Interdisciplinarity is one of the features of modern science, defined as blurring the boundaries of disciplines and overcoming their limitations or excessive specialization by borrowing methods from one discipline into another, integrating different theoretical assumptions, and using the same concepts and terms. Often, theoretical knowledge of one discipline and technological advances of another are combined within an interdisciplinary science, and new branches or disciplines may also emerge. Biosemiotics, a field that arose at the crossroads of biology, semiotics, linguistics, and philosophy, (...) enables scientists to borrow theoretical assumptions from semiotics and extend them to different biological theories. The latter applies especially to extended synthesis, wherein culture is viewed as one of the factors influencing evolution. In the present research, the semiotic system of Ukrainian folk ornament is analyzed through the theory of fractals, key features of which are recursion and self-similarity. As a result, an assumption is made about the fractal structure of culture and social life on a conceptual level. What follows is a discussion of how this assumption can contribute to the multilevel selection theory, one of the foundations of extended synthesis, which employs the concept of self-similarity at all levels of the biological hierarchy. (shrink)

The article is dedicated to Ukrainian Art Nouveau architecture, which became a unique phenomenon in the development of late nineteenth and early twentieth-century architecture. Along with the reality that architecture in Ukraine evolved as a component of the European artistic movement, a distinctive architectural style was formed, based on the development of the traditions of folk architecture and ornamentation. This style produced much innovation in the shaping, decor, and ornamentation of buildings. Significant contributions to the development of architectural modernism (...) in Ukraine were made by Opanas Slastion, Vasyl Krychevskyi, Yevhen Serdiuk, Oleksandr Verbytskyi, Serhii Tymoshenko, Oleksandr Lushpynskyi, Ivan Levynskyi, Dmytro Diachenko, and others. Ukrainian Art Nouveau architecture was represented by five main architectural styles: modernist, folkloric, rationalist, neo-baroque, and Vienna Secession. Due to an attainment of the possibilities embodied in the constructions, developed techniques, and in the design of interior space and external features — such as walls, roofs, doors and windows, columns and balustrades — this style formed its own expressive system, which included a significant number of socially significant types of buildings. The styles of Ukrainian architectural modernism have not exhausted their potential and may yet have a continuation in contemporary architecture and that of the future. (shrink)

The article focuses on the role of Olena Pchilka1 and Lesia Ukrainka in epigraphic embroidery development. Undoubtedly, Olena Pchilka was an ardent proponent of folk art purity. Following from this, there is a tendency to think that she was against all novelty in Ukrainian embroidery. Many researchers and antiquity enthusiasts refer to her authority when arguing against inscriptions on textile as a phenomenon resulting largely from printed cross-stitch on paper. However, not all embroidered verbal texts have been of print (...) origin. Most of them were folkloric texts. What is more, Olena Pchilka to some extent provided her own comment on epigraphic embroidery in approving Lesia Ukrainka’s rushnyk containing the inscription “Oh, my thoughts, my thoughts, woe is with you! Love one another, brethren, love Ukraine”. In modern embroidery, embroideresses reproduce the citation with new connotations of these words, thereby continuing the epigraphic embroidery tradition. The author illustrates the folklorization of oft-cited lines from Taras Shevchenko’s poetry with examples of epigraphic embroidery from her own Interactive Index of Folklore Formulas. (shrink)

Religion, which is a historical and cultural phenomenon of social life, has a special influence on the development of the spiritual culture of mankind. It arose and developed together with society, created in it the appropriate forms of consciousness and ideological culture. The emergence and functioning of religious views, ideas, ideas and ideals - a phenomenon of objective reality, the fact of history and culture. Becoming a status of cultural values, religion continues to affect the consciousness and behavior of people.

The article is devoted to the symbolics of doves on epigraphic embroidered towels (mainly known as rushnyks with inscriptions), which were massively produced by Ukrainian girls and women from the end of the nineteenth till the middle of the twentieth century. Embroidering lines from folk songs or proverbs on textile was a very popular kind of so-called written (or fixed) folklore. By combining these verbal texts with different images of pigeons, fundamentally new works were created. For some time, this (...) phenomenon was almost forgotten. However, in the course of recent years Ukrainian collectors and artists have been actively using old embroidered samples for souvenir products or stage decorations. Being popularized and updated in our time, the meaning of these embroidered birds has undergone significant changes. On specific examples, the author shows how one and the same image of pigeons acquires different, often even opposite senses depending on the context. (shrink)

