to unidentified Messiah and again adresuvalosya all new messiah. Wide generally no intuition as developed as artists, because complex processes were controlled for recipients creativity hidden deep, and the signs palimpsests perceived as a lack typographical or visually impaired. Generation recipients formed a new art in the last century, shared the fate of art and its creators, of that generation was "shot revival "part - repented of" sin "and betrayed his own artistic ideals. So here at a different level each time arose conflict "their" - "their alien", which is often perceived as "their" - "alien" (synonymous with "foreign" and it was not "other," and - "hostile"), resulting distortions spiritual life and artificial "Filters" through which carried perception and apperception artistic reality. Artistic method can not be good or bad, and Socialist Realism method is the same as all the others; so its institutionalization and transformation of the aesthetic norm spent on damage and art, and the method of socialist realism. Generations of artists, the requirements of this method and power, created a virtual world that was hailed as the true and the rest of reality, including the real world of human existence, recognized illusory. The discrepancy between "Identification and signified," which was regarded as an attribute of personal, social and artistic chronotope, was one of the spiritual foundations of the phenomenon of "sixties". Responsibly-confessional work proves that huge, barely lifting, sometimes - Sisyphean "block" of our lives not only be placed in a common lexical forms, but the cause - and continue to cause - capture the elegance of intonation, metaphors, accuracy, taste. Speaking of the Artist archetype movement "in times of transition and eternal," she stresses that this - "pilgrim ages" that goes "to the holy places of the human spirit", having a "single sword and shield only" - "Invincible bezboronnist" [6; 554]. Addressing fellow writers, she calls them "scratched Sisyphus" and encourages them himself, despite the apparent absurdity Sisyphean labor, exercise its universal mission: "Another step Sisyphus. Do not wait for applause. / For spectators this scene bend, / where black eagle with wings naopashky / spine sun returns to the earth "[6; 180]. Such a sacrifice, "nonlinearity" and "nespiralnist" one of the spiritual authority / guidelines nation has nothing to do with kvazitvorchymy powers many of our "classics" not such a distant past: "Spiral convenient. / High not. / High akin is not proper, / that something that is ready to give soul / pidhynalo your opinion and mutilated ... / ceiling only art - the truth. / Poetry lift not break her crown "[6; 142-143]. In kraplyntsi dew say affects the whole world. And this drop, which reflected the universe Ukrainian being the last century, is a native of Lugansk region (1920-2004 gg.). He intuitively grasped the artistic and philosophical and artistic person, life, the world and the universe in their relationships and intersections, opened the Progress Energy sources, rethinking the nature and purpose of economic and economic life. The life-achievement and creative heritage of M. Rudenko than ever relevant for present day Ukraine and humanity, although still requiring theoretical understanding, cooperation and spiritual mental changes. A few days after his death Alexander Chistyakov, a fan of our conspicuous contemporary, wrote: "At certain times when humanity, piling misled by deceit, loses the way the universe sends his messengers in order to show people this way. What could be more mysterious, more grand and incomprehensible than the awakening of the soul frontline political instructor (...) great knowledge ... "[14] - and economic studies, and physical and cosmological concepts involving formulas and calculations are confirmed by professionals and remain irrefutable. Perhaps there is a fair recognition of M. Rudenko supplies to people in which thinking is changing eras [14]. Among the most urgent needs of modern Ukraine should recognize the prompt elimination of postcolonial syndrome, since much of our socio-economic, political, religious and denominational etc. (and even current military) problems are largely the consequences of the syndrome. The important stabilizing role in the emancipation from the mother culture should play its full scale and povnovartisne being in different social spheres and in the life and outlook of people. For a long time Ukrainian culture was deprived, since metropolis used primarily and preferably achievements that were going to strengthen it and exaltation. Because of this, much of the legacy of the best sons of the people, national spirit was removed from the culture of life. Due to heavy censorship of the masterpieces of world art suffered the same fate. In the late 80's - early 90's a paradoxical situation: most to unknown or forbidden works almost simultaneously entered the cultural sphere - works representatives of the "Executed Renaissance", "Sixties", Ukrainian Diaspora representatives, hitherto unknown works of world art and achievements, results of self-censorship which many artists 69 "were written in a drawer." That is, processes that should occur for at least half a century, there have been a few years, resulting in much of the artists and the recipient was in a state of "culture shock." At the newly-svoyennya cultural heritage becomes a problem of self-preservation of the nation.

References 1. At S. Belokon apple / S. Belokon. - K: Ukraine. - 1989. - № 15. - P. 23-26. 2. Burda N.B. Sacral world Trypillya civilization / NB Burda. - K.: Our Time, 2008. - 296 p. 3. Hrabovska V.I. Attempting to justify the innocent / I.V. Hrabovska present. - 2002. - № 2. - P. 104-109. 4. Ermolenko A.V. Conservative "reconstruction" of ideas of classical rationalism / A.V .Ermolenko // History of philosophy and culture. - K.: Science. Dumka, 1991. 5. Zahriychuk I.V. On the verge of national cultures / I.V. Zahriychuk. - H., 2006. - 75 p. 6. L. Kostenko Favorites / L. Kostenko. - K. Dnieper, 1989. - 559 p. 7. J. Kristeva most alien ones: Per. with fr. / J. Kristeva. - K.: Izdatel'stvo S. Pavlichko "Fundamentals", 2004. - 262 p. 8. Lishchuk T.P. Objectification subjectivity as a philosophical problem: Thesis. Thesis. ... Candidate. Philosophy. Science. : 09.00.11 / T.P. Lishchuk. - K., 1994. - 17 p. 9. V. Nesterenko Introduction to Philosophy: Ontology person: teach. guidances. / VG Nesterenko. - K.: outline, 1995. - 286 p. 10. P. Ricoeur Time and story. T. 2. Changes in the fictional story / P. Ricoeur. - MA; St. Petersburg: University Book, 2000. - 218 p. 11. Fіshbeyn aferizm A.M. / A.M. Fіshbeyn. - K.: Fact, 2003. - 128 p. 12. Shklovsky V.B. Rozanov (From the book "The plot of the phenomenon of style") / V.B. Shklovsky. - M.: OPOYAZ, 1921. - 56 p. 13. Japanese zuihitsu / comp., Joined. Art. TP Grigorieva. - M., "North-West", 1998. - 632 p. 14. rudenkomd.narod.ru/Rozdumy.htm

Summary Zaremskyi M., Kolesnikova L. Features of the Ukrainian spiritual culture development in the beginning of XXI century: traditions and innovations This article observes the most common tendencies in traditions and innovations, which aretypical for the Ukrainian spiritual culture XX-XXI centuries, particularly their reflection in philosophy and art. Key words: culture, spiritual culture, traditions, innovations, philosophy, art.

Received 10.11.2014 UDC 008:37.091.33:327 M.O. Tymoshenko

CULTURE-MISSION OF INTERNATIONAL EVENTS (ON THE BASIS OF CULTURAL AND ARTISTIC INITIATIVE «DAYS OF UKRAINE»)

One of the important areas of human life is culture. The mission of culture high and responsible, is in the process of conservation, restoration, promotion of cultural and historical heritage of the country, serves the best vzayemoobumovlyuyuchym driving factor in intercultural dialogue. It is the mission entrusted culture positively influence the development of national cultures, to promote various forms of international cooperation. To make this interaction the state for the operation of various international events and cultural and artistic initiatives. Culture-last mission unconditional and serves as an important foreign cultural relationship with the world. The purpose of the article is an attempt to reveal the factual material (cultural and artistic initiatives "Days of Ukraine") culture-mission international events as an important direction of foreign cultural activities Ukraine, define and analyze their nature and significance in the formation of national cultural image in the world. Culture-mission as a scientific category actively discussed by the academic community. Exploring the history of the term "kulturotvorchist" A. Zhornova determines its complexity, ambiguity and emotional coloration. Analyzing this notion, it stresses that it is used to refer to activities connected with the new is not risky, socially significant cultural values, meanings or artifacts. According to her, in such a position it matches the content with a number of other terms, such as "cultural activities", "work of culture", "culture creation" and is a natural symbol of that part of the consequences of creative activity that does not cause any threat to socio-cultural integrity because art creates not only and exclusively positive consequences, but also leads to social conflict at the individual, group, collective, social and planetary levels. Add that end Millennium causes an increase in the negative effects of creative activity acknowledged the processes of formation of a single world market of professional services through migration, multiculturalism, Diversity exacerbated the contradictions of global world [1]. 70 Considering the nature and processes kulturotvorchosti system, Leontief study emphasizes the importance of this concept as a modern world that is characterized by significant flow of information and technology has led to ambivalence: while creating additional opportunities for the development of culture-ability. According to her, at the same time significantly changing "quality" culture-freedom; culture-transforming its process logic to the particularities of reality information that enables conversion being-in-culture to a new ontological reality; This confirmed that kulturotvorchist continues to be an adaptive strategy, setting the stage for the continuation of human history as "being clear" even in crisis culture [2, 3]. Thus, by allowing thoughts to state that kulturotvorchist is the active form of human life that causes the positive transformation processes and generating negative. It was the second mission defined by its unique quality that characterized the unifying element. The latter, in turn, through effective cultural and artistic initiatives of intercultural interaction able to provide a better understanding ii. Cultural consolidation is interdependent and vzayemozbahachuvalnyy character that is reflected in the integrated system riznotypah cultures which together have signs of completeness, consistency and make the overall cultural view of the world. Culture-mission becomes especially relevant in ensuring intercultural cooperation, the main purpose of which are seen in the integration of Ukrainian national culture into the world cultural space; the formation of an attractive image of Ukraine by means of Ukrainian culture and cultural heritage; use of active cross-cultural contacts to strengthen Ukraine's position in the international arena; strengthen cultural and people to people ties with the Ukrainian diaspora in the world; promoting Ukrainian cultural product on the international cultural market. The main task is to establish intercultural intercultural dialogue to ensure the Ukrainian artists which offer their own stylistic and technical innovations, try to keep yourself creative way and actively seek stylistic determined individually according to their priorities and representation in the global cultural space. Therefore, the relevance of the study of culture-mission activities artistic culture as a phenomenon of the XXI century. Identifying their meaning and impact on the country's image, its artistic and musical life acquires special importance today. Achieving these goals promotes culture and image model "act of life" that is capable disclosed by certain cultural image. Domestic scientists, representatives of various sciences isolated culture as a separate factor in the country's competitiveness in the international market. In their view, crucial in ensuring our country a worthy place in the world community is ii ability to promote national culture, spread the knowledge of it in the world. The cultural image of the country is defined as a product that can be sold, though not directly, but indirectly. The image of any country formed under the influence of three main factors. First, the vital functions of its citizens and the legacy left by generations of their ancestors. Second, focused image policy of the state and all concerned institutions. Third, external influence [3; 115, 116]. Of course, we are not talking about all, without exception, means and methods in promoting national cultural product; refers only to measures aimed at creating a positive imagination of a country, ii tradition. Call that "culture, Save the World" takes effect only when the same external and internal indicators ii development and conservation when there is actual movement from the "image" to "image" with its image indicators - the factors semantic generalization content Culture ii originality, uniqueness, creativity of people, its transformation into a share of a culture of peace. This transformation requires improving all methods of intercultural dialogue, carried as an important component of international policy. As for the generally accepted image of "man of peace" and the most effective mechanisms for the formation of high semantic level of communication between people, the poetics of culture, leading are specific means of art and the image of the artist which of the Renaissance is the most perfect expression of how human creative power and the involvement of individual universal human consciousness, a planetary culture-sphere. It is a model of the desired position of the actual culture- mission activities of the International raises social and patriotic foundation "Days of Ukraine", may affect its founders considered "step dictated by the time" and "union of professionals of new formation" [4]. The strategic goal of creating this organization, initiating important cultural and artistic events, is to promote European-Ukrainian space "lifestyle" and his image as a modern Ukrainian "Man in the World", which is able to substantially strengthen, for new levels of interpersonal communication efforts leading politicians and diplomats concerning the acceleration of European integration at the highest level. The main means of implementing the ideas of formation is "people's diplomacy and public opinion" [5]. By its proposed measures include informal "meeting without ties" of influential politicians and diplomats, economic forums, the signing of bilateral agreements, roundtables, learning and adjustment of international relations in the business circles of our countries. Representatives of the foundations themselves seek to represent models of modern man, which is integrated in a multilingual world space, has a harmonious physical and psychological relationship with him, that is independent tvorcho- independent, "samoaktualizovanoyu" personality able to meet not only their own actions but also for the fate of their own national culture and patriots. Therefore, members of the foundation - a "young professionals with European education, callsign considerable experience in the field of international relations, public diplomacy, elite organization of official and social events. These people, despite the relatively young age, already visited many countries. They can compare their own experiences with the present Ukrainian living in Europe or, say, Americans. They have the opportunity to assess our commonalities and differences and create a favorable background to optimize the integration processes at the psychology of ordinary citizens of our countries; ... And most importantly - Team Foundation combines high patriotic feelings and pride of a new generation of Ukrainian. " 71 Almost slogan words appear on Foundation programs: "The staff of the international social and patriotic foundation "Days of Ukraine" sure: the noble idea of the Days of Ukraine will continue to have substantial government support, will be consolidating motive for the Ukrainian diaspora around the world, its implementation will be a matter of honor Ukrainian patrons ". "Days of Ukraine" should consider specific social and historical artifact of modern Ukrainian culture. In coordination with state institutions and embassies of our country in Europe, the Foundation organizes large- scale international projects that are officially recognized at the highest state level international dialogue. This contributes to a large extent, the composition of the organization, which includes the vast majority, philanthropists and leaders of Ukrainian art, which have the status, recognition as an international public figures. Among them: President of the Foundation, Ambassador for Peace - M. Tymoshenko; vice president, Ambassador for Peace - S. Balayan; Ambassador for Peace - Vladimir Grishko, chairman of the High Council Foundation, People's Artist of Ukraine, winner of the National Prize of Ukraine. Shevchenko; R. Lyzhychko, People's Artist of Ukraine and Ambassador of UNICEF (UN); M. Tereshchenko, a descendant of the famous Ukrainian Philanthropists kind; M. Mykolaichuk, Honored Artist of Ukraine; R. Balayan, academician, People's Artist of Ukraine; A. Sanin, laureate of the State Prize of Ukraine. Dovzhenko; C. Yakutovych, Honored Artist of Ukraine, winner of the National Prize of Ukraine. Shevchenko; Alexander Gaydamak, People's Artist of Ukraine; Yuri Rybczynski, academician, People's Artist of Ukraine; A. Kurkov, a member of the British Pen Club and the European Film Academy; A. Khostikoyev, People's Artist of Ukraine, winner of the National Prize of Ukraine. Shevchenko; A. Timoshenko, academician, People's Artist of Ukraine, member of the International Music Council of UNESCO; Stankovych, academician, People's Artist of Ukraine, winner of the National Prize of Ukraine. Taras Shevchenko. According to the chronology of events, their genre-meaning nominative activity "Days of Ukraine" is next. In June 2004 the Foundation "Days of Ukraine" in cooperation with the Embassy of Ukraine in France conducted a large-scale public action "Ukrainian days in France." 12.03. 2005 at the awards ceremony of the national program "Person of the Year" this action received a special international award "For significant contribution to the implementation of Ukraine's image in the world." 21.06 in 2005 on the Champ de Mars in Paris opening ceremony of the international project "Days of Ukraine in Europe." Before the French and Ukrainian diaspora made the world's leading opera singer Vladimir Grishko. Welcome speech delivered Ukraine's Foreign Minister Boris Tarasyuk. He said: "Being in the center of Paris, listening to the voices of our artists, I felt again present at the Square during the . I want to thank you for what you supported us! " Next to the suburbs of Paris - Senlis was a monument to the King of France Anni- Kiev. Inauguration visited the then Victor Yushchenko. 29-31.07. 2005 for the project "Days of Ukraine in Europe" by the Ministry of Foreign Affairs of Ukraine, Embassy of Ukraine in the Vatican, Italy, the Italian Embassy in Ukraine, children "Shchedryk" took part in the World Festival of Sacred Music in Vatican. Ukrainian choir received an unprecedented victory: three gold diplomas tenth highest degree. 31.07. 2005 Ukrainian delegation, the only participant of the festival, was awarded an audience with Pope Benedict XVI. The Holy Father during the first audience with pilgrims from around the world blessed the Ukrainian delegation and gave a greeting in Ukrainian. The fact that Benedict XVI addressed the participants of the "Days of Ukraine in Europe" in Ukrainian experts estimate as a diplomatic breakthrough in our country Vatican. Thus, the leading side of the foundation is art programs. These include an exhibition in Paris paintings by Ukrainian artists Holembyevskoy T. and I. Marchuk, film director Ivan young Ukrainian Strembytskoho, which this year won the "Palme d'Or" at the Cannes Film Festival grand opening of the monument to Anna Yaroslavna Kiev - Queen France - in the Sanlysi that tall bronze statue is 2.5 m. created by Ukrainian sculptor M. Znoba, an exhibition of sculptural works that day which was held at City Hall Sanlysa, participated in the third Festival "Creative Dream World", organized by the School . Fouquet in the cultural center of Christian Peugeot, in which there was a series of concerts, film screenings, performances, documentaries kinozamalovok Ukrainian political life. As noted by M. Tymoshenko, the purpose of such actions is "to introduce Ukraine closer to Europe. This traditional diplomacy, plus a huge public event that, as time has shown, very effective. " He also stressed that the Days of Ukraine in Europe are held by charitable means. Also under this project in Institute. Louis Pasteur, in Paris, a monument Emile Roux. 20-22.06. 2006 supported by the Embassy of France in Ukraine and the Ministry of Foreign Affairs of Ukraine "Days of Ukraine" held in Monaco, in which Monaco is a monument ballet dancer, choreographer, teacher and ballet theorist Serge Lifar. Additionally, held a charity auction "Children of Ukraine with love." Means collected during this event were used to help specialized school "Steps" m. Kyiv for children with autism disorder and emotional and volitional, and the Center for Circus Arts for Children and Youth of. Berdichev Zhytomyr region. Also as part of the "Days of Ukraine in Europe 2006" held performances V. Grishko and winner of the "Chance 2006" V. Miller and singer franzuskoy "In- GRID" Ukrainian pop artists Ahat A. and T. Carol; hosted show of D. Dorozhkynoy, performance ruler Grand Prix "Golden Clown" Circus Festival in Monaco A. Zalewski. In October 2009 "Days of Ukraine in Europe 2009" coincide game FC "Shakhtar" Super Bowl in football and honoring Alexander Blokhin - the event was announced the awarding of the prestigious football awards «Golden Foot». October 12 Prince Albert presented the award to Alexander Blokhin separate festive ceremony. In 2009 a charity 72 ball in the framework of "Days of Ukraine in Europe - 2009" was dedicated to M. Tereshchenko - known philanthropist and collector. The concert program were: the group "Mother Bazaar" duet "Nastya and Potap" and "." Means collected during the ball, went to the needs of children with autism and children with problems of emotional and volitional, for the purchase of musical instruments for the Kyiv secondary specialized boarding schools Lysenko. The fact that the "Days of Ukraine", as the organization that holds important international cultural and artistic events are qualitatively necessary to seal the information field of contemporary Ukrainian culture, the story of its creation and resonance of its activities with the Ukrainian Cultural and Information Center at the Embassy of Ukraine in France. 2004 with the participation of Minister of Foreign Affairs of Ukraine K. Gryshchenko at the Embassy of France in Ukraine was opened cultural center. This was preceded by extensive work on the pilot project of such a center under the Embassy of Ukraine, whose goal was to develop principles and practical mechanisms for coordinated political and organizational work of strengthening the positive image of Ukraine as a European country with deep cultural and historical traditions, predictable partner in the business, scientific, educational and tourism spheres. So Ukrainian cultural presence in France gained significant ground in the form of cultural and information center of the Embassy, and scientific, educational, arts organizations of Ukraine - the basis for disseminating information about Ukraine as a millennial cultural traditions, European in nature. The methodological basis of the future center has become integration of organizational and intellectual efforts in scientific, political and artistic institutions in Ukraine. Thus, through collaboration with the Institute of Ukrainian Embassy was developed to support the strategy of the French Association of Ukrainian Studies, the Shevchenko Scientific Society in Western Europe, another Ukrainian nationalistic organizations in France. The vast majority of Ukrainian colloquiums, seminars, exhibitions and presentations were held in the building of the future center. Among the activities in the Ukrainian area, which received a positive response from French society, was the presentation of books about the Orange Revolution A. Hiyyemolya "Even the snow was orange", "Ukrainian revolution", A. Arzhakovskyi "revolution of the spirit", works by J. Lebedinsky ": Warriors society between freedom and power "(in French) and T. Sirochuk" Guillaume Apollinaire. Outline of poetics and stylistics, "the second edition of" History of Ukraine "Zhukovsky (in French) and the book by L. Hosejko "History of Ukrainian cinema", published in French in France and Ukrainian - in Ukraine. Together with the Paris Ukrainian Library. Petliura an exhibition-seminar "Ukrainian postage stamp." It has become a tradition for the joint participation of the Embassy, the Shevchenko Scientific Society in Western Europe and the French Association of Ukrainian Shevchenko readings. In 2006 held these conferences and other organizations with the participation of the Institute of Ukrainian Studies, dedicated to the 150th anniversary of the birth of Ivan Franko (October) heroyitsi Ukrainian Cossacks in military campaigns on the side of France (February), the 80th anniversary of the death of C. . Petlyury (May), a masterpiece of Ukrainian cultural heritage - from Tripoli to Kiev Rus (November-December). The most recent event in the organization of the exhibition in the Louvre collections of the period was made possible by the agreements reached during the presentation of the exhibition of the collection entitled: "Ukraine - the world", held in the presence of the President of Ukraine to UNESCO headquarters and later at the Ukrainian Cultural and Information Centre. What is important is the fact that the cultural and information center became the basis for the deepening of scientific and educational ties with French institutions. Launched academician P. Kononenko dialogue Sorbonne Institute of Slavic Studies helped initiate cooperation with the institution of Kyiv and Lviv universities University. Dragomanov. Ukrainian section of the library Sorbonne-4 is constantly updated with new acquisitions that information and cultural center receives from the Institute of Ukrainian Studies, the Institute of International Relations and the Lviv University. At the December meeting of the Sorbonne-4 Ambassador of Ukraine Yuri Sergeyev, who is a foreign member of this council, and cultural information center staff gave several hundred copies of Ukrainian studies literature. Based UKITS works Ukrainian arts school that offers educational services as part of MES Ukraine "International Ukrainian School", and also promotes the spread of Ukrainian culture, makes learning to play the bandura, Ukrainian choral singing and dance. An important element of the center was that it took custody of Ukrainian Sunday school based Ukrainian community. Information and Cultural Centre became the center conducting political and diplomatic measures with famous political organizations of France. Thus, the center successfully passed a meeting of political and business circles of France and Prime Minister of Ukraine, women politicians and heads of French associations that cooperate with Ukraine in the humanitarian sphere, wife of the President of Ukraine, Ukrainian and French military on the occasion of the meeting of the Joint commission on military cooperation, the conference "Ukraine today" on a non-political association "Realities and International Relations" (ARRI). In the center was a success presentation of economic and investment potential of Kyiv as part of the Day of Kyiv in Paris Kiev and Odessa regions. With the participation of Minister of Foreign Affairs held photo exhibition opening day "Orange Revolution through the eyes of the French", which presents the work of a professional photojournalist E. Kornik best photos and observers from France, the presidential . Among other measures should be noted and organizing photo exhibition I. Gaidai "Ukrainians in the beginning of the third millennium" in cultural and information center and the premises of the association "Pont Neuf". It is the cornerstone of the center - Cultural and artistic - was laid cooperation between the Embassy and foundations 73 "Days of Ukraine" (President - M. Timoshenko), "Ukraine ART" (President - H. Pasternak), other associations and institutions in France and Ukraine. For their assistance in the building of the cultural department of the Embassy, and subsequently activated exhibition center and concert and artistic presentation of the best bands and artists of Ukraine. In particular, organized numerous exhibitions, including works patriarchs Ukrainian art - art academics - T. Holembiyevskoyi artist and sculptor V. Znoba young Ukrainian artists - S. Savchenko and Alexander Samoilyk, sculptors Odrekhivsky M. and A. Valiev and exhibition of talented children in the program "Artists of France - Ukraine's children." October 1, 2011 to mark the 20th anniversary of independence of Ukraine in the premises of the Cultural and Information Center of the Embassy of Ukraine opened the exhibition "Petrykivka - the pearl of Ukraine", which was attended by representatives of French cultural circles, Ukrainian community, journalists and diplomats of the Embassy. In the field of music series of events organized by the center, contributed to establishment of a high professional image of modern Ukrainian musicians. In September 2006 successfully passed Orchestra concerts B. Kotorovych "Kyiv Soloists" at UNESCO, the concert hall of the Luxembourg Palace (French Senate) and St. Magdalene. The French public was able to again enjoy the virtuosity of the game duo soloists of the National Philharmonic honored artists of Ukraine H. Safonov (violin) and Alexander Strogan (piano), who presented the French audience violin new construction, designed by Ukrainian master F. Yuriev. His French debut duo started in the cultural and information center of the Embassy. Participation in a number of cultural events in the cultural and information center of the Embassy of the Ukrainian artists such as concerts of young Ukrainian composer D. Chesnokov program of works by Ukrainian composers performance flutist D. Dimitrov, contributed to the fact that they were spotted and invited to leading orchestras France. French virtuoso demanding audience memorable game bandura L'ensemble "Magic Strings" and accordionist Ivan Zavadsky, the golden voice of the People's Artist of Ukraine Vladimir Grishko and performances of the National Academic Choir of Ukraine "Dumka". It has become a tradition, the International Day of Dance, collected in cultural and information center friends, students, colleagues great French Ukrainian Serge Lifar commemoration for unsurpassed master of ballet. It should be noted that the center was the coordinator of the Ukrainian cultural events in France. His partners were the French association. Were held "Ukrainian Days" in Charite-sur-Loire, "Ukrainian palette in Montmartre", cultural event "A View from Ukraine" in. Ile-Saint-Denis (films, an exhibition, debates, a concert duet soloists of the National Philharmonic of Ukraine Yu . Fedorov and Fedorova L.), presentation of books published by publishing house "Dofen" (Paris) and the Shevchenko Scientific Society in Western Europe during the XXV Paris Book Fair, Ukrainian animated Easter stand at the Paris Fair, studio painting Easter eggs conference "For Ukraine (history, economy, culture) "together with the Association Lambersart - Kano - Ukraine. Ukrainian Cossack dances and folk songs charmed the audience during the December Cossack royal ball, held in Paris cultural center in cooperation with the Embassy of monarchical society Kapit'yeniv-Bourbons, descendants of the Great Ukrainian Queen of France Anne of Kiev. Cultural and Information Centre helped organize a series of concerts of talented Ukrainian children, including the iconic performances became winners of "Ways of Queen Anna Yaroslavna" Kiev choreographic ensemble "Youth" ensemble "Magic Strings"; concert of Ukrainian children of White Church in the city. Dunkirk Kyiv children's choir "Lybid" in the city. Toulouse Ensemble "Turtledove" at the festival of cultures of the world in. Allier ensemble of "Pattern" Ternopil Regional Philharmonic Choir "Dudaryk" . Noteworthy and support Ukrainian cultural institutions showing ix artistic achievements in the cultural world stage. Thus, at the invitation UKITS in France took a tour of the National Theatre. Zankovetska that took place in the framework of the celebration of the 150th anniversary of the death and reburial of Taras Shevchenko. Zankivchany presented literary-musical composition "poslasha ..." the works of the great poet performed Shevchenko Prize winner, People's Artist of Ukraine Boris Kozak. Thus, art events facing the main area and a common element of modern cultural and educational foundations. Is not accidental and performance laureate of international competitions in the US, Canada, Poland, Italy, the children's choir "Shchedryk" (Ch. Conductor - Honored Artist of Ukraine Mykola Sablin), which for 40 years of recognized first in the USSR, and then worldwide as a unique school children's choral work, representing Ukraine at the most prestigious music stages and international forums. The repertoire of the choir - not only folklore samples and author's works of Ukrainian choral, but also works of European composers who gained world fame. Thus, "Shchedryk" performed "Three little liturgy" Olivier Myessiana in 1984, when it was recorded a disc that has been approved by the author. But the main activity in this team remains, promote Ukrainian choral art as a measure of national culture, and bringing sustainability and viability of the choral tradition in Ukraine, continuing and reinforced in modern children's creativity. Analysis of the foundation allowed to state that this cultural and artistic initiative permeated culture-noble mission, aimed at creating a positive image of Ukraine in the world of national culture and art forms; it is also support for Ukrainian national cultural product and thus its promotion of the global consumer market.

References 1. Leontiev V.N. Kulturotvorchist: nature, systems, processes / V.M. Leontief: Dis ... Dr. Philosophy. Sciences: 09.00.04 / Kharkiv. nat. University of them. V.N. Karazin. - H., 2004. 74 2. A. Zhornova Kulturotvorchist: history and evolution of the concept of the term [Electronic resource] / A. Zhornova // Mezhdystsyplynarnыe Studies in science and education. - 2012. - № 1. - Access: www.es.rae.ru/mino/. - Zahl. s screen. 3. N. Petrushenko cultural image as an element of an effective export marketing /N. Petrushenko, T.A. Golas // mechanism of economic regulation. - 2008. - № 4. - Volume 1. - P. 114-121. 4. Official website of the foundation "Days of Ukraine" [electronic resource]. -Access: http://ukrainiandays.com/. 5. The same

Summary Tymoshenko M. Culture-mission of international events (on the basis of cultural and artistic initiative «Days of Ukraine») The article analyzes the scientific approaches to understanding such concepts as culture-making, culture-making mission, cultural and artistic initiative. On the basis of the factual scientific material the author covers and characterizes culture-making mission of cultural and artistic initiative «Days of Ukraine», defines its role and significance in realization of intercultural dialogue and shaping of Ukraine’s image in the world. Key words: culture-making, culture-making mission, cultural and artistic initiative, image, intercultural dialogue.

Received 13.11.2014

UDC 008(4):304.4(4) M.O. Chernets

HISTORICAL REFLECTION OF THE DEVELOPMENT OF EU INITIATIVES «EUROPEAN CAPITAL OF CULTURE»

With the European vector of Ukraine, the President presented a «Strategy for Reform 2020» actualized the question of entry of Ukraine into the European cultural space, and then study the experience of EU policy in the field of culture [11]. Complex cultural programs embodied in the process of building the European cultural and aimed at preserving the cultural identity of European peoples and demonstrate a common European cultural heritage, have become a catalyst for economic and cultural revival in many European countries [6]. One striking example of this is the introduction and implementation of a European initiative «European Capital of Culture», the results of which are marked as the most important and influential in creating a common cultural space EU. Drawing the attention of foreign researchers and practitioners, this initiative remained almost ignored national scientists. The purpose of the article is to try to analyze the dynamics of the EU initiative «European Capital of Culture», isolate and characterize the main stages of its formation and development. Basic scheme of «European city / capital of culture», introduced at the intergovernmental level in 1985 was further amended and supplemented several times. Tracing and analyzing these changes, various European researchers and practitioners including Jürgen Mittag, Catherine Oerters, Beatrice Garcia, T. Cox, Monica Sasatelli, Greg Richards, Robert Palmer and others exercising their attempts periodization of the history of the initiative, isolating three to four stages its development, which differ in their chronological framework. For example, a German researcher, Professor. J. Mittag in his book «European Capitalsof Cultureas Incentivesforthe Constructionofthe European Identity», distinguishes three stages of the initiative and sets 1983-1990. Chronological beyond the first stage, calling it «original». He argues that this period is characterized by spontaneous, law not supported by forms of organization and low government intervention the EU. The second stage, which begins on Mittag 1990 and lasts until 1993, a scientist called period of trial and error, which marked the advent of a more stable selection procedure of candidates and improving their decision-making, and focus on the institutional framework of the European Community. According to the proposed periodization Mittag, the project is now in the third stage of development, called legalization period that began in 1993, when the Maastricht Treaty came into force. During this period the project becomes a EU initiative and receives its first legislative framework [3]. Unlike J. Mittag, B. Garcia and T. Cox in his study of 2013 r. «European Capitalsof Culture: successst rategiesandl ong-termeffects» substantiate four periods of development initiatives is significant that the first stage falls on the years 1985-1996. [ 2]. Robert G. Richards and Palmerv consider, that in 1980, the initiative is mainly focused on high cultural events. Researchers call this the first stage in the history of European Capital of Culture period «Expensive festivals.» And next, the second phase, which lasted, according to Richards and Palmer periodization of 1990-2004 was characterized by investments in cultural revival. [7] After analyzing the work above European researchers and practitioners, documents and resolutions that make up the regulatory framework initiatives appropriate to consider the origin, formation and development of the EU initiative «European Capital of Culture» conditional highlighting four main stages of its existence. The beginning of each new 75 phase marked by the entry into force of an official document that makes changes to existing procedures. Note that due to the fact that the city apply for participation in the project in advance, documents that form a legitimate basis for a certain period of the project, also approved in advance. Therefore, there is a discrepancy in the timeline of development initiatives and documents that enabled certain changes. So, the main changes in the regulatory legal framework of the project will not be considered as actual «steps». Phase 1 (1983-1996 gg.). The «European Capital of Culture» at the time of its appearance was called «European City of Culture.» Concept of the project proposed at an informal meeting of EU Ministers of Culture in November 1983 Greek actress, Minister of Culture of Greece M. Mercouri. She argued that culture as much as important as trade and economy (which was the focus of the EU to time); Minister emphasized the importance of culture in the European project, particularly in promoting European integration. The proposal was supported by the French Minister of Culture Dr. Lang and approved by the European ministers. As a result, 13 June 1985 EU Ministers of Culture launched the intergovernmental project «European City of Culture» as the annual intergovernmental event [9]. Basic document on which was launched starting location of the project was the Resolution of the Ministers of Culture EU 85 / C153 / 02, which defined the special role of cities in culture and represented the concept of the event, whose purpose was to promote the convergence of the peoples of the EU, emphasizing the wealth and diversity, as well as the common features of European culture, drawing attention to a particular area, attracting tourists, promoting intercultural dialogue, promotion of the best cultural achievements of different European nations. [12]. The program operated outside the existing legal framework of the European Community, which made it impossible to actions in the field of culture. In the original version was selected first cycle of the cities that represent each of the 12 countries that entered the EU at the time. Status appropriated by one, and each state independently appointed city for the event and had at least two years in his training. As noted by Garcia, elected city focused their artistic and cultural program to «high» art («high» art). At the same time due to lack of funds and time to prepare, conduct most activities within programs often accounted for only in the summer months. Britain became the first country that offered competitive selection and term of four years for planning events [2]. In 1990, due to increased period stood at planning the event, and the obvious economic benefits of the meeting, the situation changed. In his writings, European researchers Palmer Garcia Oerters, Mittag note that in 1990, when Glasgow presented the European Capital of Culture, was a turning point because the event has undergone internal changes [1, 5, 6]. Following the positive examples of Glasgow, next Capital of Culture began to use the program as an opportunity to revive the city by investing in different sectors of culture. Cities, which was awarded the honorary title, started to encourage their own development and recovery through the promotion of cultural and creative industries. After the success of Glasgow for the second phase began nominate cities that have not been recognized cultural centers. In 1990 the Council of Ministers adopted the Resolution number 90 / C162 / 01, deciding the future of the program for the period from 1997, when 12 designated cities will hold the title and its programs. [12] Further, in response to the growing popularity of the initiative not only among EU countries, but also beyond, the EU Council in 1992 launching the project «European Cultural Month», which lasted until 2003 [10]. This was a noticeable change in the rules that regulate the program to date. «European Cultural Month» was created strictly modeled on the European Capital of Culture and complementing the project was held annually in different countries that were not members of the EU. During the 1992- 1996 biennium., Five cities held a «Cultural Month» (Krakow, Graz, , Nicosia, St. Petersburg) [4]. During the first stage of the status of «European Capital of Culture» were cities: Athens, Greece (1985); Florence, Italy (1986); Amsterdam, Netherlands (1987); West Berlin, Germany (1988); Paris, France (1989); Glasgow, Scotland (1990); Dublin, Ireland (1991); , Spain (1992); Antwerp, Belgium (1993); Lisbon, Portugal (1994); Luxembourg (1995); Copenhagen, Denmark (1996) [12]. The second phase (1997-2004 gg.) Launched a new series involving 19 cities in 14 countries. Since Resolution 1990 will not meet the goal of the initiative at a new stage in the 1992 EU Culture Ministers adopted Resolution Number 92 / C336 / 02, which outlined the selection criteria and application deadlines for the program. The document put into effect in 1998, providing an opportunity to improve the program candidate cities, increase the scale initiatives, and attracted more attention and funding the EU. Selection criteria were designed to ensure a balance between capital cities and provincial towns and cities within the EU, and those who do not belong to the Union, different geographical areas across Europe. [12] So Ministers Resolution can be viewed as a significant step forward in creating a regulatory framework for the initiative. Another key point so that gave impetus to the further development of the project was the signing of the Maastricht Treaty in 1992, Art. 128 of which was outstanding for cultural policy at European level [9]. For the first time the EU was able to act actively in the field of cultural policy, promoting cultural exchanges in Europe and underlining the common European cultural heritage. One result of this newly established framework for Community action in the field of culture was the creation of the first generation of long-term cultural programs since 1995. In 1996 Art. 1 Resolution number 719/96 / EC «European Capital of Culture» and the project «European Cultural Month» was included in the new program «Kaleidoscope», designed to «encourage artistic creativity and dissemination of knowledge about culture and cultural life of the European 76 peoples» [12] . So both projects funded by the European Community, staying intergovernmental initiatives, and therefore they still were exclusively the competence of the Council of Ministers. In 2000 the program «Culture 2000» replaces «Kaleidoscope», since the adoption of Resolution number 508/2000 / EC, «European Capital of Culture» held under the auspices of the new cultural program within the framework of «special cultural events with a European and / or international dimension» [8]. In this period the status of «European Capital of Culture» received in 1997: Thessaloniki, Greece; 1998 .: Stockholm, ; 1999 .: Weimar, Germany; 2000 .: Avignon, France; Bergen, Norway; Bologna, Italy; Brussels, Belgium; Helsinki, Finland; Krakow, Poland; Prague, ; Reykjavik, Iceland; Santiago de Compostela, Spain; 2001 .: Rotterdam, Netherlands; Porto, Portugal; 2002 .: Bruges, Belgium; Salamanca, Spain; .: 2003 Graz, Austria; 2004 .: Genoa, Italy; Lille, France. [12]; Step 3: 2005-2019 biennium. - Is the largest, including 29 cities from 29 countries, 10 of which are new EU members that joined after 2004 (Czech Republic, Estonia, Cyprus, Latvia, Lithuania, Hungary, Malta, Poland, Slovenia, Slovakia). Significant changes in the program were introduced in 1999, affecting the European Capital of Culture nominated since 2005 and European researchers Oerters Mittag argue that these changes are caused by the following trends: During the 1990s, thanks to increased public awareness, the city became more interested in getting the title «European City of Culture.» Thus, the need for coherent selection process has become more urgent. • Maastricht Treaty, which entered into force in 1993, created the legal basis for the EU policies aimed at the development of the cultural sector. Article 128 of the agreement emphasized cultural diversity across the EU and called for cultural cooperation between the EU [9]. • Criticism expressed regarding unprofessional and poor training of cultural events in some cultural capital, has caused the need for the introduction of clear rules to ensure the quality and sustainability initiative [5]. In May 1999 under the co-decision of the European Parliament and the Council, for the first time introduced a legal framework for the initiative, defining its community project for the period from 2005 to 2019 (Resolution Number 1419/1999 / EC) [12]. Although the program name officially changed to «Cultural Capital of Europe» target is fixed in Art. 1 Resolution number 1419/1999 / EC remained variable is not: Emphasize wealth and diversity and common features of European culture, promote intercultural dialogue and rapprochement of the peoples of the EU. Adopted Resolution stressed the symbolic importance of the event, its importance to strengthening local and regional identity and to promote European integration. The approved document is allowed to resolve the following issues: 1. Established rotation system under which each year one member State of the EU given the opportunity to participate in the Forum. 2. Expanded limits conduct initiatives. The decree noted that the project could be organized in cooperation with other European cities. 3. A selection committee, which each European institution nominated by independent experts from the cultural sector, two by the Commission, two by the European Parliament, two by the Council and one by the Committee of the Regions. 4. Developed clear guidelines for the selection committee on the nomination of candidate cities to the Euro Commission, European Parliament and the Council. 5. Introduced new criteria for the selection and evaluation of candidate cities, which stated that the city should: • organize a program of cultural events, which not only highlights their own cultural heritage of the city, but its place in the common European cultural heritage; • encourage artistic innovation and new forms of cultural activities and dialogue; • encourage young people to take part and organize specific cultural projects designed to increase social cohesion; • contribute to the development of economic activity (particularly in the field of employment and tourism); • encourage the development of links between the architectural heritage and strategies for new urban development. Since the nomination was to include a cultural project of European dimension, based principally on cultural cooperation, in accordance with the objectives specified in Article 128 of the Maastricht] agreement. 6. Selection and mechanisms regulated by Member States of the EU honorary title. Improved framework outlined the following procedure: four years before the event to the European Parliament, the Council, the Commission and the Committee of the Regions fed nominee or nominees cities, accompanied by recommendations. Then the selection committee published a report on the candidate (or candidates). No later than three months after receipt of the report, Parliament sent recommendations to the Euro Commission, which was given according to the recommendations of Parliament and the report of the Selection Committee. At the final stage, the Council appointed European Capital of Culture particular year [12]. While the Council remained formally responsible for the final destination, it still was a significant departure from previous practice, in which the Commission appointed city on the basis of decisions taken by the EU ministers of culture. This is a more transparent selection process compared to previous ones. EU enlargement in 2004 led to the need to develop new amendments to the legal framework. Therefore, the legal framework was changed in 2005 to fully involve new Member States into the rotation and providing an honorary title 77 (Decision number 649/2005 / EC) [12]. During the period of 2009-2019’s., New EU Member States - were included in the rotation, and the program officially amended, which made possible the appointment of two capitals of culture each year, one old and one new EU member states. Resolution number 1419/1999 / EC supported the earlier decision of the Council that the program should be open to cities from all European countries, including countries that are not members of the EU (Regulation operated until 2010). This enabled (Sibiu, 2007), Norway (Stavanger 2008) and Turkey (Istanbul, 2010) the title of European Capital of Culture at the level of the designated cities of the EU. Further changes in the selection process were made in 2006 when a new solution unveiled newly enhanced framework for the Selection and Monitoring Commission and the scheme of the application process and criteria for cultural programs of candidate cities. Resolution number 1622/2006 / EC withdrawn Resolution Number 1419/1999 / EC, although the old rules continue to apply to the cities scheduled for 2007, 2008 and 2009. Resolution goal of rationalizing the program «European Capital of Culture», introduced a two-stage competition and extended members of the Selection and Monitoring Commission of 7 to 13 members. That is in addition to seven members elected by EU institutions, as set out in the previous decision states that chosen for the program, appointed six experts agreed the European Commission. In addition, the responsibilities of the Commission was expanded to include monitoring the process of preparing selected for the Capital of Culture Programme named the year, making it a condition for obtaining financial support. Z 2010 city passed all selected this phase monitoring [12]. In 2013, the Commission continues to play a supervisory role in providing the title, to assess progress and initiatives, including aspects of the European dimension of the program. Criteria for the cultural program developed in two directions: «The European Dimension» and «City and citizens» (Decision № 1622/2006 / EC, Article 4). While the previous criteria, as defined in Regulation № 1419/1999 / EC, (in particular, Article 3) was based only on the measurement of «City and citizens», which first outlined the need for the Program each city be sustainable and focused on achieving long-term benefits for residents [12]. From now on, the initiative sought to put the initiative on European citizens and European culture. In 2014-2020. «European Capital of Culture» financed new EU program «Creative Europe» [10]. According to Richards and Palmer, the third period in the history of the program, which started in 2005, is characterized by investments in infrastructure [7]. Sharing this view, M. Sasatelli describes the current status of initiatives period as a kind of «ostolychennya»: cities competing to become recognizable as the capital of culture. As the Sasatelli, cultural capital assets invested in the hope of greater economic and cultural impact [8]. In the 2005-2014 biennium. «European capital of culture» have become 29 cities: .: 2005 Cork, Ireland; 2006 .: Patras, Greece; 2007 .: Sibiu, Romania, Luxembourg; 2008 .: Liverpool, England; Stavanger, Norway; 2009 .: Vilnius, Lithuania, Linz, Austria; .: 2010 Essen, Germany, Istanbul, Turkey, Pécs, Hungary; 2011 .: Turku, Finland and Tallinn, Estonia; 2012. Guimarães, Portugal, Maribor, Slovenia; 2013 .: Marseille, France, Kosice, Slovakia; 2014 .: Umea, Sweden, Riga, Latvia. In 2015 the event «European Capital of Culture» will be held in Mons, Belgium, and Plzen, Czech Republic. [12]. As the competition for the title of «European Capital of Culture» begins 6 years before the event itself, the nominees have been identified for the period from 2016 to 2018: .: 2016 Donostiya-San Sebastian (Spain), Wroclaw (Poland); 2017: Aarhus (Denmark), Paphos (Cyprus); 2018 .: Leeuwarden (Netherlands), Valletta (Malta), .: 2019 Matera (Italy), Plovdiv (Bulgaria). [10]; Step 4: (2020-2033 gg.). Given the fact that the current institutional and legal framework of the Programme «European Capital of Culture» Decision number 1622/2006 / EC, valid until 2019, during the previous two years was preparation for the future phase of the program. So, April 16, 2014 Euro-Commission and the Council of Europe adopted a resolution number 445/2014 / EU, which introduced an updated legal and procedural framework for «European Capital of Culture» for 2020-2033 years. [12]. The decree defined the goal of the project, the criteria and process of selection and appointment of the bridge, monitoring and evaluation of programs. The document also establishes the procedure for the formation of the Selection and Monitoring Commission and independent experts includes a chronological list of Member States, which the city can compete for the title of «European Capital of Culture» in the period 2020- 2033 rr. As indicated in Art. 2 Regulation Initiative goal during this period is to protect and encourage diversity of European cultures, highlighting the common features they share, to strengthen the contribution of culture to the long-term development of cities. More specific objectives are to enhance the range, diversity and European dimension «cultural offer» in cities, including through transnational cooperation; increase access to culture and participation in cultural events; strengthen the capacity of the cultural sector and its linkages with other sectors; raise the international image of cities through culture. The European Parliament and the Commission proposes to maintain the basic characteristics and structure of the project. To ensure equal opportunities for all countries and geographical balance status will continue to be based on a rotation system using a chronological list of the Member States. Honorary title prysvoyuvatymetsya cities at last for this period will be allowed to engage in the program surrounding regions. Saved two-stage selection process, led by the European Commission of independent experts. Status still be provided for one full year. Due to improvement of the legal framework in one year at most 3 cities will be entitled to receive the honorary title: one city with two EU member states and one city candidate country, or potential candidate for EU membership, which will be elected every three years . One and the same city during the 2020-2033 years, only once has the right to participate in the race. Selection will be based on open competition, which will be responsible for the organization of 78 the Commission. Cities that wish to participate in the future should await the announcement of the competition in their own country, then complete and submit an application to participate. The annex to the Regulation indicated chronological sequence of participation in the project.

2020 Croatia Ireland The candidate countries for EU 2021 Romania Greece membership 2022 Lithuania Luxembourg 2023 Hungary UK The candidate countries for EU 2024 Estonia Austria membership 2025 Slovenia Germany 2026 Slovakia Finland The candidate countries for EU 2027 Latvia Portugal membership 2028 Czech Republic France 2029 Poland Sweden The candidate countries for EU 2030 Kiprs Belgium membership 2031 Malta Spain 2032 Bulgaria Denmark The candidate countries for EU 2033 Netherlands Italy membership

There have been new selection criteria to provide more advice for the candidate cities and experts to assist the Selection and Monitoring Commission. The criteria are divided into six categories: «contribution to the long-term strategy», «European dimension», «cultural and artistic content», «ability to bear the title», «limit distribution (distribution program)» and «management» (unofficial translation) [12 ]. Thus, in the dynamics of the EU initiative «European Capital of Culture» conditionally are four stages. In the first initiative of an idea begins its implementation. This period covers the first cycle cities that represent each of the 12 countries that entered the EU at the time. The program is considered an intergovernmental activity and has no legal basis. Cities candidate nominated mostly country and most of them have less than two years planning their programs, which greatly complicates the task. In the second stage it became possible to provide the status of «European Capital of Culture» cities from countries which are not EU members. For the first time applied the selection criteria and outlines the terms of the application. At the same time increased the scale of the initiative, the project began to attract more attention and funding the EU. A distinctive feature of this stage is that the Jubilee 2000, an honorary title awarded nine cities that have applied to participate. At the beginning of the third stage, «European Capital of Culture» received its first legislative framework and status of the official program of the European Union by adding, according to the Maastricht Treaty, the official criterion of European dimension and the principles of selection clearer. Two subsequent decisions taken during this period helped clarify the selection criteria and enhance the process of monitoring and evaluation. Today developed an improved regulatory framework initiatives in the years 2020-2033, which can refer to the fourth stage. According to the Resolution adopted in the period Initiative will be open not only to EU member states, but also for candidate countries or potential candidate. Thus Ukraine may take the opportunity to receive the honored status of «European Capital of Culture», making culture a factor of economic and social development. The analysis, suggests that from the beginning of its formation, largely as a symbolic intergovernmental initiative without explicit legal framework, «European Capital of Culture» has developed into a well-established government measure. Working and regulatory framework of the project once perfected undergoing amendments and changes that confirms interest in the implementation of the above initiatives studied by all actors interested in the cultural development of the EU.

References 1. García B. Urban regeneration, arts programming and major events. International Journal of Cultural Policy 10, 2004 pp. 103–118. 2. Garcia B. «European Capitalsof Culture : successstrategiesan dlong-termeffects» [Електронний ресурс]. Email. text. data. - Access mode:http://www.europarl.europa.eu 3. Mittag J. European Capitals of Culture as incentives for the construction of European identity. [Електронний ресурс]. – Email. text. data. - Access mode: http://www.euce.org/eusa 4. Myerscough J. European cities of culture and cultural months. The Network of Cultural Cities of Europe, Glasgow:1994. 79 5. Oerters K., Mittag J. «European Capitals of Culture as Incentives for Local Transformation and Creative Economies». Proceedings of the Second Annual Conference of the University Network of ECoC held in Liverpool: 16–17 Oct 2008. – Pécs: UNeECC. P. 70–97. 6. Palmer R. European Cities and Capitals of Culture. Part I. Brussels: Palmer/Rae Associates. – 2004. 7. Richards G., Palmer R. European Cultural Capital Report 993 2007/2009.Part I and II, Arnhem: ATLAS: 2007. 8. Sassatelli M. Imagined Europe. The shaping of European cultural identity through EU cultural policy. European Journal of Social Theory. – 2002. – № 5/4. –P.435–451. 9. The official website of the European Commission [electronic resource]. - Email. text. data. - Access: http:// europa.eu/eu-law/decision-making/treaties/index_en.htm 10. The official website of the European Commission [electronic resource]. - Email. text. data. - Access: http:// ec.europa.eu/culture/tools/culture-programme 11. The official website of the President of Ukraine [electronic resource]. - Email. text. data. - Access: http://www. president.gov.ua 12. Site «Documentation Centreon Euro peancapital sofculture [electronic resource]. - Email. text. Data. - Access: http://ecoc-doc-athens.eu

Summary Chernets M. Historical reflection of the development of EU initiatives «European Capital of Culture» The article represents an attempt to analyze the dynamics of «European Capital of Culture» initiative development. On the basis of the analyzed EU documents and regulations, research studies of European scientists and various experts the EU initiative isconv emotionally divided into certain stages of its formation and implementation. Key words: culture, stage, cultural program, initiative, city, European Capital of Culture.

Received 12.11.2014

UDC 130.2(477.87) V.V. Oleinyk

TRANSFORMATION OF ARCHETYPES OF THE UKRAINIAN MENTALITY UNDER CONDITIONSS OF MULTICULTURALISM OF CARPATHIAN REGION

The current stage of development of society characterized by a worldwide process of integration and harmonization, mutual ongoing convergence of various countries and peoples, leading to the formation of a single world society. Prerequisite towards Ukraine joining the society of global scale is to preserve the Ukrainian ethnic group faces its own specific mental features of our people, to prevent complete assimilation and the dissolution of the Ukrainian nation in the Western «civilized» society, with its focus on material priorities. Otherwise there is a real threat of destruction of the traditional values of the Ukrainian people, which will lead to a complete loss of national identity. The aim of our research - to consider the level of assimilation of the Ukrainian mentality in European space as an example of Transcarpathia and search mechanisms preserve the specific features of national mentality and identity Ukrainian culture. It should be noted that not least thanks to the mentality - the national outlook, as determined his outstanding Ukrainian philosopher D. Chizhevsky, Ukrainian nation has to choose its future historical destiny. It should be noted that to this day remains unsolved phenomenon mentality. Some of its aspects were studied long, but completely this problem stems from the middle of the XX century. The initiators were believed to French. The term «tentalité» introduced into scientific circulation anthropologist L. Levy-Bruhl (author of La Mentalite primitive. Paris, 1922). Since the 60’s study of the history of mentalities crossed the French border and internatsionalizuvalosya. Today it is one of the areas of the humanities favorytnyh [2; 40]. If you consider the interpretation of history more nature philosophy worldview man worth remembering responses to this question thinkers of the ancient world, because the Greeks are interested first principles forming individualistic vision of the world in a society of free citizens. It archetypes as the basis of social life discussed in philosophical concepts since ancient times. In particular, Plato holds the opinion that being in the true sense of the word can be called only absolute essence that exist irrespective of space and time. An important contribution to Plato’s idea of the archetype is a clear distinction between pra- model as a role model or core things, and its incarnation as «sec-model», a phenomenon that is not perfect. Critical thinking Eidos of Platonism find in Aristotle, who rejected the dualism predecessors in the interpretation of the idea of the existence of things and the thing itself. This idea to a new level Christian worldview developed by A. Augustine formulated the theory of the archetype of the World. Way mentality in modern European philosophy laid N. Cusa, who synthesized the mystical idea of God with the idea of Eidos Eidos. A relatively conceptually an idea John. Locke’s domestic law and truth, to which the soul is coming at a certain stage of development, and the doctrine of monads Leibniz. J. Berkeley developed a metaphysical approach to the archetype. 80 Kant regarded as the archetype of the moral law, which is essential for nadpochuttyevoyi transcendental nature of the world, recognized a clear mind. [4] Problems archetype and a symbol dedicated his fundamental work E. Cassirer [5]. Following the tradition of Kant, the philosopher defined the archetypal intelligence as great-intuition, thinking that things at the same time creates them. Analysis of the archetypal nature of the position hermeneutical philosophy appealed G. Gadamer, who brought the law of the material world arhetypiky ideal. In his view, any derivative of a carrier archetype inevitable internal contradictions. This conclusion served as the dynamics of the doctrine of archetypes and the prevailing ideals through them. The question of struggle and change archetypes was asked by the German philosopher and culturologist W. Schubart [11]. He brought in Western philosophy the term «archetype eon», referring to the prototype that aims to reproduce in the individual consciousness creative person, and in every historical era, eon archetype appears in a qualitatively new form, which takes into account changes in social conditions and experience. CG Jung, the principle holonomnosti of the world, demonstrated perspectives go beyond individual psyche based on archetypes of the collective unconscious. [12] His understanding of the phenomenon synhronistychnosti can cover various components of psycho-information space. It should be stressed that for Jung, the collective unconscious - as the air breathed by all, but which no one expected. Its content, archetypes - patterns of transpersonal formation of various methods of material and spiritual activities in a particular society. Especially archetypes manifest at the level of ideology as an expression of interest and preservation, semantic determination of behavior that includes, but traces of the collective shadow. Thus, comparing the character of European and Ukrainian philosophy should be emphasized that in contrast to the rationalist attempts to analyze the «soul» of European nations known philosophers - Ukrainian thinkers referring to the origins of the philosophical vision of the native people, mention of such close and time-tested features of Ukrainian mentality as sentimentality, patience and romance. Fruitful research in the field of specific Ukrainian mentality eminent Ukrainian Culture M. Kostomarov I.Nechuy- Levitsky, Shevchenko. Special contribution was made Tchizhevskiy D., who noted the main features of Ukrainian mental way, among them - emotionalism, sentimentalism, sensitivity, lyricism and individualism. In today’s scientific discourse, this problem is reflected in the works of the bulls, M. Popovic, S. Crimea, .P Gnatenko, J. Grabowski more. The formation of the Ukrainian mentality took place under the influence of complex cultural, historical, geopolitical and climatic factors, among which an important role is played by the geopolitical location of Ukraine. Situated at the crossroads of East and West, it occupied an intermediate position between the peoples of the classic mentality that led to the emergence of specific Ukrainian mentality for which mental characteristic features of both the West and the East. Every nation is the bearer of specific mental traits that together form its unique spiritual world. Most researchers phenomenon of Ukrainian mentality - Hrushevsky V. Yaniv, M. Kostomarov, Ivan Marchuk, IA Starovoit - isolated, first of all, such as individualism of rice, and that it is common for members of classical Western and Ukrainian mentality nation. Thus, according to M. Kostomarov, among other features, distinguishes between Ukrainian and Great that prevails in the minds of Russians generality (God and king) over the individual, and the Ukrainian higher value an individual [6; 47]. But the mentality of Europeans individualism combined with features such as rationalism and pragmatism that leads to the utilitarian, consumer, technocratic attitude towards the world, which, in turn, caused the spiritual crisis in Europe. The Ukrainian mentality is emotionally charged individualism is also based on such mental characteristics of Ukrainian as introversion that directs the actions are not representative of the Ukrainian people to transform the world for their needs and to their own self-knowledge and self-improvement. It should be noted that the particularly acute impact of European behavior and mental stereotypes in Ukrainian living in the border areas of Ukraine. So Ukrainian, who currently live in the Carpathian region are in the midst of multicultural whirlpool, because as noted by S. Fedak - «Even the vast majority of Transcarpathian that is realistic and understands that the fate of the land is closely connected with Ukraine Ukraine this represents a very differently. For some - it is the same Hungary, where they continue not speak Hungarian. For other Ukraine seemed and seems huge piece of the Russian state, which somehow accidentally fell off temporarily. For others (and they are legion) Ukraine - a huge Galicia, in addition to which there is no longer any regions. Well, recently there was little Donbass. And ... Transcarpathian constantly strives to understand the soul of a capital of Ukraine Kyiv there in their mind that they utnut next time. So the baby in early childhood seeks to understand the actions of transcendental deity, which is called the mother «[10; 21]. Another sign of Ukrainian mentality, which converge representatives of scientific discourse, such as Kostomarov, E. Malanyuk, Popovic M, I, Starovoit, D. Chizhevsky, V. Yaniv is emotion. Chuttyevo- emotional, sentimental perception of reality blends with representatives of Ukrainian and East in general characteristic of the Slavic mentality. But, unlike the Russians, Ukrainian emotion based on introvertnosti, has an internal focus. Mental characteristics of each nation by values and ideals inherent ethnic group, are reflected in the national philosophy. «The philosophy at the reflexive level expresses the most significant signs of mental nation, as a result of research progress philosophical identity of a people allows to discover its» soul «[9; 152]. In terms of modern Ukrainian Studies, the basic foundation, «henokodom» new times Ukrainian mentality, and hence, Ukrainian culture is primarily Cossack Cossack mentality and culture (culture Cossack Ukraine). Vladimir Antonovich, raising this conclusion for his research vicissitudes of Ukrainian history and logic of their historiosophical generalizations himself did not formulate this thought and did not realize. Together with M. Kostomarov 81 he uzasadnyuvav ethno-psychological approach, in which originality Ukrainian «National type» and Ukrainian «type culture», derived from the inherent thought to be Ukrainian nadystoricheskoe unique «psychological structure of feelings and concepts and ideas that emerged» from the unique «type inner life» [1; 199]. As for the formation of the so-called sign Ukrainian mentality, the domestic researchers nineteenth century. say the appearance of «Cossack mentality.» B. Lipinski, in particular, wrote: «... if today we exist as a separate nation, if the Ukrainian people develop their individuality and strengthen with each passing day, we owe this great revolution of 1648». It is with heroes rank Khmelnytsky «grown - convinced V.Lypynskoho - all later life Ukraine», «them originates all the good and evil that we have» in Ukraine. And we all, without exception - insisted thinker - even though it were with Shevchenko in minutes provocations name Bogdanov cursed instinctively «- emphasizes Vladimir Antonovich [1; 197]. The people then brought in their struggle «a huge capital of energy that it is not enough just to exchange for» governments and possessions «for several generations» defectors «... Enough and upon the continued struggle for pokinchennya Bogdanova case.» In all later times of hardship Ukrainian emphasizes W. Lipinski, gather strength in the spiritual heritage, which inherited ... «after fighting Cossack»; the inheritance, which «grew Shevchenko rose - wrote historian - all modern revival of our movement, grew all the modern Ukraine.» The seeking Ukrainian, W. Lipinski said, turning to the Cossack past - «as an inexhaustible source of national power» [1; 198]. It is worth mentioning that almost all Ukrainian ethnic psychology researchers (and mentality) Ukrainian people did not go in XIX-XX centuries. beyond this approach. It has a strong, but also weaknesses. When you target takes into account the characteristics common, for example, Antam and modern Ukrainian, it is not because of its generalization captures the specifications of the national mentality generated ethno- historical transformations «national type.» The development of ideas about «arhetypnosti» Ukrainian mentality made and modern Ukrainian philosopher and psychologist: S. Crimea, Vladimir Gorsky, A. Donchenko and others. In particular, draws attention refractive S. Crimean universal archetype levels in the value-semantic space of Ukraine as a civilized phenomenon. Generally specificity S. Crimean scientific theory is that it focuses attention on archetypes of culture. Indeed, the culture - the leading factor in the constitution of the people as the individual incarnation of humanity, displaying his ethnic self-portrait that conveys universal unique experience [7; 301]. Culture etnokreatyvna acts as a force for updates not only implemented, but also the potential of the historical process. On the ethnic level (although that is historically primary, but retains its bazysnist and prospects) principal means of representation mentality stands tradition, and the formation of a nation increasingly important rozpredmetnennya world culture. Ethnic education, according to researchers, are archetypal naskriznist regarding historical time. In the terminology of the researcher is defined as «a history of clotting in the fate of the individual.» This process plays a key role arhetypika that converts «Modes of human presence in the world (in the previous philosophical discourse is figured as ektypy) in some existential, ie forms usvidosmlenoho being (material and ideal) [7; 290]. By S. Crimea, «Existential national being revealed through filling vital concepts: House - Golf - Church (mentioned symbols was proposed by Heidegger). The symbol «House» means anthropocentric life from family to national solidarity, a kind of niche in the human universe. «Field» - is, first of all, the field of life, mastered space, a source of wealth. The idea of «church» - an expression of the blessing of higher forces, the heavenly intercession on particular ethnic community. According to S. Crimea, the Ukrainian culture archetype of the house acts as a national idea, signifying the connection of heaven and earth, ideology Sophian, consecrated wisdom of life. Another important archetype, the archetype of the Earth in the Ukrainian mentality integrated agro-industrial, social, historical, spiritual and cultural attributes of national life. In this respect he embodied the noosphere Ukrainian foreboding. It should be emphasized that an important aspect of the Ukrainian mentality, according to S. Crimea is the interaction of internal and external freedom. Here is an example of positive confrontation of inner freedom, which advocated H. pan and detected in combat haidamak rebellion with its sad consequences. [7] And considering the vital ideological values of modern Ukrainian Carpathian region creeps in question, is not lost memory of a particular philosophy of heart with her artistic sensibility and acute awareness of Ukrainian nationality, living in a multicultural environment Transcarpathia? Not too pragmatic they were influenced by European rationalism? This question gives a substantive response in S. Fedak already cited work «mentality Zakarpattya» «Even Transcarpathians and the vast majority who are realists and understand that the fate of the land is closely connected with Ukraine, Ukraine imagines this very differently. For some - it is the same Hungary where not only speak in Hungarian. For other Ukraine seemed and seems huge piece of the Russian state, which somehow accidentally and temporarily fell off the edge to be ... And we do not like - just inside. Where is easier to hide. Where warmer. If trouble, only a huge crowd. To never been clear who began and how it will end «[10; 19]. Therefore sensible humanistic worldview is a necessary component of the Ukrainian mentality in the Carpathian region, because the principles of humanism, centuries-old proven practices combined with a European logic and rationalism is the ideological basis of the whole system of identity formation Ukrainian Transcarpathia. So konnektyvnist Ukrainian culture and European socio-cultural space reflected in a special countryman worldview that combines «Psycho,» «rational» and «arsenal.» The unique historical processes in Transcarpathia and authenticity Ukrainian Ukrainian folk culture can be seen as one of the decisive factors preserving the specific features of the Ukrainian mentality in the Carpathian region. 82 References 1. Bilodid V.D. Ukrainian historiography ethnomentality / V.B. Bilodid. - K., HI. HQ., 2011 - 333 p. 2. Donchenko O.A. Archetypes social life and politics (psycho-depth regulatives political everyday life): monograms. / O.A. Donchenko, Y. Romanenko. - Kyiv: Lybid, 2001. - 334 p. 3. D.I. Doroshenko 3. Outline of History of Ukraine / D.I. Doroshenko. - LA: Mason, 1991. - 43 p. 4. I. Kant, Anthropology from a pragmatic point of view / Kant. - Moscow: Nauka, 1999. - 472 p. 5. E. Cassirer’s philosophy of symbolic forms: Introduction and problem statement / E. Cassirer // Cultural Studies. Twentieth Century: An Anthology. - M., 1995. - 412 p. 6. Kostomarov N.I. Two Russian Folk / N.I. Kostomarov. - K.; H.: Independence, 1991. - 72 p. 7. During the Crimean SB signature Sofia / S.B. Crimea. - K., WA «Kyiv-Mohyla Academy», 2008. - 717 p. 8. G. Mikhailov Historical and psychological aspects of the archetype / Mikhailova // World of Psychology. - (43). - 2005. - S. 177-186. 9. Starovoit J.S. Match and originality of Western and Ukrainian mentality, philosophical and historical analysis / J.S. Starovoit. - T.: Dialogue, 1997. - 256 p. 10. S. Fedak Transcarpathian mentality as a product of our history and culture / S. Fedak // Transcarpathia. Philosophy of culture. - Vol. 4. Spring / 2011 - Uzhgorod, 2011. - P. 19-21. 11. V. Schubart Europe and soul of the East / W. Schubart. - Moscow: Rus. idea, 1997. - 318 p. 12. C.G. Jung On the relation of analytical psychology to poetic and artistic creativity. Overseas aesthetics and theory of literature of the twentieth century / C.G. Jung. - Moscow: Nauka, 1987. - 340 p.

Summary Oleinyk V. Transformation of archetypes of the Ukrainian mentality under conditionss of multiculturalism of Carpathian region The object of research is the archetypal basis of historical inheritance Ukrainians. We consider the phenomenology of formation of ethnic ideology in the history of European philosophical and psychological thought from antiquity to modern times. The analysis archetype of Ukrainian mentality and reviews current projection in the European axiological space on the example of the Carpathian region. The purpose of our study task – to consider the level of assimilation Ukrainian mentality in European space as an example of Transcarpathia and search mechanisms preserve the specific features of national identity and mentality of Ukrainian culture. Key words: mentality, ideology of ukrainian, archetype, archetypes Ukrainian culture, the mentality of the Ukrainians of Transcarpathia.

Received 10.11.2014

UDC 008:130.2(477) A.K. Shagan

THEORETICAL AND METHODOLOGICAL PRINCIPLES OF CIVIC CULTURE FORMATION

Formulation of the problem. The need to build state processes in Ukraine on the principles of humanism, democracy, social justice issue actualize the theoretical understanding and practical implementation of civic culture. Formation of the latter is particularly important in a transitional society where the foundations of a democratic mentality that brought the capacity for critical thinking, ability to assert their rights, interests, beliefs, aware of their responsibilities and be tolerant of the views of others to guide democracies manifestation of social activity principles. Today, when there is an urgent need for political and legal civil self-identification, the need to study the phenomenon of civic culture as a mechanism that allows you to earn civil society and democracy. The purpose of the article is the substantiation of theoretical and methodological principles of forming civic culture, defining its content and revealing structural elements. The basic material. The term «civic culture» appeared in scientific literature in the second half of the twentieth century. in connection with the book American sociologist G. Almond and S. Verba «civic culture.» Using empirical research methods and comparing political cultures of the five countries, the authors concluded that the stability of democracy depends on the presence in a country Civic Culture. G. Almond and S. Verba claim that civic culture is one of the models of political culture meets political system of democracy and contributes to democratic stability [1; 125]. It should be noted that civic culture is inextricably linked with the idea of civil society. Summarizing the various definitions of civil society, we can define it as some type or, perhaps, like social life, characterized by horizontal linkages in society, independent of the state and its institutions, to ensure the conditions for self-realization of individuals and groups. In this context, the idea is plausible E. Cohen and David Arata, who noted that civil society - is socialization patterns that have become organizational and institutional forms and guiding people to a specific type of associativity [2; 9]. It is self- 83 organized, structured, has mechanisms of representation and control the state of the non-governmental sector, political parties, business groups, trade unions and other NGOs, social movements, human rights groups and others. Interconnection and interdependence of the concepts of «civil society» and «civic culture» is determined at the inclusion of value-regulatory elements. As the N. Fedotov, civic culture is symbolic capital, providing the desire of society to the improvement and development [8; 66]. The key subject of civic culture or national stands, according to G. Almond and S. Verba - «potentially active citizens» [1; 125], which, in turn, is an active political partysypantom but systematically monitors the behavior of the people who make decisions in the political sphere. The system serves national civic culture of value-oriented entity of public life, determinant social transformations. Value - a socially acceptable and those that are separated by a picture of a society that is good, justice, patriotism, love, friendship and more. Values are beliefs shared by the majority regarding the objectives, which should seek [6; 882]. Such citizen actively involved in the communication process and therefore typically has a high cognitive mobility, range of social settings, such as our interpersonal trust, tolerance, orderliness, responsibility, cooperation and so on. Because social relationships within the civic culture based on mutual trust, tolerance, kompromisnosti, a sense of social solidarity and the common good. The researchers emphasize that democracy exist and develop through active participation of the population in civil matters, a high level of awareness about the events that occur in society and widespread sense of civic responsibility. American researcher G. Lassuel identifies five distinctive features of the democratic nature of the person, including: 1) «open ego», which he understood interested attitude to other people; 2) the ability to share the values of others; 3) the varied social orientation; 4) trust in others and a willingness to rely on them; 5) relative freedom from fear and anxiety [9; 495]. One of the distinguishing features of civic culture, according to G. Almond and S. Verba, it is mixed, due to a combination paroykialnoyi, piddanskoyi and civil orientations. The fact that researchers are three ideal (in the Weberian sense) types of political culture inherent in the various stages and levels of political and cultural relations. For paroykialnoyi political culture is not characteristic separation of political functions and roles of economic and religious, people have little understanding of politics and therefore indifferent to it. Piddanska political culture consists in the presence of more or less differentiated political functions, roles and institutions. For it is typical passive attitude to the political system of the subjects, concerned mainly practical, essential to everyday life the results of the government. Finally, for the third type (culture of participation or participatory culture) are characterized by a high level of public interest in politics, their awareness of the political life of society, and most importantly - active participation in the political process. Despite the fact that it is the latter type most closely reflects the essence of the political culture of a democratic society, G. Almond and S. Verba hold to another logic, grounded on the fact that democracy is a mixed political system, and accordingly has internal contradictions. It is therefore appropriate that the system can be mixed political culture that combines all three types. This position researchers justify the fact that it can turn at all citizens, even those who follows the different cultural orientations, involve them in the political process and ensure social stability. According civic culture - a balance of different cultures, a kind of checks and balances. As noted by A. Batalov, the system moved from power relations in the political culture. In his view, a balance between power and responsibility of ruling elites, exactly as between political activity and passivity citizens [3; 13]. From a citizen of a democratic society needed aspirations that contradict each other; it has to be active, but at the same time and passive; included in the political process, but not excessively; influential, but also respectful to the authorities. In other words, democracy is based on reconciliation and compliance measures extremes in politics. As the G. Almond and S. Verba, civic culture provides a balance between political agreement and disagreement supported at both ordinary citizens and elite level. Without agreement on key issues impossible to resolve political disputes peacefully and successful functioning of democratic institutions. At the same time, the latter are not able to operate effectively in the event that in society there are no political differences, because democracy provides a choice between alternatives. Moreover, the absence of differences, and hence opposition complicates control of the elites and dulls their sense of responsibility to society. It is therefore necessary to balance differences prevent them from going beyond the danger line. Because in a democratic society is complex and consists of both a dynamic system of balanced political and cultural orientations. Such systems inherent in political activity, but it is not so much to undermine the authority of government; involvement of citizens in politics and moderate elites and commitment system; political differences that are controlled. Moreover, political orientations, forming a civic culture, linking with the overall social and interpersonal orientations. Within the civic culture norms of interpersonal relations, general trust and confidence attitude to permeate the social environment and political attitudes soften them. Analyzing civic culture, G. Almond and S. Verba noted that it is characterized by two contradictions, namely: • between high estimate its potential influence on political decisions and lower levels of real influence; • the spread between the degree of verbal recognized the compulsory participation of citizens in political life and the real significance and scope of participation [1]. On the one hand, inaction ordinary person helps to provide the ruling elite the power to the extent necessary for effective problem solving. On the other - the role of the citizen as an active and influential factor in ensuring the 84 accountability of elites, is supported by its commitment to the norms of active citizenship and conviction that he can be an influential political actor. Thus, a citizen in a country with high civic culture are potentially active. He does not act as a permanent member of the political process, rarely active in political groups, but has reserve potential influence. That says that if necessary, he can mobilize your social environment for political purposes. Model civic culture combines invariant and variant elements. On the one hand, its content in different countries is identical, namely in the fundamental values and balance of opposite orientations, without which no democracy as a political system built on the principle of equal participation of all citizens in government and making vital decisions. Formation of civic culture - a complex process that includes training in many social institutions - the family, peer group, school, workplace, etc. Type the experience obtained in these institutions, different. Individuals acquire political orientation by directional learning - for example, on the lessons of civics and experience - analyzing the activities of the political system. The political culture of citizens can form only if skoordynovannosti actions of the state and civil society institutions. American sociologist Robert Putnam called cause activity rate and success of the local government level citizenship [7; 35]. In reference books integrative citizenship is defined as the quality of the individual, characterized valuable attitude to the state, the people, to himself as a citizen; based on awareness of rights and responsibilities allows you to feel legally, morally and politically viable, able competently to influence the development of democratic civil society [5; 30]. Ukrainian researchers argue that citizenship - is ideologically psychological condition, which is characterized by a sense of a citizen of a particular state, loyalty to its institutions and laws, dignity in relations with representatives of the state, knowledge of and respect for human rights, the virtues of civil society, a willingness and the ability to achieve compliance with their rights, demanding the state to fulfill its functions, responsible attitude to their duties to the state [4; 163]. Civic culture is multi iyerarhayizovane phenomenon. This multilevel and diverse system iyerarharyzatsiya caused due to various social phenomena, processes and institutions. With civil society, this culture is related to the various spheres of society, caused by the needs of human society: • political institutions and the institutions of government; • local government sector as direct application of instrumental value orientations of citizens within the local communities; • non-governmental non-profit organizations (NPOs) that represent the interests of citizens and their need for identity, self and social interaction in different social areas as critical systems forming part of civil society; • with civic education and civic education; • political institutions and processes through political behavior of citizens and exercising their political orientations and interests; • with the scope of rights by citizens and legal behavior exercising their rights and freedoms and perform their duties; • with the sphere of culture as spiritual realization area of interests and needs of individuals. Functional orientation civic culture is to create active citizens and promotes it: • fulfillment of values; • identification, which allows to realize their value orientation and find ways of their representation in society; • socialization which characterizes the process of mastering certain skills, qualities, traditions, allowing to exercise their civil rights and civil society fulfill obligations; • Integration - provides social and corporate groups to cooperate with state authorities, local government, media, civil society; • communication - based systems of communication and social media to organize processes of social interaction and coordination of social relations, including through formal and informal channels of communication; • representation of interests through the institutions of civil society. According to international practice, the development of civil society is possible through political and civil society activity, which creates the foundation of democracy. The formation of civil society associated with the formation of stable democratic traditions and culture, based on respect for individual rights, tolerance and social responsibility. Formation of civic culture promotes the formation of a special type of personality, which, on the one hand, the inherent high level of autonomy, and the other - the ability to communicate constructively with other individuals for the public good and peace. The high level of civic culture promotes individual constructive solutions to problems of social development, determines the activation of such qualities as trust and tolerance, patriotism, citizenship, etc., as a result contributes to the functioning of democratic institutions.

References 1. Almond G. Civic Culture and Stability of Democracy / G. Almond, Verba // Polis. - 1992. - № 4. - P. 122-134. 2. Arato E. Civil society and political theory / E. Arato, D. Cohen. - M.: Worldwide, 2003. - 784 p. 3. E. Batalov political culture through the prism of civic sulture / E. Batalov // Pro et contra. - 2002. - T. 7. - № 3. - C. 7-22. 85 4. Dovbnya A. Civil rights culture as a condition of a democratic political system / O.M .Dovbnya // Bulletin of Kharkiv. Nat. Nat Univ. V.N. Karazin. Avg. “The issue of political science.” – 2008. - № 796, no. 11. – P. 157-164. 5. Encyclopaedia for professionals social sphere. – 2nd ed. – K.; Simferopol: Universe, 2013. – 536 p. 6. Culture and Cultural Studies: Dictionary. – MA: Academic. Project; Yekaterinburg: business books, 2003. – 928 p. 7. R. Putnam Making Democracy Work / Robert Putnam. – Moscow: Progress, 1996. – 302 p. 8.Fedotov N.G. concept of civic culture in the context of the Russian socio-cultural dynamics problems / N.G. Fedotov // Vestnik Novgorod. state. Univ. - 2004. - № 27. - S. 65-71. 9. Lasswell H. D. The Political Writings / H. D. Lasswell. – Glencoe, 1951. – 525 с.

Summary Shagan A. Theoretical and methodological principles of civic culture formation On the basis of scientific approaches the problem of the development of civic culture reveals its contents, functional orientation. Determined tight bunches of civic culture with the development of civil society can be traced contradictions of its formation. During the study, analyzed the issue becoming a problem potentially active citizen who serves the value-oriented subject of public life, determinants of social transformation. Determined value basis, which should have a citizen who has a high level of civic culture. Outlines the main directions of development of civic culture. Key words: democracy, civil society, civic culture, an active citizen, citizenship.

Received 11.09.2014

UDC 008:001 O.V. Yakovlev

HISTORIOGRAPHICAL DISCOURSE OF CULTUROLOGY IN REGIONS OF WESTERN UKRAINE

Cultural rehionika important area of research is cultural patrimony of different regions of Ukraine. Rehionika recently intensively. She works closely with a variety of related sciences such as philosophy, cultural studies, history, ethnology, , education and so on. These processes contribute to the formation of a new scientific methodological framework that incorporates the basic principles related sciences, and this, in turn, affects the expansion of the boundaries of traditional research and the emergence of new cultural trends. This enables a new way, taking into account all the contradictions reveal certain artistic phenomena of a region in the context of a comprehensive study of culture Ukraine. «Reflection of regional entities subject their cultural self, role and place of his land in the inter-space that is always active with the start of a new cultural-historical stage, is a manifestation of the essential protective ... (adaptive) mechanisms of culture. Regional bahatoelementnist national field contributes Finding new creative potential for further self-development of the country, providing a complete, versatile and dynamic integrity «[8; 93]. The concept of «region» is studied by scientists from different aspects. In a broad sense, by Ivan Kononov, it «Dynamic, multi-level, public education, which is manifested in different stages of social development, the study of regional life involves the interaction of sociology and philosophy, geography, history, economic and philological disciplines ... the concept of» region «is not only a scientific but also in the power and everyday discourses, which increases its ambiguity «[3; 46]. From the standpoint of Cultural region - historical and cultural territorial unity, combines «territorial-administrative and cultural processes, due to the existence of the spiritual world of the individual, that shows stability in spiritual values, ethical and aesthetic standards, philosophical principles» [5; 5]. Modern regional studies characterized by the following features: coverage of certain patterns of cultural development in the region; periodization of the studied culture edge; Disclosure assumptions that affect the cultural transformation of the region; identify causal relationships between social and cultural processes; disclosure of the impact of education and educational and cultural centers on the culture of a particular region; highlight the contribution of cultural heritage in the regional national cultural heritage [6]. In the presence of a significant number of jobs in nearly every region of Ukraine the most complete large-scale studies and west of the state. Analysis and synthesis of the results of the cultural heritage and dedicated to this article, which presented a critical analysis of dissertation research regionally of art and historical trend that had been reserved for specialized scientific councils of Lviv National Music Academy named after M. Lysenko (J. Antoniuk - Lviv region) and National Academy of Culture and Arts (T. Smirnova - Volyn). Let us consider the more detailed analysis of regional studies of typical Western cultural loci Ukraine - Galicia and Volyn - from the point source and the scientific understanding of synergistic processes of cultural space of Ukraine XXI century. Fragmentation historical research, the lack of fundamental works on the origins of culture of Ukraine, which would set out a coherent historical-cultural picture of the cultural processes requires the creation of a comprehensive knowledge of the problem in domestic science, reconstruction of some major historical periods. In terms of new social and cultural realities of the last decade of the XX - XXI century. culturological science 86 appeared to need rethinking conceptual approach to the interpretation of cultural and artistic processes Volyn Enlightenment, theoretical understanding and practical implementation of good practices of the past. In this regard, the thesis T. Smirnova «Volyn cultural and artistic life of the Enlightenment (late eighteenth - early nineteenth century).» [7], made in the Rivne State Humanitarian University under the direction of renowned scientist prof. B. Vytkalova, essential to the country’s history and culture as a universal conceptual expression of aesthetic factors national culture in their projections for global priorities. In the absence of generalizing research that would give a comprehensive picture of cultural and artistic life of Volyn late eighteenth - early nineteenth century. Historical and Cultural reconstruction of cultural processes Enlightenment, laid helping the national culture and the exchange of spiritual values among peoples Western and Eastern Europe, relevant new information to predict patterns of modern global civilization process. The reliability and validity of scientific statements, findings and research results provided by T. Smirnova methodologically correct application of complex scientific approaches and methods: system-structural, historical, logical, historiography, source studies, statistical, leading the author to support scientific ideas predecessors working in different directions national humanities. The study draws on a rich source base. It used different types of historical source materials Rivne regional museum, including collections «Library Lubomirski Princes’ documents of the Central State Historical Archives of Ukraine, the State Archives of Zhytomyr region., Funds of National Library. Vernadsky, LNB them. Stefanik Sciences of Ukraine, the Scientific Library of Lviv National University. Franko, department of Foreign Literature in Rivne state Regional Library and the Library. An equally important part is to study published documentary materials, periodicals and epistolary heritage of the late XIX - early XX century. In chronological boundaries justification study author defines the specific historical development of Volyn, where in the early nineteenth century. there was modernization of all aspects of social life, namely, increased social activity, accelerated industrial development, manufacturing and agriculture. The lead was the idea of enlightenment, which helped expand the network of educational institutions. Mass start art collections in the estates of Polish magnates was associated with the formation of the ideology of the Enlightenment. According to the author of the outlined concept studies determined its structure, built on problem-chronological order. The concept study is scientifically reasonable and correct. Author demonstrated historical dynamics study of the processes taking place in the cultural life of Volyn in the late eighteenth - early nineteenth century., Based on the orientation of research projections general history of national culture to critical analysis of scientific studies on problem-thematic principle. Exploring the historical context of cultural processes in Volyn late eighteenth - early nineteenth century., The author analyzed the social, economic, religious, social and political conditions prevailing in Volyn in the study period. The said special role in the development of ideas of the Enlightenment cultural and artistic life of Volyn Volyn elite discovered the role of the Enlightenment, local and Polish aristocracy, patrons in cultural life, preservation and multiplication Ukrainian cultural heritage. Work T. Smirnova attracts analysis of these cultural centers Volyn Volyn estate magnate as the example Romanov Earl Elias, Rivne and Dubno princes Lubomirski, mill graph Khotkevych and others. Kindly covered private library in Princes Lubomirski. Rivne, formed the structure ideal private library XVIII century. The thesis revealed the main characteristics of outreach Polish magnates, the essence of which was to create a cultural and artistic centers within their residences. Said T. Smirnova thesis is relevant, qualified and significant for the further development of the theory and history of national culture, a culture of Volyn, history of art and philanthropy studies. The results of the research obtained Tatiana, different novelty in terms of intelligence important, almost unexplored Ukrainian scientists problem, namely the first in the Soviet historical scholarship attempted a comprehensive analysis and evaluation of the impact of the ideas of the Enlightenment on the formation of cultural processes in Volyn late eighteenth - early nineteenth century. Importantly, in the study were involved in the scientific use little-known material assets Rivne regional museum (ROKM) - a collection of «Library of princes Lubomirski,» studied privately generic library princes Lubomirski m. Rivne, analyzed the contribution of educators and patrons Volyn in the development of education and art, in particular revealed the peculiarities of art collections in Volyn in the period, which contributed to the cultural-historical reconstruction of the artistic life of the region. We consider reasonable opinion of the author that in Volyn late eighteenth - early nineteenth century. formed the preconditions for the deployment of a wide cultural and educational movement that has developed in the second half of the nineteenth century. the territory of all Ukraine. Developed in the research problem has prospects for further development in these areas. For more detailed characteristics of the educational sector Volyn study period it would be appropriate to study other schools than Kremenets Lyceum and school for the deaf in the novel, such as Vladimir’s College, Lubarsky Basilian school and others. Noting as a positive elaboration and introduction to the scientific author of a large number of documents from the archives of Kyiv, Zhytomyr and Rivne Lviv, the author wish to enrich the source base study materials from the archives of other regional centers of Ukraine and abroad. It is advisable to continue research on the cultural and artistic life of Volyn Enlightenment in Wake comparative analysis of cultural processes in the Western and Eastern Ukraine. The formation of Ukraine as a sovereign state makes it necessary to address the problems of the information society and the withdrawal of national culture in the global information space. The study of all existing archives and library 87 collections of Ukraine as a source of research history, its most important institutions, cultural life and creative works of prominent figures is essential for the introduction of library collections to the scientific and cultural exchange. Printed music collection Lviv National Music Academy. Lysenko (LNMA) had both unique cultural and historical value, and so on volume. They constitute an inexhaustible source for the study of the history of music culture of Galicia. These musical funds have been the subject of a separate scientific study of J. Antoniuk thesis «Library Printed music collection Lviv National Music Academy. Lysenko in the light of historical and cultural edge process «[1]. J. Antoniuk relevance of research due to the need of scientific study musical archive library LNMA, formed a circle of domestic music-making as a result of the concert and teaching activities Lviv institutions and individual musicians and in 1939 became the basis of the library of the Lviv State Conservatory. Lysenko. Relevance of the study confirmed the lack of information on archival materials that were in the Soviet times for ideological reasons artificially removed from the scientific and cultural circulation of the country and kept in special funds. Disclosure variety ofmusical collections library allows to consider the unique musical gathering at the new worldview level, facilitates the compilation of consolidated European and global directories, the active participation of Ukraine in bibliographic project RISM International Association of Music Libraries, archives and documentary centers at UNESCO (IAML), that included information about Ukrainian musical archives in the world information space. Conceptual provisions thesis is the analysis sheet music collections in conjunction with the general historical and cultural process in Galicia. Sheet Music Archive LDK (Lviv State Conservatory in 2004 Lviv Music Academy. Lysenko), which funds collected from the end of the sixteenth to the early twentieth century. Art reflects the history of the region in a variety of formation and development of sacred music, secular professional and amateur music, music of Societies and educational institutions. Importantly author chosen aspect of research libraries LDK, funds which constitute rare printed music, manuscripts and handwritten copies, as a source of study of the historical and social phenomena of the region, Galicia artistic contacts with Western European countries. Analysis of collections contributed objectivity reconstruction of historical and cultural processes of land. The study is based on findings and materials obtained by the author in the painstaking scientific work of organizing, cataloging and implementation of scientific and artistic-cultural circulation of printed music collections LDK. The scientific novelty of the research is the first time an attempt of scientific analysis of rare musical collections library LNMA them. Lysenko in the light of historical and cultural process of artistic life of the city and Galicia. The combination of the historical and cultural aspects and bibliographic research helped identify and introduction to the scientific, cultural and artistic treatment of previously unknown archival documents library, including Committees orders and lists of Obllitu public funds withdrawal or destruction of literature previously unknown fragments of Lviv collections eighteenth century. - Wawel Royal Chapel of Krasiczyn Sapehas collection, music library of the Society of St. Cecilia, libraries HMG. Important in terms of the complexity of the work and historical and cultural bibliographic focus is the study of musical editions with attribution revealed it dies, written historical monuments, autographs, which is an important source of research of musical and artistic life of the city contacts. Learning musical library collections occurred in the context of the study of the prominent figures of musicians, collectors of the city, that helped determination of the artistic atmosphere of the city and the province. The author reveals previously unknown facets of V. Vshelyachynskoho A. Hybinskoho, M. Schupachkevych, K. Tarnawsky and others. Scientific conclusions are the result of vast research on the reconstruction process of forming collections based on the study of sources for the period from 1591 to 1939: systematized 78 musical collections or fragments library LNMA, found and described more than 5700 lifetime editions of composers of the XVIII-XIX centuries., Concluded researcher catalog of ancient books from the collection of library science scientific comments to it, and the author had to work with editions in 15 languages. Details disclosed classified and professional base of source volume dissertation that logically structured in four sections that are consistently reveal issues of «Principles of systematization Lviv sheet music collection LNMA them. Lysenko in the light of the achievements of modern bibliography «,» Origins collectibles notes in Lviv, «» History Library LNMA them. Lysenko «,» Main library collection LNMA them. Lysenko. « A methodological discourse and principles of research covered thoroughly. So, definition definitions, units for collecting, methods of attribution years of publications, research based on the marginal critical study of scientific and reference books. Selected author of the initial system (genre) and secondary (Origin) classification in the collection of notes made it possible to detect conditionality functioning of the association and individual instances of a particular social environment of Lviv and Galicia. The study notes the origins of collecting in Lviv reveal historical and cultural circumstances of network music libraries in Ukraine, their connection with the development of a multi-church music, house music, concert and touring the city, with the opening of schools, publishing houses and music companies. Based on case studies collections author concluded that «gathering Lviv sheet music collections to their final possessions Library LNMA lasted for several centuries; stamps and autographs notes to indicate that they have passed an inheritance from a variety of sources, from individual musicians and families to large institutions - concert and music and civil societies, music schools, theaters 88 «[1; 28]. This allows us to consider musical collection LNMA as a reflection of the cultural and artistic development of Galicia and Lviv as its center. Particularly noteworthy documents proving the falsification of the history of musical culture of Ukraine by means of removal orders Glavlit Soviet times under the slogan of «harmful», «nationalist» «Formalist», etc. tens of thousands of works of Ukrainian composers, and patriotic scientific and bibliographic activity of the first librarians LDK, who managed to preserve and perpetuate the life of the seized books. The thesis I. Antoniuk reasonably summarized the results of kulturolohichno- bibliographic analysis of the major musical library collections LNMA them. Lysenko, nakreslyuyutsya ways of further scientific study musical library collection, which is one of the richest in Ukraine and Europe. Current research is the first stage of a scientific study of musical collections LNMA, understanding and bringing them national, European and global significance. The study is an important contribution to the scientific development problems of the introduction of domestic cultural values to the world information space, a substantial supplement Ukrainian and international catalogs of ancient books and manuscripts, identification of unique cultural values as sheet music collection of historical monuments Ukraine, including Lvov and Galicia. Current research outlines ways for further search in the scientific study of archival and library documents as historical and cultural values of Ukraine, as represented in almost every thesis collection may be the subject of a separate study. Work I. Antoniuk can become a model for any regional study that has the purpose of creating and enriching the overall picture of cultural heritage Ukraine, bringing its European and global significance. Historiographical analysis conducted regional studies of cultural and artistic life in Western Ukraine as an example a detailed study of scientific development and Ivan T. Smirnova Antoniuk found the characteristics of the current state of cultural rehioniky. Isolating areas of study Regional cultural space of Ukraine, regionally autonomous and synergy aimed at fostering a holistic view of culture united Ukraine. This significantly affects the development of the science and rehioniky gave the theory and history of culture to a new, high-quality level of theoretical generalizations. The development of national scientific thought is the considerable interest in the source coverage in the culture and art of Regions Ukraine historically, finding original, distinctive features that highlight regional differences of individual fragments cultural landscape. Observe the change of angle study regions, features and diversity of culture which are regarded as a connecting link, forming a national cultural space and provide playback and sharing of cultural traditions, cultural enrichment of the individual fragments «landscape», implemented through a mechanism of dialogue between cultures that is the basis existence of ethnic groups forming multinational cultural range [4; 9]. The gradual expansion of the geographical and chronological limits of regional research takes place in parallel with the deepening of the spectrum of the problem field, and the main approach in the study of the cultural life of the nation is historical. Regional labor devoted to highlighting the historical path of formation and periodization of culture of Ukraine, are predominantly Source study and historiographical nature, because the purpose of these investigations is to report facts unknown to science with the cultural life of the regions or regional centers. Researchers painstaking search by creating a complete picture of cultural and artistic space, attracting large amounts of archival material. Analysis of theoretical and methodological foundations of regional studies showed trends Ukrainian cultural thought in the late XX - early XXI century .: scientists increased attention to methodological study rehioniky position based on the principles of interdisciplinary research through the use of philosophical-cultural approaches; expand cultural issues in rehioniky dimensions: 1) historical (reconstruction of historical and cultural panorama of the life of the regions); 2) culturological (appeal to the regional dimensions of spiritual and social life in the context of regional and national culture-processes); 3) art history (the study of art in the culture of the regions and individual local cells). The overall picture of the national culture as a complex multicomponent system emerges using spatial modeling, which involves a detailed study of the basic structural units of distribution of cultural space - regions that act as both integrity and part of the whole, as subject and object. At present regional approach in the study of cultural space is «key» to understanding the different aspects allowed the existence of the nation, covering all material and spiritual achievements [4]. Regional labor of sources is an important conceptual basis for the formation of Ukrainian national identity and help to create a modern system of spiritual and cultural values, can comprehend and organize individual events and facts of domestic cultural processes of modern philosophical and methodological positions. Regional direction of cultural studies has theoretical and practical value that lies in the further development of modern trends of local history research, developing regional aspects of social and cultural issues, educational activities of public organizations and associations concerned with the revival of national culture.

References 1. J. Antoniuk Printed music library collection Lviv National Music Academy. Lysenko in the light of historical and cultural process region: Dis. ... Candidate. Art .: 26.00.01 / I.M. Antoniuk. - L., 2008. - 248 p. 2. Byedakova C. Artistic and aesthetic achievements of the «Prague School» in the context of creative searches 89 Ukrainian composers Galicia late XIX - first half of XX century: the dissertation. ... Candidate. Art .: 17.00.01 / S.V. Byedakova. - K., 2005. - 250 p. 3. Ivan Kononov Ethnicity. Values. Communication (Donbass in Ukraine ethnocultural coordinates) /J.F. Kononov. - Lugansk: Alma Mater, 2000. - 280 p. 4. Kravchenko Genre cello duet in modern chamber instrumental art of the Odessa region of Ukraine / A.I. Kravchenko // European Applied Sciences -Wissenschaftliche Zeitschrift, Chefredakeur: Dr. phil. Stephan Herzberg. - ORT Publishing, Stuttgart, Germany - 2013. - № 6 (1) - S. 15-18. 5. Martyniuk historical and theoretical aspects of interrelations of the geographical and socio-cultural factors in the phenomenon of the regional musical culture (for example Northern Azov nineteenth and twentieth centuries.): Dis. ... Dr. Art. : 17.00.01 / T.V. Martyniuk. - K., 2004. - 512 p. 6. Mykulanynets L. Formation and development of professional musical culture of Transcarpathia second half of XX century .: ethnocultural aspects: the dissertation. ... Candidate. Art .: 26.00.01 / L.M. Mykulanynets. - K., 2011. - 224 p. 7. T. Smirnova cultural and artistic life of Volyn Enlightenment (late XVIII - early XIX century.): Dis. ... Candidate. history. Sciences: 26.00.01 / TV Smirnov. - K., 2012. - 280 p. 8. A. Uschapivska musical life of Donbas trans-regional cultural processes in the late XIX - beginning of. : Dis. ... Dr. Art. : 26.00.01 / O.M. Uschapivska. - K., 2013. - 400 p. 9. Alexander Yakovlev Cultural dimensions synergy of regional identities in contemporary Ukraine / Alexander Yakovlev // Arcadia. - 2012 - 4 (35). - P. 41-43.

Summary Yakovlev O. Historiographical discourse of culturology in regions of Western Ukraine Regional studies analyzed of the most characteristic Western cultural loci Ukraine – Galicia and Volyn, from the point of the source and the scientific understanding of synergistic processes of cultural space Ukraine XXI century. Key words: cultural space, Western Ukraine, regional research, synergy.

