Мета статті — визначити феномен культурологічної рефлексії як інтерпретанту постмодерної ідентичності людини. Актуальність статті обумовлена зверненням до культурологічної рефлексії провідних теоретиків постмодерністської культури в контексті пошуків ідентичності людини як суб'єкта культуротворчості. Проблемне поле інтерпретації провідних метафор, евристичних пошуків дескрипції модерної, постмодерної та метамодерної ідентичності людини відсилає до таких метафор, як «паломник», «турист», «бродяга», «гравець» (З. Бауман), «рефлексія туриста» (Д. Уррі), «атопос» (Т. Вермюлен і Р. ван ден Аккер). Актуальним вважаємо надати системне тлумачення постмодерністської рефлексії як синтезу суб'єктного потенціалу культуротворчості. Методологія дослідження орієнтована на компаративний та системний підходи, визначається феноменологічним та діалектичним методами, що дає можливість визначити феномен рефлексії як полімодальний образ в контексті культурних практик, зокрема туризму. Наукова новизна. Проаналізовано етнокультурний феномен політичної національної ідентичності в Україні, естетичний феномен «паломництва в часові» (за З. Бауманом) як тотальної метафори шляху, подорожі, що втрачає статус цілепокладання в культурі постмодернізму, метафору «обміну та виробництва місць» в глобальному туризмі (за Д. Уррі). Висновки. Рефлексія туриста є надзвичайно різноманітною. Це рефлексія філософів, де туристична діяльність осмислюється як культура, антропні, антропогенні ландшафти, людиновимірні, природовимірні й космологічні константи подорожування. Філософська модель формує узагальнений образ світу і людини, подорожування як моделі світу. Це культурологічна, естетична рефлексія мандрівника як цілісний образ буття. Це специфікована рефлексія а́кторів інституцій, кластерів, рекламних агентів тощо.
Один із важких наслідків війни на Донбасі – поява стотисячних мас бійців з ПТСР, які після демобілізації і повернення в громадянське суспільство вносять в нього усі особливості мілітаризованих світосприйняття і свідомості, страждають самі і нерідко негативно впливають на взаємовідносини між людьми, подальший розвиток соціуму. Проблема реабілітації учасників АТО (ООС) в Україні за своїми масштабами вийшла на державний рівень. У статті дається аналіз практики культурологічного забезпечення реабілітації учасників бойових дій на різних етапах ліквідації наслідків БПТ. ; The article provides an analysis of the practice of cultural support for the rehabilitation of participants in combat operations at various stages of the elimination of the consequences of CSR (Combat stress reaction). One of the dramatic consequences of the war in the Donbass is the appearance of hundreds of thousands of PTSD fighters who, after demobilization and return to civil society, bring all the peculiarities of militarized world perception and consciousness into it, suffer from themselves and often negatively affect the interrelationship between people and the further development of society. The author believes that the magnitude and urgency of the problem of rehabilitation of ATO (JFO) participants in Ukraine, which in its scale reached the state level, puts forward among the factors that should guarantee its qualified solution, -cultural support for the recovery of victims from CSR.Cultural support of the rehabilitation process in the study is characterized as a complex system of cultural-leisure, informational and advisory and art-therapeutic measures that contribute to the spiritual and voluntary mobilization of victims of the elimination of PTSD, rehabilitation after treatment, successful adaptation to life in new living conditions and self-realization of personality . Based on the experience of the ATO (JFO) and open source information, the author argues that it should be carried out at all stages of the use of the troops for the purpose and continued at medical hospitals and sanatoriums of different levels. The main directions of the work of culturologists during the maintenance of the rehabilitation process are the influence through the system of forms and methods carried out by means of culture, in support of the moral and physical forces of the personnel, the removal of stressful states, spiritual mobilization to overcome the consequences of CSR, the return of victims to the performance of official duties , adaptation to new living conditions in the peaceful society.The study describes the features of the provision of medical care at various stages of the rehabilitation process, reveals