http://dspace.tnpu.edu.ua/handle/123456789/12555 Sat, 04 Apr 2026 11:32:28 GMT 2026-04-04T11:32:28Z http://dspace.tnpu.edu.ua:80/retrieve/77f63a64-cc2b-41cf-bcab-542832e5ba74/Must_2(2018).jpg http://dspace.tnpu.edu.ua/handle/123456789/12555 http://dspace.tnpu.edu.ua/handle/123456789/32585 Назва: Наукові записки Тернопільського національного педагогічного університету імені Володимира Гнатюка Опис: Повнотекстові наукові записки Mon, 01 Jan 2018 00:00:00 GMT http://dspace.tnpu.edu.ua/handle/123456789/32585 2018-01-01T00:00:00Z http://dspace.tnpu.edu.ua/handle/123456789/12627 Назва: Художній метамодернізм: від експансії мертвого – до дихання живого Автори: Кондрацька, Людмила Анатоліївна Короткий огляд (реферат): У статті обґрунтовано перспективи метамодерністичного мистецтва як антиномічного співбуття в єдиному творчому процесі інтуїтивного чуття Краси і енергійного поривання Розуму, індивідуального духу свободи і колективної логіки. На прикладі епістемологічного аналізу жанрових різновидів відповідної артпрактики (живопису Адама Міллера, Мітча Гріффіта, Кея Доначі, колажів Девіда Торпа, інсталяцій Баса Яна Адера, фільмів Мішеля Гондрі, Уеса Андерсена, Спайка Джонса, постінтернет-музики у жанрі мікстейл і ґерідж) концептуально узагальнено антропологічну та естетичну парадигми метамодернізму і стратегій (метарефлексивності, перформатизму, осциляції, конструктивного пастішу; нормкору, антропоморфізації; меtа-сute) формування належної компетентності його адресанта.; В статье обосновано перспективы метамодернистичного искусства как антиномичного сосуществования в едином творческом процессе интуитивного чувства Красоты и энергичного стремления Разума, индивидуального духа свободы и коллективной логики. На примере эпистемологического анализа жанровых разновидностей соответствующей артпрактики (живописи Адама Миллера, Митча Гриффита, Кея Доначи, коллажей Дэвида Торпа, инсталляций Баса Яна Адера, фильмов Мишеля Гондри, Уэса Андерсена, Спайка Джонса, постинтернет-музыки в жанре микстейл и ґеридж) осуществлено концептуальное обобщение антропологической и эстетической парадигмы метамодернизма и стратегий (метарефлексивности, перформатизма, осцилляции, конструктивного пастиша; нормкора, антропоморфизации; меtа-сute) формирования надлежащей компетентности его адресанта.; Metamodernism is a term that has gained traction in recent years as a means of articulating developments in contemporary culture, which, it is argued (and our generation appears to intuitively recognise) has seen a move beyond the postmodern mode of the late 20th century. In the wake of the myriad crises of the past two decades – of climate change, financial meltdown, and the escalation of global conflicts – we have witnessed the emergence of a palpable collective desire for change, for something beyond the prematurely proclaimed end of history. The metamodern generation understands that we can be both ironic and sincere in the same moment; that one does not necessarily diminish the other. Thus, metamodernism itself is intended as a philosophy or an art movement, since it define or delineate a closed system of thought, or dictate any particular set of aesthetic values or methodologies. It is a manifesto of today’s dominant cultural mode. However, мetamodernism does not, then, propose any kind of utopian vision, although it does describe the climate in which a yearning for utopias, despite their futile nature, has come to the fore. The metamodernism discourse is thus descriptive rather than prescriptive; an inclusive means of articulating the ongoing developments associated with a structure of feeling for which the vocabulary of postmodern critique is no longer sufficient, but whose future paths have yet to be constructed. With the recent ebb of typically postmodern sensibilities and the rise of a new generation – one reacting not only against a discredited notion of transcendence but also against the unfulfilling shallowness and existential disorientation caused by postmodern surface – we enter a new period: a metamodern period, whose structure of feeling is characterized by a sort of “oscillation” between these poles. Proposed by cultural theorist Timotheus Vermeulen and philosopher Robin van den Akker as the new “dominant cultural logic of modernity”, metamodernism evokes a continuous oscillation between (i.e. meta-) seemingly modern strategies and ostensibly postmodern tactics, as well as a series of practices and sensibilities ultimately beyond (i.e. meta-) these worn out art-categories. Indeed, out of this crucible it seems an entirely new kind of depth model has been forged. For some of this generation are daring to imagine transcendence again. There is a revival of the mythic; sublimity, narrative, depth, meaning, and reorientation are once again being sought out and can be seen within metamodern artforms. And yet, precisely because one knows this transcendence cannot be unequivocally asserted (indeed, quite the contrary), its entertainment as an idea is of an essentially different sort than (pre)modern naiveté. It is indeed an “informed naiveté” a sense of transcendence arising out of and ultimately held in check by the acknowledged immanent frame. The show’s curators refer to the