Phenomenon of creativity in the context of historical dynamics of socio–cultural development (the West European context)
The article deals with the problem of phenomenon of creation in the context of historical dynamics of socio–cultural development (the West European context). The emphasis is laid on importance investigation of phenomenon of creative activity as means of search of new forms of self–expression of hu...
Gespeichert in:
| Datum: | 2014 |
|---|---|
| 1. Verfasser: | |
| Format: | Artikel |
| Sprache: | English |
| Veröffentlicht: |
Кримський науковий центр НАН України і МОН України
2014
|
| Schriftenreihe: | Культура народов Причерноморья |
| Schlagworte: | |
| Online Zugang: | http://dspace.nbuv.gov.ua/handle/123456789/92830 |
| Tags: |
Tag hinzufügen
Keine Tags, Fügen Sie den ersten Tag hinzu!
|
| Назва журналу: | Digital Library of Periodicals of National Academy of Sciences of Ukraine |
| Zitieren: | Phenomenon of creativity in the context of historical dynamics of socio–cultural development (the West European context) / H. Chumachenko // Культура народов Причерноморья. — 2014. — № 266. — С. 165-169. — Бібліогр.: 4 назв. — англ. |
Institution
Digital Library of Periodicals of National Academy of Sciences of Ukraine| id |
irk-123456789-92830 |
|---|---|
| record_format |
dspace |
| spelling |
irk-123456789-928302016-01-23T03:02:01Z Phenomenon of creativity in the context of historical dynamics of socio–cultural development (the West European context) Chumachenko, H. Вопросы духовной культуры – КУЛЬТУРОЛОГИЯ The article deals with the problem of phenomenon of creation in the context of historical dynamics of socio–cultural development (the West European context). The emphasis is laid on importance investigation of phenomenon of creative activity as means of search of new forms of self–expression of human activity, and the definition of creativity as form of interconnection between different cultural–information channels. With the help of analyses of separate concepts of creativity we traced the transition from homogeneous to heterogeneous understanding of the notion creativity. Beginning from Antiquity to the Renaissance creative activity had collective character. In the ХVІІ – ХVІІІ century creativity acts as means of individual perception and the relation to collective experience which displays acquisition by creativity of character of individual activity. In ХІХ and ХХ century aesthetics of individualism acts as the rights to freedom of creative activity which displays free display of own understanding by the artist of creative process. The phenomenon of creativity is investigated as a part of cultural process and is presented as socio–cultural phenomenon. В статье рассматривается проблематика феномена творчества в контексте исторической динамики социокультурного развития (западноевропейский контекст). Внимание акцентируется на оопределении творчества как способа поиска новых форм самовыражения человеческой активности. Определяется, что творчество выступает в качестве формы взаимосвязи между различными культурно–информационными каналами. В статті розглядається проблематика феномена творчості в контексті історичної динаміки соціокультурного розвитку (західноєвропейський контекст). Увага акцентується на визначенні творчості як засобу пошуку нових форм самовираження людської активності. Визначається, що творчість виступає у якості форми взаємозв’язку між різноманітними культурно– інформаційними каналами. 2014 Article Phenomenon of creativity in the context of historical dynamics of socio–cultural development (the West European context) / H. Chumachenko // Культура народов Причерноморья. — 2014. — № 266. — С. 165-169. — Бібліогр.: 4 назв. — англ. 1562-0808 http://dspace.nbuv.gov.ua/handle/123456789/92830 130.2 en Культура народов Причерноморья Кримський науковий центр НАН України і МОН України |
| institution |
Digital Library of Periodicals of National Academy of Sciences of Ukraine |
| collection |
DSpace DC |
| language |
English |
| topic |
Вопросы духовной культуры – КУЛЬТУРОЛОГИЯ Вопросы духовной культуры – КУЛЬТУРОЛОГИЯ |
| spellingShingle |
Вопросы духовной культуры – КУЛЬТУРОЛОГИЯ Вопросы духовной культуры – КУЛЬТУРОЛОГИЯ Chumachenko, H. Phenomenon of creativity in the context of historical dynamics of socio–cultural development (the West European context) Культура народов Причерноморья |
| description |
The article deals with the problem of phenomenon of creation in the context of historical dynamics of