Received 7.10.2014

UDC 398.8(=161.2):784 C. Verbovetska

MUSICAL AND POETIC CHRONICLE OF THE UKRAINIAN AS AN EXPRESSION OF ITS NATIONAL AND CULTURAL SELF-IDENTITY

The result of a long colonial status of Ukraine, destroying the spiritual, cultural and artistic bloom nation, repression, famine were denationalization of many populations, forgetting its historical and tribal roots. Yet in the depths of people’s souls not only gevry and lived and yaskriv Ukrainian patriotic spirit that, despite the complicated and tragic history of the people, has become the solid foundation that has enabled it to preserve national and cultural identity. Indeed, worthy of wonder and delight people of national stability, loyalty to his spiritual and cultural traditions. It is the central image of Ukraine in the song chronicles the people. Perhaps the most expressive and bright long tradition of Ukrainian patriotism was and remains - the noble, filial love for the motherland, which is inherent in every nation and whose highest criterion, the embodiment of love and the good life are free in their own land. After all, «... whoever loses feeling his «little fatherland», unable to comprehend the culture heritage of all mankind «[1; 73-83]. Extremely deep and fully reflects national feelings Ukrainian heroic and patriotic epic musical culture, where emotional, melodic-rhythmic means reflected not only the pain of subjugation and humiliation, but also the desire of liberty and independence. Music Ukrainian heritage, which preserved many works of the epic genre (thoughts, ballads) and historical songs, heroic and patriotic content - true spirituality skarbivnya people. So the goal of the article - to define the part of the musical culture, which is most clearly evident patriotic outlook people perception of itself as a separate nation. It is because the Ukrainian musical creativity is always based on national ground, it is Ukrainian music in its essence, not only geographically, stressed O. Kosice. A master of choral singing noted that, despite the adverse political and historical circumstances, the national, purely national soil always played the role of architect since ancient times, has caused a national renaissance in the past and now Ukraine fertilizes the glorious future of music [5; 48]. Even in times of Kievan Rus in the repertoire of singers included the then so-called «Kiev epic cycle», which tells about the campaigns, prominent political and historical events of the time. These works were later driven Cossack thoughts that were a chronicle of the liberation struggle of the Ukrainian people. «... They (the Duma - SV) - writes O.Koshyts - is a continuation of chivalrous poetry prince period, the prototype of which is with us» Lay «from the twelfth century» [5; 18]. Duma - one of the deepest, nayzmistovnishyh displays heroic epic Ukrainian - were musical and poetic reflection of the struggle for freedom and independence in the Sich of Zaporizhia. The tragic events that have 90 befallen the people, awakened in his soul extremely strong emotions, motivation to become creative national patriotic colors. The basis of doom - the actual events of the time. With the variety of Ukrainian folk song tradition Great Kobzar is no wonder pointed Duma naprorokuvavshy her great future [2; 119]. The first mention of the Duma find not Ukrainian, and Polish literature monuments XVI., Which deals with the recitative Ukrainian poetic epic that enjoyed respect in the contemporary Poland. The most ancient use of the word «council» in the sense of «Song» find a translation of the Bible, taken from Latin into Polish in the XV century. and published in Krakow in 1561, where the Latin word «carmen» (song) translated as «Duma» («... and the Duma over you sing ...»). The first mention of the Duma as a genre of song creation associated with the «Annals» famous Polish historian XVI. Stanislav Sarnitskoho printed in 1567 on the same character of doom speak Polish writers XVI-XVII centuries. Petrytsiy particular philosopher (Petrycy) translated Aristotle’s «Politics». In some Polish poems XVI. Council called military psalms, which celebrates the heroism of Cossack life. In XV-XVI centuries. historical thoughts become one of the most striking phenomena of Ukrainian folk art, a symbol of national history and culture. With great enthusiasm spoke of thoughts and songs of the Arab traveler Paul Aleppo. In 1654 and 1656 respectively, he visited Ukraine and left the following note: «Singing Cossacks happy life and heal from grief because of their pleasant melody, comes from the heart and performed as if from one mouth; they are passionate about music singing, gentle and sweet melodies «[6]. Ukraine - a country of Cossack republic, born in the element of the struggle for freedom, were now in XVII- XVIII century. West was seen as an unusual phenomenon in the history of society. For example, in Germany about it was felt as a phenomenal country poetry [6; 24]. , including the Council, have been the subject of interest of many European historians. Depth thematic material and depth reflection affects intelligence German professor P. Kremer «Ukraine and its historical songs.» The author not only translated the , but also thoroughly analyzed the Duma: «Death Cossack bandura», «Mary Bohuslavka», «Samiylo cat», «Escape of three brothers from Azov», «Fyodor rootless,» «Storm on the Black Sea» and song about Baida, the Truth, and others. [6; 76]. «The Ukrainian language is very rich in stories and songs, but the most characteristic creativity of the people is the Duma, epic poem ...» - wrote about Ukrainian folklore English Slavic, a member of the British Academy, William Richard Morfill and recommended that readers of the book Ukrainian historians deep coverage Ukrainian epic [6; 106]. A number of articles of harpers came from under the pen of the French scientist A. Rumbaugh. Great interest in Europe caused the book «Historical songs Ukraine» is translated in French professor «Collège de France» O.Hodzka (1804-1891 gg.). The famous Austrian writer Karl Frantsoz (1818-1904 gg.) Potsinovuyuchy Ukrainian folk songs as a work of genius, wrote that they «can not only align with the songs of other nations, but» higher than their tenderness, sensitivity, richness and depth of feeling, melody «that» lyrics Ukrainian nation’s largest not only among the Slavs but also other peoples of the world «[6; 110]. The bards and lyre were bearers of the national idea, they sang Ukrainian heroes, their work - is actually the history of Ukrainian people for freedom and independence, they awakened in human hearts and souls sense of national dignity, because they themselves often took part in the national liberation movements and uprisings [2; 121]. In the nineteenth century. deeply researched and collected Ukrainian Duma Mikhail Lysenko, Kolessa F., M. Grinchenko Franko, Lesia Ukrainian, M. Certelev, G. Zhytetsky, O.Potebnya, D.Yavornytsky, M.Maksimovich. Knowledge Dumnova epic performers were M. Kravchenko, O. Bar, P. Kravchenko, Ivan Scooby and even Calne A., J. Pylypenko A. Hook, A. Grishko, A. Manilov. As a sign of respect for Veresai gave him his «Poet» Shevchenko. Among many was issued Ukrainian folk songs worth mentioning first series «Ringtone Ukrainian people’s minds» Kolessa F. (1910), financed Lesya Ukrainian. In a letter to Kolessa she wrote: «It is extremely gratifying to me to see this great work and brought the finished trimming your efforts highly educated. Now it really can say: «Our song, our council will not die, do not die!» The honor and gratitude to you for your labors! «[10; 350-351]. The name of outstanding kobza Ostap Veresai linked event which had social resonance and stimulated interest to the Ukrainian songs and thoughts in Europe. 1874 in Kiev the third International Archaeological Congress. The participants, without exaggeration, were fascinated extremely expressive singing blind Cossack Veresai. Many were also impressed by its colorful appearance. After the Congress a unique image of Ukrainian kobza covered in the press of many countries - Italy, Britain, USA, Germany and Spain. A. Rumbaugh, for example, saw in it the singer-philosopher - expression of thoughts and aspirations of the Ukrainian people [6; 235]. Trying to suppress freedom-loving spirit of the people, the Russian occupation authorities persecuted Ukrainian kobza - national carrier of bright ideas. Evidence of this is the death penalty in 1768 Varchenko harpers, juicy and Curmudgeon - participants Koliivshchyna, praised Shevchenko’s poem «Gaydamak» [3; 129]. Severely persecuted kobzarstvo in Soviet time. A terrible crime carried out in the early 30 th century. in Kharkiv where executed members of the Congress Shevchenko. The famous composer Shostakovich in his book of memoirs entitled «Certificate» says: «Since time immemorial, Ukraine roamed the roads folk singers. They are there called «lyrists» or «bandura players» ... it’s always been blind and defenseless people, but no one ever touched and not hurt them. Blind outrage - that can be pidlishe? .. It was a living museum, a living history of the country. All her songs, all music, all poetry. And almost all of them shot. Almost all died miserable blind men! Why was it done? Why such sadism - killing blind? .. And it is - only one of many similar story ... «[9; 281-282]. 91 According to many scientists, researchers Ukrainian culture musical is one of the most characteristic features of the Ukrainian nation, because the music was and remains part of all spheres of social life Ukrainian: political, family, religious, friendly, professional and labor. At the time, the slogan choral society groups «Enlightenment», which operates to this day, were these words: «Song to the heart, and the heart of God and the homeland» [4; 87-89]. According to Gogol, Ukrainian - people are desperate, all his life was shrouded and fostered the war. But in the short intervals between battles and campaigns created the song as a reflection of the emotional state of mind, as an expression of deep thoughts and feelings [8; 138]. Ukrainian musical art is a means of self-actualization of the nation in which the accumulated value of ideological, philosophical views, psychological and intellectual characteristics, temporal and spatial parameters of national existence, even the simplest song is sometimes able to contribute to self-knowledge and self-identity [4; 87]. The struggle for Ukrainian statehood in the late XIX - early XX century. was the impetus for the creation of a number of thematic patriotic songs. In particular, the phenomenon of shooting songs that were a significant factor in the national-patriotic education of youth. The authorship of songs marked Franko Fedkovych, R. Kupchynskyi, M. Haivoronskyi, S. Chernetsky brothers Bogdan and Lepke Leo A. Balandyuka, M. Irchan, V. Bobynskoho and others. Shooting songs were very popular, especially among young people, some of them became popular. Content surprising variety of shooting songs. There are examples of heroic and patriotic plan combat: «For Ukraine», «Hey, we are coming, archers,» «On Ukraine, dear Nenko» «Oh, on the mountain, at Makivka» «We are moving forward», «must not be in fear of us.» The song «Oh meadow of red viburnum» and performed today in Ukraine as the national anthem. Creators infantry avoided songs and love lyrics, domestic and humorous subjects. A lot of songs dedicated to the tragic and dramatic events: «There’s horoytsi», «steppe wind blew» «Archer said goodbye to his people», «Cranes,» «Oh, and archers sichoviyi exceeding sorry.» Another vivid manifestation of patriotism was the song of the Ukrainian people work period of struggle of the , which waged an unequal, heroic struggle against the Russian punitive expeditions. These songs were created under special conditions and are usually not professional writers. But they present the spirit of freedom and love for their native land, they hit a high flair patriotism, true sacrificial struggle against the occupiers. Weapons and song were next in a series of combat. The energy freedom-loving national spirit, accumulated over centuries of struggle for freedom, was extremely vivid expression of love for the homeland and contempt for the oppressors in the XXI century. during the Ukrainian revolution of dignity. Thus began a new phase of consolidation of our independence. The first mass protest demonstrated the Ukrainian youth who in November 2013 went to Independence Square to defend the dignity and freedom. The brutal shooting of protesters 19-20 February 2014 shook the pain not only Ukraine but the whole world. Despite the application of power and force of arms, Independence won. And along with people fought for this victory music and song. A kind of musical symbol can be considered revolutionary square piano, where hundreds of peaceful protesters Ukrainian folk melodies played patriotic songs. Ruslan M. Burmaka, Groups «Okean Elzy», «Mandry», «Kozak System», «Lamentations», «OtVinta», «Tartak», «Gaydamak», «DakhaBrakha», «Wind knows», «Veremiy», «Cold Sun» were, so to speak, the constant music . And in the most difficult moments of confrontation with death squads berkutivtsiv when killed dozens of young people, the true heroes of the Maidan, indescribable pain helped suppress losses song. However, the music and the song showed the firm resolve of participants revolution Advantages defend their right to freedom, to establish Ukrainian membership in the European Community. A peculiar manifestation of protest against the anti-people, anti-Ukrainian policy of the government was the song: «And my country - a complete ruin» (group «Skryabin»), «Together to the end» (group «Wind knows»), «What fate pripech - next Drugova shoulder «(« OtVinta ‘),’ Brother brother, for his own »(« Kozak System »),« Yednaysya, the people «(band «Taruta»), «areal lullaby» (S. Shishkin) dirty tricks Ukrainian version of the song «Burned pine» («Burned bus») and many others. Even before the national dignity euromaidan theme was present in the works of many artists. «... I am happy - said the TV channel» TVi «S. Vakarchuk - that the tone of my songs match the tone of today’s society.» Indeed, in common with the events on the Maidan works «Okean Elzy»: «The Wall», «Get up», «Sumniyi, brother, times have come,» and «Yes, I love Ukraine» («Tick»), «There is hope» («Mad Heads»), «Do not be afraid to live» (M . Burmaka), «Do not sleep, my native land ...» («Travels»), «cry for me, Mom!» «Knight’s Cross», «My people» («Tartak») «Yeah-eh-hey fight in the mountains» («Carbon») and others. These songs were written before the revolution of dignity, but because of its relevance and sincerity they raised the spirit of protest maydanivtsiv. Unfortunately, purely musical channel «M1» and the vast majority of radio stations in Ukraine (except for a few, including the radio 24 radio «Galicia» and several regional radio stations) have not changed their steady, mainly Russian-speaking repertoire at a difficult time for the Ukrainian people time and not even managed to replace entertaining songs, at least, more lyrical. Maydanivskyy Another work worth mentioning separately. This Lemko song «floating duck», which is performed by the band «Picardy Third» was music in mourning the tragic moments of farewell to the fallen heroes «heavenly hundred.» This tune is consonant not only with distress native patriots heroically perished, but the Ukrainian people. Anthem of Ukraine and prayer started almost all the rallies and large gatherings euromaidan. During the revolution 92 Advantages of musical symbols of our state («Ukraine has not perished ...» «God is great, only ...») many people were not just formal voice acting important social and political events, and were perceived musical embodiment of the present, nefalshyvoho patriotism. So, we can say: even the beginning, of Kievan Rus epic, thoughts, ballads and historical songs were an expression of patriotism and at the same time, the desire for freedom and a decent life, and an important factor in the creation of nation, a factor strengthening Ukrainians among the international community. The famous English art theorist John. Ruskin argued that the nation’s major record his autobiography in three books: a book of words in the book cases and in the book of art, but the latter deserves full confidence [7; 75]. Based on the theory of the scientist, Ukrainian is rightly considered a great nation, not one elaborated own book art, which preserved the memory of the heroes of the homeland. Performing an important function of the national identity of the Ukrainian people, patriotic song embodies his creative potential, means of formation of national consciousness, a manifestation of high spirituality and culture.

References 1. Babenko N.B. The integration of family traditions, festivals and rituals in the forms of life kulturohennoyi modern family / N.B. Babenko // Ukrainian society. - 2005. - № 1 (6). - C. 73-83. 2. Chained cuckoo: an anthology of Ukrainian folk poetry. - K., 1998. - P. 126-142. 3. Ivanitskii A.I. / A.I. Ivanitskii. - Ball: Science, 2004. - 315 p. 4. H. Kobrin social function of music (for example, musical culture of Galicia 20-30-ies of XX century.) /N. Kobrin // Kyiv musicology: Coll. Art. / Emphasis. A. Zharkov. - K., 2000. - Vol. 3. - P. 87-94. 5. O. Kosice Ukrainian song and music / O. Kosice. - K., 1993. - 48 p. 6. Boredom G. Duma and the Ukrainian song in the world. Bk. 1 / G.G. Boredom. - L., Institute of the National Academy of Sciences of Ukraine, 1997. - 424 c. 7. Podolsk E.A. Culture: teach. guidances. / E.A. Podolsk, V.D. Pawnbroker, K.A. Ivanov. - K: Center of educational literature, 2003. - 288 p. 8. Rudnytska O.P. Ukrainian art in the multicultural space / A.P. Rudnytska. - K.: EksOb, 2000. - 208 p. 9. Certificate. Memoirs of Dmitri Shostakovich, written and edited by Solomon Volkov [electronic resource]: Per. from English. - Access: http://www.testimony-rus.narod.ru 10. Ukrainian Lesya. Collected Works: in 12 vols. T. 12 / Lesya Ukrainian. - K. Dnieper, 1971. - 432 p.

Summary Verbovetska C. Musical and poetic chronicle of the Ukrainian as an expression of its national and cultural self-identity In the article it is analysed the music and poetry of the Ukrainian people, which is most clearly manifested its national and cultural identity. It is allerged that ballads, historical and patriotic songs for a long time performed not only the function of creative self-certification, reflected spiritual wealth of the people but they are also served as a national creative factor of the Ukrainians, important factor in the formation of national consciousness, a manifestation of the desire for freedom and independence. Key words: song, Ukrainian people, patriotism, nation, independence, self-identification.

Received 30.10.2014

UDC 379.81(437.6) O.M. Lisova

THE ACTIVITIES OF CULTURAL CENTERS OF THE UKRAINIAN IN SLOVAKIA

One of the most important organizations aimed at developing cultural cooperation with Ukrainian today can be called foreign cultural and artistic and educational centers, whose activity is scientific and practical interest because they reflect current trends of modern cultural cooperation with Ukraine. Increased attention to the work of these organizations is due, above all, their versatility. Cultural and artistic centers and educational institutions are uniting in a multitude of activities: implementation of various cultural projects, language teaching, preparation of lectures and seminars, organization of courses and national arts dance, meetings with representatives of the national culture, giving visitors the library database and so on. Today the world has developed a network of foreign cultural centers that are active on the development of intercultural dialogue and the preservation of Ukrainian culture. Cultural centers that operate abroad is the most convenient practical framework of cultural exchange between nations. So these activities is important in the development of Ukrainian Studies. Compact ethnic Ukrainian living in the eastern part of Slovakia, in particular Presov. This region considered a natural center of cultural, educational and religious life of Ukrainian- in present-day Slovakia. Here there are Ukrainian cultural centers and societies, whose main task is the revival and popularization of Ukrainian language, history 93 and culture has Greek Catholic and Orthodox eparchy, different cultural and national institutions and organizations are different types of schools for children of Ukrainian nationality. The purpose of these centers is to preserve the past, the development of harmonious inter-ethnic relations, uniting minorities around common interests of ethnic, national identification based on native language, historical memory, tradition and culture. In order to preserve Ukrainian cultural heritage in Slovakia organized and conducted conferences, round tables, festivals, workshops and others. A study on Ukrainian folk culture in Slovakia been engaged in a number of Ukrainian, Slovak and other scientists, namely J. Holovatsky Drahomanov M. Hyryak, V. Hnatiuk, Pankevych I., O. Dukhnovych, O. P., A. Kralytskyy, I. Verkhratskiy, Kolessa F., A. Zilinski, Z. Kuzelya, A. Rudlovchak, Yu Kostyuk, Nevrlyy M., V. Goshovsky, A. Toronskyy, A. Dey, S. Hostynyak, I. Maichyk, A. Chervenyak, J. Polansky, A. Shlepetskyy, I. Matsynskyy, I. Shlepetskyy, J. Kundrat, I. Galayda, I. Voloshchuk, F. Kovacs, M. Chyzhmar, M. Folrihova, M. Shtets, F. Gondor, M. Ilyuk, Yu Garbar, L. Babota, V. Khomyk, S. Grits, M. Molnar, J. Bacha, MA Mushinka, N. Varhol and many others. However, most research paid little attention to the activities of cultural and artistic centers of Ukrainian Slovakia, trend analysis of typological characteristics and principles. All this shows the relevance of the topic that led to the choice of the direction of research in the scientific and practical aspects. The purpose of the article - to characterize the activities of the existing cultural and educational centers of Ukrainian in Slovakia, identify trends centers, peculiarities of cultural events. Demokratyzatsiyni processes in the late 80 - early 90 th century. contributed to restoring social and civic organizations in the inter-war years in Czechoslovakia, on the basis of legal registration, conducted its activities were banned because of socio-political events of 1938-1945 biennium. One of these was a Scout youth organization Plast. Chairman of the Union is L. Dovhovych, which initiated in the early 1990s was restored this Ukrainian youth organization. In the 1997-2005 biennium. L. Dovhovych was president of the European Congress of Ukrainian. Its Honorary member of the Presidium YEKU. He was also the overriding functionary and the Ukrainian World Congress Ukrainian World Coordinating Council [8]. Scout Union «Plast» Ukrainian-Rusyn Youth in Slovakia today employs over 250 full members. The management conducts reservoir several times a year meetings and educational work with Ukrainian youth on the actual needs of the current state of the Ukrainian national minority. The organization organizes summer and winter school assembly and Ukrainian youth to preserve Ukrainian historical traditions, customs, song of wealth, architecture and iconography. Part of the camp is Summer School of Ukrainian Studies, which speak only Ukrainian. Thus, the children through games have become acquainted with Ukrainian history and culture. In 1951 founded the Cultural Union of Ukrainian migrant Slovakia, the purpose of which was to spread Ukrainian culture and the written word, the development of folk art, organizing festivals, scientific seminars, conferences reader. In the 1990s, this socio-cultural organization renamed the Union of Rusyn-Ukrainian Slovakia, which is the successor of the best social, cultural and national traditions and activities KSUT. SRUSR directs the focus on the development of amateur and Ukrainian culture in the region. Chairman of the Central Council of the Union is Mr. Sokol. Basic membership base SRUSR rallied in primary and municipal organizations of the Union, mostly in the Presov region. In parallel with the Central Council of the Union are SRUSR regional councils in five district centers: Bardejov, Humenne, Kosice, Presov, Svidnik and old lovers. In these districts still lives bulk of Ukrainian rusyniv- Slovakia [13]. Held under the auspices of centralized cultural events such as the competitive review of recitation women deklamatorok «Heart Strings» them. I. Nevytske Festival of drama and artistic expression to them. A. Duhnovicha in Presov Medzilaborce and Festival Folklore ukrayintsiv- Rusyns in Slovakia Kamyontsi, Holy Ukrainian-Ruthenian Culture in Svidnik Slovakia, song festival «On the wings of songs» in Humenne, festival of spiritual songs in Snina, review of folk songs «Makovytska string» in Bardejov and Presov and program of folk songs, music and words devoted to small villages «Do not forget your cradle» (five series of programs in different districts of Prešov and Košice edges). Today, the Union of Ukrainian- Ruthenian is one of the most numerous Ukrainian Foreign representative organizations in the Slovak Republic. The system of school education in the Ukrainian language in Slovakia unites kindergartens, primary and secondary schools. In particular, secondary schools with Ukrainian language teaching and the study of Ukrainian language function: Gymnasium named. Shevchenko in Presov, having the status of the Ukrainian language school teaching high school in Svidnik, where the Ukrainian language is studied optionally, Average trade school in Svidnik in which study Ukrainian in 3 and 4 classes of secondary school in Humenne, which are Slovak and Ukrainian classes, gymnasium and Central Agricultural Technical School in Medzilaborce [19]. In Philosophical Faculty of Prešov University in 1960 founded the Cabinet of folk literature. It was later converted into office of Ukrainian Research with a focus on the study of the history of culture, literature, folklore, dialects Ukrainian population in Slovakia, the Czechoslovak-Ukrainian cultural and literary relations. Experimental study of Ukrainian in his time worked folklorists Hyryak M. and M. Mushinka, engaged in the collection and study of verbal folklore and oral traditions, published a number of scientific papers in the field. In the 1966-1986 biennium. Pilot cabinet headed scholar and folklorist A. Rudlovchak, which turned it into the most significant research base language, literature, ethnography and folklore Ukrainian Transcarpathia. This study is now renamed «Research Department of Ukrainian» Department of Ukrainian Language and Literature Faculty of Philosophy University of Prešov [9]. 94 Research Department of Ukrainian Studies Chair is one of the largest research institutions of popular culture Ukrainian-Ruthenian Presov Region and is aimed mainly at Carpathian. In published studies of Carpathian, this research facility contains valuable and generally ukrayinistychnu karpatoznachu library. Ukrainian branch opened at the Department of Slavic Languages at the Faculty of Philology University. M. Bela in Banska Bystrica in 1998 [17]. In 1994 Slovakia was founded Scientific Society. Shevchenko purpose of which is to promote Ukrainian literature. The Company pays great attention to the publication of books and periodicals, organizing meetings of scientists and writers, holding public lectures, literary evening sessions that unite Ukrainian and Slovak researchers [3], takes part in the Shevchenko celebrations, solemn academies, demonstrations, films and more. One of the most successful actions Shevchenko Scientific Society in Slovakia were annual conferences and seminars to mark the anniversaries of certain events and attractions related to the Ukrainian ethnic group in Slovakia. This year was elected chairman of the Society B. Ґreshlyka. Among full members of the Society: M. Sopolyha, L. Babota, Z. Hanudel, M. Ґaydosh and others. Most of them are both members of the Association of Ukrainian and Slovak Scientific Society and the Union of Rusyn-Ukrainian Slovakia, so happy Committee NTSh main action jointly with organizations. Today, the Society provides support and assistance to national literature and the formation and development of national science. One of the most prominent research centers in Slovakia is Ukrainian Museum of Ukrainian culture in Svidnik as part of the Slovak National Museum. This is one of the largest museums of national minorities in the European Union, which has over 17 thousand. Pieces and is among the ten largest museums in Slovakia [7]. Director of the Museum from 1986 is an outstanding scientist, PhD, ethnologist, muzeoloh, cultural and M. Sopolyha public figure. Since 1967 he works in the Museum, which was the first researcher, then as deputy director (1974-1986 gg.), In 1972 he headed the department of ethnographic work. M. Sopolyha is a member of Society. Shevchenko, member of the Presidium of the World Federation of Ukrainian Lemko organizations and others. The scientist founded the open air museum at the Museum of Ukrainian Culture, which co-operates with the Institute of Ethnology of the Slovak Academy of Sciences. Since 1965 the Museum publishes «Scientific collection of the Museum of Ukrainian culture in Svidnik.» This specialized periodical, whose main objective is to increase the level of scientific research and publications. The edition is widely known and highly regarded in scientific, cultural and educational circles. The collection also recorded studio with Ukrainian Carpathian. Today the Museum of Ukrainian Culture collects, studies, exhibits and preserves monuments of material and spiritual culture of the Ukrainian people. An integral component of the culture of the Ukrainian national minority in Eastern Slovakia is the book culture, which traditionally covers the issuance, distribution and perception of books and their social calling at various stages of social development. Book Culture National Minorities performs general public interests, is of national minorities, promotes the development of culture, science, education and training, meets their interests and needs, providing the issuance and dissemination of original research and literature, enabling implementation and identify creative talent, documents, preserves national traditions and results of social cognition mediates the book culture of other nations, especially the majority of the people, in this case Slovaks. Culture minority culture due mainland people, culture and traditions of the peoples and nationalities which lived in a minority government or territorial units and their specific culture, which for historical development created. Presov was and is the city where traditionally placed edition of Press Ruthenian Ukrainian. In 1948-2003 gg. Worked in Presov region Ukrainian studio of Czechoslovak Radio, later - Ukrainian-Ruthenian editorial Slovak Radio. Today Ukrainian language here come the newspaper «New Life», a children’s magazine «Rainbow» literary and artistic and journalistic magazine «Duklja». Major achievements in the business of issuing and popularize Ukrainian culture Presov Region has cooperative «Slavknyha» with its own print shop and bookstore Ukrainian and Russian literature, and Ukrainian department of the Slovak educational publishing. Publishing Department marked-designed concept, scientific arrangement and good decoration. In Presov functioning coordination committee immigrants (immigrants), regional television, coordinating public-educational institution «category Ukrainian education» («march») under the Ministry of schooling and the Slovak Union of Ukrainian Writers. In turn, the Ukrainian Union of Writers of Russia - the only organization of Ukrainian writers writers abroad, which has official status. Members of the Union of Ukrainian Writers in Slovakia is almost 30 writers. By decision of the National Council of Ukraine in Presov in 1945 created Ukrainian People’s Theatre. In the early 90s the decision of the Minister of Culture of the Slovak Republic it renamed Theater. A. Duhnovicha. This is one of the oldest Ukrainian professional theater outside Ukraine and only in Europe. From 1990 the theater every year puts to five pieces Rusyn. In the last three years at the request of the Ukrainian community - one play Ukrainian literary language. The main mission of the theater - creating conditions for widespread theatrical works, with special emphasis on the cultural life of the Ukrainian-Rusyns living in the Slovak Republic. [14] Today, the theater is a professional, cultural and art institutions in the field of theatrical activity. Since its creation in theater demonstrated more than 340 premieres. In 2013 in Presov Center opened Ukrainian culture. The work of the Centre aimed at the Slovak-Ukrainian cultural cooperation. It acts as a cultural institution and has its own charter, 95 governing agencies were and organizational structure, serves local Ukrainian-Rusyns and Ukrainian national minority in Slovakia. It hosts exhibitions of paintings, books, discussions, round tables, meetings with cultural and public figures. In Bratislava from 2000 has the Slovak-Ukrainian Association, the purpose of which is the development of relations and cooperation between the Slovak Republic and Ukraine. Chairman of the company is M. Black, honorable members of society: A. Berґerova, P. Hapak, V. Gritsak, M. and J. Mravik Kalynyak. During this decade Civic Association directed its work on the dissemination of information on the Slovak-Ukrainian relations in various fields through the organization of conferences, seminars, round tables, thematic meetings and conversations, cultural and social events, support personal contacts. Company pays significant attention in science and research, dissemination of scientific bilateral relations, updating traditional cooperation, establishing new contacts. This is done several successful actions aimed at enhancing coordination between research institutes Slovak Academy of Sciences and National Academy of Sciences of Ukraine. Slovak-Ukrainian company works not only in Bratislava, but also in regional clubs, which is based in the city of Kosice, Presov Myhalivtsi, Humenné and Snina. So we can conclude that the activities of cultural and educational centers ensure the revival and development of languages of ethnic communities, publishing educational and literary Ukrainian language, education, training, printing, press, broadcast, religion, art development, return and rebuilding of places of worship . The centers promote the study of cultural and artistic heritage, traditions and customs, promoting various developments in this area. They are the initiators and organizers of national festivals, competitions, reviews. Cultural centers facilitate counting of their ethnic interests in public policy and obtaining government grants for the development of ethnic cultures. Thus, for decades, has developed a system in Slovakia employed Ukrainian branches, centers, museums and libraries. An attempt to preserve Ukrainian national identity is particularly seen in a variety of cultural and educational institutions. Cultural centers are important tools to promote the culture and language of their country abroad, formation of positive image and strengthening the authority.

References 1. J. Bacha History of Ukrainian Literature and Transcarpathia Czechoslovakia / J. Bacha. - Presov: Philosopher. Faculty of Presov. Univ, 1998. - 279 p. 2. Hyryak M. attempts to Ukrainian folklore Eastern Slovakia in the postwar period / M.M . Hyryak // Teaching Coll. - Presov, 1973. - № 3. - P. 77-120. 3. V. Hnatiuk Scientific Society. Shevchenko. On the occasion of the 50th anniversary of its foundation (1873-1923) / V. Hnatiuk. - L., Shevchenko Scientific Society, 1923. - 15 p. ; II species. - The 110th anniversary of the Shevchenko Scientific Society. With vprovidnym to Mr. Yanev. - Munich-Paris: Ukrainian Free University, 1984. - 176 p. 4. Zilinski A. Selected works of folklore: in 2 books. Bk. 1 / A. Zilinski; [Ch. Ed. G. Skripnik; compilation. M. Mushinka] NAS of Ukraine, UIA IMFE them. M.T. Rila. - K., 2013. - 376 p. : Ill. - The 90 th Birthday. A. Zilinski. 5. Zilinski A. Selected works of folklore: in 2 books. Bk. 2 / A. Zilinski; [Ch. Ed. G. Skripnik; compilation. M. Mushinka] NAS of Ukraine, UIA IMFE them. MT Rila. - K., 2013. - 515 p. : Ill. - The 90 th Birthday. A. Zilinski. 6. Mushinka M.K. Ukrainian folklore collection history of Eastern Slovakia / M. Mushinka // Science. Coll. .. Museum of Ukrainian Culture in Svidnik. - Presov, 1963. - Vol 1. 7. Museum of Ukrainian culture in Svidnik [electronic resource]. - Access: http://www.snm.sk/?muzeum-ukrajinskej- kultury-uvodna-stranka 8. Plast - Ukrainian Union of Scouts-Rusyn Youth in Slovakia [electronic resource]. - Access: http://www.karpaty-plast.sk 9. University of Prešov [electronic resource]. - Access: http://www.unipo.sk. 10. Embassy of Ukraine in the Slovak Republic [electronic resource]. - Access: http://slovakia.mfa.gov.ua/ua 11. Rudlovchak A. At the root of the present: Intelligence, p., Essays / O. Rudlovchak. - Bratislava; Presov: Slovak ped. view of: On. Eng. l-ry, 1981. - 416 p. - Ref. and prymit. : - P. 360-394. 12. M. Sopolyha Ukrainian Slovakia: material manifestations of popular culture and art / A.M. Sopolyha. - KA: Tempora, 2011. - 336 p. 13. Rusyn-Ukrainian Union of Slovakia [electronic resource]. - Access: http: //www.rusini- ukrajinci.tym.sk. 14. Theater. A. Duhnovicha in Presov [electronic resource]. - Access: http://www.divadload.sk. 15. Ukrainian Diaspora, literary figures, works, Bibliographic Information / Organise. V.A. Prosalovoyi. - D.: NE. Kind. House, 2012. - 516 p. 16. Ukrainian-Rusyns, ethno-linguistic and ethno-cultural processes in the historical development / [Ch.Ed. G. Skripnik] NAS of Ukraine, UIA IMFE them. MT Rila. - K., 2013. - 750 p + XXX. 17. University. M. Bela in Banska Bystrica in 1998 [electronic resource]. - Access: http://www.umb.sk/umb/umbbb.nsf. 18. Folklore Art Culture // Southern and Western Slavs (XIX - beg. XX centuries.): Encyclopedias. words .. - K., 2006. - P. 7-47. 19. Chizhmarova The development of Ukrainian-Slovak cooperation in education / M. Chizhmarova // development of humanitarian cooperation of the Ukrainian-Slovak border region: Realities, Problems and Prospects. - Uzhgorod, 2010. - P. 104-112. 96 Summаry Lisova O. The activities of cultural centers of the Ukrainian in Slovakia The article contain conclusion about the Ukrainian cultural and educational centers on the area of Slovak Republic. The importance of these organizations for the development of cultural cooperation are find out, the tendency and forms of its activity are analyzed, main Ukrainian cultural centers operating in Slovakia at current period are defined. Key words: cultural centers, Slovakia, activity, society, Ukrainian-Rusyns, education, nationality.

Received 10.11.2014

UDC 78.072.3 T.P. Fisher

THE CONCERT LIFE OF LVIV DURING THE NAZI OCCUPATION IN THE PRESS

Formulation of the problem. There is a stereotype of secondary importance artistic life war period, and as a result - it neyaskravist without saturation, low professional and artistic level. However, analysis of musical publications on the pages of the newspaper «L’news» proves the injustice of such statements and to reproduce historically fair picture of concert life. Analysis of recent research and publications. Based publications various publications are few studies on specific aspects of artistic life in Galicia 1941-1943 gg .: commemorating anniversaries (such as the anniversary of the composer), the activities of certain groups, selected authors journalism, opera productions. However, it is important to organize these materials and thus form an idea of the overall condition of concert life, so any review of the opera are not taken into account in this study. The wording of objective article. The aim of the research is the reconstruction of concert life of the city of 1941- 1943., Identifying the individual events for contemporary society; an attempt to match them with new historical and ideological conditions, to trace some of the features of music criticism. Presenting main material. Studying cultural processes in ambiguous, difficult historical periods can find answers to difficult questions and refute many myths. One of those periods for the city - the cultural capital of Galicia, were 1941- 1943. - The German occupation. Prior to the war in Lviv was well organized and highly professional musical life. In the eyes of the Germans Lviv became a «zone of cultural activities.» Thus invaders have provided military leadership leisure and at the same time were able to manipulate the public consciousness, imposing their own culture. Therefore, the new leadership, although controlled, but not destroyed the cultural life of the system, even gave some advantages creative initiatives of the Ukrainian community. Almost all music institutions founded before 1939, continued their activity: Ukrainian Central Committee (headed. - V. Kubiiovych) «Ukrainian artistic club» (M. Holubec), «Union of Composers of Ukraine» (p Lyudkevych) Opera and Ballet Theatre, Drama Theatre, small forms «Funny Lions»; Radio Committee and the newspaper «L’news» (O. Bodnarovych). For print media came hard times, because the new government reform caused the decline and stagnation publishers music criticism - after restructuring under the watchful eye of German censorship functioned in Lviv two editions: daily newspaper «L’news» and «Gażeta Lwowska». The new ideology adjusted style criticism: to replace a competent, sharp and painful thoughts came descriptive, positive feedback. As a result, some authors to stop (S. Lyudkevych), others are beginning to speak much drier and restrained (V. Vytvytsky) or written materials exclusively educational nature (V. Barvinsky). However, neither the sharp decline in publications or rigid censorship and the official ban criticism had no significant effect on the quantitative and qualitative indicators music publications. Music critic of that time - not only competent, but also demanding that allowed it and inform about the events and impact on public opinion. For music news identified two headings: «What brings day» and «From the concert hall.» When deployed review editors devoted a page, depending on the urgency and scale of the event. Genre range of publications and thematic blocks strengthened in 20-30 years. XX century .: informative and advertising, fahovo- analytical, problem-theoretical, devoted to musical style, performance, folklore, history, interviews with the performers. Among the authors dopysuvaly at specified time - Vytvytsky V., V. Barvinsky, S. and R. Lys’ko Slivka, B. Alexander, J. Kopacz. As for the musical life, one of the most active factors were Lviv radio. Newspapers learn about the established system of musical broadcasts on local radio waves, which remains till the end of 1941 was broadcast daily five to six concerts. For example, in a radio announcement on Sunday 20 July, 1941 stated: «9: 30-10: 00 - concert of church music; 11: 15- 12: 00 - chamber music; 12: 20- 12:50 - concert soloists S. and V. Tysyaka Gavryshchuk; 17: 30-18: 00 - concert of works Stetsenka and Leontovich performed by the choir L’Council; 19: 15-19: 30 - concert of works by composer Sibeliyusa; 22: 00-23: 00 - ballet music «[21]. Subsequently, the number of music programs and regularity esters significantly reduced. At the beginning of 1942 for music transfers entrenched stable time: 10: 30-11: 00. Critics unknown reasons had written about radiokontserty, so judge the artistic level of these transfers can review the performances of singers 97 on stage opera, concert stage. The artistic level of these transfers was high because of the Lviv Radio cooperated best creative teams and performers Symphony Orchestra M. Kolessa; Orchestra «for fun» L. Turkevicha; mixed choir, vocal quartet and octet E. Kozak; A. Hen vocal ensemble; singers soloists I. Patorzhynsky, I. Turkevych-Martyntseva, A. Petrusenko, Z. Gaidai, D. Joha Reynarovych L., M. A., L. Germans, L. Chernykh, N. Sabat-Svirsky, S. Gavryshchuk O. Bandriwsky, J. Kurylowicz-Chapelsky; pianists Robert Simovic, G. Levitsky, V. Barvinsky, Lysenko, violinists Kryshtalsky R., L. Derkach, David Oistrakh, R. Sahor, V. Tsisyk, J. Muscovites, M. Lepky; Q. Shtokalko bandura, V. Sinhalevych, V. Yurkevich; Pshenychka cellists M., B. Zadorozhnii, A. Berezovsky and others. The repertoire of the great musical collective impressive: large enough reservoir of foreign and Ukrainian music (excerpts from the operas of Wagner, B. Smetana, F. Lehar and Johann Strauss, music JS Bach, Brahms, Mozart, Haydn, Ludwig van Betovena, Berlioz, Schubert, Liszt, Grieg E., K. Stetsenko, M. Leontovich, Mykola Lysenko, N. Nyzhankivskyi, E. Kozak, Barvinskyi, C . Liudkevych, P. Nischynskoho, Bortniansky). Another important area - symphonic and chamber concerts. The city acted in two groups: the Opera Orchestra under the direction of L. Turkevicha and orchestra under the direction of M. Kolessa. The high performance level indicates the last review W. Vytvytsky concert July 6th, 1941 g .: «... Until two days literally living unusually organizational prepare, on the first samples of young orhestra performed his first concert. [...] The program was an overture to the «Eґmonta» and the first part Betovena Third Symphony and the overture to the opera «Barber of Seville» by Rossini. The first concert novozlozhenoyi orhestry council under conductor Nicholas Kolessa held with complete success «[3]. Reviewers describe only most anticipated premieres, including implementation of the ninth symphony L. Betovena, which opened the symphonic season 1942 concert was repeated three times, as Barvinskyi writes: «Made in Lviv Betovena IX symphony, overture Leonore III featuring soloists Pospiyevoyi E., L. Black, C and B. Tysyaka .Dolnytskoho, opera chorus, combined choirs and folk art institute backed by symphony orchestra [...], preparatory work manuf not only in opera LA Turkevicha under the steering wheel, but with choirs INT holes in the wheel. Sapruna, and then it all passed into the hands of Fritz Vaydliha - beautiful demanding music. F. Vaydlih force of his personality was able to squeeze so much «music of the blood» of all performers. Specifically same orhestra achieved under his leadership the extraordinary level of sonic nuances and saturation rhythmic flexibility vyrazovoho wealth and depth. Overture Leonore III was also made directly exemplary «[1]. The important role performed krai Concert Bureau, which organized 2-3 concerts a week. In just two years nearly 700 concerts held throughout Galicia. The program consisted of such evenings of chamber and instrumental or vocal chamber works by Ukrainian and foreign composers. On stage were the Institute of Folk Art Artists Lviv Radio Opera House. At the invitation of the Concert Bureau visited with concerts Ukrainian stars of the European scene: tenor Alexander Rusnak (Munich), baritone S. Dolnytskyi, cellist H. Kolessa (Prague), soprano I. Ivanytska-a blue (Berlin), the impression of concerts which describes B. Kudryk. More attention is paid to information on music than their interpretation, performance H. Kolessa described tersely: «This point is one of triumph .. (concert performance of B flat major L. Boccherini)» [7] and «its share Women’s grace truly makes it real interpretatorkoyu this kind of music (concert Boccherini L.) «. Thanks to B. Review Kudryk etched in the history of concerts the singer Alexander Rusnak, who came on tour to the city in July 1942 to review farewell concert features the lack of any critical comments, any statement about the quality of execution except: «..dav Artist with an aria from medalionom «Charodiyskoho flyetu» by Mozart, of course, the famous performing exactly as other arias old classics «. [12] The famous characteristics of singer delivers GL (Gal Levytska): «... and the voice! Twenty years had passed since the time when we heard it for the first time in Vienna. Even then horoscopes were better. And then in Lviv (probably in 1933) - this is opera was glory! Today culture is this voice - is one of joy ... Incomparable confident in attacking, shimmering softness in logic phrases lack any chance, intelligent musical line, and before all wrought in stone like the word «[4]. Instead rechytal S. Dolnytska Opera on stage, received a critical assessment deployed in response. Kudryk speaks positively about the program and about the same criticism - have an example of the transition to a more cautious note strong criticism, though it expresses a very soft manner: «In our tone of voice actor’s true that Wagner did not - but the full respect as this style requires. « «Great Lysenko style uterpiv performed by artists through the nerve, pidihrani pace that sometimes even vyklykuvaly rhythmic breaks with akompaniyamentom» [11]. Much attention was paid to the large scale of the project boundary concert Bureau - Centenary celebrations Lysenko, who were preparing to 5 years (ie, long before the arrival of Soviet and Nazi!). To do this, created a special jubilee committee headed by Barvinskyi. The concerts were to take place during 1942 was the apotheosis of the First East regional final competition of choirs. This important event was covered by several publications, events monitorylysya daily. The competition of folk choirs volunteered nearly 1,000 groups, indicating a strong amateur choral movement. After completing the competition gave almanac with photos of all choirs. At the end of the competition in Lviv festival was a concert of choral songs in the Opera hall ended a joint performance of all 32 teams-laureate. Tickets sold out the day before the holiday, so the organizers repeated it in Stryi park. Also in 1942 the waves sounded more radio music Lysenko. To celebrate the students also joined CMS in BMI them. Lysenko: July 21, in the hall of the Institute (str. Shashkevycha 5) an evening of vocal and piano music performed by composer G. and A. Levitsky Bandrivs’ka. 98 A large number of events of this period was associated with honoring the individual no less significant for Ukrainian public - Shevchenko. We can reproduce the full script of events. In the 1942 program honoring seemed modest: only number 180 from 14.03. contained a short note «Shevchenko evening in the mouth» signed «from» (Ostap Tarnavskyi). On the subject known program in the evening, at the end of which sounded cantata D. Sichinskiy «Lichu in captivity.» The author does not give any assessment of the implementation of the work, except concise phrases interpretation of the cantata «The latter song made a big impression» [14]. Is richer panorama in 1943 in advance, another 27 February on the front pages of newspapers articles appear in the Shevchenko educational nature theme («Before Shevchenko’s anniversary»). More active appends Shevchenko in March. On March 10, we find every day new announcements about the course of events. Author kryptonimom under «K» (B. Kudryk) takes a brief review of the concert held 14.03: «In performing well and skillfully matched the program attended the local elementary school kids and a mixed choir under the conductorship of Mr Omelian Senyuk, manager and administrator Camp UCC. The festival began vidspivannyam «Testament», who performed a mixed choir [...] More interwoven alternately performances of the choir, recitation recitative and young people and school kids. Mixed choir managed by Mr. O.Senyuka performed with a noticeable sense of three songs to Shevchenko words «Oh of the mountain stone», «Covered thee, Ukraine» and «Cherry Orchard» [15]. In issues 24 and 27.03. there are reports of lesions in kindergartens Shevchenko. The greatest value are the reviews Barvinskyi «Shevchenko holiday in. Shevchenko - Lyudkevych «Caucasus» (execution took place in the hall of the Opera when filled to capacity hall 14-15 March), and Article VI Vytvytsky «Caucasus Liudkevych» with a detailed analysis of the cantata-symphony. The highlight of the celebrations was the 1944 - 130 anniversary of the birth of Shevchenko. On the basis of literary and artistic club organized a conference «bow Shevchenko» and lectures - Ukrainian Writers’ Union reports on radio waves broadcast transmission «Power Shevchenko words» (with the participation of Blavatska, L. Reynarovycha, H. Savitsky). Professional Students Association of Ukraine. A. Kotska happy evening Honour 19.03. at the theater of opera and ballet, as we know from the announcement in № 780. In the next few rooms publication contains several publications, including comments on Literary and Artistic night club on March 17. This author writes under kryptonimom L., who in a short informative report indicates only full concert program, with no characteristics of their own music or performance. The event itself - a unique artistic phenomenon: the attempt to recreate a similar academy in St. Petersburg, which performed music paraphrases favorite poet. Sounded Overture from the opera «William Tell» march of Liszt symphonic fantasy «Mazepa» Prayer from the opera «Maria di Regan» Donizetti and a number of folk songs that he loved Shevchenko. As the artist made «Dr. B. Kudryk» which worked out numbered pieces, finish and made brief comments to each program number. The real achievement was staged opera Arkas «Catherine» in Stanislaviv Theatre (now. Ivano-Frankivsk). This premiere - repeated after nearly Thirty oblivion (the first time it put the corpse of Kropivnitskogo in Nikolaev, 1900). Integral Page concert life of the city - classical music concerts on the stage of the German theater (acting as one in four Lviv Opera). The only writer who collaborated with the German concert, was B. Kudryk. Through creative portrait Kudryk remaining conductor F. Vaydliha. The example of this review can be traced to the influence of ideological pressure on artists, as a reviewer uses personal preference conducting style Vaydliha, to show the culture of the Germans in the best light, «Let’s add one more feature - moderation in tempo and dynamics, absence of any so-called brilliant effects, so that they gladly took the audience different conductors Sovetskaya «[8]. Such statements can be seen in almost every review on concerts in the program were works by German composers. An example was a concert in 1941, which represented the three main areas of German professional music, piano, chamber and vocal chamber, the works of Schubert. First, heard Intermezzo opus 118 La Rhapsody major and opus 79 in F minor for piano performed by M. Rogowski. A pianist with extensive experience accompanist, B. Kudryk particularly carefully reviewed the performance of pianists, soloists and accompanists, and great experience in chamber ensembles allow him to assess more professional ensemble. The most interesting part of the program was the vocal, which featured works by Schubert, Schumann, Brahms, G. Walter, R. Strauss. Any of these songs would become premier if it is fulfilled, and in 20-40 years of the twentieth century. It was the usual repertoire for Galician public. Since this review is a known fact that the founding of L’string quartet consisting Lepky M., I. Kuznetsov, M. Lobashevskyy, E. Shmoff. Interesting pages of city life was the work of the Children’s Music School, kontserty- «popysy» has always been a field of interest contributors, as most reviewers have worked in BMI them. Lysenko, in which said acting school. Usually the reviewers (S. Lyudkevych, V. Barvinsky, B. Kudryk) give a careful assessment indulgent and sympathetic interpreters of works, including performing opportunities for young musicians and students of music school. The value of these reviews is that they give an idea of the performing style of famous artists further their careers at the beginning: S. Sapruna, V. Baransky, N. Shevchenko, Leonid Derkach. Conclusions. Thus, the publication in the newspaper «L’news» indicate a sufficiently versatile concert life of the city during the German occupation. Artists of Lviv, acting in difficult conditions of everyday military and ideological pressure from the authorities, were able to maintain a high enough level of professional artistic life. There is a definite 99 rise of Ukrainian culture, because even during the German occupation in Galicia preserved the tradition of celebrating Shevchenko days, anniversaries Lysenko, who noted the wealth of programs, forms of, which included musicians, professionals and numerous amateur choirs, Ukrainian students and students. Each of these events certainly had resonance in the periodical publication of small amplitude, as a professional announcements, notes, reviews, reviews, detailed articles.

References 1. Barvinsky V. IX symphony. Symphony concert Betovenskyh works / V. Barvinsky // L’missing. - 1942. - № 302. - 9-10 Aug. 2. Vytvytsky V. Concert on stage Literary Club of artistic / V. Vytvytsky // L’missing. - 1942. - № 356. - Oct 13. 3. Vytvytsky V. The first concert of symphonic orhestry Lviv / Lviv V. Vytvytsky // news. - 1941 - 8 July. 4. GL Orest Rusnak // in Lviv Lviv missing. - 1942. - № 271. - 4 July. (58). 5. GL Orest Rusnak // in Lviv Lviv missing. - 1942. - № 271. - 4 July. 6. For Soviet Ukraine. - 1941 - 31 July. 7. Kudryk B. Second Symphony concert featuring Christ Kolessa / B. Kudryk // L’missing. - 1943. - № 467. - 4 march. 8. Kudryk B. Second Symphony concert Fr. Vaydliha / B. Kudryk // L’missing. - 1942. - № 371. - Oct 30. 9. Kudryk B. «The Gypsy Baron» in the Galician scene »/ B. Kudryk // L’missing. - 1941. - № 62. - Oct 19. 10. B. Kudryk young talents Evening / B. Kudryk // L’missing. - 1942. - № 255. - Jun 16. 11. B. Kudryk Concert Zeno Dolnytska / B. Kudryk // L’missing. - 1941. - № 107. - Dec 7. 12. B. Kudryk farewell concert Orest Rusnak / B. Kudryk // L’missing. - 1942. - № 254. - Jun 15. 13. Lviv Philharmonic before and after century. - L., 2006. - 74 p. 14. L’missing. - 1942 - № 56/180. 15. L’missing. - 1943 - № 55/475. 16. L’missing. - 1944 - № 67/786. 17. Mazepa L. path to Music Academy in Lviv, in 2 vols. - Vol 1: From day to the city musicians conservatory (beg. XV century. - 1939.) / L. Mazepa, T. Mazepa. - L., spol, 2003. - 287 c. 18. Mazepa L. path to Music Academy in Lviv, in 2 vols. - Vol 2: Conservatory of the Academy (1939- 2003) / L. Mazepa, T. Mazepa. - L., spol, 2003. - 199 c. 19. L. Miller Music Journalism: Theory, History, strategy. In the examples of Lviv daily press from the beginning to the present: the monogram. / L. Miller. - LA: ZUKTS, 2013. - 383 p. 20. Alexander Palamarchuk A muse is not silent / O. Palamarchuk. - LA: Grains, 1996. - 96 p. 21. What day brings news // Lviv. - 1942. - № 372. - Oct 31. (90).

Summary Fisher T. The concert life of Lviv during the Nazi occupation in the press The article is an attempt to codify musical and critical material in the newspaper «Lviv’ news» – approved by German authorities dailies that existed during the 1941-1943 biennium аnd reconstruct the concert life of the city аt thе said period. Key words: concert life in Western Ukraine during the German occupation, Lviv Radio, anniversary М. Lysenko 1942, 1941-1943 Shevchenko celebrations, music critic.

Received 17.11.2014

UDC 7.072.2.(=161.2)(100)«19» G.P. Novozhenets-Havryliv

CULTURAL AND ARTISTIC ADAPTATION OF UKRAINIAN ARTISTS ON THE TERRITORY OF GERMANY

The history of the Ukrainian people knew several waves of emigration to Europe, including Germany. The first wave of so-called «labor» emigration began in the last quarter of the nineteenth century. and lasted until the beginning of World War II. The second - the period between the first and second World Wars and was due to political repression on ethnic Ukrainian territories have joined the newly formed . The third wave of emigration that took place at the end of World War II, formed mainly immigrants from the American, English and Russian occupation zones that emerged after World War II in Germany and Austria. They left behind a lot of information about their own cultural activities. Germany because of its geopolitical situation has become for Ukrainian emigration emigration point in different periods. Berlin became a powerful center of the Ukrainian artistic exile interwar period. There’s a 1921 embassy acted UPR. 1926 P. Skoropadsky founded in Berlin, Ukrainian Research Institute, which had a rich archive and library (destroyed during bombing in 1945). The Institute lectured on cultural history professor. V. Zalozetskiy - a connoisseur 100 of wooden construction and Byzantine art. In the artistic environment of Berlin joined Butovych M., F. Yemets, G. Crook, C. Masyutyn, I. Mozalevskyy, R. Lisowski, E. Skoropadska [3]. In the interwar Berlin launched its activities Ukrainian sculptor, one of the founders of Cubism, Alexander Archipenko in Berlin during the 1912-1922 biennium. Operated his art school. The period between the wars was the most favorable on cultural and artistic adaptation of Ukrainian artists in Germany compared with other periods. This is the time when progressive Ukrainian youth reached out to European capitals, with a view academies creative implementation. In particular Berlin Academy of Arts students were F. Yemets, V.Masyutyn, R. Lisowski M. Vaker, G. Crook. In the Munich Academy, studied Ashbe Burliuk; Higher graphics school in Leipzig graduated M. Butovych. The artists gathered. Ukrainian student youth of Berlin were united Ukrainian Students’ Association, supported by professors Mirchuk and Z. Kuzeleyu [6]. Intensified exhibition of life. 1933 in the premises of the German State Library hosted the exhibition «Ukrainian Graphics», which brought together 91 authors and attracted the attention of viewers and art critics. In Berlin itself implemented as a sculptor F. Yemets and after the Berlin Academy became its professor. In his work he was guided by the legacy of the Italian Donatello, was a supporter of classic art expression [2]. Its incisors are sculpture «Portrait of Gregory Pans», «Portrait of bandura.» In 1970 sculptor emigrated to Venezuela. Along with F. Yemets creatively worked B. Masyutyn. He realized himself in woodcuts and etchings as the author of a series of fantastic monsters. In addition, expressed himself in volumetric plastic as a master medalyerstva: orders , . B. Masyutyn published the book «engraving and lithography.» 1918 emigrated to Berlin Skoropadskiy daughter Elizabeth. She worked in the field of sculpture, professed realism. There are sculptures of «Hetman Pavlo Skoropadsky», «Angel» series of children’s portraits. Later lived in Oberstdorf. «The works of EA Skoropadskyi standing on a high artistic level and show her high talent» - confirms «Allgeauer Anzeigenblatt» on 06.18.1952 [11; 105]. From 1930 in Germany was painter M. Butovych that graduated from the Higher graphics school in Leipzig. We perform research in Ukrainian scientific institute in Berlin. He issued an album carving «Ukrainian spirits», which appealed to the Ukrainian demonology [6; 25]. 1936 scholarship Ukrainian Scientific Institute in Berlin received H.Kruk that professors studied in Hittsberha and Phocaea. 1944 he moved from Berlin to Munich, where he taught as a professor at the University of UNRRA. H.Kruk in sculpture solve formal problems, including the problem of traffic. His dancers, runners - a dynamic sculptural composition. G. Kruk favorite topic - portraits of Ukrainian peasants, where sculptures-blocks convey the inner essence of Ukrainian peasants. [8] Anyway «Kruk all works related to the theme of man» - describes the work of the sculptor prof. Prokopchuk AG (Siehe: Prokoptschuk, «Ukrainer in Munches», Bd. And, S.96) [11; 89]. From Germany during the creative studios and training the names of Ukrainian artists I. Mozalevskoho, M. Vakera, R. Lisowski. In February 1933, the State Library of Berlin’s art took place presentable resonance Ukrainian graphics exhibition - «Gebrauchsgraphik». Art critic V. Born in the graphic works of Ukrainian artists singled out the national components, including «S. Hordynsky combines Ukrainian national elements with modern artistic tendencies ... «[11; 47-50]. World War II created a new emigration flow. In the so-called camps DiPi (Deplaced Person, displaced persons) in the 1944-1949 biennium. In Germany and Austria opynalysya refugees from different parts of Ukraine, Galicia, eastern Ukraine, Bukovina. To solve the problem of refugees from different European countries and protect themselves from Soviet infiltration of saboteurs, German occupation authorities organized temporary camps. The camps DiPi was a large number of Ukrainian, who found refuge there and relative calm. «The camps were DiPi original creations, like a state within a state Germany (which had no jurisdiction over us). «We had the head of the camp - the president, was commandant of the police - the defense minister, was Assistant Culture - Minister of Education and Culture, had two churches, dozens of political parties, theater, choir. To our camp came on tour two glorious while theaters - V. Blavatska and theater studio J. miners «, - says the poet B. Boychuk [1; 20]. The presence of a large number of camp’s scientific, political and artistic elite structured amorphous mass of refugees. Intellectuals’ refugees turned to the readers, listeners, viewers, parishioners, members of political parties, organizations, institutions «[6; 282]. In difficult conditions returned to the artists creative life. «In the camps, in former military barracks, in rooms crowded as the barrel of herring, where the rooms were blocked kotsamy and sackcloth, and often in attics, stables and cellars, without the necessary materials, our hunger and cold artists working creatively ... «- says Keyvan I. [2; 6]. From 1945 in the «American», «French» and «English» zones of occupation held exhibition of Ukrainian art. V. Popovich takes more than 80 names of artists who during the 1945-1955 biennium., While in West Germany and Austria, participated in group exhibitions [4; 99]. That period stands out as «the camp of the national teams during the exhibitions,» illustrates the fact that «art camp». The first exhibition was displayed in the premises of the American Red Cross in Regensburg in October 1945 passed the host the exhibition in Bregenz, Salzburg, Berchtesgaden. Most attention attracted Exhibition displaced persons exhibited at the German National Museum in Munich in January 1947 «Exhibition Committee has selected only 360 works from more than 600 sent by, including for Ukrainian love 290, the our department broke the record - both in quantity and 101 for artistic value, what to write about how our and foreign to the press. It was truly works Galerejnoj cost and criticism did not hide surprise that they were created in just two years in extremely primitive working conditions «[2; 7]. Journal «Ukrainian Art» (Munich, 1947) delivers valuable information - a list of artists participating in the exhibition at the National Museum in Munich .: 1947 N. Anastaziyevskyy, M. Azov, S. Babul, A. Bayrashnyy, B . Balyas, N. Biletska, S. Borachok, A. Bulavytskyy, M. Butovych, I. Vynnyky, Yu VOLYANYUK, J. Gnizdovskiy, S. Hordynsky, M. Gozo, M. Dmytrenko, A. Domanyk, Keyvan I. V. Kyvelyuk, N. Kmit, E. Kozak, A. Kozakiewicz-Dyadynyuk, R. Kramer, G. Crook, C. Lasovskyy, S. Litvinenko, S. Lutsyk, G. Mazepa, A. Malyutsa, P. Mehyk M. Mikhalevich, M. Frost, G. Pazyuk, L. Papar, Pavlos A., A. Povstenko, D. Potoroka, M. Radysh, Yu Soloviy, B. Stebelsky, O.Tanasevych, M. Shramchenko, and . Shukhevych. Two representative exhibition, accompanied by catalogs, held in Regensburg in 1947 and 1948 participants of the exhibition in 1947 were Babiy M., M. Bilynsky, A. Bystryakiv A. Dobriansky, M. Dzyndra, P. Kapshuchenko A. Kucher, Lutsyk S., A. Malyutsa, M. Frost, L. Papar, L. Tymoschenko, M. S. [11; 3]. Next exhibition was held in the «Ukrainian Culture Week» in March 1948, it was attended by 35 artists, including Borachok S., A. Bulavytskyy, I. Vynnyky, J. Gnizdovskiy, S. Hordynsky, A. Domanyk, and . Keyvan, V. Kyvelyuk, N. Kmit, E. Kozak, A. Kozakiewicz-Dyadynyuk, M. Frost, B. Krichevsky, L. Morozov, M. Dmytrenko, E. Kozak, G. Crook, C. Lasovskyy A . Pavlos. Art critic Vladimir Popovic, who lived in Ghent, takes a lot of names Ukrainian artists were in Germany and Austria in 1945-1950 gg .: Azov M., M. Anastaziyevskyy, Babiy M., S. Babul, V. Balyas, OH . Bystryakov, M. Bilynsky, Biletska N., S. Borachok, A. Bulavytskyy, K. Buldyn, M. Butovych, I. Vynnyky-Nyzhnyk, Valyanyuk Yu, J. Gnizdovskiy, S. Holovchynskyy, Hordynsky C, D . Hornyatkevych, M. Gozo, L. Gritsay, Dzyndra M., M. Dmytrenko, A. Dobriansky, B. Domanyuk F. Yemets, P. Kapshuchenko, Keyvan I., V. Kyvelyuk, A.Kyrylyuk, N. Kmit , E. Kozak, J. Kraykivskyy, VG Krychevskkyy, G. Crook, J. Krushelnytskyi, Yu Kulchytsky A. Kucher, B. Kutyanka, V. Lasovskyy, A. Adhesive, S. Litvinenko, S. Lutsyk O. Lyaturynska, G. Mazepa Malyutsa A., L. Mark P. Mehyk, M. Mikhalevich, M. Frost, L. Morozov, L. Mossoró, B.-M. Muhyn, M. Nedilko, Pavlos A., J. Palladium, M. Palyvoda, Napara L., L. Perfetskyy, A. Povstenko, D. Potoroka, I. Puliui, M. Radysh, I. Radchenko Yu Soloviy, B. Stebelsky, M. Stefanovich, E. Tanasevych, M. Tan’ko, L. Tymoshenko Tverdhlib I., II Usatenko, M. Chapel, M. Shramchenko, I. Shukhevych [4; 99]. «Blizzard of World War II brought me to Bavaria - events described by M. Dimitrenko - in camps for displaced persons were many artists who already have names. Only Noyboyern castle, at the foot of the Alps, where fate brought me, lived Michael Frost, Stephen Lutsyk and others. Near prymistylysya Edward Kozak and Sergei Litvinenko. In Austria Svyatoslav Hordynsky lived in Munich - Gregory Crooke, Severin Borachok, James Gnizdovskiy ... «[7; 273]. Camp life, with all its disadvantages, freed people from the hassle of basic food. The artists at the time gladly worked with the theme of landscape. Landscapes postwar Germany 1945-1948 biennium. Recorded in the works of M. Anastaziyevskoho «Art School in Nyurenberzi» (1945), «Bridge near Berhteshadenu» (Gmunder Brucke), «Vattsmann winter», «Vartsman in the sun», «East Vatsmani in the sun «,» Kynihzee «,» bloom Mountain «; M. Frost «Kynihzee», «Vatsman», «Castle Noyboyerni», «Regensburg» «Bamberg», «Ulm», «Castle Volfstayni»; C. Lutsyk «Palace Noyboyerni»; M. Kmita ‘Bregenz’; C. ROZHOK «Landscape of Munich»; and oil sketches virtuoso M. and M. Dmytrenko Nedilko. At a difficult time for creativity could realize themselves and sculptors. Their achievements recorded in the book of the artist and art historian S. Hordynsky «Kruk, Palos, Muhyn - three Ukrainian carvers.» H.Kruk since the pre-war era was in Germany. Creative surge experienced Pavlos A., who wrote the portraits of famous Ukrainian. The famous portrait bust «Princess.» Emigration continued series of highly nude. B.-M. Muhyn 1944 emigrated to Hanover. Took part in exhibitions of Ukrainian artists. Known for its small-format work done in wax «Glory.» In the 1945-1948 biennium. Nyurnberhzi deployed in the activities MUR - Ukrainian Art movement that brought together one of the masters of speech and brush. This union of Ukrainian artists in exile who «written on its banner the slogan perfect, ideologically and formally mature, always looking for art» [6; 13]. Exhibition activity on life in the camps prove two numbers of the magazine «Ukrainian Art», published in Munich, edited by S. Hordynsky, M. Dmytrenko, E. Kozak, C. Lutsyk. While actively supports V. Sichynskyi organizes conferences, lecture summaries in all cells deployment of Ukrainian post-war Germany. Activation of artistic life contributed to the emergence of a number of artistic camp schools attracted to the arts a wide range of stakeholders. Some artists became members of art associations in Germany, as M. and S. Lutsyk Anastaziyevskyy; in the 1945-1948 biennium. They were members of a professional association of Fine Arts in Munich. During DiPi operated many art schools. S. Litvinenko, a former professor of Fine Higher Studies in Lviv, founded the art school at Berchtesgaden and Karlsfelfi; M. Chereshnovskyy opened a school of carving; sculpture studio in Salzburg in the 1946-1949 biennium. drove Yemets, a former professor of the Berlin Academy of Arts. Artists Soloviy Yu, M. Dzyndra, K. Krychevska-Rosandych, V. Doroshenko continued art studies in higher art institutions in Germany. Events in Germany postwar years fixed magazine «Ukrainian Art» (1947). In pre-war Germany, is known to have worked best representatives of abstract painting: F. Mark A. Mackey, B. Baumaystar, W. Kandinsky, E. Yavlenskyy. In Bauhaus realized himself P. Klee and David Alberts. In the German art is influenced by the aesthetics of expressionism E. Kirchner, E. D. Smith, E. Hekelya Barlyaha, 102 O. Kokoschka, E. Nolde, M. Beckman. But in the time of Hitler’s regime all experimental processes were stalled, many artists forced to emigrate from Germany, Jewish artists and left-wing beliefs repressed. «Who lived in close contact with the then Germany - recalled Yu Soloviy - he could not help but notice spasms in which she was, indicating the desire revival of spiritual life. Postwar Germany still remembered the era of expressionism, «Bauhavzu», «trousers», «Blue Rider», but although she tries to stand in the ranks of world cultures, the wounds inflicted by Hitler, Goebbels, healing «[8; 88]. According to V. Popovich: «it was not enough new creative pursuit ... in German and Austrian art stagnation caused by isolation from the West and ideological control of the Nazi regime» [4; 94]. The situation in the German art virtually no effect on the work of artists immigrants in the camps: «Most of our artists, abstracted affairs for Ukrainian culture in camps, living in isolation, is not interested in either German affairs or the affairs of other countries» [4; 88]. In the 1950’s. Almost all Ukrainian artists left Germany. Adapted and creatively realized itself in Germany only a few of them: G. Crook, S. Borachok, L. Mossoró. In 1960 in Munich was a success «Ukrainian exhibition of religious art,» held on the occasion of the International Eucharistic Congress. The exhibition, along with S. and L. Borachkom Mossoró, their creative work represented Ukrainian artists, immigrants from other countries - Andrusiv S., M. Bilynsky, J. Gnizdovskiy, S. Hordynsky, I. chickens, S. Lisowski, M . Osinchuk, S. Shepherds, PA Cold, M. Chereshnovskyy living in other countries [4, 89]. After the war he continued to work in Germany H.Kruk. In 1944 he moved to Berlin, where he was on scholarship Ukrainian Scientific Institute in Munich. Here he taught at UNRRA - University as a professor of sculpture. Known creativity S. Beetle - expressionist sculptor who worked in the chamber and monumental sculpture. S. Zhuk studied in St. Petersburg, where in 1916 created a Ukrainian literary and artistic community. Since 1943 was in Lviv, then in Vienna and Ausburzi. Belonged to the Professional Association of Fine Artists of Germany (in Schwaben). Well-known his expressionist sculptures, «Head of Christ», «», «Marco Kropivnitsky», «flour», «Hunger» [12; 89]. Creatively realized itself in Germany S. Borachok. Back in Paris, as a member of the «Paris Committee» at the prestigious exhibition he received a prize from the jury, which included Dufy and Bonnard. In Germany S. Borachok postimpresionistychnyy stayed true to the style and ideas Bonnard. His favorite subject in painting - «Riders.» In Germany, he led an active exhibition life. Also had solo exhibitions in New York and Paris. Master mosaic became L. Mossoró. Colorful compositions he became more in Lvov 1942- 1944’s., Studying at the University for Fine studios. In Germany after the war finished drawing school in Ghana. As an artist grew thanks to the support A. Peukerta. Since 1949 became a member of the Association of Fine Artists Essen. In his works on religious themes Monotype: «Veronica’s Handkerchief,» «lamb of God» and the mosaic - «Holy Family,» Pieta «. Representative figurative art was the optical R. Vardashko. Born in Kharkiv before the war, from 1949 to Korntali lived in West Germany. His colorful composition outlined Western criticism as «lyrical constructivism.» Generally it works - it’s optical experiments, in which the author has skillfully color and form. R. Vardashko performed in the combined technique combining oil, tempera and pastel, harmony spivstavlyav textured and smooth surfaces: work «Deployment» is made with oil and tempera on canvas. In Germany proved creative artists Vladimir Petruk, S. Shubl- Tsvyk, S. Kushlyk and others. [12; 5]. «Iron Curtain», dropped in Soviet times, a long time prevented any migration-exile in Soviet Ukraine. At the end of the 1970s. Germany emigrating from Ukraine nonconformist artists that gather around the Free University in Munich (UFU). The exhibition in 1978 at UVU in Munich along with the works of T. Virsty (Paris), G. Mazepa (Caracas), S. Lisovska (Geneva) presents the work of five non-conformists: A. Terziev-Tsarukova A. Solomukha, B . Stryelnikova, V. Makarenko, M. Frost. Even then, with the assistance of V. Rector UVU Janiv organized team Wandering exhibition dedicated to the 60th anniversary of UVU - in Bielefeld (10-27.2. 1981), Detmold (10-27.3. 1981) and Munich (14 7-3.8 . 1981). Among the works of Ukrainian artists were exhibited 16 works of five artists-nonconformists: In his speech V. Yaniv, given the non-conformists artists, said: «I had intended to draw attention to the hopeless race those in difficult conditions at home would reach spiritual human freedom and give it expression «[10]. Artists nonconformist not fit in the Soviet regime recognized hierarchy of artistic styles and trends, escaped the violent creative regulation, they sought to work without adapting to the ideological framework permitted. Their protest was both creative and political directed against the official Soviet ideology, «meaningless wasteland against life, against cosmopolitans art and mass culture.» V. Moroz and A. Solomukha emigrated to France. But in Germany themselves creatively implemented a «non conformist» V. Strelnikov and Viktor Sazonov. B. Stryelnikov turned to archaic art, which he studied thanks to numerous archaeological excavations conducted by his involvement in Ukraine. Over time, and skilfully shematyzuyuchy and summing up his vision of recreating the image of the steppe and longing for the homeland, the artist employs division space background three horizontal stripes, probably - sea, desert, sky ... in such compositions it difficult psychological state, generated a foreign country, found its expression in the works. In the cycle «Shadows of Forgotten Ancestors» V. Strelnikov draws arhayizovani prymityvizovani and human figures, in which images of the influence of the Black Sea steppes stone statues. The original artist is a creative person, not conformists Vladimir Sazonov. Orientation artist in an ancient Ukrainian art shows the name of his solo exhibition «Conversation with icons» (Gesprac hmitden Ikonen), which took place in Cologne in 1982 Vladimir Sazonov nasharovuye consistently one color to another, enriching their «Byzantine» gold. Intense color takes us back a few thousand years ago, causing the rich historical associations. His exhibitions were held in several German cities. 103 In different periods of emigration cultural and artistic adaptation of Ukrainian artists in Germany had its own specific problems and characteristics. Artists favorable conditions for immigrants established in Germany during the interwar period. The following steps emigration associated with specific prerequisites that complicated adaptive processes. Some artists - F. Yemets, G. Crook, S. Borachok fully realized themselves creatively on the territory of Germany. Others came ordeals, heavily survived separation from the homeland, revealing significant creative power, and failed to fully disclose their talents, but left a trace of Ukrainian art in exile.

References 1. B. Boychuk Memoirs of a biography / B. Boychuk. - K: Fact, 2003. - 198 p. 2. Keyvan I. Ukrainian artists outside the homeland / I. Keyvan. - Edmonton-Montreal: Clio Editions, 1996. - 226 p. 3. Mirchuk I. History of Ukrainian culture / Mirchuk // V. Petrov, Chizhevsky D., M. Hlobenko Ukrainian literature. Mirchuk I. History of Ukrainian culture. - Munich-Lviv: UVU, 1994. - 280 p. 4. Art Ukrainian diaspora. Returned names: Coll. Art. / [Ed. O. Fedoruk, D. Stepovyk, V. Vrublevskaya, M. Kots]. - K.: Triumph, 1998. - 382 p .; il. 5. G. West Novozhenets vector art in Ukrainian Diaspora / AG // Novozhenets ethnology notebooks. - LA: IN NAS of Ukraine, 2008. - № 3-4. - P. 318-328. 6. Pavlichko C. Discourse of Modernism in Ukrainian Literature / C Pavlichko. - Kyiv: Lybid, 1999. - 447 p. 7. Soloviy Yu on things more than the stars / J. Nightingale. - New York - Munich: Prologue Library and modernity, 1978. - 319 p. 8. Nicholas O. Fedoruk Butovych. Life and work / O. Fedoruk. - K. - New York: Izdatel’stvo PM Kots, 2002. - 431 p. 9. Gregor Kruk plastic. With a foreword by Jean Gasson [Introduction by Dr. Wolodymur Popowycz]. - Munchen: Ukranische free Universitat, 1998. - 80 с. 10. Yaniv W. Between Verwieflung and hope. Collection of Beitregen about Art / J. Volodymyr. - Munchen: Ukranische free Universitat, 1992. - 170 с. 11 Ukrainian Cultural Week. Ukrainian visual arts in the cultural hall of Regensburg. Каtalog. Marz 1948 / [Einfurung of S.Luzyk]. - Regensburg GG.Aumuller7 Son, 1948. - 27 с. 12 Ukrainian artists in Germany / [Einfurung G. Prokopchuk, I. Mirtschuk]. - Munсhen: German Ukrainian Geseltschaft, 1960. - 110 с.

Summary Novozhenets-Havryliv G. Cultural and artistic adaptation of Ukrainian artists on the territory of Germany In different historical periods Germany became for Ukrainian artists a place of temporary exile, and sometimes a second home. Between the wars the Ukrainian youth creatively grew in Berlin, Munich and Leipzig Academies of Arts. World War II created a new emigration flow: in1944-1949a number of Ukrainian artists arrived to German camps of the displaced persons. The next wave of emigration is nonconformist artists who came to Germany in the late1980s. The article reveals the creative and psychological aspects of adaptation of artists in exile. Key words: art, creative and psychological adaptation, Germany, emigration.

Received 14.10.2014

UDC 94(477)«1940/1950»:(477) N.M. Siruk

THE IDEOLOGICAL SUPERVISION OF THE CULTURAL SPHERE OF UKRAINE (SECOND HALF OF THE 40’S – EARLY 50 TH OF XX C.)

Formulation of scientific problem. Ideological pressure on the spiritual life of Ukraine and Ukrainian society in general somewhat weakened during the war, in the second half of 40 - early 50 th century. again begins to gain strength. Fall under the control of literature, history, theater, cinema and art in general; begins ideological supervision directed primarily against intellectuals. Analysis of research and publications. Analysis of archival materials, primarily resolutions and decisions of the CC CP (B) U, reveals the essence, methods and consequences of cultural and ideological campaigns of the last period of Stalinism. Entered into scientific use the general character of labor and materials allow the press to assess important aspects of the intellectuals of the postwar period. The aim of the study. Given the lack of knowledge in the historiography of the problem, put a goal to recreate an objective picture «zhdanovschyna» in Ukraine in the second half of 40 - early 50 th century. based on the analysis, synthesis archival sources and published works, materials periodicals. The presentation material. Was difficult and controversial social and political life of Ukraine in the postwar period. 104 Its nature adversely affected the ideological offensive of Stalinism. Stalin believed that World War caused serious ideological Soviet society harm. The biggest concern was the fact that millions of Soviet people living in the occupied territories and working in forced labor in Germany, exposed to Western lifestyles. Since the Ukraine is the most «compromised» himself in that territory it captured an enemy counterattack ideological Stalinism is caused to the Ukrainian people. After the war, the Soviet Union maintained a rigid centralized management. Each step of local authorities consistent with Moscow, everything had to ask permission of the center. The state apparatus has become a major party dictatorship of the bureaucracy, which crushed under a Council of People’s Deputies. In the Soviet Union deployed a furious ideological struggle against all national mode ignored the specifics of the various nations and ethnic groups. At least manifestation of ethnic patriotism, particularly in Ukraine, was seen as nationalism [4; 91]. To permanently depriving Ukrainian postwar illusions and hopes, in 1947 in Ukraine and was sent to the secretary of the CC CP (B) comrade Stalin true, real pogromist Ukrainian intelligentsia and culture of L. Kaganovich, then aggravated the situation in the USSR. His second visit to Ukraine he started with, that declared «Ukrainian bourgeois nationalism» main danger in the country. Already in May 1947 was approved by resolution of the CC CP (B) «On improving the ideological and political education of staff and the fight against manifestations of bourgeois-nationalist ideology». Ideological measures supported by administrative and punitive both in terms of party and non-party [5; 409]. Ukrainian Hope in postwar liberalization of political life were not realized. Repression again began to unfold in the country. Security authorities exercised strict oversight of the population, every step and word of man. Anyone who has visited the occupied territory, were meticulously inspected. Already at the time of the «thaw» many Soviet and artists argued that years of stay in the country Kaganovich were «black» for the Soviet Ukraine [10; 19]. The focus at that time was given the western lands, its population forced the authorities tried rates «brought into line» with the Soviet system. After the war, in terms of strengthening the cult of personality, political and ideological control of the Stalinist regime for Ukrainian culture and science again increased. The strategic course of the party-state control of all spheres of life in the country in the early postwar years was to strengthen Stalin’s totalitarian one-party regime through, constant ideological pressure on all spheres of cultural life, especially in the creative intelligentsia of violence against them [12; 65]. Stalin and the ruling elite responded to increasing pressure on various segments of the population, in literature, art, science, all aspects of spiritual life; authorities launched a massive ideological campaigns, suppressing any attempts disobedience, retreat from the established canons. In this regard, the central government has paid close attention to the management of ideological work in Ukraine, including among intellectuals. This priority given to carrying out ideological measures in the western regions of the USSR, where the social consciousness of the population has not corresponded to Soviet standards. It is no accident that in the post-war period in the region directed thousands of Party, government, trade union, Komsomol workers, officers of Culture and Science, designed to implement the «Stalin’s general line.» Among them were many officials, representatives of the bureaucracy that blindly served the party directives and performed «socialist transformation» - the Sovietization of the region. But among business travelers to the western regions of Ukraine there were many ordinary teachers, cultural workers, who, despite the inevitable ideological orientation, have made a practical contribution to the development of education and culture of the region. Already in 1946 intensified accusations against the Ukrainian intelligentsia political unreliability «bourgeois nationalism», as mentioned in the Resolution of the CC CP (B) U «On increase vigilance and strengthen the fight against Ukrainian-bourgeois nationalists in the western regions of the USSR in conn connection with elections to the Supreme Soviet. « The system of practical measures set out in this Resolution, included continuing the fight against intellectuals aimed at establishing full control authorities for culture and science. Analyzing the state of Ukrainian literature, M. preferably in 1946 wrote: «Ukraine was under temporary occupation of enemy propaganda ... Ukrainian nationalists adder where some places has left its traces. We must also consider the fact that a reunited Ukrainian Soviet state are now millions of new Soviet citizens, residents of western Ukraine and Transcarpathian regions that were brought up in bourgeois society, where consciousness is carefully treated Ukrainian nationalists «[6]. In the late 40 - early 50 th century. the leadership of the Bolshevik Party and the Soviet Government, including in Ukraine, adopted ten resolutions, which gave impetus to the harassment, vilification, moral and physical annihilation of the most active in the artistic, social and political terms, artistic and scientific elite. During the period 1946-1951 gg. Was adopted 12 most significant nature of the CC CPSU (b) and CC CP (B) U ideological issues. This resolution laid the ideological foundations for an attack on all groups of intellectuals. Started another campaign of ideological pressure, inspired by the then Soviet chief ideologue Zhdanov - Secretary of the CPSU (b) ideology, a close aide of Stalin, embodied in the infamous policy of «zhdanovschyna» [2; 56], [18; 508]. Reports Zhdanov aimed at «Revelations» of various «flaws and distortions» in literature, philosophy, music, and the relevant Resolutions of the CPSU (b) immediately duplicated in Ukraine. The official wording, this struggle against skerovuvalas «Unprincipled, unscrupulousness, formalism, cosmopolitanism and servility to the rotten West ‘. In practice, it quickly turned into a campaign of planting Russian chauvinism and caused another massacre culture of non-Russian peoples, in particular the Ukrainian national culture and science. In Ukraine «Zhdanovschyna» drew sharp criticism forms of «bourgeois nationalism», especially in history and literature. Party leadership required of Ukrainian 105 cultural and scientific figures observance of the principles of proletarian internationalism, which effectively meantthe rejection of the principles of national creativity. One of the key requirements of the time, concerned the Ukrainian culture became a requirement, «more closely merged with a large Russian culture» [8; 666]. Getting ideological campaigns of the second half of the 40s marked the resolution of the CPSU (b) «About logs «Zvezda» and «Leningrad» (August 1946). It roughly and unfairly criticized work of the poet Anna Akhmatova and the writer Zoshchenko [15; 10-12]. A fire in Moscow anti-intellectual fire spread to Ukraine, but such rude and inconsiderate style of «leadership» creative intelligentsia spread in all the republics. The spiritual life of society was put under tight control that prevented the development of literature, theater, cinema and art in general, which became the first real political and ideological regime attacks in the last period of Stalinism. In implementing the policy of «zhdanovschyna» in Ukraine has several stages. The first covered the 1946- 1948’s., When it was adopted by most of the resolutions of the CPSU (b) and CC CP (B) U, concerning issues of culture and science: «On distortion and errors in coverage of Ukrainian Literature», «The Journal of satire and humor «Pepper», «The Journal» Motherland, «» On the repertoire of drama and opera USSR and measures for its improvement «(1946),» On political mistakes and unsatisfactory Institute of History of Ukraine Academy of Sciences «,» On verification implementation of the Union of Writers of Ukraine of the CC CPSU (b) of the magazines «Zvezda» and «Leningrad» (1947), «On the status and measures to improve music in Ukraine in connection with the resolution of the Central Committee of the CPSU (b)» On the opera « BOL’SHAIa friendship «V. Muradeli» (1948) and others. [3; 53]. These regulations have been devastating on issues of science, literature and art and directed at exposing various political and ideological «mistakes» allegedly committed by representatives of the Ukrainian intelligentsia. The main observations formulated in them were related expressions of «national narrow-mindedness» «Ukrainian bourgeois nationalism.» Intensified frank public harassment, accusations «Nationalism» of famous writers, including M. Rila (for work «Journey to the youth», «Kiev octave»), Y. Yanovsky («Water»), I. Senchenko («his generation»), Dovzhenko (« Ukraine in the fire «) [16; 10], [17; 27-38], and «Westerners» by Karmansky, Rudnytska A. Pathrusim-Carpathian and others. Many criticized Ukrainian literary scholars who participated in the writing of «Essays on the History of Ukrainian Literature» and commitment to the «bourgeois-nationalist» concept Hrushevsky, S. Yefremov and other «enemies». Started accusatory campaign directed against historians in the works which contained scientific ideas and theories that are close to the same concept Hrushevsky. Sharply criticized scientists subjected Lviv Korduba M., I. Krypyakevych, Terletckogo I. et al., Authors of the first volume of «History of Ukraine» (ed. M. Petrovsky). Examples rough diktat in science also became the August session of the All-Union Academy of Agricultural Sciences. Lenin (Agricultural Sciences) held in 1948 and which initiated a of genetics, called «bourgeois pseudoscience». The second phase opened launched another massive campaign - «fight against cosmopolitanism, kowtowing to the West.» A characteristic feature of the new stage of ideological campaign was that it was accompanied by overt anti- Semitism, a negative charge is accumulated from the time of war. This campaign was designed to strengthen the cultural and ideological isolation of the country; not only split the intelligentsia, and oppose it to other social groups; strengthen the process of ; restore important factor in the operation of the totalitarian regime - an image of the internal enemy in the war that has deviated in the shade. The massacre of the «cosmopolitan Bezrodnaya» first in theatrical criticism, and later in other areas of culture took place at the peak of fighting the so-called Jewish bourgeois nationalists and arrests took place against the background figures of Jewish culture. They were persecuted for what they allegedly his sermons «National nihilism», especially in relation to the Russian people, and «kowtowing to the West» helped the imperialists impose worldwide «Anglo-Saxon culture» [14; 126], [13; 510]. Conducted active and systematic «elaboration» of scientists, artists, literary critics, biologists («veysmanistiv- morhanistiv»), linguists teatroznavtsiv who attributed that they were exposed to the West, «Dangerous servility to foreign disease can infect the least stable members of our intelligentsia, if the disease is not an end» [19; 213], [1; 82]. Following guidelines from Moscow began the widespread exposure of the «anti-patriotic» and Ukraine [15; 150]. Echoes of this campaign was labeling «Bezrodnaya cosmopolitans» in the famous and talented literary and theater critics, which led to negative consequences in literature and theater, in fact, gone the concept art school; deepened isolation from Western culture heritage [18; 509]. Among the theatrical and literary community suffered persecution Borshchahivskiy A., A. Hozenpud, B. Dayredzhyyev, David Danina, N. Lurie, H. Levine, H. Polyanker, L. Subotskyy, E. Schechtman, B. Yakoblyev (Holtsman ) and many others. Among scientists - I. Singer, M. Berehove, B. Weissman, A. Velednytskyy, R. Larner, Yu Loytsker, M. Maidanskyi, I. Spector et al. They were accused of antypatriotyzmi, kowtowing to the «reactionary bourgeois culture of the West» culture of concealment Ukrainian relations with Russia [19; 228]. Monopoly power to determine priorities in science, in total ideological control was observed in the wide-ranging discussions on philosophy, linguistics, which was deployed on the brink 40-50-ies of XX century. Third epap «zhdanovschyna» lasted from 1951 to 1953 impetus for a new wave of criticism of intellectuals was the editorial in the newspaper «Pravda» in July 1951 «Against the ideological distortions in the literature» by V. Sosyury poem «Love Ukraine». This poem was called «fundamentally vicious ideological work.» Subsequently cleansing campaign unfolding in music - exposing the «errors» K.Dankevych composer and author of the libretto O. Korniychuk in the opera «Bohdan Khmelnytsky». 106 Under particular pressure impressed Western intelligentsia. In addition to total control of the Soviet and party structures, considerable attention was paid to her Soviet intelligence agencies. In Lviv and other cities in the western region is easiest to look «witches», given the specificity of the land, the high level of science and culture, national identity population armed resistance to the new occupiers. That is why in Western Ukraine struggle against «hostile ideology» has especially large scale [9; 145]. At regular meetings asset intellectuals sharply criticized the city for «nationalist» activities J. Wilde, J. Galan, V. Dilyayev, Karmansky P., P. Kozlanyuk, Rudnytska A. Shmyhelskyy [11; 423-424], [7; 4]. For the «nationalist limitations and the impact of Western European and American music which degenerated», criticized Lviv composers Kolessa M., T. Mayyerskoho, R. Simovych A. Soltys, Kos-Anatolskyi and others. Conclusions. The postwar years were the final stage of forming the country’s Stalinist absolutism, including the spiritual realm. The totalitarian regime of continued tension in the society launched next ideological campaign of persecution of dissidents, a new wave of repression. All cultural policy authorities had pronounced ideological, in which the state sought to subdue all manifestations of the spiritual life of society. The party line Zhdanov, Kaganovich, Khrushchev demanded that the Ukrainian cultural figures to Ukrainian culture «more closely merged with the great Russian culture.» The country under the banner of the fight against Ukrainian bourgeois nationalism, cosmopolitanism and Zionism, and veysmanizmu-morhanizmu was wrongly criticized many scientists and artists, disbanded a number of Ukrainian research institutes and others.

References 1. Aksyonov Y. Postwar Stalinism: a blow to the intelligentsia / Yuri Aksenov // Centaur. - 1991 - № 10-12. - S. 80-89. 2. Ram V. Ukraine 1950-1960’s.: Evolution of totalitarian systems / V. Ram. - L., Institute of Ukrainian Studies. I. Krypyakevych Sciences of Ukraine, 1996. - 448 p. 3. Ram V. Ukraine during the systemic crisis (1946-1980-ies.) / Ram V., V. Danilenko. - K.: Alternatives, 1999. - Vol 13 - 304 p. 4. A. Veselova Ukrainian Society in 1945-1953., In the Stalinist ideological / A. Veselova // History magazine. - 2005. - № 1. - P. 88-96. 5. V. Danilenko Ukrainian intelligentsia as the object of the repressive policies of the Stalinist regime in the post-war period (1946-1953 gg.) / V. Danilenko // Problems of history of Ukraine. - Vol. 7. - 2003. 6. State Archives of Lviv region (hereinafter - DALO). FP 3 (Lvovskyy Regional Committee Kompartyy Ukraine), op. 1 conjugation. 414. Stenohramma (originals) of the meeting of the Lviv intelligentsia g seryoznыh errors and shortcomings in ideological work. 1946 hours. 7. State Archives of Lviv region. F. 3808, op. 1 conjugation. 1. (units. Coll. Number 10) The proceedings of closed party meetings for 1947. 8. Encyclopedia of Ukraine. - K.: Globe, 1994. - Vol 2 - 800 p. 9. M. Drama Ilnytskyy without catharsis: Pages literary life of the city first half of the twentieth century / MM Ilnytskyy. - L., Missionary, 1999. - 212 p. 10. Kozhukalo The influence of Stalin’s personality cult ideological processes in Ukraine in 1940 - early. 50’s. / I. Kozhukalo // Ukrainian historical journal. - 1989. - № 2. - P. 14-25. 11. Cultural life in Ukraine. Western land. Documents and materials. 1939-1953. - K., 1995. - T. 1. - 747 p. 12. T. Marusyk humanitarian Western intellectuals: the realities of life and work (40-50-ies. XX century.) / T. Marusyk. - Chernivtsi: Ruta, 2002. - 463 p. 13. Political history: Russia - the Soviet Union - the Russian Federation: in 2 v. - M.: Terry, 1996. - T. 2. - 720. 14. Soviet society: the emergence, development, historic finale: 2 m., Vol.2. : Apogee and the collapse of Stalinism. - Moscow: Russian State University. - 1997. - 761 p. 15. Ukraine twentieth century. : Culture, ideology, politics: Coll. Art. - K., Institute of History of Ukraine, 1996. - 200 p. 16. TSDAGOU. F. 1. op. 23, Ref. 4512. Transcript of the Plenum of the BSC in Ukraine, held on 15 September 1947. 17. TSDAGOU. F. 1. op. 23, Ref. 4511. Transcript of Writers of Ukraine at a reception at the Secretary of the CC CP (B) U comrade. Kaganovich. September 19, 1947. 18. Central State Archive of Public Organizations of Ukraine (hereinafter - TSDAHOU). F. 1. op. 1 conjugation. 731. resolutions and a resolution plenum of the CC CP (B) U. 17 August 1946 year. 19. Y. Shapoval Ukraine twentieth century: people and events in the context of the history of heavy / Yuri Shapoval. - K.: Genesis, 2001. - 560 p.

Summary Siruk N. The ideological supervision of the cultural sphere of Ukraine (second half of the 40’s – early 50 th of XX c.) On the basis of study of the archived materials and row of labours of summarizing character the features of ideological campaigns light up and analysed against intelligentsia in Ukraine in the first post-war decade. Key words: ideology, culture, intelligentsia, decision. Received 14.10.2014 107 UDC 78.07(477):314.743 V.G. Dutchak

TRADITIONS OF BANDURA ART IN AUSTRALIA

Art Bandura Diaspora - part of the overall spiritual culture of the Ukrainian people, covering a wide scope both in performance, creativity, design tools, and social, methodological, pedagogical, publishing. Development bandura art among the diaspora during the twentieth century. held nonuniform. Differences in its functioning due chasovo- chronological, spatial and geographic, socio-cultural and economic-political factors of the countries where centers operate bandura. Qualitative indicators of bandura art determined the nature of the immigration waves that differ by their causes, and therefore for the social, educational, intellectual as its representatives. Creating art centers, including and bandura, led to the specific socio-cultural and aesthetic situation of the country of emigration. Australia is listed in the Ukrainian relocation active only after World War II, due to the third, and now also with four emigration waves. That war, in spite of military disasters, has led to striking growth of national and state political movement in Ukraine. «For the third wave of mass emigration was Ukrainian inherent organizational and social dynamics that led to the inflow of Ukrainian intelligentsia, including of musical culture» [9; 90]. This wave was of a political nature and developed in the camps DP - DP (displaced persons). Camps for displaced people in the western zones of Germany, Austria, Italy short-lived (1946- 1950 years.), But have become important centers of social and cultural activities of Ukrainian immigrants. It is then further re-emigration to the UK, USA, Canada and Australia. Ukrainian ethnic «Australia is the youngest community in the Western diaspora» [9; 102]. Among the refugees were many Ukrainian artistic intelligentsia, including musicians Bandura, who continued the development of bandura art abroad. The leading factor in the survival of ethnic Ukrainian communities are geographically remote and cut off in the cultural sense, and information from Ukraine, were many civic, religious, cultural and art, youth, political and others. organization that arose from the beginning of Ukrainian mass settlement. The main efforts and means of Ukrainian Diaspora in Australia gave preservation and development of Ukrainian culture and Ukrainian general. The level of activity and achievements in the sphere of culture often dominated by other Ukrainian, significantly up larger Diaspora of Australia. The article presents analysis of bandura art traditions of the Australian continent. The material for the article served as scientific and encyclopedias - «Encyclopedia of the Ukrainian Diaspora» (V.4 «Australia - Asia -Afryka») [8] Encyclopedia of Modern Ukraine (V. 1) [7], «Ukrainian Almanac life in Australia» [ 1], «Ukrainians in Australia: materials in the history of Ukrainian settlement in Australia» [15-16], articles in periodicals Ukrainian diaspora author studies [3-6], exploration H. Karas [9] B. Mishalow [10- 13] V. Troshchinsky [14] K. Draft [19] and the study of materials obtained from communication with Mishalov B., P. Deryazhnym, L. Kovalchuk. Promoting Bandura in the world linked to the activities of individual performers and groups Bandura. They were carriers as certain regional traditions bandura performance and overall achievements representant Ukrainian music. Hence, the analysis of bandura art representatives of individual countries, can be defined as a level-offs, on the one hand and its own, specific features of bandura art in the country of emigration on the other. Concept associated with kobza playing traditions and schools. The vector of development «Ukraine - Diaspora», these concepts significant weight gain, because the diaspora often kept those customs, traditions, national cultural priorities, which had no place in the ideological «Procrustean bed» of Soviet Ukraine. Abroad acted as a powerful «preservative» many national musical traditions, including kobzar. In Australia, this art developed through the work of individual artists that have stimulated the creation of ensembles and school learning to play the instrument. «The school, on the one hand, is part of the tradition, a kind of mechanism of formation of traditions on the other, the tradition is indicated by the school, because the school is «Transmission link» in the development and preservation of traditions «[20; 128]. Despite the economic and domestic difficulties faced by Ukrainian immigrants in Australia, they immediately launched an extensive cultural activities, where the first place was song and musical creativity. [8] Since the mid-1950s pandora gained wide popularity among young people. In Sydney, Cossack art popularized by H. Bazhul (1906-1988 gg.) - Student G. Khotkevych music and drama at the Kharkiv Institute. In the 30 years was arrested in Ukraine. In the early 40s he returned from Siberia to Kharkiv, where acts as a soloist bandurist. In 1944 concerts in Western Ukraine with bandura players Yu Sihalevycha school. In Germany during the camp was a member of Bandura Capella University. Shevchenko, organized brotherhood them. A. Veresai. Since 1948 emigrated to Australia, where he became the organizer of the Ensemble them. G. Khotkevych promotes his legacy teacher publishes article. For young people wrote «School of bandura.» Among his best students - V. Mishalov. F. Deryazhnyy (1905-1981 gg.) - A native of bandurist amateur. In 30 years of production banduras carried away. In wartime, had his own workshop in the camp Weissenburg. In 1950 he emigrated to Australia, where he continued to act as the bandura, manufactured instruments (Kiev-Chernigov type, later the Kharkiv-Poltava), led the Ensemble them. G. Khotkevych after G. Bazhula. He played with his son Peter. 108 Bandura Ensemble them. G. Khotkevych Sydney organized in June 1964 with a view to G. Bazhulom cherish Cossack art in Australia and in particular to improve the method advocated Khotkevych Kharkiv bandura. In 1972 the ensemble consisted of 12 people, and in 1988 - 9. Until 1971 it was headed by G. Bazhul. From 1978 deputy head was P. Chokula. The group was composed of members from Sydney, Melbourne (local leader - G. Bereznyak), Adelaide. The repertoire covered the Cossack, historical and contemporary lyrical songs. The first independent group gave a concert in March 1970 in the city. Vollonґonґ. The tour to Australia in 1978 swept Perth, Adelaide, Geelong, Melbourne, Brizban and Vollonґonґ. That same year, in Australia published their first «Kobza and song.» The ensemble has performed in the congregation Ukrainian Australia Folk Festival in Sydney Opera House on Sydney radio and television. In 1972 the ensemble founded in School bandura headed by P. Deryazhnym. The school later was subject to home school in Central Sydney, it was the administrator I. Zhestovskyy. Under the leadership of the ensemble Deryazhnoho 1985 held in Sydney kobzar Regional seminar of 26 participants. School Bandura subsequently led her former student Mishalov V. and E. and M. Kentsalo Kulchytsky. P. Deryazhnyy - conductor, bandura. Born 2.7.1946 p. In Kaldeni (Germany). He came to Australia in 1950, lived in Nyukasteli (1951-1966 gg.), After - in Sydney. He graduated from the local Institute of Technology in the specialty «electrical engineer» (1972) and later was qualified singing teacher (1978) and spivaka- Executive (1980). In Edmonton (Canada) studied dyryhenturu (V. Kolesnik) and church music. P. Deryazhnyy Bandura Ensemble led them. G. Khotkevych (from 1972), was the conductor of the choir «Boyan» (1982-1986.), Female choir «inflorescence» (from 1986), Ensemble them. Ivasyuka V. (1984); made musical arrangement «Thinking of S. Petliura» in SL. I. Kucherenko Sands, lyrical songs and the words of Ukrainian poets Australia and Canada; folk songs arranged for mixed choir with instrumental accompaniment. Deryazhnyy affirmed v. BC. «Poltava» technique bandura (close to Kharkiv) issued plate «Kobza and song.» His creative achievements are numerous treatment and arrangements for Bandura, accompanied by the Kharkiv bandura popular Ukrainian folk songs for voice («Took I would banduru», «Dobryy vechir divchyno», «Pro Morozenka», «Oy in poli verba», «Oy xodyla divchyna warned «,» kray vikonechka I sit, «» Oy therein mlyna kolo «,» Oy za hayem, grove «et al.), handling songs on poems of Taras Shevchenko (« Oy lita orel «,» Sadok vyshnevyy « «My thoughts,» «Vstaye xmara» et al.), arranging the works of Ivasyuka («Vodohray», «» «Song bude pomizh us,» «The doli svoya »). He has written translations for Bandurist (with support for Kharkov type instruments) works «Nahaday banduro singing» G. Kytastoho, «Pro Nechaya» O. Koshytsya, «Hey zlitalys eagles» K. Stetsenka, Marsh «Vpered» V. Bozhyka, Christmas carols and carols «Nova radist stala», «Dobryy evening», «Boh Predvichnyy», «Dnes poyusche» K. Stetsenka «Rizdvyani bells» S. Kontsevycha, «Boh Predvichnyy» S. Lyudkevycha «Vosklyknite Hospodevi», «How slavnyy nash Hospod» D. Bortnyanskoho, instrumentalnyh works «Kolomyyka», «Zaporozhets,» «Mighty », «Narodna fantaziya» and others. As head zastupnyk ansamblyu Bandura, P. Deryazhnyy pochav komponuvaty song nA slova ukrayinskyx poets «Nadiya» nA slova Lesi Ukrayinky, «Nash otaman Hamaliya» nA slova T. Shevchenka, «Where to nash kotyt xvyli» nA slova S. Maslyaka. Piznishe it created the patriotic song «Kobza i Song» ta «Slava Otamanu» zapysani nA plativku ansamblyu bandurystiv them. G. Xotkevycha. As remarked V. Mishalov «melodiyi tsyx pisen vidzerkalyuvaly suchasnu poru, vykorystovuyuchy novi rhythms ta melodiyni figuration» [13]. In vymohu cultural and civic needs of the Ukrainian Diaspora in his works appear novi obrobky narodnyx pisen ta kompozytsiyi «Pro Petlyuru Duma», «Heneralovi Chupryntsi», «Prapory Ukraine conference» [13]. Bandura Ensemble them. G. Kytasty founded in 1974 at Plast in Adelaide. Its leaders were Zholkevych B., L. Havryshkevych, A. and J. Rostek Polishko. 1979 band spent touring with other art groups in the cities of the South Australian eastern states. G. Kytasty (USA), after whom is named ensemble, he devoted his composition «Forward happiness and purpose» (ff. K. Rosca). In Melbourne Cossack art D. Nosyara launched. In 1978, AI Yakubovich and established a school of bandura them. Ukrainian Lesya in Noble Park (1984). School, and then the band took part in concerts and Ukrainian academies. Bandurist worked with the youth choir of the Cathedral in Melbourne and choir «Cheremosh», performed at folk festivals Shell company (from 1982), regional seminars in Sydney Bandura (1981, 1985) and Melbourne (1983, 1984). Thanks to J. Jakubowicz, playing the bandura at a local conservatory introduced as a subject of your choice. Bandura became the first graduate of G. Batytskyy. Created and other groups. Bandura Ensemble «coloring» was founded in Melbourne in 1978 under the direction of root. Adelaide acted reservoir Bandura Ensemble under the direction of L. Havryshkevych. In Perth created by a group of bandura players «Echo» (supervisor. Prushynska C.). In Sydney (1981, 1985) and Melbourne (1983, 1984) held seminars edge Bandura. In the state of Victoria playing the bandura accepted as subject to Graduation exams of secondary school. With 1976 came not from time magazine «Banduryst», edited by M. Mishalov and his grandson. «Banduryst» published essays on the history of instruments, information about the formation, structure, setting bandura. Individual pages devoted to musical notation and technique play: methods of sound, touch, Bandura published portraits of prominent twentieth century. - G. Khotkevych Kytasty G., W. Emtsa, Z. Shtokalko; kobza analyzed the history and formation of ensemble music, in particular, the history of Capella University. Taras Shevchenko. On the pages of the publication konstatuvalysya success of young bandura players of Australia, soloists and groups. It was in Australia begins the life and career of one of the highlights of our time Vladimir Bandura Mishalow. 109 He was born April 4, 1960 in Sydney (New South Wales province). He graduated from the University of Sydney (1984), master of the local college (1986). Bandura began to study in 1970, studied hpu hapkivskym way Deryazhnoho P. and G. Bazhula in Sydney. In 1988 won the Australian arts council grant to continue his studies bandura in North America. That is where Victor met with leading representatives of Ukrainian foreign bandura art of the twentieth century. - AP Goncharenko, P. and G. Kytasty, adopting their experience. Of particular influence in shaping the musician had intercourse with prominent bandura players Yemets B. and L. Haydamaky. It takes them an interview recorded repertoire, analyzes tricks Kharkiv on the instrument type, style zafiksovuye experience virtuoso performance. In 1979-1981 pr. falls during his internship in your Kyiv konsepvatopiyi them. Tchaikovsky. Here he takes possession of Kyiv type Tool prof. C. melons, improving its maystepnist, studying the works of the repertoire of the concert bandura. Is conducting lessons in M. Shchegolev, vocal studies in prof. M. Yehorychevoyi. B. Mishalov showed interest and staposvitskoyu bandupoyu, which examines December in Kiev kobzapya Tkachenko, learns from it kobzar traditional repertoire (Duma, historical songs, psalms, etc.). Povepnuvshys to Avstpaliyi, populyapyzuye bandupu in Adelayidi, Melbupni, stvopyuye tpio bandupystiv. Haslidkom its activities in Avstpaliyi was ophanizatsiya ansambliv cities Melbupni, Kanbeppi, Sidneyi. From 1981 p. based ophanizatsiya «Ukpayinski kobzapski seminapy Avstpaliyi», which aims to schopichne ppovedennya kupsiv hpy on bandupi training and introduction to the Programme Numbers konsepvatopiyi bandupy. Australian W. period of Mishalow was a significant step forward to form the foundations of teaching methodology of playing the instrument, the belief in the correctness of performance orientation Kharkiv type of tool [5]. After moving to Toronto (Canada), V. Mishalov’s continued relations with Australia. In the summer of 2010 he spent in Ukraine and Australia, supported by the Australian public organization «Association of Ukrainian Cossacks them. Ivan Bohun «. Concert Tour» Ways harpers. « It sounded works Khotkevych AG («slave market in the Cafe» melodeclamation «I again one» and «Sooner down» (ff. M. Filyanskoho) processing Duma «Storm on the Black Sea»), Mr. Goncharenko («Tarashchansky Cossack «,» music time «), Duma» About the poor widow «(from Tkachenko), works of authorship B. Mishalow instrumental» Carpathian Rhapsody «and «Ukrainian Rhapsody», vocal-instrumental «Song Mazepa» (ff. M. Stepanenko), «On Sagaidachnogo» (ff. W. Onufrienko), «Rural lawyer» (ff. M. Domontovych) and others. [6; 326]. B. Mishalov Today, continuing his instruction Australian teachers, promotes Kharkiv bandura, its design methodology game repertoire not only in performing but also on the scientific level. He defended his thesis and published a monograph on its results (2013) [10-11]. School for Young Bandura founded in Sydney in 1972, and later joined the Ukrainian Central School. Princess Olga. Pupils performed together with the ensemble named. G. Khotkevych. 1976 took over the leadership of V. Mishalov graduate school and later Mishalow R., E. Kulchytsky later. At school there were three groups - beginners, middle and senior. At present in Australia and New Zealand actively P. Deryazhnyy concerts, often speaking in a duo with his wife Nilo. The instrument also promotes graduate of the National Music Academy. Tchaikovsky (class of prof. S. plantations) L. Kovalchuk (n. 1968). It acts as a soloist, bandura, gives lessons on the instrument and singing acts Shevchenko concerts. Thus, in Australia in the second half. XX - XXI century. bandura art develops only occasionally, its dynamics provide some enthusiasts. That contribution Bandura has provided professional level of art. Among individual activities Bandura - performing, conductor, composer, organizational, educational, teaching. However, the prevalence of ensemble performance creates popularization Bandura, its role as a factor of ethnic identity. Successful performances of the young generation, which studied bandura, providing nationality to the Ukrainian people, contributes to the cultural traditions. Through the activities Bazhula G., F. Deryazhnoho, P. Deryazhnoho, V. Mishalow and others. Australia not only preserved, but also received continuing priorities Kharkov school of bandura, appropriate tools and techniques of the game, launched Khotkevych AG.

