bluuebunny/crossref_metadata_2025_split huggingface dataset:
Methodological toolkit for economic diagnostics of marketing activities of a development company
Authors: Maksymiuk Yu. S. 
Published: December 2023

New directions of marketing are associated with phenomena such as globalization, international cooperation, "internetization", accelerated development of technologies and means of communication. Development companies should identify the buyer as a person and focus more on the inner world of a person. This requires new approaches to marketing activities and management as a whole. The economies of the countries are closely interconnected and interdependent. Trade is conducted with the help of the Internet and mobile phones, through which information is transmitted instantly, which provides advantages for the consumer in terms of lowering prices, speeding up production and delivery of goods and services to the right place at the right time. However, there is a flip side – events or changes in situations in one country can spread and affect many other countries and create large-scale instability with unpredictable results.
In conditions of competition and an unstable market, effective management of economic activity is achieved not only at the expense of external sources, but also at the expense of improving the internal structure. Establishment of control, reduction of production costs, search and retention of qualified personnel, improvement of service quality.
Determining the main changes in the marketing environment should be the primary goal of managing the marketing activities of development enterprises, because interest and budget are affected by changes that occur in the surrounding environment. New forms of communication, means of information transmission, advertising, etc. appear. Customers are more informed, competitive advantages are short-lived, a new product can be quickly copied, the Internet and social networks create sources of information and new methods of sales. Marketing strategies that are recommended to development companies in times of uncertainty and fluctuations in the economy are: provision of the target consumer segment with necessary construction products; looking for an opportunity to increase the marketing budget and abandon ineffective programs.
The basis of management of the marketing activities of development enterprises in the conditions of the modern market are the values of society, the satisfaction of the needs of buyers and the profitability of the enterprise.
Body without Organs Model of Corporeality as a Productive Corporeal Paradigm in Steve Paxton’s Concept of Contact Improvisation
Authors: Babych Olha 
Published: December 2023

The purpose of the article is to reveal the features of postmodern dance through the prism of the concept "body without organs" and to analyse the defined model of corporeality as a productive bodily paradigm in S. Paxton's contact improvisation. Research methodology. The analytical, typological, historical and cultural method, the method of cultural analysis (to understand the cultural meanings of the "body without organs" model of corporeality, which are revealed and constructed by postmodern dance practices), the phenomenological method, which contributed to the understanding of dance as a special type of socio-culturally oriented bodily practices, were applied, as well as generalisation method. Scientific novelty. The concept of "body without organs" is studied in the theoretical works of A. Artaud, as well as within the framework of the philosophy of postmodern corporeality of J. Deleuze and F. Guattari; the question of the body and dance as a possible overcoming of its automatisms is considered. The concept of postmodern dance along the lines of the "body without organs" model was analysed and its features as a productive bodily paradigm in the paradigm of contact improvisation by S. Paxton was revealed. Conclusions. In accordance with the specifics of postmodernism, the concept of "body without organs" is positioned as the result of a meaningful application of the fundamental idea about the immanent creative potential of the rhizome (a decentralised semantic environment to the phenomenon of corporeality. In the dimension of postmodern dance, the "body without organs" model has become the most productive bodily paradigm in Steve Paxton’s contact improvisation. S. Paxton’s concept, within which contact improvisation is considered as a specific formation of "spherical space", the result of a change in spatial-kinaesthetic orientation within a short time, involves focusing on the boundaries of body space, understanding its inner essence in relation to external space, the birth of movement in the process communication. Like most postmodern dance practices, contact improvisation is not focused on the final result, but is focused on the continuity of the process and the transformation of the aesthetic experience. According to S. Paxton, sustained movement and spontaneous movement are the poles of the spectrum of possibilities that define his research, as technical dance provides a basis for thinking about improvisation – dance techniques provide information about how movement affects the structure of the body. The model of the "body without organs", which is not limited by any standards of movements, in a duet is revealed in a variety of relationships with the partner’s body. Both bodies balance on the rules of continuous contact, weight transfer, and balance to ultimately acquire newly formed capabilities.
Keywords: corporeality, postmodernism, "body without organs" model, A. Artaud, J. Deleuze, F. Guattari, contact improvisation, S. Paxton.
Monumentalism as an Essential Feature of V. Hegamyan's Work
Authors: Zhadeiko Oleksii 
Published: December 2023