the specifics of its cultural support. On the battlefield, where the first medical aid is provided, the creation of a non-regular group of amateur activists-psychologists and culturologists who have a certain level of knowledge and skills in overcoming of combat stress situations, can significantly increase the range of rehabilitation effects already in the early stages of the manifestation of PTSD. In medical units of the first level (medical point of the battalion), where the pre-medical (first medical) medical aid is provided, cultural restraint and individual work with the victims are organized for those with neurotic reactions to stress.The peculiarity of cultural work in medical units of the second level (the medical point of the regiment, the medical brigade company or the military mobile hospital, the in-patient departments of district and city hospitals or hospitals located near the combat zone - where trying to prevent the transition of PTSD to the victims of the chronic stage) is that , that it can be carried out both on the basis of mobile and fixed institutions of culture and rest. Here are organized and held: performances by art workers, cultural and artistic brigades and amateur teams; broadcasting movies and videos; meetings with representatives of creative groups; visiting children; satisfaction of religious needs; Exposition of photo exhibitions; providing artistic literature; culturological health-improving training, etc.In the medical institutions of the third (military mobile hospital, military hospital, central district hospital) and the fourth (military medical clinic, regional clinical hospital, specialized centers and institutes) levels, cultural maintenance of rehabilitation is mainly organized on the basis of stationary institutions of culture and recreation. This period is aimed not only at the development of communicative activity, the formation of "taste" for social contacts, but also on the personal growth of victims of CSR.The author comes to the conclusion that in the Armed Forces of Ukraine there has been some experience in culturological activity in providing rehabilitation of ATO (JFO) participants. However, there are serious shortcomings, such as the lack of qualified art therapists and creativity rehabilitation programs, the lack of a clear system in work at different stages of recovery, a small assortment of forms and methods for the elimination of PTSD in amputees, fighters with neurotrauma and vision loss , which reduces the whole set of forms and methods of cultural influence to the level of amateur and cultural-leisure activities. The analysis allows us to recommend in the implementation of cultural support of the rehabilitation process to make the most of the experience of advanced armies, the capabilities of technical means necessary for the transfer of the Armed Forces to NATO standards. The experience of the war in the East of Ukraine also requires the creation of a sophisticated system of training for effective cultural impact on the achievement of a positive result in the rehabilitation of veterans of combat operations and members of their families.
Один із важких наслідків війни на Донбасі – поява стотисячних мас бійців з ПТСР, які після демобілізації і повернення в громадянське суспільство вносять в нього усі особливості мілітаризованих світосприйняття і свідомості, страждають самі і нерідко негативно впливають на взаємовідносини між людьми, подальший розвиток соціуму. Проблема реабілітації учасників АТО (ООС) в Україні за своїми масштабами вийшла на державний рівень. У статті дається аналіз практики культурологічного забезпечення реабілітації учасників бойових дій на різних етапах ліквідації наслідків БПТ. ; The article provides an analysis of the practice of cultural support for the rehabilitation of participants in combat operations at various stages of the elimination of the consequences of CSR (Combat stress reaction). One of the dramatic consequences of the war in the Donbass is the appearance of hundreds of thousands of PTSD fighters who, after demobilization and return to civil society, bring all the peculiarities of militarized world perception and consciousness into it, suffer from themselves and often negatively affect the interrelationship between people and the further development of society. The author believes that the magnitude and urgency of the problem of rehabilitation of ATO (JFO) participants in Ukraine, which in its scale reached the state level, puts forward