Historical And Cultural Studies. – 2015. – Vol. 2, No. 1

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https://ena.lpnu.ua/handle/ntb/32798

Науковий журнал

Historical and Cultural Studies = Історико-культурні студії : [науковий журнал] / Lviv Polytechnic National University ; [editor-in-chief S. Pavlyuk]. – Lviv : Publishing House of Lviv Polytechnic National University, 2015. – Volume 2, number 1. – 110 p. : ill.

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Color as an expressive instrument of the icon
(Publishing House of Lviv Polytechnic National University, 2015) Стасюк, Іван
Ця наукова робота присвячена дослідженню проблеми колористики ікони. Проаналізовано зміст, роль і основне призначення кожного із кольорів, використовуваних художниками-іконописцями для написання ікон.
How do we train professionals for 21st century museums?
(Publishing House of Lviv Polytechnic National University, 2015) Norris, Linda
Розглянуто теоретичні та практичні підходи до підготовки музейних працівників в контексті сучасних вимог.
Nature and mission of heritage in modernity: impacts of nationalism
(Publishing House of Lviv Polytechnic National University, 2015) Kulevičius, Salvijus
Розглянуто тему походження, характеру і місії сучасної культурної спадщини. Спадщина є важливим джерелом для інших сфер – культури, політики, економіки. Чи може вона бути тільки джерелом? Спробуємо довести, що не тільки. Ставиться питання – чи може культура, політика чи націоналізм у сучасну епоху існувати без спадщини? Націоналізм появився зі сучасною людиною і оволодів всією його сутністю – розумом, почуттями, духом. Він є головною ідеологією сучасності. Створення епохи – культурна/історична пам’ять, наука, історія, спадщина нації – якщо не всією своєю цілісністю, то хоча б значною мірою також перетворились на його прислугу. Втім для існування націоналізму необхідне минуле. Оскільки сучасне суспільство має два шляхи в минуле – історію (наука, яка відкриває чи створює минуле) і спадщина (об’єкти, які перебуваючи в сучасності представляють минуле), тому спадщина для націоналізму є дуже важливою. Тим самим історія і спадщина є найважливішими джерелами заснування нації. У цьому разі спадщина виконує не тільки легітимізації, але і функцію конструювання та єднання суспільства. Історія взаємодії націоналізму і спадщини продовжується вже два століття. Ця спільна історія розпочалась з духу народу. Для самовираження духу народу спадщина була життєво важливою. Дух народу так і залишився би тільки філософією, якщо б його десь не можна було б втілити. Найчастіше він втілюється саме в спадщині. Такий гармонійний симбіоз між націоналізмом і спадщиною розвивався до четвертої декади ХХ ст. Після цього симбіоз націоналізму розвивається і далі, але дещо помірковано.
Благодійницька та меценатська діяльність митрополита Андрея Шептицького у царині культурно-мистецької спадщини
(Publishing House of Lviv Polytechnic National University, 2015) Божко, Наталія; Цубов, Леонід
На основі аналізу наукових джерел висвітлено життєвий шлях митрополита Андрея Шептицького, здійснено спробу простежувати його благодійницьку і меценатську діяльність у царині культурно-мистецької спадщини, підкреслено значущість і вплив його сподвижницької праці на духовно-культурний розвиток українського народу. On the basis of analysis of scientific sources in the given article was made an attempt to highlight the life of the metropolitan Andrey Sheptytskyi, follow his charity and patronage activities in the field of cultural-artistic heritage and emphasize the importance and impact of its work on stimulus spiritual and cultural development of the Ukrainian people. One of the most powerful figures of the 20th century who had extraordinary authority and influence on Ukrainian history and culture was the figure of Andrey Sheptytskyi. His personality harmoniously combines not only encyclopedic erudition and spiritual grace but also extraordinary gift of a leader who founded schools, academies, supported theological studios, secular education, media and the arts. The purpose of this article is to recollect Metropolitan’s life, and especially his sacrificial patronage activities in the field of promotion of Ukrainian culture. This year the Ukrainian