socio–cultural development (the West European context). The emphasis is laid on importance investigation of
phenomenon of creative activity as means of search of new forms of self–expression of human activity, and the
definition of creativity as form of interconnection between different cultural–information channels. With the help
of analyses of separate concepts of creativity we traced the transition from homogeneous to heterogeneous
understanding of the notion creativity. Beginning from Antiquity to the Renaissance creative activity had
collective character. In the ХVІІ – ХVІІІ century creativity acts as means of individual perception and the
relation to collective experience which displays acquisition by creativity of character of individual activity. In
ХІХ and ХХ century aesthetics of individualism acts as the rights to freedom of creative activity which displays
free display of own understanding by the artist of creative process. The phenomenon of creativity is investigated
as a part of cultural process and is presented as socio–cultural phenomenon. |
| format |
Article |
| author |
Chumachenko, H. |
| author_facet |
Chumachenko, H. |
| author_sort |
Chumachenko, H. |
| title |
Phenomenon of creativity in the context of historical dynamics of socio–cultural development (the West European context) |
| title_short |
Phenomenon of creativity in the context of historical dynamics of socio–cultural development (the West European context) |
| title_full |
Phenomenon of creativity in the context of historical dynamics of socio–cultural development (the West European context) |
| title_fullStr |
Phenomenon of creativity in the context of historical dynamics of socio–cultural development (the West European context) |
| title_full_unstemmed |
Phenomenon of creativity in the context of historical dynamics of socio–cultural development (the West European context) |
| title_sort |
phenomenon of creativity in the context of historical dynamics of socio–cultural development (the west european context) |
| publisher |
Кримський науковий центр НАН України і МОН України |
| publishDate |
2014 |
| topic_facet |
Вопросы духовной культуры – КУЛЬТУРОЛОГИЯ |
| url |
http://dspace.nbuv.gov.ua/handle/123456789/92830 |
| citation_txt |
Phenomenon of creativity in the context of historical dynamics of socio–cultural development (the West European context) / H. Chumachenko // Культура народов Причерноморья. — 2014. — № 266. — С. 165-169. — Бібліогр.: 4 назв. — англ. |
| series |
Культура народов Причерноморья |
| work_keys_str_mv |
AT chumachenkoh phenomenonofcreativityinthecontextofhistoricaldynamicsofsocioculturaldevelopmentthewesteuropeancontext |
| first_indexed |
2025-07-06T21:55:50Z |
| last_indexed |
2025-07-06T21:55:50Z |
| _version_ |
1836936280086151168 |
| fulltext |
Вопросы духовной культуры – КУЛЬТУРОЛОГИЯ
165
конкурса определяются Республиканским жюри в каждой номинации отдельно по 10–тибальной системе.
Победители фестиваля–конкурса награждаются памятными дипломами и призами.
Важным в плане развития в регионе дирижерско–хорового профессионализма является конкурс «Юный
дирижер». Он был создан в 2007 г. предметно–цикловой комиссией «Хоровое дирижирование»
Симферопольского музыкального училища им. П.И.Чайковского.
Представляется возможным представить как проектную форму крымскотатарскую хоровую культуру.
В регионе созданы все условия для развития национального хорового исполнительства, дальнейшей
популяризации жанра хоровой обработки крымскотатарской песни (И.Бахшиш, Э.Налбандов,
Э.Сейтмеметова, М.Джафаров, Н.Касымова, Н.Велишаев и др. авторы), хоровой миниатюры и крупной
формы, широкого использования хорового сопровождения спектаклей Крымскотатарского
драматического театра.
Выводы. Нами выявлены следующие формы крымской хоровой культуры: дореволюционная модель
государственного образования на территориях Крыма, крымские конфессиональные и этнические школы,
крымские частные музыкальные школы, хоровые фестивали меннонитов в Крыму, крымское хоровое
общество советского периода классифицированы нами как реликтовые формы хоровой культуры региона.
Критерием для их выделения послужил фактор их исторической завершенности по отношению к хоровой
культуре современности, но примечательны разные сроки рождения и умирания данных реликтов. Они
еще остаются в памяти общества и таким образом обогащают современность, резонируя и насыщая
современные формы бытия и хорового музицирования устоявшимися стереотипами музыкального
сознания культуры.