The purpose of the work is to investigate monumentalism in V. Hegamyan’s artistic works as a characteristic feature of the artist's creative manner. The research methodology combines a set of such methods as analytical, semiotic, art history, biographical, which in the end made it possible to achieve objective research results. The scientific novelty of the work consists in the systematisation and generalisation of the artist V. Hegamyan’s work, in particular, the disclosure of the essential features of monumentalism as a defining feature of the majority of his works. Conclusions. The name of the Odesa artist V. Hegamyan, who was the founder of the graphic faculty of the Odesa pedagogical institute, is little known to the general public of researchers of Ukrainian fine art. It has been found that the peak of the artist's creative search and revelation falls in the 1960s and 1970s, when V. Hegamyan painted numerous works, combining elements of monumental style and traditions with the colour energy of modern painting, moving away from socialist realist (academic) painting and creating unrealistic images. The monumentality of his works was manifested in the fact that he experimented a lot and fruitfully with the form, which was always dynamic. Accordingly, with all the conventionality of the figures, V. Hegamyan achieved real similarity, verisimilitude and expressiveness, creating a semantic multi-layeredness and endowing them with symbolism and ambiguity. He constantly worked on improving the technique and created his own artistic style in art, which consisted of a combination of graphic, pictorial and monumental techniques. The deepest level is archetypal symbolism, which transcends the boundaries of cultural regions and eras. In this aspect, V. Hegamyan consistently avoids straight-line allegoricality: symbolic subtexts naturally emerge from the subjects of the paintings and the means of expression chosen by the artist. This is what makes his works multifaceted: additional meanings are superimposed on specific images. The peak of the artist's creative activity during the Soviet period coincides with the emergence and development of such an artistic phenomenon as nonconformism, to which V. Hegamyan, although he did not belong, became a symbolic figure for many artists of that time.
Keywords: Velery Hegamyan, monumentalism, works of art, Odesa period of creativity, nonconformism, drawing, symbols, symbolism, artistic composition.
Features of Visual Identification of Modern Ukrainian Theatres by Means of Graphic Design
Authors: Lanchak Yaroslav 
Published: December 2023

The purpose of the article is to reveal the features of visual identification of Ukrainian theatres by means of graphic design. Research methodology. The method of typology and techniques of figurative and stylistic analysis are applied, as well as the method of semiotic and visual-cultural analysis of brand symbols of Ukrainian theatres. A combination of the descriptive method and techniques of formal analysis are used to identify the means of artistic expressiveness used by the designer. The method of semantic and structural-semantic analysis help to clarify the cultural meanings of images created for the representation of Ukrainian theatre. The graphic-analytical method is used to visualise research results. Scientific novelty. Peculiarities of visual identification of modern Ukrainian theatres by means of graphic design were studied. The main attributes of visual identification of Ukrainian theatres – emblems and logos – were considered, their comparative analysis was carried out. The concepts of "emblem" and "logo" in the context of graphic design have been clarified; based on the structural and semiotic analysis of emblems of Ukrainian theatres, the spectrum of their visual images was characterised. Conclusions. The visual identification of modern Ukrainian theatres is a system of symbolic and graphic images, the logic of which is built to distinguish theatres by their purpose according to their types (musical, music-dramatic, dramatic, puppet, and others), as well as to differentiate each specific theatre within the defined typology. The emblem as a symbolic image of a certain idea encoded in a graphic form is the main visual image of the theatre, endowed with symbolic meaning, which conveys the main values of this cultural institution with the help of the graphic elements depicted on it. It is used for visual identification of the theatre in real and virtual space. The study of the emblems of modern Ukrainian theatres has revealed the following. Characteristic elements for the symbolism of Ukrainian theatres expressed in the emblems are elements of architectural origin (theatre buildings), graphic images of famous Ukrainian representatives of theatre, literature and art (Lesia Ukrainka, I. Franko, T. Shevchenko, M. Vodianyi, M. Sadovskyi, and others) and Harlequin masks as a symbol of the acting profession. Socio-historical and cultural factors are fundamental elements of concept formation. Emblems symbolically reflect theatrical, primarily acting activity. The conceptual solution of the corporate style also reflects the idea of the existence of the theatre and the values it offers in the space of modern culture: humanity, heredity, traditionality, and interculturality. Decoding symbolic images requires a high level of education and intelligence. Brand symbols can be built on a nuanced solution, in which all style elements enhance the effect of simplicity, complexity or an intermediate option.
Keywords: graphic design, Ukrainian theatres, visual identification, emblem, logo.
The creativity of Feodosii Humenyuk in the formation and development of the Kyiv school of historical painting
Authors: Karpov Viktor , Pekarchuk Volodymyr , Filina Tetiana , Maystrenko-Vakulenko Yuliya 
Published: December 2023