community will celebrate 150th birth anniversary of A. Sheptytskyi. There are a number of works devoted to the life of Andrey Sheptytsky. They mostly relate to his church and public activities. Studies have drawn attention to the charities of the metropolitan. These works include research of L. Voloshyn, O. Gavryliuk, O. Kravchenyuk, L. Roshchina, O. Sydor, etc. Unfortunately, there aren’t so many integrate works on the current subject. Therefore, an aim of the paper is an attempt to analyze the philanthropic activity of the metropolitan Sheptytsky. The scientific significance of the theme is complemented by its political relevance in a modern life of Ukraine. Today Ukrainians as never before understand the meaning of words to be a benefactor and philanthropist. Especially when trouble hit on our land and numerous people need help. The activity of volunteers of various NGOs indicates a large number of people who selflessly and sincerely helping people who are in need. One should remember that the history of our nation is full of charity – generous, selfless and truly Christian. A striking example of this is the life of religious and civic activist Andrey Sheptytskyi. The metropolitan has paid much attention to the development of cultural and educational life of Galicians. It contributed to the awakening of national consciousness of Ukrainian population. In 1902, the Metropolitan assisted to the opening of Ukrainian school in Stanislav, and in 1910 at a meeting in Vienna of the House of lords insisted on establishing of Ukrainian university in Lviv. In 1913 the Austrian Emperor issued a decree according to which Ukrainian university in Lviv was opened September 1, 1916. The Russian Empire accepted this fact hostile. Therefore, when the First World War began and Russian troops entered the territory of Galicia. The Metropolitan A. Sheptytsky was arrested and taken away to Russia as Ukrainian patriot. It is necessary to distinguish A. Sheptytskyi patronage in the preservation and development of Ukrainian art. The Metropolitan believed that an essential step in the development of the spirituality of the Ukrainian people is a conservation Ukrainian iconography. In support of this idea the Church Museum was opened in 1905. Later it received the status of Ukrainian National Museum of Lviv. The museum’s funds saved one of the largest collections of Ukrainian icons due to the financial assistance of A. Sheptytskyi and hard and dedicated work of a museum director I. Svientsítskyi and his colleagues. Thus, in 1905 the Metropolitan purchased 15 thousand exhibits for the museum totaling 2 million kroons. And later A. Sheptytskyi managed to buy a magnificent palace to improve preserve of Ukrainian museum rarities (present address - 42 Dragomanova Street). Metropolitan not only kept the spiritual heritage of the past, he also saw the need to contribute to the future development of Ukrainian culture, training and education of future national artistic intelligentsia. A. Sheptytskyi offered to create an artistic school for talented Ukrainian youth who have brought the Ukrainian art from the state of provincialism and obscurantism to the next level by using their education and talent. The Metropolitan invited to Lviv from Krakow O. Nowakowski, who supported him financially. They have commonly developed an implementation of workshops for young artists. In 1923-1935 the first Ukrainian art school in Galicia started its work. AndreySheptytskyi led the Ukrainian Greek Catholic Church (UGCC) in a difficult period for our nation. But he knew that the only real opportunity to prove to the world the existence of the nation is to show its creative spiritual greatness. As a head of the church and wealthy man, he had a great chance to implement this idea. The metropolitan devoted himself to serving God and protection of the interests of the Ukrainians. Thus, the figure of the metropolitan A. Sheptytskyi is one of the most outstanding in our modern history. He is an example of a comprehensive gifted person with a deep analytic mind who has managed to be a good leader of Ukrainian Greek Catholic Church. Andrey Sheptytskyi had an active political and social position, patriotism and a spirit of aristocrats.