Этнический плюрализм современной музыкально–культурной (вокально–хоровой) деятельности
национально–культурных обществ Крыма, типы и концепции современных хоровых фестивалей Крыма,
татарская хоровая культура представлены нами как проектные формы хоровой культуры. Они уже
существуют и развиваются в регионе, но, на наш взгляд, обладают потенциалом для дальнейшего
развития. Согласно критериев для выделения – творческая энергия, обнаружение вех для дальнейшего
развития хоровой культуры региона, можно предположить, что список этих форм не является конечным.
Именно проектные формы любой культуры – наименее запрограммированы, зависят во многом от силы
творческих открытий и экспериментов.
Источники и литература:
1. Кармин A. C. Культурология / А. С.Кармин, Е. С.Новикова – СПб.: Лань, 2003. – 928 с.
2. Клаус А. Наши колонии. Опыты и материалы по истории и статистике иностранной колонизации в
России / А. Клаус. – Вып. I. – СПб. :
3. Мартинюк Т. В. Історико–теоретичні аспекти взаємовідношень географічного і соціокультурного
чинників в явищі регіональної музичної культури (на прикладі Північного Приазов’я ХІХ Тетяна
Володимірівна ХХ століть) : дис. … доктора мистецтвознавства : 17.00.01 – Теорія та історія культури /
Тетяна Володимирівна Мартинюк. – К., 2003. – 525 с.
4. Мартинюк Т. В. Історія музичної культури німецькомовних колоній Північного Приазов’я в портретах
митців: Ісаак Мартін Борн (1853 – 1905) // Крымские диалоги: культура, искусство, образование. –
Вып. 1. – Симферополь : Оджакъ, 2007. – С. 15–23.
5. Отчет Симферопольского духовного училища за 1913–1914 уч. г. – ГААРК, ф. 419, оп. 1, дело 22.
6. Отчет о работе еврейских училищ Таврической губернии (1903) Ф.100.Оп.1.№2277. л.1–44
7. Отчет директора народных училищ Таврической губернии. Ф.111.оп.1.№446.Л.1–14.
Chumachenko H. УДК 130.2
PHENOMENON OF CREATIVITY IN THE CONTEXT OF HISTORICAL DYNAMICS
OF SOCIO–CULTURAL DEVELOPMENT (THE WEST EUROPEAN CONTEXT)
Summary. The article deals with the problem of phenomenon of creation in the context of historical dynamics of
socio–cultural development (the West European context). The emphasis is laid on importance investigation of
phenomenon of creative activity as means of search of new forms of self–expression of human activity, and the
definition of creativity as form of interconnection between different cultural–information channels. With the help
of analyses of separate concepts of creativity we traced the transition from homogeneous to heterogeneous
understanding of the notion creativity. Beginning from Antiquity to the Renaissance creative activity had
collective character. In the ХVІІ – ХVІІІ century creativity acts as means of individual perception and the
relation to collective experience which displays acquisition by creativity of character of individual activity. In
ХІХ and ХХ century aesthetics of individualism acts as the rights to freedom of creative activity which displays
free display of own understanding by the artist of creative process. The phenomenon of creativity is investigated
as a part of cultural process and is presented as socio–cultural phenomenon.
Keywords: creativity, influence, historical dynamics of socio–cultural developments, cultural–information
channels, human activity.
Аннотация. В статье рассматривается проблематика феномена творчества в контексте
исторической динамики социокультурного развития (западноевропейский контекст). Внимание
акцентируется на оопределении творчества как способа поиска новых форм самовыражения
человеческой активности. Определяется, что творчество выступает в качестве формы взаимосвязи
между различными культурно–информационными каналами.
Chumachenko H.
PHENOMENON OF CREATIVITY IN THE CONTEXT OF HISTORICAL DYNAMICS OF SOCIO–CULTURAL
DEVELOPMENT (THE WEST EUROPEAN CONTEXT)
166
Ключевые слова: творчество, взаимовлияние, историческая динамика социокультурного развития,
культурно–информационные каналы, человеческая активность.