The image of jazz in Ukrainian pop music is reproduced, the subcultures that dominate its modern manifestations are shown: African music, Irish-European melodies and rhythms, the interaction between pop music and folklore, a diametrically symmetrical structure, the appropriate composition of variable phrases (voice-instrument), various combinations of timbre acoustic electronics, a fusion of Ukrainian folklore and rock music. But, first of all, it is a harmonious combination of Afro-European traditions with Ukrainian folklore, its best examples. The article also talks about the (...) leading masters of Ukrainian jazz who managed to do this - Leonid Goldshtein and Igor Zhuromskyi, for whom the processing of folklore materials - household and African) with a predominance of appeals to the traditional folkloric Ukrainian musical stratum is characteristic. The aim. To reveal the image of jazz in Ukrainian pop music and its significance in the subculture. The tasks of the research are the analysis of the constituent subcultures in the modern representation of the art of Ukraine and their significance for the world artistic treasury. Research methodology. The methodology of the author’s research is based on the paradigmatic method, which allows determining the priority of artistic paradigms, the ratio of traditionally established and non-traditional vision of Ukrainian jazz culture. Reconstruction was also used - to reproduce the main milestones of the development of art of the 20th century within the scope of the research. Also, the methodology is based on a transdisciplinary approach, thanks to which we can study jazz not only in an art-historical aspect, but as a structure of European life of the given period. Research results: The results are as follows - it is 1) a feature of rock music style, such as heavy metal, punk rock, rock and roll, instrumental composition, the use of distinctive fans and unique sounding productions and vocals Intonation technology. 2) Saxophone melodies are built according to the Hutsul system with a characteristic degree of saxophone. 3) Official use of colomous rhythm in the voice. 4) Application of antique blues harmonic sequence. 5) Use of bluesy principles of questions and answers when alternating statements and instrumental episodes. 6) For vocal improvisation. Conclusion.So, we analyzed the interaction of Ukrainian modern pop and real folklore and jazz. Jazz, rock and pop styles were found, which are ideal for interpenetration with various Ukrainian subcultures, jazz-rock, free jazz, alternative music, rock and roll, blues-rock, trip-hop, pop ballad, disco music. The characteristics of the processing of folklore materials (domestic and African) are, first of all, an appeal to the traditional folklore layer, the method of performance (expressed by a real saxophone), the use of folk instruments or their tones. Depending on the genre that created jazz, rock and pop groups, the composition can be divided into folk songs and original compositions based on folklore. Popular music quotes folk and jazz material from pop music. (shrink)

The key concept of our study is "religiosity". In scientific literature, it is most often correlated with an individual or a social group, a community and understands a set of certain attributes that are inherent to them and which find expression in faith and worship of supernatural both at the level of consciousness and at the level of behavior. The object of our study is the Ukrainian people. It should be noted that religious studies in Soviet times did not take (...) into account the fact that human existence is possible only in the conditions of a certain ethnic community, an individual is, above all, a certain ethnotype, and, moreover, it does not study the religious dimensions of the ethno-national being of that another people. Religion itself, if considered as a special, long-standing state of consciousness, as a certain system, which is a set of elements that interact with each other and with the environment, form a stable integrity, can be considered an integral part of ethno-national mentality. According to M.Kostomarov, folk religiosity is a special view that the people have in their religion and that it does not constitute any kind of whole religion, nor a certain sect. Today it is universally accepted that the national type of religiosity exists on the ordinary level of consciousness, is a complex syncretic entity. The history of its formation does not coincide with the history of the doctrine of a certain denomination. However, it is clear that the religiosity of Ukrainians, posing an integral part of the mentality and spirituality of the people, has a history of its formation. It is a consequence of the influence of a complex of factors that predetermined the way of life of the Ukrainian people in a certain natural geographic and cultural-historical space. (shrink)

Socio-cultural and political transformations that are taking place in the modern world under the influence of globalization, predetermine the growth of scientific interest in the history and the theory of shaping the group unity.The coverage of various aspects of this problem is found in the works of foreign philosophers (M. Gibernau, S. Huntington, E. Hiddens, B. Yak, et al.), which focus their primary attention on studying the factors, contributing to the emergence of communities in the modern world, while distancing from (...) the development of universal explanatory schemes for the process of forming the collective unity at various stages of the historical development of society.Some Ukrainian researchers (Y. Hrytsak, V. Kravchenko, H. Kasyanov, et al.), who, in contrast to foreign scholars, pay more attention to studying the various aspects of Ukrainian nation-building, are approaching the above problems from a bit different angle of view to solve them. Undoubtedly, the work of these researchers thoroughly and fully covers the history of the formation of the Ukrainian nation, explains the reasons or factors that contributed to its appearance. Meanwhile, they do not have sufficient potential to explain the causes of the cultural fragmentation of modern Ukrainian society, which, in our opinion, has become a logical consequence of the undivided domination in the Ukrainian intellectual discourse of the paradigm of perennialism, within which the cultural identity of the community appears to be a kind of “entity or reality.” Proponents of this position believe that the cultural diversity of nations emerged in the early stages of social development. Within this outlook, Ukrainians, as a mentally and culturally distinct community, have always existed. Of course, their culture has been developing and enriching in the process of historical development and intercultural communication, while its original spiritual and symbolic core remaining unchanged.Despite the fact, that renaissance has a rational grain and can become themethodological basis for very effective national consolidation strategies, one should not ignore its failure to explain the causes of the cultural and civilizational fragmentation of modern Ukrainian society. In our opinion, the solution of this issue requires a comprehensive understanding of the origins, mechanisms and factors, and the formation of a culturally homogeneous Ukrainian cultural space. In view of this, the purpose of our work is to uncover the theoretical preconditions and mechanisms for shaping the cultural identity of Ukrainians in the XIX and early XX centuries. Instead, the task of the work is to highlight the ideological foundations of the growth of scientific interest in folk culture in foreign and Ukrainian intellectual discourse and to reveal their significance in the process of thematizing the modern Ukrainian identity.Methods.The interdisciplinary approach and the principle of unity of the historical and logical have become a methodological basis of scientific research. Methods of historical and philosophical reconstruction, cultural analysis, and extrapolation have been also widely used in the process of research, as well as the fundamental principles of hermeneutics, which have been taken into account.Results. The dominance of the educational enlightenment-cognitive paradigm has contributed to the growth of scientific interest in the cultural identity of peoples, which, according to the prevailing beliefs, has been most clearly preserved in folk poetry and ancient literature. The study of the latter has resulted in the outbreak of ethnographic and linguistic exploration, which facilitated the gradual introduction of the Ukrainian language to literary use, thereby contributing to the thematization of modern Ukrainian identity. (shrink)