Гаківниці Львівського історичного музею: питання атрибуціїі
(Publishing House of Lviv Polytechnic National University, 2015) Верхотурова, Мар’яна
Проаналізовано колекцію гаківниць Львівського історичного музею, час та джерела формування цієї збірки. Розглянуто історію, розвиток та поширення цього виду ручної вогнепальної зброї у XVI–XVIII ст., етапи її технічного вдосконалення; кількісний та якісний склад гаківниць Високого замку у Львові в період XV–XVI ст. Обґрунтовано шляхи та етапи формування колекції гаківниць Львівського історичного музею. In the article it is analysed the collection of the hook-bat weapon of the L’viv historical museum, the time and the sources of formation of giving collection. The formation of museum collections of the firearm is the most important element of the museologyand military history. The problems of the history of firearm and its museum collections are very important nowadays. But unfortunately, it has not been explored enough yet. The reason for it is insufficient level of the development of Weapons Science and Museum Science in our country. Anyway, we can surely affirm that the group of professional researchers in these field of science has been definitely formed. They are: O. Malchenko, D. Toichkin, B. Melnyk. These people are constantly contributing to their development. XІV century can be named as the century of radical changes in the military world of that time. It caused the invention of firearm which fired with gun powder. XV–XVI centuries are considered to be the period of increasing development of firearm, particularly the hand weapon. Thanks tocollectible colls that had been forming since firearm times, historians have the chance to observe the appearance and approving of its principal types.Unfortunately, the questions nascency of the history of museum collections is still remainingunsatisfactory. Deep analysis of this science subject is impossible without clarifying of appearing and developing conditions of this weaponry types. This research is the first attempt to give an historical essay on the formation of the museum weapon collections in L’viv on the example of hook-bat weapon collection of L’viv historical museum. In this article it is described the development and spread of this very type of the firearm of the XІV–XVIII centuries in Ukraine, Europe and all over the world; the stages of its technical improvement; quantitativeandqualitativecontent of hook-bat weapon Of High Castle in L’viv in the period of XV–XVI centuries. Hook-bat weapon were in service also in powerfulc os sackarmy hook-bat weapon is the type of firearm that had passed long-term period of the evolution. In this article it is examined in details every pattern of hook-bat weapon collection of L’viv historical museum. In the colls it is represented the weapon of the XVI –XVIІІ centuries. Thanks to the time gap of the examples of the hook-bat weapon It can be observed technical improvement of gun makinggenerally during this period. It is justified the conclusion about the ways and stages of the formation hook-bat weapon Collection of L’viv historical museum. Taking all the facts into account, we can assume that the collection of hook bat weapon of Lviv historical museum was formed in the first part of XX century. It was formed thanks to receiving of the articles for the fund of Lviv historical museum from the fund of the Museum named after Jan III, the museum named after Ljubomyrskyy, and from the funds of other regional museums. The main perspectives of this research are to find out the exact origin of all of all the hook-bat weapon of Lviv historical museum’s collection.
Експозиційна робота у діяльності музею
(Publishing House of Lviv Polytechnic National University, 2015) Барановська, Надія
Проаналізовано суть і особливості експозиційної роботи як важливого напряму діяльності музею, концептуальні засади музейної експозиції та її роль для вивчення і збереження історико-культурної спадщини та висвітлення поступального розвитку людства. The article analyses essence and features of expositional work as important direction of museum activity, conceptual principles of museum exposition and its role in study and maintainance of historical and cultural legacy and elucidation of forward development of humanity. The conception of modern expositional work, the important problem of which is aspiration to save and strengthen public meaningfulness, personal interest, actuality and popularity of museum establishments among visitors, appears gradually on the basis of creative reinterpretation of the newest regulations of museum practice. The idea of exposition transforms in such realities as something inviolable and permanent in time. Expositional work is one of directions in museum activity, basic essence of which consists in changes of project of exposition, installation and dismantling of expositions, leading of exposition renewal, supervision of the state of exposition, organization of thematic exhibitions, conducting of current expositional documentation. Expositional work in museums was always in a spotlight, as it is closely connected with other types of scientifically research activity. Thanks to expositional work there is a maintainance and exploration of historical and cultural memos, which are a component part of national historical and cultural legacy. It helps to create the notion about the past with the help of exhibits. Exhibits carry out the role of informative mediator between the past and contemporaneity. Due to expositional work the major functions of modern museums are realized: cognitive and informational, the function of making popular, educational-elucidative. It helps to form sense of pride for our glorious past and foster sense of responsibility for the future, enables to modernize the forms of museum communication with the purpose of effective influence on development of society. Exposition plays an important meaning for expressiveness of museum language. It can emphasize, logically underline separate objects or rich in content blocks of the exhibited material, strengthen emotional accents. The rules of exhibiting are a code, that allows to construct content. A purpose, possibilities, facilities and conditions of mastering of reality meet in the model-form of museums expositional work, that are cognitive and evaluative, communicative, motivating and efficient aspects of expositional work. Efficiency of expositional work is based on generalization of former expositional experience and using of modern experimental methods and informational technologies – computerization of funds, creation of databases, museum sites, enhancement of informing and communicativeness of museum exposition. During experiments, prototyping and computer design is widely used, that allows to find out the most optimal variant of expositional solution. The creative using of different new methods of expositional work, skill of expositional artistic design, helps without theatricality and formalism with all evidentness to uncover big graphic power and uniqueness of exhibits, their co-operation and integrity, beauty of material, enables a spectator to get to the features and essence of exposition, deeply understand its artistic bases and aesthetically beautiful structural features.
