The Klironomy journal (KJ) is an international scientific journal on arts, culture and cultural heritage. The KJ is a part of the Tuculart Holding and is operated by the European Institute for Innovation Development in Czech Republic. The KJ is supervised and controlled by The Scientific Council of the European Institute for Innovation Development, headed by Professor Maksim (Maxim) Bakhtin and Dr. Alexander Buychik, Holding Director for Sciences, supervises the KJ. The publishing works are made by Tuculart Edition, including in the Tuculart Holding. The articles published in the KJ are included in ICI Copernicus, BASE, DOAJ, Zenodo, OpenAIRE, Academic Resource Index "ResearchBib", International Scientific Indexing, J-Gate, etc.
European Institute for Innovation Development
The Klironomy is an open access journal. Articles are available free of charge as PDF files on the website of the European Institute for Innovation Development. PDF files can be previewed with Acrobat Reader from www.adobe.com. All articles of the Klironomy are published under a Creative Commons Attribution 4.0 Generic (CC BY 4.0) International license. According to the Creative Commons Attribution 4.0 Generic (CC BY 4.0) International license, the users are free to Share — copy and redistribute the material in any medium or format for any purpose, even commercially (the licensor cannot revoke these freedoms as long as you follow the license terms). Under the following terms: Attribution — You must give appropriate credit, provide a link to the license, and indicate if changes were made. You may do so in any reasonable manner, but not in any way that suggests the licensor endorses you or your use. No additional restrictions — You may not apply legal terms or technological measures that legally restrict others from doing anything the license permits.
The Problem of Lustration in Polish Cinema
The relevance of this study is determined by the enduring impact of lustration on collective memory and cultural self-reflection in post-communist Poland. Despite the formal completion of key legislative stages, lustration continues to function as a source of moral, psychological, and symbolic tension within Polish society, which is actively articulated through national cinema. The research problem lies in the insufficient scholarly attention paid to the representation of lustration in Polish feature cinema as an autonomous cultural discourse. While lustration has been extensively examined from legal, political, and historical perspectives, its cinematic interpretation as a medium of meaning-making and trauma processing remains underexplored. The novelty of the study consists in its interdisciplinary approach, which conceptualises lustration not merely as an institutional mechanism but as a culturally mediated process articulated through cinematic narratives. The article introduces a conceptual analysis of key cinematic constructs—teczki (files), kłamstwo (lie), zdrada (betrayal), and the figure of the “evil UB officer but a good cop”—and traces their diachronic development in Polish films from the early 1990s to the mid-2020s. The subject of the study is the cinematic discourse on lustration in Polish feature films. The object of the study is Polish feature cinema produced after 1989 that directly or indirectly addresses the problem of lustration and the legacy of the communist security services. The study aims to identify and analyse the key conceptual frameworks through which the processes of lustration are represented and interpreted in Polish feature cinema. The study employs a combination of general scientific methods and specialised cultural-analytical approaches, including discourse analysis, narrative and semiotic analysis, comparative and historical-cultural methods, and the concept of cultural trauma. The study refers to the works of scholars in the fields of transitional justice, memory studies, and post-communist transformation, including Roman David, Lavinia Stan, Michael Nalepa, Cynthia Horne, Natalia Letki, Piotr Grzelak, Jan Woleński, and Nataliya Minyenkova. The article analyses a corpus of Polish feature films produced after 1989 and demonstrates that cinema constructs a distinct cultural language for engaging with lustration, shifting attention from legal procedures to moral ambiguity, personal responsibility, and collective trauma. The findings reveal the stability of key cinematic concepts across different historical periods and highlight cinema’s role in shaping reflective rather than punitive attitudes towards the communist past. The study concludes that Polish feature cinema functions as a significant space for the cultural interpretation of lustration, contributing to ongoing processes of memory formation and ethical reflection in post-communist society.
Copyright (c) 2026 Klironomy https://creativecommons.org/licenses/by/4.0
The Phenomenon of Heorhii Narbut: Graphic Creativity and Tradition in the Contemporary Ukrainian Sociocultural Dimension
The relevance of this study is determined by the growing scholarly and societal interest in the formation of Ukrainian national identity amid contemporary sociocultural transformations, as well as by the necessity to reconsider the role of visual culture and graphic design as instruments for its representation. In this context, the creative legacy of Heorhii Narbut emerges as a unique phenomenon that combines national tradition with modern artistic exploration, forming the foundation of Ukrainian graphic culture and retaining its significance within the contemporary artistic and design environment. The subject of the study is the representational capacity and adaptability of the Narbut letterform as an element of graphic design and as a medium for transmitting Ukrainian identity in contemporary sociocultural realities. The object of the study is the creative output of Heorhii Narbut. The study aims to examine the role of Heorhii Narbut in shaping Ukrainian national identity through the prism of his graphic legacy. The research objectives include outlining the artist’s innovative artistic concepts and analysing the representational potential of the Narbut letterform within the contemporary Ukrainian sociocultural dimension. During the study, a significant body of sources was analyzed in strict adherence to a chronological framework, allowing for the reconstruction of the historical context in which Narbut’s work developed, as well as the tracing of the dynamics and thematic content of publications across different historical periods. Publications by scholars from the first half of the 20th century, including émigré researchers working abroad (F. Ernst, M. Zerov, M. Burachek, I. Mozolevskyi, I. Krushelnytskyi, et al.), proved to be invaluable. Among contemporary studies, particular attention was given to the works of S. Bilokin, P. Biletskyi, M. Filevych, Ye. Hula, O. Kovalov, V. Krychevskyi, V. Mitchenko, V. Panchenko, M. Mudrak, and others. This systematic and chronologically structured approach provided a comprehensive understanding of the evolution of scholarly interpretations of Narbut’s graphic legacy and allowed for an assessment of its significance for the development of modern Ukrainian culture and graphic arts. The methodological foundation of the study is an interdisciplinary approach, necessitated by the multidimensionality of the research object and the need to combine general scientific, historical-cultural, and art-historical methods. Specifically, the study employed analysis and synthesis, induction and deduction, systemic, socio-cultural, and contextual analysis, visual-communicative analysis, historical, chronological, and analytical methods, comparative-historical methodology, semiotic and interpretive (hermeneutic) approaches, and the method of systematization. The integrated application of these methods enabled a deep and holistic comprehension of Narbut’s creative legacy. Special attention is given to the continuity between historical heritage and contemporary practice: even under conditions of war, Ukrainian designers actively engage with Narbut’s artistic principles, interpreting his typographic works as a source of inspiration for the creation of contemporary typefaces. Talented practitioners do not merely experiment with forms but consciously draw upon Ukrainian cultural roots and artistic traditions, which today constitute a powerful basis for the preservation of national identity. Therefore, the findings of the study can be applied in the practical work of contemporary designers and serve as a theoretical and methodological foundation for training specialists in Graphic Design in higher education institutions, fostering the integration of historical heritage into contemporary artistic and design practices.
