National Academy of Managerial Staff of Culture and Arts Herald

3-8

Authors: Olena Kolesnyk

The article is about the mythopoeic idea of unity and interrelation of the human being and the Cosmic life, and its interpretation given in the texts of W. Shakespeare’s works. The human being, as represented in W. Shakespeare’s works, can be considered on three levels: personal, social and cosmic. As a person, a Shakespearean character is defined not only by his / her mind only, but also by the body. In the plays we see individuals of different gender, age, health and appearance. All these characteristics are relevant to the behavior of the individual and the response they get. Shakespeare skillfully shows different affects, and some states that can be explained with the help of the modern notion of hormones. All this was quite revolutionary for his epoch. Thus a human being is described as a creature with the complex psycho physiological constitution. One of the most important words in this context is "heart" that unites both physical and spiritual spheres. It brings to memory Ukrainian tradition of Cordocentrism, especially in P. Yurkevich’s interpretation. The metaphor of "body" is sometimes used in the pays to describe a social unity. Shakespeare was not a revolutionary, or even a political radical. Sometimes he shows the common people as politically deluded and easily lead. But mostly the commoners are portrayed as persons possessing the common scene and the moral standards, that guarantee the return to norm after social and political upheavals. It is important to note, that Shakespeare shows the kings as persons with weaknesses and problems, who must work hard to keep themselves and their country in order. In many plays he makes his monarchs declare the principal equality of human beings, with all the social differences appearing as secondary and transitory characteristics. Moreover, the same can be said about all the differences, underneath which all the humans are basically the same creatures with the same wants. All of them can suffer and thus are worthy of sympathy. There are some hints that animals can also be seen in the same context. This thought foreshadows the contemporary notion of animal rights an human responsibility for the planet. On the Cosmic level, the human beings are shown as the integral parts of the greater whole. In many plays there are statements reflecting the medieval model of the Universe, which goes back to the mythopoeia. The basic concept is the interrelation between the state of a person, of social group and of the world. Both the nation and its ruler were hold responsible for the cosmic state of affairs. The violation of the "Truth of the King" may have lead to turning the country into the Wasteland. This important mythologeme underlies all the plot of "King Lear". Taking this into consideration helps us to understand many obscure points. One of them is the behavior of the protagonist, that was traditionally explained only as the complete unreason of a madman who in the times of crisis asks irrelevant questions. In truth, Lear asks about the cause of the apocalyptical storm, which, on his opinion, was the direct result of some great sin. It is very close to the Greek belief, reflected in Sophocles’ "Oedipus", where the plague was sent by gods to punish the ruler’s crime. This belief also explains why in all Shakespearean plays – again, most noticeably in "King Lear" – there is an obligatory explanation in the finale. All the characters must tell their story and their confessions should be taken as forming the part of one general story. Shakespeare shows that the truth must be known and upheld, whatever the cost. Only thus the normal personal, social and cosmic life can continue. It doesn’t mean that all the plays are what was in the Soviet tradition called the "optimistical tragedies". Sometimes the losses are too great and the future is dubious. But it is the revealing of the human and cosmic truth that makes any future possible. In "King Lear" we also see the non-Aristotelian formula of catharsis, that sums up all the meaning of the suffering and losses: a person must learn compassion to restore or compensate what was destroyed in the blind egotistical strife. All these deeper senses of the plays, revealed by means of applying the principles of culturological hermeneutics, reflect the vestiges of the ancient belief in the human responsibility for the general state of the world. Such ideas, discarded by the Modern European Rationalism, are re-actualized in our times of the global ecological crisis, that demands a new level of awareness and new struggle with the human selfishness on all the levels: personal, social and universal. Taking into consideration these hidden meaning allows us deeper understanding of the Shakespearean tragedy. It can have both theoretical and practical importance, the latter being connected with the outlook-forming role of art. In the post-soviet theatres there is a tendency to turn the tragedies into the absurdist plays. It is an easy way for a director. But now it is more important to show that something can be, and must be done. Keywords: artistic interpretation, Cosmos, culturological hermeneutics, mythopoeia, W. Shakespeare, Wasteland.