Загальна характеристика церковного живопису Сколівщини (ХІХ–ХХ ст.)
(Publishing House of Lviv Polytechnic National University, 2015) Мельник, Віра; Мельник, Роман
Розглянуто та проаналізовано церковний живопис Сколівщини, що його створили маляри-іконописці на замовлення церковних громад. Найцінніші ікони цього регіону зберігаються в музеях України, зокрема у Львівському національному музеї, а також знаходяться в окремих церквах району. In Skole District known works as highly, and folk art. This area stands out from rehionu Boikivshchyna original school of icon painting. Here fulfill orders, local craftsmen and painters from other art centers. Writing about Boykivschyny iconography, V. Sventsitskoho noted that the formation of peculiar features paintings Boikivshchyna were important vzayemodiya professional and folk art, local traditions and overall development of art in Ukraine in tsilomu and penetration phenomena related originated anyway and then dominant trends and directions in art Zahidnoyi Europe. By ancient icons from Skole District, which reached nashoho time include “The Virgin Hodegetria of prophets” XV century the church of St. Dimitri from the village Pidhorodtsiv and “St. And St. George. Paraskeva” late XV – early XVI century. Church of Cosmas and Damian from the village of Korczyna. Both icons are now adorns the exposition of the National Museum in Lviv. Bright individuality stands in the first half of the XVIII centuryMarco Shestakovych. He painted the iconostasis owned by 1738 the church of the Archangel Michael village Dry Stream, which was submitted to the National Museum in 1912. For the first time attention to the work of Mark Shestakovycha drew I. Svyentsitskyy. Some icons iconostasis exhibited at the exhibition Galician primitive, held in Lviv National Museum in 1939. The works of master out clearly defined style that combines the principles of painting techniques of decorative art. Sights and iconography from Skole District XV–XVIII centuries uviyshly bright page in the artistic heritage of Ukraine and show deep spiritual worldview of the people, the wisdom and strength of its traditions. Along with the construction of temples and developed this art form as a cult easel painting. If the mosaics and frescoes embody the triumph of Christianity, the icons were primarily in klonnymy. They prayed, they hoped to find help in the healing and life. Icon brought the saint ‘s image on it over everyday life, emphasized his charisma. For ideas believers sanctified holy icon does not replace, but evidence of its presence, grace has properties, protects and heals. Photos embodied in icons, considered a model of moral purity and spirituality.
Залізничні вокзали як частина архітектурної ідентичності краю
(Publishing House of Lviv Polytechnic National University, 2015) Рочняк, Юрій
Залізничні вокзали, маючи первинно за прототип палацові, житлові та інші будівлі, утворили самостійну групу громадських будинків, яка стала впливати зворотно на образ поселень. Вокзали стали частиною архітектурного образу країв, утворюючи їхню ідентичність. Простежено формування композиційно-стилістичних типів будинків вокзалів, їхнє розташування в Галичині, Буковині та Закарпатті та встановлено способи їхньої локалізації. Окреслюються основні тенденції сучасного стану та використання вокзалів і пасажирських споруд, беручи до уваги процеси в країнах високого розвитку. The railway station buildings are regarded in accordance with other buildings in the process of creating the architectural identity of historical lands. The formation of compositional and stylistic types of railway station buildings, their location in Galicia (Halytchyna), Bukovina (Bukovyna) and Transcarpathia (Zakarpattia) is tracked, and the ways of their localization are identified. The main focus is on small railway station buildings. The tendencies of modern state and utilization of the railway station buildings are defined considering the processes of highly developed countries. The palaces, the theatres, and the residential buildings were the prototypes of railways station buildings. It is possible to follow how a general composition of three mighty connected blocks of the palace Nymfenburg in Munich became a model of public buildings and railway station buildings in Bavaria (Schliersee). Big railway stations were constructed following the architectural techniques of other public buildings, i.e. the dome over the ticket hall of the main railway station building reminds the dome of the Music and Drama Theatre (Chernivtsi); the dome of the main railway station building is similar to the Opera and Ballet Theatre (Lviv). The stations of “the lower level” were built on the basis of smaller sample – a villa or a village house. With time, a certain type of railway station building was developed, that was used in construction of other public buildings. We can observe a reverse influence on other types of public architecture – the shops in Dilatyn, Yaremche, Sokal, that have a similar composition of a typical 1950th railway station buildings. The railways used to belong to different companies, then they were nationalized, in the interwar period they were divided between different countries, and after the