Illustration in Ukrainian Children’s Books: National Tradition and European Visual Practices
The relevance of the study is determined by the increasing role of visual culture in the context of digitalization and the growing influence of visual media on children’s perception, imagination, and identity formation. In contemporary humanities, there is a clear need to reconsider illustration not merely as a decorative supplement but as a meaningful cultural phenomenon within children’s literature. The research problem lies in the insufficient systematization of children’s book illustration as a carrier of national cultural codes, particularly within Ukrainian book graphics. Existing studies often address illustration fragmentarily, without integrating historical, semiotic, cultural, and comparative perspectives into a unified analytical framework. The novelty of the study consists in the interdisciplinary conceptualization of illustration in Ukrainian children’s books as an independent artistic and communicative system. The study introduces a comparative model that reveals the interaction between national traditions and European visual practices while emphasizing the cultural specificity of Ukrainian illustration. The subject of the study is the artistic, stylistic, semiotic, and cultural features of illustration in Ukrainian children’s books in relation to European visual trends. The object of the study is illustration in children’s books as a component of book graphics and visual communication. The study aims to identify and systematize the artistic, stylistic, and cultural principles of illustration as a form of national visual code. The methodological framework includes analytical, comparative, historical-chronological, systemic, art-historical, semiotic, and cultural approaches. The study draws upon the scholarly works of V. Zaitseva, A. Buihasheva, H. Novik, P. Zemtsova, P. Nodelman, M. Nikolajeva, and other researchers in the fields of book studies, illustration theory, and visual culture. The study examines the historical foundations of Ukrainian book graphics, analyzes contemporary illustrative practices, and compares Ukrainian and European approaches to children’s book illustration. Special attention is given to stylistic diversity, the interaction of traditional and digital techniques, age-related design principles, and the role of illustration in visual communication. The results demonstrate that contemporary Ukrainian illustration integrates national artistic traditions with innovative visual strategies, preserving the high cultural and aesthetic value of the children’s book. The authors conclude that illustration functions as a significant factor in shaping children’s visual perception and national identity, positioning Ukrainian book graphics as an independent and culturally meaningful phenomenon within the European and global artistic context.
Decorated Cannons of the Hetmanate Period as Figurative and Symbolic Monuments of the Ukrainian Baroque
The relevance of the study lies in the need for a comprehensive understanding of Cossack artillery of the 17th and 18th centuries not only as a category of military weapons, but also as a significant phenomenon of Ukrainian material and symbolic culture of the Baroque period. In the context of contemporary Ukrainian realities, marked by the destruction, displacement, and marginalisation of cultural heritage, this issue acquires particular importance from the perspective of klironomy as a discipline concerned with the preservation of cultural memory. The study problem is defined by the insufficient scholarly attention paid to the figurative, symbolic, and ideological dimensions of decorated Cossack cannons. Previous studies have predominantly focused on technological, military-historical, or descriptive aspects, leaving the internal semantic structure of cannon decoration and its role in the visual legitimation of power largely unexplored. The novelty of the study consists in the interdisciplinary interpretation of decorated cannons of the Hetmanate period as figurative and symbolic monuments of Ukrainian Baroque culture. The article introduces a holistic analytical model that integrates art-historical, iconographic, semiotic, and klironomical approaches, allowing cannon decoration to be conceptualised as a coherent symbolic system rather than a set of isolated ornamental motifs. The subject of the study is the system of figurative, symbolic, and compositional meanings embodied in the artistic decoration of Cossack cannons of the 17th and 18th centuries. The object of the study comprises bronze decorated cannons commissioned by Ukrainian hetmans and members of the Cossack senior officers and preserved in museum collections of Eastern Europe. The study aims to conduct an interdisciplinary analysis of these artefacts as figurative and symbolic monuments of the Baroque era. The study employs a wide range of methods, including historical and chronological analysis, art-historical examination of Baroque stylistics, iconographic and semiotic interpretation of decorative motifs, as well as comparative analysis and attribution. The theoretical foundation of the study is based on the works of V. Modzalevskyi, P. Zholtovskyi, D. Stepovyk, A. Makarov, V. Paliienko, O. Malchenko, A. Buychik and other scholars who have contributed to the study of Ukrainian Baroque art, artistic metalwork, and Cossack material culture. The study demonstrates that the decoration of cannons constituted an integral symbolic system that transformed weapons into a “cultivated universe” of the Baroque worldview. Three key groups of decorative elements are identified: phytomorphic motifs (including acanthus, grapevine, rose, and the symbol of the “heart” as an expression of Ukrainian cordocentrism), zoomorphic images (the lion and the unicorn as embodiments of strength and divine protection, the nightingale as a herald of victory), and epigraphic elements (titular inscriptions recording social hierarchy and status). The conclusions of the study confirm that the compositional organisation of cannon decoration was based on the principles of vertical dynamism and triadic unity, corresponding both to the technological structure of the cannon barrel and to the Christian symbolism of the Trinity. It is established that decorated cannons functioned as instruments of political legitimation and as visual confirmations of the status of the Cossack senior officers as bearers of state authority, faith, and Baroque cultural identity.
Ukrainian historical and cultural heritage
Psychological and Pedagogical Foundations for the Formation of the Musician-Pedagogue under Contemporary Challenges
The relevance of the study is determined by the profound social, educational, and wartime transformations that significantly affect the professional mission and personal sustainability of contemporary educators, particularly in music education. Under conditions of social instability, digitalisation, and increased psycho-emotional pressure, the formation of a musician-pedagogue requires renewed theoretical reflection grounded in humanistic and learner-centred educational values. The novelty of the study consists in its integrative psychological and pedagogical conceptualisation of forming the musician-pedagogue under contemporary challenges, including wartime realities, digitalisation, and the growing influence of artificial intelligence in education. Unlike traditional approaches, the study foregrounds the personality of the musician-pedagogue as a central value-bearing, emotionally resilient, and culturally responsible subject of the educational process. The subject of the study is the psychological and pedagogical foundations of forming the personality of the musician-pedagogue as a professionally competent, value-oriented, and psychologically resilient educator. The object of the study is the process of forming a teacher of musical art within the realities of an unstable and digitalised educational environment. The study aims to provide a theoretical substantiation of the psychological and pedagogical foundations for forming the personality of the musician-pedagogue capable of effective professional functioning under contemporary social, wartime, and educational challenges. The study employs theoretical methods, including analysis, synthesis, generalisation, and systematisation of scholarly sources, as well as comparative and historical-pedagogical methods to interpret the evolution of the musician-pedagogue’s professional role in the context of tradition and innovation. The study draws upon and synthesises the scholarly contributions of Ukrainian researchers in pedagogy, psychology, music education, and educational innovation, including works. The study substantiates that the formation of the musician-pedagogue under contemporary challenges is grounded in the integration of professional competence, humanistic value orientations, emotional awareness, and psychological resilience. It demonstrates that music-pedagogical activity transcends purely instructional functions and acquires psycho-emotional, therapeutic, and socially supportive significance, particularly under conditions of war and social instability. The conclusions confirm that effective music-pedagogical activity in the 21st century requires a harmonious combination of humanistic pedagogical traditions with innovative, learner-centred, and digitally informed approaches, while preserving the central role of the educator as a bearer of culture, empathy, and ethical responsibility.