13-18

Authors: Natalia Zhukova

The paper addresses the problem of features of contemporary art. The art of the post-Soviet space and in the former Soviet bloc, like digger. He roams in darkness borrowed art practices, and seeks to run them through a yourself to rethink and does not of losing its identity. Even, we can say that art digger the terminology of Mikhail Epstein, is kenotyp (kainos + typos) art practices of most post-Soviet countries. Kenotyp – a generic imaginative diagram intellectual activity that has no precedent in the collective unconscious, and for its symbolic meaning, refers to the future. In archetype general precedes the specific , it is first given. Mikhail Epstein argues: "Kenotyp – it is the ultimate the prospect of specific , that is growing in history and turns it touches the limits of perpetual". So, the work of contemporary Ukrainian artist, art critic, philosopher Olga Petrova contains expression, philosophical generalizations and insight. A striking example – is it lithographs to the "Divine Comedy" by Dante Alighieri. Illustration of the artist – this is not just drawing storylines reader Association on the topic, but rather is a reflection of the spirit of Dante Alighieri time. At the same time – she depicts the modern time. Her work – a synthesis of intuition and of the author's opinion, her intuitive and intelligent insight to see and inner spirituality not only of Dante, his contemporaries, but of every Characters of the immortal work of the great Florentine. Olga Petrova said: "Work – the interior psyche, of intuitive movement, impulse and breakthrough into higher measurements". She believes that an artist has the property comprehend the transcendental and revive impressions of the past; This position is close to the concept of Henri Bergson and Jacques Maritain. Works writer Goran Petrovic of Serbia contains the on the one hand the idea of of eternal return of Bergson, and the other – the transgression. This novel writer – "Atlas that made the sky". Heroes Serbian writer ostensibly nostalgic. They create a cultural space. However, at the same time, it seems: they are in reality, on the other side of the mirror, and it is not clear whose reality: either their, or author. The novel represents the various story lines that sometimes intersect but not complement and not explain each other. The text of the novel should be interpreted, to disclose there hidden text. Maybe the subtext in the novel is not, is reflection of unrealized childhood dreams, fun, imposed on game of imagination adult who is tired of the realities of the world around her. Characters of the novel do not have depth, they – artifacts visualization which is possible only through intuition, the reader is provided the opportunity to think out, fantasizing about what thing is happening and why. Interpretation of the work becomes a game. In viewing of the rules appears transgression, here to overcome stereotypical reasoning. Can conclude that the theory of intuitionism considerably influenced the art of the twentieth century, and the desire of artists so to speak to go ahead (trait digger), in this case – to transgressive step. The paper also considered the work of Alexander Roitburd. Creativity of the artist a vivid manifestation of artistic digger. It includes not only postmodern features, but also ironic and satirical intellectual tradition. This is revealed not only in the work of the artist, but also his sense of the world. This kind of "digging", analysis, and as a consequence – the deep wounds of the soul. The artist is experiencing a deep indifference of contemporary society concerning of national culture. One of the famous master paintings "Good Bye, Caravaggio". Work Roitburd interesting because, firstly, it is double layer: the first layer – a copy of Caravaggio's paintings, the second (upper) – author's abstraction, and, secondly, an interesting hidden subtext of this work. So persuasion O. Roytburd, like many other contemporary artists – a not indifferent persuasion. Even in situations where mass culture dominates. However, "artists digger" is also hope still "react" to what is happening around them. Example creativity of artists – Olga Petrova, Alexander Roitburd and Goran Petrovic – demonstrates the ability to use the term "digger" about artists living in the former Soviet Union and countries of the former socialist block. Keywords: contemporary art, "digger", art, artist.