Hutsuls, as one of the ethnic groups of the Ukrainian people, are undoubtedly, along with fights and lemmas, among the most striking exponents of the spiritual culture of the Carpathian Ukrainians. The great attractiveness of the Hutsul's geographical space of habitation could not but affect their worldviews, bright mentality and original patterns of traditional culture. Along with unsurpassed specimens of folk architecture, folk art, choreography, the original pearls of the Hutsul's spiritual heritage include their songs.

It will be a wrong judgment to consider grave stones as an ordinary tradition. When it is viewed in terms of history, art and culture, it can be seen that especially Turkish grave stones are record drawings that include many types of arts and artists’ labor, shed our culture and history and that is precious and unique. Grave stones are the documents that transfer not only the national culture but also transfer people’s beliefs, problems, fears, sadness and different feelings, who (...) breathe the same air and live in the same places. Because of this reason, grave stones are the cultural features that are shaped according to the differences in culture and decorated with life styles. Of course, Of course, having been applied plenty of traditional Turkish plastic arts on the tombstones, have all contributed to the diversity of tombstones in terms of composition and motifs. Rich craftsmanship of gravestones and sarcophagus in the second Bayezid graveyard is almost like an open air museum that shows Turkish motifs. While scarping was used for making gravestones are scarping, and painting were used as the main decoration tecnique is seen on foot stone with the painting technique, inscriptions of stones were coloured. Most of the inscriptions and decorations are relieved. Decoration subjects seen on gravestones are phytomorphic, geometric, objective and calligraphic. On the other side, these tombstones include wide knowledge about the socio-economic, cultural and regional headgears. When evaluating the information on the inscriptions, it can be obtained knowledge about the health conditions or epidemics in that period. Adolf Ebeling, article titled “Turkish cemeteries” in the 1882 the year Gartenlaube journal, when talking about the importance given to the graves by Turks, to say that the Turkish burial tomb can be an example to the world is no need to say more about it. The thomstones as the verbal means service to rebuilt the material world where the man has saved so far and the culture developing in accordance with this. The written tombstones which were formed by the individuals’ cherishing and remembering desires that the cultural, religious and traditional ones shaped, are the carrier elements of the values wich will provide to understand the sterotype requirements and ideologies within the cultural structure. Looking at the overall structure of the Turkish tombstones form shows major differences in male and female gravestones. In the Turkish tombstone tradition, women's elegance, finesse and beauty is reflected as a form of artwork. In fact, women in the Ottoman Empire, although excluded from the social life in very marginalized, especially in women flashy decorations tombstones, can be considered as an indication value which is given to women but unspoken. Since the tombstones have dates, they hold the distinction of being a document for ethnographic and art works. Moreover, inscribed tombstones are living evidences in order to prove that Turkish people lived in this land and also they have ethnographic value. Therefore, tombstones are important while the histories of cities, villages or boroughs are preparing. In short, tombstones are the common products of the environment that are built, religious beliefs, traditions, art, natural, social and economic conditions of the century. In this case they hold key for our culture history in addition to our art history. In this study, besides the effects of Turkish grave stones on our beliefs and daily lives, fruit patterns on the stones are also examined. The reflections traditional architectural and handicrafts motifs and the religious believes on the Turkish ornament art are explained by the examples chosen among gravestones in İstanbul II. Beyazıt Cemetery. In the colloquial language what fruit motifs mean in folk songs ang manias and how it is reflected on the ornaments of grave stones are investigated. (shrink)