Adaptive Reuse of a Cultural Heritage Building in Sofia: “Theme” and “Character” in the Interior of the Old Excelsior Cinema
The relevance of this study is determined by the ongoing loss and functional degradation of historic cinema buildings in the central areas of European cities and the growing need for methodologically grounded approaches to their adaptive reuse as cultural heritage sites. Under conditions of fragmented renovations and utilitarian transformations, early 20th-century cinema interiors require reinterpretation not merely as architectural shells but as carriers of cultural memory, spatial experience, and technological history. The study problem lies in the absence of integrated methodological models for the adaptive reuse of cinema interiors that simultaneously address spatial logic, material authenticity, acoustic qualities, and socio-cultural function. Existing approaches often prioritize architectural envelopes or visual aesthetics while neglecting the interior as a complex cultural system. The novelty of the study consists in the development and application of a conceptual and methodological framework for the adaptive reuse of early twentieth-century cinema interiors based on the operationalization of the concepts of “theme” and “character” as analytical and design tools. These concepts enable the translation of archival, spatial, and material research into coherent interior adaptation strategies. The subject of the study is a methodological model for the adaptive reuse of early twentieth-century cinema-theatre interiors within cultural heritage contexts. The object of the study is the interior of the former “Excelsior” cinema (later renamed “Assen Zlatarov”), located in the historic center of Sofia, Bulgaria, considered as a representative example of early urban cinema architecture. The study aims to develop an interdisciplinary methodology for the adaptive reuse of historic cinema interiors that preserves their identity while enabling contemporary functional, technical, and cultural use. The study methodology combines archival-documentary analysis, spatial and structural investigation, historical and technological contextual analysis, and material survey, followed by the synthesis of findings into an adaptive reuse model. The study draws upon and generalizes the ideas of architectural conservation theorists, researchers of Sofia’s urban and cultural history, scholars of early Bulgarian cinema, and contemporary approaches to adaptive reuse and interior design. The core of the study lies in conceptualizing the cinema interior as a culturally active system in which proportions, acoustics, materials, and patterns of use jointly shape historical identity. Based on the analysis of archival drawings, historical sources, and surviving material layers, an adaptation model is proposed that maintains technological and cultural continuity while accommodating new uses. The results demonstrate that successful adaptive reuse of historic cinema interiors requires the integration of historical knowledge, spatial analysis, and material authenticity into a unified design logic. The proposed framework positions adaptation as a culturally responsible practice that ensures continuity of identity and reactivation of the public and cultural role of historic cinema interiors in contemporary urban life.
Ukrainian Svoloky as an Element of Cultural Heritage
The relevance of the study is determined by the need to reassess traditional elements of Ukrainian vernacular architecture as carriers of complex cultural meanings and as integral components of cultural heritage. This relevance is further reinforced by the necessity of a more active integration of knowledge about Ukrainian material culture into the European scholarly discourse. The study problem lies in the fragmentary treatment of Ukrainian svoloky in existing scholarship, where they have most often been mentioned episodically as constructional or decorative details rather than analysed as a coherent group of culturally significant artefacts. As a result, their historical development, semantic complexity, and heritage value have remained insufficiently conceptualised. The scientific novelty of the study consists in the holistic interpretation of svoloky as a stable cultural phenomenon combining structural, artistic, symbolic, and museological dimensions, as well as in the application of a diachronic and comparative European perspective to their analysis. The subject of the study is the cultural and historical process of the formation, functioning, interpretation, and preservation of Ukrainian svoloky within traditional culture. The object of the study is Ukrainian svoloky — massive wooden ceiling beams used in residential and ecclesiastical buildings from the late 16th to the early 21st century — considered as objects of material culture and carriers of immaterial meanings. The study aims to provide a comprehensive generalising characterisation of svoloky as an important element of the cultural heritage of Ukrainians. The study is based on general scientific, cultural studies, and klironomical methods, including analysis and synthesis, historical and comparative analysis, semiotic and symbolic interpretation, and approaches to cultural continuity and museumification. The study engages, in a generalised manner, the scholarly contributions of historians of architecture and art, ethnographers, cultural theorists, and literary figures whose works reflect or interpret the material, symbolic, and memorial dimensions of traditional Ukrainian dwellings. The essence of the study consists in tracing the historical use of svoloky, systematising their folk typology, analysing their decorative and artistic features, reconstructing their semantic roles in ritual and everyday practices, and examining their transformation into museum and heritage objects. Particular attention is paid to their function as sacral and symbolic axes of the traditional house and to their place within a broader European context of wooden ceiling constructions. The author concludes that Ukrainian svoloky represent a multifaceted heritage phenomenon whose cultural significance extends far beyond their technical function, and that their analysis contributes to a deeper understanding of Ukrainian traditional culture and its position within the European heritage landscape.
Circus Arts in Ukraine (2015–2025): Critical Perspectives on Artistic and Educational Development
The relevance of this study is determined by the critical condition of circus arts in Ukraine, which, between 2015 and 2025, have faced systemic decline in both artistic production and professional education amid profound socio-political challenges. In the context of limited scholarly attention to contemporary circus processes, the topic acquires particular significance for art studies and cultural policy research. The research problem lies in the absence of an integrated analytical approach to understanding the interrelation between creative practices, educational systems, and institutional governance in Ukrainian circus arts during the contemporary period. Existing studies remain fragmented and do not adequately address the structural causes of stagnation and regression within the field. The scientific novelty of the study consists in its comprehensive critical analysis of circus arts in Ukraine within the unified framework of artistic and educational processes, combining historical reconstruction with institutional and art-critical perspectives. For the first time, contemporary developments are systematically interpreted in continuity with both Soviet and post-Soviet models. The subject of the study is the problem of the development of circus arts in Ukraine in the context of creative and educational processes from 2015 to 2025. The object of the study is contemporary circus arts in Ukraine as an artistic and educational system. The study aims to identify the causes and analyze the underdevelopment of circus arts within artistic and educational processes over the specified period. The research methodology is based on historical, analytical, comparative, art-critical, circusological, pedagogical, and institutional analysis methods. The study draws upon and generalizes the contributions of Ukrainian and international scholars and practitioners, including I. Lvova, D. Orel, Yu. Romanenkova, C. Stjernebjerg, D. Sharykov, and L. Shevchenko, whose works address circus pedagogy, directing, genre studies, and institutional development. The study examines the evolution of circus arts from the Soviet period to the present, identifies key factors contributing to decline — such as ineffective management, erosion of educational standards, and the withdrawal of state support — and evaluates their impact on artistic production and professional training. Particular attention is given to the transformation of educational institutions and the loss of ensemble-based creative traditions. The author concludes that the current stagnation of Ukrainian circus arts is systemic in nature and exacerbated by the absence of coherent cultural policy and long-term institutional responsibility. The preservation and revitalization of circus arts require a strategic focus on educational continuity, engagement of master practitioners, and the restoration of integrated artistic and pedagogical models.