The purpose of the work is to study the main stages and stylistic characteristics of the work of the People's Artist of Ukraine F. Humenyuk as a bright representative of the Kyiv school of historical painting. The research methodology consists in the application of such scientific research methods as historical, art history, analysis, synthesis, and Semitic, which together made it possible to achieve substantiated research results. The scientific novelty of the work consists in summarising the work of the outstanding Ukrainian artist F. Humenyuk and examining it from the perspective of the formation and development of the Kyiv school of historical painting. Conclusions. As a result of the conducted research, it was established that the work of F. Humenyuk is an important component in the development of the modern Kyiv school of historical painting, within which the artist formed his own unique style, which is based on the deep traditions of folk art, icon painting, Byzantism, Baroque, and Boychukism. In his works, which are characterised by multi-component complex compositions, the historical past and modern artistic versions of his reading are combined. The author's symbolic and allegorical interpretations of historical events and persons are full of many meanings, metaphors and images, forming an original poetic background for reading the stories at a highly professional level. Heading the educational and creative workshop of historical painting for a long time, F. Humenyuk not only educated worthy students, but also significantly influenced the formation of the Kyiv school of historical painting.
Keywords: historical painting, Kyiv School of Painting, Feodosii Humenyuk, Kyiv Art Institute, author's stylistics.
Mythological and Religious Basis of Mykhailo Sapozhnykov’s Symbolic Painting
Authors: Nesmachnyi Sergii 
Published: December 2023

The purpose of the article is to analyse and systematise the figurative structure of artworks from two series of symbolist paintings by Mykhailo Sapozhnykov in the light of Slavic and ancient mythology, Christian religion. The methodology of scientific research is based on use of systematic approach in combination of general scientific and special methods of cognition, such as analytical, formal-stylistic, systematisation, and generalisation. The application of these methods and approaches contributed to the thorough processing of the identified issues and made it possible to formulate reasoned conclusions. The scientific novelty of research consists in a comprehensive approach of consideration and synthesis on range of issues regarding the influence of Slavic and ancient mythology, the Christian religion on aesthetics and figurative style symbolist painting of M. I. Sapozhnykov. This issue was considered for the first time. Conclusions. The artwork of Mykhailo Sapozhnykov (1871–1937), as a consistent symbolist artist, occupies a special place in the history of Ukrainian fine art. Range of the artist's works presented in the research proved his ultimate interest in ancient and Slavic mythology, as well as the Christian religion, which together become a specific keynote of the paintings from two symbolist series. The artist's interest in mythology is reflected in the presented images, in the titles of artworks, and in pantheistic mood of most symbolist paintings. Animism is an obligatory element of the symbolist painting’s aesthetics by M. Sapozhnykov. According to the results of scientific research, two types of figures are allocated according to their function and status: personifications of natural forces, where elements and earthly matter itself, appear in anthropomorphic and zoomorphic forms and figures of folk demonology, among which the figure of Pan stands out – the key character of the artist's symbolist paintings. Following the results of research, it was found that 18 symbolist paintings have thematic quotations from the Bible selected by the author as a kind of epigraph, what are artist by himself called "keys".
Keywords: Mykhailo Sapozhnykov, symbolism, painting, mythology, pantheism, the first quarter of 20th century, Dnipro Art Museum.
Bohdan Antkiv's Contribution to the Development of Musical Art of Galicia in the Second Half of the Twentieth Century
Authors: Kyreia Mariia 
Published: December 2023

The purpose of the work is to systematise and give a comprehensive assessment of the musicological and compositional heritage of Bohdan Antkiv, his cultural and educational, musical activities in the context of the processes of professionalisation of Ukrainian musical art of Galicia in the second half of the twentieth century. The methodology of the research is to apply the following methodological approaches: analytical, systemic, historical and musical. Scientific novelty of the work. For the first time a thorough analysis of the musical activity of Bohdan Antkiv was carried out, the contribution of the artist to the musical art of Galicia of the second half of the twentieth century was characterised. Conclusions. Bohdan Antkiv is a music artist who crosses the line of amateurism and achieves success and recognition in professional music art Ternopil and Lviv regions. He participated in rural amateur groups and circles in early years, led by his father, Mykhailo Antkiv. The musician obtained a professional music education, studying at conducting courses at the Ternopil branch of Mykola Lysenko Lviv Music Higher Institute, and later at the Conducting Faculty of Mykola Lysenko Lviv State Conservatory. He successful conducted activities in the children’s choir of the society ‘Prosvita’ local unit, in the singing and music society ‘Torban’, in the choir of the T. Shevchenko youth organisation ‘Sokoliata’, in the mixed choir of Ostriv village, which won the Regional Choir Competition in Lviv, in the choir group of the song and dance youth ensemble ‘Cheremosh’, which acted at I. Franko Lviv State University. Bohdan Antkiv also started a brass band in Ostriv village. The article also traces composer and arranging activities.
Keywords: Bohdan Antkiv, musician, conductor, choirmaster, composer, musical art, Ternopil, Lviv.
Serenata as a Musical-Dramatic Work “on Occasion”: Historical Path and Genre Specificity
Authors: Tabulina Olga 
Published: December 2023