It is acknowledged that most motifs used in Western art have an iconographic counterpart. It is inferred that the geometric and floral motifs that we encounter in Anatolia are provided by the world meanings such as “ornamentation”, “talisman”, “power” or “strength”, which have a wide place in folk beliefs, rather than creating a meaning by combining with religious images. In this study, it is focused that on the minaret of the Ibrahim Efendi Mosque in Kilis with the Seal of (...) Solomon motif, which has been used on area of usage in Turkish-Islamic arts, from architectural surfaces to wall paintings, from manuscripts to under-glass paintings. According to the data provided by historical sources, the first work that has existed till now was built by Hacı İbrahim, the son of Hacı Mustafa, one of the residents of Kızılca township. For an unknown reason, a large part of the building was demolished and a second building group was built over time. According to the inscription, the second building group refers to a building group called “the New Mosque”, which was rebuilt in 1831 by Mehmet Pasha, the son of Mehmet Ali Pasha (1769-1849), the Governor of Egypt, who was the Governor of Aleppo. Since only the minaret has existed from the second building group, which consisted of a madrasah-mosque combination, which was demolished over time, this single work is also called “orphan minaret” among the people. In this study, it is emphasized that on the Seal of Solomon motif and the ornamentation of the building, which is especially concentrated in the minaret balcony section. The general acceptance of the six-armed star motif on the pedestal and its usage areas in different works within the Turkish motif tradition were emphasized, and the difference of this motif from the six-armed star, which has a symbolic context in the Jewish faith as Magen David, was determined. The visual data obtained during the survey, archival sources and literature on the structure are based on the documentation method. (shrink)

The subject of the study is traditional Chinese costumes, their origin and forms of inheritance in the "new Chinese style". The object of the study is national clothing, the existence of which is a cultural epic spanning thousands of years and including the epochs of the reign of the largest Chinese dynasties. Turning to the past allows the author to demonstrate the depth and unique charm of oriental culture, to show the reasons for its relevance in the world of modern (...) fashion. Such aspects of the topic as the reflection of the history and spiritual values of the nation in the objects and elements of Chinese clothing, as well as their impact on the global fashion industry, are considered in detail. Special attention is paid to the aesthetics of the Hanfu costumes, the baturukongkamshurd vest, the dianzi hair ornament, the head with one hieroglyph hairstyle, the Zhongshan and Cheongsam costumes. The work uses historical, cultural, comparative and analytical research methods. They allow us to trace not only the evolution of Chinese clothing, but also how representatives of the "new Chinese style" skillfully embody traditional drawings in modern design concepts, creating works that combine both cultural heritage and current fashion trends. The novelty of the research lies in identifying ways to transform traditional Chinese costumes into the fashion trends of the "new Chinese style". The author analyzed its wide popularity among modern youth, as well as its large-scale presence in the global media space. The findings of the study reveal the value of clothing as a unique cultural medium, and also reflect the outstanding contribution of the "new Chinese style" in its innovative reinvention. The author's contribution to the study is observations on the use of "folk Chinese aesthetics" in world fashion, which include Zhongshan, Cheongsam, Qipao costumes, as well as ancient techniques for creating jacquard, knotted batik, and antique embroidery. The "New Chinese Style" not only gave national elements a new life in modern society, but also opened the way for the inheritance and development of Chinese culture. (shrink)

Art design is a visual form and spiritual bearer of culture that ensures universal language for communication between civilizations of the world. Competitiveness of the nation is not only a reflection of its economic power, but what is more important, recognition of its culture. Chinese patterns were used throughout the development of Chinese nation and imparted with spiritual connotations, forming a unique Chinese “culture of ornaments”, which is also an artistic sublimation of Chinese national culture. Lotus pattern is one of (...) the earliest traditional ornaments that emerged in China. Throughout its entire history, it turned into a visual symbol that represents commemoration and aesthetic value of the Chinese traditional culture, having a distinct shape and meaning. This article analyzes the peculiarities of localization of the Ancient Chinese lotus pattern, as well as the question of “folk aesthetics” as the major driving force for the consistent development of the means of creating such images. The author examines the main determinants of the Chinese philosophy of design, highlighting such key factors as the artistic consciousness of the Chinese people, “botanical principle” in visual art, aesthetic perception of symmetry and balance in the image, as well as the peculiarities of historical milestones in the development of Chinese floral ornament. The author summarizes the considered aspects with regards to integration of the traditional and modern design. (shrink)

Perhaps, the most mysterious phenomenon in the world is man, and among his qualities it is the mind. Whether created “from the dust of the earth” or brought from distant cosmic depths, formed as a result of the evolution of nature or some other yet to be recognized miracle, man has conquered nature, created a univer­sally artificial world, a «second nature» – culture, and has now become not only the master of the Planet but is also looking more and more (...) pragmatically into the Cosmos. The first attempts to master it (as well as the entire previous path of conquering nature) suggest that man possesses some incredibly secret power that allows him to rise and dominate the world. This power is the power of the mind – science, education and culture. It united all other human qualities into a single energy complex, concentrated them in the ability to work, thanks to which it mastered nature, and directed man into a civilized path. Philosophers studied both the historical sources of the origin of the mind, as well as the patterns of its development and the prospects for further application in society and the world. The mind finds various, sometimes unexpected ways for its embodiment – not only in science, philosophy, education, but also in folk traditions, in the prophecies of mystics and maxims of sages. At the same time, the loss of reason can take vari­ous forms – from “mind loss” to the loss of human values at work to the madness of war. The departure from “reason” creates civilizational conflicts, which mostly end in war. The current one is the deepest and most threatening. It is exacerbated by the ruscists’ threat to use nuclear weapons. To put an end to ruscism, to eradi­cate violence, to ensure the Ukrainian victory and to establish guaranteed peace and cooperation between nations – this is the «wisdom» of the mind, its inex­haustible energy, which guarantees new prospects for the civilizational progress of mankind. (shrink)