The Stedley Art Foundation Collection: Between Private Initiative and The Public-Private Space
The relevance of this study is determined by the growing role of private art foundations and collections in shaping the contemporary cultural landscape and transforming traditional models of institutional representation of art. In the context of rethinking the boundaries between the private and the public, such initiatives acquire particular significance for art history, museum studies, and cultural theory. The research problem lies in the insufficient scholarly examination of private collections as hybrid institutional forms operating within the public cultural space. Existing studies tend to address either museum institutions or private collecting practices separately, without offering an integrated art-historical analysis of their interaction. The scientific novelty of the study consists in a comprehensive art-historical interpretation of the Stedley Art Foundation collection as a hybrid institutional model situated between private initiative and the public–private space. For the first time, the collection is analysed not only as an assemblage of artworks, but as a dynamic cultural mechanism that generates curatorial narratives, educational contexts, and alternative forms of public access to art. The subject of the study is the set of conceptual, curatorial, and institutional mechanisms through which the Stedley Art Foundation collection functions at the intersection of private collecting and the public cultural environment. The object of the study is the Stedley Art Foundation collection as an integral artistic and institutional phenomenon within contemporary Ukrainian art. The study aims to identify and analyse the specific features of the Stedley Art Foundation as a space in which private collecting initiative intersects with public cultural discourse. The methodological framework of the research is based on art-historical, institutional, comparative, philosophical, and axiological methods, as well as the analysis of curatorial practices, visual narratives, and empirical interview material. The study generalises and critically engages with the works of Ukrainian and international scholars and practitioners, including V. Blikhara, L. Levchuk, B. Pylypushko, V. Sakharuk, G. Poberizhna, K. Tsyhykalo, J.-C. Marcadé, and others, whose research addresses aesthetics, private collecting, institutional critique, and contemporary artistic practices. The research examines the principles of collection formation, curatorial strategies, and models of public representation implemented by the Stedley Art Foundation, with particular attention to the role of ethical and aesthetic values in shaping institutional identity. The collection is interpreted as a meaning-producing space that integrates artistic heritage, contemporary discourse, and public engagement. The study concludes that the Stedley Art Foundation represents an alternative model of an art institution in which private ownership does not limit, but rather expands the possibilities of public cultural communication. The findings demonstrate that such hybrid institutions play an increasingly important role in the development of contemporary art, the transformation of cultural landscapes, and the redefinition of the relationship between private initiative and public responsibility.
Klironomical Methods for the Study of Cultural Heritage: From Philosophical Reconstruction to Applied Analysis
The relevance of the study is determined by the need for a methodological renewal of cultural heritage research in the context of the expansion of the subject field of heritage studies and the increasing attention to intangible forms of culture, memory, and cultural continuity. Contemporary practices of cultural preservation require instruments capable of linking philosophical reflection with applied analysis and managerial decision-making. The study problem is associated with the fragmentation of the methodological apparatus of heritage studies, the dominance of normative–procedural models, and the insufficient elaboration of the philosophical foundations of value, historicity, and responsibility in the analysis of tangible and intangible cultural heritage. This limits the explanatory potential of existing approaches and their ability to address the processual nature of cultural continuity. The scientific novelty of the study lies in the systematisation of klironomical methods for the study of cultural heritage and in the substantiation of klironomy as an integral methodological system that brings together philosophical, analytical, and applied levels of analysis. For the first time, a set of 25 klironomical methods is presented, and their applicability to tangible and intangible heritage is demonstrated within a unified methodological logic. The subject of the study is klironomical methods for analysing the processes of preservation of culture and art. The object of the study comprises the processes of preserving tangible and intangible cultural heritage as forms of historical continuity. The study aims to substantiate klironomical methods as a methodological transition from philosophical reconstruction to applied analysis of cultural heritage. The methodological framework of the study is based on philosophical reconstruction, categorical and axiological analysis, comparative-klironomical and matrix analysis, as well as methods of klironomical diagnostics, expertise, and design. The study generalises the ideas and approaches of J. Assmann, A. Assmann, P. Ricœur, P. Nora, F. Choay, L. Smith, R. Harrison, and other scholars of the philosophy of memory and heritage studies, as well as the author’s klironomical concept. The essence of the study consists in identifying the philosophical foundations of klironomical methods, critically analysing the methodological limitations of heritage studies, and developing an integral system of methods for analysing the preservation of culture. It is demonstrated how the philosophical categories of value, canon, and historicity are consistently translated into analytical and applied research instruments for the study of cultural heritage. Particular attention is paid to the differences and interrelations between tangible and intangible heritage within the klironomical approach. The author concludes that klironomical methods constitute an independent methodological system that ensures both philosophical depth and applied applicability in the analysis of cultural heritage, and confirms the validity of klironomy as a methodological bridge between the philosophy of culture and the practices of preserving culture and art.
Liviu Danceanu – A “Classic” Composer of Postmodern Music
Composer, musicologist, conductor, professor, essayist Liviu Dănceanu (1954–2017) remains a remarkable personality in Romanian musical culture in the second half of the 20th century and the beginning of the 21st century. Liviu Dănceanu would have turned 70 this year. On this anniversary occasion, the National University of Arts “George Enescu” from Iaşi joined the initiatives of other Romanian universities to organize a commemorative event as a portrait in memoriam, integrated in the 26th edition of the Romanian Music Festival. The cameral concert dedicated to Liviu Dănceanu took place on October 15, 2024, in the “Eduard Caudella” Hall in Iaşi, with eight works from different stages of the composer’s creation, performed by the Archaeus Ensemble that he founded, coordinated and supported from its beginnings, in 1985, until the end of his life, which occurred in 2017. This Contemporary Music Workshop has carried forward the ideals of its creator to the present day, continuing the line of promoting new compositions that appeared after 1970, considered postmodern and/or contemporary. This study aims to analyse the position that musicological researchers give to Liviu Dănceanu in the historical context of Romanian music and we aim to observe the reception of Liviu Dănceanu’s works nowadays, having as a point of reference the program of the concert performed in Iaşi by the Archaeus Ensemble.