The purpose of the research. The study reveals the specific features of the serenata as a musical-dramatic work “on occasion” and its historical path. The methodology is based on a combination of a historical-cultural approach and an analytical method, which made it possible to show the serenata genre in its historical dynamics and to clarify the features of the libretto and music. The scientific novelty of the work lies in the fact that for the first time the serenata was characterised as a musical-dramatic work “on occasion”, which existed in the European cultural space from the middle of the 17th to the end of the 18th century, in genre categories and the main milestones of its historical path were highlighted. Conclusions. The history of serenata begins in the middle of the 17th century and ends at the turn of the 18th – 19th centuries. Leading composers of the Baroque era (G. B. Bononcini, A. Vivaldi, A. Scarlatti, A. Stradella) and classicism (K. W. Gluck, J. Haydn, W. A. Mozart, and others) turned to this genre. In manuscripts, musical-theatrical works “on occasion” of the 17th–18th centuries had different names, but the most semantically loaded is the serenata. Serenata has many similarities with cantata and opera, but its specificity allows us to consider serenata as a separate genre. The genre-creative features of the serenata are writing “on occasion”; allegorical libretto as a tool for glorifying the customer; the final recitative or a separately written part (“licenza”), which contains the glorification of the addressee; performance in a private “closed” space; plot, but without developed dramatic action; use of scenery and costumes; expanded, in contrast to the cantata, structure and performing composition.
Keywords: baroque, classicism, serenata as a musical-dramatic work “on occasion”, aristocratic milieu, opera, cantata, musical genre, libretto.
Specificity of European Theatre Directing of the Flemish Wave: Metaphorical Images Luk Perceval
Authors: Ivashchenko Iryna , Tatarenko Maryna 
Published: December 2023

The purpose of the article is to reveal the peculiarities of the creative activity of one of the leading representatives of theatre directing of the "Flemish wave" Luk Perceval. Research methodology. The analytical method, the method of typological, art history, genre-stylistic, and figurative-stylistic analysis was used, thanks to which the author's approaches and the methodology of L. Perceval's direction were revealed and structured, as well as the method of theoretical generalisation. Scientific novelty. The creative activity of one of the leading directors of the European theatre at the end of the 20th century and the first two decades of the 21st century was studied. L. Perceval; the aesthetics of L. Perceval's theatrical direction are analysed through the prism of the concept of post-dramatic theatre; metaphorical images and their place in the visual text of the play are considered, using the example of the productions of "Othello" by W. Shakespeare and "Black-Yellow-Red Trilogy: Journey to the European Heart of Darkness" (alternative name "Belgium Sorrow") by S. Khin. Conclusions. Theatrical direction of L. Perceval, whose artistic thinking was formed in the atmosphere of Flemish theatre culture and reflects all its features, is characterised by an active search for exquisite symbolic forms of the embodiment of the highest unity of all living things. The director interprets modernity through the prism of the past, makes an attempt to highlight the deep contradictions of the modern socio-cultural space in the process of creating a system of creative reflections, the complex play of aesthetics of modern post-dramatic theatre and generalising various cultural layers and topics relevant to people of the 21st century in comprehensive metaphors. L. Perceval comprehends the problems of place and time, nature, life, freedom, independence, the complexities of life and natural contradictions, phenomena and tragedies that strike a person. The director expresses his own attitude, inner experiences and deep feelings with the help of metaphorical symbols that make up the essence of his creative manner. A feature of L. Perceval's directorial vocabulary is the search for metaphorical ways of stage expression of the complex psychological content of productions, in the process of researching the main contradictions of the human personality, which enhance the plasticity of the updated minimalist stage space of the performance.
Keywords: Luk Perceval, European theatre direction, "Flemish wave", post-dramatic theatre, metaphorical images.