war they became a property of only one country. Diverse and imaginary appearance is the reflection of other factors. The compositional and stylistic types of the railway station buildings as typically constructed buildings were formed according to spatial and visual features. A number of railways station buildings were constructed under one projects, they have similar features, and techniques applied. Among them: the oldest Round-arc type (stations: Stare Selo, Kolomyia, Zabolotiv, Vadul-Siret), one, that is only on the line Lviv/Lemberg – Chernivtsi/Czernowitz – Suchava/Suceava – Botoshany/Botoşani (architect L. Wierzbicki), Mostyska type (stations: Mshana, Sudova Vyshnia, Mostyska-I), Sambir type (stations: Komarno, Rudky, Staryi Sambir, Strilky), Podilla type (stations: Vyhnanka, Bila-Tchortkivska, Yahilnytsia, Tovste, Borshtchiv, Ivane-Puste in Galicia and stations: Stefanesti/Stefăneşti, Verenchanka, Vyzhnytsia/Wiżnitz in Bukovina), Rava type (stations: Dobrosyn, Hlynske, Kulykiv, Lypnyk, Zashkiv), Rustic-roof type (stations: Hlibovychi, Hrebeniv, Kopytchyntsi, Mykulytchyn, Rohatyn, Sykhiv, Terebovlia, Tukhla, Turka, Vorokhta, Yasenytsia, Zhydatchiv in Galicia and station Nepolokivtsi in Bukovina etc.). These compositional and stylistic types of railway station buildings have point, linear and zonal location. There are unique railway station buildings from different periods. The railway station buildings are relevant to all periods of overall architectural development of the respective countries, they reflect the needs, possibilities, understanding and preferences of their time. It makes them an important factor of architectural identity. We distinguish the main vectors in development of modern railway station buildings: 1) construction of large railway complexes that apart from the primary passenger-transporting functions, implements the needs of communication, business, trade, service and leisure, transforming themselves into a powerful urban center; 2) simple, functioning, universal and powerful small-size passenger buildings on the boarding platforms of each station or stop. The global tendencies of development, professional understanding and actions are aimed at preserving, supporting and creating new approaches to architecture of railway station buildings and, after all, at the development of identities of settlements and countries.
Зміст до "Historical and Cultural Studies" Volume 2, number 1
(Publishing House of Lviv Polytechnic National University, 2015)
“Мова ворожнечі” в російсько-українській війні 2014–2015 років та національна самосвідомість українців
(Publishing House of Lviv Polytechnic National University, 2015) Гнатюк, В’ячеслав
Розглянуто проблему розширення лексичного складу “мови ворожнечі” під час російсько-української війни 2014–2015 рр. Досліджено причини поширення пейоративів із коренем “укр.” (“укри”, “укропи”) та обґрунтовано неприйнятність переймання образливої назви “укроп” свідомими українцями, а також доведено невідповідність емблем з кропом на одностроях українських вояків традиційній національній рослинній та військовій символіці. Вказано, що вживання російських нецензурних висловів в антипутінських слоганах і абревіатурах, що з’явилися під час війни 2014–2015 рр., ображають національну гідність українців, які вживають ці вирази. Іn the article the new ukrainian and russian words belonging to “hate speech” that had appeared during the Russian-Ukrainian war 2014–2015 are concerned. The conclusion is drawn that these words were created both by loyal Ukrainians and separatists of LNR-DNR along with Russian Federation citizens. The words created by Russian separatists’ participants of the conflict have more the sens of xenophobia than those from Ukrainian part. These words from the separatists’ part are: banderivtsi, banderlogi, ukry, ukropy, ukropiteki and others. From the ukrainian part the most used words are:”kolorady”, “separy”, “tery”, “lugandony”, that define ironically the separatists concerning their political position, symbolism, locality. Mostly the separatist use to call the Ukrainians as “ukropy” that sounds in Russian like homonym of the fennel. This nickname gradually forces out the other nickname “khakhly” that define the Ukrainians as the people very week and inoffensive. Now, during the war, Russian citizens and separatist saw the Ukrainians as the brave soldiers that’s wy they created the new nicknames forming them from the official name of the Ukrainian nation. But some Ukrainians liked the word “ukrop” interpreting it as abbreviation of ukrainian words “ukrainskiy opir” (ukrainian resistance) or “ukrainska opozytsiya” (ukrainian opposition). But to interpret the russian word as ukrainian abbreviation is not possible, it’s nonsense. It shows that some russian-speaking Ukrainians have the forked consciousness. It’s a result of a long colonial dependency of the ukrainian peohle from the Russian empire. That humiliating nickname is offensive for Ukrainians and it’s very strange that the command of ukrainian army introduced the image of fennel as a symbol of Ukrainian troops. That is not a traditional Ukrainian plant or military symbol. Those are mostly a bunch of guilder-rose and a kossak with a musket.