among the factors that should guarantee its qualified solution, -cultural support for the recovery of victims from CSR.Cultural support of the rehabilitation process in the study is characterized as a complex system of cultural-leisure, informational and advisory and art-therapeutic measures that contribute to the spiritual and voluntary mobilization of victims of the elimination of PTSD, rehabilitation after treatment, successful adaptation to life in new living conditions and self-realization of personality . Based on the experience of the ATO (JFO) and open source information, the author argues that it should be carried out at all stages of the use of the troops for the purpose and continued at medical hospitals and sanatoriums of different levels. The main directions of the work of culturologists during the maintenance of the rehabilitation process are the influence through the system of forms and methods carried out by means of culture, in support of the moral and physical forces of the personnel, the removal of stressful states, spiritual mobilization to overcome the consequences of CSR, the return of victims to the performance of official duties , adaptation to new living conditions in the peaceful society.The study describes the features of the provision of medical care at various stages of the rehabilitation process, reveals the specifics of its cultural support. On the battlefield, where the first medical aid is provided, the creation of a non-regular group of amateur activists-psychologists and culturologists who have a certain level of knowledge and skills in overcoming of combat stress situations, can significantly increase the range of rehabilitation effects already in the early stages of the manifestation of PTSD. In medical units of the first level (medical point of the battalion), where the pre-medical (first medical) medical aid is provided, cultural restraint and individual work with the victims are organized for those with neurotic reactions to stress.The peculiarity of cultural work in medical units of the second level (the medical point of the regiment, the medical brigade company or the military mobile hospital, the in-patient departments of district and city hospitals or hospitals located near the combat zone - where trying to prevent the transition of PTSD to the victims of the chronic stage) is that , that it can be carried out both on the basis of mobile and fixed institutions of culture and rest. Here are organized and held: performances by art workers, cultural and artistic brigades and amateur teams; broadcasting movies and videos; meetings with representatives of creative groups; visiting children; satisfaction of religious needs; Exposition of photo exhibitions; providing artistic literature; culturological health-improving training, etc.In the medical institutions of the third (military mobile hospital, military hospital, central district hospital) and the fourth (military medical clinic, regional clinical hospital, specialized centers and institutes) levels, cultural maintenance of rehabilitation is mainly organized on the basis of stationary institutions of culture and recreation. This period is aimed not only at the development of communicative activity, the formation of "taste" for social contacts, but also on the personal growth of victims of CSR.The author comes to the conclusion that in the Armed Forces of Ukraine there has been some experience in culturological activity in providing rehabilitation of ATO (JFO) participants. However, there are serious shortcomings, such as the lack of qualified art therapists and creativity rehabilitation programs, the lack of a clear system in work at different stages of recovery, a small assortment of forms and methods for the elimination of PTSD in amputees, fighters with neurotrauma and vision loss , which reduces the whole set of forms and methods of cultural influence to the level of amateur and cultural-leisure activities. The analysis allows us to recommend in the implementation of cultural support of the rehabilitation process to make the most of the experience of advanced armies, the capabilities of technical means necessary for the transfer of the Armed Forces to NATO standards. The experience of the war in the East of Ukraine also requires the creation of a sophisticated system of training for effective cultural impact on the achievement of a positive result in the rehabilitation of veterans of combat operations and members of their families.