Анотація. В статті розглядається проблематика феномена творчості в контексті історичної
динаміки соціокультурного розвитку (західноєвропейський контекст). Увага акцентується на
визначенні творчості як засобу пошуку нових форм самовираження людської активності.
Визначається, що творчість виступає у якості форми взаємозв’язку між різноманітними культурно–
інформаційними каналами.
Ключові слова: творчість, взаємовплив, історична динаміка соціокультурного розвитку, культурно–
інформаційні канали, людська активність.
Creativity is activity of the person on creation new, and inherit the person requirement of art representation of
the surrounding reality.
The subject of the phenomenon of creativity was interested many researchers, including A. Afanasiev, N.
Dyachenko, L. Levchuk, O. Losev, N. Sokolova,. В. Novikov, O. Onischenko, V Tatarkevich V. Sheyko, A. Flier
and many others, but in terms of research issues of the phenomenon of creativity in the context of the historical
dynamics of socio–cultural development (West European context), creative activity is defined as means of search of
new forms of self–expression of human activity, and determines the relevance of this study.
The purpose of this paper is to investigate the phenomenon of creativity in the context of the historical
dynamics of socio–cultural development (West European context).
Research objectives:
– Consider the idea of the phenomenon of creativity in the context of the historical dynamics of socio–cultural
development.
– Determine that creative activity is a means of search of new forms of self–expression of human activity.
– Argue that creativity is a form of interconnection between different cultural–information channels.
Creativity is collective activity in primitiveness and Antiquity because of creative activity was actualized by a
prevailing method in a context of collective actions that are rituals and ceremonies. The person takes partnership in
collective actions but he does not understand itself as the individual creator in any case. The act of creation always
attracted the attention of people revealing their inner essence. «The first examples of creative activities which
reveal the essence of human nature were depicted in antic cultural tradition» [3, p 5]. O. Losev remarks, that
creative activity was mostly realized in the form different rituals.
«With development of slave–owning in the ritual–game formula of creative activity there are corresponding
elements of a reflexion in the form of author's attempts to separate some certain attributive characteristics of
creativity»[3,p 5]. Creativity in Plato’s concept is identified with divine magic gift. «Divine creativity, on Plato,
occupies the higher position because it creates supreme values, human activity depends from divine» [1, p 43].
It is proved that in the classical period, in aspect of functional distribution of activity on public appointment
(the concept of sophists, in particular Protagoras, Gorgias), creativity is the form of public appointment.
Reorientation of education to real needs definitively occurs on times of Protagoras which proved, that the person is
a measure of all things. On the basis of concepts of sophists, creativity acts as the form of personification of
positions of the civil majority.
Considering of phenomenon of creative activity in a projection of concepts of the Hellenistic age, it is
necessary to notice that in a projection of concepts Stoicism, Scepticism, Epicureanism creativity acts as the form
of adaptation to social being. In the concepts Cleanthes, Seneca, creativity is studying of laws of the nature, logic of
social life which is how to adapt for it better and to feel itself comfortably. Creativity is an ability of corporal and
spiritual dissolution of the individual in socially natural order of life through the apathetic relation to it.
In II century BC creativity becomes the exemplary form of social behaviour and in due course and
professionally class. It was assisted by that the policy of Roman Empire supported entertainments which were
direct on external appeal, and thanks to it the requirement for increase of vocational training of actors and
musicians was felt.
It is very important that there are distinctions of types of thinking in Hellenistic and east tradition. The bible
wise man carried out world and god knowledge not by conceptually–logic judgement and life contemplation, but
enduring life in depths of the spirit. This contradicting complex of purely human relations and experiences puts in
the forefront in Christianity psychology, and personal psychology. In a projection of concepts of apologists of
Tertullian, Clement of Alexandria, Origen, Justin creativity acts as the form of internally spiritual condition. In a
context socio–cultural developments of late Antiquity creativity as the form of an internal spiritual condition,
displays such phenomena as a problem of crisis of a slaveholding formation, decline of antique economy, process
of correlative connection and reconsideration on the basis of the Greek–Roman culture Egyptian, Persian, ancient
the Jewish ideas and cultural–historical traditions. All these specified forms during the Hellenistic age displays
features of transition from is sensual–material Space to absolute – personal monotheism (Christianity).