notion of sleight of hand in their exhibition notes, comparing art with the field of magic and trickery. Art’s “magical” operations necessarily exploit the constraints of the systems in which they operate, perhaps requiring a degree of suspension of disbelief in order to be fully realised. Here, the perceptive metamodern spectator can be seen to acknowledge the smoke and mirrors, whilst continuing to hope for the emergence of something greater than the sum of its parts: the promise that reason might be usurped by affect. Mon, 01 Jan 2018 00:00:00 GMT http://dspace.tnpu.edu.ua/handle/123456789/12627 2018-01-01T00:00:00Z http://dspace.tnpu.edu.ua/handle/123456789/12626 Назва: Міфологічна традиція у пластичному декорі храмів Давньої Русі Автори: Чуйко, Олег Короткий огляд (реферат): У статті обґрунтовано перспективи метамодерністичного мистецтва як антиномічного співбуття в єдиному творчому процесі інтуїтивного чуття Краси і енергійного поривання Розуму, індивідуального духу свободи і колективної логіки. На прикладі епістемологічного аналізу жанрових різновидів відповідної артпрактики (живопису Адама Міллера, Мітча Гріффіта, Кея Доначі, колажів Девіда Торпа, інсталяцій Баса Яна Адера, фільмів Мішеля Гондрі, Уеса Андерсена, Спайка Джонса, постінтернет-музики у жанрі мікстейл і ґерідж) концептуально узагальнено антропологічну та естетичну парадигми метамодернізму і стратегій (метарефлексивності, перформатизму, осциляції, конструктивного пастішу; нормкору, антропоморфізації; меtа-сute) формування належної компетентності його адресанта.; В статье обосновано перспективы метамодернистичного искусства как антиномичного сосуществования в едином творческом процессе интуитивного чувства Красоты и энергичного стремления Разума, индивидуального духа свободы и коллективной логики. На примере эпистемологического анализа жанровых разновидностей соответствующей артпрактики (живописи Адама Миллера, Митча Гриффита, Кея Доначи, коллажей Дэвида Торпа, инсталляций Баса Яна Адера, фильмов Мишеля Гондри, Уэса Андерсена, Спайка Джонса, постинтернет-музыки в жанре микстейл и ґеридж) осуществлено концептуальное обобщение антропологической и эстетической парадигмы метамодернизма и стратегий (метарефлексивности, перформатизма, осцилляции, конструктивного пастиша; нормкора, антропоморфизации; меtа-сute) формирования надлежащей компетентности его адресанта.; Metamodernism is a term that has gained traction in recent years as a means of articulating developments in contemporary culture, which, it is argued (and our generation appears to intuitively recognise) has seen a move beyond the postmodern mode of the late 20th century. In the wake of the myriad crises of the past two decades – of climate change, financial meltdown, and the escalation of global conflicts – we have witnessed the emergence of a palpable collective desire for change, for something beyond the prematurely proclaimed end of history. The metamodern generation understands that we can be both ironic and sincere in the same moment; that one does not necessarily diminish the other. Thus, metamodernism itself is intended as a philosophy or an art movement, since it define or delineate a closed system of thought, or dictate any particular set of aesthetic values or methodologies. It is a manifesto of today’s dominant cultural mode. However, мetamodernism does not, then, propose any kind of utopian vision, although it does describe the climate in which a yearning for utopias, despite their futile nature, has come to the fore. The metamodernism discourse is thus descriptive rather than prescriptive; an inclusive means of articulating the ongoing developments associated with a structure of feeling for which the vocabulary of postmodern critique is no longer sufficient, but whose future paths have yet to be constructed. With the recent ebb of typically postmodern sensibilities and the rise of a new generation – one reacting not only against a discredited notion of transcendence but also against the unfulfilling shallowness and existential disorientation caused by postmodern surface – we enter a new period: a metamodern period, whose structure of feeling is characterized by a sort of “oscillation” between these poles. Proposed by cultural theorist Timotheus Vermeulen and philosopher Robin van den Akker as the new “dominant cultural logic of modernity”, metamodernism evokes a continuous oscillation between (i.e. meta-) seemingly modern strategies and ostensibly postmodern tactics, as well as a series of practices and sensibilities ultimately beyond (i.e. meta-) these worn out art-categories. Indeed, out of this crucible it seems an entirely new kind of depth model has been forged. For some of this generation are daring to imagine transcendence again. There is a revival of the mythic; sublimity, narrative, depth, meaning, and reorientation are once again being sought out and can be seen within metamodern artforms. And yet, precisely because one knows this transcendence cannot be unequivocally asserted (indeed, quite the contrary), its entertainment as an idea is of an essentially different sort than (pre)modern naiveté. It is indeed an “informed naiveté” a sense of transcendence arising out of and ultimately held in