Музей Михайла Грушевського у Львові – меморіальна садиба та наукова база грушевськознавства
(Publishing House of Lviv Polytechnic National University, 2015) Магунь, Марія
Державний меморіальний музей Михайла Грушевського у Львові – меморіальний комплекс-ансамбль вілли Грушевських – сучасна науково-дослідна, науково-освітня, історико-культурна меморіальна установа (пам’ятка історії та архітектури); за видом діяльності науково-методичний центр для музеїв у масштабах України і за її межами; наукова база грушевськознавства, яка займається всебічним вивченням життя та діяльності Михайла Грушевського та його доби. The State Memorial Museum of Mykhailo Hrushevskyi in Lviv is a memorial complex-ensemble of the Hrushevskyi’s manor; a modern scientific research, educational, historical and cultural establishment of a memorial kind (landmark of architecture and history); by its activity a scientific methodological centre for museums in Ukraine and beyond it; a scientific base of Hrushevskyi’s studies engaged in research of life and activity of Mykhailo Hrushevskyi and his contemporaneity.
Музейні академії
(Publishing House of Lviv Polytechnic National University, 2015) Баран, Романна; Каркадим, Катерина
Розглянуто і проаналізовано процеси становлення освітнього потенціалу у сфері популяризації історико-культурної спадщини Національного музею народного мистецтва Гуцульщини та Покуття ім. Й. Кобринського. Подається концепція новітньої моделі науково-освітньої діяльності Музею як комплексного просвітницького і мистецького центру м. Коломиї. Для вирішення сучасних концептуальних проблем Музею закцентовано увагу на тісній співпраці з педагогами та фахівцями художньої культури та викладачами образотворчого мистецтва. Висвітлено науково-освітню роботу на прикладі різноманітних конференцій, мистецьких акцій, виставок, публікацій, музейних академій та студій. In this article are considered and analyzed the educational potential of the popularization historical and cultural heritage of the National Museum of Hutsul and Pokuttya Folk Art named after Y. Kobrynskyy. According to mordern requirements, museums have to become open multipurpose centers of culture, science, education and training in accordance with international trends development of the museum activity – an open museum for the open society. One of the main objectives of the statute of the International Council of Museums (ICOM Ukraine) is the definition of “museum” as an institution designed for strengthening its role in the society and contributing to a better knowledge of the culture of various nations and strengthening mutual understanding between them. The proclamation of Ukraine’s independence in 1991 radically changed national priorities – the need for deeper knowledge of Ukrainian history, language, beliefs and culture. At this timea number of measures were initiated to support crafts, preservation the old relics and monuments and study the works of folk crafts men. The activity in this area was initiated by the cultural elite of Kolomyia, museum experts and educators. To improve the Museum in accordance with the latest methods of scientific and educational potential and for the preservation and promotion of historical and cultural heritage a certain concept was produced. It was intended to create a unifying and coordinating institution artists, scientist sand various educational institutions under the motto “Museum and professional contacts”. A powerful tool to express the educational potential of the museum concept was the creation by the Museum a number of popular – science films about various types of folkart, the life and career of the individual artists, video sabout the customs and traditions of Hutsulshchyna and Pokuttya natives, creation museum site (recognized as one of the best museum sites of Ukraine), from which you canget the correct information. To address current conceptual challenges Museum focuses on close cooperation with teachers – specialists artistic culture and fine arts teachers. It should be emphasized that the crucial role is holding of various artisticevents for folk artists, during which there is involvement of youth for practical training in various types of crafts. Such cognitive ethnology lessons in pottery, artistic wood work, beads, appliques, weaving, pysanky, embroidery museum personnel conducts not only in the museum but also at schools. Such emotional lyrich classis a process of aesthetic education. All ethnology lessons are accompanied not only practical training but also multimedia presentations. The scientific and educational work is high lighted as anexample of various conferences, artevents, exhibitions, publications, museum academies and studios. Since 2009, the Museum has first initiated a new form of educational work with young people underthe motto “Museum academies”, which became one of the most effective forms of cooperation between the museums and educational institutions. These academies contributed to better communication between scientists of the Museum and students for learning new material. The primary audience of these actions was identified by the museum experts to be the most active and interested students from different educational institutions of Kolomyia and its area. Scientists steer them to choose hot topics related to historical events and the present time. Museum organized and hosted 18 “museum academies”. For the most part these academies were dedicated to known figures of Ukrainian culture. The duration of these events is at least 2 hours. While discussing the high lighted material between the participants facilitate communication and discussion.