In the early medieval creativity is charitable activity, in creativity professional skill in the form of abilities and
habits to write behind the standards recognised as samples–canons as educational practice of church is appreciated.
In creative activity advantage of typification before an individualization, i.e. instead of penetration into a variety of
the vital phenomena is given, artists leave contrast terrestrial and heavenly. All most important elements of art
creativity made some kind of religious hieroglyphs, and the artist not could full and use completely the imagination
as the art theology was over all.
It is shown, that creativity acts as original spiritual discipline (Augustine) with the help of which presence of
the divine maintenance is proved. Creativity is an ideal sample as mastering by this certain original discipline,
Вопросы духовной культуры – КУЛЬТУРОЛОГИЯ
167
assists because the artist subordinates a material with which he works to the form of the ideal sample (Lactations).
Creativity is considered as the sensitive form of knowledge of this sample, as an effective remedy of joining to
transcendental knowledge (Lactations). Knowledge loses a kind formally – logic designs and is perceived the same
as also all another of what God the created world is made, in figurative allegorically – the symbolical sensually
certain form (Augustine). To ІV century creative activity is considered as the private form and develops within
ceremonial practice. In due course creative activity becomes the collective form (to it the beginning of building of
churches in the form of specialised premises for the purpose of their collective visiting assists).
The relation of the person to the nature in the early medieval culture is not the relation of the subject to object,
and the finding is faster than itself external to the world, i.e. perception of space as subject. The unity of the person
from the Universe appears in harmony penetrating them. Both over the person and the world space music which
expresses harmony whole and its parts supervises. Music is a regulator of a state of mind of the person, a structural
principle which provides integrity of the Universe through its careful work on the daily behaviour. But music
submits to number. Both the person and the world are represented by means of identical geometrical figures which
symbolise perfection of the Divine creation. So, the structural principle Christian Gnosis, becomes the form of
creative activity, and extends on political life. The state also assimilated to an organism, and citizens – to its
members (John Solterberijsky). The organic unity of a political body demanded interaction of all conditions which
were by then. Contentions between them, from the point of view of thinkers of the Middle Ages threatened integrity
of all world order.
In the concept Gvido from Arezzo ability to interpret the text is the integral quality of the intellectual of the
middle Ages. Interpretation acts as the form of creative activity. If symbolical interpretation of the Writing remains
mainly business of seminary students symbolism of church premises, their registration, all it has been directed on
that to set all Christians in secrets of belief. In ІХ–Х century there is a conceptually–methodological substantiation
of aforementioned forms on the basis of practical experience.
Development of urban population with new, more rational style of thinking starts to change this traditional
perception of the nature. Plan tendencies of complication of practical activities of the person, there is a process of
more active and purposeful influence on environment which assists improvement of tools of work. Process
secularization functions of creative activity, on the basis of communication of creativity with practical needs of a
society (Anselm's concept, Abelard's concept) starts to occur.
In ХІІ – ХІІІ century in connection with growth of needs of consumers’ growth of city crafts is marked. From
work to order handicraftsmen pass to work to the market. During this period specialisation of crafts starts to deepen,
the technique is improved. On the foreground the guild culture starts to leave. The guild systematised experience of
creative activity in this or that sphere of this activity. Creativity acts as the accumulation form of socio–cultural
experience which displays occurrence of the private initiative, qualities which characterises the medieval master
under conditions of a time of the late Middle Ages.
All these specified forms in a context of the Middle Ages display features of transition from spiritual to a
practical way of life.
With gradual transition from the Middle Ages to the Renaissance creativity ceases to be collective activity,
creativity becomes means of individual perception and the relation to collective experience which gives the grounds
to creativity examining as individual activity. On the basis of examining of concepts Lorenzo Valla, Pico della
Mirandola, creativity is defined by the form of an individualization of collective experience. This connected that
testing importance of collective experience of the past, during the Renaissance time is considered originality
penetrations of the artist into a variety of the vital phenomena.