The Studies in Preserving Cultural Heritage: The Methodological Apparatus of the New Sciences of Theoretical Klironomy
At the beginning of the 21st century, it became apparent that the formation of separate sciences corresponded to the basic directions of preserving cultural heritage. However, the classical trends—restoration, conservation, renovation, revitalisation and reconstruction—only solve tangible heritage problems. The study subject was the development of the klironomic sciences’ complex in preparing the second edition of the author’s monograph on klironomy. The study object was the methodological apparatus of theoretical klironomy. The study aimed to identify additional theoretical klironomic sciences in jurisprudence, ethnology (social anthropology) and futurism. Analytical, historical and comparative research methods were used to achieve the set purpose of the study. The study used scientific articles by experts in cultural heritage, philosophy, archaeology, and law, as well as some works by the article’s author. The article presents the methodological framework of three new theoretical scientific fields of klironomy, the science of cultural heritage—juristic (legal), ethnic and futuristic klironomy. The author concludes that these new scientific directions require their development and inclusion in the complex of sciences on cultural heritage to train specialists in these fields of human activity.
Copyright (c) 2025 Klironomy https://creativecommons.org/licenses/by/4.0
Creation and Preservation of Cultural Heritage in the Past and Present: A Philosophical Study of Klironomy
The problem of preserving cultural heritage is one of the “eternal”, always urgent problems of scientific thought. Currently, the urgency of this problem is reinforced by the fact that the era of vandalism and the deliberate destruction of cultural heritage has not disappeared at all. The so-called “cancellation culture” leads to such phenomena as the demolition of monuments to “wrong” historical heroes. The article is devoted to the phenomenon of the emergence and preservation of cultural heritage. It is shown that the cultural heritage itself is constantly changing during historical processes. It is demonstrated that intangible cultural heritage plays a huge role in the lives of countries and peoples. Reliance on cultural heritage creates the foundations of an ethnic group’s national identity. At the same time, professional artists have often created people’s cultural heritage in historically recent times. The article provides examples of the creation of cultural features of the Scots and Basques, European peoples with strong self-awareness. The features of preserving the cultural heritage are shown.
Karel Dichtl is a Czech musicologist whose scientific works are mostly unavailable to the public and, therefore, little known. During his professional career, Karel Dichtl worked as a teacher in primary schools and lectured at 13 universities in the Czech Republic and abroad. However, the focus of his tireless activity lies in creating musicological scientific writings, primarily focused on opera works between the 18th and the 20th centuries. In addition to scientific texts, he also writes pedagogical and poetic studies. Sophisticated language expression, meaningful stylisations and logical structure characterise his work. His original works gained recognition and appreciation in foreign scientific communities and should also be known in the domestic academic musicological environment.
Three Monuments, One Fate. Research on the Cultural Heritage of Socialism in Bulgaria
The socialist regime in Bulgaria left behind many monuments whose fate is a problematic issue for any government to resolve after the democratic changes. This study examines three of the most representative monuments of this legacy in Sofia—the Mausoleum of Georgi Dimitrov, the monument of “1300 Years of Bulgaria” and the Monument of the Soviet Army. Their fate is similar in many respects. All three monuments have been removed from the urban environment, but this does not solve the issue of the empty spaces left behind, which continue to be associated by Bulgarian society with places of historical memory. They have failed to transform into sites of other significance, and their historical, cultural and touristic potential remains untapped. To address the issues presented in the study, it is crucial to refine the legal framework and state strategies related to preserving cultural heritage. In the study, a comparative analysis of documents on the three monuments is made, using sources from state archives, the official website of the Sofia Municipality, the monographs of N. Paskalev, G. Gergov, etc. The study continues the author's monographic work on the significance and perspectives of the Mausoleum of Georgi Dimitrov in the contemporary urban environment.
Goffredo Petrassi, Nonsense no. IV. Ideational Subtlety, Sound Expression, and Solutions for Conducting Approach
The music of the twentieth century is characterised by stylistic diversity, given by “the unprecedented complexity of structural composition, the extremely heterogeneous character of artistic creation and the fast change of writing technique” of “...ardently searching for the new, based on the development of tradition, sometimes on its denial”, such as the trend of scientific substantiation of the creation process. One of the features of each European musical culture faced with the pressing trends of modernity was to keep a balance between assuming a “high level of writing technique and the appeal to national and universal traditions.” In this context, the secular choral composition of Goffredo Petrassi offers a synthetic picture of the infiltration and adaptation of the composing options of modernity in the Italian interwar and postwar musical space. The conducting approach of the songs dedicated to vocal ensembles is influenced by many factors, including the understanding of the sound language used by the composer, the compositional and writing techniques, or its reference to the poetic background to which it appeals. The present study proposes several solutions for the conducting interpretation of the madrigal Nonsense IV by Goffredo Petrassi, starting from the stylistic analysis of the score and the reporting of music to the semantic content of the text.
Against the Background of Revolutions, Religious Fanaticism, and Pressures ‒ Satirical Magazine (Iranian Period of “Molla Nasreddin” Magazine)
Azerbaijani cartooning evolved in close connection with European and Russian satirical literature and media, adapting to the local cultural environment and developing both national and international artistic forms. It occupies a unique place in the history of world caricature, positively influencing the formation of satirical press and graphics in Central Asia, Tatarstan, Crimea, the Caucasus, and especially Iran, and has played an invaluable role in the advancement of political satire. The research adheres to the principles of historicity and chronological sequence, utilizing historical-comparative and art analysis methods. It highlights the contributions of Azerbaijani satirical media, writers, publicists, and especially cartoonists, from the perspectives of enlightenment, national revival, progress, and freedom. The study analyzes cartoons that carry a deep social and political weight, educational content, psychological impact, national color, sarcasm, reproach, and criticism. The scientific and theoretical study of Azerbaijani caricature – an essential part of global visual art – alongside research into the artists who contributed to this field, the genre’s modern popularity, and its recognition within society, underscores the importance of this art form and confirms the relevance of this topic. Our main goals in this research are to: undertake a deeper study of Azerbaijani caricature and its sphere of influence; conduct fundamental research into this genre; assess the role of the satirical press in advancing the art of caricature; identify the key features of national caricature traditions; and analyze the work of artists in this field, with particular focus on the publication of the satirical magazine “Molla Nasreddin” in Tabriz in 1921, which boasted a rich tradition of caricature. Additionally, we aim to highlight the positive impact and prestige of “Molla Nasreddin” on Iranian satire, emphasize the press’s role in the development of caricature, and outline the main stages of this evolution in chronological order. The research covers the various forms and stages of development within satirical graphics and caricature, examining the content, form, style, and artistic techniques of caricatures published at that time. The creativity and works of Seyid Ali Behzad, Molla Nasreddin’s leading artist, are also a focal point. The research’s scientific novelty is underscored by the problem’s formulation, demonstrated through solid evidence and analysis.