References 1. Almanac Ukrainian life in Australia. Publication Ukrainian magazine «Free Thought» and Ukrainian Studies Foundation in Australia. - Sydney, 1994. - 936 p. 2. The guest from Sydney: [chats. with bandura, a graduate of Ternopol. muzuchylyscha, teacher of music. Inst Sydney L. Kovalchuk] / O. spoke Prokhorets // Solomiya.- 2008. - № 2 (Jun.). - P. 4. 3. V. Dutchak Ukrainian bandura art abroad: monograms. / V. Dutchak. - Ivano-Frankivsk: Folio, 2013. - 488 p. 72 + ill. 4. V. Dutchak Ukrainian bandura art abroad in the national musical and cultural process of XX - XXI century. : Dis. ... Doc. mystv. : 17.00.03 / Institute of Arts., Folklore and Ethnology. M. Rila National Academy of Sciences of Ukraine / V. Dutchak - K., 2014. - 580 p. 5. V. Dutchak Search synthesis of traditions and innovations in the Ukrainian bandura art of V. Mishalow / V. Dutchak // Art criticism app., 2007. - Vol. 11. - P. 170-177. 6. V. Dutchak Music and scientific-methodical heritage Gnat Khotkevych in Ukrainian abroad / V. Dutchak // Bulletin Prykarpat. Univ. Art. - Ivano-Frankivsk: GVA CIT, 2008. - Vol. XII-XIII. - P. 151-156. 7. Encyclopedia of Modern Ukraine / NAS Ukraine; NTSh; Coordination office Modern Ukraine Encyclopedia Ukraine NAS / IMDziuba (chairman. Ed.). - K., 2001. - T. 1. - [A]. - 825 p. 110 8. Encyclopedia of the Ukrainian Diaspora: 7 t. - V.4 Australia - Asia - Africa. - K.; New York ; Chicago; Melbourne: Intel, 1995. - 250 p. 9. G. Karas musical culture Ukrainian diaspora in the world timespace twentieth century: the monogram. / H. Karas. - Ivano-Frankivsk: Tipovit, 2012. - 1164 p. 10. Mishalov VY cultural and artistic aspects of genesis and development performance in Kharkiv bandura: Dis.... Candidate. Art. : 26.00.01 / Mishalov VY; Kharkiv. state. Acad. culture. - H., 2009. - 347 p. 11. V. Mishalov Kharkiv bandura, the Cultural and artistic aspects of genesis and development performance on the Ukrainian folk instruments / V. Mishalov. - H., ed. Savchuk O., 2013. - 368 p. ; 109 ill. Vol. 7. 12. Ways Mishalov V. Shevchenko. Bandura Ensemble them. G. Khotkevych and bandura art in Australia (Manuscript) / V. Mishalov. - Toronto, 2010. - 33 p. 13. V. Peter Deryazhnyy Mishalov: bandura player, composer, conductor (Manuscript) / V. Mishalov. - Toronto, 2010. - 18 p. 14. V. Troshchinsky Ukrainians in the World / V. Troshchinsky, A. Shevchenko // Ukraine through the ages. - T. 15. - K., 2001. - 142 p. 15. Ukrainians in Australia: materials in the history of Ukrainian settlement in Australia. - Melbourne: Circulation Ukrainian Union. org. Australia (SOUA). - Part IV - 1966. - 862 p. 16. Ukrainians in Australia: materials in the history of Ukrainian settlement in Australia. - Melbourne: Circulation SOUA. - Charles II. - 1968 - 1104 p. 17. Ukrainian Australia [electronic resource]. - Access: http://www.litopys.com.ua 18. Ukrainian Diaspora in Australia 65 (M. Halaburda Speech-Chigrin under the theme «Past, Present and Future») / Ukrainian Rally Australia in Sydney on Jun 7-9 days. 2013 [electronic resource]. - Access: http://www.patriyarkhat.org.ua/ukrajinskij 19. K. Chernov Ukrainian diaspora as a socio-cultural system / K. Chernov. - K., 2011. - 347 p. 20. Shatov I. Fundamentals Odesskoy Stylevыe horovoy school: Diss. ... Candidate. Arts .: 17.00.03 / Shatov I.A. - A., 2005. - 219 p.

Summary Dutchak V. Traditions of bandura art in Australia The article describes the stages of development and incipience of bandura art on the Australian continent during the XX-XXI century. Author determined the achievements of teachers, soloists, bands, bandura masters. It is analyzed the preservation degree of traditional genres, forms and styles of playing the bandura in Australia. Key words: Australia, Ukrainian diaspora, bandura, bandura art, tradition, bandura players’ ensembles.

Received 11.11.2014

UDC 783(477.043.3) L.V. Tereshchenko-Kaidan MANUSCRIPTS HERITAGE OF UKRAINE AND GREECE AS EVIDENCE OF OVERLAP AND FEATURES OF THE SPIRITUAL CULTURE DEVELOPMENT OF BOTH COUNTRIES

Addressing issues related to the problem of parallelism and features of the spiritual culture of Ukraine and Greece XVII-XVIII centuries., It is clear that the answer to these questions is better to look at the manuscript domain two countries. The most striking exponent of the traditions and cultural values, the nation’s genetic code is handwritten heritage. From previous research shows that the problem of Slavic manuscript heritage and especially Ukrainian manuscript, despite the existing fund descriptive literature, is unexplored and requires a scientific attention. One of the central themes of this issue is the separation of solid manuscripts Ukrainian ellino- Slavic Writing Foundation. This is the purpose of our study. The main materials for the study of manuscript heritage is Ukraine, Bulgaria, and Greece, located outside Ukraine. The source base to which to apply on the topic are directories - descriptions of the various collections of manuscripts, manuscript catalogs Slavic (Cyrillic) Collection Hilandar matched on Mount Athos and Description of cyrillic manuscripts National Library of Belgrade, which is the originator Dm. Bogdanovich [4, 5], catalogs Zohrafskoho monastery (H. code compilers, Boris Raikov, S. Kozhuharov) [6, 13] Description of the National Library of. Sofia (compiled by M. Stoyanov) [12] and Bulgarian manuscripts ( K. compiler Katadzhyeva) [10], a detailed description of Slavic manuscripts Piously Panteleimon Monastery (Athos) AE. N. Tahiaosa [2], the Vienna collection catalog, ordered G. Hunherom [9], a collection of modern Macedonia (Skopje) [11] Bucharest [8] and a collection Ankara [7]. Despite numerous fires, floods and robbery collections Slavic manuscript heritage rather large. Under different circumstances it almost delayed his writing in places, and moved the world. Transferred manuscripts travelers who accidentally found them destroyed monasteries, monks exchanged books, or take home with you written codes, and with them fell to the distant Greek monasteries to serve God. Sometimes monks Greeks themselves sold the manuscript to 111 maintain the financial crisis in monasteries. Manuscripts were invaders as trophies and as gifts at embassies of certain missions. Gradually manuscript heritage began to move to the national (folk) repositories in countries which belonged to the monastery. For example, the collection of Hilandar moved to Belgrade, and from Zografou Sofia. This movement does not mean that the collection will include exclusively Serbian or Bulgarian manuscripts. All zabyralosya collection and transported to the monastery library repository. And professionals Library convenient for them in the light, did the available manuscripts in the collection [4, 13]. The entire Slavic (Cyrillic) handwritten heritage can be divided by region, that is the place where at present kept the manuscript, which he got after the displacement of the copyist, translator, compiler or author. Regionally Slavic manuscripts spread from Greece with Hellenic collections in the world, is the most striking evidence of overlap of the spiritual culture of Slavs and Greeks. A huge fund Cyrillic manuscripts preserved in Russia (Moscow, St Petersburg). We know that in Russia the Orthodox east of expensive imported, including manuscripts, heritage, such as Mount Athos [1]. Another place of accumulation Cyrillic handwritten books are the Balkans, namely Bulgaria, Serbia, Macedonia, Romania. Separately, you can select the collection of Vienna, the Vatican, Venice and even Ankara. It should also be remembered and storage of Greece itself and the convent of St. Catherine in the Sinai. At least, this study covers the geography of Slavic manuscripts at this stage. Distribution and manuscripts classified by location and storage: 1) official holdings; 2) monastic collections; 3) private collection. And then, in particular within the collection, manuscripts are divided by genre: 1) the history books; 2) philosophical works; 3) Labor religious content; 4) collections and more. In turn, each of the sections of the genre can be divided into units. For example, the books contents are divided into religious sacred-church, church-liturgical, paraliturgical and others. Generally acquisition, encoding each individual collection, special, unique to her mechanism. A combination of these mechanisms creates a single organism, entitled «handwritten heritage.» For storage location, as already noted, collections are divided into official funds, monasteries and private collections. To include the official collection of the National Library of Greece (m. Athens), Institute of Manuscripts Μομη Βλαταζον, Institute of Balkan Ιδρυμα μελετων χερσονεσον τον αιμον, Institute Macedonia εταιπεια μακεδονικου σπογδον, University Library. Aristotle (m. Thessaloniki), the National Library of Serbia (m. Belgrade), the National Library of Bulgaria (m. Sofia), the Austrian National Library (m. Vienna), the Romanian National Library (m. Bucharest), on the library collections of Turkey (m. Ankara), National Library of Macedonia (Skopje). By monastery collections are collections Monastery. Mount Athos (Vataped, Great Lavra, Dahiar, Zograf, Caracal, St. Panteleimon Monastery (Rusyk) Pontokrator Monastery and St. Elias monastery, Chilandar). In addition, the Greek monastery collections can be attributed Kalavrity collection and Meteor. One of the greatest collections of the monastery is a collection of the monastery of St. Catherine in the Sinai. Many Slavic Cyrillic manuscripts preserved in the monasteries of Bulgaria (Yetropolskyy monastery) and Serbia (monastery, High Decani). From private collections can be distinguished gathering A.-E. N. Tahiaosa about. Irmolaya Musorasa, Reims Miklaza more. By its content collections are different. Some - divided by chronology others - for science (history, philosophy, philology), some - by genre, and others - mixed. Often researchers identify language features manuscripts. These features likely likely to find such Ukrainian manuscript. But Ukrainian manuscripts written in Old Church Slavonic monuments and dialectical require careful study. Well, if clearly visible identity of a manuscript to the Ukrainian tradition, then we can testify that this manuscript Ukrainian. If the manuscript is written in such six different handwritings, at various times, at intervals not in years but in centuries. If the manuscript is written in different ways of writing, such as half-uncial script and cursive. Then you have to turn to other means of research, for example to liturgical practice, if the manuscript belonging to religious books, to the melody line or tune, if music manuscript. In this case, we can give you an example. The collection of Zograf monastery that on Mount Athos, discovered an interesting manuscript. And in describing H. Code, Boris Raikov, S. Kozhuharova «Opysna slovyanstye rыkopysy in byblyotekata on zohrafskyya monastery in Mount» [13] and in the description of B. Raikov, S. Kazhuharova, H. Miklas, H. Code «Product in Slavic manuscripts in byblyotekata on zohrafskmya Monastery of Holy Mountain» [6], and the Hellenic catalog, microfilm and this manuscript is listed as Serbian Gospel XIV. That is, for all subsequent studies, this is the Serbian manuscript Gospel. He enlisted in the Serbian monuments, as written in Serbian language, has all the features considered Serbian. Indeed, at first glance at the manuscript shows that all of the above symptoms are present and if you do not go into the inner filling Code memo did not investigate thoroughly, you can leave the mere presence of the Serbian language and state that this Serbian Gospel. However, the more thorough review attractions you can see that in the middle of the Gospel, between the heads appears , there is a $ - paragraph. Vchytavshys the text, understand that this is a textbook on the history of the Bulgarian Kingdom. So it turns out that this is not a Serbian Gospel, but a collection of mixed type and content. Gospel - sacred church-book, and textbook on the history of the Bulgarian kingdom - instructive history book. Thus, 112 placement history Bulgarian Kingdom as part of the Gospel carried out paragraphs and not concentrated in one, common to all tutorial, the city, and scattered throughout the Gospel, by the heads of several sections. It seems that this tutorial as accurate information about the history of the Bulgarian kingdom, scribe or compiler tried to hide in the text of the Gospel, and thus protect against destruction of its history. From this point of view on the code turns out that this is an extremely valuable monument of Bulgarian, because it carries the true information about the history of the Bulgarian kingdom and the Serbian gospel fades into the background. More complicated is the situation with Ukrainian manuscripts. During Soviet times Moscow researchers nearly all the manuscripts, written in Church Slavonic, placed in a row called «n.» If the Bulgarians and Serbs wrote that, for example, the manuscript belongs to the Galician-Volyn books or books written in Church Slavonic language with Ukrainian or Bulgarian dialect, the Russian scientists wrote «Rus». However, sometimes occurs and an entry «Rus’ manuscript with Ukrainian elements. This applies to those codes where the monument extremely valuable and Ukrainian membership can not hide. Then there are «elements of Ukrainian» [3]. The next step detection Slavic (Cyrillic), and hence the Ukrainian manuscript is the work of filigree. Thanks to the label in the middle of the text or in the margin can determine the location, date, manuscript writing, the person who wrote the identity of the customer, and the person to whom the manuscript is assigned, consecrate, is presented. For example, in the Great Lavra Kalavrit saved two unique Slavic manuscripts (Cyrillic) Gospel. One monastery donated by Empress Catherine II, and another - an Indian queen. This is evident from donations inscriptions on the title pages. We also know that both codes presented at ambassadorial missions. This fact is known from inscriptions. Both attractions are the works of not only the writing but also jewelry. To separate group include those manuscripts Hellenic monuments, signed Slavs. In these manuscripts are many interesting materials that are different Greek tradition and Greek show Slavs. National Library of Greece kept a number of such manuscripts and books each unique. They include George Monk Chronicle, where he describes the events in Greek life Slavs; or the unique collection, which contains a Byzantine conductor system «Hironomiya» saved Slavs. Slavic books Athos monasteries carry than linguistic peculiarities, historical and biographical information, and more unique information system, liturgical practice, outstanding events of a particular monastery. For example, we know that with the Greek liturgy in the monasteries of Mount Athos, where the monks were Slavic, Slavonic liturgy was conducted. And in Pantocrator Monastery, at the time Mr. Velychkovsky, services were also Moldovan language. It could be two options for services: 1) separately Hellenic, Slavic separately; 2) within one service texts were read and performed songs in different languages. Regarding the singing, there is also an interesting gradation. Performed or original Slavic songs, depending on a multiplicity of belonging monastery monks to Serbian or Bulgarian to. Or Hellenic tserkovno- practice singers mixed with Slavic intonation. And then the singing more euphonious and is perceived as a melodic, tender and supplicant. These processes are well evident in the Slavic Monastery. Mount Athos. Last properties manuscript heritage of Greece suggest features and even differences Hellenic-Slavic heritage, which, combined, complementing one another, forming a single, common, grand tradition called «Orthodox East.» With its own characteristics intertwined in parallelism rites, forms, practices forms the Hellenic-Slavic manuscript heritage of Eastern Orthodox culture. Examining ways of formation in the collection and migration of Slavic manuscripts can conclude Slavic (Cyrillic) manuscript heritage has a wide geographical places of safety. Handwritten collection although described, but almost unexplored. Some studies require Ukrainian manuscript. Being a part of many collections, often hidden under his other names. Requires separate research and Slavs Hellenic manuscripts, scribes were Slavs. These attractions can tell a lot about how the Slavs, and by the Greeks. Clearly, a different approach to the study of manuscripts, the goal of this study is different, ways of describing manuscripts lead to extremely bright, coherent, comprehensive picture of Slavic Cyrillic handwriting eastern Fund, but rather European practice.

References 1. Product Slavic-Russian books XI-XIV century. TsGADA stored in the USSR. - M., 1988. - 349 p. 2. Tahiaos A.E. Slavic manuscripts of St. Panteleimon Monastery (Russik) on Mount Athos / AE Tahiaos. - SPb., 2012. - 200 p. 3. Turilov A.A. Slavic manuscripts Athos monasteries / A.A. Turilov, L. Mashkov; ed. A.E .Tahiaosa. - Thessaloniki, 1990. - 490 p. 4. Bogdanovih D. Kataloh hirilosnih Hilandar manuscripts Monastir / D. Bogdanovih. - Belgrade, 1878. -Vol. 1. - 321. 5. Bogdanovih D. Opis kirilskih manuscripts National Library / D. Bogdanovih. - Belgrade, 1986. - 470 p. 6. Bozidar R. catalog on Slavic manuscripts bibliotekata on zografskmya Monastery in the Holy Mount /Bozidar R., S. Kazhuharov, Mіklas H., H. codes. - Sofia, 1994. - 447 p. 7. Catalogue der manuscripts Grice (fonds du sylleges). - Ankara, 1964, - 268 c. 113 8. Graeser Book of manuscripts in the libraries of both Budapestenemsibus. - Budafestimi, 1956, - 91 c. 9. Herbert Hunger Catalog der gricchischen handschrieten der osterreichischen national bibliothirk. - Wien, 1961. - 503 p. 10. K. Katadzhieva Blgarska handwritten books XII-VII century. : Directory / K. Katadzhiєva. - Sofiya, 1976. - 196 p. 11. Slaneva L. Sloaenski rakopisi in Makedeniya / L. Slaneva, Kranevska S., J. Jakimova. - Skopje - Skopye, 1971. - T. 1. - 422 pp., Vol. 2 - 182. 12. M. Stoyanov records for Slavic manuscripts in the National Library sofiyskata: catalog / M. Stoyanov. -Sofiya, 1964. - 496 p. 13. Codes H. Opisna slovyanstie rykopisi in bibliotekata on Zografski Monastir Holy Mountain / H. codes B. Raykov, S. Kozhuharov. - Sofia, 1985. - T. 1. - 270.

Summary Tereshchenko-Kaidan L. Manuscripts heritage of Ukraine and Greece as evidence of overlap and features of the spiritual culture development of both countries Manuscript heritage of Ukraine and Greece – cultural heritage, is the spokesman and concurrency features of the development of the spiritual culture of the two countries in the article talking about the development of the Slavonic (Cyrillic) manuscript. On the formation of separate collection and dissemination of Slavic manuscripts world. Provides statistics available European funds, which houses the Slavic manuscript collection. Provides interesting facts about the studies of Slavic manuscripts. Key words: slyansky (Cyrillic) manuscript libraries, foundations, collection, monastic collections, private collections.

Received 8.10.2014

UDC 7.012+745/749]:39 I.A. Yurchenko

PECULARITIES OF INTERPRETATION OF ETHNO-CULTURAL TRADITIONS IN MODERN SPHERES OF DESIGN

Formulation of the problem. The current socio-cultural environment of human life is characterized by a dynamically developing artistic concepts and trends that are transforming, changing each other and actively influence the formation of contemporary visual culture. However, in the areas of design activity, along with such innovative trends and actual role already known concepts, such as postmodernism and minimalism. They are relatively sustainable cultural landmarks and most meet the needs of the modern consumer design products. If we talk about the current state of the national design culture, despite the fact that Ukraine is actively included in the global cultural space borrows innovative and design-concepts, along with this trend can be seen designers appeal to their cultural heritage, including ethnic and cultural traditions. The presence of local ethnic images in more or less available in all areas of design activity; they are certain signs of visual cultural identity of the Ukrainian people, one of the shape-sources inspire contemporary designers. However, the implementation process of ethnic and cultural reasons is spontaneous and fragmented that, in turn, encourages domestic design theorists to develop ethnic and cultural models shaping that would be allowed to propose a system of common methods and approaches shaping on the basis of ethnic and cultural traditions as a holistic design process. Despite the fact that this model is universal, each industry has its own specific design solution of design problems. Based on generally outlined problems defining features is necessary interpretation ethno-cultural traditions in modern fields of design activity. Background is the need to determine specific interpretation of ethno-cultural traditions in modern design. The definition of such specificity will allow the designer to distinguish design requirements that formed in each industry, the process of consciously shaping design-objects freely feel when searching for design ideas modern things consciously choose ethnocultural reasons under certain design requirements. Analysis of recent research and publications. Modern worldwide and domestic sphere theory design using ethno- cultural traditions is underdeveloped state. However, to fill this gap, on the one hand, the presence of visual models helps form the subject developed by practicing designers, examples of which exhibit spontaneous use of ethnic and cultural traditions. However, this fact needs separate study and systematization of the results. On the other hand, reveal the specifics of ethnic and cultural reasons help interpreting some theoretical publication. As examples of such studies is [5, 8, 13, 14]. Sources relating to the use of ethno-cultural traditions and those that reveal the specifics of modern design, presented the following works: modern theoretical concepts of design [1; 2]; the nature and purpose of the ornament [3]; problems subject culture [6]; professional design work in different areas of the subject of creativity [4, 7, 9-12]. Defining specific embodiment ethno-cultural traditions in modern design will make it possible to follow common trends inherent in all branches of design, and features solve design problems in each area separately. 114 The purpose of the article - noted features interpretations of ethno-cultural traditions in modern design, their impact on the contemporary socio-cultural environment. The main material research. To determine the particular use of ethnic and cultural traditions in modern design, we trace the development of classic categories of «thing» and «consumer». Through analysis study of design culture we understood a thing as a necessary tool of transformation of the environment and human adaptation to it, and the concept of «consumer» understood the average mass user whose thing it has to meet basic needs. This attitude by the way, and do not over-use of redundant design shaping tools, forms a minimalist attitude to the way consumer culture in the modern socio-cultural environment and extrapolates these principles in project activities. This understanding is rational, it creates in our minds become the norm attitude to things, but the current state of the subject culture demonstrates an unexpected turn in consumer tastes, where the consumer is increasingly a desire to see things in the emotional component, expressed certain figurative artistic means. Such trends in the project due to complexity of culture and development of the surrounding visual environment, the development of television, computer technology, means of media advertising, which became law information transfer rule are not linguistic means, and means successfully created a visual image. These processes have influenced the theoretical concepts and design culture, as expressed in the corresponding project images such that gradually taught to see different approaches to shaping a modern way. This is our cultural attitude towards things changed, expanded the boundaries of understanding of the way towards the assumption of its existence not only as a way-tool, but also as a way-character-way mark, the way art object, things with associative visual signs «Molodizhnosti», «masculinity» or «femininity» and so on. Such trends in the creation of project the image formed way back in the mid-twentieth century. thanks to the concept of postmodernism, which granted freedom of the designer attitude not only to the form of things, but in the process of shaping. In the end we got today a wide range of concepts of understanding things; They have resulted in the current approaches, trends, design facets, such as such as bionics, retrodyzayn, erhodyzayn, phytodesign, Ecodesign, etnodyzayn more. These approaches in the design culture enable the designer to understand the essence of modern design tasks put before him, creatively and freely approach the search options for solutions, choose the most appropriate design tools. Despite the freedom that exists in the world design in home design space is not formed national design model, as an urgent task for the Ukrainian design theorists and practitioners have its further development. Not the least role in this process and plays a large reservoir of national cultural heritage, recorded in the works of decorative art, folk architecture, folklore and more. This is for shape-modern designer specific source of a wide range of ethnic and cultural reasons, which in the present embodiment things must not happen spontaneously, and be subject to certain laws. It should also be noted one feature that every industry has its design attitude to the process of designing things and their logistical capabilities, affecting, in turn, to implement the ethnic and cultural reasons. This study was designed to determine the outlines priority areas of contemporary design in view of the implementation problems in the design of their ethnic and cultural reasons. In terms of determining such priority can be distinguished field of fashion design, graphic design and multimedia, followed by the field of object design and design object-spatial environment. Let us consider the specifics of each sector separately. Design fashion. Fashion design is the bearer of cultural concepts, is always at the forefront of design, sets the tone for innovative experimentation, creates norms, tastes and culture of consumption the way in social and cultural environment. In terms of features clothing - it’s the closest thing to a man, called not only to meet one of the pressing it needs protection from the effects of the environment and adapt to it, but also in shaping the social image according to the cultural and ethical norms accepted in the or another country. In the context of interpreting ethnic and cultural reasons as a source of shaping the design of clothing used in virtually all space-spatial parameters of traditional forms of objects, traditional clothes, architectural motifs silhouettes forms of arts and crafts; structural design of buildings of folk architecture, traditional cut things node connection; form and composition of the structure ornamental motifs; Appliances decor and texture, textural properties of materials and so on. To interpret ethno-cultural motifs in fashion design using the following methods: choice of ornamental motifs or grapheme as a basic form-building sources; placing ornamental motifs in the structure of modern clothes with regard to its placement in the traditional structure of the dress; free accommodation ornamental motifs in the structure of clothes; exaggeration resize and scale etnoornamentalnoho motive; experimenting with color and texture, textural properties of modern materials while playing chess figures in the structure of modern dress; interpretation texture, texture properties of traditional decorative techniques; complete rethinking of the traditional forms of dress in the modern context, which holds only external associative links with traditional forms. Typically, the interpretation of ethno-cultural reasons is the way of their transfer to the literal structure of modern products distance themselves from the radical motives semantic meanings, keeping external features decorative motifs and their aesthetics. Sometimes the introduction of ethno-cultural motifs in fashion design is a combination of motives forms of visual techniques and optical leveling methods or underscore anthropometric parameters of the human body. It should be noted that the modern consumer functionality except apparel design seeks his clothes to see some individual context, defined their own personal tastes. A fashion design see its owner as belonging to a particular culture or . In everyday life wear Rights expresses its taste and face. This is to some extent a semantic shell man, his temporary or permanent personal dress code. Graphic design and multimedia. Modern graphic design and multimedia in terms of the magnitude of the effect 115 on contemporary socio-cultural environment can be put in second place after fashion design. If fashion design creates more taste and attitude towards the material world, the multimedia and graphic design more responsible for the transmission of information and communication links in the community. Specificity is manifested through transmission and transformation of information in text form symbolic shapes and images, their specific coding and interpretation. Analysis of these processes becomes relevant in today’s visual environment with the change of linguistic paradigm to the paradigm of visual turn (Visual Culture). This, in turn, develops design forms and methods of information transfer, artistically-shaped means images are not depicted meanings or associations, allowing visual communication is consumer- level images and symbols. In addition to these qualities in the preceding paragraph fashion design, graphic design, along with TV and film forming modern means and forms of transmission of visual information. The effectiveness of this process depends on the understanding and ability to attract and methods related sciences, such as psychology of visual perception. This primarily concerns the shaping of design objects as user interfaces packaging software and web design sphere poster art, visual identification of retailers and other institutions, book design, promotional items and more. Mostly these are communication tools that are designed to not only transmit information but also perform educational functions, to form visual culture and inner world. Graphic design and media best suited to implement ethno-cultural traditions, as a broad range of logistical capacity printing and computer modeling in two-dimensional and three-dimensional spaces. It helps if necessary, play or interpret the visual motifs of ethnic and cultural features of any level of complexity. As for the methods of interpretation ethno-cultural traditions, they are similar to those described in subsection Fashion Design. Items subject design functional purpose tools perform transformation of the environment and human adaptation to it, bring the culture of life conditions of comfortable existence. Today, however, form objects have not only instrumental function and role of the media and the emotional component, semantic and symbolic forms, belonging a particular socio- cultural sphere. Examples are the objects of art design, forms are sometimes developed on the border between modern design objects and works of decorative art. Features interpretations of ethno-cultural traditions such forms are subject to the availability of limited opportunities in the logistics sector. If graphic design paper withstands any play chess, the object in the subject and object-spatial environment construction is an obstacle, depending on the functionality of the facility design and facilities construction. This, in turn, significantly limits the designer’s skyline in the reproduction of complex ethnic and cultural motifs and their interpretation in the forms of modern things. By the methods specified above interpretation of ethno-cultural motives can add methods of transfer of flat two-dimensional shapes in three- dimensional shape that offers modern things unique originality and expressiveness. Visually tradition interpreted deliver a skyline in the construction of traditional chess profiling tools, carving or drawing various types of printing printing on functional plane found in the structure of products. Such methods play ethno-cultural motifs used in the design of object- spatial forms of functional partitions, wall surfaces, furniture products, Furnishings and their decorative ornamentation. Features peculiar interpretation of ethno-cultural traditions place in architectural forms. It starts the process of awareness of architecture, the street space as a collective image, which can be read semantically outer shell society, visual display his historical existence, especially the existence of culture and , the expression of the collective unconscious in this time cut. In the architectural forms of cultural heritage played most in decoration of historical styles. Defining these characteristics is carried out by conducting specialized research. The most important during such studies to define the features of transformation and flow characteristic forms of decor from one culture to another. Modern interpretations example ethnocultural traditions in architectural design can be held in Shanghai (China, 2010) exhibition exhibition centers, where each country has identified itself with certain achievements or cultural traditions. This form-building as a source for the solution design pavilions were chosen most typical images of ethnic and cultural traditions, which identified itself a country. Much of the developed countries in the architectural object identifies itself with modern technological advances (such as it is read in solving design pavilion England). But most of the countries identified with ethnocultural traditions that evolved over many centuries. In forms pavilions were presented association with traditional folk architecture (China Pavilion), decorative techniques and application to finish construction of natural materials (pavilions of Spain and Portugal), ornamental motifs (the pavilions of Serbia, Estonia, Ukraine, Russia, Poland). Here etnomystetska ethno-cultural tradition and serve as a national cultural code that describes the mentality and character of the people. The design of the pavilions, in addition to the above-defined methods applied method is a combination of ethnic and cultural traditions with modern stylistic trends and modern technologies. For example, plastic solution pavilion shows Poland associative combination of plastic deconstruction of national forms of decorative paper decorations engineering and design Portugal pavilion design concept of the future combined with the use of natural cork texture that through art and figurative language demonstrates a prototype of sustainable design features. Comparison features use ethnocultural traditions in contemporary design industries demonstrates their dependency on modern technological advances in the field of logistic and constant search for cultural design concepts. Conclusions. As a result of the study will make the following conclusions: • Design objects in modern fields of design than instrumental function in terms of socio-cultural environment and cultural and performing cognitive functions are in their forms emotional component; • when determining the place and role of ethnic and cultural traditions in modern design of the important role played 116 by such categories as: individual and collective; thing and the consumer; taste preferences and aesthetic guidelines; relationship «people - object - environment ‘; culture and subculture; forms of historical and ethno-cultural traditions; • freedom in shaping modern design areas depending on the material and technical equipment and technological developments in each area separately and as a whole; • the most complete implementation of a wide range of ethnic and cultural forms possible motives in the fields of fashion design and graphic design, limited implementation of ethnic and cultural reasons are specific to industries focused design and design object-spatial environment; • function ethnocultural tradition is that tradition is one of the shaping contemporary sources, a means of identification of a person in modern globalization; • by methods of interpretation in the study of ethno-cultural motives can also be applied to the interpretation of the motives of historical architectural styles. Prospects theme is the ability to develop professional ethnic-cultural models shaping methods and approaches to the process of shaping and conducting experimental studies and modeling forms the subject-level design practices and the level of professional design education.

References 1. Aronov V.R. Concept and Foreign Theoretical Design / V.R. Aronov. - Moscow: VNYYTЭ, 1992. - 122 p. 2. Boychuk A.V. space design / A.V. Boychuk. - H.: New Word, 2013. - 367 p. 3. Herchuk Y. What such pattern. The structure and meaning of ornamental insult / Y.Y. Herchuk. - Moscow:RIP- holding, 2013. - 302 p. 4. Design Hlazыchev V. As there on / V. Hlazыchev. Ed. Second, ext. - Moscow: Europe, 2010. - 320 p. 5. Danilenko V.Y. Design Ukraine in the global context of art and design culture: the monogram. /V.Y. Danilenko. - H.: KSADA; The coloring, 2005. - 244 p. : Ill. 6. Koskov N.A. Predmetnыy peace culture / N.A. Koskov. - SPb. : GU St. Petersburg, 2002. - 344 p. 7. Lydvell U. Universal Design Principles / Lydvell W., K. Holden, J. Butler. / Per. A. Frost. -SPb. : Peter, 2012. - 272 p .: il. 8. T. Malik Culture Design etnosemiotychnyh countries / T. Malik // Vestnik Kharkov. state. Academy of Design and mystv .: Coll. Science. pr. / Ed. Danilenko VY - H.: KSADA, 2012. - № 2. - P. 18-20. 9. Medvedev V.Y. Style and fashion in design: Textbook. Ref. / V.Y. Medvedev. - 2nd ed., Corr. and add. - SPb. :SPHUTD, 2005. - 256 p. 10. Tkachev V.N. Arhytekturnыy design (funktsyonalnыe Basics Designing and hudozhestvennыe): Textbook. Ref. - Moscow: Architecture-S, 2006. - 352 p .: il. 11. Chernevych E. Lang graphic design / E.V. Chernevych; Vsesoyuz. scientific. yssled. in-t Sc. эstetyky. - M., 1975. - 137 p. 12. Experiment in design: Sources dyzaynerskyh ideas / [A.N. Lavrentiev, Efymov A.V., A.V. Barыsheva E Koleychuk V.F.]. - Moscow: Unyversyt. Book, 2010. - 244 p. 13. Yurchenko I. Synthesis of ornamental and minimalist in style etnodyzaynu / I.A. Yurchenko // Science. Coll. Union critics and art historians: Coll. Science. pr. / Arts ‘14. - LA: ZUKTS, 2014. - 260 p., S. 125- 132. 14. Yurchenko I.A. Methodological bases embodiment ornamental etnomystetskyh traditions in contemporary design practice / Bulletin of Kharkov. state. Academy of Arts and Design: Coll. Science. pr. / Ed. Danilenko V.Y. - H.: KSADA, 2009. - № 14. - P. 163-170.

Summary Yurchenko I. Pecularities of interpretation of ethno-cultural traditions in modern spheres of design Peculiarities of interpreting enthnocultural traditions in modern branches of fashion design, graphic design, multimedia design, object-oriented design and design of object-spatial environment have been researched. Aims and functions design branches in modern sociocultural environment have been determined, and their priority in the context of freedom of creating forms of design objects with the use of ethnocultural traditions has been discussed. Key words: ethnocultural tradition, consumer, object, form-creation, fashion design, graphic design, object- oriented design, design of object-spatial environment.

Received 19.10.2014

UDC 433/7.2 O.V. Danylenko

ARTISTIC AND AESTHETIC CRITERIA OF ATTRACTIVENESS OF HOTEL AND RESTAURANT ETABLISHMENTS 117 Hotel and restaurant business is part of organized recreational activities designed to meet the cultural needs of domestic consumers. Functioning now based on domestic equity institutions like schools and private ownership, the industry is socially useful activity is mobile socio-cultural system in acute competition. Important for its successful operation is conceptual justification, modern organizational and technological support and enhance artistic and aesthetic appeal of modern design tools. Artistic and aesthetic environment has multifunctional significance for hotel and restaurant businesses, providing the necessary recreational, environmental, aesthetic conditions for hotel guests. Unfortunately, this pressing question remains little studied, which led to the choice of the theme of the article, which - to highlight artistic and aesthetic factors of attractiveness Ukrainian hotel and restaurant establishment. Ideological leaders and artists pop art, body art and others. within the aesthetic and artistic direction of postmodernism era purposefully engaged in the search for new artistic stylization invariants and their implementation towards optimization of human relationships and subject to environmental and technical environment, seeing this as an opportunity to use the active medium in a subject as a mobile system design of cultural and historical structure [4; 170]. British cultural studies H. Reid in his work «Art and production» in the study of the morphology of the design proposed new standards of artistic arrangement subject environment, creating concept art design categories ideology, not production needs in product design [15]. American researcher D. Hloah made analysis of the design vychlenovuyuchy its quality characteristics as an aesthetic phenomenon, commercial art and industrial architecture characteristic of each of the last areas of operation. [14] Presented his conceptual model, according to Yu gently, belongs to the typical «design of art» related to the subject real design objects, and does not provide kulturotvorchist at structural typology [4]. American designer George. Nelson in his book «design issues» analyzed the problems of decoration subject environment from the perspective of a practicing artist. The attention paid to the phenomenon researcher design and software design in the context of its inscribing in modern civilization superkomfortu the presence of professional and functional convergence of the designer and businessman, synthesizing image and product in the global market of universal popular culture. [8] The phenomenon of design in prahmatystskiy interpretation F.-CH. Ashford reduced to its express service functions and practical advice to novice designers. [13] General art history research work on the development of design in terms of industrial society (J. Dorflesa, T. Maldonado, A. Mole, John. Nelson, George. Ponty and others.) Issued the second of the twentieth century. There were board manuals for professionals in the Western Europe but not yet in Ukraine. However, in the sources only briefly highlights the art equipment and design in the context of a modern hotel and restaurant business. History of world and domestic tourism, including restaurant and hotel business, has recently become the object of cultural studies. L. and A. Agafonov exploration in «Tourism, hotel and restaurant business: neoplasms, competition, government regulation» conducted an analysis imidzhevosti hotel business in the current market conditions primarily through the design of hotels of different type and class [1]. A. Nesterenko at work «Design Brief Encyclopedia» delivers mass audiences conceptual-categorical apparatus art aesthetics and design, including interior design related rekreatsiyno- hotel complexes. [9] The set of terms and concepts of modern design theory is organically linked with the philosophical and aesthetic phenomenon commonly harmony, proportion and artistic imagery, as well as post-modern fashion and trendy accent. Modern architectural and designing activities, including in the field of building the network of hotel and recreational facilities, is aimed at new conceptuality related to the successful resolution of the problem of man-nature-technology and leveraging the latest plastic and virtual effects [10]. The earliest information about placing videos related to the history of ancient Greece, which first formed a network of public and private hotels with the currency exchange offices [12]. The dynamic development of the hotel business in Europe experienced during the reign Frankish king Charlemagne (742-814 gg.), Founder of the Carolingian dynasty. As a result of aggressive campaigns against Germanic tribes Lombards and Saxons he expanded the borders of his kingdom to the size of the empire inhabited by numerous tribes and peoples. At the court of Charlemagne the outstanding scientists of that time: A. York, PA Pisa, A. Lyons et al., Who found refuge here as a person needed empire. In the period of Kievan Rus economic culture was enriched by trade facilities in one or two floors, consisting of frame size and configuration facilities for merchant shops, homes and warehouses. From the sixteenth century. arcade called rectangular area, surrounded by a wall with towers and gates. Commercial premises are located on the inner perimeter, combining open gallery. 1820 years we dated building in Kiev arcade (Marketplace) and the postal station near the waterfront Dnieper (Postal Square). Both buildings ordinary, but not without architectural appeal, special historical interest is US station, which stopped coming to Kyiv, Shevchenko and [5; 216]. Nineteenth century. affected characteristic spatial resolutions hotel and restaurant facilities, ob’yektyvovanyh in the then new technology of structural systems, artistic use of building materials, products of decorative art, original cutlery lighting and other equipment. Art and stylistic design of restaurant establishments late XIX - early XX century. Search symbolized artists-designers to synthesize the arts in a harmonious environment in the context of tangible trendy use and the environment when used as decorative traditional means of artistic expression, and new developments decorative Art Nouveau [6]. 118 When designing the hotel facilities in Ukraine used the relief-landscape environment in order to achieve the desired organic connection of external and internal space. Architectural and construction experience proves feasibility roztashovuvannya hotels on terraces and hills. This trend has spread in the Crimea and western Ukraine, given the high level of aesthetic expression of hotel facilities [3]. World practice operation of hotel and restaurant confirms the effectiveness of their location in the city center. The city center is usually provided reliably transport connections with all its areas and stations. It is a rich architectural and historic-cultural monuments in the area walking distance. In general, an important cause of building a hotel in the city center is saving time for arriving rights [7]. Today, particularly in the capital of Ukraine, has over 100 hotel and restaurant complex joint and service economy is a powerful sector of the hotel industry [2]. The process of objective aesthetic environment of hotel and restaurant facility involves solving many problems, which can not be achieved without the attractiveness of the institution. The main ones are: art and design interior design, furniture resolve the situation, the choice of decorative details, lighting systems and others. [11]. Additional richness of cultural and recreational institutions decorative objectified in the overall context of the deployment process of artistic creation. Implementation of these concepts is preceded by the formation of complex artistic image. The last individual has certainty (individualization) and determined system of social typicality. The process of creating an artistic image is of stages. Initially, there is the image of the artist with his characteristic unity of content and form. At the level of materialized embodiment of this image is included in the material of a certain type of art (architect establishes their grievances linear and volumetric configurations painter - paint). And, ultimately, becomes an artistic image of perfection and objectivity that make it accessible to the perception of the audience and interested consumers. The above applies to the aesthetics of modern decoration hotel rooms have small watercolors, prints, decorative plates and so on. Walls of rooms, living rooms and halls are decorated as small metal or ceramic inserts and panels on various subjects, shapes and sizes (reliefs, high reliefs, woodcarving etc.). Reported details gaining significance in coordination with meblovymy headsets, and appearing as integral components of decorative cultural relaxation complex. Keep in mind that a place in the furniture ensembles may take some detail, identifying the importance of complementing or design value. Modern furniture differentiate property to fixed, combined and multi-sectional. The level of comfort of hotels determines the quality and quantity of furniture, and their functional grading - range of furniture products. In order to use compact bedroom, pokoyovyh practice facilities built, semi-detached and attached types of furnishings that save space for cleaning and care of furniture give the room an aesthetic appearance. Subsidiary means of artistic design hotel and restaurant premises is their ornamentation using local traditions of painting and arts and crafts. An important tool for decorating hotel and restaurant establishments are ornament. This vyrazovyy kind of decorative art has its own laws of color and rhythmic construction, functional properties, maintainers ornamental thing in the objective environment, decorating, organizing, focusing and stylizuyuchy its architecture. While the autonomy of its existence apart from the subject, scientists argue, but a sign of things attributive its expressiveness and significance of color pattern gives it a mystery, on magic. Promotional and informational messages in the interior of the hotel and restaurant facility should be visible, bright and made of artistic taste. In drawing up the various messages is important, in addition to determining their font and size selection chromaticity background. For example, providing contrast black letters promotes a combination of white and yellow background, red - straw yellow and white, green - white and black, and so on. Color saturation hotel and restaurant interiors must be selected taking into account hygiene psychological comfort as well as the physical health. Practical experience in hotel management shows that room, furnished in bright colors, easier to keep clean, horizontal surface of the furniture should also be dark for ease of cleaning dust on them. When upholstery furniture decorative fabrics to avoid gray and brown colors related to the effect of lack of freshness [11]. Various decorative hangings for beds and carpets enrich the interiors of hotel facilities variegated coloring and drawing. The above equally applies to the freakish form and color lamps and other small items of hotel life. Strict concrete and glass architecture softened works of decorative art malovnycho- colorful majolica, wooden and woven handicrafts of artistic production, embossing on metals, reliefs on the wall ashtrays on the table cloth on the bedside nightstand and comfortable mat, panels, woven technique «batik» and others. Volume appears painted vase decoration aesthetic living room, hanging pots as majolica and decorative plates adorn the walls of the hotel lobby. Masterpieces of decorative art positively affect people for feeling slim ansamblevosti requirements and kompozytsiynosti. Therefore aesthetics hotel and restaurant facility serves not only a means of relaxation and recreation, but also evidence of self- actualization in the process of constructive activity, self-artist-designer, universal oblashtuvalnyka subject environment, «design culture» [4; 8]. Therefore, interior decoration of hotel and restaurant relaxed themed coloring and promotes psychological relaxation combined with the receipt of artistic and aesthetic pleasure, accompanied by positive emotional mood of human aesthetic sense of comfort. The above condition is ensured literate technology, means and methods that contribute to the unity and integrity of the substantive environmental interior. For aesthetic appeal of any recreational facility, including hotel and restaurant, it is conditioned comfort and coherence of all its components. The most important here is the composition of space, color saturation, designer furnishings and lighting skills and other attributes are meaningful and useful to human health and cultural holiday. 119 References 1. Agafonov L.G. Tourism: hotel and restaurant business, pricing, competition, government regulation, teach. guidances. / L.G. Agafonov, O.E. Agafonov. - K: Knowledge of Ukraine, 2002. - 358 p. 2. Boyko M.G. Hotel Management Company: textbook. / M.G. Boyko, L. M. Hopkalo. - K., 2006. - 448 p. 3. Beet L.D. Financial Management in Small Business: Teach method. guidances. / L.D. beet. - Kyiv: Kyiv National Economic University, 2002. - 84 p. 4. Lehenky G. Design: Cultural and aesthetics / Y.G. wanting. - K.: KDUTD, 2000. - 272 p. 5. Logvin G. For arhytekturnыm monuments of Kiev. Essay. Ed. 3rd, ext. / G. Logvin. - Moscow: Arts, 1982. - 336 p. 6. E.V. Mitrofanov interior design restorannыh wound Russia conc XIX - beginning of XXI centuries: Author. Thesis ... candidate. .: Arts specials. 24.00.01 - «Theory and History of Culture» / E.V. Mitrofanov [Yarosl. state. ped. University of them. KD Ushinsky]. - Yaroslavl, 2006. - 22 p. 7. G. Management Munin modern hotel complex, teach. Ref. / G. Munin A. Zmiyov, G. Zinoviev, E. Samartsev, A.A. Hatsa, K. Maksymets, H. Rohlyev; Ed. tsp .-. Kor. NAS of Ukraine, Doctor of Economics, professor. Doroguntsov C - K: Lear, 2005. - 520 p. 8. J. Nelson. Problems Design / Per. from English. D. Nelson. - Moscow: Art, 1971. - 207 p. 9. OI Nesterenko Brief Encyclopedia Design / OI Nesterenko. - M., Mol. Guard, 1994. - 355 p. 10. Pryhornytska A.A. Estetosfera modern design. Author. Thesis ... candidate. Philosophy. Science. 09.00.08 -«Aesthetics» / Pryhornytska A.A. - K., 2005. - 16 p. 11. Rohlyev H. J. Basics of Hotel Management: textbook. / H. J. Rohlyev. - K.: Condor, 2009. - 408 p. 12. Fedorchenko V.K. History of tourism in Ukraine / V.K. Fedorchenko, T.A. Dorova. - K., HI. HQ., 2002. - 195 p. 13.Ashford F.K. Design and Industry (trans. With Eng.) / F.K. Ashford. - Moscow: VNYYTЭ, 1968. - 177 p. 14. Gloag J. E. Industrial Art Explained / Gloag J. E. – London, 1934. – 507 s. 15. Reed Herbert. Art and Industry, London: Faber & Faber, 2nd ed. – 1994.

Summary Danylenko O. Artistic and aesthetic criteria of attractiveness of hotel and restaurant etablishments The article reveals the artistic and aesthetic design features of the hotel and restaurant establishments and criteria of the their appeal: the composition of the space, colour saturation, designer furniture and lighting skills and others. Following these criteria promotes the mental relaxation combined with the artistic and aesthetic appreciation, which is accompanied with the sense of aesthetic comfort . The condition provides the tools and techniques that contribute to the unity and integrity of the interior environment of the subject. Key words: culture, hotel, restaurant, aesthetics, criteria, decorating, design, comfort.

Received 16.10.2014

UDC 7.047(477.86):130.2 M.Z. Osadtsa

URBAN THEMES IN LANDSCAPE PAINTING OF STANISLAV REGION IN 50-60 YEARS OF THE TWENTIETH CENTURY: THE CULTUROLOGICAL ASPECT

The city as a medium that carries some impressionable, spiritual and aesthetic content, each time different, depending on the locality, there is quite distinct theme in the visual heritage Carpathians. The rapid urban development in the last century caused him a consistent interest of artists, including playback image of the city of many works of art in the mid- twentieth century. Briefly outlined issues covered in the context of the work of artists in studies of V. Baran, L. Voloshin, M. Arontsya [1, 2, 5]. Exploring the city with cultural positions given in a series of papers on the phenomenon of city disclosure T. Wozniak, B. Posatskoho [6] S. Litwin-Kindratyuk [4]. Thus, exploring issues of perception psychology architectural forms personality, including Collegiate, S. Litvin Kindratyuk-image playback features notes of interest in works of art. The purpose of the article is revealing the image of the city as an object painting relationship in cultural and natural factors of urban space, identifying trends in the picturesque cityscape heritage artists region. The problem of perception of the city as a cultural phenomenon that shapes its own culture and includes components such as traditions, norms and values, lifestyle, mentality, studied in cultural aspects. Studying the phenomenon of cities multiplicity of interpretation must take into account the category of «image», especially in painting and graphic works. When using the term «image of the city», formed some idea of the city that mutates over time, including its architectural image. Cultural, showing interest in the problem of culture of his spiritual life, consider this perspective in the socio-cultural perspective. Exploring the city with cultural position stipulates its investigation as a phenomenon in the totality of its manifestations as unique integrity and can be considered a city of angles: the ancient town, a medieval town, the modern 120 city, revealing aspects of its historical past and the present. In this perspective, face and image of the city of Stanislav (from 1962 - Ivano-Frankivsk), which combined breath of antiquity, chamber, provincial cosiness, restraint and modern pace of life. Stanislav Art 1950-1960’s., Like other regions of Ukraine, was under the influence of the ideology of social realism that had certain features in the interpretation of the urban landscape, which appears in the relationship between culture and the natural environment, the plane refleksuyuchys contemporary art searches. Artistic image detail and is enriched by the introduction of the historical components of urban development and strengthening of pastoral themes in the depiction of urban neighborhoods. In urban images highlights urban space, accented environment as an integral factor of urban «text». The identity of the town appears primarily in its spatial and architectural form, its environment. Urban environment consists of many factors, among which are the basic architectural forms - spatial design and materialization of cultural sustenance of the people [5; 162]. It is advisable to follow trends that occurred in the architectural image of the city. B. As the Posatskyy, the growth of urban areas, due to the development of industry and the loss of meaning of city , led during the nineteenth century. significant changes in the architectural image of the city. In place of the fortifications rozplanovuyutsya boulevards and parks, the old trade routes leading to the gates of the city, the streets are. There are numerous vertical dominant - chimneys enterprises actively, albeit chaotically filled panoramas of cities, they negate the previous image. Quarters dense residential development are the basic background to understand the architecture of previous eras. These trends continue and in the first half. The twentieth century. [8; 176-177]. The architectural image Stanislaus 1950-1960’s. Stands the historic center, but actively begin to be built around, making new touches in his appearance. The post-war development of the architectural image of Western cities, first held in line with the «development of the classical heritage» [8; 177]. According to B. Posatskoho, then began to compete with the two images of the city’s historical focus and new stations [8; 177]. For urban landscapes 50-ies. XX century. Dawn M. authorship (1908-1995 gg.), J. Lukavetska (1908- 1993 biennium.), M. Figol (1927-1999 gg.), A. loaf (1928-2011 gg.) characterized by detailed design scene: often urban environment or suburban neighborhoods. Among the reasons that form the basis syuzhetno- topical solution distinguishes images cathedral, the collegiate church, poetic corners of the city, inconspicuous urban surroundings. The works of the 1950s. A. loaf, related Kyiv (« bell tower» (1957), «The Church of the Exaltation of Podil» (1957) are realistic, interesting both stylistically-formal resolution, so and thematic direction. in oil landscapes «Belfry Vydubychi Monastery» artist, modeling image, operating large planes form the foreground and generalized interpretation of the background, local masses of color. In compositional conception of the work dominant stands dome monastery, supported by diagonal light planes roofs and walls of buildings on the background panorama of urban development. Landscape lyrical color transfer nastroyevist artistic image of the city, embodied primarily in the thin transferred coloring. Gallery of images of urban authorship M. Figol that most clearly embodied in his later achievements, the artist started in the late 50’s. Contacting image Leningrad period of study at the Institute of Painting, Sculpture and Architecture. Ilya Repin (1955-1961 gg.) Shows a number of works - «The Summer Garden» «Church. Ioakiya «; paintings «Leningrad. Neva Embankment «(1956),» Leningrad. At the cemetery «(1957),» On the Neva «(1959),» St. Isaac’s Cathedral (Leningrad) «(1959); small format works -»Leningrad. View of the Gulf «(1960),» Leningrad. Peter and Paul Fortress «(1960),» Leningrad. Neva Embankment «(1960). These works are made in the academic manner characteristic of the early period of creativity M. Figol opposed to later works in which the artist has distanced itself from the real image, adding decorative conventionality image resolution. Urban Landscapes early 1960-x’s. A. loaf «Stanislav City» (1960), «The landscape of the Ivano-Frankivsk Pasichna» (1963), «The balcony outside the Soviet» (1963) continue a tradition voluble lyrical cityscape and at the same time bring new artistic legacy touches in Ivano-Frankivsk painters. In landscape motif «Stanislav City» (1960) the artist conveys the atmosphere of bustle of city life, reproducing his documentary, emphasizes the theme of the city. Decorated with fresh range of colors represents the original motive Stanislav approach within realistic artistic style of the artist. This solution coloristic down, but with louder sound color, voluble landscapes seen in «The balcony outside the Soviet» (1963). An innovative approach to solving the composite design and content of the scene underlined clear composite construction, foreshortening buildings and staffage administration environment, which can be explained sincere interest in the city, its architecture, material culture and cultural superimposition of layers that make up a kind of «text» of the city. The panoramic landscapes «Landscape Ivano-Frankivsk Pasichna» (1963) in the background, among the cold skyline against the backdrop of the warm evening sky, guessed easily recognizable architectural dominant city. In the interpretation of the image shows O. Caravan tight weave panoramic views of the city based storey suburban sprawl that entered the foreground landscape. Trends in the appearance of the city over time, acquiring the artistic expression observed in these works of O. loaf. It should be noted historical and cultural value of urban landscapes of the artist in the study and preservation of the 121 architectural heritage of Ivano-Frankivsk, since his works at the turn of 50-60-ies. XX century. recorded the then typical image of the city. In the artistic heritage of M. jam prominent place occupied sketches with motifs cities Tarnovo, Sofia, Bucharest, created during the artist’s trip abroad in 1962 - «Alexander Nevsky Cathedral. Bulgaria « «Types Turnovo,» «Street in Turnovo», «Tarnovo. The residential quarter «,» Hotel Tarnovo «,» Bucharest. Str. 6 March «. Urban landscapes realistic direction M. jam, related to Ivano-Frankivsk, 1964 - «Street in Ivano-Frankivsk» 1966 - «Panorama Ivano-Frankivsk», «View of the city of Ivano-Frankivsk» «The outskirts of the city», «Old city district» made in typical style plastic artist, written clearly. In a picturesque sketch «Panorama Ivano-Frankivsk» (1966), stylistically close to the works of A. loaf early 1960s. Town lodged widely deployed, meticulously reconstructed its corners, skillfully reflects the originality of architecture. Instead, the city concise sketches present in the creative heritage of the artist, the neighborhood treated rather arbitrary and schematic («New homes in Ivano-Frankivsk,» 1966). Dawn M. and J. Lukavetska actively included in the cultural and artistic life of the city (and Stanislav respectively) felt hometown and managed to convey its atmosphere. Dawn M. appeals to urban motif in many works of the second half of 1960. - «The architectural motif» (1966), «The architectural motif» (1968), «View from the street Razumovsky» (1968). Here we see the relationship of the urban space with natural surroundings, embodied primarily in developed poetic spring landscape. Nastroyevist motive reinforced soft silhouettes of trees against the backdrop of city buildings. Architectural landscape artist accurate and reliable, compositionally interesting. Landscapes Ivano-Frankivsk late 1960s. («The architectural motif», «View from the street Razumovsky») skillfully sketched transfer chamber corners of the city. In sketches Award fresh interpretation, clearly traced the artist’s interest to play architectural details. J. paintings Lukavetska 50-60-ies. XX century. reflect a tendency to enrich the landscape motif entering his motives temple buildings. In the town of image. Sniatyn clearly stands out themes sacral architecture, which he plays with the knowledge of their structural construction, skilfully conveys the air environment and surroundings («Trinity Church in Snyatyn» (1959). However, landscapes Snyatynsk creative period (1965-1980 g .) improvements are minor because, as noted by Leonid Voloshin, the artist turned to painting in this period only sporadically, though gladly drew native species Sniatyn, dear to the heart of childhood Pokutsko landscapes («Church of St. Michael in Snyatyn», 1963) [4, 35]. Works of J. Lukavetska marked expressionist style and masterly sense of color. The problem of filling the sacred image of the city solves L. Popychenko early 1960s. In watercolor «The bell tower of the Roman Catholic church of the Blessed Virgin Mary in Stanislav» (1962). A new environment is treated here surrounding the collegiate church. In addition, his watercolor extremely reliable because the artist is set to not only create an image, but also to convey the reality of the atmosphere of the city, its culture, life in the context of contemporary urbanity. It is worth noting that the said work has not only artistic but also historical value. It traces the history Collegiate, in particular, as noted by S. Sokolowski, bell tower depicted here «Without completion of pilasters» [10; 34]. Like any remarkable historical monument past Collegiate beckons its hidden mystery whose solution unwittingly makes everyone think about the historical destiny of the people and its future. This attitude clearly embodied L. Popychenko, depicting sketch on his fussy crowd the walls and dilapidated belfry Collegiate [6; 41]. Amid dramatic changes and processes that took place in urban areas in the second half. Twentieth century. Popychenko LA architect by profession, treats motive, composing dark silhouette of the bell tower in the background against the sky and urban development, among which stands clearly vymalovanyy dome hall. The work marked a decorative approach to solving creative idea and graphic language, especially pronounced in the contour frame structures. Introduced in the composition trunks and branches of trees complement the content of the work, clearly intertwined against a background of bright tonal planes roof and sky. It should be noted that in practice fine arts artists Carpathians traditionally turn to the sacred grounds rural areas, which is clearly seen in the landscapes of 1950-1960’s. Dawn M., D.-L. Ivantsev, M. Figol, A. loaf. It should be added that the motives of the churches to continue to play a significant role in the plot and thematic resolution. Majeure restrained range of colors, poetic landscapes of M. marked the dawn of «Old Yard» (1955), «Last Mohicans» (1958). At first glance, the composition «Last Mohicans» is perceived as a sketch, which does not claim to figurative generalization, but it is a work of deep meaning, expressive associative symbols, which sounds in the blue- blue, boundless sky, ocher-gold polukipkah, because of which Church silhouette is [1; 86-87]. Among plein air sketches Dawn M. few feature different approach, including an appeal to obscure motive yard, suburban neighborhoods. Created during the second half of the 1960s. They testify to the artist’s interest in private accommodation, interpreting and giving this motive new values, studying in detail the history of each room. The spiritual aspect in the sense of his village D.-L. Ivantsev embodies winter landscapes «spiritual abode» (1957), «The Church in the moonlight» (1958), «The Church in the winter Delevi» (1968). It serves a crucial motive religious building filled with symbolic and allegorical meaning. The artist, using different composite structures, chooses the most successful angles churches, usually stressing on solving the foreground. Composite structure work «spiritual abode», underlined diagonal church and bell tower at the entrance gates, gives the image of solemn exaltation and monumental grandeur. The main emphasis artist makes tone at the entrance gate, clearly promalovuyuchy her silhouette in the foreground, while portraying the church in the distance. It is advisable to pay attention to the stylistic manner of the author, who is svitlonosnosti paint smears and which achieved a special fabulously grand sounding piece. 122 The creative idea of the painting «The Church in the moonlight» attracts search compositional and coloristic solutions for playback statuarnoho silhouette Church in the atmosphere moonlit night. Light pointed dome and roof, while the image of the sacred buildings incorporated locally darker tone. The festive mood of another work (‘Church in winter Delevi «) told the author particularly warm color motif Church, seen in the distance among interlocking trees and shrubs. In the artistic heritage of A. loaf present a series of landscapes depicting places in the picturesque village of gates, fences, roads. Artist opoetyzovuye color modest rural mansion, narrow roads [7; 12]. Numerous groups are rural landscapes O. loaf ethnographic perspective, such as «Village Bovše» (1957), «Ros. Bohuslav «(1958),» Morintsy. Home over the pond «(1963),» Citizenship Paraska Kharuk «(1966), in which the author introduces surroundings, characteristic of the rural landscape. Deployed, detailed panorama of villages with the domes of churches handed dominant in the works late 1960 .: «Silver Willow» (1968), «My Village» (1969). Picturesque church buildings reproduced image in many works of Figol. These include -»The wooden church in » (1959), «Vorohty Surroundings» (1961), «The Church of the Virgin in Krylos» (1969). Temple architecture dominated landscapes as in many foreign cities in which the author was repeatedly («Novgorod. Church of the Assumption in Torzhok» (1960). Urban Landscapes 1950-1960’s., As further developed in line with the strong realist tradition, show the desire of artists «visualize» a sense of the sacred and historical city timespace means of art. Based on the study of landscape images selected city leading trend embodiment of this theme. So, Dawn M., J. Lukavetska, O. Caravan, M. jam, cordial feeling permeated the city, the love of the surrounding area, depicting urban landscapes Stanislaus, Sniatyn trembling with excitement, «vzhyvayuchys» in their intimate parts, while like other artists (M. Figol, L. Popychenko) shown in landscape genre author’s position distancing from the realities of life, the conventions of figurative language, priority of formal research.

References 1. Mikhail V. Ram stars: literary and artistic publications / V. Ram. - Ivano-Frankivsk: Simyk publishing house, 2003. - 272 p. 2. Leonid Voloshin Jaroslav Lukavetska: Painting. Figures. Set design / L. Voloshin. - L.; Ivano Frankovsk: ZUKTS, 2008. - 124 p. 3. Goncharenko NI city as a cultural phenomenon and its forms save / MI Goncharenko // Materials VI All-Ukrainian. Science. Conf. from the East. local history. - Lutsk, 1993. - S. 162. 4. S. Litwin-Kindratyuk Stanislaviv Collegiate Psychology of perception in the context of the historic city of Ivano- Frankivsk environment / S. Litwin-Kindratyuk // Materials Intern. scientific-practic. Conf. «Stanislaviv Collegiate: between past and future [aspects of the research, restoration and promotion of monuments of sacral architecture and art in Ivano-Frankivsk] (the 300th anniversary of construction: 1703-2003).» - Ivano-Frankivsk: City NV, 2003. - P. 41-42. 5. Alexander Loaf. Painting: album / compilation. M. Aronets. - Ivano-Frankivsk: Lily-HB, 2010. - 123 p. : Ill. 6. Posatskyy B.S. evolution of the image of the city in Western Ukraine / B.S. Posatskyy // Proceedings of VI All- Ukrainian. Science. Conf. from the East. local history. - Lutsk, 1993. - P. 176-177. 7. S. Sokolowski rebirth of baroque pearls / S. Sokolowski // Proceedings between drug. nauk.- RUF. Conf. «Stanislaviv Collegiate: between past and future [aspects of the research, restoration and promotion of monuments of sacral architecture and art in Ivano-Frankivsk] (the 300th anniversary of construction: 1703- 2003).» - P.41-42

Summary Osadtsa M. Urban themes in landscape painting of Stanislav region in 50-60 years of the twentieth century: the culturological aspect The article deals with cityscapes of Stanislav (from 1962 – Ivano-Frankivsk) artists. The stylistic and artistic features of paintings appealed to the city space problem are revealed. The image of the city as an art object is traced through the culturological aspects. Key words: city, cityscape, city culture, city image, culturological approach, painting, Stanislav.

Received 1.12.2014

UDC 7.01 O.I. Parfenova

ON THE QUESTION OF THEORETICAL FOUNDATIONS OF NON-FIGURATIVE ART-PRACTICES IN FINE ART

In the scientific literature there are many works, the theme of which is the study of art. Another aspect is its analysis 123 from the perspective of philosophical principles. Among the latest developments in this area belonging to national authors, can be called a monograph Yu Romanenkova in which explicate the philosophical universals as determinative works of German Romantics. The author attempted to track the impact of theoretical paradigms of thinking that gained widespread in «zlamni» era, in art, in particular styleutvorennya process, the material of artistic practices that is collectively marked as man’yerystychni [7]. A similar process for so-called material neomifolohichnoyi literature tracked S. Stoyan [8]. The article aim to outline the issues and then setting solution which, in our opinion, have shown a turn of European art culture of Arystotelevoyi, classical, neoclassical paradigm to paradigm, theoretical principles which legitimize non- figurative art practices, including fine art . The object of analysis chosen philosophy of Friedrich Schelling art, the subject - the theory of art as part of this philosophy. Philosophy of Friedrich Schelling, in particular, its aesthetic component, is dedicated to building the Russian-language literature, authored by recognized experts (mostly Soviet period), the history of philosophy [1, 3-6]. In the post-Soviet era and new work on Schelling [2]. However, in the first and second was not put into question the extremely orthodox (in terms of classical philosophy) character shellinhianskoyi aesthetics. In our point, early in the nineteenth century. in the philosophy of Friedrich Schelling, traced the origins of the theoretical principles of non-classical philosophy of art, in the second half. Especially in the nineteenth and early twentieth century. allowed to legitimize a fundamentally new, not figurative, art practices, especially in the visual arts. Usually a particular philosophical system or some of its ideas to regard as being derived from the philosophical discourse. To a large extent this approach is legitimate, however, in its application remain outside the influence of the discussion on a particular philosophy of not discursive practices, including visual art practices. Therefore, for example, analysis of F. Schelling «The attitude of Fine Arts to nature» try to find some similar influences that led to the beginning pereopysannya Arystotelevoyi paradigm of art as mimesis. It is necessary to point out that the work, known as the speech delivered by F. Schelling on Oct. 12, 1807 in Munich Art Academy in honor tezoimenyn Bavarian King Ludwig I, chronologically follows the lectures of Friedrich Schelling devoted to art that had him read in Jena (1802-1803 gg.) and Wurzburg (1804-1805 gg.) universities. Given the fact that both series of lectures published after the death of the philosopher, and the speech was published in a book of the same in 1807, it is the public manifestuvala fundamental ideas of F. Schelling on art in the realm of fine art. The difference this speech of lectures is that in the past Schelling regarded art along with other art forms: music, poetry, architecture. In this conversation he was not given the first place, since, according to Friedrich Schelling, art is derived from verbal. «Fine art - thought Schelling - is only a dead short, but still short ... and more fully it (word - AP) dies, rising up to the sound on the lips of petrified Niobeyi, the above its kind art ... «[10; 186]. And continued: «... and in art is ... an act of cognition, the idea, but that is taken only real side, while the language or verbal art is taken in prototype, as an ideal, and not cease to be perfect in one transparent shell she learns «[10; 186]. The common thread in shellinhianskyh lectures on art, art is the idea of imitation of nature. And he is not original: European art from antiquity to the beginning (and even the second half. XIX century.) Developed within the classical paradigm, which was the paradigm of mimesis. Formulated by Aristotle, she recognized the ultimate goal of art is like maximum, means a particular type of art reproduction of nature as the original copy. The criterion of artistic quality work of art performed resemblance to the original, while work had to provide aesthetic pleasure, causing a sense of beauty. In the absence of the latter was placed into question the status of artistic artefact as a result of the works - poiesis, translating it to the status of art as craft - techne. Ever since Plato art was considered a type of imitation (imitation) podilyayuchys into types depending on what followed and by what. Yes, art as an original copy was nature in its anthropomorphic form - man (antique painting did not know how independent such genres as landscape and still life). In Munich speech «On the attitude of Fine Arts to nature» Schelling raised questions whose answers had to witness the revision of the theory of mimesis as creative and as a paradigm paradigm figurative art. The question of which begins audit paradigm of art as mimesis: that is nature, which should follow the artist (sculptor)? why should follow painter or sculptor in nature, form or nature? which should follow nature artist creative («live») or frozen, «Abstracted» formal? artist (sculptor) should follow only beautiful or ugly, and that is also present in nature? By providing the answer to the first question Schelling eksplikuye relational character of artistic ideas on the subject of imitation: the nature of the works of painters and sculptors appears especially erected to his anthropomorphic expression. Here it goes by J. Winckelmann, who studied ancient art, has concluded that follows the ancient sculptor himself: a man is that nature, which is copied to this type of art. An appeal to a number of sculptural artifacts confirms this conclusion. Absolute antropomorfnist nature, which follows the sculptor shows that figurative sculpture is nothing but an imitation of a human artist herself as «nature» (the original). According to Schelling «Plastic parodies itself» [9; 67]. Sculpture as an art form, Schelling evaluated highly. He believed that «plastic is a being in all other art forms - those where other forms arising as a special» [10; 275]. Painting more attention was paid to F. Schelling in his lectures, where he particularly stressed that «art is the real side of the art world» [10; 258]. With artists Schelling cited the names of Michelangelo, Raphael, Correggio, Mengs, Titian, Leonardo da Vinci, Perugino, Holbein, Poussin, Rubens (whom he considered a French artist [10; 258]) Hohharta (in «Lectures ...»); these same artists and Giotto, Chymabue, Guido Reni, Karrachi he mentioned in his speech «On the attitude ...». Raphael, Holbein and Perugino given him with links to 124 their pictures contained in the Dresden gallery [10; 252], and the description of the frescoes of Raphael «The School of Athens» and «The Last Judgement» by Michelangelo suggest that the philosopher saw them, perhaps their own eyes). However, even anthropomorphic nature speaks to the artist in the unity of form and substance. To sculptor important form, but whether its reproduction imitation of nature, even in anthropomorphic form? What is considered the essence of nature and how it can follow through art? (In addition, because the shape itself, «without nature,» there is no art should show and its foundation material. It follows different nature of certain kinds of art, including paintings and sculptures. Thus, the material determines the species specificity of art. «immateriality» as almost «immateriality» the most peculiar painting than plastic (sculpture), because «the light and the colors ... means not carnal, as if spiritual» [9, 75]. This gives the painting «unlimited versatility» [9, 75]). In «Lectures ...» Schelling stressed the role of art in the form of «true art design is a representation of its forms as the forms of things as they are in themselves» [10; 84]; and again: «... art is a picture forms of things as they are in themselves ...» [10; 86]. Reflection on the essence of nature in terms of spirit, soul and spirituality are designed in the spirit of objective idealism and eventually are reduced to theological ontology: F. Schelling, the work of art reveals itself «the soul of the artist» [9; 70]. However - this is a step toward a subjective interpretation of nature art. It is important that the spirit and soul correlate both objective and subjective. Other - characteristic of the artist, because if it is endowed with this «divine spark», it is able to reproduce in his writings essence of nature, which helps to understand talent as a divine gift, «artist ... just follow the law, created by God in his heart and nature, and no one else» [9; 83]. This point F. Schelling lecture in common with the concept art, characteristic of Romanticism. Nearly half a century nonclassical theory raise the status of the artist «epistemological» to «ontological.» If the genius of the artist Friedrich Schelling - is the ability to know the essence of nature through art («art of living there ... the movement deepest internal emotional and spiritual forces that call inspiration ...» [9, 83], although «the fate of different ages varying gets inspiration kind «[9, 84]), the non-classical theories that nourish appropriate art- practice, it will be the artist’s ability to create new nature. Indeed option similar to shellinhianskoyi teolohichnosti was classicism, artists who set himself the task to reach perfection, transforming the principle of idealization of the main methodological principle of creativity. Because imitation often anthropomorphic nature required the painter and sculptor of a correction in its reproduction, idealization, because quite perfect form could not be «at hand». Because of this artist became not only a simulator, copyist, but a creator, demiurge. Classicism declared «supreme task of art creation idealized nature» [9; 55]. However, as aptly said about Schelling classic art, «the subject was changed imitation, imitation is left» [9; 56], because the classicism of the very idea of art as mimesis not released, but only tried to improve. Based on the idealist ontology Schelling remarked (quite in keeping with the Platonic-Aristotelian tradition) that the essence of beauty of nature can be reduced to the notion, because «every thing precedes eternal concept» [9; 60]. If an artist wanted to submit full validity and accuracy of slavish play available, it would create only casts rather than works of art. Therefore, the artist (and speech is not only about art, but draws its name on it, but the music) must move away from creating a simple copy of nature, and to get to the «realm of pure concepts.» Important in this case is not the position of idealism, which shared Schelling and outline outlines a radically new theory of art, which justify the importance of the artist as the subject of creation. Kant theory of object and subject of cognition domain of F. Schelling was moved into the realm of artistic reflection, which actually turned into a new ontology of art. In the binary opposition «nature - art» nature essentially replaced by the artist. On the legality of such assumptions proves himself Schelling, referring to the assessment of J. Winckelmann ancient art, which consisted in the fact that anthropomorphic art of ancient Greece has shown, followed by the Greeks themselves not just as a «carrier» of nature (the body), but at the same time followed as a demiurge. In this way determine the theory of creativity romanticism and his followers. Finally, after half a century was unnecessary and the principle of mimesis, so that was modified not only the object of imitation, but imitation is canceled as an artistic principle. Evolved another key idea shellinhianskoyi philosophy of art reflecting on the concept (nature) beauty, Schelling highlights the beauty of form which is «the basis of all beauty» [9; 66], because the essence of nature seeks to express themselves in a single, endless form appears limited [9; 69]. The idea of form as the basis of fine art, having conceptually during the nineteenth century. number of epistemological and aesthetic transformations, spawned a series of artistic practices rooted in any way with the challenge of finding sustainable in a changing: Impressionism (Monet) Postimpressionism (P. Cezanne), analytical and synthetic Cubism (Picasso PA). Game of the form to the extent permitted «material» painting comes to the fore in art experiments that mark the transition from figurative to non-figurative paradigm of art. The problem is the same - «essence» - in changing - «Form», after over half a century will be decisive for Exercise Impressionist painters, especially P. Post-Impressionist Cezanne. P. Cezanne painting (eg his «House hung») can be considered a prime example of intellectual art practice, whose task was to convey by means of visual art that is not the subject of visual perception. Later, in the twentieth century. Painting in its many arthritis practices: abstraction, Suprematism, pop art, etc. - generally refuse any correlation with objective reality. Returning to the speech of F. Schelling, which refers to the shape not only as the basis of beauty in art and the beauty of the forms, we note that it was a form recognized exemplary all art that is based on the paradigm of mimesis. 125 Disgusting and ugly not subject to inheritance. If lacking in nature beautiful forms, art had right on their idealization, which meant that the artist intervened in the «prerogative of God» and turned from the usual copyists to the creator. This was by classicism, which theorists emphasized the right of the artist «correcting» imperfections in for his art «Imitation.» Schelling declared not right, the more debt, the artist’s ugly image. However, this right gave artists, theorists, who spotted the ideas of one of the representatives of the German philosophical classics one-sided, logical deployment which was the beginning of the destruction of Aristotelian paradigm. This in particular demonstrated treatise German philosopher Karl Rosenkranz «Эstetyka ugly» (1853), the basic idea of which was the justification of empirical understanding how the ugly distortion or incompleteness of beauty. He argued that far from ideal shape can be used in art practice, at least in order to highlight the excellence of other images off the beauty ideal forms, which ultimately is the symbol of divine beauty. But such theological coloration was soon rejected by some artists who ubachaly in such philosophical reflection legitimization «ugly art». Poetizatsiya become ugly «Flowers of Evil» Charles Baudelaire, in which the moral equivalent of the evil acted ugly. In the first art (excluding Bosch) art practices become ugly aesthetic expressionism (with its subsequent evolution in abstract expressionism) and surrealism. From the ideas of Friedrich Schelling repelled and A. Schopenhauer, in his philosophy of developing the idea of freedom of the artist. So, if by F. Schelling, art can «overcome the limits of nature» [9; 77], but the expression of the artist is not a sign of boundless creativity elements, as limited by God as the absolute truth, and creative genius - a process of divine inspiration, it is in the romantic gift of the artist interpreted as the gift of prophecy, which seems endowed with the artist. This idea reinforced the teachings of Schopenhauer world will, which is the highest manifestation of music, was philosophical foundation art practices, especially music, is most proyavyvshys syntheticity in the works of Wagner. Schelling himself not persecuting relational goal. However, the questions formulated by him in the Munich speech, began the process of infiltration paradigm as the paradigm of classical art figurative art practices that led to the quick replacement Arystotelevoyi paradigm of art and art as mimesis nonclassical paradigms of Freudian to postmodern. This shows that sometimes a question that only formulated heuristically productive for the answer. The idea that defended the philosopher, that «art there ... with live traffic deepest internal emotional and spiritual strength» combined with the provocative question: why ultimately inherits a nature painter or sculptor, incorporated something productive core for which the seized German romance convincing artists that they are the creators, not just copyists. In the second floor. Nineteenth century. This idea was further developed and kontseptualizuvavshys in several non-classical theories of art, became the basis not figurative art fine art practices even XXI century. It gives the right to consider FV J. Schelling - the representative of German classical philosophy - one of the first destructors classical paradigm of European culture.

References 1. Gaidenko P.P. Hnostycheskye motyvы Scientists in Schelling and Vl. Soloviev / P.P . Gaidenko // Knowledge. Understanding. Umenye. - 2005. - № 2. - P. 202-208; № 3. - P. 220-229. 2. Krychevskyy A. The image of the Absolute in philosophy of Hegel and Schelling pozdneho / A Krychevskyy. - Moscow: IF RAS, 2009. - 199 p. 3. Kuznetsov V.N. Nemetskaya Classical philosophy polovynы second XVIII - beginning of XIX century /V.N. Kuznetsov. - Moscow: High society. HQ., 2003. - S. 159-214. 4. V.V. Lazarev Schelling / V. V.Lazarev. - Moscow: Thought, 1976. - 199 p. 5. Lynkov E.S. Dialectics subъekta and object in philosophy Schelling / E.S. Lynkov. - LA: LSU, 1973. - 112 p. 6. M.F. Ovsyannikov Aesthetic Concept Schelling and German romanticism / MF Ovsyannikov //F.V. Schelling Philosophy of art. - Moscow: Thought, 1966. - P. 19-43. 7. Romanenkova V. Myrovozzrencheskye universals Stilwandlung periods in amicable artistic protsesse / V. Romanenkova. - K.: Hymdzhest, 2009. - 276 p. 8. Stoyan SP search for new ways of expression in modern literature neomifolohichniy / SP Stoyan //A man in a maze prospects. - K.: PARAPAN, 2004. - P. 166-187. 9. Rev. F. Schelling AGAINST yzobrazytelnыh Arts for nature; per.s Nam. Levynoy and M.I. Mikhailov A.V. / F.V. J. Schelling. Vol. 2 vols. - Moscow: Thought, 1989. - T. 2. - P. 52-85. 10. FV Schelling J. art Philosophy / FV J. Schelling. - Moscow: Thought, 1966. - P. 47-458.

Summary Parfenova O. On the question of theoretical foundations of non-figurative art-practices in fine art The question of the theoretical foundations of on-figurative art-practicesin art fine is required in this article.This problem has been analyzed on the material F. W. J. Schelling’s philosophy of art. Key words: F. W. J. Schelling, art fine, figurative and non-figurative art-practices.

Recceived 19.10.2014

126 UDC 655.281 M.P. Yefimova

TYPES OF CHILDREN’S BOOKS

Formulation of the problem. At the present stage of the design of children’s books there are new original ways of designing the book as a carrier of information and interaction with it. Unstructured variety of books, depending on the features, structures, materials, manufacturing and execution causes of problems forming a typology of children’s books. Analysis of recent research and publications. It should be noted that most scientists are turning to analysis only books toys. In particular, S. Vodchits [1] E. Ogar [8] proposed typology on design grounds. Thus, S. Vodchits identifies the following types of children’s books, toys, Book harmonica, Book screen, books, fun, books, crafts, book-panorama- figure book, coloring book, book-play. Pretty comprehensive typology kinds of books, toys delivers E. Ogar, it offers distinguish the following types: book-toy, musical toy, book, books, rozkladanka, Book Nativity crib Book kuliska, book-cutting, Book panoramki, delicate little book, book of the series «Touch and Feel» and finger Book toy [8]. Holistic thorough study books toys thesis is D. Popova. It has formed a project typology books toys based classification capabilities: didactic type design form (knyzhky- encyclopedias, books, alphabet books, tables, coloring books, books with graphic elements and tasks), touch type design form (m ‘ what books toys, Finger toys books, knyzhky- donuts, audio books, toys); logical type (books, puzzles, books on the playing field maze, books, puzzles, books, tables, books with similar graphics and design elements); design type (books, puzzles, books, applications, books, craft books, designers); communicative type (accordion Book, Book panorama, book-spinner, Book prank) [9]. However, it should be noted that the typology made only for children’s books and toys based mainly on functional and design features, materials and technology specified. Thus, there is need to develop expanded typological and morphological system for children’s books in general. The aim of the study is to develop a typology of children’s books. Presenting main material. The determining factor typology - a way of presenting information. Thus, we can speak of three kinds of formats children’s books in the way of presenting information: printed, electronic and alternative, reproducing the same reality - the book, but in different ways, and there are some forms of knowledge. Each species is unique for specific materials, process and artistic and compositional patterns of structure images. Print, electronic and alternative formats for publication dominant functional features divided into subspecies: teaching and learning, playing, creative modeling publication. Educational and informative publications - a subspecies of book publishing, covering issues of organization of productive training activities. Designed for different age groups, it enhances cognitive interest (by function gradually uskladnyuyuchys) in new structural forms and teaching tasks. The basis of knowledge of the world is also a child game. Therefore, in the improvement of children’s book editions feature game takes over the spotlight among others. The emergence of the new features justify the isolation of a new subspecies of the printed edition format - game publication. Game Edition - a subspecies of the children’s book that has a special constructive form and is characterized by the dominant gaming feature, besides educational and informative. Game Edition is an effective means of intellectual and aesthetic development of children; serves to implement the child’s needs in the gaming activities caused by mental and physical features of the age. This subspecies has a special system of graphic and structural organization of the newspaper, with various additional elements (inserts, volume or remote forms, cutting, substantive amendments, figured trimmer). The presence of these additions makes it materialized, which causes the child to react with active game book. It differs from the teaching and learning of children’s books is available game elements (some toy characters work, sound and noise modules, tactile inserts). Atypical forms of children’s books as specific semiotic signals providing informative publication, enhance its functional quality [8]. The desire of the child to explore new activities (graphic, employment) purposeful, planned nature led to the creation of a new subspecies - creative simulators publications. Tvorcho- edition modeling as a subspecies of publications aimed at developing modeling and practical abilities of the child, various forms of creative activity, the formation of a child’s various abilities and skills. Cognitive-learning, playing and creative edition modeling is an important tool of development, integrating the child in an active process of knowledge of the world, play an important role in the socialization and establishing moral norms, rules of conduct and interaction with other people. Each design features for the subspecies is divided into groups, determining the specifics of each type of media. Printed edition format - the kind of children’s books, printed work, executed in the form of bonded or fastened sheets of paper which reproduced text and / or graphic. Printing for it is the main way of information. Printed educational and informative publication divided by the design of such typological groups: book-code and card book. The oldest form of constructive (I c.) Is knyha- Code [6]. For centuries, a common form of the book is a block code in the form of parallelepiped bonded sheets with one side protected cover. In the process of creating a new Code gradually approved formative process - folding, which today is one of the key to create the printed book design. Already eventually appears also created a special punching and curly shape code. Technical Object Code form, size, strength, method of fixation, thickness, and the ability to flip pages with printed texts and illustrations representing the book as a specific spatial system with its laws, internal organization [6]. 127 In the XVIII century. Card was launched publication (cognitive-table book of the German educator Friedrich Bertuhy «Illustrated book for children») [2]. Such publications are different from other design: a sheet of typed and printed separately, not zshyvayuchys in the book, each sheet has a complete graphical composition. This allows you to allocate a separate typological groups - Card edition. The main difference between the book card is that its pages are some cards that can connect and disconnected. For structural and functional features printed publications submitted knyhoyu- game designer and book-transformer. The book-designer typological group game as the print edition allows to compose a coherent picture of the individual components using various combinations. Design features implemented in these typological subgroups: book-puzzles, knyha- mosaic, book-magnet. Book-puzzles - a publication that consists of a number of individual structural elements assembled state have a holistic view and compositionally combined image. In the initial stages of designing puzzles in books skomplektovuvalas only on certain pages. Later designs books, puzzles significantly aggravated, acquiring attributes skladachky (puzzles). Pages books, puzzles built as a single puzzle when connected pages formed an integral composition, illustration only (unilateral or bilateral). Knyha- mosaic consists of individual parts completed with a mosaic. Connecting parts together ensures the creation of a holistic picture. Book Magnet - release in the form of a magnetic field with special chips that are attached to the surface of each spread book. Easily rearranging and recording of complex chips due to lack of anchorage allows them to be used on any metal surfaces. Idea Book transformer is shaping three-dimensional structures through the transformation of the plane of the sheet by means of folding and / or bending. Book transformer is divided into the following subgroups for the typological design of the book, accordion, book-panoramki, knyha- tunnel. If the traditional publishing each page is linked to radicular one side of the block, in the books of the accordion- pages are combined with other parts in two or more places. Knyha- accordion can be represented as a shyrmochky and used in the game as the scenery. Among the unusual designs, accordion books - pages that unfold in different directions, resulting in a large sheet. The next subgroup is typological book-panorama. The design feature of these books is that spreads in the book- panorama image revealed as a complex form configuration. These figures constructed, pasted or inserted so that when you close the book they are made and become flat. Manufacturing technology is quite complicated, because by means of additional operations - print volume parts, cutting, pasting or inserts them into the book block. Select the flat and relief and bulky book panoramas. To include flat and relief knyhy- panorama in which pictures may be nominated or be «hidden» under the curved elements. By volume books, panoramas - panoramas in 3D-format. The first paper was dated tunnel middle of the XVIII century. and became the epitome of theatrical scenes [7]. The design feature of the book-tunnel - cut inside, which is visible through the images on other pages. This usually several plans landscapes or portraits. The word «tunnel» in English means «a hole». Stratification of the book gives the impression of a three-dimensional space. Today, seeing a trend of creating complex structures Book tunnels that have parts that rotate. Creative-modeling of the printed edition format divided into the following typological groups: knyhu- craft and coloring book. The book-samorobtsi incorporated elements of work (paint, cut, glue, assemble). To book samorobok- story attached drawings and tools (scissors, glue, cardboard, brush, paint, thread, needles, needles, beads, etc.) which have special packing. Knyha- coloring develops the child’s activity, combining mental and physical activity. Mastering of drawing skills and abilities associated with the development of volitional qualities as diligence, perseverance, endurance. For coloring books using the principles of accessibility and visibility. The principle of availability is expressed under the figure age peculiarities of children. The principle of clarity - in particular feed image when available display color original. Coloring book may include additional elements (stencils, stickers, pencils, markers). Printed edition format as the most common old and has a large variety of species, including differentiated by design features. The end of the twentieth century. characterized by intensive development of information technologies (computers, mobile phones and so on.) that directly influenced the shaping features of children’s books. In consequence, to replace the usual format printing electronic edition comes. At different from the traditional print edition, which has a certain financial structure, electronic - information quo. Electronic editions printed radically different from the way you present the information to the consumer. As the lexicographical sources «electronic publication» - is electronic text, broke editorial and publishing process, and may also contain graphics, language, music, video - and photo fragments that together constitute a complete product [4]. Thus, the electronic edition format - the kind of children’s books, self-finished product that contains the information provided in electronic form, and is designed for long-term storage and reuse. Electronic Edition is one of the most characteristic information and artifacts globalized world. A related perspective on the semantic content of the book as an electronic content. The use of multimedia components, sounds, snippets of video and animated elements in the main publication contributes to a better perception of the information submitted. Thanks to new technology electronic edition includes elements and interactivity with the user information of the author (readers) [10]. Electronic publications stored on any electronic media - magnetic (magnetic tape, magnetic disk, etc.), Optical (CD-ROM, DVD, CD-R, CD-I, CD +), and published in the electronic computer network . Because electronic format publication - this independent product component and other electronic resources. Electronic publication, in turn, includes the following subtypes depending on the specific presentation of information: 128 audio edition, multimedia edition, an interactive publication. Audio edition (soundtrack (Greek. Phone - Sound and gramma - letter, writing)) - format publication of material recorded on the sound medium fluctuations (speech, music or conditional signal). Audio release includes verbal essay, voiced by professional actors, narrators or authors, recorded in digital format; often this work is educational and informative nature. Audio divided by publication of material information media: audio edition on the disc, the audio edition on cassette tape, audio publications on CD (CD or DVD). All audio media applications can be called several types: 1) using stationary equipment where books move the listener does not occur or are insignificant; 2) using a portable (portable) equipment; 3) combined with the use of equipment such as a book written to a CD or hard disk player. Multimedia publishing - subspecies of e-book edition, containing classified material that has passed the editorial and publishing process, combines traditional static (text, graphics) and dynamic information of various types (music, video snippets, animation, etc.) influences simultaneously in several senses recipient (organs of vision and hearing). The main carrier of information such publication is a CD or DVD drive. For the production of multimedia books using all components of multimedia: video, 3D animation, digital graphics, text, audio and voice support [4]. The combination of different media in a multimedia electronic edition is its main feature provided by the relevant software. In addition to teaching and learning functions such publications performs subspecies and gaming. The emergence of new technical capabilities and progressive development of information technologies provoked noticeable change in the interaction between book and reader, through which there is an interactive publication. Formation of interactive media in this way gives rise define them as a subspecies electronic. Interactive Edition - subspecies electronic format publication that has a non-linear structure to provide information that allows you to take part in building a children’s book content directly interacting with the display means. The publication contains illustrations of this kind of interactive elements and games for children. Interactive edition provides access to the virtual reality with the ability to interact with its characters [3, 5]. That is an interactive book enables the reader to do things (change the font, background text, sound control, open-close images, and use the navigation links, etc.). Therefore interactive edition covers all the functional diversity of performing creative modeling, gaming and educational and cognitive tasks. Thus, the transition to electronic publishing interactive audiovydan led to the development of a new type of format publication - alternative. At the beginning of. children’s book has been widely used in the design of industrial products and elements of the environment as an idea, image or design and is due to their transformation. At the beginning of. the transformation of children’s books in the subject-object spatial environment, becoming a source of inspiration for designers. The appearance of furniture, household furnishing and decorating tools are based on children’s books imaginative solutions, substantiated the need to distinguish a separate type - alternate format publications. It significantly offset by teaching and modeling tvorcho- and cognitive function, and games sold in new unusual structural forms. Alternative format edition (alternative - the need to choose between two or more opportunities that are mutually exclusive) - three-dimensional realization of children’s books into the objective environment. Specificity alternative format publication that it becomes the object of industrial design or design environment (exterior, interior, landscape), losing the features of traditional publications. Therefore there is a need the following subtypes: book as an industrial product like book element environment. Alternative format edition is formed in two ways: 1) by transforming a constructive solution; 2) by interpreting the content and imagery of information. Transforming children’s book based on a constructive solution is based on the use of recognizable elements of traditional print edition, the book block spine, pages. But with this loses its basic function - information. The central image is, the creation of which is directly related to matters synthesis of space, design, shape, material, light and color. At the heart of the creation of the book as an industrial product is the idea of the structural transformation of the book and its main structural elements: images, text and design (lamp-book, the book bed). Interpretation and imaginative content and presentation of information is realized through bulk artwork created by the subjects of the environment. For example, it could be a restaurant for children, children’s playground, the landscape in which the dominant three- dimensional elements is illustrative content of the book (the park «Alice in Wonderland»). Alternative format edition represents a completely new concept model of children’s books, especially in terms of structural design solutions, the role of text, illustrations and their functional problems in the perception of the reproduced image. Conclusions. Children’s book developed by typology divided into three types according to the method of presenting information: printed, electronic and alternative format editions. Print format publication, designed as a bonded or fastened sheets of paper which reproduced text and / or graphic. Electronic publication contains information provided in electronic form. Alternative format - three-dimensional realization of children’s books into the objective environment. Each of them by functional features divided into the following subtypes: teaching and learning, creative modeling, game. Printed educational and informative publication for design features divided into typological groups: book-Code card book; creative-modeling - Coloring book, the book-craft; game --book designer, book-transformer. Electronic edition includes the following subtypes depending on the specific presentation of information: audio edition, publication and interactive multimedia. Alternative format edition includes: book as an industrial product book as an element of the environment. Alternative format edition 129 is formed in two ways: the transformation of constructive solutions and a content of fine integration of information. New technologies now allow to expand the functionality and design of children’s books; the emergence of electronic and alternative formats edition marked a new era in the design of children’s books, and thus its formation process will develop further.

References 1. Vodchits S. Aesthetics proportions in design. The system of book proportions / C. Vodchits. - M.: Technosphere, 2005. - 416 p. 2. Gankin E. Children’s book yesterday and today / E. Gankin. - M.: Education, 1988. - 311 p. 4. GOST 7.83-2001. Electronic publications. Main types and output information. - Introduced 2002- 07-01. - Moscow: Publishing House of IPC Standards, 2002. - 12 s. 5. Interactive Book [Electronic resource] // Wikipedia. - Access: http://www.ru.wikipedia.org 6. Kasyanenko K.M. Genesis funktsіonalnogo formotvorennya dityachoї books / K.M .Kasyanenko // News mistetstvoznavstva. - 2012. - № 26. - S. 78-85. 7. Kasyanenko K. Genesis functional shaping children’s book / K.N. Kasyanenko // Bulletin art. - 2012. - № 26. - P. 78-85. 8. The book tunnel [electronic resource] - Access: http://www.popularkinetics.com 9. E. Ogar Children’s book: Problems publishing training: teach. guidances. [for students. HI. teach. bookmark.] /E. Ogar. - LA: Az-Art, 2002. - 160 p. 10. Popov D.M. Children’s book-toy as a developing design form: Author. Dis. ... Cand. Art. : 17.00. 06 / D. Popov. - M., 2013. - 20 s. 11. Black A. Rationale technical feasibility of electronic scientific journal / O. Black, S. Romanenko // Engineering and educational technology in electrical and computer systems. - 2013. - № 3. - P. 7-28.

Summary Yefimova M. Types of children’s books The children’s book typology, which is based on the main methods of information presenting (printed, electronic, alternative) is developed in the scientific article. It is formed the typology, in which the species (by way of information presenting), subspecies (by functional features), children’s book groups (by structure) are presented. Key words: children’s book, types, species, subspecies, group.