The article deals with the determining role of the primary literary source on the Ukrainian theme in the creation of ballets. This made it possible to assert that at the junction of various arts, choreography and its special plastic form contribute to the creation of new avant-garde forms of art, thereby realizing the richest artistic potential of the direction. Based on this, it becomes clear that the relationship between literary and choreographic arts is close, because it affects the enrichment of (...) the ballet repertoire. Creating a choreographic work based on a literary background is one of the most important achievements of choreography.The artistic integrity of choreographic works forms the basis of the principle of art synthesis. The author of the article determined the important role of Ukrainian dance in creating a choreographic performance based on a literary source, because Ukrainian choreographic art is noted for its inexhaustible wealth of dance colors, emotional fervor, subtle folk humor and sincerity of performance, therefore creating a choreographic work based on literary works, especially on national themes, which is an auxiliary factor for activating the harmonious interrelationship of the specified time, space and transmitted events of the work with the means of stage and everyday dance vocabulary. The aim. The purpose and task of the article is to show the interpretation of literary works in the Ukrainian choreographic art of the 20th and early 21 centuries. Research methodology. A content-comparative method for comparing the works of researchers in different fields, the method of historicism - for researching a phenomenon within specific chronological limits, the method of generalization - for identifying the common and different points of view of scientists on the phenomenon under study. Research results: however, in the Ukrainian ballet theater of the late 50s of the 20th century, new aesthetic principles began to dominate, which were of great importance for the development of all musical and choreographic creativity. It is about rejecting prosaic plausibility as the only way to reproduce the truth of life on stage, restoring the hegemony of dance in the system of expressive means. In the ballet work of Ukrainian artists, the direction towards the heroization of the genre, the tendency towards the epic type of drama and the wide use of folklore becomes noticeable. Conclusion. In the process of working on the embodiment of a literary work or an image, the dramaturgy has the ability to change, develop, acquire specific features and details, the dramaturgy becomes alive, filled and exciting for the viewer. The ballet master’s solution to the embodiment of the literary source is embodied by the ballet dancers, who bring it to the audience with their art. The development and enrichment of choreographic art, the search for new forms, in this way, we observe in a creative union with adjacent muses, in interaction with other arts, where choreography does not dissolve in them, but while keeping its face, makes a fruitful contribution to the development of this union. The artistic integrity characteristic of the best choreographic works is based on the principle of synthesis of arts. Forms and means of dance-plastic action, principles of music-choreography dramaturgy, which allow to create works commensurate with the outstanding achievements of other arts, were formed in this experience. The key to the success of choreographic art is the mastery and development of this experience. (shrink)

The problem of the values of Ukrainian society is one of the most important and debatable problems in modern scientific discourse. This is due to the transition of our state from the traditional model of the state, in which there is authoritarianism, secrecy, to a socially oriented society and a democratic, open state.Accordingly, there is a change in values, which is an integral part of the existence of any society and state. To replace the Soviet system of declaration of surrogatecollective, (...) paternalistic values, which existed for several decades, a new system is formed, which provides a clear orientation of Ukrainians to European values, the significant achievements of the Ukrainian people, the moral recovery of society, increasing values and culture of civil society. Honor and dignity of Ukrainians, which is an indispensable basis for the development of moral culture of society.The purpose and objectives of the article. Based on the achievements of modern science and philosophy, to analyze the essence of the moral culture of the people, the place of human dignity and its importance in moral culture; to characterize and classify the main factors of dignity formation in the moral culture of the people. The research methodology is complex and is based on philosophical-anthropological and philosophical-cultural analysis of the problems of formation of moral culture of the Ukrainian people and its structural element - human dignity. Research results.The most important, synthetic, integral consequence of human development is moral culture. Moral culture is the level of assimilation by an individual or a group of people of existing moral values in society, the degree of their involvement in the moral aspects of activity, a measure of personal moral development. Practical and spiritual factors include, first of all, ethnic stereotypes specific to a certain people (traditions, customs, rituals, typical traits of character and behavior, dominant emotions, folk crafts, entertainment, games), as well as historical memory, established symbols, folk shrines. Historical memory, preserving every page of life, the people’s struggle for social, political and national rights at all stages of its development, serves as a solid foundation on which national self-consciousness is successfully formed.Institutional factors are important for the formation of dignity in the moral culture of the people. These include nation- and state-building activities of public authorities, national elite, political parties, religious and public organizations. If the state creates conditions in society for the assimilation of the historical and cultural experience accumulated by the nation, it contributes to the education of national self-esteem, ie awareness of community members of their belonging to the nation, their duty to the community of like-minded people. Conclusions. Summarizing the results of the study, we can formulate the following conclusions. Human dignity in the moral culture of the Ukrainian people is the result of the interaction of a combination of many factors that determine its structure and content. The process of its formation is quite long, complex and contradictory. This is due to the fact that it is human dignity that provides the spiritual, ideological foundation for the functioning of national communities, contributing to the development of promising guidelines for the development of the nation and the state. (shrink)