Western European Philosophy on Folk Art as the Basis of the National Cultural Heritage
Scientific research should always be based on some kind of philosophical basis. Since ancient times, philosophy has also tried to find its answers to questions about pressing social problems, about the relationship of the universe with its laws and people. This fully applies to klironomy as well. Can cultural heritage be considered a philosophical problem? Undoubtedly, after all, figuratively speaking, the philosophical problem is knowledge about ignorance and some subjective assumption about an unknown phenomenon to be disclosed. Cultural heritage is not limited only to the presence of any historical ruins or texts of classical writers. At its core, the cultural heritage of the nation is folk traditional art. It is precisely this that should be considered as the fundamental basis of klironomy. The study object was the Western European philosophical thought about folk art. The study subject was the view of various representatives of Western European philosophy about folk art as the basis of the national cultural heritage. The study purpose was to present the evolution of Western European philosophy about folk art as the basis of the national cultural heritage. Logical, historical, comparative and deductive methods were used to achieve the set goal and solve the research tasks. The study used materials from prominent experts in philosophy of art, culture, and cultural heritage, e.g., Johann Gottlieb Fichte, Jurgen Habermas, Immanuel Kant, Friedrich Schiller, Valentina Maksimovich, Alexander Buychik, Elena Borzova. The author concludes that for the philosophy of klironomy to be born and develop, it is necessary to first create a philosophy of folk art as part of the philosophy of art. This is the task facing philosophers in the age of globalisation.
The Relevance of Studying the Cultural Heritage of the Territory of the Republic of Ukraine
The Ukraine’s cultural heritage is of great historical importance for world culture and the study of the history of the formation of Eastern European civilizations. Archaeological research indicates that the territory of modern Ukraine has been actively developed by people for the last 5,000 years. Crimea became the center of the development of the Scythian civilization. In the 4th–5th century, the formation of the Slavic civilization, which later developed into Kyivan Rus, one of the most powerful centers of Slavic culture, began. The culture of the modern Ukraine’s territories developed further under the administration of the Grand Duchy of Lithuania, the Polish-Lithuanian Commonwealth and the Russian Empire. The Ukrainian people have even preserved their identity in the era of their development as part of the Soviet Union. In the topic of the Slavic War between Ukraine and Russia, it becomes extremely urgent to preserve the unique cultural heritage, which is in danger of disappearing during military operations and uncontrolled bombing of the Ukraine’s territory. To date, objects of material cultural heritage of the annexed territories of Donetsk region, Luhansk region, Kharkiv region, Kherson region, Zaporizhian region, Odesa region, and the Crimean Autonomous Republic are located in the immediate zone of potential destruction. The study subject was the tangible cultural heritage of the Republic of Ukraine. The study objects were objects of international, republican, and regional cultural heritage. The study purpose was to actualise the development of research on the Ukraine’s tangible cultural heritage, which is particularly endangered as a result of military actions by the Russian Federation. In the study course, logical, historical, documentary, comparative, and deductive methods of scientific work were used. Materials of archives and statistical data of UNESCO and the Ministry of Culture of Ukraine were used to achieve the purpose and solve the tasks set. The authors conclude that the relevance of the research of the fund of Ukraine’s tangible cultural heritage objects is obvious due to the ongoing military operations on the territory of the country and the use of modern military technologies of high-precision weapons of destruction at long distances. This poses a direct threat to any objects throughout the territory of Ukraine, regardless of their purpose and the causes of potential damage.
Restoration of the Church Gilded Wall Icon Case
A huge number of church decorative and applied art monuments, which lost their original appearance during the years of timelessness and persecution of religion, need competent, scientifically based conservation and restoration, which will prolong the life of these monuments and revive them for contemporaries and descendants. The article is devoted to the restoration of two gilded frames of a kiot (icon case) with mastic stucco ornament in the neoclassical style of the late 19th century. The study subject was wooden gilded frames of kiots with mastic decoration in the neoclassical style. The project purpose was to return the exposition form to the church decorative and applied art object—the kiot (icon case), which lost it as a result of a prolonged violation of storage and operation conditions. In preparation for the restoration work, a study of the theoretical works of Russian and foreign specialists in this field was conducted. In the course of the work, complex techniques of conservation, restoration and recreation, associated with local losses of stucco decoration, the presence of solid late paints of the author’s finishing of the kiot (icon case) with bronze paint, were applied. The article is intended both for professionals who are directly involved in the restoration of church cultural heritage works, fund and museum exposition curators, guides, and art historians.
The Role of Translated Works in the Repertory Policy of the Azerbaijan State Theatre of Young Spectators (1930–1970s)
The relevance of the study of this topic lies in the fact that foreign dramaturgy has always been in the center of attention of the Azerbaijani theater. This interest also applied to the Theater of Young Spectators. The directors of this theater often turned to the works of foreign playwrights to show the Azerbaijani audience the culture, lifestyle, national drama of other countries. From the 1930s to the 70s, the works of many famous world playwrights were staged: Y. Shakespeare, A. Pushkin, N. Gogol, N. Ostrovsky, I. Stock, Yu. Chaplygin, etc. It is true that the creative path of the Theatre of Young Spectators has always been the research object of national theater studies. However, the works of foreign playwrights included in the repertoire of the theater were not studied separately as a study subject. The study subject was foreign dramaturgy included in the repertoire of the Azerbaijan State Theatre of Young Spectators. The study object was the 1930s–1970s repertoire of the Azerbaijan State Theater of Young Spectators. The study purpose was to study the role of translated works in the repertory policy of the Azerbaijan State Theater of Young Spectators (1930s–1970s). To achieve the study purpose and solve the tasks, such scientific methods were used as historical-chronological, comparative, typological. The study used scientific works and articles of such Azerbaijani researchers as Z. Aghayev, N. Babayev, B. Boquslavski, İ. Karimov, C. Mammadov, İ. Novruzov, İ. Zamanli, I. Karimov, I. Ragimli and K. Abdullayev. The article talks about performances based on translated works on the stage of the Azerbaijan State Young Spectators Theatre in the 1930s–1970s. The author tries to show the reasons for giving a special place to the works of Russian-Soviet dramatists among the translated works included in the repertoire of the theater, and to explain the influence of the time on literature. The author noted that the plays written by Russian dramatists during the mentioned period were received with interest on the stage of Azerbaijan, associates this with the fact that these plays resonate with the time in terms of theme, ideas and style, their adequacy to the taste and psychological perception of the Azerbaijani audience, the compatibility of the principles of humanism, internationalism and equality in these stage works with national values.
Art Connection in the Metaverse or Online Space. Visual Arts Painting and Performance
Art is one of the most influential and powerful ways of conveying ideas and emotions. Art is found in people’s homes, in galleries, museums, and elsewhere. Artists have many ways to connect with their audiences; they can paint, sculpt, write poetry and drama, and create music and dance. In shaping the minds of others, the way an artist chooses to communicate is crucial. We use art to express ourselves uniquely, and it is an essential part of our world. Each art form has advantages and disadvantages. Connecting the different mediums and the audience of different cultures may be a challenging task. In this article we will try to set up a methodology of building bridges and engage to a more wired society both in the real space as well in the metaverse. The process of connection is a form of expression, an exteriorizing of an inner content. The case studies in the article, which are part of the visual arts field, discuss both the process and the content of arts-based research. The study purpose is the identification of different media connections from virtual space to physical space. It is our hope that through the creation of new connections, we can enrich the field of visual arts. The authors find that different people with very different cultural influences of a particular medium arrive at highly congruent systems by overlapping layers of memory, of transgenerational genetic, empirical and emotional heritage. To realize this, it is necessary to delve into this topic and explore the phenomenon in all its actualization.