Received 10.11.2014

UDC 7.071.1 Y.M.Hulyanych

BOGDAN KOTYUK: RESEARCHES AND PUBLICISTICS

The combination of art and science, performing and pedagogical and educational practices, engagement in public life problems, promotion of cultural heritage of past eras - is not a complete list of areas composer Bohdan Kotyuk. However, many iconic figures in music is that his talent and multifaceted activities cover different types of cultural work. Arts coryphaeus of Ukrainian monumental choral and symphonic art S.Lyudkevych impossible without research activities and the study of Ukrainian folklore; his teaching work was inextricably linked with the aesthetic and philosophical understanding of the achievements of national musical culture. Famous modern Ukrainian composers (B. Liatoshynsky and A. Kos-Anatolskyi) were not only creators of monumental symphonies, ballets or operas, but also well-known teachers, musical and public figures, and even professional lawyers. One of these is B. Kotyuk whose creative, journalistic and educational activities constitute a great national culture page. Composer future teachers while studying in Lviv conservatory on musicological faculty were S. Lyudkevych (instrumentoznavstvo and folk art) and A. Kos-Anatolskyi (polyphony opera and drama). Art and Cultural palette of composer B. Kotyuk impressive versatility. He is constantly working to improve their own works of the repertoire and led by teams and individual performers, acts on stages around the world, promoting the pearls of world art and their own work. In modern Ukrainian music artist active position is one of the defining features. The evolution of aesthetic thought, the arts, artistic value and scientific principles indicate a permanent change of emphasis in the priority of one or another kind of human activity. The logical mindset competing with unregulated creative thought. A landmark in this regard were ancient times, the Renaissance and especially the twentieth century. For modern Ukrainian music is peculiar coexistence and complementarity of the two types of thinking. This peresvidchuyemosya analyzing the activity of some representatives of the world of music, which are significant figures in modern society. The combination of scientific and creative activity is so common factor that sometimes it seems more natural thing than the concentration of Representative of the music world solely on the artistic or scientific processes. Through research artist acquires appropriate technical basis for his work, expanding their own artistic imagination, makes an 130 empirical process element controlled rationalism. It is through research B. Kotyuk deepen their knowledge of music psychology and sociology, which helps address the ongoing focus of his art. The article is to outline the scientific and pedagogical practices and journalistic activities B. Kotyuk, outlining research interests as a wide range of historical and operation of multi-colored spectrum of music. In the work of B. Kotyuk intuitive process of forming sound palette is constantly controlled logical expectation that has resistance to a specific scientific basis. Therefore, research in different areas of music every composer stimulate the creative process. It is significant that even in school years are not performing, namely research activities (not competing, but complementary to each other) formed the artistic image B. Kotyuk. Scientific work constantly accompanied by artistic creativity, which would aesthetic or historical trends in the field of music is not treated as a focus of the researcher. A deep interest in music theory, including its revolutionary development in the twentieth century., Gave impetus to the emergence of a number of scientific papers presented at national and Union scientific student conferences. The main topics of these reports - Theory P. Hindemita basic tone, serialism A. Webern, two types of musical drama and logic shaping originating in the German and French traditions. Such research interests supported by thorough study of compositional technique. Custom searches were based on the artist’s desire to go beyond the established classic formal stereotypes. Accordingly - scientific base made it possible to grasp the essence of innovation in shaping and musical drama that went beyond the traditional functional system of major-minor and harmonic linearno- ladovosti. Companion research is pedagogical practice. Teaching music-theoretical subjects in music schools in Lutsk and Lviv have created to systematize previously acquired knowledge on the theory and history of music and the essence of deepening educational process always raises a number of problems didactic and psychological nature. Therefore appeal to the problems of musical education, those concepts that consistently embodied in the life of the outstanding teachers of the twentieth century. C. Orff, D. Kabalyevskyy, Z. Kodai became a logical continuation of research B. Kotyuk. His ideas he sets out on the basis of international experience, but through rethinking and adaptation to national type thinking. Among individual techniques composer vypratsovuye own children’s music education system, embodied in the work with children one of the secondary schools of the city. The core of this concept is to attract students to the art of conventional, not musically gifted children. Its main provisions are declared by the composer at many scientific and methodological meetings, including the UNESCO International Conference on musical aesthetic education of children and youth [6]. The musical part of the concept of child education B. Kotyuk art illustrated examples and practical exercises based on Ukrainian folk material. Didactic plan awakening interest in folk art intertwined with scientific research in ethnogenesis. The researcher-teacher reveals the origin unfixed music tradition. One of the most important cultural phenomena - folklore, its origin and transformation - he considers the plane Kunsthistorisches understanding of reality and social relations. The issue of fixing of folk art in his conceptual vision is dependent on the level of scientific and technological progress of society and the awareness and intelligence of its individual carriers within a particular community. Research of folklore at theoretical and practical levels composer started back in college years. The problem of proximity and differences between such phenomena as mass culture and folklore, popular music and estradyzovanyy type of folk art that cultivated during the Soviet era called amateur, was constantly at the center of his attention. Definition conceptual differences between the manifestations of collective artistic activity of people and disclosure of the process of musical creativity becomes the object of aesthetic studies B. Kotyuk, the theme of his public utterances. Publicity cultural figure - something natural. It has always been the mouthpiece of social ethics and ideology. Publicity plays an organizing function and composer in practical dialogue with the performers and the audience. This factor helps establish contact between artist and audience. When communicating with a person in a professional layout music, accompanied by the composer’s artistry and accessibility expression - not only music but also verbal (public speaking, lecturing) - always cause public approval. Music criticism, journalism and journalism in the Ukrainian informative space-occupying while not leading position. These realities largely characterize the social, economic and cultural stage of modern Ukrainian state. But public confidence in the professional opinion that is expressed publicly, is undeniable. In general, despite the widespread nihilism in the modern world, the credibility of expert opinion - one of the most important trends in contemporary Ukrainian music. It is well aware not only representatives of academic art, but mass culture. The desire to influence its own initiative on forming the cultural environment in the public space of many Ukrainian representatives of creative professions encourages cooperation with NGOs, to work in the executive and legislative authorities. It is no coincidence is the appearance in Parliament idols of pop and rock, as O. Bilozir, Lyzhychko R., S. Vakarchuk. Ukrainian musician, composer and artist in general, as a promoter of cultural values, seeks to realize their artistic ideas. So the creative process musicians often combined with organizational work. On their initiative and with the direct participation held various festivals and competitions, cultural advocacy action, international art projects. Artist, with all its multifaceted interests primarily interested in the emergence and existence of the phenomenon of the musical matter. This is the facility that constantly examines him at all angles. Problems of individual styles and trends of music B. Kotyuk concern not only in definitions. As part of the city of Lutsk and Lviv lectures composer for many years conducted series of public lectures. Analysing the creative process and the phenomenon of formation of musical matter, he considers everyone equal attention (regardless of style or direction) sample of the artistic interpretation of 131 reality [3; 53]. In their speeches on the radio, television and in the press Kotyuk repeatedly explains the essence of the phenomenon. For example, in Saturday radio «Musical orbit», next to familiarity with samples of popular culture, the composer always takes the opportunity to own observations regarding the presence of folk prototype to the music, which occupies an intermediate position between authentic folk art and music copyright text. It exposes deep evaluation and testing of the broadest layers of modern pop music and new musical trends, in particular - «Big beat», «rock music» and «fusion.» Each of the areas researcher describes the angle value traditionalism and innovation. Social orientation of music, its components that affect human psychology, constantly the focus of the researcher. A special place in the scientific quest BA pays Kotyuk analysis components of aesthetic and technological points that define the style of each of the areas of musical life. In his remarks associative line traced historicism in assessing individual phenomena of music. Consistently exploited in journalism Kotyuk associative historicism gives rise not only to adequately assess different genres of musical style in contemporary popular culture, but also to correct dysponuvannya of music in the spiritual hierarchy of values. A comparative analysis of the effectiveness of music perception at the level of public awareness scholar repeatedly draws parallels between the works of contemporary pop culture and some classic examples of the works of composers and music by the manifestations of life that occurred in the second half. XIX - early XX century. Kotyuk is conclusive observation on the perception of the listener on an emotional level different styles, time and place of origin of the appearance of such works as «Pacific 231» (1923, Paris) Oneґґera A., «Time, forward!» (1965, Moscow) G. Sviridov and «Birdland» (1977, Hollywood) Zavinula J. (Joe Zavinul). The effectiveness of the impact of musical imagery lies not in stylistic traits or characteristics of the genre, and the energy of the sound fabric - impulsivity composer statements. Some aspects of scientific studies B. Kotik describes allocation problems effectiveness and impact of art,and particularly music in aesthetic education of the younger generation. The focus of the composer - the impact of the sound environment in which spend their free time, young people and the role of traditions that need to inculcate it to preserve and strengthen the quality of national gene pool. The researcher concludes that active assimilation of human gems of folk art at a young age is indirect influence through her music life. Important role in this played by fashion and natural nihilism in respect of each subsequent generation previous. It is this dialectical law «denial - denial» (Hegel Negation der Negation describes the structure of any development at all) Kotyuk their methodological advice for educators and teachers to use the younger generation offers as a factor of pedagogical influence. Thus, the concept of music education included time taking into account passive psychological adaptation informative young man in space. This factor can not be ignored, because the impact on the process, and even better - manage, solution simplifies the definition of aesthetic inquiries and artistic landmarks of the younger generation. In their speeches, journalistic researcher emphasizes the positive role in the formation and consolidation of national consciousness of youth through creative perception of youth teams (VIA), using folk themes and folk motifs. Composer, teacher delves into the world of early music and emotional impressions and experiences of young people. He argues that at the stage of the first child’s contact with any musical environment begins to take shape and gradually confirmed relationship to the creative process, and with it - and the attitude to national traditions at the subconscious level. Will it positive? - Depends largely on the music teacher [3; 55-56]. An important influence in directing research interests Kotyuk had his citizenship. His deep interest in the history of culture, in particular the Ukrainian, combined with public activity, has led to the implementation of ethical and patriotic values and systematic popularization of the cultural heritage of our nation far beyond the homeland. An effective instrument in this area has become a scientific and artistic contacts with musical organizations around the world, especially in the framework of the International Association Vaґnerivskyh companies. Workaround artistic contacts, we note the role of research performed composer in the history of popularizing the cultural life of the city. Attention researcher concentrates on the musical history of Lviv, the Church’s role in the professional development of musical culture of the city, the weight prominent figures who had significant influence on the artistic environment of the ancient city. His scientific exploration of the history and role of individual arts organizations in the cultural life of the city Kotyuk B. bases on a detailed study of archival materials. This information involves it in order not only justify its piyetetnoho attitude to culture and history but also scientific reasoning okremishnoyi of the role played by the Lions as a cultural and artistic capital of Ukrainian lands. This line is a combination of facts from the history and culture of the patriotic attitude continued and got together with prominent German artist and writer culturologist G. Schramm [11]. Bright line through journalism B. Kotyuk is the idea of «Building bridges» between Ukrainian and European nations. Positive attitude to foreigners Ukrainian culture researcher and publicist treats not as a complementary phenomenon as a manifestation of the traditional rights of European diplomacy and understanding ancient traditions of tolerance. Not coincidentally, in the epigraph of his book in Ukrainian «With Murad in Ukraine» G. Schramm editor expresses gratitude Kotyuk B. «His efforts laid the fundamental stone of this bridge.» Spiritual Building bridges between peoples and cultures is possible (according to the artist) based on the deep study of history, culture and spiritual traditions. This is the way of progress, mutual path to understanding not only between individuals in different cultures, but between peoples. With debugging intercultural contacts and relevance to the world of musical professionalism associated activity Wagner Society. Honorary members of the Lviv branch of the Company are outstanding individuals - in particular, one of the greatest opera singers of our time I. Malanyuk. These are the artists create the image of Ukraine in the world of theater podiums. 132 Deep analysis of the life and the works of Malanyuk and compendium of the components that create the world of music and theater art in the twentieth century., Became the object of scientific research in the fundamental application publisher and editor B. Kotyuk the «Autobiography singer» Ukrainian language. The range of tasks that solves editor conveying the original German text singer is not limited to the achievement of stylistic integrity or quality essentially translated content. The goal, which set a Kotyuk publisher, requires solving philological problems, in particular, solving the dilemma morphological or phonetic transcription of proper names and names. Great importance is attached with the culture of the language in the transmission of different types of stylistic nuances in speech translation. Moreover - for the first time in Ukrainian musicology perspective formulated accurate reproduction Ukrainian vocabulary and terminology in compliance with the standards of spelling Shakhmatova A. and G. Holoskevycha [2]. Particular attention both scientific and literary editor of the Ukrainian translation Kotyuk pays transfer Diverse style of expression that characterizes the German author - quotes from the press; a brief statement pointed ironically own thoughts and observations singer; colorful, emotive citation of speech prominent figures in European musical culture. I. In the German original Malanyuk each of these types of expression carries independent artistic and literary expressive figurative imagery as typical citations and reproduction in Ukrainian special professional manner while trusting the story about the events of their lives, which is the singer in his autobiography in German . Special attention deserves scientific structure section in this publication. Editor and publisher created the original directory in which the Ukrainian reader can glean information about the cultural and artistic authority in the world of music, which became a stronghold for the preservation and development of traditions of professional opera and concert life. This is not the only source of such information in the Ukrainian musicology. Scientific publishing and editorial nature of the work that had Kotyuk B. puts publication of the book «Il Malanyuk. The voice of the heart «one of the fundamental research level opera. This is another bridge built research efforts of the artist between Ukraine and the world. The last 50 pages of said book - comments section and that is the result of deep research work in the field editor and reference encyclopedic presentation of the most important facts in the opera of the XX century. This material is a unique phenomenon in the Ukrainian musicology. Consequently, as a result of scientific research uncovered numerous links to sources of professional artist samovyznachenosti. A survey of concert performance, scientific, educational, social, educational and promotional activities composer created a complete image representative of the modern Ukrainian art, its versatile musical activities represent Ukraine in the world.

References 1. T. Ram instrumentalism Bogdan Kotyuk in the light of the triad «composer - performer - listener» / T. Ram Studio of art. - Part 6 (10) Theatre. Music. Cinema. - K., 2005. - P. 27-32. 2. Holoskevych G. Spelling dictionary / G. Holoskevych. - New York - Paris - Sydney - Toronto - Lviv, 1994. - 460 p. 3. Hulyanych Composer J. Bogdan Kotyuk. Facets of creative personality / Y.M. Hulyanych. For science. Ed. T. Ram. - LA: Posters, 2008. - 159 p. 4. Kapustin Y. Musician and publyka / Y. Kapustin. - LA: Knowledge, 1976. - 40 p. 5. Kotyuk B.M. Raising national awareness in students based on folk songs / B.M. Kotyuk // Materials of scientific- practic. Conf. «Folk song in the musical education of pupils» / Ukr. Cultural Foundation. - L., 1990. - P. 23-28. 6. Kotyuk B.M. Do you like Wagner? / B.M. Kotyuk // Ukrainian music: Science. Journal, 2 (8). - L., 2013. - P. 74-78. 7. Kotyuk B.M. Strength «Ring» or the king and Society / B.M. Kotyuk // Ukrainian music: Science. Journal, 4 (10). - L., 2013. - P. 56-66. 8. Kotyuk B.M. national anthem and other symbols / B.M. Kotyuk // Ukrainian music: Science. Journal, 2 (12). - L., 2014. - P. 80-96. 9. Malanyuk I. The voice of the heart. Autobiography singer / I. Malanyuk // Red.-uporyadn. B. Kotyuk. - LA: Collegium musicum, 2001. - 306 p. 10. Syuta B. Problems of organization of artistic integrity in Ukrainian music etc. Pol. XX century / B Syuta. - KA: IMFE them. MT Rila. - 2004. - 120 p. 11. With Scar G. Murat in Ukraine / E. Scar // Collegium musicum. - LA: Posters, 2004. - 94 p.

Summary Hulyanych Y. Bogdan Kotyuk: researches and publicistics In the article the mover of art Y.M. a competition between logical type of thinking and nerehlamentovanistyu creative thinking, scientific and pedagogical practice Bogdan Kotyuk, publicity composer as cultural figure, the problem of efficiency transformation of art and musical tastes and examines intercultural integration processes and professionalism in journalism scientific statement. Key words: art, composer, journalism, culture, style, folklore.

Received 15.11.2014 133 SECTION III. CULTURE AND SOCIETY. CULTURE PROFESSIONAL SPHERE OF ACTIVITY

UDC 904:7.32(929) K.M. Gamaliya

ROSTOVTSEV AND HIS ROLE IN THE HISTORY OF HOME AND WORLD ANTIQUITY

In recent decades, returning to the national science points names of its representatives, achievements which for various reasons (arrests, emigration, repression) for years were removed from it. One such famous names owned by Zhytomyr native M.I. Rostovtsev. Mikhail Rostovtsev - comes from one of the provincial families who provide world personalities who have had a significant impact on the course of its history (Vladimir Ulyanov, Alexander Kerensky, A. Lunacharsky, etc.). They, obscure noble familiy members, to achieve a certain status in society could only help public service. M. Rostovtsev great-grandfather, Paul, a merchant from Rostov the Great (the name came from), belonged to the lower middle class urban estates. Grandfather, James P., thanks to the reforms of Alexander I, which allowed people to study at universities in the merchant class, was able to get a university education. Working as a teacher, and later - the director of high school, he was promoted to the rank of privy councilor and in 1833 the family received nobility. His father, Ivan Franko, who also served as director of high school, he retired with the rank of actual privy councilor, in line with general’s rank. Sam M. Rostovtsev was elected to the Russian Academy of Sciences, for the table of ranks is also equal to the rank of general. As E. Frolov, «life Rostovtsev, is remarkable in itself, interesting also as a kind of mirror, which reflected the fate of an entire social group - Russian bourgeois-aristocratic intelligentsia late XIX - early XX centuries» [19; 145]. M. Rostovtsev was born in Zhytomyr on November 10 (October 28, Old Style) in 1870, becoming the sixth child in the family (there were only 8 children). «Childhood and early adolescence - he recalled - I held in Kyiv, in southern Russia, where he received his early education in the First City Gymnasium, old-fashioned, but thorough education institution» [8; 174]. In this school, which over the years led his grandfather and father, studied famous figures of Russian culture XIX-XX centuries: M. Gay, F. Zelinsky, Shulgin, E. Tarle, A. Lunacharsky, Mikhail Bulgakov. From his father, scholar by training, M. Rostovtsev inherited a love of ancient history and classical philology. In high school, he wrote a school essay «Roman provincial administration in the time of Cicero,» which won for them. Pirogov. Even in this first work he presented a long history, paying special attention to the problems of government and based on two aspects: information on the socio-economic life and the results of archaeological search. In his subsequent scientific career, he also gave these two aspects equal attention. After graduating in 1888 from high school with a silver medal, M. Rostovtsev same year he entered the historical- philological faculty of Kiev University St. Vladimir. Student Interests Rostovtseva divided between Russian history and classical philology. By its history attracted primarily lectures and publications V. Antonovich (1834-1903 gg.). Classes are organized in the seminary where Antonovich developed methodological approaches to mastering the prehistoric and historical material of southern Russia allowed the presence of M. Rostovtsev understand organic communication history of the ancient and the new. Courses and seminars prof. Yu Kulakovska (1855-1920 gg.) Influenced the choice of M. Rostovtsev socio-economic orientation in the history of the ancient world. Labour prof. Kulakovska on the history of Rome and the study of ancient monuments of southern decorative painting, M. Rostovtsev prompted to create the following years several works in these fields [2]. In 1890 his father, I. Rostovtsev, was appointed trustee of the Orenburg educational district, the family had to leave Kyiv and on September 1 of that year M. Rostovtsev transferred to the third course of History and Philology of St. Petersburg University. Through the influence of new teachers, including F. Zelinsky (1859-1944 gg.) And N. Kondakov (1844-1925 gg.), It was made a final choice in favor of classical philology and history of Rome. The lectures F. Zelinsky M. Rostovtsev learned the concept of classical philology as a science, which continue to hold back and picked interest in the general problems of cultural studies. N. Kondakov seminars on the history and theory of classical art instilled MI Rostovtsev interest in archeology, to recognition that understanding is based on the ancient history of archeology and classical philology. While studying at St. Petersburg University, M. Rostovtsev wrote scientific papers on the new excavations of Pompeii, which for life remained his favorite archaeological sites. At the end of M. Rostovtsev was given a scholarship at St. Petersburg University to prepare for professorship. For three years, he, being in Tsarskoye Selo, taught Greek and Latin languages in an urban high school and was preparing to pass master exam. After passing exams, received a scholarship for a three-year scientific trip of classical antiquity countries. Visiting Turkey, Greece, Italy, France, Austria, Spain, Africa and England, he collected material for writing master and doctoral theses. After returning to Russia in 1898, M. Rostovtsev began teaching private-dotsentskyy Latin course at St. Petersburg University and Roman history at the University for Women (Bestuzhev) courses. His master’s thesis («History of the 134 State repurchase in the Roman Empire») was translated into German and doctoral («Roman lead Tesero») received the award from the French Academy of inscriptions and literature. After receiving his doctorate in Roman literature, M. Rostovtsev was appointed Professor of Latin at St. Petersburg University. In 1908 he was elected a corresponding member, and in 1917 - a member of the St. Petersburg Academy of Sciences; in 1914 - a member of the Berlin Academy of Sciences. Petersburg during the life of M. Rostovtsev formed successfully. In 1901 he married SM KULCHYTSKY with whom he lived happily until his death. In their hospitable home often met friends and associates, representatives of national science and culture: the poet Alexander Blok, writers Bunin, A. Bely, by L. Bakst, Alexander Benois, Roerich, Orientalist S. Oldenburg. Constantly growing number of M. Rostovtsev created scientific works, enjoyed recognition in Russia and abroad. In particular, his doctoral work on the Roman Tesero, praised F. Zelinsky. Tesero (from Greek - rectangular tablets) - a carelessly made lead «circles», designed for undemanding Roman public, wrote F. Zelinsky. It has long been known to archaeologists and numismatists, they were not considered worthy of attention monuments of Roman life. Enrich the source of this new science could a young scientist, professor N. Rostovtsev. He realized that to open a new page of Roman history can only examined a large number of the aforementioned «kruzhalets.» In his wanderings, museums, during excavations Tesero he collected or made plaster casts of them, and then classified by series, and they «talk.» First it was copper mark for a bread Roman citizens, which was depicted the head of the emperor (remember that people who give them bread). On the back of Tesero was a figure that meant one of number of stores, which carried out the distribution. When Nero became the lead brand, and a half-century head of them disappeared emperor, because people have well understood who feeds it. Tesero also served as tickets for the theater, organized for the people. If they depicted a man - it was a ticket to fight gladiators, ship - the Sea Battle (navmahiyu) beast - the «» (fight people and animals). There Tesero as tickets for travel by land or sea, to pass on a party board craft or to the bath. As surrogates coins Tesero produced in private farms for internal use labeled the master (of house- office then they can be exchanged for coins public). Thus, M. Rostovtsev be called first researcher of this monument that has become a new source for valuable information about the social and economic life of imperial Rome. [6] It is for this work, translated into German, he was elected to the Berlin Academy of Sciences. M. Rostovtsev was deeply interested in the history of the period of classical antiquity. He created a series of articles devoted to individual cities and states of the Black Sea - Olbia, Chersonese Bosporus. The study of ancient monuments of southern helping scientist to understand the features that Greek art received there. Archaeological sometimes had to conduct search in adverse conditions, wet and cold underground caverns, but the results were worth it. «Kerch and its surroundings - he wrote - the richness of grave monuments ... decorative painting ranks first among other centers of Greek-Eastern culture ... compared to Kerch in this respect can only Rome and Alexandria ... Etruria .. . Monuments to decorative painting go from IV. BC to IV. BC by almost continuous series of «[11; 4]. That is why, he said further, it is necessary to begin a systematic study of Kerch settlements and cemeteries. Just thought M. Rostovtsev, there is an urgent need to expand research remnants of antiquity near Yevpatoria. Here Moinakskoye between the estuary and the sea, with VI. BC there was a rich Greek settlement, surrounded by a necropolis. On the beach there are still the remains of Greek antiquity - fragments of dishes, coins. Many of them died during the construction of houses, but there are still vacant areas at risk of mud construction. What has been done so far in this direction was random and unsystematic. It is time for us to imitate those European countries who value their past and preserve it (France, Austria, Germany). «Building the future, can not forget the past» - he wrote [12; 8]. Among other works on architecture and fine arts of the ancient Black Sea region is of particular interest monographic publication «Antique decorative painting in the south of Russia,» which consists of two parts. The first part describes the monuments on which is posted as art criticism and historical research (reproduced features of religious beliefs, military and even the life of the ancient population) [12]. The second part of the abovementioned work, published by the Russian Archaeological Commission - a great atlas of 112 drawings of tables, which is of particular value because many of them are depicted in ancient art designs now lost. Results of M. Rostovtsev in this area were highly appreciated by his colleagues: the day of his 50th anniversary of Moscow Archaeological Society awarded him a gold medal for outstanding achievements in the study of ancient culture, including classical archeology of southern [4]. An important role in the work of M. Rostovtsev to the problem of interaction between the peoples of the Northern Black Sea in antiquity. In the book «Hellenism and iranstvo in southern Russia,» he gave a popular sketch of the history of the peoples who inhabited the land gradually, resulting in the creation of a specific culture. Slavic tribes inherited this symbiosis of Greek and Scythian-Sarmatian cultures, and thus Russia is involved in world-historical cultural process. This opinion was expressed by a scientist at the end of the book: «the created a new people and a new culture. Two jet: Greek and Scythian-Sarmatian merged, and while he and the other is not filled waves of German, Slavic and Turkic tribes, who were the future. Its culture, but these new nations inherited from its older media and took her to a far north and west «[14; 186]. If the book «Hellenism and iranstvo in southern Russia» has the scientific and popular character, the other - «Scythia and Bosporus» - fundamental scientific research, which was first erected in antiquity and analyzed literary and archaeological sources on the history of the northern Black Sea region in antiquity [16]. Published in 1925 Source study a broad introduction 135 is only the first part of the planned M. Rostovtsev work of the second were scattered fragments stored in its fund in the Central State Historical Archive of St. Petersburg [7]. The work on the book was interrupted by his sudden departure abroad. Liberal in their views, M. Rostovtsev belonged to the Kadet party. The Bolshevik revolution he did not accept, is displayed his view of the revolution in Russia in his essay about the Civil War in Rome, published under the title «The birth of the Roman Empire» [15]. On the example of the Roman wars II-I century. BC He first showed the danger of the army, consisting of people from the lower classes and run by ambitious politicians. Through bold historical parallels, he saw Katylinu Lenin, Trotsky - Clodius, the Kerensky - Cicero, a true revolutionary thought Caesar. The open position of rejection of the October Revolution was a threat to M. Rostovtsev, and in summer 1918 he hurriedly went to Russia, leaving their records, manuscripts, library. After Sweden M. Rostovtsev went to England, where he spent two most difficult years of exile for him. He then received an invitation to the US, the University of Wisconsin Madison. After the five years there (1920-1925 gg.) Moved to a more prestigious Yale University (New Haven, Connecticut). Here he worked until 1939, and then stopped teaching, left the status of professor emeritus. In recent years serious illness prevented him to continue creative work. He died Oct. 20, 1952 in New Haven. M. Rostovtsev, sorokavosmyrichnomu scientist, was not easy to get used to the American way of life. In a letter dated 19 February 1926 to his Russian colleague Alexander Vasilyev vizantyvista (1867-1953 gg.), Who also emigrated to the US, he wrote: «I must admit that American Puritanism and a naive purity of our environment professorship bored me to ... The hell I can not complain about the failure of the success I have, but that such success without proper peace of mind and comfortable life «[18]. Mood sustainable human discomfort, divorced from the usual circumstances, all that was dear to her homeland, felt in his memoirs M. Rostovtsev his teacher, N. Kondakov: «We all were unnecessary for Russia, for which they lived and worked, and those pulling a sad life under the Bolshevik yoke, and those that are NP and I escaped from this yoke. Our work in trampled and forgotten. We have to teach others that continue to believe it necessary and important for Russia «[17; 28-29]. Variously composed of M. Rostovtsev relationships with colleagues - and those who remained in Russia, and those who became immigrants. After Alexander Vasilyev, who until 1935 remained a member of the Russian Academy of Sciences and contacted St. Petersburg scientists Rostovtsev could get out of books, magazines, articles of prints, photographs, correspond with friends, especially with S. Zhebyelyevym (1867-1941 gg.) [15]. Long-term friendships with the latest interrupted in 1928 when, due to accusations of complicity with an immigrant community that had to publish in print repentance statement: «... by the time that M. Rostovtsev left us and took a hostile anti-Soviet position, our ways parted and he ceased to be my ally and friend «[10]. Experiencing for his action, S. M. Rostovtsev Zhebyelyev wrote a letter in which he asked him to forgive. According to Vernadsky son, George V. (1888-1973 gg.), M. Rostovtsev deeply impressed the whole story [5]. In scientific circles of Western Europe and North America M. Rostovtsev name was well known for his writings and speeches at the Congress of archaeologists Athens (1907), Berlin (1908) and London (1913) congresses of historians. His reputation among American and European colleagues constantly growing in the 30-70’s. Turned into a cult. At his suggestion Yale University joined the French started excavation of the ancient village of Dura-Yevropos on the Euphrates, and thanks compatible 10 archaeological seasons, led by M. Rostovtsev, it was studied in detail and called «Syrian Pompeii.» Although from 1970 to 1985 there was some overseas departure from the ideas Rostovtseva, eventually, as noted French historian J. Andrew, «his work became public property and their fair value on them collected a huge amount of information by genius synthesis, because they are an excellent example of what archeology can give history. Arts Rostovtseva is subject historiographical studies carried out more easily that his figure combines bright personality, experience and extremely precise historical ideas «[1; 175]. Much more difficult was recognition of the scientific merit N. Rostovtsev in Russian science. In Soviet times after his departure abroad his name or suppressed, or mentioned in a critical context, and only in the last decade, Russian scientists appealed to explore its rich heritage. In 1989 the Leningrad branch of the Institute of Archaeology of the USSR held a conference dedicated to the memory of M. Rostovtsev, then in the «Journal of Ancient History» began publication of his manuscripts, archives found in [9]. A series of publications E. Frolov opened the paper, which highlighted during the life of M. Rostovtsev emigration and given unrolled analysis of his work. [19] Today there reprint books M. Rostovtsev, are new touches to his life and work. Finally heritage of outstanding scientist in full arsenal returns to national science of antiquity.

References 1. Andro J. Influence MI Rostovtsev on the development of Western European and North American science / J. Andro // Bulletin of ancient history. - 1991. - № 3. - S. 166-176. 2. Borngard-Levin G.M. autobiographical material M.I. Rostovtsev / G.M. Borngard Levin //Bulletin of ancient history. - 1996. - № 1. - S. 170-179. 3. Borngard-Levin G.M. and M.I. Rostovtsev A.A. Vasiliev (new archival materials) / G.M. Borngard- Levin, I.V. Tunkin // Bulletin of ancient history. - № 4. - pp 168-188. 136 4. Borozdin I. Merit Scholars M.I. Rostovtsev / J.H. Borozdin. - M., 1915. - 16 p. 5. Zhebelev S.A. Avtonekrolog / Zhebelev // Bulletin of ancient history. - 1993. - № 2. - S. 177- 201. 6. F.F. Zelinsky new monument to the Roman way of life / F.F. Zelinsky // From the life of ideas (R &popular articles). - St. Petersburg: Aletheia; Logos, 1995. - S. 281-317. 7. Zuev V. Y. M.I. Rostovtsev and unknown chapter of the book «the and the Bosporus» / V.Y. Zuev // Bulletin of ancient history. - 1989. - № 1. - S. 208-209. 8. Zuev V. Y. M.I. Rostovtsev. Years in Russia. Biographical Chronicle / V.Y. Zuev // Scythian novel /Ed. GM Borngard Levin. - M.: Rosspen, 1997. - P. 50-83. 9. Kuklin I.V. To portrait M.I. Rostovtsev (correspondence from A.A. Vasiliev and Zhebelev) / I.V. Kuklin ancient world. Problems of history and culture: Sat. scientific. Art. the 65th anniversary of Professor E.D. Frolov / Ed. I.Y. Froyanov. - St. Petersburg: Publishing House of St. Petersburg. University Press, 1998. - 458 p. 10. PFA RAN. - F 2 - Op. 17 - AD 201 - AL 90. 11. Rostovtsev M.I. Kerch decorative painting and the next task of archaeological research Kerch / M.I. Rostovtsev. - St. Petersburg, 1906. - 23 p. 12. Rostovtsev M.I. Antique decorative painting in the south of Russia: in 2 hours. / M.I. Rostovtsev. - SPb., 1913- 1914. - Part 1 - 1913. - 123 p. 13. Rostovtsev M.I. On the need for an immediate investigation of ancient remains of Yevpatoriya about current and the desirability of founding a local museum in Yalta / M.I. Rostovtsev. - Yevpatoriya, 1916. - 8 p. 14. Rostovtsev M.I. Ellinstvo iranstvo and the south of Russia (overall sketch) / M.I. Rostovtsev. - Pg .: Fires, 1918. - VI, [3], 190 p. (The circle of knowledge. History). 15. Rostovtsev M.I. Birth of the Roman Empire (one hundred years of the Civil War) / M.I. Rostovtsev // Herald of Europe. - 1918. - Kn. 14. - S. 175-232. 16. Rostovtsev M.I. Scythians and the Bosporus. A critical review of the literature and archaeological monuments / M.I. Rostovtsev. - Leningrad, 1925. - VI, [2], 621, [2] c. 17. M. Rostovtsev Pages memories / M. Rostovtsev // Kondakov N.P. Memories and Thoughts /N.P. Kondakov. - Prague: Seminarium Kondakovianum, 1927. - 79 c. 18. St. Petersburg Branch of the Archive of the Russian Academy of Sciences (RAS further PFA). - F. 729. -Op. 2. - D. 18 - L. 101-101 of. 19. Frolov E.D. Fate scientist: MI Rostovtsev and his place in the Russian science of antiquity /E.D. Frolov // Bulletin of ancient history. - 1990. - № 3. - S. 143-165.

Summary Gamaliya K. Rostovtsev and his role in the history of home and world antiquity The article highlights the life and creative path of the Ukrainian born historian, archaeologist and art critic I. Rostovtsev. The value of his researches of the archaeological monuments of Antiquity in Blach sea region is underlined. Key worlds: Antiquity, archaeology, historical monuments, cultural processes, Art studies.

Received 19.10.2014

UDC 726(477)«18»(045) O.V. Bohatikova

ART CRITICISM EXPLORATION OF G. PAVLUTSKYI ON THE PAGES OF «READINGS IN THE HISTORICAL SOCIETY OF NESTOR LETOPYSETS»

The second half of the nineteenth century - the active development of historical science in Ukraine. Significant role played in this process not only individual scientists but also academic institutions, including the Historical Society Nestora- chronicler, the Shevchenko Scientific Society (Lviv), Odessa Society of History and Antiquities, Kharkiv Historical and Philological and others. One of the key was Historical Society of Nestor the Chronicler (ITNL), founded November 24, 1872 Kyiv historians, ethnographers. As noted M. Kolesnik during its existence (1872- 1931 years.) His scientific and public activity not only promoted the development of many important issues on the history of Ukraine and World History, but also the formation of national consciousness and culture. The founder is considered M.Maksimovich (1804-1873 gg.) - Historian, scholar and lexicographer, one of the first researchers of the history of Ukraine. From the inception of its main form of activity was the organization and conduct of meetings (readings) to discuss the research of its members and area of interest was the history of Ukraine. She was covered from the standpoint of positivism representatives of the three schools, «skeptical» («critical») headed by M. Maksimovic, «Left Bank» Alexander Lazarev and «Kiev» («historical»), which was created by Vladimir Antonovich. Leading among them was the last representative school [10; 28-30]. 137 Scientific heritage ITNL mainly reflected in the pages of «Chtenyy historically in society Nestor letopystsa.» M. Kolesnik, carefully examining the publishing activities of the Society, said that his first book was published in 1879, and the second - after 9 years. Since 1888 «Reading ...» began to emerge annually. During the period 1879-1914 gg. Were published 24 books and given that some of them came in several editions, their number will reach 49. The most active and influential members of the Society were such famous scholars as V. Antonovich, Hrushevsky, Ivan Kamanin, A. Levitsky, Alexander Lazarev, Mikhail Vasilenko et al. [10; 28]. In late 1892 a full member of society elected professor of Kiev University St. Vladimir G. Pavlutsky (1861- 1924). However, over the next few years, he did not take active part in its meetings. Active participation in the work of G. Pavlutsky ITNL from the end of 1900, when the meeting of 28 October scientist made a report devoted to art and culture communication (published in the book 15 «Chtenyy ...»). The report stresses the researcher closest connection of art and culture. For him, art is always evolving influenced by the ideas that prevail in society and literature. Customs, philosophy and art merge, the apt expression of researchers, something so common that knowledge includes historical epoch already acquainted with her art. Further, in support of his views, G. Pavlutsky delivers a brief but apt description of the development of art, from the Middle Ages to others. Nineteenth century. So for G. Pavlutsky art is a kind of mirror, which reflected the culture of the people. It stresses that all the thoughts and aspirations that agitated society of different ages, always found themselves in the expression and works of art, so the nature of the ages has always had a reflection on the nature of art of the same ages [19; 83-87]. Most meetings among members ITNL 1902 were dedicated to honoring the memory of Nikolai Gogol. Thus, at the meeting held on March 17 this year, GM Pavlutsky made a report devoted to the writer’s views on art. His study author built on the analysis of articles Gogol placed in «Arabesque» and letters of different years. The researcher stresses that Gogol could not bear to talk about art: it was great quality of worship to works of art. Nikolai Exploration on art, published in «Arabesque» hardly be called scientific that immediately marks G. Pavlutsky. They were written under the influence of German romantic aesthetics, giving drive researcher called it «a follower of German Romanticism.» In understanding the essence of art Gogol, at the discretion G. Pavlutsky, based on Goethe’s thought, picked up the German romantics, believing that «artistic creativity should be regarded as imperative heart.» The theory of the writer is fully revealed in his letters to his friend the artist Mikhail Ivanov and Count Wielhorsky: «An artist can adequately portray only what is due wonderfully with his soul, that he can fill with pure feeling» [13; 304-337]. One іz prіoritetnih napryamіv dіyalnostі ІTNL doslіdzhennya Bulo th receptionists pam’yatok іstorії that culture. W tsієyu metoyu at nomu target spetsіalnu komіsіyu scho organіzuvala naukovі ekspeditsії to Kiїvskoї, Volinskoї, Podіlskoї, Poltava i Chernіgіvskoї gubernіy [10; 29]. Before її warehouse uvіyshli member of Tovaristva - I. Kamanіn, M. Storozhenko M. Bіlyashіvsky, M. Іstomіn, O. Levytskyj, Je Sіtsinsky that G. Pavlutsky. Suchasnі doslіdniki vіdmіchayut digit robot holding ostannіm, schodo rozshuku i fіksatsії pam’yatok arhіtekturi that monumental Mistetstvo [9; 104]. Yak zaznachaє himself doslіdnik, Same yomu Maskovskiy arheologіchnim tovaristvom, filed for head ІTNL AM Dashkevich, Bulo dorucheno vivchennya pam’yatnikіv malorosіyskogo Mistetstvo. The I vzhe vlіtku 1903 p. unіversitet St. Volodymyr G. vіdryadiv Pavlutstskogo for doslіdzhennya starozhitnostey regіonu [14; 1]. Same Grigorіyu Grigorovich suchasnі doslіdnik vіddayut pershіst have viznachennі derev’yanogo religious architecture yak ob’єktu Mystetskyi doslіdu [1]. Rozpochavshi robot over danoyu problems of 1903 p. G. Pavlutsky prisvyati їy than one Year svogo Zhittya. Usі materіali, zіbranі th opratsovanі doslіdnikom protyagom bagatoh rokіv napruzhenoї robot chastkovo have spіvavtorstvі s іnshimi members ІTNL Bіlyashіvskim M. Yu Sіtsinskim V. Scherbakіvskim, oprilyudnenі on storіnkah «Readings in the Historical Society of Nestor the Chronicler» she storіnkah іnshih Vidanov. Protyagom pp 1900-1910. on zasіdannyah Tovaristva doslіdnik acted as іz low dopovіdey obranoї s perspective: «On the wooden carvings and little boys in the southern Russian churches of the seventeenth and eighteenth centuries.» [18; 39- 40], «The earliest evidence of literary works on the construction of wooden churches of the seventeenth and eighteenth centuries.» [17; 40-41], «The image of the temple in the ancient southern Russian miniatures» [16; 3-4], «Pam’yatniki church stone architecture style of« empire »in the Poltava province.» [21; 94-97], «wooden church architecture of the south-western region in the seventeenth and eighteenth centuries.» [15; 21-24], «Old wooden synagogue in the south-western region,» [20; 39-41] toscho. Tsіkavoyu Je tsya Stop rozvіdka G. Pavlutskogo have yakіy vіn nagoloshuє to ensure scho zahіdny style («empire») «becoming spravdі Ruska style»; doslіdnik calling vіsіm pam’yatnikіv tsogo style: Mikolaїvska, Catholic Church Voskresenska Uspenska that have meters. Horolі, with the churches of the Troїtska. Vishniac, Mikolaїvska (m. Romney), Dvi churches in the villages that Єnkah Vergunov Horolskogo povіtu that churches in m. Lubny, zaznachivshi at tsomu, scho «in OAO All Poltavskіy gubernії style temple« empire »zamіnili him derev’yanі Church malorosіyskogo style.» Osoblivostі style G. Pavlutsky proslіdkuvav on prikladі dvoh similar mіzh churches themselves - sobornoї Uspenskoї that have Voskresenskoї m. Horolі: the cathedral church «Got lіpshі antique embellishment zrazka: vseredinі tsієї Church zverhu stіnah for i in kupolі; on kapіtelі pіlyastrіv i barabanі on the dome; kruglі velikі skulpturnі outlet on stіnah portikіv, velikі Wazi have nіshah on zovnіshnіh stіnah toscho. ... I Tsikh style temple «empire» Chastain front facade portico utvoryuє s dorichnimi columns; takі porticos vstanovlyuvalisya troh bokіv z: z pіvnochі, pіvdnya that 138 call; Lower Chastina stіni obroblena Rust, the top - smooth; Colony, rustic, dome - yaytsevidnoї zrazok form on the dome of St.. Peter Rimі ... dorichnі colonies often toil bases - tse rice Ruska «empire» [21; 94-97]. Naprikіntsі leaf fall 1903 p. G. Pavlutsky presenting at rozsud chlenіv ІTNL result svogo doslіdzhennya materіalu, zіbranogo members komіsії s inventory starozhitnostey Reports of Ukraine at the «wooden church architecture southwestern region in the seventeenth and eighteenth centuries.». In nіy vikladenі yogo Look for an hour viniknennya sakralnoї arhіtekturi edge («Rozvitok ruskoї arhіtekturi guilty CCB s Conception of acceptance hristiyanstva at Volodimirі») that її form. Rozglyadayuchi parallel pіvnіchne i pіvdenne sacral architecture, G. Pavlutsky not skhilny їh ototozhnyuvati. Well pohodzhennya Stosovno arhіtekturnih stilіv doslіdnik zauvazhuє scho not zvazhayuchi to those scho pіvdennorosіyska that pіvnіchnorosіyska arhіtekturi nadihayutsya alien forms i vzaєmovplivayut one by one, from їh zhodnomu razі not mozhna nazvati kopіyuvalnimi; ruskі Maistrov not rabski kopіyuvali zahіdnі zrazki and pereroblyali їh Vlasna Rozum insertions that have їhnomu mistetstvі panuvala CREATIVE force KOTRA i zrobila derev’yane architecture pіvdnya that pіvnochі Russie origіnalnim The images CREATIVE genіya. Dopovіd G. Pavlutskogo viklikala Zhvavyi diskusіyu Sered chlenіv Tovaristva, svoї pillows, zokrema, Vislova Florinsky G., B. Іkonnіkov, O. Levytskyj A. Dmitrієvsky, M. Shashkevych, O. Storozhenok V. Zavitnevich [15; 21-23]. Dopovnennya to svoєї G. Reports of Pavlutsky zrobiv on zasіdannі scho vіdbulosya sіchnі in the following rock. Pong stosuvalisya naybіlsh rannіh svіdotstv lіteraturnih pam’yatok about pobudovu derev’yanih church malorosіyskogo type. Especially Dopovіdach uwagi zvernuv on malyunki list Radzivіlіvskogo lіtopisu one s yakih mіstiv The images p’yatikupolnogo temple. Tse gave zmogu doslіdniku stverdzhuvati scho «type malorosіyskih p’yatiglavih church іsnuvav vzhe at the XIV-XV century.» [17; 40-41]. In one Zi schorіchnih zvіtіv dіyalnostі ІTNL od 1908 r. Especially vіdmіcheno Active Robot G. Pavlutskogo have doslіdzhennі ancient Mistetstvo. At the same hour, yak zaznacheno have zvіtі, descho zmіnyuyutsya theme dopovіdey doslіdnika - vіn zvertaєtsya to vіzantіyskogo architecture that namagaєtsya vidіliti Yogo Elements from drevnoruskіy sakralnіy arhіtekturі [12; 93]. «Vіzantіyskimi motives» proniknutі rozvіdki Grigorіya Grigorovich «About vіzantіysky temple Monastir Hori» (zasіdannya kvіtnya 1908 27 p.) [3; 85] nd «About vіzantіyskі traditsії at Ruska zodchestvі» (zasіdannya Zhovtnya 1908 27 p.) [4; 89]. Zhvavyi diskusіyu viklikala characteristic starozhitnostey m. Ostrog, zroblena G. Pavlutskim on zasіdannі lyutomu 1908 at p. Uspіh valued at chlenіv Tovaristva Mali predstavlenі doslіdnikom fotografії ob’єktіv [2; 84]. Uprodovzh 1910 p. vіn filed for rozglyad chlenіv Tovaristva low dopovіdey stosovno style Baroque in Ukraine arhіtekturі «baroque to Ukraїnі: derev’yane church architecture» [6; 89], «baroque to Ukraїnі: kam’yane church architecture» [7; 90]. It should be emphasized that in the course of investigations of the North-western edge of the range of interests of the scientist fell mostly Orthodox churches and monasteries, so special attention in this context deserves characteristic old wooden synagogues region. His research Pavlutsky AG launched the example of the synagogue in Pohrebysche (Berdychesvkyy County) Yarmolyntsi and Sharovtsi (Proskurivska County) Myhalpoli (Letichevsky County Podolia) Mogilev on the Dnieper, in Uzlanah (Minsk province) err (Grodno province). Priority tasks set out Pavlutsky G., was to, firstly, the proof of the impact of secular architecture to build synagogues in the land: «For sample was taken for most beautiful synagogues secular building; this building was a noble house, or a house with a high Gothic roof ... «. Secondly, the detailed description of the architectural ensemble and interior decoration of buildings. Wooden synagogue, according to the researcher, distinguished original architecture «quadrilateral formed by four dark walls, in which high above the ground broken windows wide and crowned this building three-story roof ... Inside a synagogue - a large hall painted; instead of the ceiling - the dome room ... All synagogue pledged benches. Opposite the entrance to the opposite wall is placed «Uren-Coed» - a wooden cabinet or Kyoto; this - the altar, which stores the Torah ... Before the altar is a stage, «Bima», which is a table for deployment in the Torah liturgical days. Here are the choruses». At the end of his report G. Pavlutsky stressed the importance attractions in the region Little history of art, as they are the last, are disappearing at the same time conservative monuments of wooden architecture. Finally G. Pavlutsky urged all those who only can collect and publish pictures of monuments [20; 39-41]. 1909 on the initiative of the Egyptian government in Cairo organized by the Archaeological Congress, participation in which were involved, including scientists from the Russian Empire. [8] University of St. Vladimir among other employees delegated to Cairo ordinary professor G. Pavlutsky [11]. As a result of lengthy trips researcher presented a report on artistic monuments Egyptian capital [5; 27]. Thus, G. Pavlutsky took an active part in the ITNL. The direction of art intelligence researcher remained unchanged over the years - they concerned the religious architecture of South Western region of the Russian Empire. Also remained unchanged researcher look at the problem he was trying to prove autochthonous origin of religious architecture in the region.

References 1. Activity I. Gyrych Kiev Society for the Protection of ancient monuments and the Arts (1910-1919 gg.) And its leaders [electronic resource] / I. Gyrych. - Access: http://www.i-hyrych.name/Kiyiv.Tov.Oxorony Pamjtok.html 2. Meeting of 27 February. 1908 [electronic resource] // CHIONL. - K., 1909. - Kn. 21 - Vol. 3. - Dep. 1. -Access: http://starieknigi.info 139 3. Meeting of April 27. 1908 [electronic resource] // CHIONL. - K., 1909. - Kn. 21 - Vol. 3. - Dep. 1. -Access: http:// starieknigi.info 4. Zasedenie 27 oktyab. 1908 [electronic resource] // CHIONL. - K., 1909. - Kn. 21 - Vol. 3. - Dep. 1. -S. 89. - Access: http://starieknigi.info 5. Zasedenie May 3, 1909 [electronic resource] // CHIONL. - K., 1911. - Kn. 22 - Vol. 3. - Dep. 1. -Access: http:// starieknigi.info 6. Meeting of January 31. 1910 [electronic resource] // CHIONL. - K., 1911. - Kn. 22 - Vol. 3. - Dep. 1. -Access: http://starieknigi.info 7. The meeting of 14 February. 1910 [electronic resource] // CHIONL. - K., 1911. - Kn. 22 - Vol. 3. - Dep. 1. -Access: http://starieknigi.info 8. Kovpanenko N. Role archaeological congresses last third of the nineteenth - early twentieth century. the study of architectural and artistic heritage of Ukraine / N. Kovpanenko // Ukrainian historical journal. - 2008. - № 6. - P. 99-110. 9. M. Kolesnik Historical Society of Nestor the Chronicler and his contribution to the development of historical science in Ukraine / M. Kolesnik // Ukrainian historical journal. - 1995. - № 5. - S. 28-37. 10. Lipatov V. From the history of Russian-Egyptian relations in the early twentieth century [electronic resource] / V.V. Lipatov, O. Solovyov. - Mode of access: http: //www.vostlit.info.Texts/Documenty/Egipet/XIX/1880- 1900 / Russ_ egip_svjayzi / text1 / htm 11. The attitude of the Department of Public Education in the I Department, Ministry of Foreign Affairs of the Russian supplemental Russian representatives at the International Congress of Archaeology in Cairo, a group of professors of the Kiev and Moscow University (10.23.1908 g) [electronic resource]. - Mode of access: http: //www.vostlit.info.Texts/ Documenty/Egipet/XIX/1880-900/Russ_egip_svjayzi/text1/htm 12. Report on the status and activities of the Historical Society of Nestor the Chronicler in 36 of its existence, with the October 27, 1907 on October 27, 1908 [electronic resource] // CHIONL. - K., 1909. - Kn. 21 - Vol. 3. - Dep. 1. - P. 93. - Access: http://www.starieknigi.info 13. Pavlutsky G. Gogol about art [electronic resource] / G. Pavlutsky // CHIONL. - K., 1902. -Bk. 16 - Vol. 1. - Dep. 1. - P. 304-337. - Access: http://starieknigi.info 14. Pavlutsky Mr. Wooden and stone churches [electronic resource] / G. Pavlutsky // Antiquities of Ukraine. - Vol. 1 - K. Univ. Emperor. Moskov. Archaeologist. Islands, 1905. - 124 p. - Access: http://www.myslenedrevo.com.ua/ru/ Sci/Heritage/Pavlucki.html/ 15. Pavlutsky G. Wooden church architecture of the south-western region in the seventeenth and eighteenth centuries. [Electronic resource] / G. Pavlutsky // CHIONL. - K., 1904. - Kn. 18 - Vol. 1. - Dep. 1. - P. 21-24. - Access: http:// starieknigi.info 16. Pavlutsky G. Image ancient temple in the southern Russian miniatures [electronic resource] /G. Pavlutsky // CHIONL. - K., 1906. - Kn. 18 - Vol. 2. - Dep. 1. - P. 3-4. - Access: http://starieknigi.info 17. Pavlutsky G. The earliest evidence of literary works on the construction of wooden churches of the seventeenth and eighteenth centuries. [Electronic resource] / G. Pavlutsky // CHIONL. - K., 1904. - Kn. 18 - Vol. 2. - Dep. 1. - P. 40-41. - Access: http://starieknigi.info 18. Pavlutsky, On ancient carved images of little boys in the southern Russian churches of the seventeenth and eighteenth centuries. [Electronic resource] / G. Pavlutsky // CHIONL. - K., 1904. - Kn. 18 - Vol. 2. - Dep. 1. - P. 39-40. - Access: http://starieknigi.info 19. Pavlutsky, On the link between art and culture [electronic resource] / G. Pavlutsky // CHIONL. - K., 1900. - Kn. 14 - Vol. 1. - P. 83-87. - Access: http://starieknigi.info 20. Pavlutsky G. Vintage wooden synagogue in the south-western edge [electronic resource] / G. Pavlutsky // CHIONL. - K., 1906. - Kn. 19 - Vol. 2. - Dep. 1. - P. 39-41. - Access: http://starieknigi.info 21. Pavlutsky the monument of stone church architecture style of «empire» in the Poltava province [electronic resource] / G. Pavlutsky // CHIONL. - K., 1906. - Kn. 19 - Vol. 2. - Dep. 1. - P. 94-97. - Access: http://starieknigi.info

Summary Bohatikova O. Art criticism exploration of G. Pavlutskyi on the pages of «Readings in the historical society of Nestor Letopysets» The present article studies the researches of G. Pavlucky, which he had read during the conferences in the Historical association of Nestor-chronicle. Considerations is given to periodicity of his performances and its subjects. Describes the scientific view of the researcher. Key words: тhe art researches, the Historical association of Nestor-chronicle, тhe Reading in the Historical association of Nestor-chronicle, the architecture.

Received 31.10.2014

140 UDC 930.1:[008:929 Виг](045) S.Y. Sabadash

SCIENTIFIC HERITAGE OF L. S. VYGOTSKYI IN THE CONTEXT OF CULTURE-CREATIVE PROCESSES: THE HISTORIOGRAPHY OF THE PROBLEM

Significant achievements of scientific and practical activities of Vygotsky found his place and played a prominent role in the development of various sectors of the human sciences - in particular such as linguistics, pedagogy, pedagogical psychology, general psychology, defectology, psychology, art semiotics. However, a wide range of activities Vygotsky’s no reason to talk about the dispersion of scientific interests of the scientist, on the contrary, all his scientific heritage anyway and is devoted to the proof of the main principle of psychology - the integrity of human higher mental functions and cultural and historical implications of origin and the primacy of culture in the formation of the human person. Scientific creativity Vygotsky devoted many deep and meaningful work, but research on the availability of cultural issues in his theoretical legacy was carried out. This analysis of the scientific heritage of the scientist involved literary information sources other areas of humanitarian science, in which the career and achievements of Vygotsky discussed more fully with the transfer of part of culturological attention to theoretical and practical developments scientist. The scientific legacy of Vygotsky attracted the attention of many scientists of world renown, who appliedhis theoretical and practical findings in the various fields of the humanities, including philosophy - it Ilyenkov E.,M. Mamardashvili GM Shchedrovitski; in psychology - Alexander Asmolov, LI Bozovic, heather M., V. Zinchenko, Alexander Luria; in linguistics - V’yach. Ivanov, Lotman, H. Frumkin. One way or another these famous scientists, like many others, considered the theoretical and practical legacy of L. Vyhotskoho or worked in the further development of its theoretical achievements and their practical implementation. Conventionally bibliographic sources, regarding scientific and theoretical works of Vygotsky, can be divided into several categories that reflect certain trends in the study of diverse scientific activities of the scientist. Firstly, it is building itself scientific works of Vygotsky, which include literary critiques to psychological period, «Educational Psychology», «Psychology of Art», «teenager pedology» «Thinking and speech» and the collected works in six volumes. Secondly, this biographical study, which affect not only the events and circumstances of the personal life of L. Vygotsky, but also steps of his scientific career. Third, similar to the first category arhivoznavchi study, whose function is to find the unknown to present facts from the life of a scientist and unpublished scientific and epistolary works; is attached to and comparison of primary sources (manuscripts and first editions) with the published writings of Vygotsky in the Soviet and post-Soviet period, so are ideological and methodological editorial corrections scientific works published in the years after his tragic death. The fourth time, scientific publications regarding research L. Vygotsky in many areas of humanities, which to varying extent, to appear its central idea of the author’s personality to influence the world the rich culture and vision of its impact on the development and formation of the science and humanitarian need further research in this area. Equally valuable, the fifth, is the scientific work of students and followers of Vygotsky that its activities furthered the concept of scientific heritage of some scientist or developed their own scientific theories based on the brilliant achievements and discoveries brilliant scientist. Also bibliographic sources regarding research scientific and theoretical heritage L. Vygotsky should involve research, which reflected the relationship between theoretical achievements of scientists to research other prominent scientists towards humanitarian sciences. Collected works of L. Vygotsky is a large array of his written and oral language in that or any other form of publication and fell to print out with varying degrees of editorial processing. There are many unknown factors that make it impossible to clearly attribute is L. Vygotsky and terminological differences which appear in his works, and even some logical contradictions 22; 1-52]. The presence of such «mistakes» was the occasion for what modern scholars artistic heritage L. Vygotsky, based on archival materials have launched editions in new open access complete works of famous psychologist [25]. Criticism of different ideological interpretations of scientific and theoretical works of L. Vygotsky began in the 1970s in the Soviet Union and abroad. The number of critical publications is steadily growing and only in 2000 finally took shape as «revisionist revolution» in vyhotskoznavstvi [24]. All of this critical literature makes a great contribution to the reappraisal also historical role and Vygotsky theoretical heritage in the context of modern science. An essential component of the Revisionist movement in vyhotskoznavstvi is working on a non-profit scientific and publishing project «Psyanima Complete Works of Vygotsky» («Psyanima Complete Vygotsky» Project) [25], during which a number of texts Vygotsky first becomes available to a wide range of readers, and in form, free of censorship and editorial interference, distortions and falsifications of the Soviet posthumous editions later. This vydavnychno editorial work-flow is supported by critical research and publications on textual criticism, history, theory and methodology of psychological theory of Vygotsky and members of his circle. This project was made possible only through the cooperation of the international team of enthusiasts - researchers, 141 archivists and librarians Belarus, Brazil, Germany, Israel, Italy, the Netherlands, Russia, Switzerland and South Africa - who not only had a profound analytical and textual work, but also joined forces in order to gather an important collection of publications of texts scientist. The results of this international research experiment showed that the period of L. Vygotsky as a scientist fell at the beginning of the twentieth century. - The years of violent political and social change, and therefore the biographical and scientific material these years long was little known for political reasons and because of the low knowledge of archival savings. However, publication of the memoirs of people close to him fill this gap in scientific biography of the scientist. ‘Contemporaries did not always coincide with each other - and this is quite natural. Different people, facing the active and multifaceted personality, see her every which way. ... The same applies to the vibrant heritage of man. To even imagine fully respect his personality, should not be limited only by his works that have made it a classic in a particular area of culture and science «[15, p. VII], - notes I. Feyhenberh editor S. Dobkin memories of the early years of friendship and collaboration with L. Vygotsky. My biography is inseparable from its scientific research and creative biography. This fact clearly proven in biographical study Vygotsky G. and T. Lifanov [3]. «The author and the creative community has identified though somewhat double, but the only genre of books. She - not a scientific treatise on L. Vygotsky, rather his biography, description of creative way, the main stages of scientific creativity. It disclosed atmosphere of creativity, environment L. Vygotsky, countless episodes of his scientific and educational activities, which found the use of his creative and organizational activity «[3; 12]. Significantly, the unique scientific biography of the scientist also considered and M. Yaroshevskiy [23], which made analysis of theoretical and methodological heritage scientist. Yaroshevskiy scientific approach is based on the belief in the existence of objective laws of psychology: «... particular interest is the study of personality and scientists, whose style is inherent interdisciplinary intehratyvizm. Their ideas were born in a kind of dialogue between the «voice» of psychology and that opened the minds and behavior of living things other sciences. On the one hand, enriched the very psychology, the other - and science with the «human dimension» [10; 299]. In this scientific treatise designed M. Yaroshevskim implemented the principle of «the opposition», the historian of science which introduces Freud, G. Chelpanov, Piaget and other prominent psychologists early twentieth century. Considering the theoretical and practical scientific value works of L. Vygotsky, M. Yaroshevskiy explains the diversity of areas in this way: «His theoretical construct absorbed specified and established many branches of biological and social knowledge and, it is widely echoed in various disciplines - from psychiatry to semiotics «[23; 299]. Theoretical studies of modern scholars on a certain historical period figures are based not only on an analysis of published works of authors, but also archival materials found in the study of archives (from the family to the government). This applies particularly not too carefully collected heritage L. Vygotsky, whose creative activity, including teaching, held in Moscow, Leningrad, Kharkov, Gomel. Much work in the study of the personal archives of E. L. Vygotsky made Zavershneva [5-7], which highlighted not only the mature years of scientific work of the scientist, but also a period of it as a psychologist in 1910- 1925 and already as a mature scientist L. Vygotsky wrote in 1930 .: «In Spinoza’s theory is (I did a little modification): the soul can reach that all manifestations states are aligned to one goal; there may be a system with a single point, the maximum composure human nature. (...) Spinoza showed the system in terms of philosophical; there are people whose life is a model of submission to one goal, which almost proved that it is possible «[4; 131]. Exploring Materials archives Zavershneva E. confirms this theory, linking it with the life of the scientist: «These words best describe as himself: exposing emotions» melting «, he built his own identity in accordance with their philosophical and ethical views. In the process of melting it passed the stage of «nihredo», «dark night of the soul», and then, based not only on «positive motivation», but also the strength of inaction and despair, made the breakthrough that led him to the new living space, which is not the place was empty reverie «[9; 131]. Equally, in our opinion, observation researcher, but further analysis of the creative works of L. Vygotsky’s no reason to talk about any noticeable division of his work into two periods - unproductive and dynamic, productive, fruitful. Already in 19 years, and especially after 1917 once the two departments (legal and literary and philological) in two universities in Moscow, he actively tests the abilities critic-commentator, as evidenced by archival research, through which became available early work of the scientist, in particular his theater reviews, critical articles literary content and work on the Jewish question in the literature. Evidence-based in this context should be considered research conclusions reached B. Cat-Fridhut [13] V. Maltsev [16], when analyzing theater reviews L. Vygotsky noted that in earlier studies scholar manifest traits of future scientific and theoretical developments, and much more fully disclosed in further generalized his works - «Psychology of Art», «The historical meaning of psychological crisis», «Thinking and speech». By unwritten laws include ethics and tradition, according to which pupils and followers prominent figure plucked the mission continued development of scientific theories and attitudes of teachers. L. Vygotsky’s scientific heritage «experienced» almost the entire spectrum of relations in the scientific world - from the most brutal criticism in the 30’s (criticism Rudneva E. [17] and «... in this period obtained distribution idealistic theory (especially Freudianism, and others.). Adverse effects found and cultural-historical theory propagated Vygotsky and his students «[15; 420]) through contemptuous oblivion for nearly 30 years. His students engaged in research more «safe» from the ideological point of view, but, according to them, in line with the theoretical heritage L. Vygotsky, who brought «to a significant change 142 in research emphasis - L. Vygotsky emphasized the impact of higher mental functions to lower development of mental functions and the practice of child and A. Leontiev emphasized the leading role of external, objective activity in the development of mental activity, the development of consciousness «[14; 24]. Through its own research and theoretical work, students L. Vygotsky managed to keep the scientific work of his teacher and re-introduce them into the circle of scientific interests of the scientist community when changing ideological situation. But this process was equally ideologically colored through the communist ideology that dominated in the humanitarian sphere sciences. Proceedings L. Vygotsky published with critical comments from the editorial corrections and distortions. There is a peculiar interpretation of scientific heritage L. Vygotsky as a «founding father» of Soviet psychology, through scientific and theoretical scientific work up to create distorted compilation of works attributed to L. Vygotsky [22]. However, even at that time were scientists who sought to carry out scientific research in line with the theoretical and practical developments discovery scientist. So, RM Frumkin points out that: «... not only for students - linguists and psychologists, but even for graduate texts seems to Vygotsky remain encrypted. They zauchuyut and reproduce rather than understand «[18]. As a linguist, Rebecca Markovna indicates one of the causes of this phenomenon: «In his texts Vygotsky tacitly assumes that its readers - also men of culture, and therefore omits many reasons as redundant links. Even so for Vygotsky us - frankly «difficult» author. This, of course, only one of the causes difficulty understanding his texts, and not ... of course, Vygotsky wrote the language of his time, but this is, in fact, mean to us today? ... This way it reflects the reason for the psychological and philosophical themes that were common to his contemporaries in different countries, even if Vygotsky did not share those or other specific scientific concepts, whether ideas Vyurtsburhskoyi school or genetic psychology Piaget «[18]. M. Veresaev also in the works indicates the difficulty of understanding the theoretical heritage of the main provisions of L. Vygotsky modern scholars due to lack of understanding of the language culture of the time. «Reading is (if its purpose - not pulling quotes, and a desire to understand the essence) requires some effort and time. But no other way. However, this requires one condition, namely the need to understand the language in which everything is written. ... I have reason to doubt that we - the readers of Vygotsky - and always fully understand the language in which he wrote «[2]. At the heart of cultural-historical psychology is based on two principles: 1) recognition of sociocultural conditioning of the human psyche and synthetic (holistic) view of man; 2) understanding of culture as a semiotic phenomenon (as a system of signs) that gives the perspective of a particular scientific research synthesis within human psychology. Both of these principles have deep humanitarian grounds in the Russian mind early XX century. and comprehended in n philosophy. A distinctive feature of this philosophy a focus on communication as a value that found expression not only in these, such ideas as the idea of catholicity, but also in developing research oriented semiotics. The difficulty in understanding the language of scientific works of L. Vygotsky without proper consideration of the intellectual atmosphere of the early twentieth century. studies indicate V. Zinchenko, E. Morgunova, B. Pruzhynina. Working his ideas had their prerequisites and they were in the cultural tradition that many denied or was generally known, that gave rise to the myth of the «genius of nowhere.» «In today’s young scientists already have enough skepticism and even nihilism about the country’s history, including the history of science. Pre-revolutionary science does not know, and it does not seek post-revolutionary know or supersedes. This leads to the sad reflections, especially when it comes to psychologists. Science can not start from the beginning, even if you really want to. She always continuing tradition «[11; 8], - said Vladimir Zinchenko. More interrelation methodological positions L. Vygotsky ideological heritage of culture «Silver Age» Vladimir Zinchenko explores in collaboration with famous philosophers Pruzhyninym B. and T. Shchedrin. «Cultural and historical psychology developed in a particular ideological atmosphere - atmospheric domination of Marxism ... The purpose of this book - to explain the ideological premise humanitarian grounds and cultural-historical psychology as a scientific field and possible methodological strictly separate them from ideological accretions. In this way we hope to some extent overcome the elements ideolohizmu remaining in it and penetrating it (as, incidentally, in any science) with reference to socio-cultural contexts of its operation - especially in the case of cultural-historical psychology it is not only appeal to the outside, so to speak, the context of its dynamics, but also the processes of formation of its content «[11; 8]. The value of the theoretical heritage L. Vygotsky for one of the first cultural studies showed Vyacheslav Ivanov: «... L. Vygotsky built in the history of the concept of culture as a system of signs that are used to control behavior, found a solution ... the problem of correlation of culture and personality psychology. It is this range of ideas Vygotsky developed his school in recent years reveals a growing influence on world science. The most important changes are planned in the assimilation of culture to future generations, the possibility of which are just at the stage of transformation for Learning. The interaction of the individual and society, creating a favorable or an unfavorable environment for the development of the deposits (including genetically determined) personality in the writings of Vygotsky and his school were first explored experimentally «[2]. On the complexity of this pilot study indicate AM heather [2]. Despite the fact that L. Vygotsky dystantsiyuvav as his theory of psychoanalysis and behaviorism of, papers, include the desire to present its work in these areas. This view of his legacy visible in the works of Alexander Etkind [20, 25], and V. Sheiko Bohutsky Yu [21; 388]. Considering the literature on L. Vygotsky and his scientific legacy, we note that the consideration of the fragmentation of its scientific heritage researchers in various fields of thought leads to false for its scientific and theoretical discoveries 143 and distort his role in cultural heritage in consequence of various reasons. The presence of scientific work, which combines a variety of theoretical positions be historical-cultural-historical theory in different areas of scientific knowledge on the basis of a full study scientific heritage L. Vygotsky, would give the scientific and theoretical heritage scientist adequate assessment of single cultural field in the twentieth century.

References 1. Veresov N.N. Cultural-historical psychology of Vygotsky: the hard work of understanding [Electronic resource] / N.N .Veresov // UFO. - Access: http://magazines.russ.ru 2. Veresov N.N. Experimentally-genetic method and the psychology of consciousness: the methodology and principles / N.N. Veresov // Psychology of Consciousness: Current State and Prospects: Materials of the II All-Russia. scientific. Conf. 29 Sep-1 October. 2011, Samara. - Samara: PGSGA, 2011. - P. 21-36. 3. G.L. Vygotsky Lev Semenovich Vygotsky. Life. Activities. Strokes to the portrait / G. L. Vygotsky, T.M. Lifanova. - AM: Meaning, 1996. - 424 p. 4. Vygotsky L.S. On psychological systems / Vygotsky Vygotsky, L.S. // Coll. Op. : 6 t. T. 1 / Vygotsky. - Moscow: Pedagogy, 1982. - S. 109-131. 5. E. Zavershneva Jewish question in unpublished manuscripts Vygotsky / E. Zavershneva // Questions of psychology. - 2012. - № 2. - S. 79-99. 6. Zavershneva E. «Path to Freedom» (for publication of materials from the family archive of Vygotsky) [electronic resource] / E. Zavershneva // UFO. - Access: http://magazines.russ.ru/nlo/2007/85/za7.html 7. Zavershneva E.Y. Notebooks, scientific journals Vygotsky: results of the family archive / E.Y. Zavershneva // Questions of psychology. - 2008. - № 1. - pp 132-145; 2008. - № 2. - S. 120-136. 8. Zavershneva E.Y. «The key to human psychology»: comments on Vygotsky’s notebook from the hospital «Zakhar’in» (1926) / E.Y. Zavershneva // Questions of psychology. - 2009. - № 3. - S. 123-141. 9. Zavershneva E.Y. «I pray for the gift of peace efforts»: the thoughts and sentiments of Vygotsky in 1917 and 1918. / E.Y. Zavershneva // Questions of psychology. - 2013. - № 2. - S. 112-132. 10. Zinchenko V.P. The origins of the cultural-historical psychology: the philosophical and humanitarian context / Zinchenko, B.I. Pruzhinin, T.G. Shchedrin. - Moscow: Russia. watered. wikis. (ROSSPEN), 2010. - 415 p. 11. Zinchenko V.P. Person develops. Essays on Russian psychology / Zinchenko, E.B. Morgunov. - M.: Trivola, 1994. - 304 p. 12. V.V. Ivanov. Cultural anthropology and cultural history / V.V. Ivanov // Odyssey: Man in History, 1989: Studies in social history and cultural history. - Moscow: Nauka, 1989. - P. 11-16. 13. Kitty-Fridgut B. grains that grow: an early review of journalistic work of Vygotsky (1916-1923) / B. Kotik- Fridgut // Psychological Journal Intern. Univ of nature, society and man «Dubna». - 2011. - № 4. - pp 188-197. 14. A.N. Leontiev and modern psychology: monograph. : Sat. Art. / A.V. Zaporozhets, Zinchenko, O.V. Ovchinnikov, O.K. Tikhomirov. - Moscow: Publishing House of Mos. University Press, 1983. - 288 p. 15. Small Soviet psychology in the 11 t. T. 8. - Moscow: OGIZ RSFSR, 1939. - 528 p. 16. Maltsev V.V. Theater 1920 in the assessment of Vygotsky / V.V. Maltsev // Psychological Journal Intern. Univ of Nature, Society and Man «Dubna». - 2012. - № 1. - S. 145-153. 17. Rudneva E.I. Psychological perversions Vygotsky / E.I. Rudnev. - M.: Uchpedgiz, 1937. - 32 p. 18. R.M. Frumkin Anatomy of a reception: cultural-historical psychology of Vygotsky-Luria // New litas. Review. - 2007. - № 85. - S. 16-24. 19. M. Etkind, Eros is impossible: the development of psychoanalysis in Russia / A.M. Etkind. - M.: Gnosis; Progress complex, 1994. - 376 p. 20. Etkind AM More on Vygotsky: Forgotten texts and contexts Undiscovered / A.M. Etkind // Questions of psychology. - M., 1993. - № 4. - pp 37-55. 21. Shejko V.M. Formuvannya bases kulturologії in Dobou tsivіlіzatsіynoї globalіzatsії (another floor. XIX - ear of the XXI century.): monograph. / V.M. neck Y.P. Bogutsky. - K.: genesis, 2005. - 592 p. 22. Yasnitsky A. «When you knew from what rubbish ...»: to determine the composition and create a chronology of the major works of Vygotsky / A Yasnitsky // Psychological Journal Intern. Univ of Nature, Society and Man «Dubna». - 2011. - № 4. 23. Yaroshevskii M.G. Vygotsky: in search of a new psychology / M.G. Yaroshevskii. - Ed. 2nd, ext. - Moscow: Publishing House of the LCI, 2007. - 304 p. 24. Guest Editor’s Introduction. Journal of Russian and East European Psychology. –2012. – vol. 50, no. 4. – July- August. – P. 3–15. 25. http://psyanimajournal.livejournal.com/3526.html

Summary Sabadash S. Scientific heritage of L. S. Vygotskyi in the context of culture-creative processes: the historiography of the problem 144 The article views the historiographical aspect of the scientific and theoretical heritage by the famous scientist Lev Vygotskiy. The attention is focused on the works of his followers and archeological researches, which consider cultural component by Lev Vygotskiy heritage. It’s marked that in the context of the cultural issue his works haven’t been investigated though their research has a great potential. Key words: Lev Vygotskiy, culture, source base, cultural and historical theory, archeological research.

Received 11.11.2014 UDC 929 Peretz (045) N.V. Stahiyeva

CULTURAL AND ARTISTIC HERITAGE IN STUDIES OF V. M. PERETZ

In today’s world the culture takes priority, because support original cultures of different peoples, develop understanding and mutual enrichment of cultures and the preservation of cultural heritage are factors of national identity and integrity of the human being. In this context it becomes especially important to address cultural component of human activity, and creative works of researchers of the past. An important contribution to the treasury of cultural heritage made scientist, academician - Vladimir N. Peretz (1870-1935 gg.), Whose activities are related to the study, preservation and promotion of cultural attractions. The problem of the creative heritage of V. Peretz indirectly violated in the publications department of historical and philological UAS, the writings of scholars V. Adrionova-Peretz, M. Hudziya, L. Dmitriev, Alexander Demin, V. Krekoten, L. Makhno, S. Rosovetskoho O. Slipushko, N. Solonskoyi and others. However, the available labor with philological direction and do not cover the problem of the creative heritage of the scientist culturally appropriate. However, this contribution today is not only historiography but also scientific and practical importance for understanding the historical and cultural heritage. Thus, the purpose of the article is to highlight the cultural and artistic heritage artistic heritage B. Peretz. Studies of cultural heritage in the scientific heritage of V. Peretz dictated by the fact that there is a need to keep art and science of surviving monuments of human creativity. Knowledge of the world, learning human reality combined with the formation of its artistic and imaginative thinking. A look at the world and comprehend its essence of humanity has sought to implement in folklore, language, literature, religion, art. It manifold manifestations of human consciousness formed the basis of research of the scientist. Thus, the subject of research and scientific research scientist became a manifestation of human creativity in its cultural diversity, which is expressed in spiritual and material culture. That language and literature, religious and philosophical views, artwork, Education, life and customs, celebrations and ceremonies, traditions and rituals (creation of nation elements) - everything is a manifestation of initiative and creative activity. Contacting which allows fuller and deeper understanding of the specific cultural whole. Thus, in the view of scientific researcher studying problems included monuments of folk art and literature (fairy tales, proverbs, sayings, songs, poems, ballads, thoughts, legends, stories), culture ancient, formation of different religions in the history of culture, Christian investigations of dramatic literature, theory and history of theater, studying the history of old items that highlight the history of material culture and art at the same time (monuments copper castings) and others. On a thematic universality of scientific views investigator indicate his numerous works, which included not only the author’s thoughts concerning phenomena being studied, but the factual material that is a testament to the reality and reflection of a cultural period. The sources that served as ground for research were records, translated literature, anonymous works, manuscripts and printed books, extracted from antiquarium. Let us for more detailed thematic consideration cultural and artistic heritage, reflected in the research scientist. From the beginning of scientific activity Vladimir Peretz sought, analyzed folk songs heard in the villages and recorded them, keeping all the features of dialects, explaining and giving options with the publications. He noted that within Tihvinskoho Krestetskoho counties and it recorded 600 or refrains «Sbyrushek» (modern - chastushok). Extensive work has been done on the analysis of his songs and identify their interactions and mutual influences of folk art of different nations. These results he published in the article, and later became part of this material multivolume fundamental work [31; 9; 33; 12]. The circle researcher interests were also tales, which he devoted to the relevant article. After analyzing the materials, he concluded that the storyline stories and tales influenced East, Byzantium and Western Europe via Poland. The author found borrowing from Byzantine and Western sources, as well as «remnants of ancient Rus and even Common Life» [19]. Continuing work on the study of folk art, V. Peretz published work «From the history of proverbs. Historical and literary notes and materials, «which appealed to fatsetsiy that various alterations» bypassed all European literature «[10]. He described the historical and cultural point of view, the emergence and development of expressions. Determined Polish influence in their history. Many questions about the folk art researcher also published his fundamental work «Historical and literary studies Materials», consisting of three volumes and four parts [15]. 145 Exploring folk art, scholar and studied Old Russian literature, his apocrypha. So, print out the first volume of «material to the apocryphal stories and legends» [22]. In this work, the scientist studied a lot of material on Byzantine and Slavic-Russian literature on people’s views velykorusiv, Ukrainian and Belarusian. He described the ancient idea of the human belief in natural phenomena and people’s desire to connect with life events and phenomena of nature to obtain information about the future. The combination of oral and written creativity reflected in the oldest monument «Lay», whose research V. Peretz paid much attention. The climax of his research was the work of «Lay. Memo feudal Ukraine-Rus XII century «[32] which, aptly L. Makhno,»Summed up over centuries of literary achievement and other sciences and long-term work of the author of the most prominent monument of Kievan Rus literature» [2; 59]. The question of Ukrainian folk poetry reflected in the «Maloruski poems and songs records XVI-XVIII centuries.» [21], published in two volumes and contains a huge amount of documentary poetical material - lyrical, historical, humorous, satirical, spiritual and more. Ukrainian thoughts devoted a separate publication [5]. Ukrainian literary creativity W. studied Peretz, working on the monuments of ancient Ukrainian translated literature. This issue is also devoted to his 15 studies, published in four editions [13; 14]. His writings contain hitherto unknown monuments covering the literary life of the old Ukraine: the emergence of the magisterium of the Gospels in the sixteenth century. I. Vyshensky the attitude to contemporary Polish literature, analysis of «Tsar Vasily Testamentu» in Ukrainian translation, the translation « Lostvytsi «I. Sinai and works in N. Sinai Ukrainian translation of the seventeenth century. Ukrainian translation of Paterikon Caves, the new data to the history of Ukrainian story seventeenth century. and poems Kharkiv Onufriya early eighteenth century. These works are added to its study of the Ukrainian Synoksari in Kiev and Lviv triode sixteenth to the eighteenth century. and notes on Ukrainian parallels to the story of Woe-Zlochastiye and «Duma again about Alexei Popovich.» He worked and published materials on Chety 1489, «Illuminator» Joseph Sanin a Ukrainian translation of the early seventeenth century. Ukrainian translation found him late seventeenth - early eighteenth century. Nine songs «sacked Jerusalem» T. Tasso like new fact in the history of Ukrainian literature specified period. Researcher works are devoted to the literary movement in Ukraine in the fifteenth century. Ukrainian issue anthology 1670- 1680 years, including original poems Baroque Ukrainian poet Ivan Velichkovsky, view hagiographic material ancient princely lives in Ukrainian translation of the seventeenth century. Given unpublished works of Metropolitan Petro Mohyla, supervision of Ukrainian virshepysannyam HVI- seventeenth century. Western material on the collection - Finno-Ruthenian songwriter start XVIII., experience, and household characteristics of public morals in Ukrainian literature of the seventeenth century. Among chronological boundaries of research V. Peretz can distinguish day cultural component which is reflected in the works of the scientist fullest. Thus, the circle of scientific interests became culture of ancient, fragmentary and indirectly covered in many studies V. Peretz, but more focused and thematically information on this period are presented in a series of works «information on the ancient world in the ancient Rus XI-XIV century.» of the 1917-1919 biennium. and «education (Ancient)» [26]. Thus, through research and analysis of forms of human creativity, scientist received information about the origins of cultural diversity, tracked the mixing of cultures and their mutual enrichment. Not bypassed researcher and religious problems are reflected in the monuments of antiquity. In his work «On the time of hlystovschiny» V. Peretz considers the emergence of various religious sects as one of the events of cultural history. He writes: «In the history of Ruthenian culture one of the major events is the formation of various religious sects; in medieval Rus education - only the emergence of sects and heresies we can measure and identify known mental movement among almost bicentennial stagnation «[17; 117]. Research is also ongoing religious orientation intersect in his other publications [24, 8, 13-15]. Studies on the south-western literature works and finding unknown Archbishop Lazarus Baranovych «Filar Wiary», «Ksiega Smerci» [35] V. Peretz experiments helped the work of the theologian and preacher. The researcher also paid attention to the ancient bohohlasnyku. Thus, we can state that scientist tried to fully explore the creative initiative human activity, its origins and historical development dynamics. Among the cultural phenomena especially attracted the attention of researchers problems of theory and history of theater. Questions about the aesthetics of the ancient theater arose in the first theoretical papers and the focus remained until his death. «B. ... Peretz outlined new approaches and new problems history of early Russian theater in general. B. First Peretz raised the aesthetic features of ancient Rus drama «[28; 493]. V. Peretz investigated the mutual influences of styles of the time. Major literary features of Russian theater plays seventeenth - early eighteenth century. V. Peretz were identified in a series of his work «Essays on the history of poetic style in» [28], and for over fifteen years expanded their characteristics and deepened. «He had taken the original attempts to identify the theoretical concepts of n authors and readers on to the drama in the Russian theater sumarokovskyy period (for Poetics and rare printed editions) were collected observations of theatrical effects at that time» [28; 494-495]. V. Peretz considered drama as a means of schematic embodiment copyright an idea of life then that was «not difficult and combined a number of variations in a vicious circle» [28]. He stressed the need to focus on drama plot, style plays them directly on the theatrical side, learning tricks actors and their interaction with the audience. «It faces the theater historian historian of culture in general, with the psychologist», - noticed Vladimir Peretz [23]. In the article «theatrical effects in the ancient Ukrainian theater» [4] academic analysis gave a theatrical phenomenon based on the texts and remarks, demonstrated aesthetic diyovist ancient theater. A. Domin wrote academic works: 146 «Articles comments seemingly separate attractions under the pen V. Peretz transformed into small works on the history of Russian theater» [28; 493]. For years scientist sought and published monuments of ancient theater. The result of these studies was the work «In the history of Polish and Russian folk theater» [18] published in multiple editions, where accompanied to the Ukrainian intelligence services published material - interludes, dialogue and so on. V. Peretz explored the origin of Russian theater and drama. He studied the play «The act of Sarpidi, Dux Assyria» [6]. His article characterizes the n drama Petrovsky time. «It was a new genre of scientific works of drama, unthinkable in the days of MS Tikhonravova and fundamentally different from mere publication or narrow commenting attractions. Cycles numbered and unnumbered series VM Peretz were intended to serve as a direct basis, appropriate transitional form, but deeper than tyhonravivska, work on the history of Russian theater and drama «- said Alexander Demin [28; 493]. An increasing number of pieces studied ancient theater caused a need to revise key provisions on which the history of theater. This explains the emergence of V. Peretz «Several thoughts of ancient Rus theater» [23] and the book «Ancient theater in Russia» [36] where he published three works: «To study the ancient theater productions in», «Theatre in Russia 250 years ago «and» Italian interlude 1730s in Russian verse translation». Regarding Ukrainian academician material include paper «New work on the history of Ukrainian theater» [25] article «The oldest mention of » [3], «Ukrainian dialogue and Tren at Dormition of the Virgin» [34] and others. Thus, in the works of V. Peretz problem of the origin and development of theater art considered in the context of many relationships, influences and interactions. From 1890 V. Peretz activity has been associated with art, which is reflected in the publication, «Sources of ancient art» (1899) [16] «In the history of Ukrainian art» (1905) [20 ] etc. [11, 29, 7]. On the basis of monastic documents 1776-1777 biennium. Researcher published works on the description of church utensils and portraits that were in Kyiv Mezhyhirsk monasteries and their art-assessment. Highlighting the history of material culture researcher focused on monuments copper casting. This interest is due to the fact that these monuments he attributed such that «the silence of the past» objects of ancient material production, and with it art [27; 3]. He believed that life is unfair to tourist spots begin to apply only when they die, are prescription, dead relics of past life, antique objects more than a museum. Therefore, scientists took «revive» these relics, is displayed them from a different angle. As attitudes until recently was defined «market value, not the value of the history of life, industry and the arts» [27; 3]. The results of his research was highlighted in the work «Some reasons for dating ancient copper casting» [27]. Based on the above material in his work, received information about the state of cultural development of this period, her artistic preferences and interferences. To enable a comparative analysis of them was dated items periods of copper casting. He said: «Exploring the fate of copper casting, seeing in its history on the basis of ancient Ukraine-Rus and Muscovy single process, depending on the culture growth in different classes of society: the feudal society at the time of its formation and development at the top, as in field phenomena of art makes creating monuments casting that meet its needs and economic opportunities «[27; 52]. That is, the class changes in society directly influenced the works of art that accurately reflected the researcher. He wrote: «The material serves as gold and silver; vehicle decoration - enamel highest quality that can compete with the Byzantine «Its period» appears on the artistic and domestic front struggle with the old, not as in subjects how in the field of decoration before known topics and, of course, by making new compositions. Changes and casting technique that puts its seal on products fifteenth and seventeenth century. «[27; 52- 53]. Of particular importance acquired products that borrowed their subjects not monumental Byzantine style frescoes and mosaics, and the already well-developed iconography on wooden board [27; 53]. Thus, V. Peretz gave information about the material used to create the artwork, themes, techniques and means of decoration. Describing artistic preferences in the context of relationships and mutual influences, he stated that the process of development in different fields of art is never isolated. As regards copper works of art, the researcher traced the evolution of the characteristics of products in cultural and historical retrospective. He noted that «In the early products, known in Russia, there is all that is characteristic of monumental painting that is abstract forms, lack of emotion, every kind» vizerunstva «frontalnist images and molding specific feature - its bulge skulpturnist. These features were observed to half of the fourteenth century. or more later, depending on the strength of new trends and movement process of restructuring society. The average age since the beginning of the fifteenth century. the end part of the seventeenth and eighteenth centuries., is not characteristic of sculpture and painting plastic; an epoch dominated by Moscow masters; the superiority of the ancient period - the number of plots, their development diversifies with the assistance of the West, there is a kind of ornaments; changing equipment and manufacture of flight copper items. The later era, eighteenth and nineteenth century. In essence did not bring in topics casting, except of few images canonized during this time the Saints, and in the field of technology - developing reception more thorough treatment of parts made at the same ornament craft nature reminiscent of typographical ornaments XVIII., and more rich products - used ornament Louis XVI «[27; 52]. Thus, V. Peretz explored main features of ancient art on the example of products of material production, copper casting. Monitored factors affecting the species diversity. On this basis, the VM Peretz can speak not only as a famous philologist, historian of antiquity, but also as an experienced art. So, in conclusion, we can state that human activity is a creative initiative embodied in folklore, language, literature, art and other forms, has been the subject of research scientist. Authentic data it receives studying historical sources (chronicles, 147 translated literature, anonymous works, manuscripts and printed books), extracted from antiquarium. Consequently, its activity was associated with searching, collecting, processing, analysis and publication of ancient cultural monuments. Exploration scholar characterized the thematic richness and vastness of evidence. Proceedings investigator contain much valuable material that reflects the diversity of culture, its origins and historical development dynamics. «Thanks to intensive and dedicated work, was invented many components in the evolution of literary art old, defined cultural and historical significance of a number of attractions» - wrote V. Peretz [30; 139]. So, thanks to the artistic heritage of outstanding scientist in the scientific revolution introduced a new, unknown material, saved and published documentary evidence of the historical process, which embodied the spiritual sense of the era, its cultural and artistic achievements.

References 1. Proceedings A. Demin V.N. Peretz on the history of Russian theater / A.S. Demin // Ancient Russian lіteratura: experience with the typology XI to mid-XVIII centuries. by Hilarion to University / hole. Ed. V.P. Grebenyuk. - M. Languages Slavic culture, 2003. - S. 489-499. 2. Mahnovets Vladimir L. Peretz: (the 100th anniversary of the birth coryphaeus Russian. And Ukrainian. Philology) /L. Mahnovets // Sov. literary criticism. - 1970. - № 1. - P. 52-60. 3. Peretz V.N. Earliest mention of theater in Ukraine // Ukraine / under total. Ed. Hrushevsky. - K.: State Izdatel’stvo Ukraine, 1924, Vol. 1-2. - P. 14-15. 4. Peretz V.N. Theatrical effects in the ancient Ukrainian theater / V.M. Peretz // Ukraine, 1926. -Bk. 2. - P. 16-33. 5. Peretz Ukrainian Duma V.M. / V.M. Peretz // Literary and Scientific Journal. - 1907. - T. 38. - № 4. -S. 22-30. 6. Peretz V.N. Act Sarpide, Dux Assyrians (From the history of the theater era of Peter I) / V.N. Peretz //News Ruska Yazikov Branch of the Russian Academy of Sciences and Letters, 1921.- T. XXVI. - S. 103-123. 7. Peretz V.N. Erstwhile Mezhigorskaya old monastery / V.N. Peretz // Archaeological annals of South Russia. - 1905. - №1 / 2. 8. Peretz V.N. Vlastotvorny image of humanity of God. Writing Mitrofan Dovgalevsky, 1737 / V.N. Peretz. - St. Petersburg, 1899. - 24 p. 9. Peretz V.N. Playing with loach / V.N. Peretz // Live antiquity. - Vol. II (March). - S. 162-167. 10. Peretz V.N. History of proverbs. Historical and literary notes and materials / V.N. Peretz // Journal of the Ministry of Education. - SPb. : Tipogr. VS Balasheva K, 1898. - Charles SSSKHVІІ. Government orders. - S. 104-117. 11. Peretz V.N. From the inscriptions on ancient icons / V.N. Peretz // Archaeological annals of the South of Russia, 1905 - № 1-2. - S. 42-45. 12. Peretz V.N. Distortions in modern folk song / V.N .Peretz // bibliography. - № 12. -Pp 413-418. 13. Peretz V.N. Studies and materials on the history of ancient Ukrainian literature XVI-XVIII Ages / V.N. Peretz. - L. Univ USSR Academy of Sciences, 1926-1929. - 1. T. Vol. 13. 14. Peretz V.N. Studies and materials on the history of ancient Ukrainian literature XVI-XVIII Ages / hole. Ed. Likhachev. - MA; L.: Publishing House of the USSR Academy of Sciences, 1962. - 256 p. 15. Peretz V.N. Historical and literary studies and materials: T. 1-3 / VN Peretz. - St. Petersburg: type. F. and P. Weisberg Gershunina, 1900-1902. - 4 hours. 16. Peretz V.N. sources of ancient art / V.N. Peretz // Northern Courier, 1899. - Number 18. 17. Peretz V.N. On the question of the time of occurrence hlystovschiny // Ethnographic Review / ed. N.A. Yanchuk. - M.: Tipo-lit. KO Alexandrov, 1898. - № 2, Vol. HHHVІІ. - S. 117-120. 18. Peretz V.N. On the history of Russian folk tales. Comparative studies / V.N. Peretz. - St. Petersburg: Typography Condor Goldberg, 1894. - 37 p. 19. Peretz V.N. On the history of Ukrainian art / V.N. Peretz // Archaeological annals of South Russia, 1905. - № 1/2. - S. 45-48. 20. Peretz V.N. Little Russian songs and verses in the book of XVI-XVIII centuries. [Vol. 1-2] / V.N .Peretz. - St. Petersburg: Type. Imp. Acad. Sciences. - 2 tons. 21. Peretz V.N. Materials for history and legends of apocryphal / V.N. Peretz. - SPb. : Printing of the Imperial Academy of Sciences, 1899. - 2 tons. 22. Peretz V.N. A few thoughts about the old Russian theater / V.N. Peretz // Yearbook Petrograd state theaters. Season 1918-1919 / Ed. A. Polyakov. - CDP. 1920 (to cover 1922). - S. 217-225. 23. Peretz V.N. Latest works of «Judaic» XV century. and literature. Critical-bibliographical survey / V.N. Peretz. - K.: Printing of the Imperial St. Univ., Vladimir, 1908. - 43 p. 24. Peretz V.N. New work on the history of the Ukrainian theater / V.N. Peretz. - SPb. : Senate Printing House, 1911. - 42 p. 25. Peretz V.N. Education (Ancient Russia) / V.N. Peretz // Russian history in essays and articles / ed. M.V.-Dovnar Zapolskoho. - M.: Tipo lithography I. Lyundorf, 1910. - T. 1. - P. 461-479. 26. Peretz V.N. About some reasons for dating ancient Russian copper casting / V.N. Peretz // Proceedings of the National Academy of History of Material Culture. - L. Univ GAIMK, 1933. - Vol. 73 - 53. 148 27. Peretz V.N. Essays on the history of poetic style in Russia (The era of Peter the Great and the beginning XVIII century.) / V.N. Peretz. - St. Petersburg: the Senate. type., 1905-1907. - 2 t. Part 1-8. 28. Peretz V.N. Chalices Kiev-Mezhyhirya Monastery according to 1777 / V.N. Peretz. - K. Type. NA Girich, 1905. - 8 p. 29. Peretz V.N. Works on the history of Russian and Ukrainian literature / V.N. Peretz // Academy of Sciences of the USSR for ten years. 1917-1927 / Ed. Fersman. - AL: Publishing House of the USSR Academy, 1927. - S. 123-139. 30. Peretz V.N. Russian Nightingale / V.N. Peretz // Kievan antiquity. - K.: Typography GT Korchak- Nowicki, 1892. - T. HHHVІІ, number 6 (June). - S. 459-474. 31. Peretz V.N. The Lay of Іgorevіm. Pam’yatka feodalnoї Ukraine-Rus XII vіku. Enter. Text. Comment / V. Peretz. - K: W drukarnі Ukr. Acad. Science, 1926. - 357 p. 32. Peretz V.N. Modern Russian folk song. Comparative studies / V.N. Peretz. - St. Petersburg: Tipo-lithography and fototipіya V. Stein, 1893. - 51 p. 33. Peretz V.N. Ukrainian dialogue and friction on the Assumption / V.N. Peretz. - St. Petersburg: Type. Imerat. Acad. Science, 1913. - 9. 34. Peretz V.N. «Filar Wiary» and «Ksiega Smerci», Archbishop. Lazarus Baranovych / V.N. Peretz. - K.: Printing of the Imperial St. Univ. Vladimir NT Korczak-Nowicki, 1898 - 35. 35. The ancient theater in Russia XVII-VIII centuries. : Sat. Art. / Ed. V.N. Peretz; Ros. Institute of Art History. - St. Petersburg: Academia, 1923. - S. 7-33.

Summary Stahiyeva N. Cultural and artistic heritage in studies of V. M. Peretz The article is devoted to the actual problem of our time, which raises questions about cultural heritage in the context of human creativity. Analyzes creative heritage of the scientist, academician – Vladimir Nikolaevich Peretz. Key words: V. Peretz, culture, cultural and artificial heritage, cultural monuments, creation.

Received 17.11.2014

UDC 786.8(477) V. V. Marchenko

HISTORIOGRAPHICAL DISCOURSE IN RESEARCH OF ACCORDION ART IN UKRAINE

Accordion art Ukraine occupies a worthy place in the world of music. This is confirmed accordionists formed the education system and teaching methodology, winning numerous national artists at prestigious international competitions, the presence of original repertoire, academic functioning accordion, pop and household sectors. However, gains national accordion art scattered articles, teaching aids, individual dissertations. Therefore, further exposure and understanding of scientific achievements in the field of art accordion is the main objective of all those involved in these problems. The article is an analysis of the scientific literature on various aspects of the art and identifying key areas of research of this type of music. Questions emergence and development of accordion partially covered in the works Basurmanova A., V. Bychkov, M. Davydov, E. Ivanov, M. Imhanytskoho, A. Mirek et al. Problems pop-jazz music in Ukraine akordeonno- commonplace art disclosed in the M. and M. Buldy Cherepanyn. Some aspects of teaching methods of playing the accordion in the works considered Mikhail Davydov, MA Kravtsov, A. Mirek, N. Popovich, A. Sali. Creativity representatives covered in accordion art background Basurmanova encyclopaedias, A., A. stuffy, AB Pizza, M. Imhanytskoho, M. Mirek A. Semeshko. Research accordion domestic art began in the second half. XX century. History of the emergence and development of the accordion and bayan around the world devoted to the works of eminent musicologist A. Mirek «IZ history accordion and bayan» (1967), where on the basis of archival materials, evidence of workers from factories producing various kinds of harmonic analyzes the history of the instrument , its distribution and the first schools of playing the accordion and accordion, the work of famous artists. Note that along with the development of the accordion and bayan in the USSR, the author traces the evolution of these tools in different countries (Germany, Italy, Belgium, France, Austria, Switzerland, Czechoslovakia, USA), which had a significant impact on confirmation status of these instruments [16 ]. The work is the first thorough research in the analyzed field and was the impetus for further research. Is a continuation of previous work Mirek A. «... And harmonyka The Sound» (1979), which explored ways and means of harmonics from the time of its origin in the 30-ies. XX century .; reviewed «Geography» harmonic distribution, evolution of performance, repertoire, improving the tool shape, appearance manuals to master playing the harmonics of certain species [18]. In E. Pokazannyk «accordion in semeystve harmonyk: History of creation and the formative tehnyko- konstruktyvnыh characteristics» (1999). [22] highlights the stages of construction of modern accordions. Great practical importance and work of the famous Russian art historian Mikhail Imhanytskoho «History commonplace 149 and akkordeonnoho art» (2006), dedicated to the establishment and development of harmonic and especially its two most advanced species - accordion and accordion, in which he focuses on development performance of recent decades, analyzes important works commonplace and accordion repertoire, characterizes the work of famous accordionists and accordion, reveals the features of professional music education accordionists and accordion in the USSR and abroad [12]. Valuable in the specification are known evidence relating to the history and its harmonics species. In the work of M. Imhanytskoho. «Music zarubezhnыh composers for accordion and accordion» (2004) [11] traced the emergence and development of the commonplace and accordion repertoire created by foreign composers, the analysis of the most famous works for these instruments. Also important are the work, which violated the problem of creating repertoire for accordion. Among them are the works of note Bychkova, which reveals the stages of academic chamber repertoire for accordion and bayan, shows the relationship of the repertoire and performance tools [3-5]. Important for the study of modern accordion art is the monograph «pop Olympus accordion» (2008) M. and M. Buldy Cherepanyn [26], which conducted a comprehensive study of artistic trends accordion-tse accordion music of the second half. XX - early XXI century. Deterministic dynamics of world music. The increasing interest accordion art shows and a number of theses studies on the coverage of the functioning and development of this kind of music. Thesis E. Ivanov «Academic commonplace accordion-art in Ukraine» (historical aspect) (1995) [10] is the first attempt to study and systematize material on the history of Ukrainian academic bayanno- accordion art. It traced the formation of this phenomenon and found trends of its further development; peculiarities origin and development of artisanal and industrial production reed keyboard-pneumatic tools in Ukraine highlights formation Kiev school academic performance and repertoire of analyzes leading local artists. However, the focus is commonplace art and practically no information about the accordion. Bychkova V. The thesis «Formation and Development commonplace-akkordeonnoho How phenomenon Patriotic art and culture evropeyskoy muzыkalnoy, beginning of XIX - XX centuries .: End yspolnytelstvo, Music, ynstrumentaryy» (1999) [2] made the characteristic trends of this art form Russia and Western Europe. The author considers it as a multi makrosystemu, which includes several sub (music, performance, tools). Done their analysis and determined the prospect of Russian and foreign commonplace-accordion art. However, the focus in this study given accordion and used the name «accordion» in relation to the accordion under the European tradition. Interest is the thesis and M. Buldy «Jazz music in accordion-art commonplace Ukraine second half of XX - beginning of XXI century, composers and performing art» (2007) [6], which are the peculiarities of Jazz Music in this kind of performance, the stages of its development in the context of performing traditions domestic and foreign akordeonistiv- accordionists. An important place is given to the study of accordion, found reasons affirmation of it as a professional concert instrument, accordion revealed specific quality that contributed to the consolidation of its position on the stage, especially the modernization of musical language accordion-commonplace of contemporary Ukrainian composers. A significant contribution to the development of methodological and theoretical framework of national accordion art became dissertation research of domestic and Russian scientists, which violated the problem of teaching methods of playing the accordion. The scientific significance of the thesis is well-known accordionist N. Kravtsov [13], in which improved features are revealed right keyboard accordion, an instrument that provides vitality and use in contemporary performing practices. Noteworthy and dissertations N. Popovich, which made the development, validation and experimental verification of pedagogical conditions and methods of artistic taste accordion students by means of pop art, art-disclosed means of educational influence of pop music, and the criteria set levels of art taste accordion students [23]. The thesis V. Salii developed and proved method of work on the musical way in teaching teenagers playing on bayan (accordion), presented the development of innovative forms of work on the musical way with young people in learning their game bayan (accordion) [24]. Important for the improvement of teaching methods of playing the accordion with Kravtsov tutorials, which highlighted the author’s unique technology that allows accordion master fundamentally new system of placing right keyboard; submitted the table schema diatonic major, minor and chromatic scales, topography fingers location of tonic triads four-presentation, as well as dominantseptakordah of inversion and inversion of the diminished seventh chords. Are also recommended to perform legato fingerings in diatonic and chromatic schemes double notes [14, 15]. These works will help increase performance skills accordionist. The question of improving the methods of teaching the accordion seen in A. Mirek tutorial. This is the first work of Pop playing on accordion, which revealed the specifics of Jazz music. The publication is responsible programs and institutions designed for six or seven years of study on the standard instrument with a ready accompaniment. Through the use of highly active process of learning techniques performing various tricks possession of sound and rhythm. [21] A significant contribution to the educational-methodological basis commonplace and accordion art is textbook M. Davydov, which based on years of experience and analysis of scientific and methodological literature on the theory of musical performance performing skills. The author has attempted to solve classic triad of performing arts, formulated Neuhaus «tool - music - singer». The work deals with the classification of musical instruments and related interpenetration 150 specific areas of performing arts, analyzed articulatory-dashed problem playing techniques bayan (accordion). Posted justification principle microstructure performing modulation as a means of artistic techniques during deep emotional and logical penetration into the composer’s idea, developed technological complex rytmodynamiky performing modulation. In work problems of education violated artist, considered aspects such as feelings of culture, unity of intellectual and emotional factors, work on the piece of music education of the individual musician method for the measurement of the program [7]. This paper can be used in methods courses and special classes for students and teachers of all levels of education, concert artists of various disciplines. Of great importance for the development of accordion art was commonplace and the emergence of a number of reference books and encyclopedias. Thus, in the handbook A. Mirek generalization and systematization made evidence of the origin, distribution, structure (arrangement of keys and buttons on keyboards, scale, music capabilities) main types of harmonics from the lip to the harmonium, and people’s designs from simple to the most sophisticated contemporary models accordions and accordion [17]. The issue of appearance and classification of accordions and accordion dedicated «Directory: Historic-scientific explanation for the scheme for the occurrence and classification of major species harmonyk (akkordeonov and bayanov)» (1992) A. Mirek [19]. A detailed study of A. Mirek – Encyclopedia «Harmonyka: proshloe and nastojashchee» (1994) dedicated to the historical development and its harmonics varieties. On the basis of collective activity, collecting various models harmonics and evidence of performers, artists, designers author managed to create a fundamental work on the completeness of the material which has no equal in the accordion-art commonplace [20]. The real encyclopedia of folk instrumental art of Ukraine is the fundamental work of M. David «The history of playing folk instruments (Ukrainian academic school)» (2005) [8], which highlights the creative, performing, methodological and pedagogical achievements in national - Ukraine instrumental art, characterized by work of professional composers who created an original repertoire for folk instruments, presents portraits of outstanding personalities, teachers, artists, bands, whose creative work is a significant contribution to the treasury of Academic People’s instrumental art of the country. The author notes the important role of Kyiv People’s academic school of art instrumental in the preservation and development of the genre, as well as regional schools contribute to this integration process. The proper place among the ranks and encyclopedias Directory A. Semeshko «commonplace accordion-art Ukraine at the turn of XX-XXI centuries» (2008), in which systematized information about the life and creative achievements Bayan, accordion and Harmonicus country and the Ukrainian Diaspora presented for international and national competitions held in Ukraine the period of its state independence and foreign international competitions, which were attended by Ukrainian performers, lists the national music publications composers and editors, compilers, some scientific and methodological works of Ukrainian authors [25]. As the domestic researchers, characteristic of works on the problems of the People’s instrumental accordion art in general and in particular is exploring the operation of the cultural sphere not only professional musicologists and cultural studies, but also teachers and performers. The analysis of literature on the nature, routes, trends accordion art of Ukraine allowed identify the following areas of research of this kind of musical culture, especially the formation and development of accordion art; Accordion repertoire policy issues; design features accordion; Theory and methods of teaching the accordion; development of musical abilities accordionist, artist education; creative activities leading national accordionists.