check by the acknowledged immanent frame. The show’s curators refer to the notion of sleight of hand in their exhibition notes, comparing art with the field of magic and trickery. Art’s “magical” operations necessarily exploit the constraints of the systems in which they operate, perhaps requiring a degree of suspension of disbelief in order to be fully realised. Here, the perceptive metamodern spectator can be seen to acknowledge the smoke and mirrors, whilst continuing to hope for the emergence of something greater than the sum of its parts: the promise that reason might be usurped by affect. Mon, 01 Jan 2018 00:00:00 GMT http://dspace.tnpu.edu.ua/handle/123456789/12626 2018-01-01T00:00:00Z http://dspace.tnpu.edu.ua/handle/123456789/12625 Назва: Народні художні промисли і ремесла Гуцульщини та Покуття: традиції, майстри, школи, їх вплив на розвиток етнодизайну Галичини Автори: Гнатюк, Михайло Короткий огляд (реферат): У статті досліджено традиції народного мистецтва Гуцульщини і Покуття, висвітлено особливості народних промислів, умови формування професійних шкіл та осередків художніх ремесел, роль прогресивної інтелігенції у їх створенні й діяльності. Зокрема, окреслено період продуктивної діяльності проектного бюро І. Левинського, пленерної практики школи О. Новаківського в Космачі, деревообробних шкіл у Вижниці, Косові, спілки “Гуцульське мистецтво” М. Куриленка та їх значення у популяризації народного стилю.; В статье исследованы традиции народного искусства Гуцульщины и Покутья, освещены особенности народных промыслов, условия формирования профессиональных школ и очагов художественных ремесел, роль прогрессивной интеллигенции в их создании та деятельности. В частности, очерчено период продуктивной деятельности проектного бюро И. Левинского, пленэрной практики в Космаче школы А. Новаковского, деревообрабатывающих школ в Выжнице и Косове, союза “Гуцульское искусство” М. Куриленко, их значение в популяризации народного стиля; Halychyna has long attracted artists from other territories of Rus and abroad. By Prince Danylo Halytskiy all sorts of artists who fled from the Tatars got settled here. So in the vicinity of Halych such settlements as Bodnariv, Sapogiv, Komariv, Gonchariv and others were founded which were famous for their crafts. During the Renaissance period many young people began to conquer the European universities, where they studied “the seven free arts”. The best sons of merchants and artisans headed abroad who later became the secular scientific intelligentsia and contributed to the study of historical monuments, works of art folk art and enriched Ukrainian science. The article reveals the traditions of folk decorative and applied art of Hutsulshchyna and Pokuttya, features the creative work of outstanding craftsmen, artists, architects – the representatives of various professional schools and centers of manufacturing products made of clay, wood , metal, fabrics, the conditions of establishment of folk art and artistic crafts. Significant attention is paid to the period of Art Nouveau in architecture, design and the creative work of I. Levynsky and to the employees of his designing company, who created a new style of the era. Of particular importance for the development of artistic craft in the region were woodworking schools in Vyzhnytsia and Kosiv, woodcarvers Vasyl Shkribliak, Marko Megedyniuk and Vasyl Devdiuk, the society “Hutsul Art” headed by teacher Mykhailo Kurylenko assisted by scientist-ethnographer Volodymyr Hnatyuk. Its members abode by the folk style of manufacture in weaving, woodcarving, used exclusively natural dyes, involved to the design professional artists, so the products were distinguished by high quality and enjoyed significant demand for a long time. During World War II, an industrial school operated under the guidance of headmaster Mykola Guleichuk in Kosiv, thanks to which many of the local youth managed to avoid removal to Germany. Another center of artistic crafts became Kosmach, where also lived a lot of carpenters, furniture makers, wood carvers, including Mykyta Semchuk, Vasyl Yusypchiuk, Lukian Kifiak and others. Significant impact on the youth there had an artistic school of O. Novakivsky from Lviv, teachers and students from which, studied the Ethnography of the region, participated in the local performances and other cultural events. Folk art developed in another way during the Soviet period. Enterprises of folk crafts operated in Kosiv: cooperative craft society “Hutsulshchyna”, workshops of Art Foundation, where professional artists and craftsmen, the representatives of different branches of the whole region gathered: prominent woodcarvers, weavers, ceramists, mostly graduates from the local school. Now in the conditions of market relations and without proper support on part of the State, we can state a significant decline of traditional crafts, the usage of other ornaments, synthetic materials, false execution techniques that leads to the famous kitsch. There are problems of training in art institutions, in particular unwillingness and unpreparedness of youth to choose art professions. Mon, 01 Jan 2018 00:00:00 GMT http://dspace.tnpu.edu.ua/handle/123456789/12625 2018-01-01T00:00:00Z