Chaos and Harmony in Nature and Art as the Origin of Beauty
The relevance of the topic “beauty” is inexhaustible. In this article, it is considered as the unity of two opposites—chaos and harmony. This unity is the basis on which art is built, as an activity inextricably linked with beauty. The study subject was these two concepts, and the study object is the entire aesthetic thought from ancient times, considering beauty as a combination of chaos and harmony. The study purpose was to show how this idea of the unity of two opposites, embedded in the structure of the universe, is the main driving force of any creative activity. Human culture is considered at the same time as a process aimed at harmonizing chaos, and art as an opportunity to give this process expressive forms. In the study, along with the philosophical and aesthetic methodology, methods of other sciences such as hermeneutical, axiological, existential-phenomenological, semiotic, and psychological were applied. When writing the study, there were used a wide range of sources: works of ancient thinkers Hesiod, the pre-Socratics, Plato, Pythagoras, Aristotle, Russian aesthetic and psychological thought of A.F. Losev, V.S. Solovyov, N.A. Berdyaev, Yu.N. Lotman, Yu.B. Borev, L.S. Vygotsky, works of Russian and foreign scientists, including A.V. Voloshinov, Yu.V. Taboyakova, B. Mandelbrot, H.-O. Paytgen, P.H. Richter, N.T. Rymar, G.P. Menchikov, studies in ornament art of V.V. Ivanov, V.N. Toporov, V. Gruzdev, K. Buher, and T.V. Kolchev. The author concludes that the unity of chaos and harmony is represented in art as a natural reality in which opportunity and action are combined. In this strange dyad is the basis of what we call creativity. And all this is contained in the universe, as a certain formula by which the beauty of the world and the beauty of art are built.
Riddles and Mysteries of Grandfather Clocks from the Palaces of Peterhof and Tsarskoye Selo
The article is devoted to the conservation and restoration of the upper part of the wooden carved gilded case of the grandfather clock from the White Dining Room of the Grand Peterhof Palace, which lost its expositional appearance as a result of the distortion of its appearance by late multi-layered oil painting, as well as the reconstruction of the lost lower part of the watch case with its subsequent finishing on the basis of an analogue and documentary research. The novelty of the topic lies in the comprehension and understanding by the restorers of the uniqueness of artworks, both at the time of their creation by the authors, and in the individuality of the conditions for their utilitarian use, storage, and exhibition, which were reflected in the distortion of the exhibition view as a result of various negative impact factors. The study subject was the works of European arts and crafts of the 18th century with a wooden base and decoration in the form of combined decorative gilding. The study object was the combined gilding of the wooden case of an 18th-century grandfather clock with a musical mechanism, made in Berlin by watchmaker Konrad Erbar. The study purpose was to identify the author’s finish of the object of restoration and to determine the methods of its conservation and reconstruction in order to return the work of exposition. In the study course, historical-archival, iconographic and comparative-analytical methods were used. The article highlights the process of technology research related to the history of finishing the wooden gilded case of the 18th-century grandfather clock, created by the watchmaker Konrad Erbar; the process of removing late multi-layered layers of oil paints from the author’s finish in the form of decorative combined gilding, conservation of the ground with finishing, reconstruction of various types of gilding on gesso, applying tinting to restoration gesso and gilding are described.
White Dining Room of the Grand Peterhof Palace
The Relevance of Creating a Scientific and Educational Complex for Training Specialists in Revitalization
At the present stage of development of the advanced society of the planet, a more careful attitude to the objects of the past, which have the value of cultural heritage, becomes relevant. One of the problems is the lack of uniform norms for the interpretation of objects as cultural heritage units. Consequently, in each society the fund of such objects is formed according to different principles. Some of these units, which become objects and structures of cultural heritage, fall into significant disrepair or lose harmony with the renewing environment, landscape, and buildings over time. The relevance of their existence or the profitability of their restoration is under threat. The way out of this situation was the process of revitalization, i.e., giving an object or structure a new life while preserving the part of the authentic appearance (exterior) survived to this day. The study subject was the processes of evolution and transformation of klironomical thought in revitalization of cultural heritage objects and objects. The study object was a scientific and educational complex for the revitalization of cultural heritage objects and objects. The study purpose was to identify the evolutionary regularity of the actualisation for creating a scientific and educational complex to train future specialists in revitalization. To achieve the set purpose and solve problems, historical, logical, and comparative methods were used in the study course. In the study course, the works of scientists and researchers in the history of urban planning and architecture, in revitalization, culture and cultural heritage (Klironomy) were used. The author concludes that the study revealed an evolutionary need for the emergence of a new specialty that would represent specialists in revitalization, who will have a broader professional view of the principles, processes and conditions for the revitalization of cultural heritage objects and structures. For the emergence of specialists in revitalization in state, municipal, and commercial structures, it is necessary to create a scientific and educational complex for training specialists on the basis of universities and research institutes that deal with the problems of urbanisation, urban planning, architectural and landscape design. However, the fundamentally distinctive feature of such a scientific and educational complex should be an approach from a klironomical worldview, i.e., the main mental activity of a specialist should be the maximum preservation of the cultural and historical forms of an object or structure and the desire to adapt the environment to the historical appearance of the revitalized object using the latest technologies and new art forms.
The main content of the article is the consideration of new trends in the aesthetics of modern cities. What will the city of the future look like in the light of the problem of its perception as an aesthetic phenomenon. The relevance of the study is related to the problems of modern cities as a habitat for a sentient person. The following issues are highlighted: preservation of the cultural heritage of cities in the context of revitalisation; new aesthetics of street art; metamodern architecture and related anthropological problems; the city as an existential phenomenon. The study object is the architecture of modern cities; the subject is modern architecture as an object of artistic perception. The study purpose is to present the process of urban planning in the context of its tasks related to culture as a whole and to man as a subject of perception of the phenomenon of architecture. To achieve this purpose and solve the research tasks, along with philosophical and aesthetic methodology, methods of other sciences were applied: hermeneutical, axiological, existential-phenomenological, semiotic, psychological. The sources used were works on urban studies by such well-known researchers as: N.P. Antsiferov., C. Landry, A.E. Gutnov, I.G. Lezhava, A.G. Rappoport, as well as publications on the Internet by modern observers, cultural figures, authors of architectural projects, artists. Modern urbanism is a creative field where a constant search for new forms and solutions is performed. But all these numerous finds and discoveries are interesting, but not connected by a single idea of creative thought. It is necessary to form a goal that will unite all efforts. And the main content of this goal should be a feeling person.