References 1. Basurmanova. Bayannoe and accordion art / A. Basurmanov / Tot. Ed. NY Chaikin. - M.:Cittern, 2003. - 540 p. 2. M. Bulda Estradno-Musica Jazz in akordeonno-bayannomu mistetstvі Ukraine Druha floor. XX - XXI century cob .: kompozitorska tvorchіst i vikonavstvo: Author. dis ... cand. Mistetstvo .: spec. 17.00.03 - «Muzichne Mistetstvo» / M. Bulda. - H., 2007. - 19 p. 3. M. Davydov Theoretical Foundations of performance skills accordionist (accordion): textbook. for HI. and musical medium. teach. bookmark. / M. Davydov. - K.: Music. Ukraine, 2004. - 290 p. 4. M. Davydov History performing folk instruments. (Ukrainian academic school): henchmen. /M. Davydov. - K.: NMAU. Tchaikovsky, 2005. - 419 p. 5. A. stuffy Lviv school commonplace accordion-art lapping. / Stuffy A., B. Pyts. - Drohobych:Dedicated, 2010. - 216 p. 6. E. Ivanov Academic commonplace accordion-art in Ukraine (historical aspect): Abstract. Thesis ... candidate. Art .: spec. 17.00.02 - «Art of Music» / E. Ivanov. - K., 1995. - 16 p. 7. Imhanitsky M. Music by foreign composers for bayan and accordion: Proc. pos. MIDI. universities and uch-w / M. Imhanitsky. - Moscow: Publishing House of the Gnessin. Gnesin, 2004. - 376 p. 8. M. Imhanitsky history bayan and accordion art: Ouch. pos. / M. Imhanitsky. - M .: Publishing House of the Gnessin. Gnesin, 2006. - 520 p. 9. Kravtsov N.A. The improvement organ-piano keyboard and pressing problems garmonno- performing bayan: Author. Diss ... cand. Art .: spec. 17.00.02 - «Musical Art» / N. Kravtsov. - L., 1982. - 18 p. 10. N. Kravtsov Artistic and expressive possibilities of the accordion with improved keyboard: Proc. pos. / N. Kravtsov. - SPb., 1992. - 82 p. 151 11. N. Kravtsov tables fingering scales, chords and arpeggios for free bass accordion /N. Kravtsov. - St. Petersburg, 2012 - 150 p. 12. Mirek A. From the history of the accordion and bayan / A. Mirek. - M.: Music, 1967. - 196 p. 13. Mirek A. Handbook of harmonics / A. Mirek. - M.: Music, 1968. - 132 p. 14. A. Mirek and harmonic sounds: Scientific and historical information books / A. Mirek. - Moscow: Sov. COMPOSITE., 1979. - 176 p. 15. Mirek A. Handbook: scientific and historical explanation of the origin and classification scheme of the main types of harmonics (accordion and bayan) / A. Mirek. - M., 1992. - 60 p. 16. A. Mirek Harmonica: Past and Present / A. Mirek. - M.: Interpraks, 1994. - 534 p. 17. A. Mirek course playing the accordion pop / A. Mirek. - M: Velez, 1995. - 276 p. 18. Pokazannik E. Evolution piano accordion: operation, construction, repertoire: Author. Diss ... cand. Art .: spec. 17.00.02 - «Musical Art» / E. Pokazannik. - Rostov-on-Don, 1999. - 27 p. 19. N. Popovich Pedagogical conditions of artistic taste in students accordion pop art means: Author. Thesis ... candidate. ped. Sciences specials. 13.00.02 - «Theory and methods of teaching music and music education» / N. Popovich. - K., 2005. - 18 p. 20. B. Method Saliy work on the musical way in teaching teenagers playing on bayan (accordion): Abstract. Thesis ... candidate. ped. Sciences specials. 13.00.02 - «Theory and methods of music education» / V. Salii. - K., 2010. - 23 p. 21. A. Semeshko commonplace accordion-art Ukraine at the turn of XX-XXI centuries .: lapping. / A. Semeshko. - T.:Educational book - Bogdan, 2009. - 244 p. 22. M. Cherepanyn accordion pop Olympus: monograms. / M. Cherepanyn, M. Bulda. - Ivano-Frank .: Izd «Lily- NV», 2008. - 256 p.

Summary Marchenko V. Historiographical discourse in research of accordion art in Ukraine The article is focused on scientific literature, which is dedicated to different aspects of accordion art of Ukraine and the basic directions of scientific researches of musical culture are verified. Key words: accordion art of Ukraine, accordion, repertoire, researches, musical culture.

Received 11.11.2014

UDC 738 A.L. Shcherban

NATURE CLIMATIC INFLUENCES ON THE DEVELOPMENT OF ORNAMENT FOLK CERAMICS (ON THE BASIS OF THE LEFT-BANK UKRAINE)

Because more than two-millennium of the study (Hippocrates, Horace, Dubos, Montesquieu, Herder, Comte, Gumilev et al.), The effect of the environment on human development and culture studied quite well [4; 65-67, 2; 72]. The scientists demonstrated that the evolution of living organisms affect the landscape and climatic fluctuations selektsionizm planetary scale [3; 266]. People are natural creatures in the birth and development of cultural, secondary in comparison with nature. Accordingly, climatic factors conditioned the character and features of their constitution, was a priority in the field of life support. Environment, especially in the industrial era when people lived by subsistence farming and related biological community regions, inhabited, shaped areas of economic activity, thus affecting the social and economic processes. Availability peculiar climate, mineral resources, rivers, forests, soil fertility, largely determine the content and nature of life, abundance and life, attitude and outlook, preferences and tastes of human communities. Humanity is sensitive to certain rhythms, vibrations, colors, sounds, and its specific representatives are able to naturally react to favorable or unfavorable impacts and actions from the outside. These reactions were reflected in the specificity of art. In particular, arts and crafts. The researchers of this art form often states the fact of its impact on the development of climatic factors. Searching his dominant displays in the inhabitants of a territory aesthetic ideas, features used items and ornaments reasons [8]. But Ukraine’s population still no analytical study ways and the consequences of this action zpobleno not. While it is essential to study the transformation of decoration as an important part of Ukrainian culture. This article is intended partly to fill this gap. Its purpose - description of the role of natural climatic environment in the transformation of traditional ceramic ornamentation Left-Bank Ukraine late VII millennium BC. - II millennium. Limitations of the study area Left-Bank Ukraine due to the peculiarities of its historical and cultural development, as reflected in the archaeological and historical materials. As it turned out after analyzing the characteristics of the change process of ornamentation traditional ceramics 152 region, climatic factors influenced him in two aspects: the landscape and the climate fluctuations. Describe each of them separately. The first aspect is reconstructed as a result of a comparative analysis of ceramic decoration features synchronous populations of various natural landscape areas. Overall, the entire study area belongs to temperate zone that extends over a broad band of temperate latitudes of North America and Eurasia. Climate it is marked by constant changes dry summer and harsh winter, abundance and scarcity, which in turn strengthens the character of the local people, teaches them to thrift and makes improvements to increase opportunities for gifts of nature [12; 44]. Since the advent of ceramics (Neolithic era) in the Dnipro Left distinguishes three natural zones: steppe, steppe and forest [5; 17], are horizontal (west to east) stripes of different widths. Similarly to the landscape is a steppe lands that stretch over the Dnieper from south to north, until the Pereyaslav. The boundaries between areas are unstable. They periodically zmischuvalysya north (in dry times) and south (in the wet). The preserved artifacts can conclude that from the earliest period of pottery, the population was riznokulturnym Dnieper left bank. Distinguishes three groups geographically due Neolithic cultures, steppe-steppe (Dnieper-Donets cultural-historical community), forest-steppe (community Pit-comb ceramics) and Dnieper (Sursko culture and sights strumelsko hastyatynskoho-type). Not all of these cultures existed simultaneously. Throughout existed only Neolithic Dnieper-Donetsk cultural and historical community. In early Neolithic it coexisted with Sursko culture and sights stumelsko-hastyatynskoho type. On average, late - with cultural and historical community Pit-comb ceramics [13; 39]. Modern research finds methods of science led to the conclusion that the media is in the Dnieper-Donets cultural- historical community (the southern part of its distribution) was the oldest pottery (she was ornamented) - in the last third of the VII millennium BC. E. is. [7; 93]. For archaeologists ornamentation of pottery are important crops determining factor. Its features are the basis for the isolation of many cultures. It is important to emphasize that in the prevailing tastes formed Neolithic inhabitants Left Bank Ukraine applied for decoration on pottery ornamental elements and compositions. They were mostly geometric, linear. These preferences despite the radical change of culture in the region for nearly 8-thousand-year period conceptually unchanged until modern times. But ornamentation products each archaeological culture distinguished by the number of used tools and ornamental elements, complexity of the compositions, the degree ornamentovanosti dishes. It was found that the tradition of ornamentation in ceramics carrier synchronous archaeological cultures different climatic zones differ. The lowest number of ornamental elements and simple compositions used residents of the northern part of the region (monuments strumelsko hastyatynskoho-type, Pit-comb ceramics). Obviously, these features are in some way related to the method of farming. It is believed that the population of the southern areas known agriculture and animal husbandry. Nordic - no. Even when the steppe and southern forest lasted eneolit division of crops in agricultural and pastoral, forest dwellers (carriers of cultural and historical traditions of the community Pit-comb ceramics) were still at the Neolithic stage of development. That is, engaged mainly hunting and gathering [13; 40]. And Ceramic Neolithic it in most northern areas much later than in the south. However, progressive population was Dnieper lands. In particular, at the end of VII - VI in mill. in the north-west of Kyiv and Chernihiv attractions there strumelsko- hastyatynskoho type (according to most researchers it is an act Baltic cultural influences), which used carriers originally decorated with ceramics [1; 172-174]. Since Eneolithic times to VII. type of management of the steppe area residents was expressive cattle breeding and agricultural-nomadic pastoral. Since it is a way of obtaining food allowed for survival in the desert. The need for constant movement of livestock population of the zone made mobile. Moreover, as reasonably believed L. Gumilev, Ukrainian steppe was part of the vast Eurasian steppe region (from Khingan to the Carpathians), bounded on the north by a solid strip of woods, and from the south - the mountains and deserts [2; 56]. The similarity of climatic conditions and terrain with Asian steppe Ukrainian steppe territories made possible large-scale population movements on it. For example, in historical times, in the south-east Dnieper steppes migrated Cimmerians, Scythians, , Huns, Avars, Khazars, Pechenegs Kuman, Tatars. They create or part of the powerful cultural and historical communities (eg Cimmerian, Scythian, Sarmatian, Hun, Mongol), closely associated with the eastern and south-eastern lands of the Left Bank Ukraine. But climatic fluctuations in the desert were worse than in the northern part of the forest and the forest. According (According to historical data) in dry years natural factor was a major in that community, formed in maintaining favorable for nomadic pastoralism times, fell into decay. By steppe zone is close cultural Dnieper steppe corridor, which to the new time actively used for movement steppe population. Undoubtedly, open area for migration of peoples inshokulturnyh affect the development of the local culture. Traveling nations, according to researcher G. Shurtsa primitive culture, «are carriers of culture and fresh forces.» They can be «comparable to the flows that are sometimes devastating, but still benefit the country as where they are absent, tsaryat desolation and decay» [12; 60]. In view of the above considerations, it is obvious explanation for the fact that pottery on site Left Bank Ukraine started in the south and southeast. The population of these lands by the end of the Bronze Age was more progressive in terms of development and acceptance of innovations. In particular, in the decoration of 153 ceramics. But from the Chalcolithic period (Yamna culture serednostohivska cultural-historical community) notably some prairie - south steppe peoples began poorly ornament pottery. Their dishes were decorated mainly in the upper parts. We used simple ornamental elements and composition. Since the early days of iron (the second half of the VIII century BC.) And the seventeenth century, with few exceptions, almost steppe inhabitants ornamented ceramics. And the range of products compared to the steppe, was very limited. By the way, in many other nations moving pottery was not developed [9; 65], which in turn is due to the fragility (easily broken) and severity (compared, for example, with leather or wooden) pottery. Intermediate in natural and cultural terms steppe zone took place. She lived zemlerobsko- pastoral peoples who formed the special archaeological culture. Quite often - after migration from other lands, located mostly west. The population of the forest has always been in organic connection with the inhabitants of the desert. Depending on the natural and political circumstances, this relationship intensified or weakened, which affects the development of ornamentation. In particular, by chance, with the advent of Ukraine in the steppes Scythians (VII century BC.) Ornamentation and an assortment of dishes steppe population began zbidnyuvatysya. In the heyday of the Scythian state (con. VI-IV century BC.) - Were simple. Similar processes occurred later. For example, after the destruction of the onslaught of the Huns Gothic state with a rich culture pottery, ceramics for centuries on the territory forest-steppe almost ornamentuvalasya. Impoverished and ornamentation of pottery Rus days after the Mongol destruction [13; 108-109; 118]. Radically different situation was in the forest area. Archaeological cultures that there existed, developed slowly, mostly through evolution. Innovations in The local environment fall later than the south land. Therefore, although the current state of historical science is difficult to conduct research etnohenentychni can make assumptions about the continuity of the traditions of pottery for a longer period than in other areas. Anyway, even now operating potters pottery single cell Chernihiv - Oleshnya - Make archaic in form and decoration pots furnace. The second aspect of impact is determined by comparing the characteristics of ceramic decoration population of one natural landscape zones in different chronological periods and comparisons of the data with information about climate change in the region, obtained by the natural sciences. It is well known that the development of fine and decorative art in Ukraine was closely linked to climate change. Causing a crisis in the established life of human society, climate fluctuations usually show significantly to the development of culture. In particular, the decorative arts emerged after a drastic cooling of late Paleolithic. While ancient people began to actively put ornaments on the walls of caves, jewelry, ceremonial objects. Since the Neolithic era, when the territory of Ukraine, favorable climatic conditions, close to the current began to form humus land cover (modern black) and there was a «Neolithic Revolution» [5; 17], local residents realized the need for capacity for cooking on the fire through the manufacture of pottery, most of which was ornamented. Obviously, one of the factors that contributed to the emergence of decoration on ceramics was that in cultures with low productivity of people actively addressed the mystical forces of the aspirations for help. Was created ideological system, utilitarian associated with the production process [10; 7-8]. How ornamentation of pottery on site Left Bank Ukraine to climatic fluctuations evident in subsequent years. So, after cooling and drying climate between 2200-1700 years BC [6; 143; 146] on the kitchen ceramics spread bahatopruzhkova ornamentation, there were distinct icons [13; 188- 190]. The early and middle phases of Late Bronze Age (1700-1400 years BC.) Coincided with the establishment in Central and Eastern Europe, the favorable climate - wet and warm weather. Accordingly, in the period between 1700- 1200 gg. To BC there is a significant population density of all regions of the Left Bank Ukraine. The population explosion, which peaked in the fourteenth-XIII centuries. BC, led to the depletion of natural resources. Moreover, the climate began to change in a cool and dry [5; 41-42]. From the early Late Bronze Age pottery was rich ornamentation, its middle, when there was a peak population explosion - simplified, and the final stage - declined. The above scenario was repeated in the early days of iron (the last third of the VIII century BC.), After piznosubborealnoho climate improvement [6; 143] and a day early Middle Ages (IX-XIII.) When our territory was the optimal climatic period subatlantychnoho period [6; 175]. Over time, the relationship between natural geographical environment and the economy weakened and is now exhausted, «spontaneous closing (rationally uncontrolled) logical-historical cycle of evolution of relations between nature and society» [11; 483]. As to the improvement of the productive forces, the impact of natural and geographical factors on human development significantly decreased, it trained more effectively meet the challenges of nature [10; 7-8] without recourse to magic. But natural-climatic factor not only of those that influenced the development of the traditional cultures of the world. This is clearly evident in archaeological materials. Thus, residents of the same area of Left-Bank Ukraine in different periods are often radically different decorated ceramics. For example, carriers yamnoyi and subsequent Catacomb cultural-historical community, the public carcass cultural and historical community of early- middle and late period of history, residents of the Left-Bank Ukraine VIII-VI and V-III. BC, VIII- XIII century. and so on. The geographical environment they would like. The climate is changing, but not so fast to radically change perceptions and outlook of people in a short period of time. That is, the influence of nature and the climate was a major, but mediated migration and socio-economic processes, impacts on the development of ceramic ornamentation. At the left-bank Ukraine it is manifested in varying degrees decorating earthenware or ornamental elements used in some climatic zones. As well as ornamental transformations that took place after climate change. 154 References 1. Archaeology of the Ukrainian SSR: a 3 m. - K.: Science. Dumka, 1985. - T. 1. - 567 p. 2. L.N. Gumilyov Eurasian Rhythms: epochs and civilizations / L.N. Gumilyov. - M.: Ekopros, 1993. - 576 p. 3. L.N. Gumilyov Ethnosphere: History of the people and the history of nature / L.N. Gumilyov. - M.: Ekopros, 1993. - 544 p. 4. Yevlakhov A.M. Introduction to the philosophy of art. The experience of literary-historical methodology. T. III. Methods of scientific irrational / A.M. Yevlakhov. - Rostov n / D. : Printing N. Shepherd, 1917. 5. Ethnic History of Ancient Ukraine. - K., Institute of Archaeology of NAS of Ukraine, 2000. - 276 p. 6. Kremenetskiy K.V. Paleoecology of ancient herdsmen and farmers of the Russian Plain / K.V. Kremenetskiy. - Moscow: Institute of Geography of the USSR, 1991. - 193 p. 7. Manko V.V. Neolithic southeastern Ukraine / V. Manko. - K: Way, 2006. - 280 p. 8. Nekrasov M.A. Folk Art as part of the Culture: Theory and Practice / M.A. Nekrasov. - M.: Art, 1983. - 343 p. 9. Nicholas V. Outline of primitive culture / Vladimir Nikolsky. - MA; Petrograd: Vol. LD Frenkel, 1924. - 250 p. 10. Pavlyuk S.P. Traditional farming Ukraine: Agrotechnical aspect / S.P. Pavlyuk. - K.: Science. opinion, 1991. - 224 p. 11. Shejko V.M. Formation of Cultural foundations of civilization in the age of globalization (second half XIX - beginning of XXI century) / V.M. Shejko, P. Bogucki. - K.: Genesis, 2005. - 592 p. 12. G. Schurz history of primitive culture. T. 1. Basis of Culture. Society. Economy / G. Schurz. - MM: KRASAND, 2010. - 424 p.

Summary Shcherban A. Nature climatic influences on the development of ornament folk ceramics (on the basis of the left- bank Ukraine) In this work an author characterizes the environmental influence on the specific development of ceramic ornamentation Left Bank Ukraine. The history of features of decorating the clay wares steppe, forest-steppe and forest natural and climatic zones are shown by the author. Key words: ceramics, pattern, the Dnieper Left Bank Ukraine.

Received 18.10.2014

UDC 338.483.12 T.V. Yatsechko-Blazhenko

KREMENETS CASTLE – ARCHITECTURAL MONUMENT OF THE HISTORICAL AND NATIONAL IMPORTANCE

Kremenets - one of the oldest cities in Ukraine. Its origins are lost in the depths of centuries, dating back the time of Ancient Rus-Ukraine. However, the question about the first mention, not to mention the city’s founding, is still controversial. Chronicles mention XIII. is the first mention of the city. However, archaeological excavations both in the city and its surroundings can be attributed to the date of laying here dwellings and fortified city at a much earlier time. Interestingly, the territory of which the city began construction in ancient times? There is a version that first appeared in Kremenets city on high steep Castle Hill before the attacks of Mongol-Tatars in XIII. [8; 560]. The castle itself could be the first fortified settlement and later with increasing population of city life spread to the neighboring mountains - Church, hen and modern area of the city. In its first stage, he probably was not even a stone and was built of wood and earth [1; 14]. Mount Castle chosen for the first settlement because of its inaccessibility and significant overview of the area, allowing the public to monitor possible enemy offensives. It is doubtless the fact that Castle Hill chose to settle people in older age, as evidenced by archaeological findings ranging from the Neolithic [9; 71]. In addition, the city could be located and several mountains at once. Evidence that at Castle Hill raged long full life, there is mention of the existence of the ancient church on the hill, built in ancient times Russians [11; 291]. It was the church of St. Nicholas, built in the time of possession Mokosiyiv city, later said it will lock lustration in 1552 [12; 778]. In addition, more recent information we have about the existence of this well. That is, as we see, everything you need to stay was the first population Kremenets purely on Castle Hill. What material was the first city built on the mountain? If we recall the fact that the later the castle burned [9; 71], it is probably made of wood, also on the mountain was always plenty. So in case of damage of defenses can quickly recover due to the fact that the forest was nearby. Even worse would happen when the fire occurred, then it were destroyed. This situation could lead to the fact that people have had to look for another place. Probably the first burning castle and could be a trigger for Kremenets build a city in the valley below Castle Hill. Although it could even then be on the territory. 155 It is certain that not only the castle, but the city arose in ancient times. After all, if a scheme to look at the city, we see that it resembles the shape of a cross. Perhaps if the city built after the adoption of Christianity, then the plan of the city could be a kind of protection for the believer population from attacks by strangers. Four suburb Kremenets city is divided into four cardinal points. Each of the suburbs had to be a gate, that at the time of danger and garden gates remained closed completely closed to intruders. Furthermore cities as the castle was surrounded by ramparts and moats [9; 55]. It is hard to imagine ancient architectural face Kremenets. All the details can not be reconstructed because of the lack of historical sources. It is obvious, however, that, like most cities of the chronicle, he could consist not of one but of two main parts - the nucleus fortified citadel in a princely townspeople and adjacent areas. Perhaps also that held the upper citadel present expanse of Castle Hill, while the townspeople part, perhaps, was relatively small and could hold enough to grip a piece of land on the isthmus, perhaps even in the form of fortified pryhorodka avtonomizovanoyu system. At the same time you can not discard the possibility that because of topographical terrain certain areas of the townspeople could not have direct connection with the kremlin, situated far below the relief in Mezhyhirya closer to water sources and communication routes. According to some researchers, the first Christian church in Kremenets built exactly on the coasts stronghold and probably was wooden as the version of the large-scale construction in old Murovane Kremenets does not have a reliable evidentiary basis [7; 240-241] This assumption seems to be true, but not have the chronicles mention of the temple in «the city of Kremenets’. One of the important aspects of the study of medieval history of Ukraine is the study of the locks, which according to estimates today, more than a hundred. They were both state that belonged to the Lithuanian and later the Polish administration, and private, that were owned by powerful landowners. Castle-fortress, which include Kremenets castle, performed important functions surrounding areas of defense from enemies. Most of the castles built on the ground settlements bridge that existed in previous periods. Combining defensive capabilities of the castle and the city into a single system made it possible in the event of external threat strengthen the defensive ability of each. As you can see from the above said chronicle facts, history starts Kremenets castle lost in the depths of centuries and belong to the period of ancient Rus-Ukraine. Kremenets castle was the center of life chronicle hail. He was on Castle Hill, whose height is now above sea level - 397 m, and the relative - that is, from the foot - 105 meters [8; 12]. Over the long history of the city through the destruction at different times were built several castles, all of which existed in a different period. But nevertheless clear is that the first castle and garden at Castle Hill was built in IX-XII centuries. wood and earth, and at that time was owned by the Russian princes [1; 12]. The second castle built of stone, was so fortified and inaccessible that even survived the army of the Hungarian King Andrew in 1226 this could be a solid stone limestone which is abundant in the province. Detinets held the extreme part of the mountain and had in terms of irregular shape. Stone wall stretched straight line from edge to edge of the mountain repeating configuration cape. Part of the wall was probably surrounded by a palisade [3; 74]. The stone tower that appeared in the New Castle, were comfortable for a successful attack of the enemy. Kremenets was one of the first completely new type of stone castles in the thirteenth century. The walls of the city were also stone, as well as in Hill, Novgorod and Pskov at the time. Other researchers on the account form and features the second Kremenets castle believe that it is built XI-XIII. of white stone. Castle located on the edge of the mountain, had in terms of irregular shape. In it there were three defensive towers. Gate tower was a two-tiered building with gothic arched passage. More than 10 meters high defensive walls ended notched parapet and had narrow loopholes. The wall thickness exceeding 2 m. Polish source dates the appearance of the stone castle end of XIII century. To characterize the building itself researcher notes that castle wall stretched straight line from edge to edge of the mountain, and the remainder of repeated configuration cape. The balance of the mountain, apparently, was then surrounded by a palisade [10; 58-59]. The owner of the castle could be a great father Prince Daniel Romanovich (1201-1264 gg.) - Prince Mstislav Udaloi (? -1228 G.). Later, after the death of the last ruler of the castle, like other fortresses Volyn Volyn came under the patronage of Prince Vasylko brother Daniel (1203-1269 gg.). Activities princes Galician-Volyn dynasty in which the fore clearly put forward the best certified chronicle of urban planning program Danilo Galician (corresponding direction of activity of his brother Vasylko Volyn recorded only concise historical mention, which, however, gives reason to guess is as good meaningful character) , acts as a central event in the history of Western architecture and urban planning of this century. Having established the throne in a tense struggle, D. Galician from 1230’s. Deployed state-wide activities in different directions, one of which was the important aspects of its founding. Therefore, despite the natural development of existing urban areas, in the middle - the second half of the fourteenth century. special significance became founding new cities is largely determined established back in the reign of Roman Mstyslavych policies aimed at the development of the territory of the principality in the north-west. Obviously, new cities arose primarily as strong points necessary in view of the policy tsentralizatorskih Daniel under his intense struggle against Boyar opposition for strengthening the princely power, continuous princely strife and constant external threat by Lithuanians, Poles and Hungarians. In the second half of the thirteenth century. a city that was one of the strongest fortifications Southwest Volyn, stood in the way of conquest armies of neighboring states and often suffered from them. 156 1241 to Galicia-Volyn principality has reached the Mongol invasion and the city shall function as fortified settlements against the Horde. In 1241 Kremenets to approached with its hordes of Khan Batu. After repeated and unsuccessful attempts to master fortification on the castle hill, he lifted the siege and moved further west. All this is due to the heroic efforts of local people Kremenets castle. Ruses known author and chronicler of the event reports during the year 1240. He says what happened in the winter, because Kyiv Mongols captured on December 6, which reported that a huge horde of Batu Khan rushed to the west, capturing one stronghold after another. Having several fortifications in Volyn, Batu failed during Danilov and Kremenets. In the annals of it read: «And when I saw / Batu Khan / that Kremenets and garden Danyliv can not take him, then walked away from them.» The fact that Danilov, Kremenets and as the strongest fortification Southwest Volyn, stood in the way of his conquests farther west, including the Vladimir-Volyn and Galich. Attacks Mongols continued to Kremenechchynu and successors of Batu Khan. In the above-Rus chronicle in 1254 stipulates that under the leadership of Horde Kuremsy pustoshyly edge, but in Kremenets failed. The chronicler writes: «And then Kuremsy [Tatar Khan] came to Kremenets. Andrew [posadnik Kremenetskiy], kept two. So he insisted: «I Kings there,» and then [called himself] Tatar, because he had a lie in my heart [I] gave his God to hand their [Tatars], and although he said: «Batu diploma me there» they are even more angry at him. And he was killed, and the heart they cut it, but without reaching anything Kremenets circle, returned to their states. « The war lasted the whole winter 1254-1255’s. But as we see, again Kremenets also able to repel the attackers and keep yourself on the driving forces of bands already in 1254-1255 years. The city defended without major losses and zruynuvan. By the way, after an unsuccessful siege of the troops of Batu, Kremenets castle was the first fortress (from the time of Genghis Khan), which failed to win Mongols. In 1259 the chronicler points directly to a new destination zasnovuvanyh fortified settlements, noting that Daniel laid new «Gardens» «Tatars against the wicked.» [2; 44]. On the defensive power of the castle can speak boldly, as in the 40’s. XIII. in attacks on Volhynia and Podolia monholckyh Tatar invasions, only one survived the entire region Kremenets castle. One of the keys to its nepidstupnosti certainly was a mountain on which it is located [9; 52]. The defining moment in the development of the local architecture and construction of the second floor. XIII - the first half. XV. is characteristic medieval culture dominance ensemble that found expression in large urban programs, and in small ensembles of individual structures or buildings. In general, the period in the and construction in the Ukrainian lands known, in fact, only in some of its manifestations, since authentic contemporary monuments remained few and the ever archaeological and historical and architectural study of lost or rebuilt structures do not always provide enough material for a significant their reasonable historical and architectural reconstruction. The proposed period provided modest written sources, except in the very beginning, where the situation to some extent correct the chronicle data. Learn the history of architecture and quite unevenly distributed geographically - as in the whole culture of the Ukrainian lands corresponding period, is clearly dominated western territory. Since before the end of the XIII century. for most parts of Ukrainian art traditions of documentary evidence almost entirely absent. The development of contemporary architecture, of course, associated with cities. Their planning was free, defined above features of the terrain that best evident in Kremenets. Researcher of defenses PA Rappoport believed that success in the defense of the city in front of strangers depended on the successful location of the castle, as the castle could not get Catapult - machine for throwing stones. She could beat up and a great height. And in Kremenets XIII. was built high enough to separate the mountains with steep slopes. And proof of this is that the Mongols who stormed the major cities of Volyn and Kyiv region, Kremenets even tried to storm. After all, according to the chronicle, Batu not even going to do that. Mountains in Volyn were not always so Kremenets, where luck with geographic location and was so inaccessible to the enemy. Rather, when the city was built, that included the possibility of applying the enemy kamenometiv [4; 46]. Four years after the attack Kuremsy combined forces of the Galician-Volyn princes fought against the accursed as the chronicler calls him, Burundai, which stood in the camp Shumsk, 40 km from Kremenets. Brother Daniel Galician cornflowers and son Leo D. had to agree to tough conditions offered Burundai. In November 1259 Cornflower went to meet with Bishop Burundai took many gifts, vodka, to Shumska to appease Burundai. During the last negotiations required to destroy a well-fortified fortress Ukrainian Volyn. Ruthenian princes had to do to keep that price once the independence of their native land. The chronicler noted: «I went with Vasya-Prince Leo and meet with Bishop Burundai took many gifts and drinking and meeting its range of [city] Shumska. And Vasya came from Bishop Leo and before him with gifts, and great wrath vni placed on Vasylka- Prince and Leo and Bishop stood in great fear. And then Burundai cornflower said: «If you yeste my accomplices - rozmechite their gardens are all [I]. Leo rozkylav [gardens] ... Cornflower same sending [warriors] Kremyanets swept ... «[2; 421]. So, ironically, the first Kremenets castle destroyed army Vasylko Romanovich Volyn prince in 1259 at the request of the Mongolian Khan Burundai. The enemy forced «rozmitaty» (destroy) strengthening Kremenets and several other cities. After that, the city lost its defensive significance 100 years. This capitulation undermined created Prince Daniel edge defense system. Obviously, the process Kremenets castle destruction was symbolic and was held in the presence of authorized persons Horde. Thus, after the destruction of fortifications Burundai Vladimir himself came to inspect 157 them. Dissatisfied with the results of the fire, he ordered his men to dig earthworks city to city walls from left not a trace. Attacks Mongols continued in the next decade. In November 1287 the Tatar warlord wicked as chronicler calls him, Telebuha gathered a large troop and went away again pustoshyty Volyn land. Here’s how Kremenets mentioned in those events «[Telebuha] ... and he went outside to Kremenets Peremyl» [2; 435]. After moving through Gorin, went to Kremenets. But, getting good gifts, did not pustoshyty city of Przemysl and went to Vladimir. So last Kremenets mentioned in the Ruthenian chronicles in 1287, and then for several decades disappears from view of historians. This devastation Kremenets town and Castle Hill Mongols not ended, they continued in the next century. Summarizing all the above sotsiotopohrafiyi Kremenets relatively in the X-XIII. the following conclusions. The process of formation and the formation of the city was very difficult. Developing the general laws hail Kremenets dependent on many factors which influenced it, namely the natural and geographical conditions of the area in which it originated, mikroheohrafichnyh and topographical conditions of the area which formed a system of individual components of the city, finally the historical conditions of the whole Volyn land.

References 1. Kremenets: guide / compilation. and author of the text I. Sobchuk. - L., 2003. - 55 c. 2. Chronicle Ruses / lane. by Ipatskym list L.E. Makhnovets; ed. Ed. A. Myshanych. - K. Dnieper, 1989. - 591 p. 3. Monuments of urban development and architecture of the Ukrainian SSR: Il. prav. Kat. : 4 m. / Editorial Board. S. Aseev (Rep. Ed.), And others. - K.: Budivelnik, 1986. - T. 4 - 325. 4. Rappoport P. ancient Russian fortress / P.A. Rappoport. - Moscow: Nauka, 1965. 5. Teodorovich N. Historical and statistical description of the churches and parishes of the Volyn diocese /N. Teodorovich. - Pochaiv 1888 6. N. Teodorovich City Kremenets, Volyn province: historical essay / A.N. Teodorovich. - Pochaev, 1890. - 70 p. 7. Tikhomirov M.V. Old Russian town / Tikhomirov. - M.: Gospolitizdat, 1956. - 477 p. 8. A. Tsynkalovskyy Stara Volyn Polissya and Volyn (History and Dictionary of Volyn Volyn Polissya) from ancient times to 1914 p. / A. Tsynkalovskyy. - Winnipeg, 1984. - 600 p. 9. Krzemieniec. Group work. - Wydaw. Polish Tourist Association. - Warsaw. - 1926. - 113 p. 10. Ławecki W. Krzemieniec - pearl limits, «say Ages», May 2004. - S. 58-59. 11. Niesiecki Ks. Kacper. Polish crown - Lviv: Printing College of Lviv, 1728-1743. Т. 3 - 1740. 12. Geographical Dictionary of the Kingdom of Polish and other Slavic countries, ed. F. Sulimierskiego, B. Chlebowski, W. Walewski. - Warsaw, 1883. - T. IV. - S. 776-780.

Summary Yatsechko-Blazhenko T. Kremenets Castle – architectural monument of the historical and national importance The article discusses the features of urban situations accommodation buildings a castle on remenets mountains. For example shown the building of the Kremenetskyj castle, history and the first Orthodox church in the city. Key words: immovable monuments, architecture, church, castle.

Received 30.10.2014

UDC 44.3(477) V.V. Goncharov

ON THE PROBLEM OF RELATIONSHEEPS BETWEEN TRADITIONS AND INTANGIBLE CULTURAL HERITAGE

The term «intangible cultural heritage» (NMS) was not so long ago - in the second half. 90 years of the twentieth century. However, in a relatively short time of its operation it entered the public discourse, particularly scientific use. The last argument is confirmed by the large amount of scientific publications - articles, monographs, relevant conference materials, etc., as well as a heated debate in the scientific community that focuses on the need to study the storage and updating of NKS, which, in turn, indicates sharpening interest in this issue among the scientific community, respectively - practitioners. Thus, the problems of the Intangible Cultural Heritage researchers were particularly interested in the post oprylyudyvshy recent years a number of relevant publications. Among them are worth attention of Russian researchers work Kiryushin Yu, A. Karhyna, A. Kostin, N. Akhundov, T. Kuryanovoyi, A. Halkovoyi and others. In Ukraine, the problem of the Intangible Cultural Heritage explore Shejko V., G. Andres, S. Bosyk, N. Ternes, L. Hasydzhak and others. The relevance of the study this issue and suggests carrying November 11, 2014 Conference «The diversity of intangible cultural heritage as a resource for economic development of Ukraine» in the National Center of Folk Culture «Ivan Honchar Museum». The purpose of the conference and round table initiated as part of the measures was to encourage stakeholder dialogue and raising awareness on intangible cultural heritage. 158 In the global context of NKS particularly highlighted in connection with the acceleration of globalization that triggered life to those challenges now become a threat to the cultural diversity of the planet, which is known to be updated in the respective traditions. Thus, in the International Convention for the Safeguarding of the Intangible Cultural Heritage of 17 October 2003 noted that «the processes of globalization and social change, along with the conditions they create for renewed dialogue among communities, determine how the phenomenon of intolerance, threats of deterioration, disappearance and destruction of the intangible cultural heritage, in particular due to limited resources for the protection of such heritage «[6]. Meanwhile traditions formed not only under the influence of transformations that under globalization processes which are known to last for centuries inevitably led and will lead in future to partly ambiguous and irreversible changes in all cultures, but in a particular environment, climate , geographic location, which sometimes perhaps even more than other factors determines the conditions of existence of people within specific territorial and cultural associations, which, in fact, required of communities and public entities relevant knowledge, skills, and so the arrangement of his life, attention to which of the following generations ensure not only continuity, but also the conditions and means of their future adaptation to transient changes. So in general it is clear why the appeal to traditional attitudes characteristic of the period of global transformations when «increasing social significance of cultural constants, first memoratyvnyh systems and object-symbolic artifacts,» based on the fact that «any change requires sustainability held and guided it . Variability without sustainability has for human destructive and destructive elements «[4] - said Professor of Samara State Academy of Culture and Arts V. Ionesov. Thus, among the objectives of the study - to understand that the main characteristics of the traditions can be considered as giving grounds for referring them to the intangible cultural heritage and enable their influence on its formation. Intangible cultural heritage passed and passed from generation to generation - is that «Constantly recreated by communities and groups influenced by their environment, interaction with nature and their history. [9] Here, in our opinion, should pay attention to the fact that the international legal instruments that can be considered the forerunners of the modern legal definition of intangible cultural heritage, traditionally not given universal definitions of the concepts that they use. Typically, each legal act based on specific goals and objectives adopted document containing their definition. Thus, in the report of the Director-General of UNESCO on the preliminary study the question of whether international regulation NMS (2001) heritage is defined as «made people processes along with the knowledge, skills and creativity, which are inherited and develop them, the products they create, and resources, spaces and other aspects of social and natural, necessary to ensure their stability; These processes form the existing communities a sense of continuity regarding previous generations and are important to cultural identity, as well as for the preservation of cultural diversity and creativity of humanity «[3]. However, it is mentioned in the Convention in 2003 definition as that which is found in most standard documents on intangible cultural heritage, partly acts as a starting position and even the axiom that needs no proof. Meanwhile, scientists, cultural studies identified in this concept often do not pay attention to the situation and the definition of legal documents. So there is some conflict in the approaches to the understanding of the intangible cultural heritage in cultural publications associated with cultural heritage as such than with intangible culture. So, our science, as for the law, the term «cultural heritage» is fairly young and tied to international regulations, including the relevant conventions of UNESCO. Although, as already noted above, the term NKS emerged relatively recently, it does not mean that his administration there was a conceptual vacuum, and therefore - cultural heritage existed. Because, of course, that the existence of the latter noticed a long time ago, and for its many definitions used items. Thus, the findings of the Russian researcher M. Polyakova, in the XVIII century. This study mainly confined heritage «elementary fixing material objects» [11; 258], for which there was no single concept. Objects of Cultural Heritage called «antique», «historical dostopam’yatnostyamy» and so on. Thus the lexical level, important was not so much their correlation with the process of «succession» and establishing continuity between much of the «memory» of the past, often «ancient», «ancient past» [11]. However, the term «cultural heritage» (as well as «cultural landscape») stuck in the science of law and only in the second half th 20th c. At the same time we are more interested in issues related to the definition of priorities that should guide and researchers, and practitioners in shaping a coherent picture of the current state traditions as the main element of cultural heritage, including intangible. As you know, the basic components of culture include tangible and intangible components that make up the basis for the functioning of society. Material culture - all material objects created mankind in the process of civilizational development. Within each particular culture they presented their own achievements, most of which can be attributed to innovation and technology: features residential buildings, production facilities, equipment, etc. - actually all that is called to improve the livelihoods of people, make it more rational. Thus forming the basis of material culture are primarily challenges and needs related to practical and prahmatychno- instrumental aspects of life and life-support people at appropriate stages of socio-cultural development. As for the intangible components of culture, the researchers distinguish among them sociocultural institutions (family, church, school, etc.) as well as the corresponding system values (laws, religion, traditions, philosophical ideas, ideology, philosophical and scientific systems, etc). Actually everything that enables people and ethnic community to adapt to rapidly changing social realities and acting regulator of the entire complex system of social relations. No wonder 159 intangible culture is often called adaptive. Continuing this thought worth mentioning P. Hutton saying: «Tradition creates the illusion of immunity of change, even if the stability of the images were nothing more than representations of modern ideas about the past» [14; 40]. The importance of intangible culture studies also demonstrated by the fact that it usually is more static and thus changes much more slowly than material. At the same time lag in its dynamics, as noted American sociologist William Ohsborn leads to social crises. Although major changes in social transformation is occurring in the material culture, especially under the influence of innovations downplay the role of intangible culture is not necessary, because it makes it possible to adapt and man and society for innovation and all the transformations that inevitably follow them. In addition, the tradition is manifested not primarily for material and organizational level, and the psychological, providing a kind of comfort thanks to a subjective sense of security. It should be emphasized that non-material culture - is not only intellectual but also spiritual doctrine, which has partly sacred origin in history. Yes, John. Alexander attempted to prove that the majority of modern transformations that are considered related to practically instrumental human activities, a number of hidden symbols, myths, rituals, codes - anything that traditionally belongs to the irrational, sacred, non- profane, even magical. The scientist stressed that the partly unconscious, cultural structures are not only essential to society, but also become the basis of material and social practices. It is in the past and they appear to be associated with the need to regulate society. Therefore, they can not cancel, but can only partly transform [1; 43]. The researcher points out that virtually all «institutions and processes reflect cultural texts, full of meaning images. This «arena in which cultural forces combine or collide with material conditions and rational interests and led to some results (...) they treated themselves represent cultural meta-text as a concrete embodiment broader ideal flows» [1; 93] - continues John. Alexander. As you know, a special place among the elements of intangible culture occupy traditions, customs, ceremonies, rituals created by the people and for the people. That tradition, rituals and customs that projected in all planes of social and cultural life - school, family, ideology, culture, artistic, political, legal requirements, norms of behavior - can be considered part of a major intangible culture. The capacity of human culture and civilization in general provide laws, samples, regulations and norms of behavior that have emerged on the basis of tradition, which preceded the formation of «painful search form civil sewage instincts» [8; 246] - Russian researchers noted. However, as stressed V. Plahov based rituals, customs, rituals, ceremonies, etc. is common - tradition - as historically established social relations as a special general sociological law [10; 10-11]. Therefore, in his opinion, can be considered synonymous with the tradition of all these concepts [10; 14]. Thus, analyzing the first chapter of his book «Tradition and Society» origin of the term tradition, the researcher concludes that it is more universal term on others, so it can be used in other cases to explain all such phenomena [10; 18]. Even Levi-Strauss argued that tradition - a special language by which information is transmitted from generation to generation. Unison is the position of the Russian researcher E. Markarian: «Tradition - is expressed in social stereotypes organized group experience that by the space-time transmission accumulated and reproduced in different human groups» [7; 80]. This approach to tradition is typical for the activity approach, the basic tenets of which were formed by the classics of Marxism who understand tradition as a means of transferring social experience from generation to generation. Next rozvyvasya homeostaznyy or cybernetic approach also appealed to the role of tradition in preserving cultural heritage. Yes, most researchers argue that the tradition - established a joint drive forms and patterns of behavior, as well as being of society meanings that emerged in the course of its evolution. It is in this sense can be considered part of the tradition of the Intangible Cultural Heritage, which largely is the most universal concept on all its other structural elements. In general we can say that the most important function is the role of tradition in the formation, preservation and transmission of cultural heritage, including intangible evident in most samples. Thus, the Convention on the protection of intangible cultural heritage [6] listed the specific elements of intangible cultural heritage, which interalia reflect its manifestations in different areas: • oral traditions and forms of expression, including language as a vehicle of the intangible cultural heritage; • performing arts, including acting, music, singing, dancing, etc; • customs, rituals and holidays; • knowledge and customs related to nature and the universe; • knowledge and skills related to traditional crafts. According to Art. 2 of the Convention, «intangible cultural heritage - a customs form, presentation and expression, knowledge and skills, as well as the associated instruments, objects, artefacts and cultural spaces recognized by communities, groups and, in some rare cases, persons in as part of their cultural heritage «[6]. In fact, intangible cultural heritage - is immaterial component of culture, that is all that attribute to the intellectual and spiritual achievements that not only distinguish one ethnic group from another, but also served as a means of transmission and serve its most important experience from generation to generation. Intangible Cultural Heritage - is primarily a spiritual aspect of community life, which is reproduced in the tradition enshrined in the minds of people as carriers of the historical experiences of ethno-cultural identity of various cultural 160 practices that make it possible to distinguish one culture from another. Each modern culture, according to E. Hidensa, although it has some common features characteristic of modernity, is unique and original. Besides, apart from traditional social attitudes, disrupting continuity researcher sees a threat to the present [2; 171]. Therefore, it is important to keep the tradition, turning them on intangible heritage, which in turn requires the preservation and protection. Yes, tradition is a means of preservation and transfer of experience, embodied in the intangible cultural heritage, support factor of socio-cultural integration and at the same time guarantee a high level of trust in society, which should preserve their culture in terms of integration into the global cultural space. Violation communicative function traditions leaves man alone with their own problems, alienates people from each other, shaking the foundations of culture and the whole system of social organization. It should be emphasized that the whole history of the «Convention on the Protection of the World Cultural and Natural Heritage» in 1972 makes it possible to imagine the factors which, in turn, make it possible to understand exactly what it has become the foundation for all future initiatives associated with both material, and with intangible heritage. Despite the fact that the Convention in 1972 referred exclusively about material heritage, the origins of the concept of intangible cultural heritage should look is in it, including selection criteria: the object must be «directly or materially associated with events or existing tradition of ideas, beliefs, with artistic or literary works and has exceptional global importance «[13]. Secondly, although the Convention in 1972 had clearly progressive in nature, the researchers drew attention to a number of inherent specific shortcomings. One of them was recognized focus on Europeanness and European system of values. However, the Convention in 1972 was based on the principles of equality of all cultures, as a condition for inclusion in the list was the special «universal value». However, as the text of the Convention in 1972, it makes this concept rather vague decryption, also worked on isolating objects NKS. Another worthwhile note position. So, is the «universal» and «authenticity», at first glance, understood in purely European terms. As a result - Christian sacred buildings, respectively - the values presented in the list expanded more than the value of other faiths. However, the researchers emphasize that the monuments of the twentieth century. List of virtually not represented, although the tradition is alive cultures and regions have a need perhaps more attention, protection and care now than later when they need to «restore». As is clear from the foregoing, whether EU-value territorial preferences, whether the inability to reach an agreement in the interpretation of the concepts of «versatility» and «authenticity» or something ambiguous relationship to «live» cultural phenomena prompted UNESCO and other international organizations to turn to search for new forms, tools and rules that would make it possible representation of all the cultural heritage and values, regardless of the conditions, time of occurrence, value to other crops and the area location. Attracted the attention of researchers concept of intangible culture, which, in fact, meet all these criteria. The report of the Director General of UNESCO on the preliminary study the question of whether international regulation - based on a new instrument - the protection of traditional culture and folklore, dated May 16, 2001, said that «the starting date of the UNESCO normative action related to the protection of intangible cultural heritage should be considered in 1973, when the government of Bolivia proposed to protect folklore approve the Protocol to the Universal Copyright Convention «[3]. As a result of long work in 1984 a draft agreement, which was to regulate the protection of folklore «from illegal use and other actions that it nanosytymut damage» [3]. However, the treaty has not entered into force. However, the process has already been launched. For example, in 1989 in Washington by UNESCO in conjunction with the Smithsonian Institution held a conference on «Global assessment of the Recommendations on the conservation of folklore» [3]. The forum has been argued the need to develop a new regulation and the revision of the concept of «folklore», which, according to experts, has changed its content and form. Another important result of the event was the introduction of the concept of «intangible cultural heritage», which, according to researchers, covers a wide range of phenomena and reflects the whole process of folk values, including traditional knowledge, resources, cultural environment and so on. Also stressed the role of creators and carriers of knowledge. During the discussion, participants concluded that the oral heritage is inseparable from the intangible heritage [5]. Thus, one of the most significant steps in the direction of legal regulation in the sphere of intangible culture was the adoption of UNESCO 15 November 1989 «Guidelines for the preservation of folklore» [12]. Despite the fact that the title made by category, which refers to the scientific literature is quite narrow (both oral tradition), folk art - a set created by people specimens artistic culture - verbal (legends, songs, stories, epic), music, theater, dance, etc. himself folklore Recommendations is widely understood, prompting its authors to determine after the word «folklore» in brackets give clarification «or traditional and popular culture» [12]. Folk art - the main component of intangible culture, which, in fact, referred the Convention on intangible heritage to one of its components. In accordance with Recommendation 1989, folklore - a «set of works that are based on the traditions of the cultural community, expressed by a group or individuals and recognized as a reflection of the expectations of society and its cultural and social identity, folklore samples and values are transmitted orally, by imitation or other ways. Its forms include, language, literature, music, dance, games, mythology, rituals, customs, handicrafts, architecture and other art «[12; 177]. Therefore, given the extremely broad understanding of folklore, as well as a wide variety of activities aimed at its preservation and dissemination of Recommendation 1989 can be considered the first document of UNESCO concerning intangible cultural heritage. However, as it became clear the programs of regional workshops and the International 161 Conference held in Washington in 1999, ie 10 years after the adoption of the Recommendation, «to consider several aspects needed a new or revised act, particularly regarding issues of terminology, the scale of the problems and the type definitions used «[3; 3] Guidelines for the Conservation of folklore. At a conference in 1999 also highlighted «the need to address priority attention to traditional media, expanding the definition of which should cover not only products of artistic culture, such as tales, songs, etc., but also knowledge and values, contributing to their creation, as well as creative processes in which they are born, and forms of interaction that provide appropriate recognition and worthy of evaluation «[3; 3]. So attention drawn to the preservation of folklore actually laid all the legal and cultural foundation for adoption 14 years of the Convention on intangible cultural heritage. Thus, it is clear that the study of transformations that occur with the intangible element of culture - traditions - in terms of social and cultural innovation, an important issue in view of their future, which also designed a practical level, because lets not only answer questions about the future of the intangible cultural heritage but also effectively react and form specific actions that will contribute to its preservation by first listing Registry List. In general, the most common misunderstanding of the intangible cultural heritage objects encompasses not follow, but first of all means of transmission mechanisms and sociocultural traditions, which, in turn, stem from their information-communicative nature. But this is a topic for further research in terms of the combination of tradition and intangible cultural heritage.

References 1. J. Alexander. Sense of social life, cultural sociology / J. Alexander. - M.: Praxis, 2013. - 630 c. 2. Giddens E. Consequences of modernity / Giddens E .; per. from English. Olkhovikova G., D. Kibalchicha. - M.:Praxis, 2011. - 352 p. 3. Report of the Director-General of UNESCO on the preliminary study on the advisability of international regulation - based on a new legal act - the protection of traditional culture and folklore, May 16, 2001. [Electr. resource]. - Access: http:// unesdoc.unesco.org/images/0012/001225/122585r.pdf. 4. Ionesov V.I. Transformation of artifacts: the things that we create, store and modify /VI Ionesov [Elektr.resurs]. - Access: fst.my1.ru/_fr/0/_.doc.doc. 5. Kargin A. Intangible heritage of the peoples of the Russian Federation as a priority of the cultural policy of Russia / Kargin A.S., Kostin A.V. [Electr. resource]. - Mode of access: http: //www.zpu- journal.ru/zpu/2008_3/Kargin&Kostina.pdf. 6. Convention on the protection of intangible cultural heritage. 2003 [E. resource]. - Access: http://zakon0.rada.gov. ua/laws/show/995_d69. 7. E. Markarian theory of culture and modern science / Markaryan E. - M.: Thought, 1983. - 284 p. 8. Population and Globalization: 2nd ed. / N.M. Romashevskaya, V.F. Galetsky et al. - Nauka, 2004. - 322 p. 9. Intangible Cultural Heritage [Electr. resource]. - Access: http://ru.wikipedia.org 10. Plakhov V. Tradition and society: experience of philosophical and sociological research / A.V. Block. - M.: Thought, 1982. - 220 p. 11. Polyakova M.A. Approaches to the study of cultural heritage of Russia in XVIII - the beginning of the twentieth century / M.A. Polyakova // Herald Ros. state. humanity. Univ. - 2008. - № 10. - S. 257-266. 12. Recommendation on the conservation of folklore // Records of the General Conference of UNESCO. XXV Session, Paris, 17 October - 16 November 1989 Volume 1: Resolutions [Electr. resource]. - Access: http://unesdoc. unesco.org/images/0008/000846/084696rb.pdf#page=174. 13. World Heritage [E. resource]. - Access: http://uk.wikipedia.org 14. P. Hutton history as the art of memory / Hutton P. - St. Petersburg .: Vladimir Dal, 2004. - 424 p.

Summary Goncharov V. On the problem of relationsheeps between traditions and intangible cultural heritage The general aspects of mutual relations of traditions and non-material cultural heritage are outlined. The basic stages of forming of concept «non-material cultural heritage» and role of traditions are analysed in her forming and maintenance. Key words: traditions, intangibleculture, culturalheritage, folklore. Received 10.11.2014

(477.87)930.008׃UDC 379.85 V.V. Stepanchuk HISTORICAL-CULTURAL POTENTIAL AND SOCIO-ECONOMIC PROSPECTS OF USE OF CASTLES

One of the strategic directions of Transcarpathia tourism is a priority development of its recreational potential. To confirm the validity of this choice can cite the following arguments: 162 1. The region is located in the heart of Europe, it sold through various contacts, and accessibility is a favorable factor in attracting tourists not only from the eastern regions, but European countries. 2. Transcarpathia can serve as a testing ground deployment centers of international business and leisure that will stimulate the growth of tourism. A special part of that in terms of total stress of modern urban society makes the most spozhyvanishym new perspective for Ukraine and Transcarpathia kind of tourism with animation, pronounced gaming component, based on historical and cultural basis. Features landscape geography land. On the one hand, the nature of the Carpathians in comparison with other regions, suffered fewer losses and in many places has preserved its original condition. And for various forms of recreation and tourism is important. On the other hand, given the exceptional climatic and water regulating value for Carpathian Ukraine and neighboring European countries associated with this region of shared history, urgent need to preserve the unique nature of the region and its historical and architectural heritage [6; 9]. International experience confirms that gaming is a highly profitable tourism industry. For example, in Italy it gives 17 billion. Dollars., Which is 30% of the annual export revenue of the country; Italy income from tourism accounts for 11% of Denmark in - 8%, Austria - 9%. Today’s economic performance indicators of domestic tourism is far from foreign [2; 254]. So the issue is actively discussed in the literature. Historical and cultural component in respect of locks and locking systems Transcarpathia viewed T. Lehotskyy a monograph on medieval history of the region, D. and I. Pop Pop in editions of «History of Carpathian Ruthenia» and «Locks Carpathian Ruthenia» [11], A. Filippov in the essay «History Mukachevo castle». Historical features, content transfer and legends around castles and fortifications edge saw M. Troyan [14] B. Pahyrya, Varga [3] M. Rutynskyy [13]. Determined ways of future development of historical and architectural complexes O.Kasynets in tourism, stressing the significant role in integrating attraction above the international market tour services. The use and conservation of monuments identified in the «Concept of preservation and use of historic castles and castle complex Transcarpathia» Luksha E., A. Luksha, F. Sandor, D. Smith [7]. Relevant aspects remain raw and revitalization of historical and cultural component recreational tourism in the Carpathian region, based on a territorial and architectural specifics edge. The aim of this study is identifying promising ways to develop tourism by combining specific game animated with a regional component of historical, cultural and architectural basic fundamentals in the above specified region. Considering the specific historical and cultural leisure recreations, should pay attention to the type of defensive fortifications and castles of the region. Given the long historical isolation Transcarpathia the territory of Ukraine and stay under the yoke of the Hungarian feudal lords are preserved classic feudal castles Western-type: Mukachevo («Palanok»), Uzhgorod, Nevytsky, Serednye, Chynadiyivskyy, Vynohradiv («Kanku»), King (« Nyalab «) Borzhavsky more. Tourist business card Transcarpathia is famous castle «Palanok» XIV-XVI centuries. Experts unanimously acknowledge its picturesque castle in the Carpathian region and the second (after Kamenetz-Podolsk) for tourist atraktsiynistyu lock Ukraine. 1. Mukachevo Castle - one of the largest defense systems in Eastern Europe that fully survived. This jewel of combines different styles of defensive architecture. It is located on the mountain of volcanic origin height of 68 m and covers an area of 14 thousand. M2; consists of three parts and placed on three terraces. The oldest - Upper Castle (XIV-XVI centuries.) Is on top of the mountain. Central locking (XVII century.) - On the terrace 6 m below the Lower Castle (too XVII century.) - Another 10 m below the average. At the beginning of the XVIII century. the fourth terrace (another 10 m below) was built to guard the gate tower and the road to the castle western slope of the mountain [13; 351]. Today Mukachevo Castle - one of the largest historical museums in Ukraine. This display of Stone Age tools, copper- bronze age, weapons and everyday items from Celtic times to the late Middle Ages and so on. For tourists opened an art shop where you can purchase the product picture or arts and crafts. At the bastions of the castle can rest a cup of coffee while taking in views of the valley Tisza and emerald volcanic peaks of the Carpathians [14; 56]. Developed investment project, which involves removal of the castle at luxury hotel and restaurant in the medieval style, as well as organizing entertainment shows of knights and other components of the board of tourism, which could participate vvidviduvachi [11]. Now the castle undergoing restoration aimed at adapting it to the needs of the museum and tourist complex. The successful use of this attraction in tourism in general and in the game - in particular, must prevent the destruction, to carry out restoration and recovery through appropriate repairs without changing the properties of an object; provide protection, accessories and related maintenance costs Castle, which today are used to create on their basis elements of tourism infrastructure castle for organizing the reception and service of tourists, sightseeing activities museumification. Anticipated reconstruction and repair of buildings of the middle and lower houses of the castle «Palanok» in order to create an integrated infrastructure services for tourists in the medieval style. 2. Uzhgorod Castle XIII-XVIII centuries. - Is the oldest of all the fortresses of Transcarpathia. White Croats wooden fortifications existed on Castle Hill since the early Middle Ages (VII century.) And destroyed the Avar and Hungarian nomads. At the end of the IX. Fortress, according to legend, was the seat of Croatian Laborets Prince, who was a grueling fight with Hungarian nomadic conquerors. 163 Uzhgorod castle has the shape of an irregular quadrangle with massive towers at the corners. In antiquity indicate monolithic structures masonry wall carved in stone cornices, columns of Romanesque and Gothic styles. On three sides of the castle surrounded by a dry moat carved in the rock, and from the north-east - a cliff. Until the XVIII century. the castle was accessible only through a suspension bridge. The territory surrounding the ancient Castle Park area of 6 hectares, planted native Count Drugets [9; 56]. Today in the castle housed a uniquely rich exposition of the Transcarpathian Regional Museum with more than 120 thousand. Exhibits and talks about the bright pages in the history of this land and its inhabitants [8; 358]. The current state of the castle is satisfactory, for the last 30-40 years in the repair and restoration work invested heavily, allowing to keep it in good condition and used as an observation object distinguished visitors. To bring the castle to the desired state of play and maximize its authenticity required significant resources and time. To date, 90% of the premises of the castle used for exposure Transcarpathian Regional Museum, which also serve as an important element of the show for visitors to the castle and, as shown last 10 years, the number of visitors is growing every year - now a museum and the castle is visited more than 100 thousand. People a year . Create new exhibits and holding public events, the maximum playback interiors of the castle, its secret places and basements and underground communications of the past, create viewing platforms, operating in a castle play folk (blacksmithing, pottery, weaving, embroidery, etc.) will in the future to significantly expand the range of services provided to visitors. Today, the castle has smithy, where masters for the «use old-school» techniques can produce any tourist Forge (souvenir) on order as well to involve it in its manufacture. Fans of folk hope to also open their workshops in the open air in the courtyard of the castle. There is an international investment project complete renaissance castle as a cultural and entertainment tourist complex [7; 4]. Anticipated allocation of rooms under the «Count» hotel rooms, opening in underground dungeons of the castle elegant restaurant, decorated in knightly style with original old Rus and the ancient Hungarian cuisine, opening of «knight hall» where any tourist would try on armor and test own skill in archery and crossbow. 3. Nevitsky Castle XIII-XVII century. located north of Uzh upstream and laid on a steep cliff (relative elevation reaches 125 m) above the river valley on strategic approaches to the capital city of Transcarpathian region. Nevitsky castle controlled the passage Uzhansky valley, which was a trade route from Hungary through Uzhotskyy pass in the Galicia-Volyn state, Poland, Lithuania and Muscovy [11; 56]. For the first time in written sources Nevitsky castle mentioned in the XIV century. as a tribal fiefdom, surrounded with deep moat and rampart. On the origins of its history it has experienced the legendary historical events. After his death in 1301 the last king of the old (still nomadic) Arpad dynasty in Hungary launched a bloody struggle for power. After lengthy armed strife will of the Pope at the Hungarian throne entrenched King Charles Robert of Anjou Neapolitan dynasty. Slavic population of Transcarpathia rose to the liberation struggle against enslavement and Hungarian accession by Galician forests to Russia, but devastated by the Tatars Galician Rus had no strength to open struggle with the Hungarian kingdom. After the rebellion (probably in 1322) Nevitsky lock (and nearby Uzhhorod) with royal grace moves to the kind of graph Drugets possessions. The case Drugets F. continued his widow or daughter - a historical character who overgrown with legends and the people of memory called «Bad Virgo» [11; 67]. Today Nevitsky castle is in a dilapidated condition, but since the mid-1990s pp. are actively conducting reconstruction work of archaeologists. There is a project to restore this picturesque castle (built in classic Italian style) and turning it into an international tourist hotel and entertainment complex. It is planned to recreate an authentic medieval castle interior, equip knight in age-old style restaurant with exquisite cuisine and Transcarpathian wine cellars, open a museum exhibition, arena, forge, armory and other craft shops, where souvenirs were made in order to stay directly in front of them . In the main hotel and entertainment complex locks for visitors of the middle class, according to the project plans to convert an adjacent tourist base, yevrorekonstruktsiya which does not require too substantial funds. And the surrounding mountain forests with some marked ekostezhkamy - a perfect natural ground for historical knightly games and competitions paintball (separate eco-trail prints even in abandoned mountain tankodrom mid XX century.) [7; 21]. A tourist attraction and its massive castle Nevitsky visiting the second largest castles in Transcarpathia (after the castle «Palanok» in Mukachevo), but in the present conditions lack of financing projects revival of the historical heritage of this tourist attraction can exist only as archaeological Skansen. 4. Chynadiyivskyy lock XV. Baron Perényi built. He two-story, pentagonal in plan, with loopholes and two three- storey round corner towers. It has two running tunnels, putting the valley Latorytsya. For a long time he served in prison. Now has a cognitive value as an object late medieval fortification architecture. Founding game concept play events in the castle «St. Miklos» is a historical fact of it Zrini I. princess and her meeting with the legendary hero of the rebel forces kurutsiv - I. Tekeli (second half of the XVII century.). Many literary and history books mention this as one of the most important not only in life Ilona, but as a long-awaited event in the history of the Hungarian people, as union and Princess Imre Tekeli contributed to a significant strengthening of the Hungarian state. The upper hall of the second floor, maintaining a skilful adjustment of all phases of the castle, can be used as a hall for wedding celebrations. Wedding ceremonies are held at higher standards of aristocratic etiquette XVII. by Austro-Hungarian customs. Interior fully meets contemporary setting. Those present at the marriage ceremony dress over the details of 164 medieval clothing, belts, epaulettes. Ensembles performs music by Bach, Vivaldi, Handel, Haydn, Mozart on the ancient instruments in full compliance with the rules for music of the time. Musicians dressed in costumes, traditional XVII. [7; 19]. When signing a letter of consent vyholoshuyetsya style greeting XVII., After which all present at the ceremony offered to move to the next room where vidkorkovuyetsya champagne to the health of the newlyweds. The two rooms can be used not only for weddings but also for balls and receptions. In addition to the abovementioned architectural monuments, it should be noted that Vynogradiv atraktsiyni preserved ruins of two powerful medieval castles «Kanku» (founded in 1307) and «Nyalab» (founded in 1315 p.). He put their mighty Hungarian feudal B. Borsa, who departed this land after the Hungarian conquest. And above the ruins can not be reversed and can be used in tourism just as archaeological Skansen. One can cite examples for future development of recreational orientation Transcarpathia. But this does not mean that in this area, you can quickly achieve the desired results. Required informed decisions and thoughtful action. In the future, this sector should take one of the seats profiling. Today is no organization or government agency carries on the organization of civilized visiting attractions. However, our studies show that locks Transcarpathia visited annually by more than 100 thousand. People [6; 17]. Under these conditions, achievable and feasible is the task of achieving and maintenance of monuments protected area around them in good condition in terms of self-financing. Essential resource is the continued use of volunteering in the field of historical and cultural heritage. This allows to combine educational, training, gaming and pragmatic features animated tourism.

References 1. Baranovskaya G.I. Tourists at Transcarpathia: putevodytel / G.I. Baranovskaya. - Uzhgorod: Carpathians, 1986. - 5 seconds. 2. Beydyk A.A. Recreation and tourism resources of Ukraine: methodology and methods of analysis, terminology, zoning / A.A. Beydyk. - K.: VISCH «Kyiv. University Press, 2001. - 395 p. 3. S. Varga Mukachevo castle «Palanok»: local historical essay / S. Varga. - Uzhgorod:Transcarpathia, 2002. - 48 p. 4. Problems Gorbyk V.A. Study and preservation of history and culture in Ukraine / V.A. Gorbyk, G. Denisenko // Ukr. history. magazine, 2003. - № 3. - P. 143-151. 5. The «On Protection of Cultural Heritage» dated 06.08.2000 p. 6. Transcarpathia - resorts and tourism // Statistical Coll. - Uzhgorod, 2011. - 98 p. 7. Save and use of historical castles and castle complex Transcarpathia. Concept / author. col.: E.A. Luksha, A.V. Luksha, F.F. Sandor, D. Smith. - Project 2008/150-733-2. - Uzhgorod, 2009- 05-14. - P. 14-23. 8. Ivanov A. Castles and palaces Western Ukraine: History - Culture - Tourism (Historical and architectural monuments castle architecture) / Ivanov. - K.: Our world; Ukrheodezkartohrafiya, 2004. - P. 356-362. 9. J. A. Protection Yhnatkyn monuments of history and culture: cases. posob. / J. A. Yhnatkyn. - K., HI. HQ., 1990. 10. Historical, regional activities Ukrainian Society of Historical and Cultural Monuments /Historic study in the Ukrainian SSR. - K., 1989. 11. Pop D. Locks Podkarpatskoy Rus / Pop D., I. Pop. - Uzhgorod: publishing house «Romana Povch», 2004. - 124 p. 12. I. Pop Encyclopedia Podkarpatskoy Rus / I. Pop. - Uzhgorod, Publishing House of V. Padyaka, 2001. - 656 p. 13. Rutynskyy M. J. Castle tourism in Ukraine / M. J. Rutynskyy. - K., 2007. - 431 p. 14. Troyan M.V. Mukachevskyy Castle: historical and Regional Studies Essay / N.V. Troyan. - 2nd ed., Rev. and add. - Uzhgorod: the Carpathians, 1982. 15. Mr. Fedak Attractions Castle Hill / A.P. Fedak. - Uzhgorod, 1999. - S. 175.

Summary Stepanchuk V. Historical-cultural potential and socio-economic prospects of use of castles In the article certain and described level of recreation potential of region through the specific aspects organization of historical constituent in playing tourism on Zakarpate, which characteristic only for this region. Also in the article the presented possibility of integration market of Ukraine tourist services, on the example of Zakarpatya, in the European tourist markets. Pre-conditions of development international social and cultural relations of communicative character are certain. Key words: рlaying tourism, tourist resources, excursion services, archaeological skansens, recreation, castles architectures.

Received 7.10.2014 UDC 75.8(477) I.G. Smirnov

LOGISTICS OF EXHIBITION ACTIVITY: INTERNATIONAL AND UKRAINIAN EXPERIENCE

Formulation of scientific problem. Exhibition activity now - business, developing not only in the world but in recent years in Ukraine. It belongs to the sphere of tourism and hospitality, where every year the world are dozens of tourist 165 and hotel and restaurant (HO-RE-CA) exhibitions, showrooms, fairs, exchanges and so on. Such measures are not only related marketing, as are one of the most powerful channels of promotion and marketing in the travel market, hotel and restaurant services, but also logistics, which not only effectively organize the process of preparation for the exhibitions, delivery and placement required exhibits, displays, different materials, designs, equipment, etc., but assumes the function of efficient management of visitor flow as the main flow in logistics providing exhibitions in tourism, their statistics, analysis and processing in order to attract the most «constructive» part - potential business - partners, customers, clients, travel agencies and more. Information sources on the topic of numerous articles is not as logistics exhibition activity in general and in the tourism and hospitality including a separate line logistics theory and business practice, is at an early stage of formation. The author relied on the work of the exhibition marketing in tourism and logistics [2, 4-6], including own development [7, 8], as well as logistic sources [3, 1]. The article aims to reveal the practical application of scientific principles of logistics exhibition activity in tourism and hospitality as a separate area of logistics theory and practice. Presenting main material. In promoting the tourism product direction is important tour operators participating in the tourist exchanges, exhibitions, fairs designed to find new sales opportunities. Today around the world annually dozen international tourism fairs, exhibitions, exchanges, within which organized seminars, press conferences, presentations and other activities that provide great opportunities to present your company and its tourist product, to contract, to find new partners to spread information through a wide range of visitors and journalists to exchange experience. Among the biggest events is the International Tourism Exchange Berlin (ITB), which is held annually in late March, the World Tourism Fair in London (WTM) - held annually during the second week of November, the International Tourism Fair FITUR in Madrid, held in late January and more. Ukraine in recent years there are new exhibitions and fairs related to tourism. In Kiev annually four such events. Thus, from 1994 to October is the International Tourist Fair «Ukraine» in March - International Tourism Exhibition UITT (Eng. Ukrainian Industry of Travel & Tourism, Ukrainian industry is tourism and travel), in February - Tourism Exchange in May - International Exhibition of Medical Tourism (since 2013). Travel exhibition organized in other cities of Ukraine: Odessa, Lviv, Donetsk, Uzhgorod and more. Total in Ukraine held nearly 10 annual tourism exhibitions. Their members are national tourism organizations and associations, tour operators and travel agencies, hotels, restaurants, transport, insurance, car rental companies, specialized publishing houses, scientific organizations, educational institutions and others. Participation in specialized tourism exhibitions are an important type of promotion and marketing of the tourism product. The main purpose of exhibition activity - on the one hand, to help consumers and firms - sales service to orient in a huge number of tourist offers, on the other, help tour operators to find partners for marketing in other countries and regions that can qualitatively and quantitatively meet the requirements of tour operators for the sale turproduktsiyi. Thus, participation in tourism exhibitions regarded as effective activities to expand partnerships. A large number of visitors and the annual events of this kind proves their value to the successful operation of the tourism industry in Ukraine. It should be noted that the exhibition-fair business in Ukraine with the transition to a market economy is only beginning to emerge. In Ukraine, nearly 50 domestic and foreign companies engaged in this business (including the largest - Kiev company «Autoexpo» and «Premier Expo»), which amounts estimated at 0.5-1 billion. Dollars. USA. At the same professional level of the national Exhibition and fair activity is considerably inferior to the level that achieved in developed countries, where the exhibition activities was the sector of the economy that actively contributes to its development. Subscribe to these activities now trying many Ukrainian companies whose managers often believe Exhibition and Fair highly profitable business, but one that does not require major investment and deep expertise, experience, and so simple in implementation. World experience shows that this is not so. From employees of exhibitions and fairs companies are required not only specific professional knowledge of the business sectors in which they work, but also organizational skills, possession of modern methods of management, marketing, logistics. By thinking practitioners - managers of logistics methods allow it to examine systematically optimize flow processes and exhibition company. That is, the logistics - a kind of «belt», which covers the whole exhibition business and related partners. The main difficulty in the functioning of the «assembly line» consists in the fact that at the boundaries of different interrelated processes were fewer errors, uncontrolled actions. We know that each exhibition is usually a short-term measure, which, however, requires a long, carefully planned training. If at any stage of preparation and holding of exhibition mistake, the exhibitors can refuse to participate in the exhibition and permanently maintain a negative attitude towards it. A similar mistake can be, for example, ignoring the wishes or demands reasonable exhibitors. The objects of the study and optimization of logistics in the exhibition business is, of course, flows: a) material (exhibits, equipment, vehicles, and b) human (especially visitors and exhibitors (stand-) installers); c) the information (paper and virtual documentation pointers); d) financial (cash and non-cash payments). Exhibition activity relates to services therefore theoretical background in logistics services, developed by the author [6; 29-38], and wholly owned by it. First of all, it concerns the principle of revolving logistics service industries (Fig. 1), which allows you to define the main (GP) and support (servicing) flow (BF). In the exhibition of the main flow that needs attention first and foremost, is the 166 flow of visitors. It is for him to travel agencies and participate in tourism exhibitions, showrooms, fairs, markets because the larger the stream of visitors at the stand of the company, the more successful travel companies will participate in the exhibition. It is the general flow of visitors it distinguishes such «good» ingredients as: a) clients - potential tourists; b) potential business partners; c) journalists. Data on the flow of visitors carefully stand-going operating travel agencies on the stand, and is the basis for a comprehensive analysis after the close of the exhibition. The auxiliary streams that serve the main stream is material, human (stand-), information, financial. Their volumes depend on the capacity of the main stream and are determined using the standard method. Power of the main stream in the exhibition business as defined in quantitative terms (number of visitors) and in value (which result in a financial sense, increasing sales it will bring). Subject logistics exhibition and fair activity - optimization of the main and auxiliary (servicing) flows. However, if the flow optimization techniques exhibits, equipment and vehicles in the theory and practice of exhibiting more or less known, optimization techniques and information flows yet distinguished by their essential characteristics. In our opinion and the opinion of practitioners [8], the range of subjects exhibiting not be limited to exhibitions outside companies, since the latter is the logistics partner of the firm, enterprise structures, departments, administration, working in the field of business tourism, insurance, fire supervision, health, banking, customs, forwarding and transport services, catering and hotel services, mass media, communications, culture and so on. The relative simplicity, at first glance, the exhibition business leads to misconceptions that it can deal with any employee without training. As a result, many companies use not more than 5-10% of the capabilities of modern commercial exhibitions and often spend a lot of money with little, and sometimes even negative results. Thus most of the forces and facilities is spent on so-called. «Solid» product: rent space, design, delivery and installation of exhibits and equipment, installation of stands etc. Much less attention is paid to the so-called. «Soft» product, which includes the necessary invitation yet, training, organization prystendovyh events and exhibitors participating in the programs of exhibitions, strengthening and development of relations with them after the exhibition. Actually, this «soft» product brings the highest return on investment efforts and means. The level and quality of many exhibition services in Ukraine often do not meet modern requirements because of a lack of logistical coordination and coherent system of effective interaction of all subjects exhibiting. Written and published many books on general logistics, but virtually no literature on specific recommendations on the use of logistic approaches in practice organization and holding of exhibitions, including travel. Not enough and useful journal publications on this topic. Meanwhile, the capital invested in the provision of logistics exhibition activity in tourism brings significant and diverse benefits, as evidenced by the data table. 1.

Table 1. Matrix return on investment in logistics software tourism exhibition № Login (expenses) Exit (benefit) 1 Rental space (stand) Direct contact with prospective buyers 2 The cost of stand- Targeting the market 3 Exhibition Designs Attracting the market 4 Carriage Product Demonstration 5 Tickets, travel expenses New partners / contacts 6 Hotel accommodation New agents / distributors 7 Time costs Support for existing contacts 8 Lack of office Many prospects at one time in one place 9 Spetstsene Exhibition on selling tours Observation of competitors 10 Preparatory work Extensive development potential public relations 11 Information to customers, agents Marketing Information 12 Visitor Analysis New products. Analysis of segment 13 Press information Communication with visitors, business partners

For the success of the travel agencies in the exhibition skilfully need to know and use methods of flow control yet, with both existing flow and organization of new flows of visitors. Putting enormous effort obzvonyvshy hundreds of companies, 20-30 travel company can prepare the meetings. But this is not enough. Organizers of the exhibition, of course, also leading advertising company and invited experts. The flow of visitors to the necessary large prestigious exhibition as, for example, the Travel Market «Ukraine» or UITT, many times the number of those companies may request itself. Accordingly, the priority task is «Processing» not only «their», but the whole flow of visitors, attracting them to stand and be included in the process of presentations and negotiations. Solving this problem involves three stages: meeting yet, the organization of contacts and negotiations. Meeting. Work on the stand must be organized in such a way that any prospective visitor did not expect to communicate more than 20-30 sec., Otherwise he will go to competitors - many stands, but then, as always lacking. Statistics confirm that the 167 vast majority of visitors (62%) were willing to wait on the stand even 1-2 minutes. Underlined respect (preferably - true) - the most reliable start contact. Workers stand (stand-) that first greeted the guest, should immediately: a) come into contact with it; b) answer his questions; c) to clarify the status, professional interests, questions and comments by; d) provide the necessary materials (brochures, price lists, etc., etc.) if necessary to direct it to the manager. Company contacts. Looking transmitted by managers of the respective status and specialization (from the secretary to the director of the company). At the same time you should not download unnecessary contacts managers, take their time and effort, for example, when the CEO is forced transfer price-list, and press secretary - to have a conversation with the search engine space programmer. So, managers and better be in place, not mixed with the crowd of visitors and be accessible by mobile phone. Managing the flow of visitors also includes tasks quickly and effectively detect (vidbrakovky) v. BC. «Vacuum», ie citizens begging and stealing souvenirs and product samples, as well as various bystanders that they can flaunt homemade permits all possible authorities and press editors. Negotiations. Once on the stand, as the client identify their interests and status, is transmitted «in a technological line» to various managers up to senior management. Not to be no reason to interrupt the talks, leaving the client or force him to wait. You must call his interest and determine the level of its powers for negotiations. In order to organize new visitors used various streams, mostly standard methods. The purpose - to attract attention, interest, get to come to the exhibition. Among these methods first in importance is to rent a booth at the entrance to the exhibition or in the central aisles and intersections, ie, in places, by which any visitor can not physically pass. The second effective method - creating a vertical guideline that defines the location of the stand and is visible from everywhere, especially - from the entrance, main aisles and stands competitors. Usually this is done with flags, banners, various designs, balloons, light poles and so on. In this case, the main thing that they were not «architectural monument» or «flying dream» designer. Need clear, specific symbol, instantly associated with travel agencies or its products, services, brands, business proposal. The third method - conducting business program on its own stand or in a conference room (seminars, presentations, conferences) and activity (possible - underground) at such events competitors. The fourth method involves the organization of the promoters of novelties and souvenirs rozdannya in most public places and close to the stands competitors. Fifth method - installation of billboards firm at the entrance to the pavilion and fairgrounds. The flow of visitors is the object of analysis and processing and after the exhibition closed. First of all booth visitors travel company analyzed depending on the type, geographic region and specific interest (Table. 2). Also analysis is essential day visit booth travel company based on the importance of the contacts (Table. 3). Analysis of the flow of visitors travel company stand type, geographic region and the special interests and contacts of importance is the basis of the report and analytical report with specific conclusions and suggestions. Participation in the exhibition - is only the beginning of useful business contacts. Further work is constructed differently for different target groups, which include: a) clients - potential tourists; b) potential partners; c) journalists. After the exhibition on the grounds of cards and «Journal of contacts» (tab. 2) sent faxes and letters of thanks important customers dosylayutsya information materials, draft contracts, coordinated negotiations on future meetings. Then you carefully work out the exhibition catalog and send commercial offers and requests by firms which failed to meet during the exhibition. Do not forget about the media: journalists sent reports about the exhibition and presentations with their photographs.

Table 2 . Blankmold «Journal of Accounting visitors» Journal of Accounting visitors 1. Name of agency: 2. Main areas: 3. Address: 4. E-mail: 5. Phone, fax: 6. Contact person: 7. Do you want to receive our newsletter  yes  no If "yes", what information you want to receive 8. 8. Which system Send / Receive suits you: e-mail  internet  On-line reservations  fax-back After the exhibition must: 1) make contact with visitors travel company booth, fun for her writing thank them for visiting booth (no later than one week after the closing of the exhibition) and report the estimated time of visit to the company for further cooperation; 2) send the visitor information that might be interested in it, even if there is confidence that he received complete information from the stand; 3) prepare and distribute information to visitors letter as a message about the possibilities of travel company and its product, provide copies of such circulars to all agents and representatives of the company; 4) set the deadline for employees to establish contact with the visitor or the firms; 5) 168 not later than two weeks after the closing of the exhibition a discussion and evaluation of the results on the basis of the analysis of messages and profiles of visitors; 6) a list of expenses, in t. Ch. Logistics, such exhibitions is useful when a company preparing for the next exhibition, it is not possible to plan participation in future fairs without analyzing the efficiency of the previous one. Conclusions. Logistics exhibition activity, including tourism and hospitality, is the newest area of logistics theory and practice, which is at an early stage of formation. Meanwhile, Exhibition and Fair Activity booming as the world, and in Ukraine, where annually more than ten exhibitions in the tourism and hospitality. The process of preparation and holding of exhibitions, and participation of travel agencies requires complex logistics and efficient use of material, human, financial and information flows. According revolving principle of logistics services offered by the author, the main stream services is exhibiting the flow of visitors, and the auxiliary (servicing) flows are material, information, finance, human resources management (stand-). Therefore, the main task of logistics exhibition activity in tourism and hospitality management is the effective flow of visitors. For this purpose, the following methods as: leasing firm stand at the entrance to the exhibition or in the central aisles and intersections; creating vertical benchmark that poznachuye location of the stand and is visible from everywhere; conducting business program on its stand firm or in a conference room; organization of promoters rozdannya novelties and souvenirs; installation of billboards firm at the entrance to the fairgrounds pavilion and more. The flow of visitors is the object of analysis and processing and after the closing of the exhibition: first booth visitors travel company analyzes by type, geographic region and special interests; further analysis is performed daily visits to the stand based on the importance of the contacts. The analysis is based on reports and analytical report with specific conclusions and proposals. Anticipated further work and establishing useful business contacts for different target groups flow of visitors, in particular: customers - potential tourists; potential business partners; journalists.

References 1. Verkholantseva A. About logistics exhibition activity / A. Verkholantseva // Logistics. - 2004. - № 1. - S. 15. 2. Durovich A.P. Marketing in tourism: studies. Collec. / A.P. Durovich. - 4th ed. - Mn. : New knowledge, 2004. - 496 p. 3. Ilyin E.N. Turopereyting: promotion of tourist product: the textbook / E.N. Ilyina. - M.: Finance and Statistics, 2008. - 176 p. 4. Munіn G.B. Tourism Marketing: navch. posіb. / G.B. Munіn, Z. I. Tymoshenko, Je B. Samartsev, A.O. Zmіyov. - Part II. - K: Kind of Єvrop. the University, 2005. - 427 p. 4. Munin G.B. Tourism Marketing: teach. guidances. / G. Munin, S.I. Timoshenko, E.V. Samartsev, A.A. Zmiyov. - Charles II. - K.: Izdatel’stvo Europe. Univ, 2005. - 427 p. 5. Munin G.B. Tourism Marketing: teach. guidances. / G. Munin, S.I. Timoshenko, E.V. Samartsev, A.A. Zmiyov. - Part IV - K: In-in Europe. Univ, 2005. - 324 p. 6. Pravyk M. Tourism Marketing: textbook. / M. Pravyk. - K: Knowledge, 2008. - 303 p. 7. Smirnov I.G. Exhibition marketing in tourism: theoretical principles and practical measurement / I.G. Smirnov Geography and tourism. - 2010 - Vol. 4. - P. 22-35. 8. Smirnov I.G. Logistics Tourism: teach. guidances. / I.G. Smirnov. - K: Knowledge, 2009. - 444 p.

Summary Smirnov I. Logistics of exhibition activity: international and Ukrainian experience Disclosed scientific principles and practical application of logistics of exhibition activity in tourism and hospitality as the newest area of logistics theory and practice. Identified the object and the subiect of the logistics study exhibition activities, main and auxiliary flows. Emphasized the importance of flow of visitors, as the main stream in logistics exhibition activities. The basic methods of exploration of logistics of exhibitions are characterized. Key words: exhibition activities, tourism, logistics, main stream, auxiliary flows.

Received 10.11.2014 UDC 069.15:005.73 S.Y. Shman

MUSEUMS IN THE AGE OF ONLINE CULTURE

Formulation of the problem. Analyzed the functioning of new interactive forms of work in contemporary museum practice. It concerns, of course, work with visitors. Scientists Ukrainian museums are constantly working on the problems of accumulation, storage and transmission, stimulating discussion and the need to use new forms and methods of work. Analysis of recent research and publications. The term «interactive» from the English «interact», where «inter» - reciprocal, «act» - to act, that is interactivity - reveals the extent and nature of the interaction of objects. Today the generally accepted definition of this term is not. But it is believed that the principle of the system when the purpose of 169 the system is achieved by means of information items. If we consider the elements of museum visitors, staff of museums and museum objects, we are interested detect instances of interactive connections between them. Problems organizing various forms of work with visitors, sales techniques availability museum values violate the Ukrainian researchers, namely L. Hyde, A. Karamanov, N. Kapustin, I. Panteleichuk, T. Sydorenko Tverdokhlib L., L. Black, also believe that interactivity, primarily the result of a process and relationship convergence, combining in a single unit. First of all, the problem of online culture is regarded by scientists as a new universal form of work in museums with the general population. Exploring the interactive processes in museum field Kapustin N. and L. Hyde believe that the «essence of interactive learning is that the learning process (in this case, excursion, lecture or art event) occurs under conditions of permanent active cooperation of all students» [5; 136]. Therefore, methods of interactive design experience allow accommodation of a range of states rights in its humanistic essence. In the atmosphere of the museum using the artistic and pedagogical tools in the process of interaction with young men, scientists are able to cause a particular psychological state that helps to go deep, to penetrate the deepest meanings that are presented in the exhibition. The writings of T. Byelofastovoyi, A. Karamanov, TA Sidorenko, L. and L. Black Tverdokhlib defined specific forms of museum pedagogy. Problems organizing various forms of training in the context of museum education and museum pedagogy considers Lviv researcher O. Karamanov. A similar problem is seen on the museum sector in the article T. Byelofastovoyi, namely pedagogical principles of museums as social and cultural centers. By analyzing the question of museums, concludes that the expansion of cultural and educational direction of the museum with visitors due to its potential, is in interactive exhibits, implementation of new methods and techniques of training and education, creation of psychologically comfortable environment [2; 5]. TA Sidorenko, learning problems museum draws attention to new forms of «museum pedagogy» - interactive and believes that they «include both practice that is synthetic and combines the efforts of teachers and museum staff and methodological discipline, subject of study which is a phenomenon that has historical and cultural tradition, but in a new way which declared itself the late twentieth century «[8; 5]. However, all the researchers conclude that the interaction between museum staff and visitors to the new enriched form of informal educational activities - interactive, considered relevant and promising line of work aimed at formation of general culture and communication skills of the individual. According to the above, the purpose of the article is to highlight the opportunities and the need for interactive working methods in museum institutions. Presenting main material. Aware of the increasing rationalization of society alongside other global trends intensified interest in the historical past of mankind, implemented by the idea of creating a «virtual museum», which are characterized by the use of original exhibits, prints, etc. cinedocuments. «Virtual Museum» enables a fundamentally new museum exhibit that not only provides a visual perception of monuments of material culture, but also accompanied by appropriate sound effects and possibilities of tactile sensations. Interactive exhibits available for viewing by people with diseases of vision and hearing, instead of visual elements in this exhibition uses audio elements, and instead of hearing - optical effects. Feature virtual server is that it can be viewed thousands of images of works of art from the most informative accompanying text. Today, in Ukraine and in the world there are many interactive museums. Thus, in Kiev is the country’s first «Gallery of interesting science» Magnet «, set up to study the laws of science and phenomena of the world as a museum interactive form. Using tactile vibration-perception can discern the signs of all the exhibits, to conduct experiments. For each visitor to organized tour, during which talk about the physical laws that clearly demonstrate exhibits. Fundamentals of operation of such museums were laid J. Perelman in «House of exciting science» (Leningrad), which ceased to exist during World War II. But the discovery of these science museums was extended in many countries in the late twentieth century. The most famous of these is the Museum «Bloomfield» (Jerusalem, Israel), Science Center NEMO (Amsterdam, Netherlands), «City of Science and Technology» (Paris, France), London Science Museum (London, England), the Museum of «Eureka» ( Vantaa, Finland), Science Museum (Osaka, Japan, and , Spain), Exploratorium (San Francisco, USA), Berlin, Munich and Vienna Technical Museum. [1] Interesting museum features interactive shows «Last pharmacy» - the first interactive museum in Lviv pharmacy. This is a dynamic institution, as opposed to institutions, which are characterized by academic style exposure. Visitors enable to independently carry out experiments of alchemists, feel as pharmacists and touch the museum of modern culture, where exposure partially doing well and visitors. The museum foreshortening call under a new look at the profession of pharmacists, because their activities are highly valued in society many years ago. Thus, the special features of these museums is voluntary, focus on the emotions that arise during a meeting with real objects opportunity to touch the museum space and yet form a personal vision of the surrounding world. In creating interactive museums, museums actively developed and interactive museum program. The beginning of this trend started in the 70s of the twentieth century. Interactive programs actively developed in the museums of Western Europe and the USA. The basis of museum interactive applications is a game that quickly became popular in museums around the world [7; 42]. In terms of imaging culture recently Ukraine and museums offer interactive program «Touch hands.» «The reason 170 is that all people regardless of age and a desire to touch hands subjects, including the museum. Thus a person receives a bouquet of sensations on touch can evaluate an object, its texture, temperature, material, shape, feel hefty emotional impact «[4; 28]. At the heart of culture is interactive visualization method of work with the audience, the psychological component, which consists of visiting the Museum of motivation, personality structure by (social psychological characteristics of each age group, especially thinking, memory, attention, perception, etc.), relationships between employees, professional culture and more. In this case the psychological characteristics of human knowledge is extremely important because this plant acts as both a necessity and motivation of the individual participation in online activities, which in the context of mass action can turn on by a viewer into an active participant, «user». Today new interactive methods in museum work introduce the life of a National Art Museum of Ukraine (hereinafter - the National Art Museum). The basis of these methods work on the idea of a museum, socially important area for the development of the creative potential of the local community, establishment of humanistic principles in society. In particular, the National Art Museum offers the public three types of educational programs that include an interactive component: • numerous cycles excursions and lectures on the history and theory of art, • thinking development program by means of fine arts for children and adults • practical training workshop museum and art workshops within the exhibition projects. In addition, the children’s audience NAMU offers lectures «Playing in a museum.» Participants of the action can try their hand at one of museum professionals: restorers, researchers and museum experts. One of the varieties of such methods of museum work is in the form of literary game quest. In English the word «quest» means «search, subject search, search of adventure» [1]. This literary game designed to combine two areas of life: art and education. The mechanism of realization of this form of the game can be defined as the individual dialogue with the past through communication with museum objects. Today literary quests have become popular and favorite form of museum work, actively used by museum workers of Ukraine. That is, the phenomenon of interactivity based on the use of museum institutions psychological knowledge of computer technology in design, exhibition activities, including laser and holographic art, interactive video installations, animation, sculpture. This makes it possible to create new types of museum exhibits - interactive to attract visitors to an active dialogue. The idea of «virtual reality» underlying the functioning of the museum creates a fundamentally new phenomenon - «virtual museum», which implemented all possible innovative technology museum. Under the banner of restructuring the relationship between the museum and the public when there are changes in the structure of museums, in place of passive reflection of reality comes active influence on human consciousness. Interesting forms of interactive work with visitors to the National Museum of Literature offers Ukraine: interactive tours, contests, quests, master classes, literary games and more. The purpose of interactive activities - the creation of favorable conditions for intellectual excellence, forming their own position active, friendly relations with his friends, the respect for the views of other members, the ability to defend its position and ensure productive cognitive processes of man. Today museums Ukraine used wheel group and interactive methods of work. During the tour, of course, dominate the front group methods («brainstorming», «incomplete sentences» «Range of ideas» items discussions), but every museum employee will seek to put in work and group. Interactive programs generally aimed at permanent audience, because their effectiveness depends on dialogue museum employee, individual approach to each individual group ratings museums. It should also be noted that interactive programs can not replace traditional forms of work. Therefore, in addition to museums of modern Ukrainian forms of interactive work with visitors continue to use the survey and thematic excursions, various exhibitions, workshops, competitions, quests and more. It is also important to popularize museums through social networks. Website museum institutions is a new form of interactivity, aimed at overcoming «Closure» of the museum as a social institution. On the one hand, the use of new technologies enables museums to integrate into electronic information space world. On the other - through the use of the Internet is a virtual museum site and by joining the ranks of the museum community. It should be noted that many websites museums built on the principles of interactivity and dynamic updating of information. This creates opportunities for dialogue. That is, the passive consumption of information fades into the background, and a regular visitor of the museum site is an informal member of the museum community. In this case, using the museum’s information infrastructure «visitor» becomes a «partner». However, the trend today is the least vyvchenoyu.Ostannim time increased the number of museum Missions on the Internet - websites. It should be noted that today its representation on the Internet with more than 200 Ukrainian museums. But among sites almost no regional museums, those that would be created by the rules of museum design. The typical structure of the museum site consists of a short certificate of history and the museum, view exhibits of the museum (mainly electronic version explication), sometimes a certificate of ethnogenesis and history of specific ethnic groups in the region, photos fragments of exposure and individual exhibits, contact information, sometimes Publications museum staff. Own web page online support professional image agencies and advertising its services. At 171 the same time, the museum sites are created for virtual and yet to be made using the experience of museum design. The demand for information on museums in the information on the electronic network is very significant. Although most of these sites are made not by the rules of museum design, as are electronic versions of short guides to museums, and the steady growth of their number indicates the gradual penetration of new technologies in museum activities. Museums are widely used the latest digital technology to disseminate information about the funds. Exhibits digitized, create a database of the collection to the public, realizing the right of equal access of citizens to cultural heritage. Information breakthrough was the creation of the website «Museum Space of Ukraine» (http://prostir.museum) - guide on various aspects of museum work. Site contain useful information for museum professionals and for the general public: database and catalogs of museum network in Ukraine, ad contests, grants and conferences; owner of the founders of the museum; publication of cultural and historical subjects. Therefore, the prospect for further development of domestic museums may be the use of new tools interactively search through the optimal combination of education and educational tasks and entertainment, recreational opportunities museums. The success of the implementation of an interactive museum culture in practice largely depends on the choice of methods of its implementation. It depends on performance management process perception of museum information and the effectiveness of its impact on the audience. Overview of the current use of interactive museums of culture shows a gradual evolution of the social functions of the museum from the accumulation and storage for scientific research and education with the audience. Given the multifunctional activity of the museum can be argued that modern museum acquires the status of the social and cultural center. Reform processes in society, bring about changes in the activities of the museum, took the view in his place and role. Deideologization public relations, the transformation concept of the museum, the emergence of new information technologies have created the preconditions for innovations in promoting cultural heritage and expanding directions muzeyno- educational activities. The study of national experience with the use of interactive culture in museums confirms the efficiency of its use. First, is the creation of a new form of museums - «virtual». The important factors for this development is, on the one hand, raising the general cultural level of Ukrainian society on the other - creating an appropriate virtual infrastructure that can meet its minimum cultural needs. Museum interactive programs - a particular system of forms and methods of work with the audience, which is designed to achieve the goal of aesthetic education of society. In preparing these programs take into account the interests of children’s audience, which is an important factor in the formation of a complete, fully developed personality. The high level of cultural potential of children to further contribute to the humanization of society. Cultural and spiritual development depends primarily on factors that surround it from birth: the environment in which it is brought up, gets education and the possibility to join the achievements of world cultural heritage and organization of leisure. The development of interactive culture positive effect on the shape of society, especially young people, and provides an opportunity to actively generate interest in national and world cultural history. Hence, the museum is open institution that work plans based on the needs of visitors, is a provider of interactive services, as didactic system to provide information embedded in the educational museum, does not meet modern mental peculiarities of perception by that accurately transferred to the lines of the Chinese proverb: «tell - and I forget, show - and I remember, let me do it - and I understand.» In this way interactivity elements, which are widely used in modern museums, is the need of time because it is by tactile contact with the museum object, through which the understanding and remembering.