«The new perception of the person has received in XVII century dualistic an orientation, how it was used» [1, p
255]. In this various to the world of the nature and human mentality could be underlined its irrational, emotional
party, its illusiveness, sensual qualities. Such way conducted to Baroque style. But the accent could be put and on
mind which overcomes passions. Such way conducted to classicism (R. Descartes’ concept). In this aspect creative
activity acts as the right of individual interpretation of collective experience.
Within the limits of classicism the tendency of individual interpretation by artists of collective experience was
outlined. It testifies that creativity of the and artists represented itself as the right of individual interpretation of
collective experience to boundary XVII–XVIII of centuries, and has displayed the statement on a rationalistic basis
of the new art outlook, dismissed from church dogmatism which considered service to a society as propagation of
ideas of patriotism, virtues, an important place taking away art, confirming its moral–aesthetic and didactic values.
Creative activity is the human form of display of natural gift of creativity through collective experience and the
theoretical inheritance of the nature. In this aspect actual there are concepts of moral feeling and divine enthusiasm
of the theory of Shaftsbury, (divine enthusiasm the allocated heroes, the state men, orators, poets and even
philosophers). Harmoniously developed person who unites physical, moral, intellectual development is an ideal for
Shaftsbury.
In paper shown that the genius of the artist is the human form of display of natural gift of creativity through
collective experience and the theoretical inheritance of the nature. The genius of the artist consists not in skill of
performance, and in ability to excite, awake but by means of inheritance deep feelings. In the theory of
Baumgartner as the general distinctive feature of the artist ecstasy, fury, enthusiasm acts.
Romantics saw in the genius the exclusive person, capable to lift a nature rule, but Kant sees in the genius born
inclinations of soul because of which the nature gives to art a rule. Genius is a spiritual exclusiveness. The
maintenance of its creativity consists in created corresponding art samples that should be in the future a criterion
and norm of estimation.
Revolutionary events which have taken place in France in 1789–1795 have certainly affected formation of new
tendencies of development of the French art and all West European culture in general. Legislatively fixed by
Chumachenko H.
PHENOMENON OF CREATIVITY IN THE CONTEXT OF HISTORICAL DYNAMICS OF SOCIO–CULTURAL
DEVELOPMENT (THE WEST EUROPEAN CONTEXT)
168
revolution equality of all before the law has pointed a question the definitions of the person connected with a
problematic as persons in socio–political aspect. Creativity as the most influential means of improvement of the
public relation should be direct on all–round, stage–by–stage development of individual endowments. Discussion
between Vinkelman and Lessing, concerning an ideal of the new person leads to new understanding of the person
as fighter for freedom, hero, and active person. The big role in the course of education of the person in a context
socially – a political priority it is taken away theatre.
With deep arguments that comprehension of the social importance of art creativity as corresponding force
which influences not only formation of the person, but also public thought in general increases. Idealisation of
ability of the artist in education of mankind which was generated thanks to influence of romantic philosophy
assisted an exit on the foreground of a problem of formation of the person, which capable to change public orders.
Education of the person by means of creativity is corresponding basis for improvement of the public relation.
Creativity assists not only to spiritual development of the subject, and a society as a whole. All these specified
forms display innovation urgency as generalisation of experience of history in a context of philosophical
anthropology ХVІІ–ХVІІІ century, and also universal ideas of education of the person as a socio–political priority.
«The aesthetics of individualism ХІХ – beginnings ХХ represents itself as the right to freedom of creative
activity» [4, p 99].
Existentialism becomes an exclusiveness embodiment. Thus, creativity gradually starts to be considered in
aspect orientation on transfer of internal dynamics of changes in feelings which it displays (concepts of F.
Nietzsche, S. Freud and others). Creative activity how the form of transfer of internal dynamics of changes in
feelings, displays search forms of corresponding means for an embodiment of psychological life separated from
others and concentrated in itself individual «I». Creativity becomes means which allows getting into the forbidden
spheres of consciousness, i.e. in sphere inaccessible, but intuitively experienced true.
Concepts of representatives of a positivistic direction displays corresponding stages of formation and
development of a naturalistic direction, and also have displayed certain debatable aspects, concerning formation of
aesthetic ideals of naturalism and an aestheticism.