One of the main problems of Ukrainian national culture formation, which was being repressed and neglected for centuries, and several decades was "clamped" between the need to be "padded" in party ideology and survival under severe scholastic taboo is a problem of hitherto discrepancies autochthonous (native) traditions of the past and biased approaches, attitudes, requirements for interpretation of our aesthetic and spiritual past.Only along with getting formal independence of Ukraine began a new interpretation of the centuries-old Ukrainian Cultural Heritage, return from oblivion its unique artistic heritage, development of research experience, bringing this potential to popular culture creating treasury (storage of cultural values). This led to a growing interest of modern Ukrainian scholars of hushed or withdrew in Soviet times, themes and genres, especially national historical trend, the disclosure of their meaning and significance for cultural science. At the present stage of Ukrainian musical culture development is very important in our view, to find out how it was emerged and originated the statist vision of the history of Ukraine and its culture.Scientific interest in the problems and development of national retrospectives, including musical culture of Ukraine in the first third of the twentieth century, is driven by the need to recreate historical events attributed to its ups and downs of underground development in an atmosphere of prohibition and repression.The analysis of scientific sources indicates that performed archival research and publications of A.Adamenko and T.Voronkovoyi [1] – is a brief review of the available documents of the Society; V.Kuzik research papers [4], [5] have intelligence character in nature, and the monograph by O. Bugaev [3] is an attempt to play the archival heritage of M.Leontovich Musical Society. as a holistic phenomenon of musical and cultural process of the 20 th century. In these materials for us within the designated theme, the specific interest is the existence of more obscure facets of creativity of B.Lyatoshinskiy as a member of the functioning process of Ukrainian musical culture within the framework of the M.Leontovich Musical Society and beyond. The object of our attention is the activity of Ukrainian musical theorist and talented composer B.Lyatoshinskiy and his place and degree of influence as music and public figure, who was a member of M.Leontovich Musical Society.However, the specific aim of this work is to study the importance of the individual personified by Boris Liatoshynskiy in the development of M.Leontovich Music Society and his contribution to the creative, educational and pedagogical sphere of musical culture across the organization as a whole and in relation to its individual members.National musical culture of this period is characterized by a certain progress: national identity was formed by combining the dynamics of folk expression and the best traditions of classical music. Across the state of that period there were developed a variety of creative societies and Boris Liatoshynskiy joined the creative team of the Association for Contemporary Music at the M.Leontovich Music Society and who led it from 1922 to 1925 years.In the political context, the fate of the M.Leontovich Musical Society evolved very difficult and controversial – from the most vibrant and exciting events to tragic in the history of the musical culture of the period and was inextricably linked to the life and work of its members. Leontovich Musical Society brought together the two most typical for the time trend, namely a broad democratization of musical culture among the rural and urban population and the professionalization of musical life through music education staff, which led to the creation of specialized secondary and higher music schools, formation of Ukrainian national musical theater, creating philharmonic, symphony orchestras, theater groups, music houses of culture, which enabled professional concert performance. The Leontovich musical Society played the role in the modern Composers of Ukraine National Union. Indeed, the existence of the Society provided an opportunity to consider more deeply talented composing and performing arts, educational and outreach activities that significantly affected the formation of social, intellectual and cultural growth of the Ukrainian nation as a whole.Cultural activity of Boris Nikolayevich Lyatoshynskiy in the M.Leontovich Music Society deserves attention not only as a complement to its artistic heritage, but as artistic-aesthetic and ethical position of the creative elite of a bygone era. In his activities Boris Lyatoshynskiy covers and strives to solve a wide range of issues including in particular, provided by him a great practical role of cinema in popular music education, awarding state of outstanding Soviet composers, preparation of special movie expedition for the collection and study of folk song and dance work – from distant musical past to the contemporary achievements of Soviet culture. ; Отражено культурный мир украинской элиты в творческом наследии Бориса Лятошинского. Осуществлено исследование персонифицированного значения личности Бориса Лятошинского в развитии Музыкального общества им. Н. Леонтовича и его вклада в творческую, просветительскую и педагогическую сферы музыкальной культуры как в масштабах организации в целом, так и по отношению к отдельным ее членам. ; Досліджено культурний світ української еліти в творчій спадщині Бориса Лятошинського. Здійснено дослідження персоніфікованого значення особистості Бориса Лятошинського у розвитку Музичного товариства ім. М.Леонтовича та його внеску у творчу, просвітницьку та педагогічну сфери музичної культури як в масштабах Товариства в цілому, так і щодо окремих його членів.