After the Christianization of Kievan Rus, folk elements began to penetrate into church painting. The culture that has been formed in the people for centuries, in accordance with the regularities of the mechanism of ethno-confessional syncretism, could not but interact with the new Christian culture for Ukraine. Christianity, though sometimes using various means to counteract it, still failed to eradicate the most persistent Christian motives from the minds of its people throughout the centuries of its existence. Ukrainian tolerance and (...) creative forces of the people contributed to the development of religious cult and art, which over time gained national features and characteristics. (shrink)

The article is devoted to context specific of folk songs from the collection “Songs of people of Galicia” by polish folklorist Z. Pauli. General and subjective problems and issues of Ukrainian society in 17th and 18th centuries were revealed. Song’s lyrics were analyzed and actual problems of baroque Ukrainian’s life were highlighted. Each of these problems and issues has it’s specific worldview expression. This worldview response to society and subjective problems of Baroque was presented in folk songs. Thus, (...) the problems of Ukrainian community and personal issues was considered in terms of worldview specific. So, in our point of view the main problems of Ukrainian Baroque society were “cossachyna” and conscription. Attitude of ordinary people to cossacks, their life and role in the state’s fate presented in historical songs, epic songs and Cossack songs. Context of these songs from Z. Pauli collection showed us some important worldview responses to the Cossacks. As a response to the historical events of the seventeenth and eighteenth centuries formed the cult of the warrior’s force. So the main virtues were agility and courage of the warrior. “Cossack glory” was one of the main values in the mass perception of Ukrainians. And was defeating during the battle was the most threat in terms of the relatives of warrior. In the song’s lyrics of 18th century the theme of soldier’s military duty hade wide spreading. Many families had to say good bye to their close relatives. That’s why the frequently motives of soldier songs are farewell, anguish and sorrow. Social problems such as insecurity, orphanhood and gender imbalance, caused by man’s military service, became a relevant for ordinary citizens. Personal existential problems presented in lyric songs and ballads. Widespread subjective problems such as freedom of someone own choice, choice contrary to the social or family opinion, contradictory feelings, emotions and actions outlined in folk-song’s lyrics. Frequently such song’s lyrics expressed metaphysical meditations about loneliness, person’s place in the world, happiness and desire to be happy, the influence of fate on human life etc. This group of songs present a typical Baroque pessimism. So, us our research showed ancient folk songs are real rich source for understanding worldview of our ancestors. (shrink)

The author traces some forms of underground anti-Soviet activities of students of the Lviv Polytechnic Institute, currently the National University 'Lviv Politekhnika'. The rest of Lviv higher education establishments were also engaged in such activities. The research is based on scientific studies, recollections, archive materials and records of the Ukrainian Rebel Army, which cover the period of 1944-1953. The paper is timed to the bicentenary of the Lviv Politekhnika foundation and aims to demonstrate fortitude of Ukrainian spirit of young people (...) who sought after their independent Ukrainian state. A list of Politekhnika students is given, who displayed their bravery in individual anti-Soviet actions, as well as some underground independent student organizations and representatives of the national underground which considered youth development its priority since 1948 are indicated. Anti-Soviet activities of the student milieu included the making of politically focused leaflets and their distribution among city-folk and at higher education establishments. Despite a small time of underground activities because of frequent arrests, Lviv students continued their work up to 1953. All detected members of clandestine organizations were sentenced by the Military Tribunal of the Ministry for State Security to the terms of 10 - 25 years in correctional labor camps of the GULAG. Some of the released returned to their native land and managed to get across their viewpoint and motivation of their actions over the above period to new generations. (shrink)

Artistic practices of postmodern art do not only express the principles of the conceptions of the world of modern culture but on the whole they prepare the anthropological "project" of a cosmopolit. But the danger of leveling and even ruining the system of the Ukrainian world outlook traditions exists in the framework of this project. In this article the author investigates the peculiarities of Yu. Andrukhovych' creative work in the context of the Ukrainian postmodern art. Thanks to the ironic form (...) and extreme spontaneity in the choice of dedication and epigraph, postulates the model in which the contextual neo-mythological features are traced and the features reveal the essential peculiarities of the anthropological project of a "post-totalitarian" person. The author's tragic world-outlook and apocalyptical mood are hidden behind the humor and eclectic glare. It doesn't look like "banquet during the plague", but like the comprehension of the problem of one's existence under the totally new historic-cultural conditions. The neo-mythological axis is grounded on the Christian-mythological model-antithesis. The neo-mythological peculiarities analyzed by the author interact with each other in the dialectical unity and make the organic entirety of the artistic work, they are actual for a contemporary person finding himself under the conditions of a transitional period when culture is looking for stable landmarks in its development. It is proved that the neomyth by Yu. Andrukhovych was being built on the synthesis of Christianity and folk culture, ascertaining the European character of the Ukrainian culture and surge for its legitimacy, uniting together the Dianetical and Apologian features. It gave the author the chance to model the modern culture in the coordinates "Bu - bo - bu" and build the anthropological project in the direction of a Cosmopolitan pole. (shrink)