Музеєфікація пам’яток архітектури та містобудування як засіб збереження історико-культурної спадщини
(Publishing House of Lviv Polytechnic National University, 2015) Брич, Марія
Проаналізовано світовий і вітчизняний досвід музеєфікації історико-культурної спадщини. Висвітлено проблеми збереження пам’яток архітектури та містобудування – як ансамблевих та середовищних пам’яток, так і окремих об’єктів та споруд, їх поєднання з регіоном, суспільством і оточенням. Досліджено стан використання об’єктів архітектурної спадщини, що належать до музейного простору України. Запропоновано метод збереження пам’яток шляхом музеєфікації з метою максимального збереження та виявлення їхньої історико-культурної, наукової, художньої цінності. Historical and cultural heritage of Ukraine is very diverse. But many monuments today are in ruins and not used. Sometimes it is not possible to return to the monument its original function, which creates the need to find new applications. Therefore, the most effective method of attracting the cultural space of Ukraine is museumfication. Museumfication is to convert historical, cultural or natural objects into a museum display objects for preservation and identification of historical, cultural, scientific and artistic value. This is a set of evidence-based measures to bring objects of cultural heritage in the state fit for sightseeing visits. Ukraine already has experience in museumfication of the archaeological monuments, often inseparably linked with the environment and surrounding monuments of architecture and urban planning. Such complexes and ensembles are impossible to perceive, taking each individual object. It is important to consider them in the context of their original appearance and existence. The whole region, where there are several nearby monuments of architecture or town planning, needed to be seen as the holistic museum. That is why, it is much easier and more efficient to create historical, cultural and architectural reservation, organize museum-reserves based on architectural monuments. Creating large regional associations based on the museum-reserves significantly increase their exposure area and expand the functions and structure of the reservations and provide a tour visiting of remote museums, along with promotion of them. Unfortunately, the current socio-cultural situation in Ukraine is not conducive to the development of the museum network. Problem of inclusion of fallen monuments of architecture and urban planning to modern life remains unresolved. This article aims to draw attention to this problem and to propose a method of museumification for preservation and use of monuments.