References 1. In Kiev appeared interactive museum of science [electronic resource] // Ukrainian Pravda. - 2012. - Jun 3. - Access: http://www.life.pravda.com.ua/-technology/2012/03/2/97252/ 2. Byelofastova T. Actual problems of implementing cultural and educational potential of modern museums /T. Byelofastova KNUKiM // Bulletin: Coll. Science. pr. - K., 2002. - Vol. 6. - P. 160-167. 3. A. Vasilenko museum pedagogy and interactive technology in historical and cultural context of the functioning Complex «Zaporozhye»: the formulation of the problem [electronic resource] / A. Vasilenko. - Access: http://museum. dp.ua/article0179-2.html 4. Kapustin N. Psychological and sociological studies of the effectiveness of museum programs and activities for students / A.N. Kapustin, L. Hyde // The museum and visitor: method. development, scripts, concepts. - Dnipropetrovsk. - 2005. - P. 27-34. 5. A.N. Kapustin statistical aspect of scientific and educational activities of the museum / A.N. Kapustin, L. Hyde // The role of museums in cultural space of Ukraine and the world: state, problems and prospects of museum field: Coll. zahalnoukr materials. Conf. with problems of museology dedicated to the 160th anniversary of Dnipropetrov. East. Museum. DI Yavornytsky. - D.: ARTPRES, 2009. - Vol. 11. - 608 p. 6. Q. How Karasenko return the child to the museum or as a museum to return the child? / V. Karasenko // The role of museums in cultural space of Ukraine and the world: state, problems and prospects of development of the museum sector. - D.: ARTPRES, 2009. - Vol. 11. - 608 p. 172 7. I. Medvedev development of museum and educational activities: teach. guidances. / I. Medvedev. - Kramatorsk, 2009. - 60 p. 8. Sidorenko T. Interactive technologies in educational process / T.A. Sidorenko // The principal, 2006. - № 46 (430). - P. 12-15.

Summary Shman S. Museums in the age of online culture The article is devoted to the possibility of the introduction of interactive forms of museums, which embody the idea of open-air museum. Ukrainian museums today are searching for their place in the wider cultural space, transformed into important elements of education and training. As they provide access to people of different professions and different age categories to the national cultural and natural heritage of Ukraine. The potential role of museums based on the ability to provide the public an interactive, substantive and ideological platform for in-depth knowledge of their ethnic identity, the nation and around the world. Key words: interactive forms of work, a virtual museum, interaktivnye program.

Received 10.11.2014

UDC 792.73:7.097 T.I. Sovhyra

POP GENRES ON TELEVISION

Variety programs on television first appeared about half a century ago and since then their production is growing very rapidly - they make up a significant proportion of television entertainment programs. Among the scientific works, which is considered the interplay of TV and pop art, one should mention the works of Sappaka «television and эstrada» [9] A. Vartanova «Televyzyonnaya эstrada» [10] G. Novikova «Modern television spectacle: origins, forms and methods of influence «[8]. B. Sappak focuses on the similarity of channels it to the stage, and not to the Performing Arts. [9] C. Bezklubenko considers pop art television and outside it, and that pozaekranne screen, the example of television game «KVN» [1] G. Novikov examines the general characteristics of pop art in television shows and genesis of pop concert on television [8] . Quite thorough «textbook» on the stage of development of a brochure on television editors and A. Bogomolov Yu Vartanova «Televyzyonnaya эstrada» [10], which contains articles journalistic nature of the relationship between stage and television and description of the results of this interaction. According to A. Vartanova and pop music on TV is undergoing significant changes in the form and manner of expression [10; 20]. Much information about the broadcast on television variety of forms, their variations due to such conversion, contain clauses A. Kuznetsova «Oh razhovornom genre to teleэkrane» M. Khrenova «Razvlekatelnыe teleэstradы function.» They also examined the similarities and differences between the features of stage and screen arts. N. Goryunova («Artistic and expressive means of the screen»), A. Hanyutin («space & time televyzyonnoy эstradы») and A. Yurovsky examine the question of conditionality actions and principles of stage space on stage and screen. The historical aspect of pop on television discussed in the paper «KVN as a socio-cultural phenomenon: the genesis, development history, current state» C. Janiszewski [11] and intelligence «Эstrada Problems of theory, history and technique» S. Klitin [6]. But despite the high level of public popularity of pop on television, the level of scientific research of this phenomenon is quite low, especially genre diversity. Therefore, this article is the first comprehensive research features pop genres and forms of television XX - XXI century. in the former USSR and the countries that emerged in the post. The purpose of this article is to identify the genre and stylistic features pop on television. The appearance in 1934 of the first pilot program maloryadkovoho (mechanical) channels, is broadcast 25-minute pop concerts with Ivan Moskvin, was the first successful example of television and film adaptation of pop art. Since it became clear that Estrada can use the TV room for its implementation. Given the specificity of the television screen, different from the classical stage, it appears necessary to consider a variety of pop genre that was able to accept the convention of Television Arts and continued to exist as part of the television screen. C. Klitin once proposed classification of traditional pop, dividing it into three main groups: concert, theater and festive. According to this principle, consider each of the genres of pop groups on television. The first group - Concert (dyvertysmentna) stage on television - is a variety of forms concert presented on the TV screen. Variety concert on television - a form of pop art, which is due to quantitative characteristics has become one of the most popular on the TV screen. It is advisable to consider in more detail this form and determine its place in the contemporary artistic environment and belonging to the stage and TV. As you know, «concert» (from Lat. And Italian. Concert - competition) - publicly announced by the performance 173 of the program. Existing historiographical material suggests that since the eighteenth century., When they began to be regular concert programs and the twentieth century. Concert considered in three varieties: music (including symphonic, chamber, piano, violin, etc.), literary (with recitation) and pop (using light of vocal and instrumental music, humorous stories, parodies, circus, etc.). During the war, there are movie-concerts - a pre-recorded set in the music room broadcast for front-line fighters («Cinema Concert 1941»). The term «television concert» has been around for several years, used to write daily statey1, afish2, announcements, TV programs, but is still not clear what it means. In the scientific literature there is no specific definition, instead, when the idea comes to measures of this kind, critics prefer the notion of «TV Show» (G. Novikov, S. Akinfiy, T. Vanchenko etc.), the term «television concerts» ignored scientific criticism. The question is: «Will take place the following features TV concert, by which the latter may vyokremlyuvatys as a special kind of concert?», «Is it necessary to isolate the TV concert with the genre classification entertainment television?» Or maybe «is only unjustified pun?» . To answer the question, the necessary hypothesis: each study must be the goal, based on certain assumptions. Us state hypothesis that television concert - a unique kind of concert having specifics, other than purely pop concert. Let us consider the example of the differences farewell concert «Dreams of Love» A. Pugacheva (2009), performed on the stages of the Kremlin Palace (Moscow, Russia) Palace of Sports (Kyiv, Ukraine) and the Palace of them. Heydar Aliyev (Baku, Azerbaijan), scheduled for television broadcast. Set design art director Boris Krasnov in the form of a large iceberg (obliquely truncated circular podium), which is placed behind the projection screen (all sides of decorations also served projection planes) no change in any of the 37 tour concert tour of singer regardless of the presence or absence of television filming. A. Pugacheva interacted with the audience in the hall, cameras while performing broadcast only function if peeping on the action on stage. Chiaroscuro, projection figures have not changed their configuration depending on the availability of TV recording. In this case, the thing goes on a television version of the concert, and specific evidence «TV concert» as a kind of concert found. Evidence of such considerations may serve to G. Sokolsky, which, considering the specifics of the relationship television and music, said: «The role of television as a means of expression may be less active in cases where the number of variety television drama focuses on aesthetics broadcast when space becomes pop art , which advocates the performer, and room to which he refers. Television shows room as he was set to perform at venues. Pan, assaults and departures camera close-ups of the artist and the audience, cropping, changing points of shooting, of course, used but choosing perspective, plan, zoom, defining dynamic light composition and picture transfer, directed only emphasizes individual moments implementation; it does not convert, and shows dramatic pop number «[10; 129] Further opinion focuses on the second aspect of the research stage on television, namely those genres theatrical stage, which could go into space and television continue to grow in the new environment. This is the theater of miniatures for television, variety shows, with numerous concert revue of performance composition and large arsenal of stage crew and equipment. As a result of excessive interest television practices of small forms repertoire of pop drama, in July 1938 began transferring Pilot Leningrad television center, where he was established TTM (Television Theatre miniatures). This event was a good example of the interpenetration of television and pop, t. B. theater of miniatures, according to E. Uvarova is variety theater in which the main repertoire is small drama forms (miniatures): small pieces, vocal, dance, spoken scenes, interludes. Small form pop drama, skits, interludes, jokes, miniatures, reprise, felyetony - characterized compressed dynamic plot, topicality, often humorous content and executed between the numbers of a pop concert spectacle. Instead, it should be noted that all the above definition of small forms of dramatic art terminology used not only as genres of pop art, but as a genre of artistic and journalistic literature (from where they originate). It is believed that the development of television begins with a thumbnail of A. Raikin, a prominent actor and artistic director of the Leningrad Theater of Miniatures, which along with theatrical and cinematographic activities tried his hand as an actor the TV screen later - rezhysera- director of television product (multiseries television series «People and dummies «created in collaboration with director W. Parish). The example of his creative works «The cup of tea», «honest», «Do not pass by» can be traced as director of theatrical works successfully moved beyond the stage of a television frame, thus enriching mizanstsenichne, artistic and decorative design stage. Due to the peculiarities of acting technique: the presence of «image mask» instant reincarnation, minimize props and decorations A. Raikin managed organically «look» in «close-up». This phenomenon is extraordinary popularity of his miniatures. An example is his television directorial work «People and mannequins» (also considered TTM) which filmed most lyrical and hostrosatyrychnyh images Raikin, who over the years appeared on the stage of his theater miniatures. Today television miniatures theaters with the right to exist as in the TV recording and abroad, include humorous TV show «Around the laughter» A. Ivanov (since 1978) and «distorting mirror» E. Petrosyan (2002 g.), consisting not only of miniatures, but also musicals and pop parody dyvertysmentnyh programs covering all kinds of conversational genre. A feature of these programs is that the small forms of drama and ceremonies recorded driving one set, while the spectacle on stage composition is self-complete form of pop art - a form of variety concert, where each thumbnail pop - pop number. In this case, it must be clarification that the specific first and second groups quite similar, so sometimes difficult to find differences between them. Much attention in the literature of art criticism today is given to the phenomenon as television «Evening quarter.» 174 So, this show is a genre of contemporary theater television thumbnails with inserted massive numbers, which is very successful vaudeville shows, which takes place mostly on stage «Ukraine Palace» and one of the most popular projects on television (according to magazine «Telekritika»). Much of the television programs that are based on pop material includes an element of competition. The thing goes on quizzes, games, contests, competitions and more. No wonder the great popularity of his time television competition «Club of cheerful and resourceful» (from November 8, 1961, which became an example of a successful construction principle pop stage of the program under the laws of television. You must make a clarification that «KVN» is the first product of television, but as a result of the transfer of the genre in many years of life and existence in terms of the classical stage, it is appropriate to consider «KVN» as a screen, and outside-screen phenomenon. C. Janiszewski indicates that if there is a cultural form KVK-screen and off-screen varieties is kind of screen is to identify the leading trends of this form [11; 163]. The third aspect of pop on television - a festive stage (sight, timed holidays, festivities and dances, carnivals, festivals, etc.) - includes a number of so-called shows. Given the fact that the concept of «show» is valued, occasionally examine it in detail. Show (from Eng. Show - the show) can mean the act, and that attracts attention. Accordingly, it will be different importance (meaning) the concept of «show»: in the first case - a vaudeville show, the spectacle, the second - that is what is intended for external effect [1; 237]. The term «show» begins to be used to describe the sights during the emergence of the music halls, variety shows, cabarets (1 floor. XIX c.), But the elements are present before - in speeches itinerant comedians: buffoon (Russia), Spielmann (Germany ), jugglers (France), dandies (Poland). The concept of «show» is associated with the era of scientific and technological revolution. An example is the theatrical spectacle, celebration (festivals, parades, demonstrations). Chronologically, the first attempts to use technical means of television and film show in the formulation was possible even in the heyday of the music halls. Yes, directors started using kinosyuzhetiv broadcast, projection in scenery, use ANTAREKS (monitors that transmit video version sight) and others. Competitions, festivals are examples of pop art, but in the TV coverage there is a need for some additions (the shooting interview podvodok driving, installation videos, etc.) that leads to the TV shows, which are taken in the studio and get a look shows. A good example is the festival of Ukrainian pop music «Vernissage - 91. New Ukrainian Wave» and «Red Ruta «and contemporary television entertainment spectacle» Eurovision «(eng. - Eurovision Song Contest). These festivals are products primarily music. But without the technical means television they would not have the right to exist. On the example of «Eurovision» you can see how a television audience of viewers exceeds (in the last four years proportionality factor rose 2.4 times). Most of these programs - attempts to find TV-specific forms of embodiment pop material. The range of venues and recording TV show programs today is quite wide, from fixed adapted room (the stage area, shooting pavilion) to the stadiums, palaces, open areas - all places, built or leased by the organizers for the spectacle. An example is the holding of «Eurovision - 2012» in a specially constructed for the festival Baku crystal hall (Baku, Azerbaijan), containing 23 thousand. Viewers, or «Eurovision - 2014» in general industrial halls B & W (Copenhagen, Denmark), containing 10 thousand . audience. «Zvukopidsylyuvalna zvukosyntezuyucha and equipment that allows for unexpected zobrazhalno- expressive, musical and lighting effects, spatial decoration, the use of the film - all this makes the present extremely impressive show spectacular» [5; 85]. The range of venues and recording TV programs shou- now quite wide: from stationary adapted room (the stage area, shooting pavilion) to the stadiums, palaces, open areas - all places, built or leased by the organizers for the spectacle. In addition, technical means allowing television director shall merge several effective platforms. Examples are the so-called «Bridges TV» - direct inclusion of the other set, which are far from the epicenter of the theater, and at the same time become part of the action script. Now the reception «television bridge» is used in the production of TV song contest «Eurovision», where each participating country to announce results. With new technical capabilities is not only the television variety and interaction channels, and content of television variety of forms. Therefore, you must continue to thoroughly explore the aesthetic level stage on television.

Notices 1 Example from the article: «February 28th at the Lviv Philharmonic premiere was held, solo TV concert Vladimir Okilka -» Orion Gold «[7]. 2 Example of the poster: «Studio» Magarych «invites you to the New Year TV Concert» The end of laughter «!».

References 1. Bezklubenko S.D. Art: terms and concepts: encyclopedias. kind. : In 2 t. / S.D. Bezklubenko. - K.: Institute of Cultural Studies IAB Ukraine, 2010. - Vol 2 (M-I). - 256 p. 2. Vladimir Okilko [electronic resource]. - 2014. - Access: http://www.okilko.com/televiziyniy- koncert-volodimira- okilka-quotzolotiy-orionquot 3. Trends Dankov A.N. content - in 2013 the «Quarter» Euro-square [electronic resource] /N. Dankov // TV critic. - 2014. - Access: http://www.telekritika.ua/rinok/2014-01-16/89332 4. The Law of Ukraine «On Television and Radio» № 3759-XII (3759-12) of 21.12.93 as last amended [electronic resource]. - Access: http://www.zakon.rada.gov.ua 175 5. Zorkaya N.M. Folklore. Lubok. Screen / N.M. Zorkaya. - M., 1994. - 239 p. 6. Klitin S. Estrada: Problems of the theory, history and technique / S.S . Klitin. - LA: Art, 1987. - 190 p. 7. Kurzhiyamskaya A.M. Rhapsody TV screen: Notes on music television / A.M. Kurzhiyamskaya. -MA: Art, 1983. - 146 p. 8. Novikov A.A. Modern televizionnnye spectacle: the origins, forms and methods of influence /A.A. Novikov. - SPb. : Aletheia, 2008. - 208 p. 9. Sappak V.S. Television and pop music / V.S. Sappak // pop art. - M., 1961. - Vip. 1 - 69. 10. Television Estrada / [ed. A. Vartanova, Yu Bogomolov]. - MA: Art, 1981. - 246 p. 11. S. Janiszewski KVN as a socio-cultural phenomenon: the genesis, development history, current status:Thesis. ... Candidate. East. Science / S. Janiszewski. - K., 2004. - 185 p.

Summary Sovhyra T. Pop genres on television The article is devoted to analysis of the characteristics of a variety of genres on television. In this context, the concepts of «concert», «TV program», «show». Key words: TV concert, TV program, show.

Received 6.12.2014 UDC 654.197 Y.O. Moskvіchova

REGIONAL TELEVISION AS A FACTOR OF SOCIO-CULTURAL SPACE FORMATION OF MODERN VINNYCHINA

In the history of mankind occurrence of certain technical innovations in production have always led to social, spiritual and cultural transformations. That information communication has become a driving force that has made dramatic changes to society. Modern Ukraine cultural space, like any other state, is impossible without an extensive system of media (media). Given the social importance and accessibility of mass media have a great influence on the spiritual processes occurring in society. Development Research of cultural and information space, the operation of devoted to scientific work Budantseva Yu, A. Bunkivskoyi, A. Gritsenko, A. Kostyryeva, V. Lyzanchuka, IA Matyushin, G. Pocheptsov, V. Rizun etc. Problems and specificity of the regional television and radio companies consider Dmitrov E., A. Skorik, E. Saturday and others. The functioning of the media as a factor in the formation of Ukrainian national consciousness in the conditions of globalization explores C. Clove. This article presents an analysis of the purpose of the regional channels of information in the field of culture and art as part of the media space Vinnichiny period of independence of Ukraine. The system of national media in its structure contains several groups of media, namely: print (newspapers - newspapers, magazines, newsletters and separate editions with certain print runs); audiovisual media (television, radio, cinema, audio and video); information services (advertising bureau, agencies of press, the press service of professional journalism clubs), the Internet. In modern society, the media perform a number of functions required in the system of informing and forming public opinion, important among which is information (gathering and dissemination of information), communicative (the formation of public opinion regarding the nature of events), relay (play certain social experience, lifestyle), cultural - educational and entertainment functions. Media and perform a number of important social functions. First, the function of socialization, which refers to the formation of man as a social subject in the process of knowledge, opinions, attitudes, beliefs, philosophy in general, and the acquisition of social status and social roles. Socialization (socio-cultural, professional, etc.). Occurs throughout life. Thanks to the media capabilities greatly expands the field of socialization of the individual in various spheres and directions. Correct statement is P. Abbas that the extremely important function of the media there is also a function of social stabilization and socio-cultural integration including the national-cultural identity. It is about ensuring the integrity of society having its own national information space of the state or region [1]. Under the national information space refers to the totality of information flow, both national and foreign origin available in the territory. These include streams, forming press, electronic media, as well as those circulating in information networks [3; 18]. Since 1992, the legislation of Ukraine introduced a number of special laws for different sectors of the media. Among them - the Law of Ukraine «On information», «On Television and Radio», «On Print Media (Press) in Ukraine», «On the information agencies», «On Copyright and Related Rights,» «On Publishing» «On Advertising», «On Radio Frequency Resource of Ukraine», «On National Council of Ukraine on Television and Radio» and so on. Television plays a special role in the media as a unique combination of audio and visual signals form a powerful impact on the minds of citizens. Television (and the Internet) and has exceptional qualities, unusual other media - namely speed, the ability to inform citizens of the event or activity interpersonal communication and interaction. 176 The formation of Ukrainian state coincided with the period of commercial (private) broadcasters. Official certificates for the right to broadcast received nearly a thousand companies, studios, editors, TV and radio programs, not part of the system Ukrteleradiokompaniyi, including more than 400 television stations. In 90-ies. XX century. the vast majority of private vehicles used TV air time given to them to hire foreign video, often of dubious technical and artistic quality, including movies and cartoons, music videos, advertising, news. Later, in the mid 90’s., Began manufacturing their own programs, mostly entertainment. On the territory of Vinnitsa region the first regional terrestrial private television broadcaster was Selbanho (1991- 1998 gg.), Which led broadcast on the 33rd decimeter channel. Behind her, in 1992 began work most powerful in the 1990s. Regional non-governmental channel «Ishtar» (40 channel), which produkuvav own programs. Among the most popular programs of the channel - «Vinnytsya capitalist» (V. Yeruhov), author programs C. Busilkovoyi «Paragraph», «telescope» and others. Regional TV has a profound effect on the value orientation of the audience, its ideals, aspirations, behaviors. We note that regional proximity to the typical television audience, focus on their regional traditions and customs. Consequently, educational and cultural programs of regional television, spiritual processes reflecting the land, can significantly affect the value orientation and consciousness of the audience, able to adapt to a particular society than national TV program. However, due to the collision of certain political and financial interests, the National Council on Television and Radio in 2001 did not provide licensing channel «Ishtar» and he was forced to cease operations. The main principle of the modern concept of television is the desire to meet the diverse needs of viewers. Empowering television contributed significantly to cable and digital technology. According to the report, the representative of the National Council of Ukraine on Television and Radio Broadcasting in the Vinnytsia region as of April 2014 in the territory of Vinnitsa region recorded 52 company-broadcasters and providers of software services. By ownership are divided into public (1 – VODTRK «VINTERA»), utilities (25) and private (26). In the field of distribution companies are divided into regional (covering the region) - 3 and local - 49 [5]. Sixteen towns in the region there are 22 providers of software services. Broadcasting in multichannel networks carried out in six towns and villages of Vinnitsa region, in particular, m. Vinnytsya – TRK «Everest» and of «Ukrmedia - project» (a network of LLC «Volia-Cable»); m. Khmilnyk - TRC «Inter Age»; m. Zhmerynka - NGO «Info Jmerinka» (the net TRC «Decebal»); m. Yampil - TRC «Torch» (a network Zagorodny FOP); m. Mogilev-Podolsky - KP «Presteleradiotsentr» Krayany «with. Klembovka Yampolsky district - TRC «Impulse». The most active and powerful in Vinnitsa region are regional companies - Vinnytsia Regional State Broadcasting Company «VINTERA» Informational TV agency «VITA» and the Regional Association «Vinnytsia Public TV and Radio Company» Vinnitsa region». TV Vinnitsa information agency «VITA» was founded Vinnitsa City Council in 1993 on the initial stage of its existence, the channel showed mainly foreign films, but much attention was paid to information and filling. Over the years, led TV Kornienko, Haysanovskyy Yu, A. Myslinskyy, V. Malinin. The first television channel in the region started the practice of removing multiple cameras and live broadcasts from the stars of show business. Today TV channel headed by A. Zayarna. Agency «VITA» (23 UHF channel) vinnichan informs about the local government, the events in the political, economic and cultural life of the city, and outlines the prospects for its development. Information through the daily news bulletins «Day by Day» and «news fast» (total 5 newscasts during the day), final program «Postfactum» which focused on analytical coverage in the country and Vinnitsa region, problems of a particular field and ways to overcome them. Agency conducted on-site broadcasts, broadcast sessions of the city council, regional concerts and creative competitions. The creative team of the agency «VITA» also works to create educational films for the holidays and PSAs. Proper application of the collective - «Dialogue with Government», «System», «Avtodruh» «This is - I», «The visit to the doctor», «health Magic», «I live», «Independence,» «Vinnitsa: Past, present, future ... «The people of our city», «Behind the scenes» «Bon club» «Hello. I wish. I Love» «In the broadcasting channel there are interactive projects - «first hand», «On Time», «county lens» that let in on-line not only inform the social-important topics and events, but also to maintain a constant dialogue between the government, the public and media professionals. Such programs are involved in the region known politicians, public figures, scientists, educators, artists. Live entertainment and youth out of the show - «vitamin» (from 2010), «Breaking Dawn.» Regional Association «Vinnytsia Public TV and Radio Company» Vinnitsa region «(GTRK) - the regional channel, which in their programs covering life Vinnitsa region. Founder of TV company - private agricultural enterprise «Agro- house.» Main types of channel - information and publicist («General of Intelligence,» «objectively at protyvorechyvom», «Home channel») and socio-economic programs («Everything depends on you, the people», «Fourth Estate», «Topical Interview «) and demonstration of feature films for the whole family, youth, children’s and sports programs. One of the most exciting TV programs «Vinnitsa region» is the music author and project lead sound engineer D. Sidorov «Live Sound», founded in April 2010 its main goal - meeting new musicians and groups that perform their own music. The main focus is on familiarizing the audience with the performers who are just starting his career. However, studies have repeatedly presented their works and known artists and groups that gained victories in various competitions and festivals and have a wide range of fans. Among them - the musical band «Cane Cat», well known not only in Vinnytsia region, but also in Ukraine; Vinnitsa musical band «Carte Blanche», «Banditoz Bend» «Marty,» «Jennifer Heart», «Strong Time», «DomploT» and «The Abyss» (m. Khmelnitsky), «Epolets» (c. Odessa) and others. The main condition of the project - «live» performance of musical compositions. 177 Vinnytsia Regional State Broadcasting Company «VINTERA» (VODTRK «VINTERA») is now a leader among regional media in Vinnytsia region. The company’s history began in November 1932 when it was organized Vinnytsia Regional Radio Committee. Throughout its history as a result of various transformations constantly changing organization name. The archives preserved documents certifying changes for ‘74: Vinnitsa Oblast Committee of Broadcasting (1932), Vinnytsia Regional Committee of radio and broadcasting (1941), Vinnytsia Regional Radio Committee (1944), the Committee radio information and broadcasting at executive committee Vinnytsia Oblast Council of People’s Deputies (1946) teleradiokomitet Vinnytsia Regional State Committee of the Ukrainian SSR television and radio (1970), Vinnitsa association of television and radio (up to 1995), Vinnytsia Regional State Broadcasting Company (1995-2008 .), from 2008 - Vinnytsia Regional State Broadcasting Company «VINTERA.» Actually broadcasting «VINTERA» in the region began in February 1992 today in its structure, the broadcasting company has its own sixth meter channel «VDT» (from 2005), the regional terrestrial (wired) Radio and Radio «Wave» (from 2000) working in medium-range (1377 kHz). Vinnytsia state television provides daily dvadtsyatyhodynne informing 2,000,000. Vinnytsya inhabitants, a third of Khmelnytsky, Ternopil, Odessa, Kirovograd, Zhitomir, Cherkassy oblasts of Ukraine, Moldova partly own information-analytical, journalistic, thematic and entertainment programs. In thematic programs, comprehensively covering the life of local community, a significant achievement of collective broadcasting companies have programs that go on the air «position. Public Choice «Its true», «Objectively about» ... «and TV projects and telethon. In January 2012 the company moved to a digital broadcasting standard T2». Today the broadcasting company «VINTERA» has 14 editions channels and on TV goes more than 50 TV programs of their own. Analyzing the information component broadcasting can identify several groups: 1) TV movies and series; 2) Information-analytical and journalistic TV shows («Television news Vinnitsa region», «Panorama of the Week», «Veche», «Political Council», «vector»); 3) scientific and educational («Ecology and tourism skirts», «New Encyclopedia skirts,» «I Have the Right», «Accents», «Yevrochas», «Health Line» «Dawn»); 4) socio-economic («Business Portal», «Economic Journal», «The road of reform», «Social brink», «Objectively about ...», «Social Perspective», «existence theorems», «Vinnitsa time «» The people and government « «Image»); 5) cultural, artistic and entertainment programs («Krayany», «Let’s be friends», «Divotsvet», «From classical to jazz», «Music World», «celebrate together», «New Day»). So, in fact, constitute the vast majority of TV transmission of socio-cultural and cultural-artistic direction, but much emphasis on information-analytical and educational issues. Thus, information and cultural space Vinnitsa region aimed at building its own, Ukrainian national identity and preservation of cultural and historical identity Podolyan. Referring to determine characteristics of cultural and music programs Vinnytsia regional state television can preferably their architectural character. This conclusion is predetermined and conducted an analysis of two cultural programs copyright deserved journalist of Ukraine H. secret - «Divotsvet» and «Let’s be friends», founded in 1992, but has not lost its relevance, attractiveness and a live audience interest and attention of Vinnitsa region. The «Divotsvet» is aimed at the preservation, study and communicate to the audience the best samples of Ukrainian folk art, familiarity with the original masters Vinnitsa, song property, both professional and amateur teams. Additionally, the program operated rubric «Pages spirituality» (until 2008), «one-man show» (1999-2000.), «History of a picture» (comments Honored Artist of Ukraine Ivan Bezbakh), «What, streets, in your name? «,» Outstanding Personalities of Ukraine «,» The Art of a village, «Our kept». «Under the auspices of the program» «Divotsvet» implemented new forms of television, namely «Theatre in the garden,» regional festival of borsch, Festival «Ternova scarf», «Holy Ukrainian towel» - cultural and artistic projects copyright H. secret, Regional Children’s Festival «On the border regions «, dedicated to the International Children’s Day. The «Divotsvet» is intended for a broad audience without age restrictions. «Let’s be friends» - a TV project that affects the same love vinnichan. Location visitors program beyond the region. This is facilitated by established close links with the International Brotherhood in the city of Vinnitsa. Kiev. During its existence, the TV show introduced its residents with outstanding theatrical figures of the region (Baydyuk M., E. Wenger, B. King, A. Svinyin); artists and musicians (M. Vatso, V. Hazinskyy, S. Horodynskyy A. Dziuba, Zahynayko A., A. Kukhta, P. Murawski, A. Petrushkevich M. Red, I. Shvets, V. Yukhimenko O. Yanushkevich, M. Janchenko); poets and writers (W. Boretskyi, G. Boyar, A. Vitenko, I. Voloshenyuk, Yu Voronyuk, J. Dmitrenko, Vladimir Kobets V. Lifanchuk, M. Lukow, M. pockmarked Yu Szeged, T. Yakovenko); Folk Artists (I. Horobchuk, G. Danyluk, V. Zhyvko, T. Pirus, L. Filinska) as well as with artists, folklorists, journalists, art critics and Ukraine Vinnitsa region. Telecycle «Krayany» gives the air of the conservation of national culture, promoting folk traditions among the young, love for their land, language and customs of their people. Within telecycle «Krayany» (authors of the project - S. Vernygora, A. Nakorneyeva, L. Pankiv, T. Chizh) presented several categories: «My country - my country,» «Far and close» - highlights the life and work of minorities region, «Folk pearls from my grandmother’s chest» - column devoted to the traditions and ceremonies of Podolsk region. The range of cultural and music television has expanded with the arrival in 2001 to the position of music editor VODTRK «VINTERA» P. Tretyakov. The television program «not only jazz», created in collaboration with his colleagues more than nine years remained one of the leading regional television TV space, and in 2005 won a national professional award «Triumph». Significantly increasing the quality and professionalism of the artistic product. P. Tretyakov, actively involved in the creative development of television films and television programs, acting director, producer and co-author 178 of a number of television projects. Under his leadership, breaking the daily program «New Day», «World Music» and the weekly «Colorful comfort» «From classical to jazz» and «From classical to jazz. Subject. « In addition to working on television, Mr. Tretyakov is director and director of the International Festival «VINNYTSIA JAZZFEST» (from 1996). To a large extent, thanks to his efforts, good live broadcasts of concerts Jazz Festival on radio and television. Thus, the event of 2006 was the joint product of Foundation promote talent skirts (Vice-President P. Tretyakov) and VODTRK «VINTERA.» Broadcasting recorded as the longest festival of cultural arts events broadcast live in the «Book of records of Ukraine» in 2007 In September of 2008 m. Vinnytsya presented another project carried out at the initiative of Mr. Tretyakov - scale production stage cantata K. Orff’s «Carmina Burana» to celebrate the anniversary of the city of Vinnytsia. For its implementation were involved in more than 250 actors and musicians from Ukraine and other countries. Cantatas, conducted by Carlo Tenana (Italy) performed Symphony Orchestra of Lviv Philharmonic Chamber Choir «Vinnitsa» Chamber Choir «Khreschatyk» (Kyiv), the ensemble of contemporary dance «Constellation Aniko» (Kyiv), theater artists on stilts «Resurrection» (Lviv), soloists - L. helmet (Lviv), B. Hill (Odessa), V. Rehrut (Kyiv). The performance took place on one of the squares of the city where gathered about 80 thousand. Audience. While simultaneously preparing action TV version and artistic project, which was broadcast live on six regions of Ukraine in excellent technical quality. This version includes the «Golden Collection» archive of Vinnytsia regional state broadcasting company «VINTERA.» Note that setting a cantata genre was outstanding open air cultural and artistic event not only in Vinnytsia, but throughout Eastern Europe. And projects were innovative broadcasting company «VINTERA» on the occasion of 65th anniversary of Great Victory (2010) also made under the direction of P. Tretyakov. Among them - the art of film production «Kinosymfoniya» created based on the number 7 Symphony Shostakovich, written in besieged Leningrad. It combines various art genres (including classical music and cinema). The project has become a powerful analytical and information activities to celebrate the 65th anniversary of the Great Victory. Another TV project «Song monument and they ...» dedicated to the memory of war correspondents of World War II, was awarded the Diploma of II degree VI International Festival of TV and radio programs «Won Together» (m. Sevastopol, May 2010) and special prize of Eurasian TV Academy [7]. An analysis of the regional TV Vinnichiny period of independence of Ukraine allows to reach the conclusion that the emergence and development of its powerful television as the most popular type of media, hindering social and cultural development. A significant role is played by cultural and artistic program block, which present the audience wide panorama of artistic life Vinnitsa region. Television, performing informative function, form views, aesthetic tastes, values the audience as the socio-economic and spiritual art in the area, affecting the level of artistic awareness and is an active factor in the formation of modern social and cultural space Vinnitsa region.

References 1. P. Abbasi place and role of mass media in the social communication in modern society /P. Abbasi // Sociological almanac. - Minsk, 2013. - № 4. - pp 488-495. 2. Budantsev Y.P. Sociology of mass communication / Y.P. Budantsev. - M., 1995. - 112 p. 3. Bunkivska A.V. Media Space: sociocultural nature, condition and problems functioning in Ukraine: Author. Thesis. ... Candidate. Cultural Studies: special. 26.00.01 - «Theory and History of Culture» / O.V. Bunkivska; Kyiv. nat. University of Culture and Arts. - K., 2009. - 23 p. 4. A. Gritsenko media in the democratic transformation of Ukrainian society (political and cultural aspects): Thesis. Thesis. ... Dr. flight. Sciences specials. 23.00.03 - «Political Culture and Ideology» / O. Gryshchenko; Journalism Institute of Kyiv. nat. Univ them. Taras Shevchenko. - K., 2003. - 21 p. 5. Report the representative of the National Council of Ukraine on Television and radiomolennya in Vinnytsia region for 2013 / Manuscript. - Nat. Council of Ukraine on Television and Radio. - Vinnitsa, 2014. 6. Lyzanchuk B. Is the national information space in Ukraine / V. Lyzanchuk // Journalist of Ukraine. - 2008. - № 6. - P. 28-32. 7. The official website Vinnytsia regional state TV VINTERA [electronic resource]. - Access: http://www.vodtrk.com.ua 8. Rizun V. Theory of mass communication / V.V. Rizun. - K: Education, 2008. - 260 p. 9. A.J. Skorik Music regional television programs in the information field present (for example, TV programs Lviv): Abstract. Thesis. ... Candidate. Art. : Special. 26.00.01 - «Theory and History of Culture» / A.J. Skorik; Lviv. nat. muses. Acad. them. Lysenko. - L., 2009. - 19 p.

Summary Moskvichova Y. Regional television as a factor of socio-cultural space formation of modern Vinnychina The article highlights the peculiarities of regional television broadcasting in Vinnytsia region during the period of Ukraine’s independence. Special emphasis is put on the analysis of the information constituent of regional television channels in the culture and art sphere. Key words: regional television; TV company; TV program; national information space; culture and art themes.

Received 27.10.2014 179 UDC 444.3.27(7) S.V. Vytkalov, V.G. Vytkalov

APPLIED PROBLEMS OF CULTURE IN THE REGION: EXPERIENCE OF RIVNE REGION

Reliable information is a key to the adoption of appropriate motivated decisions, however, it should be noted that already for many years seen unfairly one-sided, namely a negative assessment of the national heritage of the previous day, that is all that was done in the Soviet era in the cultural sector, estimated clearly negative, as pressure on the national culture, and all that is done today - is clearly positive. In no way accepting without reservations aside any of their opponents, try to understand the situation, using statistical arguments. So, if in 1990 the number of libraries in Ukraine totaled 25.6 thousand. Units, and their fund - 418.3 thousand. Units books, in 2007 - respectively 20.8 thousand. And 345 thousand. Volumes [9] . Club network during the same period decreased by 6.2 thousand. (From 25.1 to 18.9); theaters - respectively from 17.5 to 6.6 thousand .; Movies - of 552 million. per year to 18 million .; concerts - with 15 mln. to 4.2 mln., etc. Today the country due to lack of funds actually stopped touring activity artistic groups with the title «National». In 2013, radical changes did not happen, although the trend towards the reduction of the remaining [10]. Increased only for the period (1990-2007 years.) Theaters (125 to 138) and museums respectively, from 214 to 458, it is responding to global trends [9]. However, it was in the Soviet era created the world famous Shostakovich and Glazunov IV or in Ukraine - L.Revutsky, Liatoshynsky B., M. Kolessa, S. Lyudkevych A. Rogovtseva, K. Stepankov, B. Stupka, P . Zahrebelny, and hundreds of experts from areas of image, fiction, professional theater. And they have created artistic masterpieces and today is a jewel of world cultural heritage, with its origins exclusively Ukrainian background. Let us recall the «Golden Ring» B. Liatoshynsky or many productions of classics at the national opera and ballet stages; and V. Silvestrov or Y.Stankovych as M. Pryimachenko or I. Gonchar, D. and E. Mysko Krvavych also produced his best works exactly in the Soviet era, despite the pressure of ideological factors. If in 1970 in educational institutions of culture and art of Ukraine were educated 44 thousand. Students, in 1975 there were already 49 thousand. While in the country operated two cultural institutes and 26 cultural and educational school. In the 1966-1970 biennium. They produced 9 thousand. Experts in the field of culture and arts of higher and secondary special education, and in 1971-1975. - 28 thousand. [4]. Issues related to the work of the staff of cultural workers regularly considered at meetings of district and regional party committees. In particular, consisted plans to work with the staff, zasluhovuvalys reports on the work done so. Of course, all this often was of a formal nature, but some work still pulse granted. In many areas and training areas for cultural institutions was part of the state plan, binding. In this case and used local opportunities. For example, in 1974 courses at regional Culture Club released 3057 and 632 librarians. In addition, function permanent courses at Regional House of Folk Art, regional House of Culture. The main source of training for managers of amateur groups were 6 and 10 - month course, based on the creation of cultural schools, music schools, professional art collectives. Only in the 1972-1974 biennium. They finished more than 7 thousand. People [7; 214]. Palaces of Culture were almost all towns and villages of the Ukrainian SSR (26,000, of which 80% in rural areas; as of 1982); they belonged to trade unions, in particular, students, businesses, village councils and state farms with collective farms. According to official data, in 1982, in the USSR there were more than 20,000 amateur choirs, ensembles, Bandurist, nearly 30,000 of theater groups [6; 145]. It is clear that today the world has changed, the changed parameters of cultural policy, increased pressure of globalization factors that brought new forms of communication and information support of the population, but these (above) statistical indicators are much better for many EU countries. And indicators such as reading books and buy them for personal use in, for example, England did not stand any comparison with national statistics [5]. Let us consider the current situation in the field of culture, or more narrowly - kultrurno-recreational its vector, at regional level, since the latter is an important litmus test and the state’s attitude to the problems of spirituality, despite the situation, which was the country and the rate of efficiency of this in areas already significantly changed circumstances. And the local level makes it possible to follow the existing problems in more detail. In this context it is important indicator of human resources, as it is through the quality of personnel trained body and may make any reforms. However, the current situation in the rural unit, can not talk about the effectiveness of these reforms, actualized present. Focus on the most typical for Western Ukraine region - Rivne region, which in terms of population, and cultural potential is quite typical territorial entity. At the end of 2014 staffing situation in the Rivne region in culture rather complicated, especially at its lowest level. For example, in rural areas, according to the Department of Culture and Tourism of Rivne Regional State Administration, there are 672 clubs, where cultural and educational activities of the employee carries 851 [8], ie an average of one rural region cultural institution accounts for 1.26 employee . With so many employees make any 180 qualitative activity is not actually possible. After all - it is mainly the director, is involved full time and 0.25 - artistic director (or, more likely, an accountant). Quality of working also wants better: higher education (without specifying profession) have only 170 people, almost 20% of employees [8], and please note that training with completed higher professional education, ie specialty «Folk arts» today Ukraine has only KNUKiM (which is not studying any of the members of the Rivne region). These issues concerned and partly Department of Cultural Studies and Museology RSUH, where the specialization «teacher-organizer of cultural and leisure activities» studying several representatives of Rivne guestrooms fundamentally change the situation in the region for the better. With vocational or adopted today indicate - basic higher education, works 425 people, representing over 49% [8]. This, hopefully, people who are in most need to have at least a college (college) culture. However accurate (reliable) statistics on the professional level there. And hope that they won it in Dubno special education college culture RSUH has no reason, because the scope of the licensed institution majoring in «Folk arts» is also significantly reduced. And today among college graduates, there are usually 20-27 individuals in this profession, that fact - experts. And despite the fact that they were trained for 4-5 specializations («choral art,» «folk instruments», «wind instruments», «art directing events», etc.). But they are basically familiar with the cultural and recreational areas alphabetical order. However, receiving a college diploma vast majority of them come to study at universities in the economic, legal or other, related to the field of culture in the specialty of public order (as in many of these institutions have their artistic groups) or Institute of Arts educational or humanitarian institutions (which are in each region, and in some areas - even a few. How, for example, in Lviv, where, besides the National Music Academy. Lysenko, arts institutions are the National University. Franko ; there, in Lviv, operates a similar institute at NU «Lviv Polytechnic» and branch KNUKiM) that are not motivated guided by the exclusive professional art, not having to do any actual number of students with the basic special musical education in the volume of the music school, or the vast majority of teachers, who are usually finished these same institution, and only some of them - in absentia Conservatory (1-2 years as the direction of «second education» or external studies). But back to our analysis. Another 90 people with some college education (without indicating its direction). [8] Consequently, 260 employees (almost 31%) of 851 in the countryside of Rivne have higher education at all. Based on this «quality» will be employed to talk about effective cultural and leisure activities at the village club is not possible. For people who do not have at least secondary special education can do nothing interesting in his establishment, which sees young people as the only place to rent. So, today we can talk about more or less quality of cultural and leisure activities at the level of the district, where the RBC there really team, mainly the older generation that has professional art education and experience, and enthusiastically refers to culture and art issues, and therefore able to organize quality leisure population. This also could be considered small groups and enthusiasts of this case, which are in almost every village who love song, dance or other forms of cultural and artistic self-realization and in spite of the member club scene. They tend to also create a club atmosphere in the countryside, forming their own artistic groups that are more or less prominent, and often quite bright and intense concert practice, as, for example, can be said of director Koretskaya Music School (trombonist on specialty who created the original male vocal quartet concerts and fairly active today not only in the area), or a number of choirs, led, for example, a dean of the Faculty of Ukrainian Philology or instrumental groups, led by the concertmaster chair choreography RSUH and other similar leaders. [3] They also fully resolve the question of cultural services for the rural population, as they not only sing or dance, but have in his creative luggage «full set» for stage performances, ceremonies, songs for all tastes, performers who play many musical instruments and many other things that do not like overloaded «cultural product» rural population. They gladly serve a range of village celebrations, including weddings and is popular with the public, occasionally leaving even outside the country at the request of Ukrainian communities. Because so many in Western Ukraine in general all kinds of family or family of amateur groups. This club really professionals who need a modern and club. Subsequently, enthusiasts and led by artistic groups in rural areas. They rank the vacant post of artistic director and they not only provide original entertainment of the rural population, but also «Facade» cultural sphere reporting. The financial side of them completely satisfying, because they lack the funds without any problems earning their own efforts. By the way, in Western Ukraine the practice has long been overtaken theoretical research scientists and literally shows a creative approach to the realization of significant social, cultural and educational potential that lies in leisure. Analysis of statistical and analytical reports of the Ministry of Culture of the profile [1] showed that there’s also not going to make a «dirty linen» and given the constant changes in leadership, especially the issues of the sector do not worry. And that can make the poorest Ministry in the government, which only ask money for everything from the purchase of new musical instruments not purchased from the early 70’s, when in the country had their own factories of these instruments, and overhaul facilities built back in the heyday of the Soviet political system. At least, detailed statistics aggregated on the quality of staff in the country these reports can not fix. And «no to the culture of the country is» sacramental phrase, answer any question. However, contacts with leaders of industry in areas of external students working in the field, view statistical reports and current archives of regional centers of folk art and departments of Culture and Tourism least Western region showed that the 181 situation is the «village culture» similar. A practice of organizing training workers in the sector, unlike, for example, librarians, so formalized and limited in time (only a week, of which one day set aside to learn about the work of any cultural institutions, another day - this time from ‘ ride and awarding certificates), which is holding its effectiveness is nothing to hope for. The exception to this is the creation of a number of educational and advisory centers, which are responsible for the organization of training workers in the sector. The best of seen is undoubtedly Vinnitsa, where material equipment (library, staffing employees, material resources, social conditions of residence and their costs, etc.) and the interest of regional leaders clearly ahead of expected forecasts (even in the last year on holding cultural events in the area of funds allocated to this area 10 times greater than, for example, in the Rivne region). And especially in the area by any other indicators of the same Rivne no different. So this situation requires appropriate changes and unless the existing cultural sphere wants to stay for a modern state. In our opinion, it would be appropriate to carry out the following: • to form the support of the leaders of the regional branch of the Ministry of Education and the Ministry of Culture of Ukraine (as the main customer of the frame direction) on the need to return to university (or at least some of the existing) specialty «Folk arts» at Universities III- IV accreditation, reviewing its contents and approve at its MES Ukraine International Standard that will allow graduates to college culture to be able to continue their education in the specialty. Recall that in the early 80 th century. Ternopil, Rivne and Lviv region in cultural and recreational network had staffing within 75-90% of full professional higher education. And as it affected the economic or socio-cultural and socio-psychological indicators prove not required; • return to the practice of training specialists with higher special (cultural and leisure) education, reviving trust admit students to the university on this specialty reviewing, for example, the costs of action, and others. By the way, the practice of targeted admission to higher education will help to review the approach to the principle of paid services at all levels of club facilities. For effective operation of the institution today is in the majority and the activities to appropriate remuneration. The country has nearly 25 years, declares the market, and in many areas they are too «market»; • agree on the level of culture and tourism departments of regional administrations number of professionals who need to prepare for each area or region in general, at least in the short term. This force, in turn, heads of district managers to responsibly Personnel Reserve and start looking for people with relevant skills and guide them further training; • develop new criteria for evaluation of employees of cultural and leisure areas, including concrete results of their work at certification; • considering the constant reduction in funds for the maintenance industry, to provide the curriculum in this specialty block courses aimed at training is an organizer of cultural and leisure activities, which could establish cultural and artistic activities at village level, given the specific potential available there; • needs to be changed and legislation Ukraine on local government, because today’s rural or village head, he is also the head of cultural and recreational complex (which in Rivne region 350) is not only the actual manager of the funds available, but also professionals, whom he appoints without approval in most with the district department of culture, thereby ignoring the educational index future employee, knowing well that the 1-1,25 rates in the country club is almost nothing you can do, and then for the position can be anyone, always citing the lack of quality of marriage rates. Present village heads makes links culture to spend money only for the maintenance of schools and not think about changing forms of work; • This will help also implement reorganization or better to say, «inventory» of its own personnel corps and modern institutions of I-IV accreditation levels outlined directing stimulate search their employees or heads of departments, appropriate forms of educational activities that will benefit today practice and can bring profit, including spiritual; • is long overdue review the list of professions and specializations and reconcile them with existing social needs and thus employers to fund those areas that will have the demand or social order. Economists and lawyers we have prepared for years to come, even though this country has become stronger economically and legally protected; • it would be logical to combine the efforts of local culture and tourism departments and universities that operate within their legal competence and thus jointly solve a number of problems specific to both sides: professiogram professional development that is needed today in schools or cultural institutions; Forecast for the further development of the industry and its appropriate staffing; forms of organization of students practical training of future professionals and others. This gives the possibility of real cooperation between local authorities and the network of universities, existing on its territory. Whereas, if the Department of Education and Science of Regional State Administration at least in some way relevant to training at middle management level, the contact with the university in this regard at the Institute of Art and Culture and Tourism Departments outlined a range of issues does not exist. So it will be a real form of implementation of the Law on Local Self-Government; • start production of Ukrainian professional magazine for the industry, through which it was possible to discuss professional issues and implement (for fundraising), his mandatory subscription for culture and tourism offices, regional centers of folk art and regional culture houses. So express wishes of entities engaged in the formation of the state order, are responsible for the quality and quantity of education and other related issues start using such well known tools such as forecasting, scientific research or calculation etc. because only in this way can not ride out again trouble, and purposefully create a new life and normal conditions for creative self-realization of the population. 182 References 1. Analytical reports the Ministry of Culture and Tourism of Ukraine for 2010-2013. - K.: NAKKKiM, 2011-2014. 2. Afanasyev Y.L. Art Education and cultural practices: achievements and problems / Y.L. Afanasiev // Ukrainian Culture: Past, Present and ways of development: science. app. Rivnen. state. humanit. Univ. Vol. 20. 2 vols. T. 2. - Exactly: RSUH, 2014. 3. Vytkalov S.V. Cultural and artistic Ukraine in regional dimensions: monograms. / S.V. Vytkalov. - Exactly: M. Dyatlyk, 2014. - 362 p. 4. Preparation of kayaks V. cultural and educational workers in Ukraine: experience, problems (60-70-ies. XX century. / V. // Scientific kayaks. App. Vinnytsia. State. Ped. Univ them. M. Kotsiubynsky. - Vol. 9 Series «History»: Coll. Science. pr. / Pod Society. Ed. prof. P. Hryhorchuk. - Ball, 2005. - P. 212-216. 5. A. Murahovskiy Publishing in Ukraine: analytical review following the results 2013 / A. Murahovskiy, S. Buryak // Bulletin of the Book Chamber of Ukraine, 2014. - № 5. - P. 3-10. 6. Essays Ukrainian popular culture / Ed. O. Gryshchenko. - K., 1998. 7. Soviet way of life and the task of training cultural and educational institutions: materials All-Union scientific- practic. Conf. - Exactly, 1977. 8. Results of the regional stage of the competition Ukrainian clubs in rural areas // Current archive circuit «Rivne regional center of folk art» Rivne Regional Council in 2014 - S.1-4. 9. Statistics of Ukraine, 2008 // hnp: www.ukrstat.gov.ua 10. Statistics of Ukraine, 2013 // hnp: www.ukrstat.gov.ua

Summary Vytkalov S., Vytkalov V. Applied problems of culture in the region: experience of Rivne region A skilled situation in the sphere of culture and her correlation are analysed with practice of organization of культур- но-дозвіллєвої activity in the Rivne area in modern terms. Key words: культурно-дозвіллєва activity, Rivne area, skilled potential, professional questions.

Received 28.11.2014

UDC 784.1:784.68 «1991-2014» G.S.Goroh

CHORAL ART OF RIVNE REGION IN FESTIVALS IN THE PERIOD OF THE STATE INDEPENDENCE OF UKRAINE

Festivals and Competitions choral art in Rivne period of state independence Ukraine gained considerable popularity. A prerequisite for updating them competitive acts festival practice-Soviet era, namely the annual All-Union, regional and district amateur festivals workers, youth festivals, festivals etc. Spring and Labor. But today, in terms of Europeanization in Ukraine in the Rivne region in general and in particular, the process of transformation of the competitive-festival tradition - holding cultural events in the framework of European formats. The relevance of this intelligence is insufficient doslidzhennosti latest trends choral festival movement in Rivne region. Objective: analysis of competitive-choir festival movement in Rivne period of independence of Ukraine. Holistic, comprehensive coverage of issues choral festival movement in Rivne region today is not enough. Numerous publications in local periodicals concerning certain aspects of the disclosure of a festival like: «Christmas Songs», «Easter hymns», «Spring Bells» and so on. Special and monographic literature on this question concerns certain aspects of the festival movement, while problems remain unsolved choral festivals. Among individual research in this regard, recall the monograph C. Vytkalova «Rivne, cultural and artistic potential contemporary paradigms» and «Cultural and artistic Ukraine regional measures», which to some extent analyzed festival Rivne practice as a cultural phenomenon days [2]. For writing this article used some publications in regional and district periodicals for their holistic understanding and systematization. Among them, many relating to the annual «Christmas Songs» [6, 15], «Easter hymns» [5, 7, 9, 17], «Spring bluebells» [16]. Selected publications dedicated to the regional festivals of Christmas carols [1, 3], the festival choirs Sunday schools [4] Festival Competition choirs «The song is my destiny», held in the city. Dubrovytsya [8, 2,10] Festival of Sacred Music «By God in different languages,» the city of Rivne. [11; 3], the International Festival of Sacred Music «good news Peresopnytsya» c. Peresopnytsya [12], the festival-contest of vocal and choral art «Woodland edge of the road» in the village. Horbakiv Goshcha area [13]. Consequently, festivals and contests of choral art in Rivne found expression both in the regional center, and various parts of the province. Choral Music Festival «Easter hymns» is held in the city of Rivne. From 2003 through joint spiritual cultural events Rivne eparchy of the Ukrainian Orthodox Church Kiev Patriarchate (UOC-KP further), Rivne State Humanitarian 183 University and local authorities. The founder and organizer of the festival choral conducting department of the Art Institute RSUH. As stated in Article V. Grib, the main purpose of the meeting is to spread the spiritual heritage of the Ukrainian people, revival of national and spiritual traditions, the best examples of Choral Art [5; 16]. Among the choirs - regular participants of the festival - bishop’s choir «The Omen» Rivne diocese UOC KP (regent N. Ivanyk), choir Dubno clergy deanery (supervisor. O. Kryvenchuk) Men’s Chamber Choir «Sophia» RSUH (regent N. Ivanyk) Rivne branch choir Choral music school (supervisor. O. Tarasenko), choir Regency katehizatorskoho-school «Surety of Sinners» Holy Trinity convent meters. Koretz (regent Michael nun), the choir of St. Nicholas convent with. Town, choir teachers and students of the Rivne Seminary, guests from different regions of Ukraine, children’s choirs and choir RSUH. The repertoire includes classical ensembles spiritual choral works, arrangements of folk songs. Among executable - Easter troparion, Greek chants «Christ is risen», the works of M. Verbitsky «Angel vopiyashe» A. Castalian «Christ is risen» P. Chesnokov «Tip of prevechnыy» M. Lisitsyna «body asleep», A. Archangel « God of Gods, «» Mary K diligently «B. Fils» Hail Mary «by Rachmaninov «Bless the Lord, O my soul,» Tchaikovsky «You poems,» etc. [7]. Despite positive initiatives in carrying out a significant number of different kinds of festivals in Rivne region, some of them are one-off events in the life of the city and the region. This is for economic reasons, because of the reluctance to continue the initiated work. In particular, such as «Easter hymns» in the level of a festival of sacred choral music «Easter songs.» Unfortunately, the first and the last, he was held in 1997, the interested its activities seven choirs from all over Ukraine. Organized by «Rotary Club» m. Rivne branch of All-Ukrainian Musical Union Choir and «Resurrection» UOC Moscow Patriarchate (the MP). The main objective of the meeting was the revival of local traditions of church performance [8; 3]. As argued by festival director Alexander Tarasenko, the purpose of the event was to «comparison of our performance traditions to the traditions of Central and Eastern Europe» [17; 4]. Traditionally, in 2002 in the Holy Protection Cathedral. Exactly festival «Christmas songs.» The purpose of the meeting is to promote spiritual choral music of Christmas themes, involving the public in churches. Already in the first festival was attended by more than 30 choirs - academic, parish, children’s, children’s choir and Sunday school music, folk and amateur choirs and guests from Poland - Chamber Choir from the city. Poznan [6; 1]. And today this Christmas event takes many participants - for example, in the VII festival was attended by 40 choirs, performing Christmas carols, Orthodox choral chants. Among the participants are well-known choirs – «Signs» «Sofia» Exemplary children’s choir «Ave Maria», the National Amateur choir «Veres» chamber choir «Protection» RSUH and others. In addition to traditional Christmas carols and folk groups perform works in processing Nyzhankivskyi A. «Heaven and Earth» Barvinskyi «What a predyvo» Stetsenko «Christ Christmas», P. Demutsky «Oh, of Bethlehem,» J. Yatsynevych «In Jerusalem» and others. [15]. From a regional festival of the same name «Christmas songs» takes place in the temple teaching studentsko- them. F. Ostrog UOC-KP National University «Ostroh Academy». It takes it from 2006, each year expanding a representative number of its members. Thus, in the festival, held in 2007, attended by 10 teams, including: the National University Students’ Choir «Ostroh Academy» choir Mlyniv deanery clergy, church choirs from jail, Mohylyan, Chernyahova, Brody, Netishyn [14; 3]. In 2013 the festival took place already vvosme, involving the participation of 24 choirs. According to its founder, the abbot of the temple and the dean of the Faculty of Humanities of National University «Ostroh Academy» V. Zhukovsky, the festival is not a concert, contest or competition as a form of worship during the celebration of Christmas. [18] The festival of sacred music «By God in different languages», held in the city. Rivne, Rivne involved in many choirs, as well as participants from other cities of Ukraine. Founded it 1992, when it became necessary to soften the interconfessional confrontation, achieve religious peace in an independent country, and for the purpose of promotion of Ukrainian spiritual music. Because of funding problems festival takes place every year. Among the participants - known chamber choir «Resurrection,» «Protection», RSUH Choir, children’s choirs [11; 3]. Among the children’s choral festivals are the most important international festival-competition of children’s choral singing «Spring bells», founded in 1992. Today the participants of the festival not only teams from Ukraine, but also abroad. Race participants estimated the 12-point system. According to jury member Alexander Tarasenko, thus takes into account such criteria as: the wealth of repertoire palette artistic level artistic genre - intonation chorus, formation, originality of approach to sound works. Much attention is paid to the judges singing a capella singers. Among the foreign participants - teams from Russia, Poland, the Baltic States, Belarus. Rivne - Children exemplary Chamber Choir Rivne City Palace of Children and Youth «Ave Maria» exemplary children’s choir «Unison» music school number 1, exemplary children’s choir «Fantasy» music school number 2, Children exemplary choir «Lark» City Palace of Culture «Khimik» , a children’s choir school № 18. The festival presented as spiritual works by Ukrainian composers - Lysenko, M. Berezovsky, Bortniansky, Vedel O. Kosice, L. Dychko and Russian: P. Chesnokov, VA Makarov and foreign composers - G. Handel, Schubert, etc. [16; 6]. Equally significant are the choral festival held in regional centers. Yes, there is a famous regional festival- competition of choirs in the city. Dubrovytsya «Song - my destiny» them. E. Kuhartsya, born with. Vilyun Dubrovytsky district, known not only the territory Dubrovychchyny choirmaster, People’s Artist of Ukraine, the former head of the Cherkasy Folk Choir, composer. A festival-competition with a view the rise of the creative activity of amateur choirs 184 and preservation of memory and artistic heritage of E. Kuhartsya. As noted in the publication of regional Malafeya «Dubrovitsky district - Pearl of Polissya land, rich in traditions and rituals, the talented and hardworking people who, in fact, was E. Kuharets» [8; 2]. As a student of Rivne music school after school, he organized the choir in Shpanivskomu factory and studying at the Odessa State Conservatory, led the choir at the weaving factory in Odessa, and later headed and Cherkasy Folk Choir. A festival of 2003 at the initiative of the Culture of Rivne regional state administration and the regional center of folk art. Each time it involved at least 15 choirs from various regions. The feature of the event is that it occurs once in three years. But every time he gets increasingly popular among amateur folk choirs, as makes it possible to see the level of contemporary performing Ukrainian folk songs, to identify trends in this genre, get new impetus for creative development. Competition program envisages five works, including two without musical accompaniment. Decisive advantages in the assessment teams jury is the level of performance skills and repertoire selection. The festival involves both rural folk amateur choral groups, including choirs with. Small Shpakov Rivne district, p. Kostopil peaceful district, p. Chudnytsya, p. Rusyvel Goshcha district, p. Vysotsk Dubrovytsky district, p. Dawn of Rivne district, p. Klesiv Sarny district, p. Mizoch Zdolbuniv district, regional and national amateur choirs Bereznovsky House of Culture (BC) Radyvylivskoho, Koretsky, Dubrovytsky, Zdolbunov RBC, Mlyniv district center of leisure, etc. [10; 2]. Under Ukrainian Festival of Choral Art «Singing youth Ukraine» from 2009, in the village. Horbakiv Goshcha district held open the regional festival-contest of vocal and choral art «Woodland edge of the road.» The event is dedicated to honorary citizen of Volyn region, amateur composer from the village. Olkhovka Gorokhiv Mr. S. Kryven’ka and amateur composers Rivne Kalyukh J. and S. Osypchuk. The event brings together amateur and professional choirs and ensembles. It passes under the brand «Woodland edge of the road» in the words of the famous song S. Kryven’ka «Volyn my» [13]. A festival to continue the best traditions of national musical-choral school and development of Ukrainian amateur vocal and choral performance. In addition, one of its important tasks - to develop and promote the work of local composers and amateur songwriter. The main organizer of the festival Training Center of aesthetic education of students of vocational schools in the Rivne region. To participate in the festival are preparing a song amateur authors and composers and Ukrainian folk song. Thus, the feature of the meeting is that the participants in the programs of work have to be one of those to whom the festival is dedicated. Since 2007, the day Righteous Anna, August 7, gathers children from all over Ukraine Children’s Festival Sunday schools Diocese of Rivne, conducted in the village. Onyshkivtsi Dubno district. It involves about 20 Sunday schools - children’s groups from the city. Ostrog (Resurrection Church), p. Ozhenino (Michael Church), town. Mizoch (Nativity of Church), p. Hilcha (St. Nicholas Church), St. Trinity convent Derman, town. Star (Michael Church), m. Radivilov (Alexander- Nevsky Church), town. Mills (Ascension Monastery), p. Town (Nicholas monastery), m. Zdolbunov (Kazan Church), m. Koretz (Barbara’s Church), m. Rivne (St. George’s Church) and others. [4]. Since 2011 in Rivne held the International Festival of Sacred Music «Peresopnytsya good news.» The first festival was dedicated to the 450th anniversary Peresopnytsia gospel and passed quite massively. The art of choral performance of sacred music of Orthodox tradition demonstrated teams from Ukraine, Bulgaria, Serbia, Poland, Russia and Belarus. According to the European format of the event, each team had two performances. In Rivne and some regional centers - Dubno, Ostrog, Zdolbunov, Kostopol, Korets, Hoshcha and grinders occurred concerts choirs. Participants 2011 - Capella University. Revutsky (m. Kyiv) Chapel «Oreya» (c. Zhitomir) Choir. Rachmaninov (Tambov, Russia), female choir (Grodno, Belarus), ladies choral formation «Mysticism» (Bulgaria), University Student Choir. Nysh (Serbia) choir «Vidymo» (Poland), choir «Oranta» ( Lutsk), and the best choirs m. level [12]. Since 2012 «The good news Peresopnytsya» was renamed the festival of the spiritual feast «good news» and conducted in a less grand scale. Then it was attended by art groups from Rivne, jail, Klevan, Dyadkovych, Hrushvytsi. In 2013 celebration took place in honor of the 1025th anniversary of the baptism of Rus. Tradition was held on the eve of Christmas carols festivals Rivne regions. Similar events occur in Zdolbunov the initiative of local priests in the church rector Zdolbunov decorum. One of the most interesting events of musical life is the Festival of the Assumption Church. Zdolbunov. It involves mostly choral groups from parishes Zdolbunovskaya - children’s choir with. Uyizdtsi, choirs with. Bohdashiv, p. Orestes, p. M. Moschanytsya, p. Novomylsk and Savior, choirs m. Zdolbunov [3; 3]. Festival of Carols parish choirs Mlyniv decorum held in the Holy Protection temple town. Mill. Founded it in 2003 - until he joined teams from 10 churches, and later – over 15. Each year the event brings together children, youth and parish choirs of Holy Protection Church m. Mills, the parish choir of St. Vvedensky church with. Zaslav’ye choir of Holy Trinity Church v. Novoukrainka Choir of the Holy Assumption chapel with. Pidhaitsi, choirs with. News, p. Ozliyiv, p. Ostrozhets, p. Pereverediv, p. Puhachivka and other choral groups [1; 3]. Thus, one can argue about the active development of vocal-choral festival movement in Rivne region that fosters the traditions of Orthodox choral singing of vocal-choral performance. However, lack of funding leads to closure of a large number of unique of its kind choral festivals and destruction of spiritual endeavors of many enthusiastic musicologists.

References 1. Augustine N. Kolyada came to mill / N. Augustine // spiritually. cornfields. - 2004. - Part 1 (12). - In January. 185 2. Vytkalov S.V. Rivne, cultural and artistic potential in paradigms of modernity: the monogram. / S. Vytkalov. - Exactly: PPDM, 2012. - 416 p .; Vytkalov S.V. Cultural and artistic Ukraine in regional dimensions: monograms. / S.V. Vytkalov. - Exactly: M. Dyatlyk, 2014. - 362 p. 3. Volyanyuk T. festival of Christmas carols in Zdolbunov / T. VOLYANYUK // spiritually. cornfields. - 2004. - Part 1 (12). - In January. 4. J. Hnatyshyn VII festival of choirs Sunday schools of the Diocese of Rivne [electronic resource] / J. Hnatyshyn. - Access: http://pruxod.church.ua/index. php / vii-festival-xoriv-nedilnix-shkil- rivnensko% D1% 97-yeparxi% D1% 97 / 5. V. Grib Echo Easter: [Interregional Festival of Choral Art «Easter hymns»] / V. Grib. Seven days. - Exactly, 2005. - № 20. - May 20. 6. Demyanchuk A. Heaven and earth rejoice today: [festival «Christmas Songs» took place in Piously Pokrovsky cathedral city of Rivne.] / O. Demyanchuk // Proceedings of Rivne. - Exactly, 2005. - № 3. - 12 January. 7. Second Interregional Festival of Choral Art «Easter hymns» April 23-25 2004. - Exactly: Wolin. amulets, 2004. - 47 p. 8. Klimchuk L. You see: it burns bright star [in Dubrovytsia held regional festival-competition of choirs «Song, my portion»] / L.A. Klimchuk Dubrovitsky Gazette. - 2003. - № 28. - Jun 6. 9. Levchun N. «Easter singing» in Rivne: [in exactly a festival of spiritual choral music «Easter singing»] / N. Levchun seven days. - 1997. - May 10. 10. Malafey M.U. Gray-haired Dubrovytsia on our ancient land / M. Malafey // Dubrovitsky Gazette. - 2006. - № 23. - Jun 9. 11. S. Melnychuk Rivne celebration of sacred music: [festival of sacred music «By God in different languages» / S. Melnychuk // Seven days. - 1994. - 19-25 apr. 12. In Rivne held the International Festival of Sacred Music «good news Peresopnytsya» [Electronic resource]. - Access: http://mr.co.ua /mr/mr.nsf 13. Regulation on public regional festival-contest of vocal and choral art «Woodland edge of the road» [electronic resource]. - Access: http://old.docme.ru 14. A. Raschke festival in the temple / A. Raschke // Volyn: oblasts. b. chasop. - Exactly, 2007. - № 3. - 19 January. 15. Singing Christmas songs: The festival of song and music. 8-10 January 2005. - Exactly: Wolin. amulets, 2005. - 35 p. 16. Tarasenko A. «To live, to sing together, and pure»: [In Rivne a festival of children’s choirs «Spring bells - 96»] / O. Tarasenko // Seven days. -1996. - 18 May. 17. M.E. Sly Easter songs - 97: [In m. Rivne held the first international festival of sacred choral music] / E. Sly // Exactly evening. - 1997. - May 9. 18. D. Shishkov Christmas songs in Ukrainian Oxford [electronic resource] / D. Shishkov. -Access: http://www. rakurs.rovno.ua/14720

Summary Goroh G. Choral art of Rivne region in festivals in the period of the state independence of Ukraine Іn the article is carried out an analysis of choral festivals, which function in Rivne region since independence of Ukraine. Investigated the activity of individual choral collectives of Rivne region - participants and winners of international, national and regional choral festivals and competitions. Reviewed the specificity of holding of festivals and regional peculiarities. Key words: festival, festival-competition, choir, choral festival, choral collective, choral art.

Received 4.10.2014

UDC 792.8 M.V. Bogdanova

SPORTS DANCE IN THE BALL CHOREOGRAPHY SYSTEM

Dance as the oldest known to mankind kinds of artistic creation, genesis of which is inseparable with the development of spiritual culture, became the first conscious art form of communication between people spread around the globe. The development of choreographic art, organically linked to historical and cultural tradition of every people affected natural dynamics and spirit of competition is necessary for the formation of competitive sport dancing. Even in ancient Greek stadiums valued human perfection - its physical beauty that the principle Kalokagatia (kalokagathia, from kalos - beautiful and agathos - good) in ancient philosophy was a harmonious combination of external (physical) and internal (spiritual) as ideal breeding. Under the conditions of medieval society clericalization physical exercise to some extent assumed the functions of secular dance compensating people need natural rhythm and implementation muscle energy. Modern culture impact enhanced human need to dance music and rhythmic dance. 186 A special place in the choreography takes a modern sports dance that recent widespread. Do it today’s youth should not be an end in itself, but should contribute to the education of high moral and aesthetic qualities. Since the end of the twentieth century. in large university cities of Europe and America have spread playing sports, presentations and dancing competitions. Since the second half. The twentieth century. phenomenon dancesport suffered subordination mechanisms of professionalization, institutionalization and commercialization. In order to achieve high results in sport dancing dancers have to make specific training and daily practice established by the award and it is primarily for the professional. Institutionalization means that sports choreography is important affairs of state, which takes care of an extensive network of institutions and organizations - the International Olympic Committee and local sports organizations and sports clubs dance lovers. Historical and cultural origins choreography sports directly in domestic science for the first time examined a draft TV. 1892 in New York, said he organized the first contest of the most popular sports dance then cake-walk. Last borrowed morphology traditional Negro dance and, in turn, became the precursor of style Rag. 1909 held in Paris and sport and dance tournament World Championships, held in Nice, II, III (1911) and IV (1912) - in Paris. Each involved 100 pairs of participants for three days. Paris the same competition (1913), given the much greater number of people willing to take part in it, lasted more than a week. Since then, he says, with some breaks in Western Europe and America choreography seen flowering on new content, organization transparent legal basis in reasonable commercial orientation [4]. Pavlyuk TV, making a comparative analysis of competitive ballroom dancing and sports, appealing to their polyfunctionality: communicative, entertainment and kompensatornosti [5]. C. Khabarova in determining the psychological aspects of art and artistic image means choreography, modern ballroom dancing interpreted as a subtle synthesis of music, sports, fine arts and choreography [8]. Chinese scholar Li Bai in the thesis work done at the laboratory of the National University of Physical Education and Sport of Ukraine, considered the functional orientation exercise regimen for athletes according to the level of fitness dancing. On the basis of the author proposed adaptive training classes for dancers [1]. Michael O. The thesis is devoted to improving the design of footwear for playing sports dances. The author developed a general classification of dance sport shoes, highlighted its typical flaws and complex requirements to it. The use of video - and computer technology made it possible to obtain objective anthropometric and biomechanical characteristics feet of children involved in sport dancing. In the paper peculiarities pressure shoes on children’s foot and distribution of blood flow in the vessels when performing dance movements [2]. In general, the Ukrainian art is currently a lack of comprehensive research specific sport dancing Therefore the aim of this article is to outline the characteristics of dancesport as a kind of choreography competition. In ancient Greece and Rome, besides ritual were common and everyday, holidays and sports dances which were intended formation strength and agility. The dancers express the movement of each plastic embodiment of a socially significant event or phenomenon. In the drawings depicts Greek Greek dance battle, soldiers executable in the expensive armor adorned with helmet, shield, spear and sword. Dance with a sword, but without clothing and special equipment, Greeks and Romans is seen as a sign of German savagery and barbarism. Traditional European competitive ballroom dance choreography gradually distanced himself from, bound with sports choreography. The concept dance was in the high domestic interest in Renaissance dances. Although the first ballroom dance called that formed the basis of the ball, this name later spread throughout an extensive and entertaining group dances. Gradually getting rid of foreign ostentatious aristocracy, the latter in its massive forms called «social», «public» because the need to meet in a relaxed cheerful communication. Amateur and professional sports movement in dance belongs to one of the complex phenomena of contemporary art. It spread rapidly from Europe and America in Australia, South Africa, New Zealand and the Far East attracting many supporters for its spectacular dancing. Most tend to think in general ballroom dance as a form of sport are athletes and dancers, organizers competitions. How ballroom and sport dances are characterized by a high level of organization and discipline, marked technically complicated level of performance, providing high efficiency of the training process. High saturation competitiveness of these types of dance will help increase their estetyzovanosti. The synthesis of dance and sports, typical «entry» artistic language in a lot of sports - a bright phenomenon of the second half. The twentieth century. Therefore, the transition of competitive ballroom dance under the aegis of sport must be regarded as a natural phenomenon, an international organization dedicated to the elaboration of rules of judging and conducting competitions in dance sport at the national and international levels, in 1990 was renamed the International Federation of Dance Sport (IDSF) and achieved recognition as an international organization representing another sport. Competitions of choreography (from the Latin. Concursus - coincidence collision meeting) - creative competition dancers and choreographers in order to identify and encourage the winners. In 1920-ies. Imperial British choreographers dance teacher unions have been standardizing the then known dances: waltz, tango, fast and slow foxtrot. Because competition launched (from the Latin. Collision) dance and ballroom dance since dyferentsiyuvavsya on sports and social. In 1930-1950-ies. To competitive ballroom added five Latin dances: Jive, Paso Doble, rumba, samba, cha-cha-cha. 187 Since the second half. The twentieth century. Dances covered the whole world. They are inherent virtuoso performance technique, expressiveness and rigor of dance figure that integrate dance multinational flavor of the world and a means of international communication. Competitive performing dance sport has three major programs: European, Latin American and the so-called «ten» (the latter for a total of dance). Amateur dance world championships held IDSF, and professional - on the initiative of the British dance organizations. Considered the world’s most prestigious competitions of English, for example, UK Open. In the United States practiced national dance competition types with the appropriate adversarial: «American Smooth» and «American Rhythm». At each competition dancers demonstrate their knowledge, skills, skills, talent. We estimate the job of a school dance and artistic personnel manager, determined leader. And the bankruptcy committee evaluated the overall impression of an individual or group dance dance, original dance compositions, correctness and clarity of execution choreographic elements and more. Competitions testify not only about human development in a particular area (eg, dance), but the level of aesthetic, moral and physical education of each artist-athlete. Through the deployment of competitive ballroom dancing movement gained organizing, elitism and sports orientation. Steadily entrenched terms: «dance sport», «sports dances» and even «dance-sport,» but still not solved the problem of inclusion of dance in the program of the Olympic Games, although this issue is regularly discussed on the pages of world sports press. At every competition with any sport there is a body that controls how much of these competitions comply with international rules (Commissariat sports institution in Ukraine). The duty sports commissioner is checking ballroom costumes for compliance with international rules, the difficulty level of the competition program category dancer. Terms costume constantly being improved and are designed to emphasize the sporty direction of the dance: it is, above all, for convenience dancer, injury prevention, elimination of so-called «race rich» in the education of a sense of aesthetics and taste. Allowed only one suit that is commonly used in currently dancing competitions. Recently, a program of competitions of dance enriched «formation», similar to dancing, but the ensemble interpretation. Competition from the standard type of formation involves slow foxtrot, slow waltz, Viennese waltz, tango, Kvikstep, allowing no more than 16 cycles when performing any another dance, including Latin America. Competitions Hispanic species should include Cha- Cha-Cha, Samba, Rumba, Jive, Pasodobl and any other Latin American rhythm, and allowed no more than 16 bars in the performance of any other dance, including standard [7]. The standard form may be opened and choreographic open position (with the solo performance), limited to 8 bars, including for general choreography permitted maximum 24 cycles. This does not apply to Latin American dances, where the open and open dance position is normal. Duration competitive team formation rate can not be more than six minutes, including output and climbing with parquet. Under the rules of the competition in 2003, with 6 of these minutes should be evaluated not more than 4.5 minutes, which should be clearly marked in a manner that can be known (beginning and end). Teams that do not adhere to these requirements shall be disqualified. Repertoire ansamblevosti «Formation» must be meaningful in a modern but original art. In order to ensure a positive creative competition on the dance floor on the dance sport introduced by the scale of classes, appropriate levels of training dancers and choreographic system dancers differentiation by age groups. When entering the first race the participants assigned to the lowest classes (Hobby or E) followed by promotion to higher, if winning the dance competition and by the corresponding number of points. Deluxe skills for amateur dancers considered M class. Performing technique plays a special role in contemporary choreography and sports is quite complicated. There were contrasting and complex syncopated movements, increased dynamic performance figures and individual items. For example, the time signature of the dance Paso Doble - 60 beats per minute - with synkopovanosti movements dancer sells at up to 240 movements per minute, and therefore four movements per second [3]. Generally ballroom dancing is kind of difficult coordination sports. In any ballroom dancing parts of the body moving and varied at different rates, causing rank sophistication basic shapes. The nature of the dance, its imagery, and plastic dance personality is largely dependent on the suit, capable enhance the artistic language of dance. The most important indicators of evaluation by the judges of the participants of competitive ballroom programs is their artistry and emotion. Artistic primarily manifested in the ability to create in the audience dance means real image that would cause him emotional distress high as catharsis. The above applies to sports dance on the dance floor, in the assessment which the main focus is on emotional experiences (expression expressive movements and facial expressions) performers. Such emotional experiences are certain levels: behavioral, subjective, physiological. The behavioral level is manifested through externally visible is usually the nature of the motor, the movements and reactions of dancers; subjective level - through individual verbal expression; psychophysiological level involves understanding individual- typological features of a general character. In competitive sports dance experiences most frequently observed behavioral level that mimic the activity of fixes and precision of movements; All this leads to psychological fiolohichnoho level of perception, creating a certain artistic image [6]. As ballroom dance sport is developing dynamically, however, until the development of more extensive than intensive. Not always kept the necessary balance between the desire to improve athletic performance condition (rigging techniques and physical fitness dancers) and the creation of a distinct aura of spiritual dancing couples dialogue with its inherent emotion and imagery. Among the sports innovations that adversely affected the nature of dance, experts note input 188 figures increased complexity, inorganic choreography and speed. With regret it must be noted that even in ballroom competitions observed high grade outer shell of dance, which is manifested in elegant suits, tanned, slender body and technical performance figures. Deprived of demanding performance assessment of public distinctiveness and imagery dancers, ballroom dance is perceived as ordinary sporting event. Modern choreography lacks clear systematization and clear criteria for judges of the jury. Training to work should be carried teacher-choreographer to focus on the development of the creative potential of couples dancing, her acting. Each classroom teacher has to target the dancers of individual choreographic interpretation of the image, because this method will promote high efficiency stereotypes instilling critical thinking and creative implementation needs cultivation. So dancesport forms a separate niche in the system of choreography, characterized by the high level of technology and performance is a clear representant syntezno-upgraded versions of choreographic art. And its competitiveness in general social context is an important link between art and sport. In connection with this promising line of study of the evolution of sports dance choreography is the study of ancient Greece and Rome.

References 1. Lee Bo. Increasing specially trained under aerobic capacity in dancesport: Author. Thesis. ... Candidate. of Physical Sciences. Education and Sport spec. 24.00.01 - «Olympic and professional sport» / Li Bo; Nat. University of nat. Education and Sport of Ukraine. - K., 2011. - 24 p. 2. Mikhaylovska O.A. improving the design of children’s footwear for dancing: Author. Thesis. ... Candidate. Sc. Sciences: 05.18.18 - «Technology shoes, leather goods and furs» / O.A. Mikhaylovska; Chmeľnica. nat. Univ. - Chmeľnica., 2010. - 21 p. 3. A. Moore Balnыe tantsы / A. Moore. - Moscow: Astrel, 2004. - 320 p. 4. Draft T.P. Dances: teach. guidances. / T.P. Draft. - LA: ZUKTS, 2001. - 340 p. 5. Pavlyuk T.S. Principles and mechanisms of evolution of dance as one of the types of dance /T.S. Pavlyuk // Bulletin KSADA. - 2008. - № 12. - P. 98-109. 6. V. Tanaev Psychology dancesport / V. Tanaev // Man in the world of sports: New ideas, technologies, prospects, abstracts. Proceedings. Internat. Congré. - M., 1998. - T. 2. - P. 383-394. 7. Ukraine. Competition Rules DanceSport Federation Dance Sport Ukraine / amended on 01.08.2013 g. - Access: http://www.dance.zp.ua 8. Khabarova SV harmonic structure of the image in contemporary choreography / SV Khabarova //Bulletin Intern. Slavs. Univ. - H., 2007. - T. 10. - № 1. - P. 54-57.

Summary Bogdanova M. Sports dance in the ball choreography system The article discusses the features of the sports dance as a form of the competitive ball dance. It is emphasize that its competitiveness in the general social context is an important link between the art and sport. Key words: dance, ball dance, sport dance, choreography, competition, formation, muscle energy.

Received 9.12.2014

UDC 792.78:599.537 O.O.Loginova

SHOWS WITH DOLPHINS AS A SOCIO-CULTURAL PHENOMENON OF THE ENTERTAINMENT CULTURE

An urgent question of learning new syncretic forms of spectacular culture that meet the requirements of today contain special artistic techniques and means of expression. Combining music and light theater and cinema, circus and music, sculpture and painting, street and stage art form all this leads to the formation of the modern spectacle «product» that meets and sometimes ahead of, expectations of viewers. The relevance of this article is determined by what is becoming a new form of spectacular culture - a show with dolphins, whose production includes not only the numbers of various genres, including - of marine animals, but one important component - art therapeutic component. During the last two centuries, researchers are interested in the impact of art on people, their psychological state, and overall impact on health. The trend of recent decades - move the viewer from passive to active role of spectator participation and even co-author. So important is the consideration of relations author-performer-audience in the context of modern forms and genres spectacular culture. Purpose of the article - to determine the potential of this innovative artistic forms of spectacular culture as a show of dolphins that combines theater, circus, entertainment, scientific, educational and art-therapeutic properties. Research shows art-forms in modern culture devoted their dynamics of A. Voitsekhivska [3] L. Naumova [8] and 189 Stanislav K. [13]. These scientists identify new concepts, exercise genre division, analyze trends and prospects of development of modern entertainment culture. The study features of mass shows devoted to research V. Babenko [2] A. Gurevich, Yuri Zhdanov, C .Ikonnykovoyi, N. Khan, A. Violins [12] and A. Shendryk. The question of perception raises the spectacle spectator A. Banfi, analyzing the main features of mass spectacle, namely its efficiency and collectivity. Particularly noteworthy study circus arts, its trends and its inherent aesthetic in the works of David H., T. Kolomiets, Yuri Dmitriev, I. Selezniova-Reder, A. Zhytnitskiy A. Smoking [5]. It genres of circus art today become a form of entertainment some projects where there are elements of working with animals, clowning, acrobatics that are not in the circus, and on other platforms. Next integral element of spectacular culture - the game. The evolution of the game from the ritual actions to modern theatrical spectacle investigated Brabich B., P. Gurevich K. Zhyhulskyy, G. Pletnev and Plekhanov. The theme in the context of our study is important for two reasons: first, the relationship between audience and performer in the context of often spectacular action game similar to (used zaluchannya interactive viewer in the process); secondly, trained animals for their performance - this is only one game with the coach, through which is constructed as a unit number shows. The issue of art therapy, its manifestations and forms of application features are investigated in the works Grabenko T., M. Kiselyov, T. Koloshin, A. Kopytina [10] V. Nikitin, A. and N. Osipova Purnis. These scientists reach conclusions regarding the impact on new emotional state by means of art - art therapy, analyze the scope of application, ability correction, social and communicative role in contemporary culture. Special attention should be paid research work with dolphins in the context of staging theatrical show, but scientific articles on the subject yet, only articles, announcements, interviews with coaches dolphins [11], the story of scientific researchers fauna, meditation specialists engaged Delfino -therapy as a form of medical and psychological treatment. A special place is Karen Pryor book «Those bearing wind» [9], in which the art form author sets out the experience - coach dolphins. Also of interest J. Maillol biographical book «dolphin-man» [7], in which the author - athlete submariner - says, based on his own experience, love the sea, the possibility of communication with dolphins in their natural environment, their behavior and features training or ability to cooperate with the person. It is important to pay attention to another aspect of communication with dolphins - it animalo therapy as a method of psychotherapy, where the animals used to treat human disease [6], in this case Whale therapy [1]. An interesting and less explored form of modern entertainment culture is a show with dolphins. The first such speech appeared in 1938 in the US city of St. Augustine in the appearance of the first dolphinarium - a large aquarium with sea water, is designed to hold dolphins for the purpose of research, training and showing visitors [4]. Today dolphinariums exist in almost all countries, including Ukraine, there are 10 existing institutions that held the show with dolphins belonging to artistic and spectacular form in the context of contemporary culture. There is a specificity that distinguishes show with dolphins from other genres spectacular culture. First, unusual venues, consisting of basin, home to dolphins and the platform on which stands the coach and other marine animals (seals, sea lions, penguins). This is the main feature of any dolphinarium, where viewers are located on the perimeter along the pool, like a circus around the arena or stadium, but on a smaller scale, and one wall serves as theatrical scenery, background curtain and scenes simultaneously from it go to the platform participants show. Secondly, it shows the artists themselves trainers and dolphins, whose performances are stories that announces and comments presenter. Plot number consists of game situations that present host, and takes the animal under the guidance of coach, such as seals compete in skill to dance rock ‘n’ roll, applauding one another or sea lion presented as a true gentleman who first invited to dance girl dolphin, and then makes a surprise driving - brings her flowers, and so on. Third, the program in most interactive performance where the audience is a fan of racing navyperedky dolphins, marine animals by repeated movements or applause, throws the ball to an animal artist receives water spray, if the Dolphins want to make fun of the audience. And, fourthly, the program shows a cognitive nature through which viewers will learn about the features of the lives of animals in the wild and dolphins, their capabilities, abilities, behavior and more. Overall, the show is based on the spectacular component mounting and built on, where every viewer number is more interesting, and the elements performing dolphins complicated. Recently the most spectacular demonstration program is the number of dolphin trainer paired (riding on dolphins, flips out of the water, diving and outleap etc.). The basis of any number of dolphins in the show as a circus, is the trick. The trick circus complete a separate piece of any circus, completely independent and closed in itself that affects the viewer in such a decision actually an executable task that lies outside the range of normal representation in this circle seems intractable or impossible [14]. Trick admiration, surprise, fear mixed by the artist and joy for the successful execution room. It is based on a trick show with the dolphins performing acrobatic pirouettes navyperedky compete, play ball, even draw and dance. Thus, it can be attributed to the dolphin show with circus arts, but there are a number of differences. Established system of genre palette and its riznobarvnist, entertainer, dramatic construction, method of mounting numbers - all these features are inherent in circus arts. As a show of dolphins we see only a few items, but in general its construction more like a theatrical performance with elements of improvisation because of the unpredictability of wildlife. But the show is in its pure form can not be considered, because the show is host, which communicates with the audience and commented performances of marine animals. Also show has theatrical elements, expressed in music and 190 light design, personalized driving, etc. During the scenario. So show with dolphins complex synthetic form of artistic entertainment, showing viewers Trick numbers of marine animals, which, in turn, theatrical and stsenarno- combined presentation and comments through leading bearing entertainments and art-therapeutic nature. According to the opinion of OI Kopytina, art therapy - a method of psychological unloading through attract man to the creative process and carried out verbally and provides opportunities for people achieve their potential, without the intervention of psychologists or psychotherapists. [10] Overall - this treatment is art that is popular today. This boundary location that appears in the title of the phenomenon (art - art therapy - treatment) is a symptom of modern culture. Blur genre boundaries structuring - the most characteristic feature of modern culture in general, and particularly spectacular culture, which belongs to us studied artistic form of entertainment - a show with dolphins. In the context of socio-cultural paradigm «visual turn» entertainment takes on a new depth development, especially in the artistic field. «Contemporary sight of the object of contemplation becomes a phenomenon that involves or encourages participation in the action of the audience, consciously or unconsciously trying on the role of collaborator, Co-Creator» [13; 14]. Thus, the show with the dolphins performing as a function of entertainment, aesthetic and art-therapeutic, involving the audience to action, to be creative. According to research, the process of observing a dolphin trainer from special impact on the audience in the context of the sights. Proved that communicate with dolphins positive effect on the emotional state has the ability and psycho even used for medical purposes. [1] But we are interested in the impact that marine animals okazaty make the viewer during the show. According to a survey conducted in dolphinariums in Ukraine, one in three during the show crying, feeling emotions of happiness and surprise, pride in nature, self-pity, remembering first love and so on. The strongest emotions arise during the toughest tricks of the coach that always accompanied the solemn dynamic melody. Thus there is an emotional cleansing, voltage is removed, the viewer gets positive emotions, which is one of the defining qualities of the spectacle itself. In the context of modern entertainment culture, shows with dolphins is aimed at mass audience, based on a commercial basis, but at the same time dolphins are focusing on keeping animals in good condition, maintaining and protecting nature. In general, the role of sight in post-industrial culture becomes extremely important in the sense that it begins to encroach on the status of the leading signs of age [8]. The idea of Dutch historian, philosopher and cultural theorist J. Heyzinhy of homo ludens, man, played in projection on all spheres of culture becomes important solid game in arts, in politics and in the end, the game of life. Total game of rearranging images, meanings, meanings covers culture. The world becomes, in the opinion of the French philosopher G. Deborah, the list shows, and generally a big play, or rather, a great sight. [8] Important is the fact that for dolphins essentially life in dolphinariums becomes a game for their performance - a solid set of games with the coach, and when the animal is not in the mood, then the game does not, that is a show-down one or several numbers . How kind of mass entertainment, shows with dolphins intensify cultural society, Touching upon the importance sensozhyttyevi its basic values. Of particular importance is the analysis of the theory of spectacle culture, because it allows us to consider all the elements that are constantly updated and transmitted the tradition in every generation and its new items and trends of the current era, aspirations, problems [3]. A. Voitsekhivska believes that the spectacle is an occasion to reflect on the future, creating ideal social model state vision of culture. The massive spectacle accumulates energy team, organizing social experience of the individual, forms of imagination [3]. So during the show with dolphins viewer learns new scientific facts about sea animals, receives psychological unloading or relieve stress through indirect effects delfino- therapy, having fun, getting impressions of trick performances foundations artists dolphins and trainers, as well as experiencing a series of emotional outbursts that sometimes close to the feeling of catharsis. If disassemble the show with dolphins as a cultural product, it is clear that there are special shou- technology as a means of organizing and reorganizing of social space, the use of which is aimed at improving efficiency in dealing with certain management tasks, which is achieved by the inclusion of various social processes show components [12] . According to V. Babenko, sense of progress audiovisual communication culture, have reason to single out: the show as a sociocultural product (content) and shows how management support tool (technology) [2; 413]. In our opinion, shows with dolphins - a socio-cultural phenomenon by which a number of emerging communications among the audience, artists, professionals from the field work with marine animals. Overall, the Dolphinarium in appearance that are not coastal - event for citizens, where it is possible to touch the unknown and desirable marine world that is admired by most people, especially residents of industrial cities such as Kharkov, Donetsk, Dnipropetrovsk and others. In the present context, the term «show» is transferred to the sphere of culture and art and is defined as the stage magnificent spectacle featuring pop stars, circus, sports, jazz orchestra, ballet on ice, etc .; as bright pop spectacle or entertainment; something ostentatious, designed for noisy external effects. Modern technology is another important characteristic and is an indispensable component of the show (television or stage). Shows with dolphins is just the case when new technologies do not need to impress the viewer, such as skills coach, human interaction with animals is what impresses, inspires and gives faith in the future makes them think not only about themselves but also about the world in general, our place in it. Another feature of the show with dolphins is it interesting for adults and children. Therefore, there is an additional feature sotsiokulturnosti the phenomenon: visit Dolphinarium whole family is the reason for the joint action of its 191 members, communication of parents with children in a positive direction, establishing relationships during the holidays, common knowledge of the world, opening and impressions from the show, the memories of which will return family to emotionally sublime and unifying the state. As for training dolphins to speech, it should be noted that there is a method of working rooms and program elements. Dolphins not dresyruyut, they train like athletes because they need daily training under the guidance of a coach who is a partner for the dolphin scene. Friendship with a dolphin trainer special, because only he can feed the pet, only he will speak dolphin, and the dolphin to performance - is an exciting game. Gradually dolphin-taught artist and works to contact with the audience, that other people take a photo on the platform, and then the common swimming pool, delfino- therapy. But the peculiarities of human interaction with dolphins is not fully understood. Practice dolphinariums new culture of Ukraine, as evidenced fragmentary study of sociocultural phenomena. Thus, conclusions can be drawn: • show with dolphins has several features that distinguish it from other genres spectacular culture: unusual venues, consisting of a swimming pool and platform; Artists show - it’s trainers and the dolphins themselves, performances which have plots that announces and comments presenter; interactive programs and numbers thematic nature of the show; • sight in dolphinariums characterized by a particular set of functions: aesthetic, entertainment, scientific, cognitive, impressive (circus trick), compensatory, educational, hedonistic and Art Therapy; • and dolphin show with dolphins occupy a special place in the modern entertainment culture, acquiring skills sociocultural phenomena important for the development of new heights in art, discoveries in the field of dolphin-therapy, the development of eco-education and a new form of family entertainment; • theatrical shows with animals attract the curiosity of viewers, thanks to the ease mystetsko- spectacular shapes and extraordinary skill trainers with animals that have learned amazing tricks; • show with dolphins is defined as syncretic artistic entertainment form that combines circus arts, pop genres, theatrical elements and is on special around the pool area; • studying the interaction between man and dolphin, their interaction began only in scientific discourse, because the definition of structure, construction, features and qualities of this phenomenon requires clarification. Thus, the scientific contribution of the study is as follows: for the first time singled out and analyzed the features of the development of new forms of cultural and artistic show with dolphins, which is a synthesis of theater, circus, entertainment, thematic and art therapeutic properties. Results of the study can be used in the creation of scientific- methodological programs educating students artistic trends and to create programs with courses «Directing pop and mass shows» «Directing systems», «Economics of show business», «Means of mass holidays», «History variety and circus.» Prospects for further research are seen in the definition of new forms of artistic and spectacular show with dolphins, as an important part of culture spectacular. The influence of dolphins on the viewer will advance the study of important functions not only show, but also study its impact on the viewer. No construction is to analyze the dramatic show with dolphins, unexplored history of the emergence and development of dolphinariums in Ukraine. Perspective is also studying the peculiarities of directing a show with dolphins as a complex syncretic forms. A new phenomenon dolphin show with dolphins, new forms of entertainment all this is of interest for further research of modern culture.

References 1. Arshava J.F. Features correction of the emotional state of children through dolphin [electronic resource] / J.F. Arshava, Y.O. Antoniuk // Bulletin Dnipropetrov. Univ. - Access: http://www.stattionline.org.ua/psih/53 2. Babenko V.V. Spectacular communications: methods and forms of interaction, aesthetic norm entertainment /V. Babenko // Herald of Lviv. nat. Univ them. Franko. Series: Journalist. - 2011. - Vol. 34 - Part 2. 3. Voitsekhivska A.I. Mass culture and mass consciousness in the context of current social and cultural transformations [electronic resource] / O.I. Voitsekhivska. - Access: http://www.infolibrary.com.ua/bookstext11383.html 4. Nature and Hryneva A. We [Electronic resource] / A. Hryneva. - Access: http://www.rubezh.eu/Zeitung/2009/05/19.htm 5. Kurinna G.V. Dramaturgy circus spectacle in the context of game concept / G.V. Kurinna // Bulletin of Languages. state. Acad. Arts and Design. Art. Architecture. - H., 2007. - № 12. - P. 80-86. 6. Lukyanchenko N. Anymaloterapyya [Electronic resource] / N. Lukyanchenko. - Access: http://nadoest.com/ animoterapiyana 7. Jacques Mayol Man and dolphins / Jacques Mayol. - Moscow: Thought, 1987. - 256 p. 8. Naumov L. spectacle as a phenomenon of culture. The philosophical aspect: Dis. ... Candidate. Philosophy. Science:09.00.04 / LN Naumov; Kyiv. nat. University of Construction and arhitektury.- K., 2004. - 198 p. 9. K. Pryor Nesuschye wind / K. Pryor. - Moscow: Mir, 1982. - 304 p. 10. Workshop on artterapyy / ed. AI Kopytina. - SPb. : Peter, 2001. - 448 p. : Ill. 11. Interview with Yuri Samarin dolphins - How to become a coach delfynov? [Electronic resource] /Yuri Samarin. - Access: http://www.perekop.info/blackseadolphins 192 12. A. Shoutehnolohiyi violin as a form of social communication: Thesis. Thesis. ... Candidate. sotsiol. Sciences specials. 22.00.04 - «Special and Industrial Sociology» / A Violin. - H., 2010. - 20 p. 13. K. Stanislavsky Art and spectacular forms of contemporary culture: the monograph / K. Stanislavsky. -KA: NAKKKiM, 2012. - 320 p. : Ill. 14. Tsyrkovoy dictionary [Electronic resource] // Circus. - Access: http://terraincognito.ru / content / view / 2/3 /

Summary Logvinova O. Shows with dolphins as a socio-cultural phenomenon of the entertainment culture There is feature of the modern form of spectacular culture the show with dolphins, in which there is syncretism theater and circus arts, pop and art therapy. There is studied the role of the modern genre in social and cultural life of the people determined peculiarities of the show, working with wildlife, also there is analysis of theatrical elements which used in the stage action, and the impact on the viewer. Key words: show of dolphins, spectacular culture, art therapy, dolphin therapy, theatricalization, circus art, game.

Received 30.10.2014

UDC 008:745.04(477.5) T.V. Pulariya

ARCHETYPE BASSES OF THE ANALYSIS OF COLORS IN DECORATIVE PAINTING OF WEDDING CHESTS OF LOWER DNIEPER AREA OF LATE XIX – BEGINNING OF XX C.