In the concept of representatives of the theory intuitionalism creative activity is considered by A. Bergson. «It
is connected with the context of questions of aesthetic intuition and perceiving abilities of spirit that predetermines
ability of artists to see much deeper, than it usual people» [4, p 103]. Also Bergson’s ideas, concerning
exclusiveness of the artist (the artist himself creates the validity) whence and interpretation of creative activity as
forms of search of necessary and most effective means of influence on the modern spectator.
Considering creativity in aspect psychological parameter it is necessary to underline attention to the importance
of concepts of S. Freud, A. Adler. Creativity is as means of formation of certain moral installations (musical
creativity has possibility to address to hidden in human subconsciousness which gives the chance to influence more
actively human mentality and as consequence to form at the person certain moral installations). Creative activity is
as means of overcoming of an inferiority complex (A. Adler). It is necessary to notice that the problematic of
creative activity in a context of analytical psychology was comprehended in two aspects. In the first – theoretical
which before all was identified with idea of typology of K. Jung, and it is art–interpretation, thanks to which
influence of deep psychology on art of end ХІХ– of beginning ХХ was carried out century.
In a context of a discourse of a postmodern creativity acts as means of search of new forms of self–expression
of human activity. Creativity is a form of interconnection between different cultural–information channels. The
artist is understood any more as the creator of the original text and as the interpreter of a language fundamental
principle where its activity is reduced to search of variants of the language means, capable to open a social context
with which they are connected.
To the concept of poststructuralists as the right to creativity freedom leads to that prominent feature of creative
process in a postmodernism is observance of tendencies, concerning an illegibility of oppositions between existence
and a word, the text and a body. The given tendencies have a great influence on theatrical art of a postmodernist
time. The tendency of destruction of humanistic border of classical theatre is traced, the role of the actor is
reconstructed, and the opposition the author–actor, the actor–spectator disappears. Gradually the attention is
switched from the rational maintenance of a word to its flesh, and the theatre comes back on verbal level, i.e. the
way to the postmodernist theatrical letter visually–plastic is slightly opened. Thanking creativity as means of search
of new forms of self–expression of human activity have taken place changes in tendencies of registration of park
system, i.e. in park design gradually there were attractions and ecological artefacts.
In this paper we considered the understanding of the phenomenon of creativity in the context of the historical
dynamics of socio–cultural development. Beginning from Antiquity to the Renaissance creative activity had
collective character. In the ХVІІ – ХVІІІ century creativity acts as means of individual perception and the relation
to collective experience which displays acquisition by creativity of character of individual activity. In ХІХ and ХХ
century aesthetics of individualism acts as the rights to freedom of creative activity which displays free display of
own understanding by the artist of creative process.We determined that the creative work is a means of search of
new forms of expression of human activity. It was argued that creativity is a form of interconnection between
different cultural–information channels.
Sources and literature:
1. Kenny A. An illustrated brief history of Western philosophy / A. Kenny – Blackwell Publishing, – 2006. –
404 p.
Вопросы духовной культуры – КУЛЬТУРОЛОГИЯ
169
2. Krausz М. The idea of creativity (Philosophy of history and culture) / Michael Krausz. – Netherlands Brill, –
2009. – 348 p.
3. Уланова С. І. Творча діяльність як смисложиттєва форма людської активності: європейська модель / С. І. Уланова //
Культура і Сучасність. – 2010. – №1. – С. 5 – 9.
4. Чумаченко О. П. Естетика індивідуалізму як підґрунтя права на свободу творчої діяльності
(філософсько–культурологічний аналіз) / О. П. Чумаченко // Zbiόr raportόw naukowych. «Science – od
teorii do praktyki». (29.03.2013 – 31.03.2013) – Sopot: Wydawca: Sp.z o. o. «Diamond trading tour, 2013. –
S. 99 – 104.
Яковлев О.В. УДК 008.001.2
НАЦІОНАЛЬНА ПАРАДИГМА КУЛЬТУРИ В УМОВАХ ГЛОБАЛІЗАЦІЇ
ІНФОРМАЦІЙНОГО ПРОСТОРУ: ДОСВІД НАУКОВОЇ ДІЯЛЬНОСТІ
НАЦІОНАЛЬНОЇ АКАДЕМІЇ КЕРІВНИХ КАДРІВ КУЛЬТУРИ І МИСТЕЦТВ
Анотація.У статті аналізується наукова діяльність Національної академії керівних кадрів культури і
мистецтв в аспекті нової національної парадигми культури в умовах світової глобалізації та інтеграції
України в європейський інформаційний простір. Представлена міжнародна співпраця кафедри теорії,
історії культури і музикознавства з європейськими інституціями в контексті обміну культурною
спадщиною минулого через сучасні засоби інформації.