The paper focuses on the first stage in adaptation of the Japanese cultural tradition in American literature at the end of the 19th – the beginning of the 20th Century, represented by Lafcadio Hearn – a prolific American writer, translator, oriental culturologist and journalist, who is underevaluated in contemporary criticism. He was the first interpreter of Japanese and Anglophone culture for the East and for the West, representing the most important link between two disparate cultures. The paper outlines his main cultural, aesthetic and artistic discoveries of Japan with reference to how his nonfictional booksand translations of Japanese prose and poetry influenced the aesthetic climate of incipient literary modernism. The history of his critical reception is a combination of upsets and admirations provoked by his adoration of Japan – the country viewed as militaristic in the West. In his numerous writings he gives a panoramic interpretation of Japan and its culture, penetrating deeply into the totality of this living spirit of Japan. The analysis of Hearn's achievements in interpreting Japanese culture and in understanding the Japanese literature, provided in the paper, challenges the authoritative view of comparative literaryscholar Earl Miner who refuses Hearn the role of influential figure in the history of aesthetic climate of incipient literary modernism in the West. The main argument of the paper is that the English-language poets have much to learn from the Japanese discoveries made by Lafcadio Hearn.Keywords: Japanese poetry, modernism, imagism, Lafcadio Hearn, transnational phenomenon, interpretation, Kulturträger. ; Рассмотрен начальный этап освоения японской культуры в американской литературе начала ХХ ст., изучена малоизвестная у нас деятельность японского литератора и переводчика Лафкадио Хёрна – интерпретатора японской и англоязычной культуры на Востоке и Западе, ставшего связующим звеном между культурами двух стран. В истории литературы незамеченной осталась двунаправленность культуртрегерской активности Хёрна: он не только открывал культуру Японии Западу, но, являясь преподавателем английской литературы в Токийском императорскомуниверситете и в университете Васеда, знакомил Японию с западной культурой. Его культурологическая, литературная, переводческая деятельность, и прежде всего его интерпретация особенностей японского художественного мышления, обогащала почву, на которой зарождалась модернистская поэзия. Это происходило за счет кумулятивного эффекта многочисленных вживлений японской поэтики и эстетики, развития на этой литературной почве новых поэтических форм. Изучение роли Хёрна – остается одной из малоисследованных и актуальных проблем истории модернизма на Западе. Анализ работ Хёрна о культуре и литературе Японии дает основание подвергнуть сомнению мнение авторитетного компаративиста-литературоведа Э. Минера, который отказывает Хёрну в роли влиятельного культуртрегера, одного из немногих, кто представлял один из истоков «ориентального» модернизма на Западе. Для англо-американских поэтов-модернистов японские открытия Лафкадио Хёрна не прошли бесследно.Ключевые слова: японская поэзия, модернизм, имажизм, Лафкадио Хёрн, транцациональный феномен, интерпретация, Kulturträger. ; Розглянуто початковий етап освоєння японської культури в американській лі-тературі початку ХХ ст., вивчено маловідому у нас діяльність японського літератора і перекладача Лафкадіо Херна – інтерпретатора японської та англомовної культури на Сході й Заході, що став сполучною ланкою між культурами двох країн. В історії літератури непоміченою залишилася двоспрямованість культуртрегерської активності Херна: він не лише відкривав культуру Японії Заходові, але, будучи викладачем англійської літератури в Токійському імператорському університеті і в університетіВаседа, знайомив Японію із західною культурою. Його культурологічна, літературна, перекладацька діяльність, і перш за все його інтерпретація особливостей японського художнього мислення, збагачувала те підґрунтя, на якому зароджувалася модерністська поезія. Це відбувалося за рахунок кумулятивного ефекту численних імплантацій японської поетики й естетики, розвитку на цьому літературному підґрунті нових поетичних форм. Вивчення ролі Херна залишається однією з малодосліджених і актуальних проблем історії модернізму на Заході. Аналіз робіт Херна про культуру і літературу Японії дає підстави сумніватися щодо думки авторитетного компаративіста-літературознавця Е. Мінера, коли він відмовляє Херну в ролі впливового культуртрегера, одного з небагатьох, хто представляв один з витоків «орієнтального» модернізму на Заході. Для англо-американських поетів-модерністів японські відкриття Лафкадіо Херна не пройшли безслідно.Ключові слова: японська поезія, модернізм, імажизм, Лафкадіо Херн, транснаціональний феномен, інтерпретація, Kulturträger.