Philosophers, psychologists and artists have long thought about the effect of color on human health. Ancient Indians believed the man «luminous» («tedzhasi»), referring to the unity of color and «juice» of the body. According to the doctrines of Indian yogis human body - a complex interweaving of vibrations of sounds and colors, melodies, light beams that determine its dynamics livelihoods in mental life [2; 5]. Sensytyvy such as R. Steiner, E. Casey, Wang had their classification of human types, depending on the color of their auras radiation. The artist Kandinsky wrote that «color is a tool that can directly affect the soul» and «color - a key; eye - hammer; soul - Many-piano «[4; 45]. As a result, thousands of psychological research from around the world concluded that each specific color causes any person, regardless of cultural strata, race, gender, social status, not only the perception of the same, but the same impression. Thus, orange-red effect on each exciting, blue - calming. This contains general objective significance of color psychology [6; 115-116] and, therefore, its archetypal nature. Basic research in psychology of color allowed the Swiss psychologist M. Luscher color test to establish - «projection» and «Psychoenergetic diagnostic method» personality assessment based on superiority in the choice of colors (for different versions of the test can be offered 8, 16, 64) [3 ; 432]. Considering the fact that chotyrymirnist lies in the nature of human consciousness (the four cardinal points, four seasons, four primary elements, the four temperaments, etc.), the scientist concluded to the existence of four basic colors - blue, green, red and yellow. They form a full color wheel - the embodiment of integrity and harmony, and also represent a fundamental psychological needs. Red excites, stimulates, activates, thus causing a person confidence. Blue conveys a sense of peace and satisfaction correlates with the state security (blue cape Dame) and samoobmezhenosti. Green - a sensation of hardness or strength, consistent feeling of internal stability, perseverance, consistency, self-assertion, self-esteem. The yellow color creates a feeling of lightness, joy, latitude, emancipation, therefore correlated with a sense of freedom and self-expression. The harmonious person, according to M. Luscher, has four sensations, thus revealing its integrity [6; 61-67]. Analysis of color in traditional art, especially in decorative painting as a form of folk painting, based on Luscher color test could become a means etnopsyhodiahnostyky. On the territory of the Lower Dnieper fertile material for research in this direction is for the wedding chest. XIX - early. The twentieth century. - Sacred artefacts Ukrainian. The purpose of the article - using the method of election Luscher color and taking into account traditional painting to show how the coloring chests reflected the main features of the psycho-energetical residents studied region. It takes into account not only the availability of colors in the paintings, but also their combination together. First of all, it should be noted that chest as artefacts, functionally designed for women’s clothing store, owned all the properties of sacred object. Chest was an integral part of the wedding ceremony, which marks the transition from one social and secular state to another, and her painting was a huge information-energy potential, was the archetypal source, which zashyfrovuvalysya - through elements of an ornament, their composition, range of colors - the idea of man, its place in the macrocosm and in the space-time continuum, and the good wishes of prosperity, wealth, physical and mental health throughout the race. Chests passed from generation to generation through the female line, they were family heirlooms. Therefore preserved in good form. And that masters the secrets owned wood processing and production and application of paints, which are the primary colors - green, red, blue and yellow. Note that nyzhnonaddnipryanska chest - is mainly chotyrohkolirna 193 chest. It combines basic colors and thus bears the holistic worldview, harmonious man. However, a different volume and value colors compatibility enables us to do more etnopsyhodiahnostyku. The choice of the first color, by M. Luscher is important in a functional sense. How exactly he was on the trunks, no doubt. As is known, the technique involves painting the priority application background. Thus, the background color, and which preferred - the first that sets the tone and reflects regional preferences for desired psychological life strategy. In different regions of Ukraine picture boxes, which are made paintings, noted the variety of colors as the main (blue, yellow, green, red) and auxiliary (brown) [7]. Nyzhnonaddnipryanski chest with a green background that unites them with the central regions of Ukraine chests, above all, Cherkasy, Kyiv, Poltava (the latter often occurs and blue background). Green correlated with the element of earth. The advantage it from other colors indicates arrogance and attempts to convince everyone of the importance of their values, material or spiritual. The feeling of pride, power, strength, guiding principle, as well as control, critical analysis and sequential logic - the characteristics of «green» behavior. In addition, this desire for health and long to live [5; 191-192]. Considered the semantics of green features is consistent with sacred wedding chests, painting and coloring which is embodied energy and life, wealth, prosperity as public moral prerogatives. It plays a role in choosing the sequence of these colors. We have no data on sequences drawing painting, but we can assume that it was determined by the role of the composite colors. So green background nyzhnonaddnipryanskoyi chest complemented by red as the most used in the decoration. By M. Luscher, a combination of colors can be interpreted as «willful intent»: «the will to self-affirmation (green) is reinforced by an active red wish to make their intentions» [5; 204]. And green, and red - the colors of both stand-alone, those affected. Their location near the initiative and emphasizes self-determination [5; 184], tactics and objectives [5; 179]. The predominance of red in paintings where the background is blue, has the meaning of «heart, cardiac activity», «peace of mind (blue) complemented by activity (red) and creates harmony» [5; 205]. Red as basic can be combined with a yellow, which is not always stands on chests as independent, but as vidtinyuyuchyy. Thus, we have the value «flourishing activity», «desire for experiences (Red) behavior is reinforced expectations (yellow) to the extensive blossoming of» [5; 205]. In a rather rare manifestation of yellow on a green background see the features hardly reflected «cautious rigor»: «self (green) and voltage mode (yellow) ensures that the person is in eager readiness» [5; 204]. The same is infrequent in green and blue - «cautious (delicate) control», «peace (Blue) is supported by intense self-assertion» [5; 204]. In the role vidtinyuyuchoho can act and white, often combined with red, at least - with blue. M. Luscher not emit it as functional, but only as the absence of color in general (and black). In our opinion, it can emphasize the function of the base color, which he vidtinyuye (red or blue). Black on chests quite rare, in separate strokes, curls or master’s autograph on a green background. Black in addition to the green - «stubborn arrogance», «self-affirmation (green) turns into the inevitable requirement (black)» [5; 205]. So Luscher color test can identify the following main features psycho-energetical residents nyzhnonaddnipryanskoho region: initiative; samovyznachenist; self-confidence; cheerfulness; commitment; sincerity; sensitivity to emotions; delicacy; occasionally - a manifestation of ambition inherent in specific creative people - the masters of painting chests. This conclusion is confirmed by demographic data on the composition and movement of population in the Lower Dnieper territory during the late eighteenth century. From this time begins here Zaporozhye active inflow of immigrants and the establishment of state-owned large villages free from serfdom people that caused the specific nature of the spiritual culture in this historical and ethnographic region. As for the population Ekaterinoslav province (place of manufacture and original decorative painting wedding chests it out to. XVIII. [10]), according to statistics in 1915 it was 3,430,379 people, of which the vast majority - former state peasants (1 618 586 people), free farmers - 728,616 people, former serfs - 459,046 people, tradesmen -300,157 persons colonists - 115,902 people, etc. [1]. It should be noted that the considered semantics colors inherent in the semantics ornaments with painted chests, where main elements stylized floral ornament is a circle, triangle, cross, spiral mandala. Analysis of these and other archetypal projections of paintings nyzhnonaddnipryanskyh wedding chests author spent some intelligence [8, 9]. Promising believe further study of visual means of expression in folk art. After all, they, in the absence of favorable conditions for the development of national language, national literature, until the early twentieth century, preserved archetype in ethnically colored visual symbols.

References 1. State archive of Dnipropetrovsk region. (DADO). - F. 11 - Op. 1. - D. 1344. - L. 8-11. 2. Dragunskij V. influx Ancient and Modern discovery // Colour lychnostnыy test: Practical. posob. /B. Dragunskij. - App. : Harvest, 1999. - P. 5-9. 3. Dragunskij V. Some zamechanyya about Using tsvetotesta M. Luscher Colour lychnostnыy // test: Practical. posob. / V. Dragunskij. - App. : Harvest, 1999. - P. 432-440. 4. Colors Kandinsky V. Action // About spiritual in art / V. Kandinsky / [foreword. k n. ed. B. Mykhailyna]. - Moscow: Archimedean, 1992. - P. 41-45. 5. M. Luscher comments personality posredstvom Choice of Colors / M. Luscher // Dragunskij V. Colour lychnostnыy test: Practical. posob. - App. : Harvest, 1999. - P. 172-208. 194 6. M. Luscher Chetыrehtsvetnыy man, or the path for equilibrium vnutrennemu / M. Luscher //Dragunskij V. Colour lychnostnыy test: Practical. posob. - App. : Harvest, 1999. - P. 61-126. 7. L. Painted Eagle Tree: Naive painting Ukrainian village / L.G. Eagle. - K.: Pedigree, 2003. - 232 p. : Ill. 8. Pulariya T.V. archetype images in the Lower Dnieper decorative paintings XIX - beg. XXI century. in the context of contemporary spiritual quest / Pulariya T. // Culture of Black Sea: [Nauchn. Zh.]. - 2009. - № 155. - S. 98-104. 9. Pulariya T.V. Wedding chests Lower Dnieper as a source of local history / Pulariya T. // Coll. pr. young scientists and graduate students / Ukrainian Institute of Archeology and Source Studies. MS National Academy of Sciences of Ukraine. T. 19 (2 Vol.). Tematych. no. «Sources of local history, research methods, problems of interpretation, popularization.» Bk. II, p. 2. - K., 2009. - P. 274-287. 10. Yavornytsky D.I. Across the Dnieper rapids, geographical and historical sketch // rapids: Album pictures with geographically-historical essay / D.I. Yavornytsky. - H.: Gos. Ukraine publishing house, 1928. - P. 9-76.

Summary Pulariya T. Archetype basses of the analysis of colors in decorative painting of wedding chests of Lower Dnieper area of late XIX – beginning of XX c. The color analysis of traditional decorative painting on Lower Naddnipryanschina Region at the end of the XIX-th – beginning of the XX-th century wedding chests by the Luscher method of color selections is examined as a possible way of the ethnic psychodiagnostic. Key words: archetype, ethnic psychodiagnostic, Lower Naddnipryanschina Region, Luscher color test, traditional decorative painting, wedding chest.

Received 10.11.2014

UDC 140.8:316.3 O.O.Popovych

SOCIALIZATION OF A PERSONALITY IN THE CONTEXT OF GLOBALIZATION OF CULTURE CREATION

Background research. As a socio-historical universal acquisition of socio-cultural space holds a potential accumulated over centuries, unfolding in an intense field system of scientific knowledge that reflects human experience of globalization of culture creation. The classical scheme of cultural space limit is based on local cultures and ethnic national borders. In the context of globalization of culture creation and demarcation of these tools codification cultural experience passed to the local level. Hence the particular importance of individual measurement culture that demonstrates include global to personal, local and global. Thus, the model is formed intersubjective space where the recipient and the sender can be considered in an integrated and holistic dimension indivisible unity. It is in these circumstances is urgent to address the issue of socialization in social and cultural space, which makes it possible to understand the origins and consequences of the processes of cultural creation. The degree of scientific problem elaboration. An important contribution to the theory of socialization made by the representatives of psychoanalysis, particularly Brrono P., M. Klein, A. Sullivan, Freud, A. Freud, K. Horney, K.- G. Jung and others. Do not underestimate the achievements and representatives cognitive psychology (E. Zandler, H. MacDougall, C. Ritsler, T. Shybutani, M. Scheller) and linguistic developments estetyko- psychological thread (Brendal V., L. Elmeler F. Where Saussure). Different scientific approaches to the study of socialization processes from different aspects, for example, anthropologists (Linton F., B. Malinowski, Radkliff- A. Braun) socialization - is primarily the transmission of culture from one generation to another (antipodean process called «inculturation») , while social pedagogy - E. Brown, H. Gardner, A. Green, E. Castillo, T. Roberts, M. Ferguson, M. Phillips - specifies the idea of socialization, evaluating the effectiveness of various institutions and socialization methods , revealing their hidden side, latent, unconscious consequences. In pedagogy the concept of «socialization» is used in a narrower, special sense. Scientific analysis of a problem of socialization, especially in psychology, pedagogy and cultural studies, shows that the phenomenon of socialization has considerable heuristic potential for the understanding of the essence of culture, which, in our opinion, is not used in full. So, the question arises as to detect underlying mechanisms, regulatives prevailing in the culture, it is necessary to analyze the nature of socialization and factors contributing to its specificity, this is what will define the goal of the study. Presenting main material. To achieve this goal we consider it necessary to outline the theoretical approaches to the analysis of historical significance and content of the variable concept of socialization. The first approach involves representatives of social thought the nineteenth century. (J. Mill, Herbert Spencer, E. Durkheim). As you know, they thought human nature an aggressive and selfish. This socialization been interpreted by scientists as a process of transformation and development prosotsialnyh equipment [6; 104]. Later, when it became clear, especially after , that man is a 195 social being from time immemorial, socialization become more specific traits and formed different approach. Sociologists Functionalists twentieth century., Representing the third approach (Sorokin, A. Fullye, R. Mills, T. Parsons, R. Merton), saw the socialization is not so much a battle between the individual and society as a gradual «adaptation to the individual requirements of the social system through the assimilation of established rules, roles and values «[7; 106]. But while the individual is more object than subject of the social process. The fourth approach is defined as symbolic interactionism (R. Park, Tomass William F. Znanetskyy, G. Simmel, George. Mead, E. Hoffmann, F. Tennis). The focus of researchers - interpersonal influence, during which the individual is not only perceived expectations and certain other generalized other (society, social group) but also designs his own subjective reality. Socialization at individual being interpreted through the prism of the dialectic and ontogenesis - phylogeny. Ontogenetic «cut» socialization of the individual provides: identify specific ways in which social development is individual; study of the basic parameters of ontogenetic socialization; characteristics of effective tools and methods of social conditions of formation of the individual, its transformation into a person. Phylogenetic «cut» allows us to determine how the individual is in the process of socialization accumulate social experience and practice, as objectifying and rozpredmetnennya has its individual nature, that comes to antropohenetychnyy nature of socialization. Socialization ontogeny implies that the individual has to repeat the basic phase of general historical development, to experience them in their own lives, but not limited to «diznavannyam» obtaining information about them. But for the individual, that is human, it is a way of life forming its own subjectivity, ie ontogenetic level of socialization focuses on the personal aspect of knowledge socialization. At the level of phylogenetic socialization historicism characterizes human beings as generic mechanism of historical development in its entirety the content of its humanity, and acts as a base defining the accumulation and development of social experience, by human objectification their individual essential powers, that focuses on the phylogenetic level of general knowledge , a generic aspect of socialization. As you can see, these levels of socialization great in theory, but in practice constitute a single, indivisible whole. Thus, the implementation of the genetic potential of the individual within the ontogeny determined, eventually, social experience within phylogeny, providing harmony and individual tribal development. Ontogeny realized through substantive, social activities in its various forms through genetic and personal potential, needs and interests, education and upbringing, morality and spirituality of others. Of course, the basis of self-socialization process at this level is a social activity. In her and through her outer nature is socialized basis of human existence, which is constantly reproduced and realized the unity of the natural and human space-time continuum. Thanks socialized, historical concretehistorical of the individual so-called «compensatory-creative nature» is real, natural human reality through reflection withdrawn from the specific field «being- nothingness.» At the level of ontogenesis it turns into additional, powerful source of socialization of the individual. The logic of cultural analysis needs to consider socialization or as a subject-object (society or its institutions as conceived subject and individual - as an object of socialization) or subjective sub’yektno- two-way process of interaction, during which the individual learns not only cultural codes and social values, but also modifies them, thus realizing his own subjectivity. In this context, the central questions of the theory of socialization should be considered as subject- subjective process of bilateral interaction. As is known, scientists socialization are two levels: the level of primary socialization and the level of secondary socialization (VA Andrushchenko, W. Crow, Alexander Kravchenko, O. Mudryk, M. Panchuk and others.). The first one is related to what is happening in the field of interpersonal relations in small groups. As primary agents of socialization stands closest to the individual. The second level of socialization occurs within large social groups and institutions. The study of the internal structure of the phenomenon of socialization turns out that it is the primary sphere of interpersonal relations, and secondary - social relationships and circumstances, with the function of primary socialization agents interchangeable and universal, and secondary - not interchangeable and specific. According to A. Mudryka [5], the socialization of the person most affected by the following factors: mehafaktory - space, planet, world, that to some extent because of other factors affect the socialization of all the inhabitants of the earth; makrofaktory - country, ethnic group, society, state, affecting socialization of all who live in certain countries; mezofaktory - conditions of socialization of large groups of people who stand out: the terrain and the type of settlement in which they live (region, village, city, town) as belonging to one or other audience networks, mass media (radio, television, etc.); as belonging to particular subcultures; microfactors - directly affect specific people who interact with them - and the family hearth, neighborhood, peer groups, educational organizations, different social, governmental, religious, private and kontrsotsialni organization mikrosotsium. V. Andrushchenko [1] in the implementation of internal structuring of the phenomenon of socialization implies active involvement and use of such components as: agents of socialization, socialization levels and study of the mechanism of the socialization process. A special place in the working of the internal structure of socialization must take development problems of the mechanism of this phenomenon. So socialization in interaction with various factors and agents going through a series of loosely term «mechanism». The mechanisms of socialization - a combination and interaction of agents and factors 196 of socialization. The paper Yerasov B. «Sociology of Cultural» [2] have sections devoted to the characterization of the mechanism which is divided into socio-psychological and socio-pedagogical mechanisms. Further, the author reveals that the social and psychological mechanisms include the following: imprinting, reflection, imitation, identification. Consider the social and psychological mechanisms of socialization in more detail. In analyzing the phenomenon of personal socialization should consider the phenomenon of imprinting (saving memory). The concept of imprinting determines man on fixing the receptor and subconscious levels extraordinary events, events, personalities, affecting its vital objects, events. Imprinting occurs mainly in childhood. In the study of the phenomenon of socialization is an important consideration such thing as a reflection - internal dialogue in which the person examines, evaluates, approves or rejects certain values inherent in different institutions society, family, society, peers, important persons. Reflection can be an internal dialogue in several forms: between «I» person, real or fictitious persons. With reflection man can form and change as a result of her experience and awareness of the reality in which he lives, his place in this reality and itself [5; 160]. Existential pressure in the process of socialization - language acquisition and assimilation of unconscious social norms of behavior required in the interaction shows a process as follow, compliance with any examples, samples, without which there can be no national tradition. In this case - one of the ways arbitrary and often involuntary assimilation of human social experience. Thanks to American researchers (T. Parsons, T. Shybutani etc.), Who studied the problem of cultural sociology, is an open process identification (identification) - the process of identification unconscious person with another person, group, model [8; 204]. Specific socio-pedagogical mechanisms of socialization general mechanism belongs mastering human standards, standards of behavior, attitudes, stereotypes, typical for her family and entourage (neighbor, chummy, etc.). This assimilation is usually on unconscious level through fixing, uncritical perception stereotypes. An interesting fact is that the efficiency of the traditional relief mechanism occurs when a person knows «how to», «it is necessary», but this knowledge is contrary to the traditions entourage. In the context of cultural analysis, a specific example of socialization, in our opinion, should show the process of socialization in ethno-cultural and national space in a globalized culture creation. In the process of socialization in ethno-cultural and national space special is the interaction of the individual or group on the social environment where an individual learns social norms and traditions subcultural values of a particular group. When it comes to mastering the individual is not specific (subcultural) and common (cultural) values and traditions that characterize society in general, do not speak of adaptation (as Microproces assimilation of values), and the socialization (as a macro) [3; 163]. Here we can talk about stylized socialization mechanism which operates within a particular subculture. During subculture generally refers to a set of moral and psychological traits and behavioral manifestations typical for people of a certain age, professional or cultural group, which generally creates a certain way of life and thinking of any age, professional or social group. However subculture affects socialization to the extent to which a group of people who are carriers of a subculture (peers, colleagues and others.) Reference (significant) for her. We believe that adaptation implies that there are any new or unexpected conditions in which an individual has with time getting used to adjust. He (individual) does not have to deeply learn the values and norms of group behavior that a person does not accept for moral considerations. The acquisition and conversion of such rules to their own principles - a socialization rather than adaptation. So argue that adaptation - a prerequisite component and socialization. The ability to adapt fades with age. The reasons why socialization socialization adults and children is different, studied Orville G. Brim, Jr. (1966), who found the following differences: First, adult socialization external behavior alters and transforms children basic values; Second, adults are able to evaluate standards, correcting them, and the children learn everything uncritically; Thirdly, in the mature form of socialization brings more shades between black and white, and children learn to distinguish only contrasting colors in the estimates and judgments about others. Adults carry a large number of social roles, and children - no; fourth - adult socialization goes through professional socialization, as children learn general principles of life, the rules of courtesy, moral values. Certain elements of social experience, lessons, such as a child, but later unclaimed or blocked as a result of changing conditions of life can «float» in the behavior of the person at the next change of living conditions or on these age stages [4; 171]. In this connection, attracts the view of researchers who are considering a wide range of issues related to the characteristics of the institutional mechanisms of socialization, which operates in the human interaction with the institutions of society and different organizations, like specially made for his socialization, and those realizing socialization functions simultaneously, in parallel with its basic functions (production, social, club and other structures, as well as the mass media). In the process of human interaction with various institutions and organizations is growing accumulation of corresponding knowledge and experience of socially acceptable behavior and simulate the experience of socially acceptable behavior and conflict avoidance or conflict-free execution of social norms. It must be borne in mind that the mass media as a social institution (newspapers, radio, film, television) affect socialization not only by broadcasting certain information, but also because the supply of certain patterns of behavior heroes of books, films, TV programs. People under age and individual characteristics tend to identify with certain characters, while accepting the inherent behavior patterns and lifestyle. So, having considered the nature of the socialization process should make the following conclusions: 197 Socialization at individual being interpreted through the prism of the dialectic and ontogenesis - phylogeny. Socialization ontogeny implies that the individual has to repeat the basic phase of general historical development, that is to survive in their own lives. Phylogenetic level focuses on general knowledge, a generic aspect of socialization. Socialization at social being interpreted at the level of primary and secondary socialization. At the level of primary socialization is the immediate environment of the individual are the primary agents of socialization. The secondary level of socialization occurs within large social groups and institutions. The internal structure of primary socialization phenomenon is the sphere of interpersonal relations, and secondary - social relationships and circumstances, with the function of primary socialization agents interchangeable and universal, and secondary - not interchangeable and specific. A special place in the working of the internal structure of socialization takes a common mechanism of this phenomenon, which is divided into social and psychological mechanisms and social and educational mechanisms. Socio- psychological mechanisms include imprinting, reflection, imitation, identification. Socio-pedagogical mechanisms of socialization belongs mastering human standards, standards of behavior, attitudes, stereotypes, typical for her family and entourage (neighbor, chummy, etc.). A specific example is shown in the socialization process of socialization in ethno-cultural and national space where the interaction is specific individual or group with the social environment. A prerequisite and socialization is part adaptation. If adaptation is micro mastering some subcultural values, socialization is a macro mastering common (cultural) values and traditions that characterize society in general.

References 1. V.P. Andrushchenko modern social philosophy: Lectures / V.P. Andrushchenko, M.I. Mihalchenko. - KA: Genesis, 1996. - 368 p. 2. Yerasov B.S. Social Cultural Studies: the textbook for students. Universities / B.S. Yerasov. - 3rd ed., Ext. and rev. - Moscow: Aspect Press, 2000. - 591 p. 3. Kravchenko A.I. Cultural Studies: studies. Collec. / A.I. Kravchenko. - 8th ed. - MA: Academic. Project:Triksta, 2008. - 496 p. 4. legenky G. Aesthetics (apophatic experience descriptions) / G. legenky. - K.: Cnooc, 2007. - 600 p. 5. Mudrik A.V. Socialization / A.V. Mudrik. - Moscow: Academia, 2007. - 304 p. 6. Rubinstein S.L. Principle of creative self / S.L. Rubinstein // Problems of Philosophy. - 1989. - № 4. - pp 101-108. 7. Modern Western Philosophy: words. / Comp. V.S. Malakhov, V.P. Filatov. - M.: Politizdat, 1991. - 414 p. 8. T. Shibutani Social psychology / T. Shibutani; per. from English. V.B. Olshansky. - Rostov n / D. : Phoenix, 1999. - 544 p.

Summary Popovych O. Socialization of a personality in the context of globalization of culture creation Nowadays is urgent appealing to the issue of human socialization in social and cultural environment, which makes it possible to understand the origins of the processes of culture creation. Identifying the underlying mechanisms, regulatives that prevail in the culture is possible by analyzing the phenomenon of socialization, identifying the nature of the socialization process, this is defined as a goal of the study. Key words: socialization, adaptation, culture, imprinting, reflection, imitation, identification.

Received 9.10.2014

198 SECTION IV. COMMUNICATION, INFORMATION, PRESS

UDC 008(477) S.V. Vytkalov

SEARCH ACTIVITY IN UKRAINE IN THE CONTEXT OF SCIENTIFIC CONFERENCES

2014 at the Department of Cultural Studies and Museology RSUH completed jubilee X All-Ukrainian scientific- practical conference «Ukrainian cultural and artistic practice historically.» The event was a result of the organization of research activity in the regional universities, because even the statistical indicators it qualitatively differs from previous ones. This is the largest for the establishment and qualitative composition of the assembly declared. To participate in the discussion of topical issues of culture zholosylosya nearly 400 people [1], representing 60 institutions of different accreditation levels and research structures, the quality of the which is fairly high: 14 doctors, 25 professors, over 100 PhDs, associate professors, six doctoral students more than 60 graduate students from different research centers and sectors, as well as leaders of national arts centers that are actively developing scientific, cultural and artistic perspective. There are many among the participants and persons with state honors folk (Honoured Artists of Ukraine), is a leading soloists (actors, conductors) in Ukrainian opera and musical drama theaters. The difference of the event was also attended by foreign scientists from several countries. And if past events were recorded mainly researchers from Poland, Germany and Russia, this time on its part said the researchers from foreign countries: China, Korea, Israel, Republic of Bashkortostan, the Republic of Belarus, the Russian Federation. By its affiliation participants could identify the following groups of universities or other institutions related scientific activities (given the time of receipt of application). Classical universities: National University of Kyiv. Shevchenko, Donetsk National University, Lviv National University. Ivan Franko National University of East European. Lesi Ukrainian, Gluhovsky National University. Dovzhenko, Zhytomyr State University. Franko, Mariupol State University, Carpathian National University. Stefanik, Mukachevo State University, Kherson State University, Kamyanets Podilsky National University. King James Version, Vinnytsia National University. Kotsyubynskoho Uzhgorod National University. Research institutions: Institute of Art Studies, Folklore and Ethnology. M. Rila National Academy of Sciences of Ukraine, Institute of Problems of Education NAPS of Ukraine, Institute of Contemporary Art of the National Academy of Arts of Ukraine, National Museum of Architecture and Life of Ukraine, the National Research and Restoration Center of Ukraine, Lviv National Gallery of Arts. B. Voznytsky, National Library of Ukraine for Children. Cultural and artistic institutions Ukraine, Kharkiv State Academy of Culture, Kyiv National University of Culture and Arts (and its affiliates Mykolayiv and Simferopol), Kyiv University. B.Grinchenko Donetsk National Music Academy. Prokofiev, National Academy of Culture and Arts, Lviv National Music Academy. Lysenko National Academy of Arts of Ukraine, Belarusian State University of Culture and Arts, Lviv National Academy of Arts, the National Music Academy of Ukraine. Tchaikovsky, Transcarpathian Art Institute (Uzhgorod) and many professional artists: soloists Lviv Academic Theatre of Opera and Ballet. Krushelnytska, Rivne Academic Music and Drama Theater, Song and Dance Ensemble «Cossacks skirts» Khmelnytskyi Philharmonic, participants of many art collectives Art Institute of Arts, Humanities and pedagogical and other universities. Educational Institutions teaching focus: National Pedagogical University. Drahomanov, Rivne State Humanitarian University, Khmelnytsky Humanitarian and Pedagogic Academy, Moscow State Humanitarian University. Sholokhov (Branch Ufa, Republic of Bashkortostan), Drohobych State Pedagogical University. Franko, Kremenetskiy Regional Humanitarian Pedagogical Institute. Shevchenko, Poltava National Pedagogical University. Korolenko, PVNZ «International Economics and Humanities University. C. Demianchuk «Ivano-Frankivsk OIPPO. Technical and other special universities: Kyiv National Economic University. Vadym Hetman, Odessa National Polytechnic University, Vinnytsia National Technical University, Lutsk National Technical University Lviv State University of Internal Affairs, National University of Water and Environmental Management (m. Rivne), Lviv National Agrarian University. Among the participants are representatives of Dubno (RSUH), Kamenetz-Podolsk, Kyiv State College of Culture and Arts, Lutsk State Pedagogical College Malynsky Forestry Engineering College and representatives of pilot schools and teaching centers Rivne and media. For a number of thematic topics performances were as it should be for any event such a direction, varied from discussion areas of state cultural policy in modern conditions, historical intertext named as national and world cultural space (G. Lucas), social and psychological aspects sentenced to life imprisonment (T. Vydysh). Traditionally one of the most number of participants had used «Regional cultural and artistic practice as research subject» and «Theoretical and applied problems of national cultural and artistic space historically,» which once again 199 proves the intensification of regional development problems of becoming state importance the role of regions in the structure of public policy and so on. It is in these sections was lodged extremely interesting material concerning the original figures, which at one time made a significant contribution to the establishment or development of cultural and artistic sphere in its widest interpretation, in general, but because of certain, mostly political and ideological circumstances were removed from the cultural space. In this regard there were many such reports, discussed the specifics of instrumental performance in Western Ukraine (O. Velichko), proved the common and different manuscript heritage in Ukraine and Greece (L. Tereschenko- shackles), specificity was seen Pochaevskogo melody in the music culture (L. . Stec) and others. Many researchers, as the case declared a number of problems, concentrate on local cultural issues (L. Bilous, K. Turcan, G. Hyschak, G. Chub). And the reason for this phenomenon has its own motivation. For regional researchers who focus on the development of local problems, better know local cultural tradition, its carriers are well aware of most of the spring base of scientific research and so on. So we hope that in the near future the country will be many new books will open up many new figures, artistic techniques that undoubtedly will not only expand the boundaries of the study of cultural space, enriching his new material, but also demonstrate the cultural world the potential of Ukraine as a country that is able to be reborn, as its cultural heritage it shows. Given that 2014 will go down in history as the celebration of the 200th anniversary of Taras Shevchenko, and therefore very day stimulates look at themselves and around the point of view of our national genius, many scientific reports have shown gains in this area. This is the image many interpretations of his writings Galician culture and sex. The twentieth century. (M. Fedun), a literary compositions (N. Corn), music lessons (S. Panasyuk) or musical interpretation of poetry (V. Draganchuk), fine arts (M.Kovtun), in the works of the masters of the factory I. Levinsky Second Decade the twentieth century. (A. Belous). Not for the first time in our scientific meetings attention was focused on amateur creativity region (Lehkun A., A. Korolchuk, G. Pea, Nykorak N., S. Haburska etc.), A phenomenon in which the system of the previous day had many positive and do not try to creatively rethink this practice has significantly changed socio-political circumstances and resume at a new level the structure would be inappropriate. Moreover, the network of clubs, according to Head of Culture and Tourism of Rivne Regional State Administration, in fact, maintained and decreased in the country only 10%, but to give new life to this network, fill it with new content without copying, deliberately dooming to failure existing artistic groups, professional artistic designs which, incidentally, actually stopped touring in Ukraine, bringing back the broad masses of the rural population, which today does not deal with no one offering him new forms of own participation in creating a cultural product - the best way to make this network required state and population. Many claimed themes indicate the problem field, which developed in modern Ukrainian science: choral «ritual archetype in the works of contemporary Ukrainian composers. (N. Sinkevich) Heritage O. Kolberg in the musical culture of Volyn (L. Ignatova) wide vector or issues related to ethnology aspect of scientific research (A. Knyazikevych, R. Kyunslli, T. Kmetyuk). Is the subject of research attention and creative activity of Ukrainian foreign countries, especially its cultural and artistic expression (V. Sinelnikov, L. Duda, M. Lepuha, T. Romanushko) as always looking fellow implemented in inokulturnogo environment and what their art Achievements (B. Rashrahovych, A. Kovalik, Semyanyk). They also add the issue of cross-cultural contacts with other Ukrainian peoples historically (Sabadash Yu, Yu Musiyevych, L. Forest). Instead Research foreign scientists touched in most analysis of cultural problems of their countries - alternative aesthetics of Korean cinema (AI Jia), the role of intercultural communication in the development of the individual (B. Rashrahovych) analysis of Sino-Central Asian musical instrument called ‘ bonds (Chen Nanpu). I barely touched the participants problems implementing the Bologna process, its results and troubled some, especially in the practice of organizing training in artistic professions, confirming the fact that the said issues are not relevant to the modern high school or problematic series should be decided in another organizational, technical and legal plane. This applies to issues related to the future elimination level «Specialist» in the universities of III-IV accreditation levels, workload, staff and students, or better to say problematic situations that arise in the country in the implementation of the new Law of Ukraine on Education in the 2014-2015 school year. After all, the country is at an end severe financial and economic and socio-psychological state and the implementation of this law is aimed at substantial reduction specialties and, as a result, those who provide them. And those that remain in the educational space plane, also not quite all clear. Almost has not been requested, as in our opinion, the original themes that would touch application development for the educational process in modern higher and secondary special schools across the country, and it shows that the hope for a genuine discovery in this area soon useless. And although such a measure is clearly too early to draw conclusions not entirely correct, but this information is also a certain measure of placing emphasis in modern educational space. After all, education is known (or better - as we would like) should act proactively. Only in this way we can achieve the desired result for the Ukrainian society in shaping a new generation of skilled corps, and not rely on visitors. As a positive note and participation in the event of technical representatives of power structures and universities, including scientists of Lviv National University of Internal Affairs, Kyiv National Economic University. Vadym Hetman, Lviv National Agrarian University et al., Confirming the recognition of the role cultural activities or general cultural 200 factor in shaping the young generation of the country and the understanding that only the saturation of the learning process of any educational institution cultural factors affect later on the national consciousness specialist, his understanding of the need to worry about the problems of the Ukrainian state, and not just think about own benefit. Indeed, recent events show that the country is not all right with issues of social consciousness, political culture, counter-propaganda and the like, without development which no state can become really full country that cares cultural development of its citizens. And the number of positive aspects of the event can continue. But is not the greatest effect, in addition to actually discuss specific issues and the publication of several scientific collections, the event brought students last because once again convinced of the importance of scientific activity not only in the system of life of any university, but also in their own formation. They are convinced that this difficult time not only prevents scientists to continue the development of cultural and artistic issues, but also demonstrates the fact that the most difficult time in the process of its own scientific research - the most interesting form of fulfillment of any professional that connected his life with high school.

References 1. Ukrainian cultural and artistic practice historically: the program X All-Ukrainian. scientific-practic. Conf., m. Rivne, 14-15 leaf., 2014 - Exactly: RSUH, 2014. - 32 p.

Summary Vytkalov S. Search activity in Ukraine in the context of scientific conferences The review of materials which acted on Х allukrainian scientific conference in Rivne is carried out. Key words: scientific search, research activity, higher school.

Received 20.11.2014

UDC 792.03(477) O.M.Slyvka

FESTIVAL « PRESENTATIONS» IN THE CONTEXT OF UKRAINIAN THEATER DEVELOPMENT OF LATE XX – BEGINNING OF XXI CENTURIES

Contemporary theater life in Ukraine is saturated with numerous art events - new productions and festivals. They offer both a wide creative tasks and updating certain professional problems. Festival (fr. Festival and Latin. Festivus - festive, fun) - mass festive event, which includes a review or demonstration of achievements in certain types of art. Any theater festival is based on the creative competition. In the modern period in Ukraine continued operation and based festivals almost 50 regional, national and international levels [17]. However, scientific cut their dynamics functioning at present available. Materials about theater festivals Ukraine are mainly in periodicals, web sites, cultural institutions and theaters. In 2010 created a nationwide portal for virtual-network drama «Ukrainian theater space,» which includes information on more than 112 theaters and 81 activities playwright [20]. The portal offers information on theater festivals, repertory theaters, information about the performance and historical information. In the palette Ukrainian movement theater festival «Kolomiysky representation» takes its rightful place. This is due to the history of the art cell because Kolomiysky theater was the first in Western Ukraine, where the Ukrainian language sounded. In 2008, to mark the 160th anniversary of the theater, founded Ukrainian theatrical festival stage pershoprochytan. Since then every year in the capital Pokuttya is this artistic event. The festival is widely covered by journalists in the media (television, radio, in local and metropolitan media - newspapers «Galicia», «Time», «Day») [1-6, 8-16, 18-19, 21-22] , individual measures analyzed teatroznavtsyamy Pidluzhny A., C. Maksimenko in professional journals [7], but its overall artistic progress and generalization creative achievements do not become the subject of scientific research. Therefore, the purpose of the article is to analyze the dynamics, subject, genre specific festival «Kolomiysky representation» in the context of Ukrainian theater festival movement. Although the idea of stage presentation of new productions are not original, as are many festivals in its program is the following problem (even this festival is called «season premiere») Kolomiysky is dedicated to a new stage in terms of solving the known plays. It involves theater groups from different cities of Ukraine and from abroad, it is visited by leading Ukrainian producers, actors, teatroznavtsi journalists. Teams - mostly known Ukrainian theatrical Wake extraordinary repertoire for policy penchant for experimentation stage, participation in international projects. Among the selection teams and stage performances dominate pershoprochytannya, vivid acting and directorial debut, Ukrainian drama productions abroad, alternative to traditional experimental performances. Despite the status, the festival also has competitive basis. The jury were in different years Kolomiets R. - Academician of the National Academy of Arts of Ukraine, teatroznavtsi N. Vladimirov, L. Rasputin, Pidluzhna A., N. castigating (m. Kyiv), S. Maksimenko (m. Lviv), and actors directors - V. Nyevyedrov, A. Bystrushkin, L. Kadyrov, F. Strygun, T. Litvinenko - People’s Artist of Ukraine and others. The festival has a group of professional experts, whose members 201 advocate for press and spectators of professional teatrovedchesky comments. Each year, genre and aesthetic concept of the festival is changing, so its winners are teams with different topics and implementation productions. Presentation - as a trend - related to directing, musical image shows, the duo of actor, male or female role creativity. They define vectors evaluation. The uniqueness of the festival compared to others in Ukraine, according to jury chairman R. Kolomiets - in his «ideological and thematic and aesthetic direction» [5]. In the first festival was attended Ivano-Frankivsk academic muzdramteatr them. Ivan Franko Lviv muzdramteatr them. Yu Drohobych, Municipal theater «Kyiv» Ternopil Ukrainian Drama Theater named. Taras Shevchenko National University of Theater, Film and Television. Karpenko-Kary (KNUTKiT). The festival program presented various topics as pershoprochytannya instsenizatsiy and the artistic decision. «Sweet Darusya» created the novel by M. Matios sending and Ivano-Frankivsk Theater. Franko (staging and directing Derzhypilsky R., N. song Directing halves) tells about the historical events in Galicia and Bukovina 30-80-ies. XX century. in the light of the fate of small Darus, who was unwittingly guilty of the tragedy of his family and has been designed on the fate of current and future generations. Playwright Kyiv Taras Ivashchenko in the play «The mystery of life» personality Franko presented as a thin, restless, emotionally vulnerable man. The play is presented as a duet actors Drohobych Theatre. Yu Drohobych (prod. - O. King) representing family dialogue of the great writer and his wife O. Horuzhynskoyi projected on the eternal confusion between man and woman, problems of creative personality. Family relationships also became the basis of the comedy «Quartet for two» A. Crimea Ternopil Theater. Shevchenko (prod. - V. Living), but in other time-space conditions, as family passion spouses going through another crisis. Genre performance of «Taras Bulba» Municipal theater «Kyiv» playwright N. Unexpected defined as a musical about love, focusing on the love line of Andrew and Polish ladies. Added performance epic emotional, stress-energy music of heaven IV and V. scenography and direction Nevedrova a widely used video image. The young director, student KNUTKiT V. Printing presented a new way to play the classic Ukrainian Vasylchenko C. «Where the wind blows.» Grand Prix first «Kolomiysky representations» were home for the festival performance «Vii» by M. Gogol (staging and direction S. Pavlyuk, S. Rydvanetskoho scenography). Phantasmagoria primordial defined the genre and artistic performances effects (the scene is the platform of crossed boards). Three-dimensional spatial decisions reveals unexpected opportunities for their use (by stumbling and falling through the boards - like quagmire desires and temptations, circle - as vital refuge soul, house, formed a prayer and faith in God). «Vij» is perceived as a parable of the earth and the sublime in the way of rights; play full sets of associations and metaphors, riddles for the viewer. Completed Festival Roundtable on «Traditions and prospects of historical theaters in small towns in the context of contemporary Ukrainian theater movement and theatrical world trends» [6, 7]. III Festival «Kolomiysky representation», held in December 2010, was rich in surprises and surprises. Cherkassy Theatre. Shevchenko showed T. Williams play «The Glass Menagerie», the subject of which - the eternal search for himself and his love. The main characters of the play - Tom, Laura, Jim - are actors in a modern light per young viewer. For children and young audience focused and two other performances - grotesque comedy «The Adventures of Little Red Riding Hood» staged Kolomiyskogo Regional Academic Drama and philosophical comedy-mystery «Mistress» The Lviv Regional muzdramteatru them. Yu Drohobych. The latter - based on Gogol’s story «Vij» playwright N. Sadur impressed bright Ukrainian national colors, Dnieper dialect and songs. The highlight of a festival day John was the musicals are performed. Boca «Fiddler on the Roof» based on Sholom Aleichem story «Tevye the Milkman» in the performance of Ivano-Frankivsk Puppet Theatre. M. Pidhiryanka. Actors and their puppets were able to convey and family vicissitudes, and historical context of the tragic events vividly reflected the light of Jewish life, songs and dances. A significant role is played by successful execution stage director invited from Belarus D. Nuyanzina work choirmaster L. Lytvynchuk, choreographer V.Sheremety. Russian-speaking productions on stage Kolomiyskogo Theatre Drama presented Transcarpathian artists with the musical tale «Mr. Kock» (Lysenko) and Crimean Tatar muzdramteatru drama with Robert Muyedina «unquenchable stars» dedicated to tragic events - the deportation of Crimean Tatars in 1944. Diversify the festival schedule was a masterclass of People’s Artist of Ukraine Leonid Kadyrova employee Kolomiyskogo Drama and everyone. Expected at the festival was the presentation and thus victory (Grand Prix) performance Mykolaychuk I. «stories about Ivan» in the performance of the Lviv National Academic Theater. Zankovetska. The performance kaleidoscope W. Sikorski stories protagonist - a ball of incredible, sad and funny, tragic and comic, philosophical and mundane events. Each story is illustrated with dynamic music of heaven performed by real artists present on stage [6, 9]. III Festival (2011) expanded their space by not only the theater scene. I. Ozarkevycha but Kolomiyskogo People’s House. In addition, the professional status of the festival was complemented art events «Creativity young.» It is in the context of its first comedy was presented by Shaw «Pygmalion» students of the Art Institute of Carpathian National University. Stefanik. Youth Lviv Academic Drama them. Zankovetska presented the drama RM Rilke «Early frost» and pupils KNUTKiT them. Karpenko-Kary - comedy musical «Cabaret», the recognition of which heroes - Verka Serduchka, P. and N. Kamensky, J. Lennon, M. Jackson - readily perceived by the public. 202 Two performances in Kolomna offered Chernivtsi muzdramteatr them. Kobylanska: V. Ilyuhova children’s fairy tale «How Nastunya almost became Maro» and processing Fedkovych Shakespearean comedy «The Taming of the Shrew» with the picturesque «How goats horns corrected.» Last event - one-act farce of life Bukovynian farmers - not appreciated by his contemporaries Fedkovych time, I. Franko, the brilliant ironic parody and comedy actors performed Chernivtsi has gained relevance and sincere admiration of spectators. For traditional children’s festival shows audiences performances: Musical show «Three Little Pigs» and Ukrainian Theater for Children and Youth, a puppet musical «Ali Baba and the robbers» Ivano-Frankivsk Puppet Theatre. M. Pidhiryanka, comedy Franko «Fox Mykyta» Transcarpathian State Russian Drama Theatre. Despite spectacular bright component wanted a better sound due to technical problems ensuring that shaped the Performing certain tasks management. Classical repertory theater presented Kolomiysky - host of the festival, which was the winner - the drama «Earth» Kobylanska, direction D. Chyboraka and winner of the National Prize. Shevchenko, People’s Artist of Ukraine Boris Kozak - poetic-musical composition «poslasha» the works of Taras Shevchenko. National Centre for Performing Arts. Kurbas presented the play O. Mykolaychuk (author and director) «Wild Honey in the year a black rooster» which embodies the important problems of modern Ukrainian society through the prism of perception lonely woman. Genre monodrama performed by actress O. Ogorodniychuk termed as complex social (family, abortion), moral (choice, responsibility) and historical collisions (famine, the continuity of generations). Kirovograd muzdramteatr them. Kropivnitskogo monumental staging of «Gaydamak» T. Shevchenko National Academic Drama Theatre. Franko performance «Kaydasheva family» I.Nechuy Levitsky represented the actual reading of samples of known Ukrainian classical literature. The original focus of the festival was the performance Theater. Sevruk of A. m. Elblag (Poland). Polish performance of works by Chekhov «The Bear» and «Confessions» not created a language barrier, as supplemented by vivid, emotional, play talented actors. Setting realized Ukrainian director V. Living. Traditionally at the festival held master class of People’s Artist of Ukraine Leonid Kadyrova, who shared the secrets with young acting colleagues [1-4, 6, 12-16, 19]. In the fourth theater festival (2012) was introduced a new genre of light opera (light opera) «Legend of Taras» with music and libretto by A. Kolomiytseva (Poltava muzdramteatr). «For the first time Gogol’s» Taras Bulba «so unusual was read by his stage angle - with live vocal music in modern arrangement, which was harmoniously combined with dramatic background setting. In action, the scene where the principle of combined klipovoho installing the most emotional heights reached line love Andrew and ladies, and went into the background theme of betrayal and Taras relationship with his sons. Thanks This form, when many sketches, created the famous twist unique pattern of events, the director tried to create their own myth of the Ukrainian Cossacks, bringing it to the realities of today’s perception «[6]. Individual approach to the interpretation of classical works as director pershoprochytannya reflected in productions of «The Witch» Shevchenko Chernihiv muzdramteatru them. Shevchenko, «The Overcoat» by Nikolai Gogol Krivoy Rog Music and Theatre Plastic Arts «Academy of Movement», «Mazeppa» B. Melnychuk, A. Mosiychuk Ternopil Ukrainian Drama named. Taras Shevchenko. The performance «The Last hrechkosiy» on the play by Alexander Ogorodnik Lviv Theater. Zankovetska, which most fit the definition of «pershoprochytannya» criticism flat display assessed as «contemporary reality, as if written off with mediocre series of insidious deputies naive peasants, their heartless children who are able to bring their parents for the money» [6]. In the production of «Still I’ll betray» N. Lvov unexpected Drama them. Lesya Ukrainian plane intersect historic time (three stages of life and love celebrity poet) and two worlds - the real, full of pain and suffering, and dreamed, Dreamed up, which formed «exquisite lace of her poetry.» The brightest solutions, primarily related to plastic solutions, rethinking concepts through eternal values. Thus, in plastic drama «The Overcoat» (prod. - A. Belsky). its main character as «a subject of the highest official desire becomes a symbol of the eternal struggle of light and dark forces.» The original version obrazno- emotional work earned the highest score of the jury - the Grand Prix. Founded by the Ministry of Culture of Ukraine a special prize. Kurbas (to the IV Festival) received Kolomitsev O. - director, author of music and the libretto light-opera «Legend of Taras» [6]. Already well-established system of rating evaluation jubilee performances (dedicated to the 1025th anniversary of the baptism of Kievan Rus and 165 anniversary Kolomiyskogo theater) V Festival «Kolomiysky representation» (2013) has been changed. «The creative team led by organizers of the forum with the author of the idea, the director of the local Drama them. I. Ozarkevycha D. Chyborakom, decided not to determine who is the best in a particular category, and proposed to the audience spectrum of professional opinions of invited experts, which were made by members of the jury of previous years «[6, 18]. This has contributed to a new expression of decisions and opinions of experts and, in parallel, and oprylyudnyuvavsya score that performance exhibited audience. Jubilee predetermined format genres and regional wealth, was presented 15 performances of theaters from Lviv, Uzhgorod, Lutsk, Ivano-Frankivsk, , Chernivtsi, Kryvyi Rih, Chernihiv, Kyiv, Kharkiv, Kolomyia and Tara (Russia). Invitations to performances based on the director’s surprise move, stage solutions, innovation creative design, 203 accessing the original drama. This led to a rich and diverse festival poster, although there were criticisms of experts on some productions. Positive feedback joined experts in assessing the performance of «Nightmare» Chekhov Northern Omsk Drama Theater. Mikhail Ulyanov (m. Package Code). For the performance characteristic traits were minimalist set design, sculpture, movement, starting from small forms of short stories by Chekhov and shaping directorial technique - presentation of the material through the story of actors and not by action. Minimalism and chamber marked and performance Volyn Theater. Shevchenko (Luck) «With Love ... Oscar «dir. D. Melnychuk novel by E. Schmitt’s «Oscar and the Lady in Pink.» The eternal theme of life and death, the interaction of the actors and the audience - spryaly positive perception productions. «Comedy of unhappy farmer, his wife Melashku, David and Hebrew devil, who lost the meaning of existence» V. Rudova staged in Chernihiv Taras Shumeyko muzdramteatri them. Shevchenko and implemented four actors also devoted to the meaning of human existence. Expressive emotional Dec. presented at the festival performances situation comedy «Amor. Lover. Italiano «A. Nicolai (Nijinsky Drama them. Kotsyubinsky), dramatic parable» Avalanche «T. Dzhudzhenohlu (Chernivtsi muzdramteatr them. Kobylanska) Plastic Drama» Spring, Summer, Fall, Winter ... and «A. Belsky in the style of Commedia dell’arte theater Krivoy Rog «Academy of movement.» Traditionally, the «Kolomiysky representations» presented samples of children’s theater «great feat little Rikki Tikki- Tavi,» R. Kipling (Lviv Theatre. Lesya Ukrainian), «Ivasik-Telesyk» A. Shiyan (Kolomiysky Theatre. I. Ozarkevycha) , «sad sack of a den» D. Kesheli (Transcarpathian Puppet Theatre «Bavka»). Instead, Ivano-Frankivsk Puppet Theatre. M. Pidhiryanka introduced performance-farce for adults «Tsakhes» Stelmakh by J. Hoffmann G. (dir. B. Pidtserkovnyy, set designer and choreographer K. Chepurna A. Dovbush). Phantasmagoria tale for adults is full of metaphors and associations present and eternal values. Traditional on «Kolomiysky representations» workshops actress of the National Theatre. Franko L. Kadyrov on the fourth festival of solo performances were complemented by «Maria» S. Hshanovskoho about life, work and love of the famous Ukrainian actress Maria Zankovetska. VI All-Ukrainian festival «Kolomiysky representation» (2014), held in conditions of radical social change, dedicated to the 200th anniversary of Taras Shevchenko and marked patriotic spirit natsiyestverdzhuyuchym character, emotional enthusiasm. «The sixth festival has become a great opportunity in a difficult time for the country to show their art, attitude» [6]. The first festival performance was the work of «Lost Letter» Lviv Academic Ukrainian Drama named. Zankovetska M. Gogol (prod. - W. Sikorski), which is the leading theme of Ukrainian national dignity, fraternal unity invincibility against the enemy. Festival organizers announced the charity show - everyone could join the fundraising for the needs of Ukrainian military ATE in the area. The festival is not broke tradition in children and adolescent viewership component, presenting puppet shows «Kotyhoroshko» Ya Hrushevskoho Ivano-Frankivsk Puppet Theatre. M. Pidhiryanka, «Forest Song» Lesya Ukrainian Transcarpathian puppet «Bavka», «old man with wings» A. Kureychyka Vinnitsa puppet theater. Latest prose of Gabriel Garcia Marquez staged L. zemelko embodied in the parable genre that emphasizes not only the content and form, but plastic dolls of characters, expressive contrasting set design and musical accompaniment. The hosts of the festival presented the musical fairy tale «Mr. Kock» N. Maksymchuk in modern interpretation (dir. A. Cybulski). To read classics at the festival reflected in the presentation of the play «Martin Borulya» I. Karpenka- Karim Poltava muzdramteatru them. Gogol. His long life stage (42) with the same performer starring Yuri Popov - as an attempt to «stop» instant art, theater relic preserve for several generations of viewers find it increasingly urgent accents. Setting «Nation» M. Matios Ivano-Frankivsk muzdramteatru them. Franko (staging and direction R. Derzhypilsky) was one more patriotic part of the festival. Symbols lyalky- reeled passing through the theme of the show, is seen as the personification of talisman, indestructibility Ukrainian nation. Deploying emotionally challenging - dramatic and often tragic - like a mosaic composed of episodes of the history of Ukraine, actualize the eternal problem of human choice - honor, duty, loyalty, betrayal, responsibility for others and so on. The final note of the festival was the solo play «Moment of Love» by V. Vynnychenko performed by actors of the National Theatre. Franko E. Nyschuka - known as the «Voice of Maidan» in Revolution dignity. Therefore the spectators so deeply embraced its scenic confession «prisoner of conscience» and the conclusion of the festival, the theater - «The need of the soul, especially dangerous time when souls depressed, worried, concerned ... When demand comfort, kindness, courage and hope ... Theatrical performances during the social upheavals is a necessity» [6; 22]. Already six festivals Coloma is «art territory where there is unity and understanding.» This is a special festival, according to V. Fedorak (Head of Culture Ivano-Frankivsk Regional State Administration), which is going to theatrical elite in whose name speaks for itself, «circle» - is our circle of friends, the whole community, «we» - supporters «I» - every person that understands itself in this circle. Each theater company creates Ukrainian history, the theater where the mission assigned to update a sense of peace and goodness. [6] Thus, the analysis of the dynamics of the festival «Kolomiysky representation» led to a number of conclusions. 1. The festival in the district center was evidence Carpathian nationwide trend of «moving the center of festival life in regions» [17]. 204 2. Festival in system Ukrainian theater festivals became artistic event with its own distinct direction - consolidation of the achievements in the realm of the traditional as directing and acting, and the field experiment. The festival was defined basic credo action - pershoprochytannya search and dramatic works, first put on the theatrical stage; staging of literary works; unfairly forgotten classical works that have received a new stage of life; productions, amazing originality, innovation and creative design of its materialization, genre experimentation, keeping stable resistance on philosophical principles of the eternal. 3. The festival covered all regions of the country and attracting visitors from abroad (Poland, Russia). By types took part in the musical drama, puppet, experimental theaters and monoteatry. The festival featured Ukrainian, Russian and Polish. By genres are drama, plastic drama drama- requiem philosophical parable, mystery, comedy, romantic comedy, bitter comedy, farce, musical comedy, theatrical fantasy, fairy tale, heroic tale, fairy tale game musical fairy tale, a fairy tale for adults, light -opera, music show, musical, a musical puppet like. 4. At the festival represented theater classic examples of Shakespeare, Shaw, T. Williams, A. Nicolai, Karpenko- Kary, Shevchenko, Mykola Lysenko, Lesia Ukrainian, Vasylchenko S. et al., Staging world , Ukrainian and Russian literary works of Ivan Franko Kobylanska, RM Rilke, Gogol, I.Nechuy-Levitsky, Chekhov, V. Vynnychenko, G. Marquez, Sholem Aleichem, E. Schmitt, M. Matios and modern Ukrainian and foreign authors. Repertory theme of the festival showed actualization as eternal moral and aesthetic values, and the need to address the social challenges of today, including patriotism, historic heroism, nation-building. Cultural postmodern situation contributed to rethinking scenes performances, their modernization, modernization, temporal relations past and present. 5. Festival outlined the need to update the repertoire of original versions stage «Reading» of famous works of modern and contemporary drama writers. 6. Orientation performances festival in multi-age audience contributed to its socio-cultural and communicative functions. Stage productions performed their aesthetic value and moral and educational purpose, contributed empathy and spiritual growth spectators. Overall, the festival presents Coloma not a peripheral town, as well as theatrical European capital that has a bright national face.

References 1. Karpiak D. «Kolomiysky representation» - 2011 Oct 11. / D. Karpiak [electronic resource]. - Access: http://teatr. kolomyya.org 2. Karpiak D. «Kolomiysky representation» - 2011: Day last Oct 16. / D. Karpiak [electronic resource]. - Access: http://teatr.kolomyya.org 3. Karpiak D. «Kolomiysky representation» - 2011: Day One, Oct 10. / D. Karpiak [electronic resource]. - Access: http://teatr.kolomyya.org 4. Karpiak D. «Kolomiysky representation» - 2011: Day Three, 12 Oct. / D. Karpiak [electronic resource]. - Access: http://teatr.kolomyya.org 5. Kolomiets R. Coloma - Cultural Center / R. Kolomiets T. Briefly // Time (special issue number 51). - 2010 - Dec 16. 6. Kolomiysky representation [electronic resource]. - Access: http://teatr.kolomyya.org 7. Maksymenko first «Kolomiysky presentation» / P. Maksimenko // Prostsenium. - 3 (22). - 2008. - S. 100-102. 8. A. Pidluzhna defined recipe winning the Festival / Pidluzhna A. Rizhuk O. - 09/10/2012 [electronic resource]. - Access: http://teatr.kolomyya.org 9. Pidluzhna A. The team with creative face / A. Pidluzhna // Time (special issue number 51). - 2010 - Dec 16. 10. A. Pidluzhna Melpomene in Hutsul keptari / A // Pidluzhna Day. - № 3. - 2009. 11. A. Pidluzhna Theatre Square: Due to the festival performances «Kolomiysky presentation» Ukrainian military handed over in the area ATO / A // Pidluzhna Day. - № 173. - 2014. 12. Rizhuk A. «Kolomiysky representation» - 2011: Day Five, Oct 14. / A. Rizhuk [electronic resource]. - Access: http://teatr.kolomyya.org 13. Rizhuk A. «Kolomiysky representation» - 2011: Day Four, Oct 13. / A. Rizhuk [electronic resource]. - Access: http://teatr.kolomyya.org 14. Rizhuk A. «Kolomiysky representation» - 2011: Day Six, Oct 15. / A. Rizhuk [electronic resource]. - Access: http://teatr.kolomyya.org 15. Rizhuk theatrical extravaganza captivated A. Coloma / O. Rizhuk Kolomiysky // news. - 2011. - № 41 (103). - Oct 13. - P. 2, 17. 16. A. Rizhuk Kolomyia won the Own presented / O. Rizhuk Kolomiysky // news. - 2011. - № 42 (104). - Oct 20. - P. 15, 20. 17. Theatrical process of Ukraine in the mirror of theater festivals: survey reference materials for the press (2009) [electronic resource] // Access: http://mincult.kmu.gov.ua 18. Tomenchuk L. «Kolomyyski representation» - 2013 / L. Tomenchuk. - 12/31/2013 [electronic resource]. - Access: http://teatr.kolomyya.org 19. Tugay L. Masters stage pershoprochytan gathered in Coloma / L. Tugay // Galicia. - 2011. - Oct 11. - S. 3. 205 20. Ukrainian theater space [electronic resource]. - Access: atheatre.com.ua 21. D. Cheboraka Coloma to give Nicholas Festival / D Cheboraka // Time (special issue number 51). - 2010 – 16 December. 22. Yuzyuk I. Kolomiysky presentation: afterword / I. Yuzyuk. 09/25/2014 [electronic resource]. - Access: http:// teatr.kolomyya.org

Summary Slyvka O. Festival «Kolomyia presentations» in the context of Ukrainian theater development of late XX – beginning of XXI centuries The paper presents the analysis of the theatre festival «Kolomyiski Predstavlennia» dynamics (Kolomyia, Ivano- Frankivsk region). There are defined the priority tasks of the festival and its artistic peculiarities in the contextof contemporary theatre festival movement. Key words: theatre festival, «Kolomyiski Predstavlennia», artistic themes, director’s pursuit, experimentation, debut.

Received 10.11.2014

UDC 791(519) I.Tzya

ALTERNATIVE AESTHETICS OF KOREAN CINEMATOGRAPHY – FEMINISTIC CINEMATOGRAPHY

Background due importance emancipation and the emergence of the feminist movement in the traditionally patriarchal society that is evident in the development of feminist filmmaking in South Korea. Purpose - to identify the characteristics of feminist filmmaking in South Korea. In recent years, Korean film was released to the world level, becoming one of the main manufacturers of Asian films. From 2000 Korean film production is becoming popular not only in domestic box office, but gradually seizes foreign market. 2001 film «My wayward girl» Korean director Kwak Chae Ena led the Chinese film market, captured the attention and sympathy of the Chinese audience. The film «The Mint» (dir. Lee Chhandon, 1999) even received a special jury prize at the Czech film festival. The film «Picnic» (dir. Son Il Gon, 1999) and awarded the 52nd Cannes Film Festival for best short film. In the 2002 film «Strokes of Fire» (dir. Im Kwon-folder) received the prize for Best Director at the Venice Film Festival. In the same year Lee Chhandon received the Venice Film Festival prize for best director of his film «Oasis». The film just won the prize for best debut female role, and many other awards. In 2004 Kim Ki-duk received the prize of the 54th annual Berlin Film Festival «Silver Bear» for best director of his film «Samarytyanka.» In the same year Englis Pak Chan was awarded the organizing committee 57 Cannes Film Festival for the film «Three extreme.» Korean cinema shows undoubted high aesthetic level of production, providing him international awards. The gender division plays an important role in Korean society. History of Korean social norms and rules are always put at the forefront of any business man, so she served only a secondary function. This explains the fact that women only worked together for a long time with the historical and social aspects of cinematic art, but does not work in the field of directing. But lately, more and more women emancipated occupy positions in social and market areas, which entails producing films with female themes true stories of life, emotional aspects of women’s nature, problems of social life of women and gender restrictions. Women’s literary career is one of the subjects of feminist literary criticism. Talking about women writers, just remember V. Woolf (1882-1941 gg.), S. de Beauvoir (1908-1986 gg.), M. Duras (1914- 1996 biennium.) - Western pioneers of the feminist movement. Such works as «own room» and «Second Sex» became classics of world feminist movement. Korean director Lee Jeong Hyang became a revelation directing women worldwide. Features cover its director manner and provide details of the film’s content and aesthetic depth. They led to the victory of the director on the set of Korean competitions and festivals for the film «Between Art Museum and Zoo» (1998) and «The Road Home» (2002) and brought one of the first places in the Korean film market. The film «The Way Home» is a story about the life of a 7-year old boy and his mute 76-year-old grandmother, her unconditional love and infinite patience to his little grandson. A distinctive feature of women’s directing this film is the feeling of motherhood that permeates the entire film, particularly heat and power, unique and exquisite imagery and deep disclosure roles. Do Hyang Jeong says of the movie «The Road Home», «Why is the protagonist’s grandmother from the mother and not of the father? Why is the grandson and granddaughter did not? Because the tradition of Asian society, grandmother of the mother’s status is always lower than the grandmother of the father [1]. The film hero granddaughter and grandson, because I often see that boys like my grandmother more. « 206 A female director Ion Piano Su shoots documentary films, creating constant comfort for filming. It has a special recording technique that leads the viewer into a special internal emotional state. It relieves the female nature, turning it into a «secret affair» in which a woman - a victim of the lust of the world, and the film shows a deep inner world of women. Her actress reproduce the frame specific mental states, mastering them primarily through long and complex, and it is a credit to director. Among the audience point of view prevail committed in relation to heroine - her condolences to penetrate into the very heart people feel love and hatred for the woman who has experienced in his life and ups and downs. Women’s literature needs to be distributed to some aspects. One of the basic means basic part of the world of a woman who broke the monopoly of men. V. Woolf said: «If we writers, any conditions expressing what we want to express - the right». [1] From the above we see that zhinky- Korean filmmakers have achieved significant success, and perhaps because of the fact that women were, and thus made their infiltration works of female consciousness. The biggest feminist mark on the history of Korean cinema films were «My wayward girl» (dir. Kwak Chae Young, 2001) and «My wife gangster» (dir. Cho Jin Gyu, 2001). Movies unique in its tradition of comparing women to men’s nature, the manifestation of the strong man and his weak position in the formation of new figures. The man began to «shed tears of women.» S. de Beauvoir said: «A strange paradox is that the sensual world that surrounds man consists of softness, tenderness, hospitality - in short, he lives in a woman’s world, while a woman in a severe beating and hard world of men «[3; 8]. S. de Beauvoir was against femininity, because, in its view, contrary to the activity and independence, masculinity, femininity is inherently passive and dependent. While images of the heroines of both films, there are many differences in the nature, they manifested the courage obvious feature between men and women in the household and at work. This image is respected and strong feminist woman making a film directed and reflecting modern Korean traditional patriarchal power, destroys the barriers to women’s courageous struggle against oppression and the desire to complete the liberation of consciousness from the stereotypes of gender separation. «My wayward girl,» with emphasis on the word «willful», reveals the image of a brutal, rough, capricious heroine, giving Korean traditional image of gentle, innocent, humble woman. In Korea, this concept still holds key positions in society because will doubtless impression of freshness and surprise female characters. The film became popular in Asia, challenging the traditional image of women of Korean cinema and received rave reviews from the audience, made up mostly of women [4]. Korean film industry just launched a series of films «series of brutal», performed on various topics, but mostly they emphasize the courage of women, increase its status in modern society and actively growing and its identity. There are two types of cinematic images of the female ideal - angel and seductress. Angel reflects man’s aesthetic ideal. A charmer has knowledge of psychology [5; 347]. In the silent movie «The Island» (dir. Kim Ki-duk, 2000), a beautiful woman does not say a word, but her eyes tell of her many facts: it is stubborn, jealous, often cruel. Kim Ki-duk creates a feminine image in a manner far removed from the usual, «normal» Korean women. We can conclude that this woman has ill will and tries to take the initiative to capture everything in life. In addition, the director Zheng Yu in the movie «Die Happy» (1999) also shows the image zhinky- temptress. It - Superwoman, which carries the responsibility for all the family, while her husband was unemployed, depressed and boring person who has experienced severe turmoil in life. People rely on her full support, warmth and comfort, but kept the pressure on her. The woman was zaprotorena in prison for violation of social norms, found a way to freedom to express their views. The man finally killed his unfaithful wife. Contempt and disregard for authority of parents is not the restoration of the former dignity and identity destroyed [7; 214]. And this woman decided to go against traditional moral values, expressing the struggle against patriarchal society in general, men rule society. Not all feminists advocate a radical subversion against men. Self praise and women is also changing their position in society. The film «Chrysanthemum» (dir. Lee Cheng Xu, 2003) shows how two women are friends and sympathetic to each other, but because of difficulties in relationships, forced to sacrifice some of their feelings for others. This film shows the importance of friendship, love and the doubtfulness, as a result, warm friendly relations. It is necessary to recall the heroine of the film: she has just learned that she is pregnant and at the same ill cancer. But the disease did not knock her out of a rut, on the contrary, its persistence and faith are growing, helped develop maternal feelings. This indicates a strong love and will power that allows it to give life to her child. The film shows a woman’s life full of difficulties, disappointments and obstacles, great willpower and developed sense of motherhood. Motherhood - the pride of mankind, and we see that women can not renounce the original desire to be a mother. The concept of motherhood scope covers the unconscious, hidden in the heart of a woman. Despite the fact that the feminist movement has undermined the power system of traditional men’s rights, it was not able to destroy pervorodnist feminine day. Feminists J. Kristeva focuses on the importance of motherhood. She says: «If a woman has children, this does not mean that it is not involved in professional activities, by contrast, always consistent delivery of cultural events, as she gives life to understand more deeply the meaning of his» [5; 351]. At the same time, it stresses that «motherhood is seen as a challenge to man; Pregnancy and childbirth broken borders between the concepts of subject and object, the concept of internal and external opposition «[6]. Korean cinema has great prospects for development in many ways, this contributes to creating erotic films. Erotic movies on the topic of sexual love show all kinds of emotional and physiological relationships. Korean erotic movies 207 have their own feature - they do not show immediately intimate moments. But to build a system of hints, images and symbols that reflect the traditional Korean cultural and social norms. «Sexism» long been the basis of the ideas of the Korean film: a woman is always dominated by obedience to his father before marriage, and the respect and obedience to her husband until his death. Current trends, not bypassed and Korea, radically changing the tradition of producing traditional conversion adapted to new social mechanisms. There have tangible changes in social and family status of women. Feminism in general and feminism in erotic films is impressive. In the film, the aforementioned «Die Happy» (dir. Yu Zheng, 1999), considered the theme of sexual betrayal of his wife. Film director. Kim Ki Duk «Hotel» birdcage «(1998) tells of a decent woman, despite her prostitution. Thus, regardless of sexual preferences and amorous ties, Korean women began to wake independence. The film «Sweet Sex and Love» (dir. Man something Pont, 2003) - a film studies sexual and psychological relationships of men and women in society «erotic pandemic disease.» The heroine of the film is defiantly independent woman, she clearly expressing their sexual desires, takes the initiative, but its initiative is sometimes more conservative than the most conservative views. She decides to break relations and end the love-sexual relationship: «I love when I do not want. I do not want this anymore. « She chooses her own fate and despite the fact that her husband is a compromise and is trying to restore her relationship, she tells him a firm «no.» This film is a challenge to the Korean traditional notions about sex and love. American feminist writer K. Millett winter 1968 manifesto of the revolution anarcho-feminism of the «sexual politics» wrote: «When one group is ruled by another group, it forms a sort of political relations between them. If this relationship for a long time there, he transformed into ideology (feudalism, racism, etc.). All human civilization were under patriarchy, sexism ideology civilization «[9]. Early Declaration Millyet notes as patriarchal or male dominance still have the world: «The political consensus for men and women adapted to the patriarchal society and its achievement.» Male chauvinism limits women, forcing them to be in the men’s clothes and take on male roles. These ideas acutely manifested themselves in Korean cinema. Nevertheless, Korea remains largely traditional country, is slowly moving in the direction of confidence in Western social trends and follows the deeper prejudice. In the film «Empty House» (dir. Kim Ki-duk, 2004) the main character is under patriarchal repression, his life does not imply any benefits of modern civilization, the basis of which we can say that it has no life of dignity and freedom. Her husband is the protector of man’s rights: he linked his way of oppression, abuses of their rights and do not consider it shameful. He bribes the police that he had brutal act of revenge that embodies the essence of extreme masculine selfishness that seems outrageous. On the other hand, the wife is dependent on full - it provides people, and when it comes, the man has to say to her: «Stop! Before you go, remember how much money I gave you and your family. « Status husband supported with money and «Strong position», while the woman is in a position that requires guardianship as they socially helpless. This suggests that the advancement of women in real life depends on economic factors. If a woman has no financial resources or serious problems with her husband, it directly leads to misery and poverty that touches on woman status inequality. With the development of social civilization began to develop and equality between the sexes. Women have become increasingly manifest their desires and intentions. Korean critic L. Soazhen cites an interesting example of feminist consciousness in the women Korea: a woman named Shi, who has a secret love with a man named Qian, married to a man named Hou who abuses his power over her. Mother Lover - great courage for it, it’s like the Revolution, but it understands that this love and this gives her strength and courage. Then she decides to refuse the man in sex, he gives Shi slap, and she immediately answers - slap the man. This brave and strong action, showing Shih aware that spirit of independence, freedom and self-importance. No woman wants to be weak, no woman will not be willing to become an accessory to her husband, who she is in power and constant oppression. Although a woman physically weaker than men, this does not mean that a woman can not become strong. The slogan «Gender equality» is, but can not change their social status only through slogans. Women should use wisdom to come to equality between the sexes, to use courage to become stronger [9; 52]. It is believed that since then, as Eve was the spare rib of Adam, the woman was «minor» body. But everything was not so in the realm of beauty. Indeed, if the man is dominant in the secular sphere of life, the woman is the Queen of Peace aesthetics. A woman plays a leading role in the aesthetic sphere, overshadowed all men. So popular Korean actresses have the highest ratings in Asia, overshadowed an even film stars Hong Kong. Islamic saying: «God gave Eve two thirds of beauty,» says the woman, no doubt, always shines in films like Star Magic Kingdom. This explains the success of beautiful Korean movie stars. Health and sexuality in the modern world are always there. A striking and popular idol feminist movement today is an American singer Madonna, which represents a model of «true feminism», successfully won the glamorous world. «She advises young women to be fully feminine, totally sexy, while fully to control their own lives» [3; 78]. The highest aesthetic achievement, certainly the conquest of universal beauty contest, but to achieve equal rights between men and women difficult. It’s no secret that Korean women resort to surgery to achieve the ideals of modern beauty. Statistics showed that 80% of women use the services of a surgeon for obtaining the desired external data. Plastic 208 surgery is, of course, a sincere desire of women to beauty, but at the same time the pursuit of beauty makes women fall into the trap of male rules. How is the dignity of man in power and money, and the dignity of women is the beauty of her face. «Artificial Beauty» - a vulgar pleasure of male visual requirements. But the culture of consumption not after a deep meaning and meaningful ideas. Much of the audience is pleased outer frame aesthetics, beautiful faces in the screen that gives rise to the relevant requirements for aesthetics, but not to the content of the movie. Big plans for the beautiful people, the names on the screen, have a calming effect on consumer requests [9; 52]. Korea, as the country Confucian, patriarchal tradition cherishes ethical manner puts at the forefront of social man cell. However, after World War II, Korea has undergone strong influence of Western civilization and feminism in Korea began to develop. And though it was difficult and slow, this aspect is reflected in the film industry of the country. Emphasize that Korean love of movies with strong, conscious women, raising the status of women, the role of women in the social world, the importance and usefulness of femininity reflection on the relationship between the sexes. Traditional culture and traditions are reflected in erotic films, the theme of «sexual rights» underestimated, and the awakening of feminist consciousness in women Korea became very sharp turn. Cinema Korea has created a unique variety of types of female consciousness: how it owns «Masculine femininity» and women’s courage, increasing the contrast of men and women. Thus, in the movie «My wayward girl» and «my wife gangster» raises the question of women’s self-defense, she strives to achieve self-transcendence, which is the quintessential film. In the movie «Chrysanthemum» (dir. Xu Li Zheng, 2003) and «Empty House» (dir. Kim Ki-duk, 2004) is formed by a group of feminist women temptresses who are against male aggression and fighting against patriarchal society, breaking the traditional rules of ethics. Korean films express trends emancipated female consciousness reaches the glory of a new feminism, remaining highly aesthetic without losing the feeling of cold humor.

References 1. Yucheng Hao. Director on «Grandma’s House» [EB / OL] [2006-05-10] http:.. // Blog.sina.com.cn/ 2. [English] Virginia Woolf ordinary reader • [M] horse love the new, Beijing: People’s Literature Publishing House, 2003: 136. 3. [English] Sofia • Corfu card feminist [M] Wang Li, Beijing: Culture and Arts Publishing House, 2003. 4. Liu Enquan Jun Ji-hyun: Alternative beauty is also fashion [EB / OL] [2006-06-06] http://www.hf365.com/ epublish/gb.. 5. Liyuan contemporary Western literary theory [M]. Shanghai: East China Normal University Press, 1997: 347-351. 6. Nie double Blue Moon Dance [M] Jinan: Shandong Friendship Press, 2003: 218. 7. Hideyuki tree, Xu Bin, Chen Fei unloaded the makeup woman: Korean Film Guide [M] Beijing: modern Publishing House, 2002. 8. Norway] Tao Li • Moi politics of Text: Feminist Literary Theory [M] Lin Chien-law, Zhao Tuo, translated Changchun: Times Arts Publishing House, 1992. 9. [US] Josephine • Donovan intellectual tradition of feminism [M] Zhao Yuchun, translated Nanjing: Jiangsu People’s Publishing House, 2003: 201.ferences

Summary Tzya I. Alternative aesthetics of Korean cinematography – feministic cinematography The basic trends in the development of feminist cinema in South Korea and the formation of the feminist movement features on the background of the patriarchal traditions of Korean society. Key words: Korean cinema, Korean Film, gender division, emancipated position, female director, female nature traditions, patriarchal authority, the status of women, motherhood, sexual love, erotic films, sexual politics.

Received 11.10.2014 UDC 7.036:2 N.G. Androschuk

UKRAINIAN ETHNIC RENAISSANCE: SOCIAL AND CREATIVE ROLE OF ETHNO-FASHION IN XXI CENTURY

Current time and on the edge «in trend» Ukraine and Ukrainian, Ukrainian is now easy to «read» the world. Their will to life and justice in a global transformation inspires not only the neighboring countries; Ukrainian characters are the comprehensive signs for people around the world who want to show their will and fortitude. Contacting ethnics awakens in man his essential nature in search of nature. Appropriate etnoodyah helps assert, symbols or colors on it give meaning to the idea that a person wants to convey that he wore. This allows it wants to realize more and thus their national identity. 209 Communicative integration of the Ukrainian people, including through national cultural links as clothes matrix, outlined opportunities for appropriate integration of humanity. The idea of national unity Ukrainian consonant with the idea of brotherhood of all people who oppose the transformation of nature and distortion humane ideals. The study is an attempt to understand the phenomenon of ethnic, trace the manifestations of Ukrainian identity, to follow trends in ethnic clothes to show that art can bring people together, and it has no national or racial differences between people. To understand the topics necessary to turn to ethnic understanding, completing a tour of his research and studies issues of clothes. If the mid-nineteenth century. researchers attention largely focused on describing the customs, rituals usnopoetychniy creativity, the more growing interest in material culture: general historical works mention a number of general and ethnographic material, which at least partially described people’s clothes: notes Aleppo Syrian P. [1] and descriptions and pictures Frenchman G. Levasseur de Boplan [3], which describe the clothes of Cossacks, gentry nuns. Valuable sources are historical, statistical and ethnographic work Rihelmana A., A. Shafonskoho, George I., F. Wolf, descriptions Dominique Pierre de la Flize. Actually, the question of clothing and its functions were interested philosophers, cultural scientists, sociologists, psychologists and others. In particular, significant studies emerged from the pen of Hoffmann, S. Daudet, R. Kirsanov M.Voronina, T. Nikolayeva T. Kara-Vasilyeva. Let us find the concept of «ethnic.» Questions explored the ethnic German ethnologist A. Bastian and terms «Ethnic» and «national» considered synonymous, and the concept of «ethnicity» perceived as cultural and specificity of the people. At the turn of the nineteenth and twentieth centuries. French anthropologist Jean Deniker tried to reveal concept «Ethnicity» and put it close to the modern interpretation. He believed that the term «ethnic groups» should denote peoples, nations, tribes, differing from each other by language, culture and way of life. A. Shyrokohorovyy considered that the main grounds of ethnicity is «a unity of origin, language and way of life» [2; 143-147]. These statements relate to substantive principles shaping the environment, that is his style, namely ethnic style. This is crucial distinguishing feature of each ethnic group attributive Ethnic phenomena has long been the object of cultural studies ethnic psychology, ethnopedagogy, ethnosociology, ethnolinguistics. Actively the process of valorisation (from «valorize» - to give something of value) [11; 8] ethnic in contemporary Ukrainian society. Etnodyzayn as stylistic trend shaping contemporary clothing became popular in the extent that there is reason to talk about etnodyzayn clothing as one of the most powerful trends stylistic solution surrounding world. Etnoodyah quickly being conquered nations and it took a strong position. But most of this phenomenon and is inherent in the present conditions of Ukrainian society. Because etnoodyah proves most powerful in the aesthetic sphere of revival of the national spirit and inspiration, means the formation of national consciousness and national culture, due to a change in ideological paradigm, transforming spirituality. National style based on ethnic and cultural grounds. The name of the style comes from the Greek word «ethos» - «the people.» This is no accident, because each nation that was and is in the world, must be left in the history of civilization. Every nation has its own rules and features in the manner of dress, adorn themselves, etc. Therefore, ethnic style, without exaggeration, one of the richest and most diverse of all existing styles. Throughout its development outlook clothes reproduce the evolution of the individual and the nation, society, their attitude to the various events surrounding the formation and development of customs, rituals and beliefs. In addition, the clothes embodied human desire for beauty, its artistic and aesthetic views and tastes, making clothes an essential part of art. That wear - proof of social status, patriotism, nationalism. Clothes - an ideology, a source of propaganda and provocation, moving character. A clothes man expresses himself, clothing is specific cultural, social, aesthetic code. Subjects that are within the same cultural space, his attire or showing unity with general cultural and aesthetic tendencies, or their separateness. The exterior expresses esteem and respect for others (national dress shows respect for traditional culture). Linking national clothing - a possibility in society predmetnishe globalization, clearly feel their cultural roots. Redefining traditions of folk costumes and its symbolism occupies a prominent place so that the artistic direction was called «etnomoda.» For etnomodelyeriv hold special festivals, competitions, open themed boutiques. Etnyka is a major collection of haute couture, emphasized decorative proving a particular idea of folk costumes to the absolute, and collections of ready-to-wear, designed for mass production and use in everyday life. But while every thing - unique. And it took off etnyka cultural barrier to market between high fashion and mass. Etnomoda passed several stages of development and formation: if we consider Ukrainian embroidery, she performed a crucial guarding function. In particular, it was considered that the embroidery on the chest protects human soul. «This is an old Ukrainian tradition to resist evil beauty», - said G. Lozko. So things turned magical significance for aesthetic [9; 335-336]. In the late 80’s - early 90 th century. Ukrainian embroidery was associated primarily with patriotism and national consciousness. Then it was just a fashion. The events of 2004 related to the «Orange Revolution» brought back to life shirt, which once again became fashionable, and which, by the way, actively promoted the second lady of the country - Karl said. You see the ruling stratum forms the national identity and the right forms, as often national culture of the ruling elite abandons the people’s ethnic traditions, different cosmopolitan character. 210 Is a permanent process ethnization individual, moreover, povnoosyazhnoyi ethnization. Etnyka as thought forms an integral part of the support and understanding of the world society. Against the background of recent social and political developments in Ukraine etnomoda ceased to be dosed. Limitless is innovation in contemporary ethnic fashion, ethnic monitor trends in everyday clothes and other aspects of daily life of modern man. Ukrainian ethnic fashion brings new material and spiritual values, to which people are hypersensitive. Contemporary art as a type of human creativity, allows multi-interpretation. For different audiences it can show different hot spots and assist work primarily with themselves and not consume the history of others. Clothing as a work is «readable» for recipients and is a positive or negative response [7; 65-68]. It was the heyday are now seeing the impact of work: George Ribbon, tricolor, embroidery, Trident ... This is a case where people not only cover the body, and embody the dream are carriers of meaning. Generally clothing meets the need samostverdzheni; right suit - right opportunity to live and interact with people. This so-called effect forms in action. A well-known is the fact that when one of the companies released «shirt Sheriff», which is a replica of clothing of Jews in concentration camps. What a masterpiece of mass shopping and game association. Depending on the shape of clothes is favorable or neblahopryyemnyy contact. You must choose symbols, signs, expressions that would satisfy consumer information and exclude the conflict of interpretations. Clothes will direct communication according to the role which is claimed man. The intensification of globalization in modern society makes culture seek new ways and means of communication. These processes are important and unique. Modern transformation transformation of Ukrainian society gave rise to a new model of communication, including and through creativity, namely etnomystetstvo. As a pan phenomenon, the art is constantly changing under the influence of time and the formation of new ideas about the surrounding world. Personality has many ways to express themselves and one of such is the way of outdoor presentations: I. Dorn performance at the contest «New Wave» in a T-shirt featuring the trident became a real provocation and a manifestation of patriotism. This raises the question of «ethnic other», which can cause frankly hostile mood. Quoting G. Korogodsky: «One decree can enthrone peace. Need a obyazat people walking holыmy. And togda We do not smozhem otlychyt separatist ego from enemy Supporters Maidana from pryverzhentsa federalyzatsyy «[8]. Studying the imagination of the crowd, you can see that it is easily affected images. We prefer to judge people by their appearance, by the fact that it is easier for all to see: clothing, gestures, words and deeds. In the social sphere appearance is a barometer for our estimates and judgments, and therefore need to see to it that you were thinking about right. One wrong step questionable or unpredictable change your image can be devastating. That is why it is so important with their hands to create and maintain very own image [5; 101]. The upsurge of national consciousness and the external dimension of its place. As a result, the streets twinkle bright colorful embroidery, people dress up in traditional Ukrainian clothes, use the Ukrainian symbols, so-called national Wardrobe flavor. Along with the change of the political situation is changing cultural situation: the transition to a new phase of development of Ukrainian culture with the secular and democratic dominant. Etnomoda - not necessarily waiting Embroidery, use ornaments in the Ukrainian style and feel of the association and the motherland. Passionariyiv role in the initiation and development of culture is boundless and far-sighted. Ukrainian designers are actively working towards etnomody. The most remarkable hit today made in Ukraine. Embroidered shirts etnomoda not limited to: Ukrainian zhupan Karavanska from its ability to combine modern technology and authentic embroidery, it was the first time she changed the color scheme Borschevsk embroidery. By the way, recently in Chicago ATU soldiers who were there for rehabilitation, had the opportunity to demonstrate its embroidery models on display. R. Bogutska Authentic models - a godsend for those who do not want to be like others. A landmark feature designer style for quite a long period was the national color, R. Bogutska consistently developed the theme of ethnic decorative elements in contemporary costume. No less interesting is etnoodyahu Ukrainian designers Viktor Gres, MI Tsisetska with its festive and wedding etnosuknyamy. Ukrainian motifs have long interested foreign designers: Gucci, Jean-Paul Gaultier. Famous international brands Kenzo, Dolce & Gabbana present their collections in many models with various embroidery. Actively developed themes Ukrainian Ukrainian designers. Collections are not seasonal and thematic. An aesthetic response to recent developments in Ukraine. Fashion is an activist and responds to what is happening around. Ukrainian designer and director O. Navrotska in times of revolution has taken active citizenship, and the fashion industry has become one of the first designers who zakarbuvav protests on t-shirts and svitshotah. Its authorship are prints with the words «Stop Putin!» Against a background of balls, «Stop, regime!» With crossed pistols and «Fuck sovok», arms entwined flowers - blooms Ukraine. A. Navrotska uses ornaments in the Ukrainian style often shows its collections accompanied by Ukrainian folk music. The designer has launched a new series of T-shirts with portraits of famous Ukrainian: Amosov, Sikorsky, A. Vertinsky. Themes for prints inexhaustible. Ukraine has given the world many interesting personalities. They are a reminder that we who are proud of. In the future, the designer plans to encrypt drills anthem of Ukraine, namely the word «perish our vorozhenky like dew in the sun» [12], a sort of heraldic work in the genre of poetry and sees appropriate to reverse the colors of the national flag. The philosophical rethinking Ukrainian flag is present and F. Voizianova. Changed attitude to state symbols, they have become more personal in 2014 Etnomoda 211 with all its aspects, theories bring new visual culture and values that affect society and transform it. The positive is that by popularizing traditional Ukrainian clothes attached singers. For example, introduced O. Skrypka dress-code, when a mandatory attribute at a party dress is embroidered Ukrainian shirt or item ranks. Ukrainian Inherent attributes are the speeches of the band «Okean Elzy» ... likes Ukrainian embroidered Russian singer Zverev, but certainly not the symbolism, but only for the naturalness of tissues. It must be said that all politicians in our modern embroidery ... Etnoodyah - a guide «to identify and understand Ukraine. Society evolves, arts, culture conceptualized in the new section. Style substantive environmental shaping is particular ethnic group closely related to the spiritual world of the people, their outlook, beliefs, values and more. The shape is known to be always deterministic content, and this rule applies to national life. Therefore stylistic features ethnicity is an expression of its essence, its the clothes and his ID. National idea includes awareness goals of further development, transformation of objective reality and human society, but it can not be done without increasing moral - ethical factors in society. The critical state of Ukrainian society makes us think about what will be the fate of Ukraine, its mission in a changing world, what contribution it can make to the development of world civilization, but one thing is clear, spiritual and moral aspect may be strong factor in the evolution of society. Spirituality and morality - social immunity people. One of the important functions of culture - to teach people to live together, to help transform the existing relationship of ethnic groups in conscious solidarity. Ethnic Culture, etnomystetstvo can heal and includes a maximum component - Spirituality and the important function of modern Ukrainian society is an attempt to teach people to live together, eliminating the problem of «the other».

References 1. Aleppo. Travel Patrіarha Macarius of Antioch in Moscow in the XVII century / P. Aleppo. - SPb., 1898. 2. Afanasyev Y.L. Etnodyzayn in the context of nation-building and globalization / Y.L. Afanasiev // Ukrainian Culture: Past, Present and ways of development: Coll. Science. pr., Science. app. Rivnen. state. humanit. Univ. - Exactly: RSUH, 2013. - Vol. 19 T. 2. - P. 143-147. 3. Description Boplan G.L. Ukraine. Per. with fr. Y.I. Kravets, Z.P. Borysiuk / GL de Boplan. - K., 1990. 4. Works Favourites M. Weber / Weber. - M., 1990. 5. R. Green 48 laws of power / R. Green. - Moscow: Ripol Classic, 2002. - 768 p. 6. Dnistrovyi A. Letter from the neighborhood: Articles and essays / A Dnistrovyi. - K.: granite, 2010. - 240 p. 7. R. Ingarden artistic value and aesthetic value / R. Ingarden // Philosophical Thought, 2005. - № 6. - P. 65-68. 8. Korogodsky G. [electronic resource] / G. Korogodsky. - Mode of access: www. facebook. com / garik. Korogodskiy. 9. Lozko G.M. Ethnology Ukrainian / G.M. Lozko. - K.: Zodiac - Eco, 1995. - P. 335-336. 10. L.M. Maevska Ethnocultural: Slovn.-lapping. / L.M. Maevska. - Exactly, Waiting, 2007. - 392 p. 11. Makhniy M. Homo ethnikos: psychology and culture / M. Makhno. - Chernigov, 2012.- 400p. 12. D. Shining World moskvynsko problem-Jewish nationalism and liberation / D light. - T.: Mandrivets, 2010. - 320 p. 13. S. Solanskyy problem of interaction between elite and mass art in contemporary cultural continuum / S.S. Solanskyy // Ukrainian Culture: Past, Present and ways of development: Coll. Science. pr., Science. app. Rivnen. state. humanit. Univ. In 2 tonnes. - Vol. 18. - Exactly: RSUH, 2012. T. 2. - P. 125-129. 14. Navrotska A. [electronic resource] / A. Navrotska. - Access mode: uainfo.org / blogosphere / videos 65326. - html.

Summary Androschuk N. Ukrainian ethnic renaissance: social and creative role of ethno-fashion in XXI century The research deals with the problem of phenomenon of еthno-clothing and its cultural historical roots and current operation. Key words: ethno-fashion, ethnic culture, еthno-clothing, style, ethnicity.

Received 11.11.2014

UDC 787(477):821.161.2 O.Y. Bobechko

PLACE AND ROLE OF ART ACTIVITY OF LESYA UKRAINKA IN THE DEVELOPMENT OF BANDURA ART IN UKRAINE

In the constellation of outstanding Ukrainians, weighty role and place them in the history of the Ukrainian state is confirmed by numerous historical sources a prominent place is legendary Ukrainian poetess Lesya Ukrainka (1871- 1913 gg.). The artist worldwide, whose immortal name forever inscribed in the Ukrainian and world literature, is proud and indestructible symbol of our nation, along with geniuses Shevchenko and Ivan Franko. In the face of Ukrainian Lesya affects not only the phenomenon of human sustainability, but also the diversity of her talent - poetry, prose, drama, journalism, literature, ethnography, children’s works. 212 Versatile creative activity of Ukrainian Lesya repeatedly became a subject of study. A special niche occupied intelligence, creativity poet dedicated connections to the music art and music in particular. Among them labor Krotevycha E., L. Melech, G. Kiselev, L. Yarosevych and others. However, significant relationship with Ukrainian Lesya outstanding representatives of the Cossack’s art and its contribution to the development of kobza generally investigated only fragmentary. Generalizing works that have covered the deep interest in creative poet in that direction is not enough. The aim of this article is to fill the scientific gaps informative to study and analyze the place and role of art in the development of Lesya Ukrainian bandura art in Ukraine. Presenting main material. «Women in Literature» - an outstanding phenomenon. This phenomenon has displays of both global and national levels. This is confirmed by prominent figures of Ukrainian literature of the late nineteenth - early. The twentieth century. - Marco Vovchok, Ukrainian Lesya, Kobylanska and our contemporaries - L. Kostenko, M. Matios, A. Zabuzhko I. Rozdobudko, D Ditkovska and others. Note that the period from the mid-nineteenth century. characterized by a revival of activity of our compatriots in women’s issues and at the turn of the nineteenth and twentieth centuries. there are figures of famous Ukrainians Kobrynska, E. Yaroshinsky, founders of Ukrainian women’s movement organized, subsequently joined H. Alchevsk Hrushevska K., K. Hrynevycheva, Kobylanska, S. Okunevska, A. Pchilka Lesya Ukrainian, S. Rusova, Telihy. Deciding not just women’s issues, they have influenced the development of many public areas, particularly cultural and social. Ukrainian Lesya was among representatives of literary intellectuals who sought to address the management issues and women joined the Ukrainian feminist movement. Largely emancipatory direction of Ukrainian women is associated primarily with the need for spiritual fulfillment, attempts to achieve high creative and intellectual perspectives and the desire to realize their creative vision. Some secondary was the need of public affirmation of equal rights with men in all areas of professional and public life. Along with those for Ukrainians to date was an issue of national liberation «in their creative achievements - in all kinds of art - constantly motif representation of Ukrainian spiritual heritage in the world as a part of European culture» [8; 142]. These issues were close to Ukrainian Lesya, it actively introduced to and updating their decision in the cultural sphere. Addressing female psychology and focusing on women’s values, produced the works of the poet, distinguished by the presence of new themes, new type of presence heroes. It is made in the image of Ukrainian literature unshakable will of the individual, high feelings, pride, talented and courageous man. A striking example was free in their feelings, thoughts and actions, deep soul Nymph of drama extravaganza «Forest Song». It is this work became the top creative activity, the deepest expression of musicality and literary talent nationality poetic thinking. Arts Lesya Ukrainian became the outstanding phenomenon that appeared in the context of a tradition of women’s writing is actively formed while [1: 13]. One of the essential features of creativity inherent artistic figures Lesya Ukrainian, was musicality. In a letter to his uncle Drahomanov she wrote: «I sometimes think that I would make far better music than a poet, and the only trouble is that the nature utyala me bad joke» ... «(This is the left hand bone tuberculosis - OB) [9; 243]. Close ties with the musical art and a great love for music, became a source of inspiration for the poet, contributed to a better disclosure of her identity. The consequence of an organic combination of literary and musical talent is genius Lesya Ukrainian poetic lines, which viddzerkalylysya depth and richness of the inner world of unbreakable strength of spirit, optimism and overwhelming creativity. By words and poems based on Lesi Ukrainian, which became the inspiration for many of not only classical (Lysenko, K.Stetsenko, J. Steppe et al.), But today (B. Fils, L. Dychko, etc.). Composers written works that took place in kontsertno- worthy of performing musicians. Among these songs (Solo Singing), choirs, symphonies, operas and ballets. However, most of the works (over one hundred) to the words of the poet written for voice with piano accompaniment - so-called kamerno- vocal lyricism that gave immortal life Lesyni poetry. Along with the invaluable contribution of Ukrainian Lesya in literature, interpretation and implementation of her work in music, note its contribution to the development and establishment of Ukrainian folklore. Name the poet can be placed next to famous Ukrainian musicians and folklorists who showed genuine interest in music since the turn of XIX-XX centuries. Among them Lysenko (organizer of concerts kobzar A. Veresai author intelligence «Characteristic features musical thoughts and Ukrainian songs performed kobzar Veresai» and «Folk musical instruments in Ukraine»), K. flower. The latter, for example, wrote: «... surely we must also cultivate reproduction through live singers and instrumentalists that devote themselves accurately, so to speak, muzealnomu preservation of folk repertoire, folk tradition instrumental performance and style of the game» [4; 131]. Ukrainian Lesya For example for music and folklore were the activities of the founder of Ukrainian classical music Lysenko, literary and theatrical heritage Starytsky, work of the great Ukrainian writer Ivan Franko, and labor historians Dragomanov. These people have spiritual authority for the poet, that their views and aspirations were close to her. The love of folk art was the theme of life and career Lesya Ukrainian. Despite its great interest in the works of many world composers (Chopin, Schubert, Schumann), it is folk songs had the greatest influence on the formation of his personality and literary orientation imaginative thinking, they have become the life-giving source from which the poet drew creative inspiration. Note that Ukrainian Lesya had a fairly thorough knowledge of folk art. Catching (approximately from 1890) collecting and recording folk songs (lyrics and melodies), she set out to the scientific approach to folk music, fitted hard and professionally to favorite line: «while writing songs and motifs I htila converge as possible more Phonographic to dostotnosti to all udaty yaknayvirnishe smallest odminy pronunciation and modulation of all motive, I consider it ideal for every collector oral folk material «[10; 29] - noted poet. «The collection of songs recorded voice of Lesya Ukrainian, 213 was a precious material for Ukrainian composers, teachers, professional and amateur choirs» [17; 22] - noted scholar of the works of L. Yarosevych. Folk music Ukrainian Lesya considered one of the «business of life». Researchers her work notes that «during the joint family life with KV Flower musical and ethnographic interests and sat down to one more place in the life of Lesya Ukrainian, the main thrust of musical biography writer» [7; 35]. It is with interest Lesya Ukrainian folklore, bind her desire to learn playing the bandura, which was at that time quite problematic, because, as noted by Lysenko, which at that time was finding a teacher for their school musical «capable of Bandura urban intelligentsia was not «[7; 33]. Unfortunately, for the period fell G. Khotkevych emigration abroad (from 1906 to 1912 bandurist lived in Galicia, which at that time was part of Austria-Hungary - A. B), so Lesya Ukrainian was forced to seek science Bandura to folk. Evidence of this is the line of her letter to Kobylanska where she wrote about his intentions «summer in Poltava start learning to play the bandura (there is a bandura player, which consented to teach someone) the time without reason someone come and come and fall flirting someone dear something very interesting when smart enough to learn «[11; 162]. Unfortunately, facts that have confirmed or denied the training there. However, for harpers and Lesia Ukrainian Bandura became a significant figure, attaching great efforts to record and preserve the melodies of Ukrainian folk doom. In their study intentions and preserve the traditions of folk singers she continued initiative Khotkevych G., A. and A. Beard Slastion that, considering the urgent deal of research and writing kobza and lyre repertoire, in 1903 began recording repertoire harpers Phonographic on rollers. However, this case was not completed [3; 6]. 1908 Ukrainian Lesya with K. Flower organized the ethnographic expedition to Poltava to record tunes performed by the poet, using the Phonographic machine and rollers for recording thoughts. The journey began with the Myrhorod. In O. Slastion own phonograph record was made repertoire harpers M. Kravchenko from the village. B. Sorochintsy Mirgorod district, M. Dubina from the village. Reshetilovka and Slastion of which also knew several works. Great joy for Ukrainian Lesya was that volunteered to undertake the work of F. Kolessa: «It is nice that Filaret Kolessa go, because this is a very serious and intelligent musician, ethnographer, and perhaps he will work well ...» [12; 358] - wrote in a letter to the mother of the poet. Note that among rekordovanyh artist thoughts are works written in full, and those that managed to keep the part. Thus, among zafonohrafovanyh, find the Duma «On infantryman» (nine pins), «On Marusya Boguslavka» (three rolls), «On the Samara Brothers» (three pins), fragments of thoughts - «Crying slave - I» (the beginning, One roller) and «About the widow and children» (beginning one roller), the song «About the Captive Girl» (M. Kravchenko repertoire) and other songs accompanied lira (lyre player from A. Staples) and without accompaniment (from kobzar M. Dubina and girls Pylypenko J.) [3; 6]. Highly appreciating the brilliant musical creations of their people, feeling the urgency initiated proceedings, it was the anonymous «subsydiatorom» this trip noting that: «There are extreme time to catch up though now that useless execution time, which prohrishylosya Ukrainian citizenship in the case of keeping those marvelous things common to all World Monuments creativity of our people ... kobzar edition melodies give a new and perhaps the greatest foundation national pride ...» [13; 258]. Ukrainian Lesia not only interested in collecting, recording and, accordingly, saving people’s minds as historical material, but also the possibility of artistic reproduction of the material collected. For this purpose, according to the poet, should fix not excerpts works and thoughts in full from beginning to end (melody, words and music of the bandura), because «only then will every singer to resume a live performance singing doom for your records ... «[14; 255]. Noteworthy is the fact that Ukrainian Lesya and K. Flower took part in that process. Thus, while in Yalta in 1908, the couple made records kobzar G. Goncharenko who «were all part of the most valuable materials expedition 1908» [17; 27]. Even later (1913) made the Ukrainian Lesya description of the individual artist and his art of believing that «Kobzar Goncharenko unusually Interesni man and ethnographic, and even fiction look ...» [15; 367]. However, it should be noted imperfections in the manner preserving musical-song material, which was used at that time, namely phonograph recordings. This process was quite difficult because of the device for recording, «I am this as attempted several days pomorochytys the same phonograph, I see that be car - pure doom for the nerves, so it has the annoying sound of such unbearable her whims!» - Ukrainian Lesya wrote [15; 367]. According containments were consuming affair. However, despite this notable is the fact that some councils, precisely because of this method of recording, completely preserved to this day. For example, the Duma «On Alexei Popovich» performed kobzar G. Goncharenko in the recording of Lesya Ukrainian (preserved all three rollers), instead of the existing four rollers with a record of thoughts’ widow and three children, «two are cracked, making it difficult and sometimes impossible playing them. The majority of cylinders, which today is available in various archival collections in Ukraine, no mechanical damage, but some are cracked and broken, many covered with mold, some of them damaged - scratched or nadscherbleni [3; 25]. However, despite the various kinds of difficulties that accompanied this process, the result of an important initiative in preserving Ukrainian poetess Dumnova epic began two volumes publication «Ringtone Ukrainian doom», prepared for printing F. Kolessa that saw the light in 1910 and 1913 respectively, XIII and XIV as volumes of materials to the Ukrainian ethnology NTSh EC [5]. Having received during the life of the first book, Les Ukrainian said: «Now you really have to say,» Our song, our council will not die, do not die! «[17; 28]. At a time when the means not only to preserve but also the dissemination of information is Internet-space and modern life is inextricably linked with the use of computer technology that radically change communication and educational opportunities society with the above epic creative output can be found in the World Wide Web. So in December 2013 214 by the Institute for Information Recording of NAS of Ukraine completed the digitization of the Phonographic records (repertoire kobza and lyre players) that were made during 1904-1912 p. This event was significant, as enabled everyone who wants to listen to recordings made by Ukrainian Lesya, F. Kolessa, K. Flower, A. and A. Boroday Slastion. Unique phonocollection consisting of 56 ridges Phonographic recordings Ukrainian doom, folk songs, instrumental tracks and several other works, and the voice of L. Ukrainian and F. Kolessa released to the public without copyright restrictions. [6] Conducted outstanding Ukrainian titanic work in the field of folk case, including the preservation of musical heritage harpers, was a landmark in terms of archiving for posterity Ukrainian epic works, showed great dedication and love to the folk-song poet creativity in general and kobza-lyre tradition in particular. «Ukrainian Lesya name will be forever linked with the Ukrainian folk song and Duma as it fit with the revolutionary-democratic tradition in Ukrainian literature. For the same conservation works of Ukrainian folk poetry and music is considered an important part of the program of their activities, their vital tasks «[17; 28]. It is in these words of Academician AF points Kolessa reflected the essence of musical and ethnographic Lesya Ukrainian. Her poetry has played a leading role in updating repertory resources Bandura and occupied a special place in their creative and performing activities. Note that traditional bandura art, primarily associated with performance, based on a repertoire of course that defines the method and manner of performing artist. Note that the process of «ozhinochuvannya» bandura art that occurred during the twentieth century., Led not only to quantify the benefits (and in today’s time - dominance) female performers, but also to increase and update bandura repertoire [2; 135]. Before the concert started programs administered works not peculiar to men, namely lullabies - works on women’s repertoire, so-called «mother’s song»; Ritual – where according to Ukrainian ritual tradition, a large part of the performers calendar ceremonial works were mostly men (for example perform Christmas carols), but it is women who are the main carriers of knowledge in this area and responsible for preservation ordinances; song- romance (solospiv) - mostly lyrical solo song with accompaniment, which arose as a result of the interaction of folk and professional art. Note that at the origins of the song are numerous folk songs about love and woman’s fate. By the way, the song-romance I. links Matsiyevskyy development of women’s instrumentalism that has a connection with the singing of «Women mostly performing vocal and instrumental ... woman instruments usually used to accompany» [16; 143]. With the advent of female bandura these works became the basis of their vocal repertoire. Turning to the figures of Ukrainian Lesya, it should be noted that each generation of artists (composers, arrangers, performers) finds its immortal poetry thematic relevance, inexhaustible source of images that become new impulses for their artistic activities. An important layer of Ukrainian music, which make up songs written to the words of Ukrainian Lesya at the highest artistic level is reflected in tvorcho- performing and composer representatives bandura art. Romances are written the words Lesia Ukrainian occupy a special place in the repertoire Bandura, because of inherent widest range of ideological diversity and vivid emotions of intimate lyrics until the dramatic and sometimes heroic pathos. Solo Singing «I do not see a month in the spring» (music of the composer), «I wanted to become a song» (music Stetsenko) «Down, thoughts, you autumn clouds» (music by J. Steppe), «Do not sing me songs measures of» (music D. Sichinskiy) and others to the words of the poet, became an ornament bandura repertoire. Leading modern performer (L. Posikira, O. Gerasimenko, L. Dedyuh, Myrvoda S. et al.), And trios, quartets and ensembles Bandura certainly enrich its heritage performing popular songs to the words of Lesya Ukrainian. Filled with poetic beauty and inexhaustible energy, created and performed professionally, these compositions impressive power and musical sophistication words, leaving a deep impression in the minds and hearts of listeners. Conclusion. Therefore, an outstanding figure of Ukrainian Lesya, which combines the power of the spirit and will of invincibility multifaceted talent, serves as a shining example for many generations. Brilliant Legacy poet, became a treasure not only Ukrainian, but the world cultural treasury, filled with potential, and today continues to nourish our society. Being a patriot with a strong innovative character, Ukrainian Lesya able to reach the heights of creative skills, opening new horizons in Ukrainian literature. Using various means of artistic representation, it artfully presented Ukrainian folklore images to high poetic philosophical sound, giving it special features of exclusivity. One of the priorities of Ukrainian art of the Great began the study and promotion of the Cossack’s art. Her selfless work in the preservation of the unique folklore stratum Ukrainian people - kobzar thoughts, played a major role in promoting Ukrainian folk epic, genre and helped to preserve the epic tradition. Lesya Ukrainian poetry was a source of inspiration for generations of representatives of bandura art played a leading role in updating repertory resources Bandura and took a special place in their creative and performing activities. A striking example of the preservation of the national cultural heritage of Ukrainian Lesya in terms of modernity, aims to encourage a new generation to rethink the role of Ukrainian ethnic and national characteristics of our people to understand the importance of research, study and preservation of the spiritual heritage of Ukraine.