The Patriotic War of 1812 was a tremendous historical testing of our people against the world's most powerful enemy — the army of Napoleon. The treacherous invasion of Russia by the Napoleonic hordes called forth in our country a feeling of hatred for the foreign conquerors, self-sacrifice and heroism. The people as a whole rose to struggle against the invaders. Alongside the Russian Army there were numerous folk levies and guerrilla bands, all with the single motive of freeing their (...) homeland from the foreign conquerors. Whereas Napoleon's was a war of conquest against Russia, the War of 1812 was, from the very outset, a just war of national liberation for their country on the part of the Russian, Ukrainian, Belorussian and other peoples. (shrink)

Folke Tersman explores what we can learn about the nature of moral thinking by examining moral disagreement. He explains how diversity of opinion on moral issues undermines the idea that moral convictions can be objectively valued. Arguments on moral thinking are often criticized for not being able to explain why there is a contrast between ethics and other areas in which there is disagreement, but where one does not give up the idea of an objective truth, as in the natural (...) sciences. Tersman shows that the contrast has to do with facts about when, and on what basis, moral convictions can be correctly attributed to an agent or speaker. (shrink)

The idea of reflective equilibrium remains the most popular approach to questions about method in ethics, despite the masses of criticism it has been faced with over the years. Is this due to the availability of compelling responses to the criticisms or rather to factors that are independent of its reasonableness? The aim of this paper is to provide support for the first answer. I particularly focus on the recent discussion. Some recent objections are related to general arguments against the (...) possibility of moral knowledge, such as so-called “evolutionary debunking arguments.” I argue that nothing that has come to light in that debate, or in the recent discussion about IRE more generally, decisively strengthens the case against it. If anything, the recent developments show that IRE deserves its present status. (shrink)

A recent study of moral intuitions, performed by Joshua Greene and a group of researchers at Princeton University, has recently received a lot of attention. Greene and his collaborators designed a set of experiments in which subjects were undergoing brain scanning as they were asked to respond to various practical dilemmas. They found that contemplation of some of these cases (cases where the subjects had to imagine that they must use some direct form of violence) elicited greater activity in certain (...) areas of the brain associated with emotions compared with the other cases. It has been argued (e.g., by Peter Singer) that these results undermine the reliability of our moral intuitions, and therefore provide an objection to methods of moral reasoning that presuppose that they carry an evidential weight (such as the idea of reflective equilibrium). I distinguish between two ways in which Greene's findings lend support for a sceptical attitude towards intuitions. I argue that, given the first version of the challenge, the method of reflective equilibrium can easily accommodate the findings. As for the second version of the challenge, I argue that it does not so much pose a threat specifically to the method of reflective equilibrium but to the idea that moral claims can be justified through rational argumentation in general. (shrink)

The fact that debunkers can turn to the argument from disagreement for help is ofcourse not a surprise. After all, both types of challenge basically pursue the same,skeptical conclusion. What I have tried to show, however, is that they are related in amore intimate way.

A common anti-realist strategy is to argue that moral realism (or at least the non-naturalist form of it) should be abandoned because it cannot adequately make room for moral knowledge and justified moral belief, for example in view of an evolutionary account of the origins of moral beliefs or of the existence of radical moral disagreement. Why is that (alleged) fact supposed to undermine realism? I examine and discuss three possible answers to this question. According to the answer that I (...) think holds most promise, it undermines realism because it renders realism “epistemically incoherent” (in a sense explicated in the paper), and a central aim of the paper is to elaborate and defend that suggestion against certain objections. I end by briefly commenting on the more general significance of the discussion, by considering some other areas (epistemology and vagueness) where similar questions might be raised. (shrink)

Crispin Wright holds that moral realism is implausible since it is not a priori that every moral disagreement involves cognitive shortcomings. I develop two responses to this argument. First, a realist may argue that it holds for at least one of the parties to any disagreement that he holds false background beliefs (moral or otherwise) or that his verdict to the disputed judgment fails to cohere with his system. Second, he may argue that if none of the verdicts involves shortcomings, (...) the appropriate conclusion is that the disagreement is not genuine, since we must otherwise attribute an inexplicable error. (shrink)