Computer-Aided Moorish Geometric Design and Patterns
Humans have been striving to decorate their surroundings with various visual elements, such as shapes, textures, and symbols, since ancient times. A lot of times the inspiration for these patterns and textures came from nature, which has always motivated people to create aesthetically pleasing patterns. Geometry assists us to comprehend and reproduce numerous patterns found in nature. Hence, producing geometric patterns has been an integral part of art and ornamental interior design. Exploring a design process for recreating ornamental patterns has led to the development of software for generating Moorish patterns using computer-aided tools. The generated geometric patterns are two-dimensional elements, and could be transformed into three-dimensional objects before they can be used in numerous aspects in interior and architectural design. Thus, combining a two-dimensional pattern with a three-dimensional graphical software, adding extra features and functions to it, provides a powerful tool for artists and designers. The Moorish geometric patterns, renowned for their intricate interlacing and strongly geometric designs, have a long history embedded in multiple cultures. Nevertheless, modern-day computer software has been utilized to incorporate Moorish geometric design into the process of creating interior design- furniture and even in architecture planning and building structures. Computer-aided Moorish geometric design and patterns can influence the manner in which designers and architects create their work. This research traces some of the historical backdrop of Moorish style, the posthumous dynamic of the development of geometric patterns, the advances in PC programming that empower its utilization, and the potential applications of this correlation. The study object was geometric patterns as a form of decoration in architecture and design in the context of geometry and form creating with the purpose of aesthetic search. The study subject was the creation of geometric patterns and the ways possible to make this process faster and more efficient in the work of today’s designer and architects. The study purpose was to investigate the source of making geometric design patterns, in terms of employing them in decorating interior spaces and in architecture in general by a brief exploration in historical samples. By inspecting an example of how PC helped Moorish geometric designs can be used in the process of designing interior places or in architecture planning, this exploration will show how innovation can be utilized to produce works of art and design. The last section concludes by summarizing the main aspects of this work and explaining points for further improvements.
The Body as a Source of Beauty: On the Problem of Perception of a Work of Art
The study is devoted to the topic of the human body beauty, which is relevant at all times. Human beauty is an eternal and favorite topic – art, aesthetics, and psychology. It is presented in sciences as a limitless field, accommodating the entire rich history of thinking about beauty as a complex phenomenon combining physics and metaphysics, logical and irrational, conscious and subconscious, including the unconscious. Today, turning to the topic of physicality is a natural reaction to the events taking place, and the changes caused by them in our attitude to the body. Our body loses the necessary connection with the living natural environment, which has always been healing for it. The author presents an individual experience of the works of art based on the recipient’s internal resources: cognitive, perceptual, intellectual. The study purpose was to apply this experience in existential psychotherapy. The study object was fine art, represented by the works of artists of different eras and trends. The study subject was the image of the human body in the artists’ works, presented explicitly or indirectly. To achieve the purpose and solve the tasks, formal-logical, hermeneutical, axiological, phenomenological, semiotic, religious-philosophical, and psychological methods were used. The author used the works of thinkers of different eras, which consider the topic of corporeality: representatives of religious philosophy and the Russian art studies school. As a result of the study, the author concludes that fine art is a full-fledged source of aesthetic knowledge, and can offer us in artistic, often symbolic forms the most important information about human nature. This information is contained in the picture as a unity of the conscious, subconscious and unconscious.
Central Asian Playwrights’ Works on the Azerbaijani Stage
It is a historical tradition of the Azerbaijani theater to refer to translated works, to show examples of world drama, works of neighboring nations. Central Asian playwrights’ woks (Fitrat’s (Abduarif Rashidov) “Indian Inventors”) have been staged on the stage of the Azerbaijani theater since the mid-1920s. Central Asian playwrights’ works contributed to bring our peoples closer and develop cultural relationships besides enriching the repertoire of Azerbaijani theaters. The subjects of these works introduced people to the culture, art and moral norms of other nations. Works on different themes were staged in different theaters in different years, on the theme of land: “Indian inventors” by Uzbek playwright Fitrat (Abduarif Rashidov) was staged at the Azerbaijan State Academic National Drama Theater, “Silk Patterns” by Uzbek writer A. Gahhar (“In the New Land”) at the Ganja State Drama Theater, “Mother Earth” by Kyrgyz writer Ch. Aitmatov at the Nakhchivan Theater, “Mankurt” based on the novel “The Day Lasts More Than a Hundred Years” at the Azerbaijan State Pantomime Theater, “Socrates’s Remembrance Night” by Chinghiz Aitmatov and M. Shahanov at the Sumgayit State Musical Theater (“Trial on Donkey Skin”), “Pienbald Dog Running on the Seashore” by Chingiz Aitmatov at the Azerbaijan State Theater of Young Spectators, on the theme of morality: “Family Honour”, “Who is to Blame” by Turkmen writer H. Mukhtarov at the Azerbaijan State Academic National Drama Theater (“Family of God”), “The Ascent on Mt. Fuji” by Chinghiz Aitmatov and K. Mammadjanov at the Azerbaijan State Theater of Young Spectators, “Jamila” by Chinghiz Aitmatov at the Azerbaijan State Academic Musical Theater. These works, which deal with the current problems of the time, have found a stage solution in accordance with the requirements of today in different directorial structures. The author concludes that Central Asian authors’ works staged at the Azerbaijani theaters were welcomed by theatergoers and had a positive impact on the formation of their audience ideological and aesthetic taste along with the positive and negative features.
Elements of the Romanian Mythical Space in Advertising
For design, the myth is a source that creators turn to in order to translate into everyday life those ideas that we have genetically implanted in us and to which we feel a call or to which we refer at certain times. The myth is for every society an identity known by the vast majority, which is why it is used in design either to repeat the primordial acts of the ancestors unconsciously, or consciously to make connections between the newly created object and the mythological one, which is it ensures credibility, security and success, and, in addition to these, an emotion coming from a more or less profound experience. In order to achieve the research goal and solve the tasks set, the authors conducted quantitative studies and comparative studies concerning the main characteristics of the myth, taking several primitive myths and observing their search in modern times through their use in the advertising sphere. The research used the works of researchers Mircea Eliade, George Călinescu, Mădălina Moraru, Romulus Vulcănescu, Doina Graur. The author notes that turning to the myth in advertising, echoes of the world are vaguely preserved, which can have reverberation among the audience, and thus the impulse to buy is determined by proximity to the world a long time ago, when the heroes of the first great exploits lived in the paradise world of a fairy tale, in which good wins and after the created chaos returns to a state of balance and harmony. The product can be considered as a replacement for fantastic weapons or companions with magical functions that, together with the hero, lead to victory in the final stage or battle. The product, maybe for the client, represents the magic from fairy tales that makes the world of beginnings so attractive and seductive.