В якості прикладів наводиться презентація в електронному середовищі українських книжкових
раритетів: «Апостол» (Львів. 1574 р.), нотні рукописи ірмологіонів, хорові концерти А. Веделя.
Ключові слова: архівні документи, стародруки, старовинні нотні рукописи, процеси глобалізації,
інформаційні технології, наукова діяльність, інформаційний простір, українська культура, Українське
відродження, інтеграційні гуманітарні стратегії, національна парадигма культури.
Аннотация. В статье анализируется научная деятельность Национальной академии руководящих
кадров культуры и искусств в аспекте новой национальной парадигмы культуры в условиях мировой
глобализации и интеграции Украины в европейское информационное пространство. Представлено
международное сотрудничество кафедры теории, истории культуры и музыковедения с европейскими
институциями в контексте обмена культурным наследием прошлого через современные средства
информации. В качестве примеров приводится презентация в электронном пространстве украинских
книжных раритетов: «Апостол» ( Львов, 1574 г.), рукописные нотные ирмологионы, хоровые концерты
А. Веделя.
Ключевые слова: архивные документы, старопечатные книги, старинные нотные рукописи, процессы
глобализации, информационные технологии, научная деятельность, информационное пространство,
украинская культура, украинский ренессанс, интерграционные гуманитарные стратегии, культурный
диалог, национальная парадигма культуры.
Summary. Ways and forms of scientific experience in the National Academy of Managerial Personnel of Culture
and Art are represented in the article, are defined international aspects and problems of humanitarian strategies
as one of the most important factors of cultural intergration in a globalized information space.
International activity of the department of the theory, history of culture and musicology, cultural dialogue
between Ukraine and Europe is represented. Presentation of Ukrainian old printed book and music manuscrips
of the orthodox church in the digital space is given. The article gives foundation of studying of national cultural
paradigm phenomenon and its specific for modern Ukrainian culture.
The historical–cultural reconstruction of the process of the development of Ukrainian book heritage is carried
out on the basis of studying and generalization of archive sources, the most part of which was introduced to the
scientific use for the first time. The role of archive and book sources as the significant pointer of the development
of culturological process of the Ukrainian Renaissance of 21th century is founded out. The expediency of using
book publishing of 1920ies years in the modern socio–cultural terms of independent Ukraine is clarified.
In the article author looked into many previosly unknown materials preserved in Ukrainian archives and located
abroad. The author opened up unknown music and archive documents of E.Bilogradska, M.Beresovsky,
V.Zaremba and others.
Using the varied types of information carriers for creation the collections of digital copies of old printed books
and manuscripts as well as possibility of access by network vastly raises efficiency of work with historic and
cultural library funds, assists an international scientific cooperation. The digital copy of Lviv's "Apostle" the
first printed Ukrainian book (1574) is situated on VNLU Web–site
(http://www.nbuv.gov.ua/rarity/apostol/index.html) for the free access of users.
The return of the Ukrainian music of the past is connected to the study of the pre–printed period of a
handwritten book. The criterion for the selection of musical works for putting them to the Internet space is their
originality as the cultural property of not only the Ukrainian people but also of the whole mankind.
We show deep roots of our spirituality and involvement to the world civilization addressing the study of the past
and transferring the brightest properties of the Ukrainian musical and book culture to the world information
space.
Keywords: archive documents, old printed book, old music manuscript, globe processes, informative
technologies, researching activity, information space, Ukrainian culture, Ukrainian Renaissance, intergrational
humanitarian strategies, cultural dialogue, national cultural paradigm.
Процес відродження української державності вимагає як розбудови сучасної політичної та економічної
системи України, так й комплексного вивчення її культури. На сьогоднішній день актуальною є проблема
повернення українському народу всіх духовних цінностей, створених попередніми поколіннями.
|