How is someone who seeks a reflective equilibrium to respond upon learning that others disagree with her? Regrettably, not much attention has been devoted to that question despite the extensive general discussion about the epistemic significance of disagreement that has taken place in recent years. This paper helps fill the lacuna by exploring possible connections between the relevant bodies of literature. More specifically, I claim that how users of the method of reflective equilibrium should respond to disagreement is crucial to (...) the assessment of the method. According to a common objection, it is flawed because it may lead competent and rational inquirers to arrive at widely divergent and inconsistent equilibria. What I argue is that defensible assumptions about the significance of disagreement permit an advocate of the method to resist that objection. (shrink)

Some think that recent empirical research has shown that peoples' moral intuitions vary in a way that is hard to reconcile with the supposition that they are even modestly reliable. This is in turn supposed to generate skeptical conclusions regarding the claims and theories advanced by ethicists because of the crucial role intuitions have in the arguments offered in support of those claims. I begin by trying to articulate the most compelling version of this challenge. On that version, the main (...) problem is the absence of a believable positive account of the reliability of the intuitions . I then consider the response to this challenge that, in my view, holds most promise. It differs from others by invoking substantive moral assumptions. Such a strategy may appear problematically circular, in that the justification of those assumptions seems to presuppose the very thesis that is challenged . However, although I think that objection can be met, I argue that there are other problems with the strategy. On the basis of a set of conditions that a successful defense of the pertinent kind plausibly must satisfy, I argue that the prospects of developing such an account are bleak. (shrink)

An increasingly popular strategy among critics of ethical anti-realism is to stress that the traditional arguments for that position work just as well in the case of other areas. For example, on the basis of that claim, it has recently been claimed that ethical expressivists are committed to being expressivists also about epistemic judgments (including the judgment that it is rational to believe in ethical expressivism). This in turn is supposed to seriously undermine their position. The purpose of my paper (...) is to examine this challenge. I argue that, in spite of the many similarities between the discourses, there are also crucial differences and that those differences justify a mixed verdict about them. (shrink)

Facts about moral disagreement and human evolution have both been said to exclude the possibility of moral knowledge, but the question of how these challenges interact has largely gone unaddressed. The paper aims to present and defend a novel version of the evolutionary “debunking” argument for moral skepticism that appeals to both types of considerations. This argument has several advantages compared to more familiar versions. The standard debunking strategy is to argue that evolutionary accounts of moral beliefs generate skeptical implications (...) because they attribute those beliefs to factors that are unrelated to their truth. That strategy is vulnerable to “third-factor” responses, which invoke first-order moral claims to challenge the assumption that Darwinian factors and the moral truths are really unrelated in that way. In contrast, our version is immune to those responses, as it does not proceed via assumptions about how Darwinian factors relate to the moral facts. Instead, it focuses on what evolutionary accounts of moral beliefs have to say about the fact that people often reach divergent moral beliefs. The argument thereby illustrates how the debunking strategy can join forces with the argument from moral disagreement. The combination of those strategies presents, we think, a challenge that is more formidable than when they are considered separately. (shrink)

A traditional objection to coherentism is that there may be incompatible though equally coherent sets of beliefs. The purpose of the paper is to assess this objection. It is argued that the better a belief "p" coheres with the system of a person, the less likely it is that the negation of the belief coheres equally well with someone else's system, or even that there is someone else who believes the negation of "p". The arguments are based on two plausible (...) assumptions about coherence, and some more controversial assumptions concerning meaning and interpretation. (shrink)

According to a traditional argument against moral realism, the existence of objective moral facts is hard to reconcile with the existence of radical disagreement over moral issues. An increasingly popular response to this argument is to insist that it generalizes too easily. Thus, it has been argued that if one rejects moral realism on the basis of disagreement then one is committed to similar views about epistemology and meta-ethics itself, since the disagreements that arise in those areas are just as (...) deep as the moral ones. This in turn is taken to show that a moral anti-realist should seek another basis for her position. For, if she extends her anti-realism also to epistemology and meta-ethics, then she is no longer in a position to say that her meta-ethical position is (objectively) true or that it is a fact that we have reason to accept it. She therefore seems left with a position that hardly even seems to be a position. The purpose of the paper is to challenge this response and in particular the claim that the argument from disagreement applies equally well to epistemology and meta-ethics as it does to ethics. It is argued that, despite contrary appearances, there are crucial differences between the disagreements that occur in ethics compared to those that arise in the other areas. Moreover, even granted that the disagreements are just as deep, there are other differences between the areas that nevertheless justify drawing different conclusions about their status from the existence of those disagreements. (shrink)

Dovring explores some of the limits of science, the scientific method, and our approaches to conceptualizing problems.

At the beginning of the series, a dozen young women are introduced as potential mates for the eligible young bachelor. The audience accompanies the couples on their limo-escorted dates, meets the bachelor's family and friends, listens to their evaluation of the bride, and watches expectantly as the smiling Prince Charming singles out a few finalists for his attention. As the weeks pass by, one by one, tearful young women are dismissed from the show as the presentation of the final rose (...) that signifies singular devotion draws near. In the end, only two young women remain, and only one can receive…. (shrink)