References 1. Aheyeva B. Women Space: Feminist Discourse Ukrainian modernism: monograms. / V. Aheyeva. - K: Fact, 2003. - 320 p. 2. A. Bobechko bandura art of the twentieth century in the context of the feminization: Dis. ... Candidate. Art .:17.00.03 - «Art of Music» / O. Bobechko. - L., 2014. - 291 p. 215 3. On the history of I. Dovgalyuk expedition Filaret Kolessa the Dnieper Ukraine / I. Dovgalyuk // Herald of Lviv. Univ. Series Philology. - L., 2009. - Vol. 47. - P. 5-27. 4. Flower K.V. Featured Articles: y 2 hr. / K.V. Flower; [compilation. and copies. A.I. Ivanytskiy]. - K.: Science. opinion, 1986 - Part 2 - 152 p. 5. Kolessa F. Melodies of Ukrainian folk doom. Lviv, 1910. Series IV (Materials for EC ethnology Ukrainian Shevchenko Scientific Society. T. XIII); 1913 Series II. (Materials for EC ethnology Ukrainian Shevchenko Scientific Society. T. XIV); Reprint: Kolessa F. Melodies of Ukrainian folk dumas / Kolessa F - K: Science. opinion, 1969. - 595 p. 6. Collection phonocylinders Filaret Kolessa [electronic resource]. - Access: https://commons.wikimedia.org/wiki/ Filaret_ Kolessa_phonograph_cylinder_collection / uk 7. Kiselev G.L. Seven strings of the heart: (Music in the life and work of Lesia Ukrainian) / GL Kiselev / Ed. T. Schaeffer. - K.: Music. Ukraine, 1968. - 86 p. 8. Kyyanovska Zhiznetvorchestvo L. Krushelnytska emancipation in the context of Ukrainian Galicia / L. Kyyanovska // Salome Krushelnytska, and Ukrainian spirituality: Coll. Art. / Red.-compilation Smolyakov .: A., P. Smolyakov. - T.: Aston, 2012. - P. 140-152. 9. Lesya Ukrainian. Letter to Drahomanov. December 18, 1890 // Lutsk Ukrainian Lesya. Works: In 4 t. T. .: 4 story. Articles. Sheets / Compilation. N. Vishnevskaya. - K. Dnieper, 1982. - 244 p. 10. Lesya Ukrainian. Coll. op. in 12 volumes. T. 9. Records of folk art. Songs recorded voice of Lesya Ukrainian. - K.: Science. opinion, 1977. - 431 p. 11. Lesya Ukrainian. Letter to O. Kobylianska. May 10, 1906 // Kyiv Ukrainian Lesya. Coll. op. in 12 volumes. T. .: 12 Sheets (1903-1913). - K.: Science. opinion, 1979. - P. 161-163. 12. Lesya Ukrainian. Letter to the AP Kosach (mother). July 10, 1908 // Yevpatoria Ukrainian Lesya. Works: In 4 t. T. .: 4 story. Articles. Sheets / Compilation. N. Vishnevskaya. - K. Dnieper, 1982. - P. 357-360. 13. Lesya Ukrainian. Letter to the Board of Scientific Society. Shevchenko in Lviv. October 4, 1908, Yalta // Lesya Ukrainian. Coll. op. in 12 volumes. T. 12: Letters (1903-1913). - K.: Science. opinion, 1979. - P. 256-258. 14. Lesya Ukrainian. Letter to FM Kolessa. October 3, 1908, Yalta // Lesya Ukrainian. Coll. tv .. in 12 volumes. T. .: 12 Sheets (1903-1913). - K .: Science. opinion, 1979. - P. 254-256. 15. Lesya Ukrainian. Letter to FM Kolessa. December 17, 1908, Yalta // Ukrainian Lesya. Works: In 4 t. T. .: 4 story. Articles. Sheets / Compilation. N. Vishnevskaya. - K. Dnieper, 1982. - P. 367-368. 16. Matsyevskyy IV Narodnaya instrumental Music As culture phenomenon / IV Matsyevskyy. - Almaty: Dyke- Press, 2007. - 520 p. 17. Yarosevych L. Lesya Ukrainian music and / L. Yarosevych. - K .: Music. Ukraine, 1978. - 125 p.

Summary Bobechko O. Place and role of art activity of Lesya Ukrainka in the development of bandura art in Ukraine The article is devoted to the artistic figure of LesyaUkrainka. The role and place of hercreative activities for the development of bandura art in Ukraine are highlights. Key words: Lesia Ukrainka, poetess, art, folklore, kobza, bandura, woman, duma, repertoire.

Received 1.10.2014 UDC 008:7.04(069.51) V.N. Pischanska

SACRED ART OF COSSACK BAROQUE PERIOD

Relevance of research. One of the most striking of art created within Culture is Ukrainian Baroque iconography, and accordingly, it is recognized icon of the baroque aesthetic reflection of spirituality and religiosity Ukraine XVII- XVIII centuries. In Ukrainian baroque iconography utverdzhuvavsya in the seventeenth century. on all Ukrainian lands [12; 64], but its formation in different regions of Ukraine were excellent. History of Ukraine, comprehensively specific historical events influenced the formation and development of the cultural environment differently affects the bloom or a temporary decline of icon art regions. A unique, authentic phenomenon in the history of Ukrainian culture created within Culture is a Cossack Baroque iconography, which flowering occurs at the end of the seventeenth - early eighteenth century. Cossack painters «have initiated many ideas, themes, themes for new icons and more - interesting, intricate means of implementation» [12; 68], the most important feature of their work is the freedom to make their own plans. Distinctive monuments Cossack iconography enrich the palette of diverse national religious art and Ukrainian Baroque art. It should be noted that sacral art of Ukrainian Cossacks - unexplored topic of modern cultural science. Meanwhile Cossack iconography had its characterological features, without which research picture of Ukrainian sacred art remain incomplete. The purpose of the article: show deep religious syncretism aesthetics and iconography Cossack Baroque era, define 216 stylistic and iconographic features of Zaporizhzhya icon art as a sacred phenomenon in the history of Ukrainian culture in Dnieper example of classic design icons «Sorrowful Virgin»; trace the history of Zaporizhzhya Mary - «Sorrowful Virgin» from the XVII century. and to the present; emphasize the relationship between development baroque iconography and history of the Cossacks. The art of Ukrainian iconography studied by scientists in the historic, art and philosophical aspects. Study of Ukrainian icon painting dedicated to the work of leading experts of the industry (P. Beletsky, M. Bohun, P. Zholtovsky, I. Lyman, Logvin G., L. Milyaeva, Yu Mytsyk, Ovsiychuk V., V. Otkovych, S. Plokhii V. Sventsitskoho Oleg Sidorov, D. Stepovyk, Ivan Storozhenko, F. Umantsev and others.). By studying the iconography, the researchers mainly studied art icons Western Ukraine (in the north of Volyn, Transcarpathia and Bukovina in the south) and central Dnipro areas. Iconography eastern lands have viewed some of the scientists, however, mainly Cossacks icons, including icons, created on territory Zaporozhye - Dnieper, long almost fell in the research field, and if considered, the most part of art history perspective. The question of authenticity and originality Pridneprovsk Cossack iconography was only mentioned in a small book by L. Yatsenko «Ukrainian icon late XVII - early twentieth century. in the council of Dnipropetrovsk Art Museum: directory «[15], which contains information about the formation and composition of the collection of Ukrainian icons Dnipropetrovsk Art Museum, catalog information submitted stories characteristic iconography on the Dnieper, described the end of Ukrainian icons XVII - early XX century. in the collection of the museum, considered the foundation of Zaporizhzhya spirituality [11]. Exploring Cossack iconography, it is important to consider the Christian principles of culture Ukrainian Cossacks, considering it sacred and aesthetic origins and meaning, tracing the artistic and stylistic features Baroque art in Ukraine. At the same time understand the features of Cossack iconography in detail only possible when determining its stylistic features, and most importantly, if spiritual awareness sources that can be achieved through a detailed study of existing attractions and comprehension of the cultural environment from which he comes. Art and stylistic features Pridneprovsk art related to the history of the formation of these systems in Ukraine and share the fate of the pan stylistic development, but also exhibit significant specificity for their interpretation. As noted recently scientists’ leading factor stylistic development in Ukraine was a dialogue between diverse, different in origin traditions: it is - firstly, their folklore, pagan foundations, secondly, Byzantine heritage, thirdly, innovations Baroque era, that is inextricably intertwined with the primary folk archetypes of creative thinking «[13; 231]. With this dyfuznosti traditions Baroque era was the richest and brightest era in the history of Christian sacred Dnieper. General nature of Zaporizhzhya folk art and what Zaporozhye icon was the product of folk art - has defined the leading role of the icon, its relationship with other genres of folk art and pivotal position among them. Panorama of historical changes and trends in the Ukrainian style icon provides convincing evidence of the unique originality Ukrainian ikonomalyuvannya [12; 51]. «It is impossible to find another national school icons in the countries of the Eastern rite Christianity spread wherever ikonomalyuvannya (conservative by nature itself) has become so sensitive to different stylistic changes in art and at the same time observed iconography, plot structure, composition, color, rhythm and symbols of the so-called «Pershovzirtsiv» holy images, which were based on the teachings of the Eastern Fathers of the role of images in the church (Basil the Great, Gregory of Nisa, Ioan Chrysostom, Pseudo-Dionisiy Areopahit, Ioan Damascus, Theodore Studite). Ukraine in different circumstances rid of this principle even before Vizantiyska empire collapsed in the middle of the fifteenth century. «[12; 51]. On the territory of the Dnieper one of these «circumstances» was Cossack element. The intensity, concentration, time shortness of art Pridneprovsk give originality blend almost simultaneous mastering of Renaissance and Baroque features and Kiev-Byzantine tradition in Zaporizhzhya icon. Ukrainian painters, preserving the iconic canon «complete those purely national trends emerging in the iconography of the previous day: approximation ideology icons to the particular circumstances of earthly life» [4; 184]. However the conditions Zaporozhye relatively stable state without being the scene of constant military operations and at the same time constantly resisting the growing spiritual, as well as other forms of expansion, and is an opportunity to demand of the times - the definition of their national identity. Cossack Baroque icon combines the traditional iconography and themes of simultaneous variation within the rules, with changes in image and style diversification scenes. Baroque iconography icons Dnieper Zaporozhye relatively short time demonstrates the range of images that have been identified in the nineteenth century., Which coincides exactly with the Kiev chorus Saints. This mainly - Mother of God, Christ, St. Nicholas Archangel Michael, Apostle Andrew. The most developed and diverse iconography is the Virgin Mary, which also corresponds to commemorate its features Cossacks who choose their heavenly patroness Virgin and patron [14; 223]. A classic example of Baroque Dnieper icon is an image of the Virgin of Zaporizhzhya - «Sorrowful Virgin», which has a constant Zaporizhzhya icon iconography of the Virgin, inspired sword. This is the tragic image of the Virgin - strazhdalnytsi and zhalibnytsi - the most consistent with the spirit and the existence of the Cossack constant risk of his martyrdom and self-sacrifice for the sake of victory. «Inspired heroic struggle for freedom, faith and homeland,» Holy «fervor which was filled call to join Zaporizhzhya troops:» Who wants to be chetvertovanym or kolesovanym for the faith of Christ, holy most honored Cross, partaker of us «- is symbolic figurative embodiment in such a sublime and moving, unusual in the iconography, Zaporizhzhya icon image that it takes only respected, prominent place. 217 «Grieving Mother sword imbued with suffering and pain around the crucified Son», the miraculous image of Our Lady Novokodatskoyi-Samara shrine is protected, Paladium Zaporozhye, symbolically shared his fate «[15; 14]. The most complete narrative history of the origin and existence of Zaporizhzhya Miraculous image of Our Lady of Samara we found in the «Ekaterynoslavskyh eparhyalnыh Gazette» in 1872, stored in the Dnipropetrovsk regional archive. At number 18, 19 and 20 of the said periodical publication placed ‘Kratkye Detail mestnochtymoy ykone Dame, nahodyascheysya in Samara Pustыnno-Nikolaevsk Monasteries Ekaterynoslavskoy diocese «[5], [6], [7]. Authorship is not specified, but probably belongs Katerynoslav the then Bishop Theodosius. The author is based on the first information about the icon, collected during the «investigation» statement of fact chudotvornosti icons on the time of its appearance. Icon of Our Lady of Samara is Zaporozhyaprofitable miraculous icon of knowledge on the Dnieper mid-seventeenth century. [2; 103-104]. The presence of a relatively large number of historical sources (Rozanov, F. Makarevskyy, D Yavornytsky, V. Byednov, V. Mashukov) and numerous lists, reflecting sustained interest and veneration of the icon, makes it possible to trace the history of Zaporizhzhya «miraculous» to determine features iconography and imagery. The icon appears in 1770 in. New Kodatsi - one of the ancient (the first half. XVII.) And points in the history of Ukrainian Cossacks, an important transit point between East and West, Poland, Russia and the Crimea. It contained a Kodak Palanca center, was a military palace fortifications. St. Nicholas Church, which is not known who placed the icon as report to October 1770 P. Kalnyshevskomu rector of. Fedor Fomych, Cossack battalion Levushkinskoho [6; 304-305] uslavlyuyetsya wonders in Zaporozhye, and at that time the cathedral with four, followed by seven priests. Miraculous Appearance of when and where the problem of spiritual justification of the national state idea belonged, as has been noted, as badly as assimilation and preservation of territories «Liberties» Zaporozhye Cossacks and when the church, just as the Zaporozhye, remained only for the actual preservation of «liberties» of Ukraine, was of fundamental importance. It is no accident the orders Kalnyshevsky «Investigation» conducted Starokazatsky Zaporozhian spiritual management led by Chief G. Porokhnya without notification appearing miraculous icon of the consistory and Metropolis Moscow church. It was first collected information on the history of the origin and existence of icons, made its description. These materials are then repeatedly more or less abbreviated cited with certain variations. In particular, according to old-timers, namely Churchwarden church S. Bardadyma found that miraculous icon similar to Okhtyrka miraculous, the size of the «arshins half and three and a half tall cream and arshins inch width with a face painted on lime board glued middle paint» already looked at the time of the appearance of «dilapidated». «Paints sintered, Holy face darkened by fire.» It was in an old wooden Novokodatskiy church was already known in 1730-ies., As recorded in the inscription 1836, is returning to his native land of Cossacks of Oleshkovsky Sich after preliminary ruin. According to legend, was brought from the East Cossacks, who put her first in Urinary church, and then moved to New Kodak. Without going to the iconostasis, was in the pews, altars, and the new Kyoto, made at the expense Churchwarden Cossack Fomych in remembrance of his soul pet vyhreschenoho Tatar, was exhibited at the choir to honor. December 30, 1772 miraculous icon was dressed in gilded silver robe spravlenu expense P. Kalnyshevskoho. This is stated in the inscription on his vesture with dating, weight and cost of garments. Before her praying Cossacks, going to the Russian-Turkish war of 1730-ies. And thank for the happy return, and haidamaks, led by iron ore during Koliivshchyna. We present evidence of healing, acceptance of the Christian faith under the influence of the miraculous image. By Zaporizhzhya miraculous pilgrimage was not only Ukraine, but also Poland, Russia, Georgia, Greece, messengers came from Mount Athos and Constantinople [7]. After the destruction of Zaporizhzhya church authorities Novorossiysk, Ekaterinoslav Diocese later apparently attempted to remove this miraculous icon of the existence of the former Zaporozhye, thanks to the insistence of the local inhabitants of the former Zaporozhian Samara-Novoselytsia, Archbishop Ekaterynoslavsky P. Lubarsky «for the sake of peace» allows you to move the miraculous icon to Samara Pustynno- Nicholas monastery, where she «was the main shrine decoration and the first» glorious Zaporozhian former monastery, then Yekaterinoslav Provincial House bishops [7; 227]. In the early twentieth century. icon remained in the desert Samara Nicholas Monastery. The last true memory of the Zaporizhian miraculous, as the Leonid Yatsenko, have in 1929 [15; 15]. Icon at the time was in Dnipropetrovsk Historical Museum. Another mention of the icon of Our Lady of Samara, which indicates L. Yatsenko [15; 15], is in 1944, when some of the icons transferred from Cathedral UAOC to Trinity Cathedral ROC fixed Zaporizhia miraculous. Unfortunately, robe icons, V. Mashukovym described in the Samara monastery is not mentioned and only came to us a detailed description of its icons and ornaments white and blue sapphires, purple and green gems [9; 137]. Icon of Our Lady of Samara lives in iconography Dnieper, revealing his veneration of many lists. Leonid Yatsenko in that book gives three lists of «Our Lady of Samara», located in Dnepropetrovsk Art Museum. The most complete list of researcher believes Samara desert Nicholas Monastery, pointing to the coincidence list of all elements of the composition described V. Mashukovym. «For almost monochrome color icon with a predominance of a golden brown, ocher tones, restrained, elegant, concise clear in outline Dame underlined peculiar eastern archetype» [15; 15]. Yatsenko shows another image of the «Virgin of Samara» which came from Novomoskovsk. «Gold embossed background, perhaps imitating» pure gold «original garments» [15; 15], the researcher believes that made «under the enamel» golden-white- blue halo around the crown prominchastyy match the description B. Mashukova. «However, almost invisible essentially symbolic detail - the sword of Tree of the Cross, which distinguishes primarily the Samara Virgin of Our Lady of 218 Sorrow-Okhtyrka - molilnytsi, but other differences remain, particularly value napivpostati Virgin and the Crucifixion. This is particularly emphatic close to the beauty, soft gentle, clear face of the Virgin Mary, elegance, decorative splendor icons brings to this list mood much enlightenment, admiration and muffles the tragic nature of the offense, the motives of mourning and suffering «[15; 15]. In the third embodiment, the main iconographic motif - sword proymaye heart Dame - saved, but he shortened, simplified details. User Icon of Our Lady Novokodatskoyi-Samara now exist in the current church desert Samara Nicholas Monastery and Trinity Cathedral in Dnepropetrovsk. Last completeness of details and features the inscription - «Novokodatska» - the first name of the icon. In the absence of original stylistic features considered icons of the Virgin Novokodatskoyi- Samara can for numbered lists. Generally «lists only certify original type «Sorrowful Virgin», marked as a certain affinity with the Western European tradition and oriental origin «[15; 15]. The feature of the iconography of the Virgin Novokodatskoyi-Samara are symbols that belong to the iconographic type of «Our Lady imbued sword», and its composition meet «passionate imaginative presentation «Sretensky» plot accented symbolic attributes «[15, p. 15]. «Attributes» full of deep mystical mood - «an instrument of Christ’s suffering» and the sword that goes through tree Sign of the Crucified at Calvary Temple in Jerusalem against the backdrop of Christ and the Virgin proymaye heart - symbols of traditional images on the Eucharistic theme. Along with them - cock on a column, the Sun and the Moon - a typical set of attributes symvoliko- allegorical themes Ukrainian Baroque. «Cock on a pillar» - a symbol of renunciation Ap. Peter, but in this case it is a symbol of resurrection - «cock Abrakasa» that connects the icons of early Christian symbolism Asia Minor trends. Moon and Sun - the eye of the Divine. It distinguishes special symbols «Virgin Samara» of other images «Sorrowful Mother» story «Lamentation» and especially close to «the Virgin Okhtyrka.» At the same time it creates a parallel with that too on a purely Ukrainian iconography as icon «Christ grower.» «And most importantly - emphasizes Leonid Yatsenko - symbols of» Our Lady of Samara «is filled with special meaning in combining the idea of the Crucifixion with the idea of Resurrection.» Then the researcher continues: «The Cossacks, who apparently were familiar with the original» Sretensky «subtext of his miraculous image, could not be close this tragic but heroic, life-affirming concept of» miraculous «[15; 15]. In the early twentieth century. D.Yavornytsky proclaimed icon of the Virgin model of Samara, aptly, Italian-Byzantine type, linked analogy Western and Eastern origin, testified that characteristic stylistic breadth of range, the fusion of art and spiritual traditions between different branches of Christian iconography that was common in not related violent canons, freely interpreting various trends junction Dnieper Cossack era. It should be noted that in the Dnieper baroque icons XVII-XVIII centuries. find the situation where besides iconographic symbols, the symbols used simultaneously archetypal, mythological, allegorical, traditional, Cossack and others. Language icon symbol, as noted by Leonid Yatsenko, «Zaporizhzhya» miraculous «embodied Cossack and a national ideal that combines traditional Ukrainian incarnation of the Virgin Mary, Sorrowful Mother adding image - and mourners molilnytsi - Cross the idea of sacrifice the idea of resurrection, affirming immortality motive close Cossack manners and is conformable courageous Cossack epic poetry - Duma. This provided a miraculous image of «Our Lady of Samara» long life and worship on the territory of Cossack liberties ... «[15; 16]. Dnieper Cossack Baroque icon has pathos, grace, playfulness; icons seen in Zaporozhye Cossacks gravity ideal to the ideal of Christian, tangible rise to the heavens native land, his people and humanity. Zaporizhzhya organic syncretism icon is sacred and aesthetic. Despite all his «contempt for the standards,» she keeps in pristine purity and spirituality restraint epic character that make holiness Image Zaporizhzhya, passing this ideal distance confrontation of man to eternity, and the portrait that grows from it by the end of the existence of Zaporozhye.

References 1. Bednov B. Kratkiє information about the archive Samara Desert Nicholas monastery / V.A. Bednov // Annals of Ekaterinoslav Scientific Archive Committees: Vol. IV. [Ed. A. Sinyavsky]. - Ekaterinoslav Type. gubernskago zemstvos, 1908. - S. 337-356. 2. Dnipropetrovsk єparhiya: information and reference guide / [Author draft Metropolitan Dnipropetrovsk i Pavlograd Irenaeus; Ch. Ed. O. Molasses]. - Dnepropetrovsk: ART Press, 2008. - 648 p. 3. Zholtovsky P.M. Artistic life in Ukraine XVI - XVIII centuries. / P. Zholtovsky. - K.: Science. opinion, 1983. - 180 p. 4. Kalashnikov O.L. Ukrainian and foreign culture: [lecture] / OL Kalashnikov. - Dnepropetrovsk: UAC, 2003. - 202 p. 5. A summary of the icon of Our Lady of the locally located in desert-Samara Nicholas Monastery Ekaterinoslav Diocese / [Ed., Rektor Seminarіi Arhimandrit Dalmat] // Ekaterinosl. Diocesan Gazette. - 1872. - № 18. - S. 320-329. 6. A summary of the icon of Our Lady of the locally located in desert-Samara Nicholas Monastery Ekaterinoslav Diocese / [Ed., Rektor Seminarіi Arhimandrit Dalmat] // Ekaterinosl. Diocesan Gazette. - 1872. - № 19. - S. 304-305. 7. A summary of the icon of Our Lady of the locally located in desert-Samara Nicholas Monastery Ekaterinoslav Diocese / [Ed., Rektor Seminarіi Arhimandrit Dalmat] // Ekaterinosl. Diocesan Gazette. - 1872. - № 20. - S. 319-327. 8. Logvin G.N. Ukrainian baroque in the context of European art / G.N. Logvin // Ukrainian Baroque and European context / [Ch. Ed. AK Fedoruk]. - K.: Science. opinion, 1991. - P. 10-23. 219 9. Mashukov V.D. Memories veteran icon of «Weeping Savior» located in Yekaterinoslav in the Cathedral Transfiguration Cathedral / V.D. Mashukov // Annals of Ekaterinoslav Scientific Archive Committees (1904-1905) Vol. VI. [Ed. A. Sinyavsky]. - Ekaterinoslav Type. gubernskago zemstvos, 1910. - S. 132-147. 10. Mylyaeva Eve Baroque L.S. / L.S. Mylyayeva Arts // Ukraine: Coll. Science. pr. - K.: Flash, 2000. - Vol. 1. - P. 27-48. 11. Peschansky V.M. On the history of one assembly / V.M. Peschansky // Culture of Ukraine. Vol. 34.: Coll. Science. pr.; for the Society. Ed. VM Sheiko. - H.: HDAK, 2011. - P. 172-180. 12. Stepovyk D. History of the Ukrainian icon X - XX centuries / A.D. Steppe. - Kind. 2nd stereotype. - Kyiv: Lybid, 2004. - 440 p. 13. Ukrainian art culture: Training. guidances. / [Ed. JF Lyashenko]. - Kyiv: Lybid, 1996. - 416 p. 14. Yavornytsky D.I. Zaporozhye Cossacks history: in 3 vol. / D.I. Yavornytsky. - LA: World, 1990. - T. 1. - 319 p. 15. L. Yatsenko Ukrainian icon late XVII - early XX century in the assembly of the Dnepropetrovsk Art Museum: catalog / L.I. Yatsenko. - Dnepropetrovsk: DANA, 1997. - 48 p.

Summary Pischanska V. Sacred art of Cossack Baroque period The article examines the aesthetic, stylistic and iconographic Baroque iconography of the Ukrainian Cossacks, traces the history of the Cossack icon «Virgin of grieving». Key words: the culture of Ukrainian Cossacks, the Cossack art, folk painting, icon, icon painting, the Cossack Baroque.

Received 9.10.2014

UDC 044.3.75 I. Zubavina

VISUAL CODE AS GENERATOR OF NEW SENSES (ON THE EXAMPLE OF MATTHEW BARNEY’S SCREEN PROJECTS)

Relevance of the study of visual codes screen spectacle no doubt against the backdrop of turbulent processes virtualization world: vizualnist screen becomes the basis of indirect perception. Not only because more than 80% of the information people perceive through sight, but also because the known expression Makluena D., a researcher of popular culture and media influence on the audience of communication «Eye increasingly takes over the functions of the ear.» Therefore, based on the specified priority for modern human visual impressions, it is important to investigate the intentions of sense and communicative performance of the work screen, built without verbalized movlenevyh acts for visual signs, metaphors, symbols. Given the task logical appeal to the center-osular creativity Matthew Barney, large-scale art events which, translated into on videotape, the variation being represented in the symbolic space, filled with transformed suppressed eroticism and sensuality. Creativity stars of world art avant M. Barney, who works at the intersection of film, sculpture and painting seems to have pretty thoroughly explored in the context of interdisciplinary specialists such areas of the humanities as philosophy, psychology, mythology, art criticism, linguistics and so on. In particular, philosopher N. Mankovska exploring the aesthetic features of postmodern mythology in projects N. Barney onscreen compared to other works of the artist- postmodernist P. Hrinveya [5]. Individual Barney mythology of psychoanalytic position shtudiruet art critic, cultural Kulik I. [4]. Practice active use of discursive resources of psychoanalysis quite common. By approaching psychoanalytic interpretation of Russian writer D. Bavylskoho [1], which proves that the visionary Exercise Barney unfold logically sleep. These kvazibarokovi spectacle, combining with enchanting zobrazhalnist psevdorealizmom remind, according to the researcher, «wide-dream», which is Bavylskyy the characteristics of such diverse filmmakers as M. Antonioni, P. Greenway, D. Lynch, as well as certain sections notices with the works of writer Vladimir Sorokin and J. Koons American artist. Genealogical links creativity with art M. Barney’s 1960-1970 work discussed in O. Keller and F. Ward [12], who perceive the most famous screen work M. Barney, kvaziblokbaster «Cremaster» as the paradox of neo-avant-garde. Linguistics body in his works dedicated to cinema exploration K. Karaev [3], revealing certain aspects of ontology and semiology body, its sensuality, its value and monitor body language of urban landscapes in the work of the artist. Thus, the dialogue between text and its tvotsem and entered text and the recipient in the context of the relationship of body and space environment. Researcher interpreting art onscreen lyrics Barney’s options physicality, considers «bodies as bodies hidden text object, the invention of which is due to the touch, perceived muscular system of the body.» It is a specific, most intimate muscle of the male body, which gave the name of the series (the term «kremayster» is taken from a medical encyclopedia: the so-called muscle that reduces the male scrotum, reacting sensitively to temperature change, fear, 220 emotional distress, etc.) . As «anatomy lesson» considers the cycle «Kremayster» and philosopher known for his work on aesthetics, Arthur S. Dante [11]. He strongly disagrees with the definition of the author «Kremaystera» by Picasso or Leonardo of our time, based on the characteristics of creativity Barney, is not characteristic of his predecessors: the use of modern artistic resources (productive kinds of contemporary art - installations, happening, body art, performance) reaktualizatsiyu dance, music, sculpture, architecture, and the new discovery of painting and photography as protokinematohrafa. Based on the relevance of characters full of physicality and implementation strategies of sexual libido among other things, Arthur S. Dante provides an interesting visual interpretative version of this character as the embryo targeting up route - the most famous central character, the third part of the cycle - «Cremaster-3». Philosopher interprets this vector orientation as a pure potentsialnosti at the same time - as a way of overcoming obstacles, among them - leveling trivial differences, contradictions between exhibiting space and its contents. «On the basis of images of the body as» M. Barney wrote and famous poet Alexander Parschykov [9] in the essay «Dyhitalnyy satyr.» However, Huaxi exploring art and video art in general aesthetic experience of the twentieth century. A. Parschykov in his essay focuses on new possibilities of perception of creativity as prognostic Barney on the future of media, whose fate is to disappear, dissolve in the images. Not just external images of film, television and dyhitalnoyi pictures, and in the matrix, introduced human flesh. A. Parschykov writes magnetic resonance images, CT scans, and thermography. Proving the fallacy study of creativity by Barney cinematic scale, Parschykov still recognizes that in the movie Barney is a definite relationship: the artist connects with the traditional art of moving images admission to a number of graphic literature (it is the use of narrative structures as basic structures for metaphors ). However, we must admit that Barney apparently «Simulates» opovidnist without limiting linearity into drama without relying on sovereign importance of forms. So Barney works paradoxically perceived as both abstract and figurative as. Among the researchers of different aspects of M. Barney can add many more names, among them - A. Rakhmanov, A. Gorokhov, V. Kyrhmayyer and others. However, in this three-dimensional and multi-dimensional aspects of numerous quests «barniznavtsiv» kinoznavcho-cultural approaches to vizualistyky postmodern practices screen M. Barney open new horizons for research why there are several good reasons. First, kinoznavchyh promising perspectives study is based on the works of an artist paradoxical maxim output (basic principle): videopolotna Barney show moving image performance return to its visual artistic origins, organization art space on the screen, which is dominated by visual semantic codes. This principle of «reverse flow» refers also to the rejection of narrative, dreyfuvanni to mythological foundations when «Screen graphy» is based on the ruins of the description form that is in the making, combining the elements supposedly incompatible. The second motivation appeals to vizualistyky screen works Barney should recognize the persuasiveness of cultural heredity art projects of the artist - the relationship with the cinematic avant-garde, experimental art movement that rejects traditional forms. In the movie, the term referred to several groups of radical experimentalists such as - representatives of German expressionism, French and Soviet avant-garde cinema «innovators» 1920s American underground cinema 1940-60’s, and contemporary video art. From this follows the third reason genealogy research attention to the works of Barney screen - namely productive relationship with «occult renaissance» [8]. Because almost all important representatives of the avant-garde and modernism in some way connected with the revival of the occult elements. Not enigma that representatives of Futurism, Cubism, Suprematism, even those who denied his connections with «mystical backgrounds», in declarations manifestos and in the works based on occult technology. However, such «occult renaissance» is primarily a proliferation of ideas of Blavatsky, Steiner et al., In the second half. The twentieth century. loses its sacred seriousness. The introduction of elements of postmodern ironic attitude and playing works by artists occultists was the first step of a certain distancing from the sacred contents. Subsequently adaptation mysticism led to mass culture «vulgarization» of sacred ideas and practices followed by the removal of any taboos on their screen interpretations. Not coincidentally, the object of our study was elected p’yatychasnyy art project the artist «Kremaster» («Cremaster»), created with Hollywood ambitious scale and imbued with the idea of understanding the long history of humanity means telling Screen sculpture, music, dance, architecture, carnival and continuous Performance. Without a single word. Therefore, the project can serve as a shining example approaches specific to the situation today, when given the obvious advantage of audiovisual data transmission. As aptly justification Canadian theorist M. Makluena «Gutenberg Galaxy» begins to give up its dominant position under pressure oriented audiovizualnosti effect of electronic and followed it the digital locks. The essence of this «visual turn» contained in that word, written primarily cultural code, gives primacy: vytyskuyetsya verbal visual. For cinema as art associated with the creation of moving images, visual component is one of the ontological components of artistic imagery. Therefore, it is in contemporary audiovisual art, where verbal and visual communication traditionally based on genetic kinship «visual» arts of painting, plastic and sound interaction becomes more new models and forms. Artist and sculptor M. Barney quite naturally turned to screen art, which is one of the most effective Representational systems, visual art in nature. Although, strictly speaking, M. Barney screen projects, including five parts «Kremaystra» - not so much a movie as videofiksatsiyu vibrant art performances, mixed with the personal mythology of the author, the essential features of which are eclectic, juggling fragments of various mythological structures flicker of meaning 221 that is consistent with the generic features of postmodern work. The basic concepts for mifosvitu Barney is: the body, architecture, space, adapting to the artistic reality for ever undergoing mutation, transformation, deformation under the influence of various factors - from changes in emotional states then jumps temperature conditions. Therefore, among the important symbols «Kremaystera» - sculptural forms made of organic materials, architectural status of existing characters, naked flesh, bloody bodies so on. Semantic structure Barney video works created at the intersection of cultural and visual anthropology, based on a complex system of allegories and metaphors nontrivial manifested in fantastic images. Mythical characters, the body is constantly subject to change under the influence of fear, cold, suffering from gender ambiguity of masculine and feminine. One of the through images «Kremastera» - a young mason who seeks spiritual perfection and from the first to the last part of the cycle goes to all new levels ritual initiation according to three levels of hierarchy - apprentice, journeyman, master. Barney makes a young man to overcome circuit failures and failure along the way of spiritual growth. Psevdosakralnoho feigning action causes the active operation symbols Masonic hierarchy, constituting one of the semantic levels / layers of canvas art. However, postmodernovyy symbolism M. Barney has a great difference, because the characters are based on the foundations of his personal mythology, with the light hand of the Master emblematic attributes Masonic ceremonial face lift and filled with cement, andTower «Kreisler Building.» Besides numerous references to the symbols and sacred rytualistyku «free kam’yanariv» - from hard rock performance by a group song Masonic text dedicated to the use of the sign frame decoration equipment (aprons, compasses, silver masterkiv, odvisiv and triangles), key images of the film among other things, contain allusions to Greek mythology, the Old Testament, the works of Freud, Bataille, associated with «low genre» newspaper reports, tabloid literature refer to encyclopedic articles, and more - in textbooks of anatomy and physiology. It was physicality in all moduses dimensions of existence and work centered M. Barney. Body - a kind of «label», emblematic sign of his videopoloten. Beyond that - the artist in his screen as if heppininhah solidarity with the view of Jean-Luc Nancy: «Every thought is a body» [7; 149]. In addition to a variety of symbols and images of physicality, anatomical and morfnosti, fiziolohizmiv represent themselves as integral parts of a central semantic layers of M. Barney, an artist in the design space of organize it as a kind of existence for the entire volume of the body, pain is transmitted through the reception overcoming various obstacles persuasion. Promotion of the embryo in the early stages «Kremaystera 3» may well be read as a metaphor of the body that resists pruchayuchys environment. «This kind of body - writes the American researcher A. Khrenov kinoavanhardu - was an effective factor in not only alternative identity in women, gay and lesbian culture, but also transgressive kvirsub’yektyvnosti (the» queer «- funny, eccentric). This subjectivity, which is in constant formation, development can not be reduced to any stable, sustainable models of identification, including homo- and hetero sex, male and female, white and colored «[10; 184]. Barney found a successful comprehensive visual equivalent of uncertainty: protyskayetsya embryo through the Earth’s firmament, cramped maze crawling under shpylepodibnoyu building corporation «Chrysler» in New York that it identifies with Barney Masonic temple. Sexually polymorphic embryo body blurs the boundaries of stable gender orientation, comprehension promoting alternative forms of physicality. Another «trick» project - introducing the idea of a multi-layered identity: one and the same performers are transformed into different characters. That Barney himself alone in a white apron and women’s sandals on bare feet, holding pink rag in hnylozubomu bloody mouth. Closely to it in napivoberti is a woman (this role legless American actress and model E. Mallinz) in the same apron on naked flesh instead of legs - transparent prostheses. Since the composition is clear: man and woman are very alienated. But the same singer-amputantka - is a female cheetah that moves on prostheses specially designed in the likeness of Cat’s paws predator species. Beyond that, babe occasionally takes this sort of graceful animal with the corresponding plastic movements. Generally artistic escapades M. Barney full physical attacks impulsive, chaotic aggression which indicates a kind of rebellion against the reduction flawed person to separate the functions shown emotion sign gesture. On the seething mixture maskultovyh cliche, of which inexplicably Barney builds a world where raging element Eros and Dionysian mysteries, vrivnovazhuyuchys solemnity Masonic rituals and sentiments of civilized eschatology irony heppeninhu . Shocking, shock screen shots pompous performances, Barney synthesized with grotesque violence and irony, showing a tendency of contemporary visual mythology of pathological symptoms to exposure unconscious. It is about symbols and signs, capable of entering into resonance with the unconscious contents hlyadachevyh slums therefore provide deep scope of this willingness to accept archetypal, esoteric symbols, occult elements of magical practices, bringing on-screen text to the kind of magic. Indeed, lush, spectacular staging Baroque M. Barney have a charming impression suhhestyvno affect the viewer, impressive, draw text field. They are often compared to the works of Hrinveya, K. Tarantino, David Lynch, proclaiming a visual symbol of the late 1990s. Indeed, art projects Matthew Barney - a real eye hipervizualnyy ucht. Meanwhile, in a sense, «film» artist - highly discourses self-sufficient reflection on basic universals of culture - birth, life, death. Every era in their own plays and interprets them in its own way. These interpretations cause the apparition of meanings, new figurative expression universals of culture, a new vision of the universe, life and death, beauty of nature and the human body. Compared to modern art that it’s value, semantic and meaningful, the current situation of postmodernism, and all 222 the after- post ramifications, can develop interpretation in any direction. There is a re-interpretation of the formation of a new value-semantic core, with ironic emphasis relativity of values different quality - from sacred to customary. Postmodernism manifests this program relative, despite the danger of total correlation. Statements postmodern disposition dualistic opposites virtually eliminates binary oppositions top and bottom, good and evil, high and low, day and night, male and female, spiritual and corporeal others. The world loses «scene parameters» established dimensions of the universe, characteristic of Art Nouveau. And at the same time there is a gradual devaluation of the integral value and meaning. In particular, the screen works of Barney, characteristic of postmodern manipulation of fragments of various mythologies, eclectic deployment of visually rich snippets feykovoyi reality of frivolous «Serfinhuvannyam» tangent to valued content, like screen takes on the role of semantic matrix. One of the typical signs the OSD world M. Barney is crazy experimenting with artistic forms, peculiar avant principles which the artist consistently develops. Actually, postavanhard Barney grew up in a landfill cultural cliches, among them a prominent place occupied restructuring cliché that they become unique in its time «indicators vanguard.» The author is a provocative game with the audience, as if trying to turn it to their customers artistic texts on the Co- Creator. Makes recipient own internal form to search works. This «withdrawal» may be considered as one of the aspects of the «death of the author». Lyrics like «alienated» and their information saturation and plastic richness, ambiguity messedzhu, zashyfrovanist it extremely challenging to «read» the audience polysemantic codes. This is the first use of visual codes, because the films of M. Barney actually irrational, although they have a lot of music and sounds. This demonstration can be traced updated principles of screen broadcast when the number of plastic is treated not as a «blank» during verbal decoration, but as a self-contained process speech. It should be noted transcultural potential ability of such «dysleksychnyh» on-screen messages as facial expressions, gestures, musical sounds, choreographic plastic, combined the system, also have symbolic nature. And this non-verbal communication as language arts, transnational detected. Videotvory Barney to provoke thought, because facial pantomime and other marks isolated art is not always easy to automatic translation, providing for a specific tool for transferring and reading meanings ownership «keys» decryption different layers of complex rhythmic patterns. A kind of coding element in the art, including Barney in video art is a metaphor (as an alternative means of expression). Metaphor - the product not only of language (formal code), but also thinking. Now that is, aptly kuluroloha V. Mitin, «metaphor offset problems at the center of philosophical interpretation, understanding the metaphor as a form of human thought» [6; 50], communication between the viewer and the work carried out both decoding metaphors, symbols. Bar offers viewers an aesthetically meaningful dip in fragmented text supersaturated metaphors, allegories, stunning images that provoke astonishment on the verge of shock. Recall would, as if alive, the body becomes a skyscraper «Kreisler», presented in a purely expressionist aesthetics, with due dizzying geometry of planes, dim lighting, diverse strains of space. Not anthropomorphic architectural object endowed with psychological and physiological characteristics. Something like that observed in the film Peter Hrinveya «The Cook, The Thief, His Wife and Her Lover», where the Restaurant interpreted as the image of the sacred buildings - the temple of modern civilization. Decorations restaurant stylistically resolved as analogues of the gastrointestinal tract, which gradually digesting person. For communication with the viewer art projects Barney, like any work of art involves several levels of involvement / immersion - of cognitive, psychosocial and communication to the symbolic. Some of them are active in the phase of anticipation and meeting work part refers to the aftereffects, but saturated polysemantic iconic images in the movie Barney particular importance is the involvement of the recipient phase in the process of perception, rather - communication with the on-screen procedural work. Where work which the known definition of Hegel is a certain «aesthetic reality» while the system is significant. Signs essential that communication occurred. What are the basic principles of communication between Barney and his audience? In the absence of words, meaning the main burden falls on the visual figurative marks. «As a mark in the art may make color, shape, line, gesture, rhythm and more. They can be seen as lower forms of artistic mark. Significant figurative mark, since there is a real object or image or symbol that has shaped the character conveys information about unreal, abstract object or symbol, for whom conventional fixed core value «[6; 39]. In «Kremaysteri» tightly packed rows consist sign metaopovidi intersecting, flow into each other, leaving no chance for them to build a linear plot. Not simple way to the dedication of the young mason oddly interfaced with the events of world importance and fancy simulations on the basis of the combination of fragments «different realities» - social, historical, mythological. In the midst of provocative game, outright opposition to pragmatism consumer spectacle Barney interprets ancient myths and stereotypes quite modern in the codes of the new physicality, the new «postmodern sensibility» (sensuellement, R. Bart) with a characteristic «sliding over the surface» - and a cursory understanding of the illusory reality . This postmodern practice of introducing different codes combined with Barney of mystification to habit, imitation, creating the illusion of visibility / pozirnosti. Therefore, finding a reliance primarily in the depiction, expressive palette of an artist involves perception / understanding, both rational and intuitive level. Artist and sculptor, he actively involves the creative works of the structure of their screen space objects - sculptures of white stearinopodibnoyi substance turns them into a number of visual elements, which take the form of special importance, volume, the principles of relations of objects, color, light . Such Zchlenovuvavshy «Inventory» of another 223 fantasy-art clarity, Barney reaches a high level of expression. Thought, emotion, mood get him the exact forms that tend to hypertrophy, outrageous, mystery, clowning, carnival and within the scope of the game. Repeatedly have heard fantastic definition screen performances Barney as «visual opera» that has some merit, because of their discrete story - from one situation - to another. However paradoxical combination of visual and audio phrase categories is associated with such an oxymoron - a «symphony for the eyes.» That is called your works of Jean-screen Dyulak, bright representative of the French kinoavanhardu 1920s. Comparison of «film» Barney’s opera seems logical for another reason: music unites in a fantastic, surrealistic integrity diverse works of poetic consciousness - of allegory archaic legends and myths to kontemporalnyh sculptural elements - stereometric forms, made of white stearynopodibnoho material, petroleum jelly, ice, jelly and wax - almost «live» organic, which responds to changes in temperature conditions similar to emotional states. It would seem a natural artist and sculptor appeal to elementary spatial structures between the leaves kind not rozshyfrovanist, mystery, surprise generated by the use of these objects in the frame. They are like cinematic «perebyvky installation» are useful when moving themes, plots, characters and other semiotic schemes from one layer to another culture. Such chaotic movement in constant search of the conventional «point of transition» - between male and female, fear and rage, between form and amorphous - one of the most popular artistic techniques in a creative workshop Barney. In the prologue to «Kremaystera 3» seeing relationships / communication fabulously two mythological characters, one of which recalls the ancient Cyclops. And another - troll or leprechauns, madman instead of gold on abstract forms with white plastic like material. Each of these characters is characterized by a special, rather conventional style of behavior, the organization of life and attitude to living substance - natural or neighbor, and specific tembralnistyu sound. Consciously abandoning the words Barney focuses on nonverbal media of cultural information, rituals, facial expressions, gestures, behavior style, sound, etc. Certification of characters. This carnival, Eclectic screen performances Barney for its excessive visual over saturation, decorative, artificial style, keynote lack of balance between form and content, obviously tend to aesthetics «Kemp,» which, by definition, continuously appealing «to the unnatural, artifice and exaggeration» [ 2; 235]. According to the researcher «Kemp» S. Sontag, given that the definition of «kempova» sensuality aimed to insult androgynous [2; 238], transsexual, travestyzm, hints of homoeroticism in the project «Kremayster» give additional reason to take it to «Kemp», especially in view of the characteristic «Kemp» propensity «to all artificial, to the surface, symmetry taste for painting, to order that may take one spirit, its elegant conventions «[2; 240]. In support of this hypothesis - a manifestation of principle for aesthetics «Kemp» contrasting natural and artificial, particularly in the form of model-amputantky which moves on a specially designed prosthesis, or stage dance-duel cars in the lobby Kreisler Building, which resulted in Mr. ‘ Five limousines winners Ivy victim machine, turning it into a piece of pressed metal, as well as images and symbols of mysterious transactions on the genitals. These and many other scenes represent «fools» kempove vision of the director. Outrageous entertainment such episodes, unique style excesses and irony undermine conservative thinking, combining incongruous: fragments of mifostruktur Boulevard vulgarisms, diverse iconography of cultural industries laconic restraint sacred rituals. Provocative risky experiments Barney screen contents contained in a demonstration / display the latest trends in art, especially such as: - Gradual transformation of visuality in the dominant component of cultural artifacts; - Work focus not only (and not) on the viewer, but on the creator, the problem of its expression; - Reaktualizatsiya hermeneutic concepts text on understanding and interpretation. M. Barney correlates, closes disparate ideas and phenomena that previously were seen as unrelated, providing the same active (rather interactive) type public perception of their works. In the artistic projects of the artist, consistently demonstrating «lack of seriousness», mixing different styles, genres and artistic solutions to the forefront not only semantic content as stylistic expressiveness - unusual, novelty, visual oversaturation carnival style, daring redundancy and other derivatives extremely individualized spaces. The perception of such modern vizualistyky and provides appropriate levels of reflection. Lush, Baroque complicated structured text symbolist art, metaforysta philosopher Barney include a plurality of interpretations, so open up vast new horizons of the audience for the free play of the imagination in search of interpretational decisions. Essentially M. Barney offers a matrix formed by a plurality of universal cultural codes, codes of symbolic visual language, which each recipient reads differently. Luxurious productions, multidimensional images created by the artist, surreal intonovani and very ambiguous, there are only certain dynamic forms that each generation of viewers can fill new meaning and content. In this sense, the visual codes of avant-garde art projects by M. Barney proved essential features actualizators new meanings.

References 1. Bavilsky D. art critic / D. Bavilsky // Art ABC. Dictionary of Contemporary Art / Ed. Max Faye http://azbuka.gif.ru/ 2. Sontag S. Notes on «Camp» / S. Sontag // Kinovedcheskie app., 1999. - № 22. - S. 235-242. 3. K. Karaev Matthew Barney: linguistics body // http://artukraine.com. ua / a / metyu-barni-lingvistika- tela / #. VQVM59KsWgQ 224 4. Kulik I. Matthew Barney - Louise Bourgeois. Psychoanalysis and individual mythology // Lectures on art and design. Lecture 16. vk.com / club66624341 http://onlaynfilmy.com/onlain/-66624341_169398223 5. Mankovskaya N.B. Aesthetic specificity of postmodern mythology in the film productions of Peter Greenaway and Matthew Barney // Myth and artistic consciousness of the twentieth century. - Moscow: Gos. Institute of Art Studies, Canon Plus, 2011. - S. 680-690. 6. Mitin V.A. Through the prism of mark (in the arts) / V.A. Mitin. - K.: Samvatas, 1996. - 108 p. 7. Nancy J.L. Corpus / Comp., Total. Ed. and enter. Art. E. Peter’s. - M: Ad marginem, 1999. - 256 p. 8. Pavlenko Occult at the forefront of contemporary art, and / Pavlenko // http: // alexander- pavl.livejournal. com/99458.html 9. Parschikov A. Rai slow fire: essays, letters, comments / A Parschikov. - M.: New litas. Review, 2006. - 328 p. 10. Hrenov A. Magee and radicals century American avant-garde. - M.: UFOs, 2011. - 408 p. 11. Danto Arthur C. The Anatomy Lesson // Nation 276 (17): p. 25-29, Nation 276 (17), 2003. - pp. 25-29. 12. Keller A., Frazer W. Matthew Barney and the Paradox of the Neo-Avant-Garde Blockbuster / Keller Alexandra, Frazer Ward // Cinema Journal - № 45, No. 2, Winter, 2006. - pp. 3-16.

Summary Zubavina I. Visual code as generator of new senses (on the example of Matthew Barney’s screen projects) The article examines the features of visual codes of Matthew Barney’s screen works. It is the analysis of the multi genealogy of the art-project «Cremaster»: communication with a cinema, picture, dance, music, architecture, fine art, and also with the such productive types of contemporary art, as installation, body-art, performance and other constituents of modern visual arts, which break the historically set attitude toward a traditional screen culture. The article studies conformities to the law of update of semantic matrix. Key words: visual arts, postmodern, performance, contra-culture, neo-mythologist, new sense.

Received 9.11.2014 UDC 331.556:39(477)+(470.45) B. Sinelnikova

ЕAST UKRAINIAN DIASPORE TODAY: PROSPECTS AND REALITIES OF COLLABORATION WITH UKRAINE

Formulation of the problem. According to various information sources World Ukrainian Diaspora today consists of 10 to 15 million people. The concept of cooperation between Ukraine and the international community in its core has the following principles: support for the world as a strategic direction of Ukrainian policy of the state; indication and learning achievements of Ukrainian diaspora as an integral part of Ukraine’s achievements and world civilization; recognition of the Ukrainian diaspora as an instrument of political, economic and cultural influence in the countries of residence as well as a powerful means of strengthening the positive image of our country in the international community. As Ukrainian ethnological and historical science there diasporalnyh traditional distribution centers in western (European countries, Australia, America) and eastern (Russian Federation and CIS countries) diaspora. If the Western Diaspora in scientific, educational, political and other spheres is a longtime partner of our country in cooperation, the Eastern Ukrainian diaspora - something unexplored. First of all, talking about the importance and the need to study the issues related to resettlement and the number of Ukrainian (history and current state) as well as the characteristics of their adaptation to alien ethnic environment, changes in ethnic identity and transformation in ethno-cultural identity, interactions with other ethno-national communities and others. The issue of cooperation with the Ukrainian Eastern diaspora is ambiguous: Unfortunately, in the public consciousness Ukrainian mother in Western diaspora associated with cash investments, which largely reinforced by practices such as recovery (financial and scientific) Ostroh Academy, carried out mainly by American and Canadian Ukrainian - benefactors. Ukrainian Eastern diaspora mostly themselves in need of at least moral support (not to mention the financial support from both the ruling structures of living, and from the Ukraine), unfortunately, often are only efforts of local patriots - enthusiast or are, like, for example now in the Russian Federation in a deep institutional crisis and the documentary confrontation with the authorities, for the most part deliberately reinforce the psychological, political and other conflicts between local centers of Ukrainian in Russian regions. The purpose of the article is to investigate the history of formation and present state of existence of Ukrainian Lower Volga region as part of the World Ukrainians, to determine the current state of assimilative processes and processes deetnizatsiyi among nyzhnovolzkyh Ukrainian, noted the need to support Ukrainian communities in the Lower Volga and cooperation with Ukrainian Eastern diaspora in the context of the strategy development of the Ukrainian state. Presenting main material. Today outside parent territory is home to nearly one-third ethnic Ukrainian. More than 2.5 million. (According to unofficial data - more than 10 million.) Resides in - is one of the largest and oldest Ukrainian diaspora in the world. Regions of compact settlement in Russia was and remains the Lower Volga region (including 225 Volgograd reg.). According to the census in 2010 the number of these Ukrainian territory is about 56 thousand., 42.2% consider Ukrainian their native language. [4] Researchers studying more than 300-year history of Ukrainian migration in the Lower Volga distinguish several stages Ukrainian colonization of these regions: the military-strategic (XVII - the first half. XVIII.); Civil unauthorized (XVII-XIX centuries). governmental several stages of colonization (ser. XVIII - the first half. XIX century. - Ukrainian Chumakov recruitment service for solevydobuvnoyi industry in Volga Lake Elton, the first floor. XIX century. - migration of public smallholder farmers from the Left-Bank Ukraine the second floor. HVIII- nineteenth century . - relocation landlords with government, during the twentieth century. - mass migration to the Soviet construction and other industrial objects). Ukrainian Migration on earth Volga and Don there led to more than 100 Ukrainian settlements; in the northeast of modern Volgograd region. Scientists distinguish even a kind of «Ukrainian ethnic Island» (Rudnyanskyy, Danylivska, Zhyrnovskyy areas) - the oldest town in the province (n. XVII - beg. XVIII c.) compact Ukrainian settlements [4]. Undoubtedly, the preservation of language and elements of traditional material and spiritual culture was and remains to Ukrainian Lower Volga region one of the main factors of ethnic and cultural identity. Ukrainian Volgograd honor their roots, despite the major ethnic trend of the last century - deepening the processes of acculturation and assimilation surrounding population, and especially - the Russians. Unfortunately, the current level of preservation of national specific features of Ukrainian culture in the Lower Volga region is low, due to several reasons: numerous cultural borrowings in the Russian population; the profound transformation of traditional household structure influenced by changes in the political and economic conditions of the rural population, which is the result of historical development of the state; the actual destruction of the transmission mechanism of ethnic culture and relations between different generations against the backdrop of social and economic upheavals in social life; a reduction in national cultural orientations caused by cultural and linguistic isolation from the bulk of the ethnic group; high ethnic (usually Russian) marriages. The main ethno-cultural trend of ethnic Ukrainian Volgograd region. is now leveling ethnically significant features in the material and spiritual culture, replacement of lost elements of Russian national culture or national (mostly from Russia) equivalents. To speed up and enhance the process deetnizatsiyi appointed Ukrainian population of the region at the end of the nineteenth century. - Early. The twentieth century. drew the attention of researchers peoples of the Lower Volga - Saratov historian and ethnographer O. Minh, the current state of these processes exploring I. Shulga (Saratov), Vladimir Suprun, A. Sever’yanova (Volgograd), V. Sinelnikova (Kyiv). Named the researchers emphasize that the processes deetnizatsiyi nyzhnovolzkyh Ukrainian primarily associated with a significant transformation calendar ritual and ceremonial areas rodynno- peasant life, which intensified in the second half. Nineteenth and twentieth centuries. This process was global in nature and was due to the development of capitalist relations, the decline accelerated agrarian calendar system practices that have developed in the past formations, has changed the way of life of farmers lost their duties rural community that played an important role in maintaining domestic traditions. The destruction of traditional customs and rituals of the annual cycle evident in their reduction and simplification in rethinking many archaic, religious and mystical elements. In the new conditions of life ancient rituals have lost its original semantics, becoming fun for young people and children, which came out on top aesthetic and entertainment functions. Cultural revolution and technological advances have also played a significant role in the deep changes svyatkovo- ritual spheres of Ukrainian Lower Volga, which accelerated after the October Revolution. However, the crucial restructuring of the traditional rural way of life and psychology of Ukrainian peasant became collectivization and mass collective farm movement. These factors contributed to the collapse of the traditional ritual calendar and the mass departure from home religiosity in general. For the category perezhytkovyh phenomena were attributed all popular calendar customs. For a long time limitation of them under the banner of atheism fighting «Nationalism» and «patriarchal», so that many have lost customs and traditions of the calendar circle. Traditional family (maternity, marriage, burial) rites in an unstable political and socio-economic development of society also lost many ancient ethnic features: the development of rational knowledge content of the old magical rites gradually forgotten, some of them began to perform other - gaming and entertainment - features that is transformed and acquired another color. As negative trend were to determine that the Ukrainian population of the Volgograd region. can not meet their needs in the media and to get general education in their native language (although some attempts to organize education in Ukrainian - the so-called «Soviet wave of Ukrainization» [5] - took place in 1920-1930-ies., the following institutions ( schools and even schools, where trained teachers for rural schools Lower Volga region with predominantly Ukrainian population) lasted several years and was closed with the phrase «... Ukrainian as a nation in the Lower Volga exist, but only» Ukrainians «who better understand the » [2]. It should be noted that national feelings Ukrainian Lower Volga been broken not always. For example, during the existence of the Republic Volga Germans (much of which was in the Volgograd region. - its modern northern) Ukrainian, along with Russian and German, here was proclaimed the third state. Unfortunately, Ukrainian Lower Volga almost completely lost touch with the homeland, however, retained the language, life and culture elements of national color: some customs, rituals (particularly wedding), music (songs) and prose (beliefs, proverb, proverbs, fables etc.) folklore; in many Ukrainian homes preserved elements of traditional 226 dress, embroidered towels, painted chests and more. Generations of immigrants and now retain the specific features of Ukrainian mentality: tolerance, diligence, Ukrainian humor, extraordinary musicality. However, in the complete absence of Ukrainian education Ukrainian radio and television, Ukrainian libraries, and continuous political crisis in foreign relations of Ukraine and Russia, the Ukrainian population of the Lower Volga today perceive their own language as a phenomenon of status of lower quality compared to the neighboring Russian dialects and Russian literary language: «There is self Ukrainians (usually akannyam: hahly) .. sometimes as opposed to the population of Ukraine. This word gets in the unofficial toponymy: the surrounding population calls the Ukrainian village Sidor Hohlyandiya, COPD. But there is understanding of the unity of the Ukrainian nation and language: «A tongue dyetka matched are matched Ukrainian, converge. Tike Ukrainian - he cliff «[4]. So, for the Lower Volga Ukrainian language was and remains one of the main components of ethno-cultural identity. Considering all the above listed deetnizatsiyi displays, note that today the Lower Volga for Ukrainian - a region where they still strive to meet their national, cultural and spiritual needs, certifying weak shoots processes reetnizatsiyi - ethnic and cultural revival of Ukrainian Diaspora Volhohradschyny main cells which is now Ukrainian Volgograd region centers operating in. Nicholas (former Ukrainian Nikolayev Milky settlement) Olhovka villages, Husivka, Orekhovo and others. One of the first in the late 80 - early. 90-ies. XX century. at the Volgograd branch of the Russian Culture Fund registered company Ukrainian culture «Snowdrops» headed by Professor Volgograd State Pedagogical University linguist A. Sever’yanovoyu, which was the initiator of several festivals in the region Ukrainian songs. The Center activities began to revive and Ukrainian folk customs, ceremonies. In the days commemorating Taras Shevchenko in Volgograd traditionally held Days of Ukrainian culture. At art school № 1. Volgograd created children’s ensemble Ukrainian song «Joy», in which the group began operating Ukrainian language, where children studied folklore and ethnography Ukrainian people. In 1993 work began Ukrainian classes at school number 84 m. Volgograd (Ukrainian language studied students grades 5-9) and the optional of Ukrainian Studies at Volgograd State Pedagogical University, whose goal was the preparation of Ukrainian vchyteliv- in areas of compact residence in Ukrainian area. Prepared to release a collection of works of Ukrainian, almost 100 students led by prof. Vladimir Suprun studied the Ukrainian language and during 2000- 2005’s. In collaboration with colleagues from Gorlovka State Pedagogical Institute of Foreign Languages performed several folk-linguistic expeditions to collect linguistic material from Ukrainian regions for processing and formation of a regional dialect dictionary. 2003 m. Registered Volgograd regional national-cultural autonomy (RNKA) citizens of Ukrainian nationality Volgograd reg., Also initiated ethnocultural and linguistic research projects with the Ukrainian people of the region; Unfortunately, due to lack of funding, this center has existed for several years and ceased operations. Recently, the efforts of local enthusiasts of Ukrainian regional branch of the registered public national-cultural organization «Ukrainian Congress of», which initiated the evening of memory of People’s Artist of Ukraine, B. Stupka and activities for the 200th anniversary of Taras Shevchenko. However, one of the main obstacles to the further development of the Ukrainian minority in the region is still rapid assimilation and deetnizatsiya and that the revival of the Ukrainian nation in the region is largely the efforts of enthusiasts in terms of total lack of financial support from both the state of which they are - Russian Federation, and from the parent territory - Ukraine. Agreeing with many representatives of Russian Ukrainian studies state that the Ukrainian government and still has no clear policy on the Ukrainian Diaspora in general and Russia in particular regarding Ukrainian. As J. emphasizes Geleta, no government program («Foreign Ukrainians», «Ukrainian House») is not operated as so-called «year of Russia in Ukraine and Ukraine in Russia» that took place during the 2000-2010’s. - Profanity case ; from them one iota situation has changed Ukrainians, while in the Russian society and enhanced anti-Ukrainian spirit reigns [4], especially in exacerbation of modern military and informational confrontation. Vladimir Suprun said that it makes sense to talk about «Hidden Ukrainian minority» in Russia in the areas where immigrants from Ukraine XVIII-XIX centuries. Hidden Ukrainian («hohlatska») minority in the Volgograd region., Researcher stresses, is in the process of intensive assimilation. The younger generation has not dialect, a negative attitude to self, shows indifference to ethnic roots [3]. Conclusions. Thus, the presence of national-cultural centers confirms the desire of the Ukrainian minority Lower Volga preserve their national identity and attempt braking processes deetnizatsiyi, and to establish and develop cooperation with Ukrainian educational, cultural, political institutions, even in such conditions of social and political intergovernmental Russian-Ukrainian the crisis; - Not extinguished Ukrainian national roots on the territory of Volgograd region, already required classes in rural schools in areas of compact Ukrainian population (not to speak of opening schools to the current moment is unrealistic implementation); - Need Ukrainian libraries developed national socio-cultural and research life in the areas where Ukrainian in the support of both Russian and Ukrainian ruling structures: the number of speakers of Ukrainian culture in the Lower Volga every year diminishing and Culture and Life Ukrainian Volhohradschyny an integral and valuable part of the cultural and historical heritage of the Ukrainian people.

227 References 1. Geleta J. Preservation of national identity of Ukrainian Diaspora in / J. Geleta // II Intern. scientific-practic. Conf. «Diaspora as a Factor in Strengthening State Ukraine in the international community. Ukrainian diaspora in civilization Worldwide (within the Ukrainian Diaspora Congress, 18-20 June 2008, m. Lviv): Coll. ext. - LA: MIOK, 2008. - P. 149-150. 2. Serhiychuk edge Volga V.I. / V.I. Serhiychuk // Serhiychuk V.I. Ukrainization Russia. The political deception Russian Bolshevik Ukrainian government in 1923-1932 gg. - K., 2000. - P. 207-226. 3. V.I. Suprun indigenous Ukrainian population of the Volga and the Don, from the appearance of the transition to the status of a hidden minority / V.I. Suprun // Ukrainian studies in Russian history, the state, development trends: materials Intern. scientific and practical. Conf. (Moscow, 11-12 November 2009) / Ed. A. Skripnik. - K-Moscow-Ufa: Izd Ufim. SMSUH branch. MA Sholokhov, 2010. - C. 120-125. 4. Suprun V.I. in Russia: problems of their study / V.I. Suprun [Electron resource] / Access: http: // srrc.seun. ru / ukrvolga /science/govori.html 5. Shulga I. Ways policy «Ukrainization» in the lower Volga / I. Shulga // II Intern. scientific-practic. Conf. «Diaspora as a Factor in Strengthening State Ukraine in the international community», 18-20 June 2008, m. Lviv, Ukraine: Coll. ext. - LA: MIOK, 2008. - P. 108-113.

Summary Sinelnikova V. Еast ukrainian diaspore today: prospects and realities of collaboration with Ukraine The article deals with the history and characteristics of the formation and existence of modern Ukrainian Diaspora Lower Volga region in the context of cooperation with the Diaspora as a strategic direction of the Ukrainian state. Key words: Ukrainian Diaspora, Lower Volga, assimilation.

Received 5.10.2014

UDC 069.01 O.N. Goncharova

GLYPTOTHEQUE AS A KIND OF AN ART MUSEUM

Among the types of museums that are listed in the Law of Ukraine «On Museums and Museum Affairs» [10] hliptoteky not mentioned. Not only because it is a museum of sculpture and so on tribal grounds belonging to fiction, and the species - to art museums, but perhaps also because hliptoteky - youthful appearance museums institutionalization which falls on the last two centuries. Statements about the «youth» hliptotek appears paradoxical against the background that the sculpture belongs to the earliest forms of art, the first examples of which date back to the upper Paleolithic. So the situation is such hliptotekamy: beginning specialized museumification sculptures, like the birth of the term, has the exact date – 1815 Museum of Sculpture is a kind of art museum specializing in collecting, exhibiting, preserving and study art sculpture. As hliptoteka Art Museum - «an institution in which there is art in its artistic quality and drawn to the artistic perception ...» [11; 8]. As a special kind of museum of fine arts hliptoteka has features dictated by the specificity of the plastic arts, as «special collection and a set of technological methods ... can not be copied to another profile museums» [11; 8]. Genesis Art Museum devoted several works of Ukrainian (Goncharov [2]) and Russian authors (T. Kalugin [4] A. Sapanzha [11] T. Yurenyeva [13]). Yes, Goncharov considered art galleries of ancient Greece as protoforma art museums. However, even those authors who hold the traditional view of the collection of antiquarian during the Renaissance as the origins of modern museum, despite the fact that the largest share of these antykvariyah was just art (antique), does not distinguish this aspect muzeyehenezu as institutionalization Museum Sculpture - hliptoteky. The purpose of this paper is therefore to outline some aspects of evolution hliptoteky collectibles sculpture to sculpture as museums isolation subspecies art museums. Neologism «hliptoteka» (from the Greek. Glyptos - cut, theke - storage of) attributed librarian Bavarian Crown Prince (from 1825 King) Ludwig I. This period marked the building, built in 1815 in Munich architect Leo von Klenze for collections of sculptures King of Bavaria. Ludwig earned fame and early patron, which, inter alia Schelling’s speech on the occasion tezoimenytstva Ludwig «The attitude of Fine Arts to Nature» (1807), much of which is devoted to the art of sculpture. King was the lone amateur: Wittelsbach dynasty has long been famous for the love of art and patronage of its creators. Sculpture collection Collection Ludwig began in 1804 Pearls collection were «Barberini Faun» and the so-called ehinety - pediment figures from the temple of Athena Afayyi (V in. BC) the Greek island of Aegina. However, Ludwig was not even among the first leaders of the German states, which are admired above all in collecting ancient sculpture. His collection was the most ancient and not so numerous as the collection of other European monarchs, which have similar hobbies, because the fashion for antiquity that spread Europe since the Renaissance, not zatuhala in the nineteenth century. The source of replenishment of collections of ancient sculpture was Italy; in Italy itself, the best collection of ancient 228 sculpture collection became Vatican. Subsequently, crowned person be purchasing certain masterpieces and outside Italy - in France or Prussia, in the case of the sale of the collections previous owners. However, the collection of sculptures much before than the formation of specialized museums. This process can be dated to at least the first century. The term «hliptoteka» comes from the same root as «Glyptics»: the art of stone carving, precious to semi-precious minerals. Glyptics is «one of the oldest crafts known to man, ... Sufficiently developed in the East and the Aegean world in IV-III millennium BC. «[6; 5]. The results of this art - gems, jewelry, amulets and seals (usually in the form of rings with precious or semiprecious stones), made in the technique intalo or cameos. Gems were popular in the ancient world and appreciated than painting or sculpture. Going gem collections, which were kept in special drawers - daktilioteky (from «daktilios» -ring). The word «glyptos» remains not to demand early nineteenth century. Since given rise to the term «Hliptoteka.» As regards collections of works of art sculpture, the search for information on this subject should start with common in the literature of ancient Greece ekfrazysa genre - a description of monuments of art. The earliest of these descriptions can be attributed to the V century. BC because they already found the «father of history» - Herodotus. In the third century. BC tradition continued, in particular, D. Samos, however, the work of which - «On sculptors» - survived several fragments. Polemon Ilionskyy (con. III - Per. Pol. II cent. BC) left a so-called first catalog Athens Pinakothek (standing), which remained, along with other artifacts and works of sculpture. Pliny the Elder (23-79 years.) In its «Naturalis Historia» (‘77 BC) has paid the most attention to the realities of Roman, which is quite logical because he wrote this encyclopedia for the Roman Emperor Titus. However, historian and gives information on a number of important Greek artists and their works. He writes that the Greeks «Palestra and decorate their keromaty images of athletes» [8; 79], and the «art of the cities served, and the artist was the common property of the world» [8; 102]. Works of art intended to saturate mostly public space areas of the cities of ancient Greece, and the sacred space of temples and groves where near sources constructed sanctuary or for determined sculpture of a god with numerous ancient Greek pantheon, which was dedicated to this grove or patron who was considered a deity . This sacred sculpture was probably the largest. For example: sculptures of Phidias established churches in Athens and Olympia and the square in front of the Athenian Parthenon Acropolis. Another group of sculptures - statues in honor of athletes winning Olympic, Nemean, Isthmian and other panellinskyh games, and in honor of prominent political and public figures. They were established in the open air in the streets, in front of public buildings of the ancient Greek city-states. At the same time there was a votive sculpture installed on gratitude as a promise or performance of the individual and of the community, sometimes from the city. However, all these clusters sculpture no reason to believe the collections, their location at a particular place dictated by religious or hlorifikatyvnymy motives, and private premises, which would could be placed round the sculpture, often monumental in size, the Greeks did not exist as a result of the majority of the political foundations of the ancient city-states. The situation changed dramatically after the Greek entry into the territories of Rome. The Romans started to export massively to the metropolis artistic treasures, including the sculpture is not occupied first place. Even during the republic of Rome begins desolate temples Stoy, lesh, sacred areas and groves of ancient Greece. Transported to Rome sculpture falls not so much on the Roman Forum, as deposited in estates and villas Roman nobility. However, this process has spread in the first century. BC, because the testimony of Plutarch, a century before such action even by good people, the Romans perceived negatively. In «Life of Marcellus» Plutarch reports that despite the fact that Marcellus (II cent. BC) decorated city «exquisite and beautiful creatures ... the Greeks» because until then «Rome was not and did not know anything beautiful, there was nothing attractive, sophisticated «Marcellus charged that because of this sculpture he made the city the subject of hatred of the gods whose images imported to Rome. [9] In the first century. BC such charges are not nominated. On the contrary, brought the Greek territories sculptures not only adorn areas of Rome, but were concentrated in the private estates of wealthy Romans. Ways receipt of artistic treasures from Greece could be as legitimate - buying and criminal, robbery or expropriation under one pretext or another, as evidenced by the Indictment speech of Cicero against Verres. The speech entitled «On Objects of Art» is a valuable source of informative on the process of transition from civilian to accumulate sculpture works this art in private collections of wealthy Romans. Removing sculpture as happened in entire cities and individuals. However, sometimes it is persecuted by law. As it follows from the speech, such private collections of the inhabitants of Sicily were home shrine. On one of these reports Cicero, noting that it «were four magnificent statues extremely skilful work used a widely known» [14; 60]. Of these, one of marble - Praxiteles, bronze - statue Myron authorship, two, also bronze, but smaller attributed Polykletu. According to the words of Cicero, «all could inspect them every day» [14; 60], ie private collections were available for follow-up. One sculpture host gave for some time to establish the forum, after which it was returned to the owner. Verres ekspropryyovuvav as religious and votive sculpture ravage both city and private shrine, taking family heirlooms and pictures of the gods - patrons cities. Not only interested in his wood sculpture. (Yes, including jewelry, which tempted this Pretoria, was and heme. The ring, the stone is decorated artistic carvings, Verres calculated on the 229 seal, which was sealed one VZ letters sent its interpreter. By order of Pretoria ring this hemo been removed with the finger of its owner and delivered Verres, who demanded to have heme in its ownership [14, 78]). Cicero also said that export from Sicily, Verres stolen property has been specifically built huge freighter [14; 65]. The passion for collecting works of Greek art is not peculiar only to certain individuals, it obviously was enthusiasm, fashion, which spread to the upper strata of Roman society. The estates of wealthy patricians and plebeians plenty of Greek sculpture, which imported not only from Sicily, but other areas conquered Greece. Not remained aloof collecting Hellenic sculptures (though legally) and Cicero himself. In one of his letters Cicero reported that it has delivered a large number of Greek statues to decorate one of their villas - tuskulansku [5; 82]. Gardens and Villas of the Roman nobility become places of concentration (exposure) of ancient sculpture. It can be considered as a kind of prototype hliptotek. That’s evidence in this regard the Roman poet and art. BC Habitats, which describes one of the villas, which was invited to dinner by the owner Vindikom: «A thousand pieces of ancient bronze with ivory and bone wax, which seemed vymovlyat word I saw here. <...> Bronze will tell you - the fruit of a reasonable reflection of Myron, Marble, which is under the cutter Praxiteles hard revived, bone ivory that pyseyskym polishing finger. The fact that the melting of mountain Polycleitus forced his breathing «[12; 435]. (translation ours. - OH). However, despite the massive removal of sculptures from Greece, it remained there still so much that the Greek historian and geographer of the second century. BC Pausanias, who traveled to Greece, in its ten-labor «Description of Greece» brought huge «list» statues in cities woods near streams. Most of the pages of this work is devoted transferred sculptures that adorned the square of the ancient Greek cities, churches and square in front of the inner space of temples. It seems that the Greek cities were genuine museums of ancient sculpture. Yes, only in the first book devoted Attica, Pausanias describes more than 200 sculptures, not counting tombstones. He describes in detail their location, authorship, the material from which they are made, to whom and by whom have been installed or commissioned after which events myths or stories associated with them and so on. Among the sculptures of the Acropolis of Athens, he mentions Charites sculpture, authorship Socrates - the same ancient Greek philosopher, who, according to legend, was considered the wisest of all the Greeks [7; And XXII]. Overall, the book Pausanias describes how more than a thousand works of art sculpture. Thus, even mass removal Romans outside Greece works of sculpture sorely affected the number of sculptures that decorate the city and continued to areas of Greece. The accident occurred with the adoption of Christianity and the transformation of its monopoly on religion originally Roman and later Byzantine Empire. As a result, the days of medieval European sculpture not only collect, but rather ancient - destroyed, considering its pagan idols. Interests antiquity returned from the Italian Renaissance, which accounts antykvariyiv creation and formation of collections, including sculpture. The largest collection is in the Vatican, the Pope because it is becoming one of the strongest collectors of ancient art, including sculpture which ranks first. Currently under two museums devoted to the sculpture of the temple-palace complex: Kyaramonti and Piya- Clement. Trying to keep up and the Florentine Medici dukes. Quite quickly in the collections of ancient sculpture works complemented Titans Renaissance: Donatello, Ghiberti, Michelangelo. From Italy antique fashion, and soon and Renaissance sculpture spread to France, German states. Already in the Saxon Elector Augustus II consists of an impressive collection of sculptures, mostly antique. But none of these gatherings is not converted into an independent museum of sculpture for which it would be built or areas allocated to the specifics of this art form and therefore collection. Museums and Kyaramonti Pius-Clement placed in the palace and temple complex of the Vatican, decorated courtyard residence of the Popes. As for the collection of ancient sculpture Dresden Gallery, one of the earliest and best outside Italy, the Kunstkamera, founded in 1560 Elector Augustus of Saxony and from which started a museum exhibiting sculptures on the testimony of J. Winckelmann, who was one of the few who were allowed to view the treasure of curiosities, was chaotic and storage conditions - awful. In «On the ability to feel beautiful in art, «he wrote that» the statue stood in the barn plank in stampede like herring in a barrel «[1]. Thus, even in the early eighteenth century., Including after purchase 1723- 1726 biennium. So-called Brandenburg collection of King of Prussia, antique statues «were set up in places that does not meet their artistic value and significance» [1]. Some ancient statues V-VI century. BC was put under a canopy in the garden. And despite the fact that the first bronze sculpture is brought to Kunstkamery sixteenth century. from Italy, however, it was a sculpture of authorship Florentine masters [3; 136]. Only in 1785 for the collection of sculptures of Japan allocated ground floor of the palace. And only the 1890-1894 biennium. Sculpture allocated to a separate room - Albertynum former armory, rebuilt for this purpose. However, in Albertynumi sculpture exhibited together with objects of decorative art. The first European monarchs, King Ludwig I of Bavaria seeks to build facilities for storage and exhibition is the sculpture. This task concerned and building a special room for pictures. Now this Old Pinakothek Munich, which, together with the New Pinacoteca, the Museum copies of classical sculptures and forms a so-called Hliptotekoyu The area of the arts in the Bavarian capital. Now besides Munich has officially hliptoteky status Sculpture Museum in Copenhagen: New hliptoteka Carlsberg, 230 founded in 1897 the son of the King of Carlsberg beer - K. Jacobsen. Unlike Munich hliptoteky in New hliptotetsi Carlsberg also exhibit paintings, predominantly French Impressionists, although the collection of sculptures and paintings are on different floors. In hliptotetsi Carlsberg is one of the best collections of Roman portrait sculptures, including a bust of Septimius Severus, portraits of Roman emperors Caligula, Constantine, Philip, Titus, Vispasiana, Viteliya, Caracalla, viyskovonachalnyka and politician Pompey and others. Also in the collection are presented several marble portrait of Alexander Macedonian. Unofficially status hliptoteky provide new museum of sculpture at the Athens Acropolis. However in Greece itself it is called the Museum of Acropolis (Acropolis). It collected samples of ancient glyptics ranging from archaic sculpture. Central to the collection of sculpture belongs to the Athenian Acropolis, this particular bark and frieze of the Parthenon Phidias. Frieze length of 160 m and 1 m in height - all that remained in Greece glorious masterpiece of Phidias - located on the inner solid walls inside the museum. The new museum building opened in 2009, is a three-level with two intermediate floors cube of glass. Design Museum designed in minimalist style, because nothing should distract the visitor from exposure. Each exhibit has its own stand and placed in the center or around the central axis of a space. Light, almost white interior walls, contributes to the perception of the exhibits as if they dissolve in the air. The geometry of the museum is simple - cubic building with external glass walls, the museum is located at the foot of the Acropolis in Athens, the area of 23 thousand square meters. The museum almost 4 thousand. Pieces, most of which - a sculpture in its various forms: from the monumental to the relief. Powerful sculpture collection is the Louvre. Sculpture It focuses on two floors: the first and antresolnomu, and intermediate areas. Feature exhibiting sculptures in that it is dispersed across different departments. Yes sculpture Mesopotamia, Assyria and Persia is located in the department «Eastern antiquity.» Sculptures of ancient Egypt - in the department «Egyptian antiquity», sculpture Etruria, ancient Greece and ancient Rome - in the department «Greek, Etruscan and Roman antiquity.» Among the exhibits last love - Venus de Milo and the Winged Victory of Samothrace. Only European sculpture of the Middle Ages and Modern Times focuses on two floors in a department «Sculpture». Mixed construction principle exposure, apparently due to the fact that not only the Louvre art museum, but also to some extent historical. Of course, this excludes narrowing its status to hliptoteky. Given the specificity of sculpture in the round, the basic principle is exhibiting its central axle that allows you to inspect the statue from all sides. Since the museum premises do not always give the opportunity, sculpture often placed in niches. Reliefs placed on deaf surfaces of walls, small plastic - on separate stands, often under glass. In the halls of the domed ceiling centered generally on display and the most famous monumental sculptures. There are other options for placing collections. Thus, magnificent David by Michelangelo, exhibited at the Art Academy of Florence, though set a certain distance from the central niche (domed ceiling shifted from the center), but not the center of the room, because it is too small for the collection of sculptures wizard. In addition Academy and now works as a school, where some rooms are kept of her students. New Feature of hliptoteky Carlsberg is domed ceiling in the center with a glass roof, through which light enters the space under the dome, but instead of sculpture or monumental statues placed there the winter garden. In Ukraine, unfortunately, no museums, which could boast powerful collections of sculpture. This is the policy of the Soviet regime, which was due, in particular, destroyed in 1953 works from the collections of Lviv museums, including several sculptures of Alexander Archipenko, the city donated by the author. Some plastic artifacts that put interest recently discovered in the vaults of the Odessa museum. However, there is every reason to collect powerful collection of contemporary sculpture Ukrainian artist A. Valiev, O. Pinchuk, O. Sukholit, L. Sinkevich and others. And then the question arises premises, which could be deployed such exhibit. Arsenal Kyiv is currently operated as a venue for exhibitions and not just art. A similar approach is used in Pinchukart center. At the same time, the creation of specialized museums sculpture - hliptoteky, in our view, is on time and, moreover, would make a powerful attraction for both residents Ukraine - fans of the art of sculpture and for its guests.

References 1. Winkelmann I.I. Selected Works and Letters / I. I.Vinkelman. - Moscow - Leningrad: Academia, 1935. - 686 p. 2. Goncharov A.M. «Art Gallery» art of ancient Greece as protomuzeyi / A.N. Goncharov // Bulletin NAKKKiM. - K .: Millenium, 2014. - Vol. 3. - P. 57-63. 3. Zeydevytts R. and M. Drezdenskaya gallery / R and M. Zeydevytts. - Moscow: Arts, 1965. - 334 p. 4. Kalugin T.P. Art Museum as a cultural phenomenon / TP Kalugin. - SPb. : Petropolis, 2001. - 224 p. 5. Kuzishchin V.I Genesis slave-holding latifundia in Italy (II in. BC - first century AD.) / V.I. Kuzishchin. - Moscow: State Univ. University Press, 1976. - 267 p. 6. Neverov O. Y. Gemma ancient world / Neverov O. Ya. - Moscow: Nauka, 1983. - 143 p. 7. Pausanias. Greece Description: 2 m. / Pausanias: [trans. SP Kondratєva]. - Moscow: AST Ladomir, 2002. - Vol.1. - 496 p. V.2. - 512 p. 8. Pliny the Elder. Natural. About the Art / Pliny the Elder: [trans. to lat.]. - M.: Ladomir, 1994. - 941 p. 9. Plutarch. Comparative biography / Plutarch. - Vol.1. - Moscow: Nauka, 1994. 231 10. On museums and museum business. The Law of Ukraine: Electronic resource - http: / zakon2.rada.gov.ua/laws/ show/1709-17 11. Sapanzha O.S. Modern Art Museum: in the service of humanity or human? /O.S. Sapanzha // Finding the image of the museum: to learn. Conf., St. Petersburg .: 12-13.04. 2007 - St. Petersburg., 2007. - S.6-17. 12. Statius. Silva / // Martial Statius. Epigrams. - AM: Hood. Lighted., 1968. - S. 431-438. 13. Yureneva T.Y. museum in the history of world culture: genesis and evolution / T.Y. Yureneva: dis. ... Dr. East. Sciences: 24.00.01. - M., 2004. - 492 c. 14. Cicero M.T. Speech against Guy Veres (first session). About works of art // M.T. Cicero. Speeches in 2 m .; [trans. to lat. V. Gorenstein]. - Moscow: Publishing House of the USSR Academy of Sciences, 1962. - Vol.1. - P. 59-109.

Summary Goncharova O. Glyptotheque as a kind of an art museum This article explores the evolution of a museum of sculpture from the early forms of collecting of the sculpture dedicated to the art museum Glyptothek. Key words: glуptothek, museums of sculpture, museums of art, Glуptothek of Munich, New Glуptothek Carlsberg.

Received 1.10.2014

232 INFORMATION ABOUT THE AUTHORS

Androschuk N.G. - Department of Marketing RSUH. Bilous L. - Post-graduate department of design and theory of art Carpathian National University. Stefanik. Bobechko O. - Ph.D., associate professor of Drohobych State Pedagogical University. Franko. Bohatikova O.V. - Postgraduate student of Mariupol State University. Bogdanov M.V. - Ph.D., assistant professor of choreography of the National Academy of Culture and Arts. Verbovetska S. - postgraduate Eastern National University. Lesya Ukrainian. Vytkalov V.G. - Ph.D., Professor, Head of Department of Cultural Studies and Museology RSUH. Vytkalov S.V. - Ph.D., assistant professor of cultural studies and museology RSUH. Gamal K.M. - Ph.D., professor of the Kiev Art Institute Art Design them. C. Next. Goncharov V.V. - NAKKKiM seekers. Goncharov A.M. - Doctor of Cultural Studies, Professor, Head of Department of History of Ukraine KNUKiM. Goroh G.M. - Seekers of Cultural and museology RSUH. Hulyanych Y.M. - Ph.D., associate professor of Carpathian National University. V.Stefanyk. Danilenko A.V. - PhD student of Kyiv National University of Culture and Arts. Dudich I.G. - Postgraduate student of Lviv National Academy of Arts. Dutchak V.G. - Doctor of Arts, Professor, Head of folk instruments and folk music Carpathian National University. Stefanik. Zaremskyy M.I. - PhD, Associate Professor, Head of Department of Philosophy Glukhovski National Pedagogical University. Dovzhenko. Zubavina I. - Doctor of Arts, corresponding member of National Academy of Arts of Ukraine. Efimova M.P. - Postgraduate student of Kharkiv State Academy of Art and Design. Kovtun N.M. - PhD, associate professor, doctoral Zhytomyr State University. Franko. Kolesnikov L.V. - Senior lecturer of philosophy Glukhovski National Pedagogical University. Dovzhenko. Kostka J.S. - Postgraduate student of Lviv National Academy of Arts. Corn N.V. - Associate Professor of Theatre and choreography Carpathian National University. Stefanik. Kyunsli R.V. - Candidate of Philology, associate professor of Lviv National Agrarian University. Forest A. - Post-graduate department of art and folklore of foreign countries IMFE them. M. Rila National Academy of Sciences of Ukraine. Logvinova O.O. - Postgraduate student of Kharkiv State Academy of Culture. Lucas G.P. - Doctor of Philology, Professor, Head of Ukrainian Philology and Culture of Donetsk National University (Vinnytsia). Luchanska V.V. - Ph.D., associate professor, doctoral KNUKiM. Marchenko V.V. - Associate NAKKKiM. Mosvichova Y.O. - Postgraduate Carpathian National University. Stefanik. Novozhenets-Havryliv G.P. - Ph.D., assistant professor of graphic design Lviv National Academy of Arts. Oleynik V. - The candidate of cultural science, assistant professor of social sciences Mukachevo State University. Ovcharuk O.V. - Ph.D., professor, doctoral NAKKKiM. Draft M.Z. - Carpathian National University graduate student and V.Stefanyk. Parfenov A.I. - Ph.D., assistant professor of theory of culture KNUKiM. Popovich E.V. - Ph.D., associate professor of Azov State Technical University (Mariupol). Poplavska A.V. - Postgraduate KNUKiM. Paschanska V.M. - Candidate .kulturolohiyi, associate professor, doctoral NAKKKiM. Pulariya T.V. - The candidate of cultural science, assistant professor of customs identification of cultural values and humanitarian training Academy of Customs Service of Ukraine (Dnipropetrovsk). Sabadash S.Y. - Post-graduate Department of Cultural and information activities of Mariupol State University. Sabadash Y.S. - Doctor of Cultural Studies, Professor of Culture and Information of Mariupol State University. Saldana S.S. - Ph.D., associate professor of Lviv National University. Franko. Sem’yanyk O.V. - Ph.D., lecturer in arts and crafts and etnodyzaynu Carpathian National University. Stefanik. Sinelnykova V. - Candidate of historical sciences, professor KNUKiM. Siruk N.M. - Ph.D., associate professor of Dreams them. Lesya Ukrainian. Slivka A. - Postgraduate Precarpathian OU them. Stefanik. Smirnov I.G. - Doctor of Geographical Sciences, Professor of Kyiv National University. Taras Shevchenko. Sovhyrya T.I. - Postgraduate KNUKiM. Stahiyeva N.V. - Postgraduate student of Mariupol State University. Stepanchuk V.V. - Postgraduate KNUKiM. 233 Stratonov N.O. - PhD, Associate Professor of Philosophy of the National University of Water and Environmental Management (m. Rivne). Studenets N.V. - Ph.D., doctoral IMFE them. M. Rila National Academy of Sciences of Ukraine. Tereshchenko L.V. -shackles - Ph.D., professor, doctoral NAKKKiM. Tymoshenko M.O. - The candidate of cultural science, assistant professor of cultural studies and innovative cultural projects NAKKKiM. Fisher T.P. - Master music history department of the Lviv National Music Academy. Lysenko. Tsya I. - postgraduate student of Kharkiv State Academy of Culture. Monk M.A. - Postgraduate NAKKKiM. Shagan A.K. - Postgraduate KNUKiM. Sheretyuk R.M. - Doctor of Philosophy, Professor of Fine and Applied Arts dekoratyvno- RSUH. Shman S.Y. - Candidate culture, NAKKKiM Associate Professor, Chief Specialist of the Museum of Culture of Ukraine. Shkurenko T.V. - KNUKiM seekers. Shcherban A.L. - Ph.D., doctoral HDAK. Yurchenko I. - Ph.D., assistant professor of design and architecture bases Institute of Architecture of the National University «Lviv Polytechnic». Yakimenko K.S. - Postgraduate NAKKKiM. Yakovlev A.V. - The candidate of historical sciences, professor, doctoral NAKKKiM. Yatsechko Blazhenko-T.V. - Senior lecturer of Documentation and Museum of Dreams them. Lesya Ukrainian.

234 TABLE OF CONTENTS

Chapter I. DYNAMICS OF CULTURE. CULTURAL MEMORY. CULTURE AND TRADITIONS

N. Stratonova. Reflection and comprehension of Kievorussian bibliognosts of prechristian beliefs A. Poplavska. Influence of christianity on the culture of hospitality of Ukrainians R. Sheretyk. Cultural and art achievements of publishing activity of Pochaivskikh Vasilian O. Semyanik. A dialog of culture and a historical tradition through the prism of heritage of the Ukrainian baroque J. Sabadash. The art as a method of forming of national consciousness (on the example of the Italian culture of the end of XVIII-XIX cent.) S. Saldan. Musical and esthetical aspect of the philosophical system of the world view of Y. Goethe Yakimenko K. Interpretation of John Crysostom image on the Ukrainian altars of the XVIII-XIX cent Y. Kostko. Specific and thematic variety of sculpturesque decoration on the front elevation of Lviv buildings of the second half of the XIX to early XX cent I. Dydich . The historical style as a method of female images in portrait painting of Maurycy Gottlieb M. Kovtun. A theme of maternity in creative work of Shevchenko as an artist K.Kukuruza. Life and creative work in literary contexture of Shevchenko: modern genre solutions L. Bilous. Cultural and art life of Rohatyn in the end of the ХІХ to early ХХ cent. R. Kiuntsli. Barrel shop and pub as the phenomenon of coexistence of jewries and Ukrainians in a cultural and artistic space of the Ukrainian village T. Shnurenko. Research of traditional shirt of Carpathians region on the pages of magazine «Folk art and ethnography N. Studenets. The art of a home painting in a regional occupation of working school of the East Podillia of the first third of the ХХ cent.

Chapter ІІ. PROBLEMS AND CONTRADICTIONS OF MODERN CULTURAL PROCESS

G. Lucash. The historic name as intertext of national and world cultural space O. Ovcharuk. The image of a human being in the mode of culture-philosophy of the Ukrainian literary art of the late XIX – beginning of XX c. V. Luchanska. «Culture and explosion» of U. Lotman as a metaphor of theory and history in culture M. Zaremskyi, L. Kolesnikova. Features of the Ukrainian spiritual culture development in the beginning of XXI century: traditions and innovations M. Tymoshenko. Culture-making Mission of International Events (based on the cultural and artistic initiative «Days of Ukraine») M. Chernets. Historical reflection of the development of EU initiatives «European Capital of Culture» V. Oleinyk. Transformation of archetypes of the Ukrainian mentality under conditionss of multiculturalism of Carpathian region A. Shagan. Theoretical and methodological principles of civic culture formation O. Yakovlev. Historiographical discourse of culturology in regions of Western Ukraine C. Verbovetska. Musical and poetic chronicle of the Ukrainian as an expression of its national and cultural self- identity O. Lisova. The activities of cultural centers of the Ukrainian in Slovakia T. Fisher. The concert life of Lviv during the Nazi occupation in the press G. Novozhenets-Havryliv. Cultural and artistic adaptation of Ukrainian artists on the territory of Germany N. Siruk. The ideological supervision of the cultural sphere of Ukraine (second half of the 40’s – early 50 th of XX c.) V. Dutchak. Traditions of bandura art in Australia L. Tereshchenko-Kaidan. Manuscripts heritage of Ukraine and Greece as evidence of overlap and features of the spiritual culture development of both countries I. Yurchenko. Pecularities of interpretation of ethno-cultural traditions in modern spheres of design O. Danylenko. Artistic and aesthetic criteria of attractiveness of hotel and restaurant etablishments M. Osadtsa. Urban themes in landscape painting of Stanislav region in 50-60 years of the twentieth century: the culturological aspect O. Parfenova. On the question of theoretical foundations of non-figurative art-practices in fine art M. Yefimova. Types of children’s books Y. Hulyanych. Bogdan Kotyuk: researches and publicistics 235 Chapter ІІІ. CULTURE AND SOCIETY. CULTURE OF PROFESSIONAL SPHERE OF ACTIVITY K. Gamaliya. M.I. Rostovtsev and his role in the history of home and world antiquity O. Bohatikova. Art criticism exploration of G. Pavlutskyi on the pages of «Readings in the historical society of Nestor Letopysets» S. Sabadash. Scientific heritage of L.S. Vygotskyi in the context of culture-creative processes: the historiography of the problem N. Stahiyeva. Cultural and artistic heritage in studies of V.M. Peretz V. Marchenko. Historiographical discourse in research of accordion art in Ukraine A. Shcherban. Nature climatic influences on the development of ornament folk ceramics (on the basis of the left- bank Ukraine) T. Yatsechko-Blazhenko. Kremenets Castle – architectural monument of the historical and national importance V. Goncharov. On the problem of relationsheeps between traditions and intangible cultural heritage V. Stepanchuk. Historical-cultural potential and socio-economic prospects of use of castles I. Smirnov. Logistics of exhibition activity: international and Ukrainian experience S. Shman. Museums in the age of online culture T. Sovhyra. Pop genres on television Y. Moskvichova. Regional television as a factor of socio-cultural space formation of modern Vinnychina S. Vytkalov, V. Vytkalov. Applied problems of culture in the region: experience of Rivne region G. Goroh. Choral art of Rivne region in festivals in the period of the state independence of Ukraine M. Bogdanova. Sports dance in the ball choreography system O. Logvinova. Shows with dolphins as a socio-cultural phenomenon of the entertainment culture T. Pulariya. Archetype basses of the analysis of colors in decorative painting of wedding chests of Lower Dnieper area of late XIX – beginning of XX c O. Popovych. Socialization of a personality in the context of globalization of culture creation

Chapter IV. REPORTS, INFORMATION, REVIEWS S. Vytkalov. Search activity in Ukraine in the context of scientific conferences O. Slyvka. Festival «Kolomyia presentations» in the context of Ukrainian theater development of late XX – beginning of XXI centuries I. Tzya. Alternative aesthetics of Korean cinematography – feministic cinematography N. Androschuk. Ukrainian ethnic renaissance: social and creative role of ethno-fashion in XXI century O. Bobechko. Place and role of art activity of Lesya Ukrainka in the development of bandura art in Ukraine V. Pischanska. Sacred art of Cossack Baroque period I. Zubavina. Visual code as generator of new senses (on the example of Matthew Barney’s screen projects) V. Sinelnikova. Еast ukrainian diaspore today: prospects and realities of collaboration with Ukraine O. Goncharova. Glyptotheque as a kind of an art museum About the authors

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