Особливості викладання курсу історії Стародавніх Греції та Риму для студентів спеціальності “Музейна справа та охорона пам’яток історії та культури”
(Publishing House of Lviv Polytechnic National University, 2015) Лисейко, Ярослав
Проаналізовано методи та методики викладання, а також особливості організації вивчення курсу історії Давніх Греції та Риму на основі робіт студентів спеціальності “Музеєзнавство та пам’яткоохоронна діяльність”. Studying the course in Ancient Greece and Rome history primarily is associated with the departments of History in Ukrainian classical or pedagogical universities. However, with the advent of new specialties of humanities in higher education in Ukraine, the problem of adapting teaching of these subjects for students studying related to the craft of history specialties and in some form involve ancient history and culture studies. An examples of such specialty area of training are Museum management and Protection of historical monuments. The purpose of this article is to study the characteristics of teaching course in the history of ancient Greece and Rome for students of Museology and Protection of monuments specialty and finding the methods of adaptating these training courses to students. The best way to cover the discipline that now dominates in the world of science and teaching practice is not factual or sociological but civilizational and humanitarian. Thus in the center of attention appear the complex characteristics of ancient societies with a focus on culture and religion, on the people and their behavior, lifestyle or mentality. Special attention is paid to the study of material culture of ancient civilization, preserved monuments of art, military affairs and economy. It has a dual role: on the one hand, students became better acquainted with the achievements of ancient culture and the other is based on the cultural achievements of ancient civilization that help students to learn how to distinguish directly in practice the concepts of cultural monuments, historical heritage and became aware of the importance of activities related to the preservation of the past. Teaching the History of Ancient Greece and Rome course for students studying the Museology and Protection of monuments specialty comes from the thesis about the role of the course in the system of students’ professional training. The course has to form not only a basic knowledge of the history and culture of ancient Greece and Rome, but also to shape the needed for further learning process skills and for the full development of the specialist in field of Museology or Monuments preserving. Searching the methods of teaching the history of ancient Greece and Rome for students of Museology and Protection of monuments specialty is in the process of dynamic development. Learning not only history but also the culture of antiquity for future specialists in this field encourages to test the methods that involve obtaining historical knowledge through actualization knowledge in culture and monuments.
Середньовічні археологічні пам’ятки у Судовій Вишні на Львівщині: історія та перспективи дослідження
(Publishing House of Lviv Polytechnic National University, 2015) Терський, Святослав
Проаналізовано введення у науковий обіг результатів археологічних досліджень 1956–1962 рр. у Судовій Вишні на Львівщині, а також доля археологічних знахідок, здобутих на цих пам’ятках дослідженнями відомого українського археолога Олексія Ратича. Обґрунтовано висновок про важливу роль цих матеріалів для з’ясування етнокультурних процесів на Східному Прикарпатті у X–XI ст. One of the best studied monuments of X–XI centuries. in the Eastern Carpathian region is in settlement Zamchysko, which occupies the edge of a high ridge on the western outskirts of town Sudova Vyshnia. The article analyzes the process of scientific research of the results of archaeological investigations 1956–1962 biennium of archaeological monuments of town Sudova Vyshnia in court in Lviv, and the fate of archaeological findings obtained in research on these monuments famous Ukrainian archaeologist Olexii Ratycz. The main stages of the study of this monument linked to one of the founders of postwar Lviv archaeological school Olexii Ratycz. Within six field seasons scientist managed to explore the most central part of the monument. Scientists gained invaluable scientific material gave evidence to determine the merits of ethnocultural processes in the Eastern Carpathian region in X–XI centuries. It was published in almost ten short articles and reports written by excavation. For over half a century of research data cannot fully published. The history of the publication of these scientific achievements has sometimes detective character. However, the weight of the scientific findings of the excavations Olexii Ratycz periodically attracts many scientists in connection with the study of various aspects of the history and archaeology of Ukrainian lands. This study is the first modern attempt to generalize about the stages and the results of research systems early medieval monuments located on the basin of Vyshnia river in Lviv region.
Соціокультурні активи історико-культурної спадщини в українському суспільстві
(Publishing House of Lviv Polytechnic National University, 2015) Вербицька, Поліна
Культура – це спосіб, у який розглядаємо нову модель суспільства, що основується на сталому розвитку. Пам’ятки історії та культури є джерелом історичного досвіду поколінь, що містить різнобічну інформацію про розвиток суспільства в минулому, сприяючи духовному розвитку особистості, формуванню сталого почуття належності до місцевої спільноти. Культурні здатності можуть забезпечити сталий розвиток суспільства, вплив через культурну участь – усвідомлення, толерантність, емпатію, почуття належності, довіру, солідарність. The problem of actualization of socio-cultural assets is viewed in the context of search of effective instrument for ensuring peace, prevention of conflicts, conciliation and understanding in Ukrainian society. Fundamental is mutual understanding of human values, following human rights, promoting respect for cultural diversity. Culture in the contemporary world is the vector which provides a human with new knowledge, sense and purpose for existence, the feeling of world in which we live, contributing to acquirement of social capital, exercising the projection of future. Democratic culture is a way in which we observe a new model of society, which is based on stable development. The sights of history and culture is a source of historic experience of generations, which contain diverse information about the development of society in the past, promoting the spiritual development of personality, forming stable feeling of belonging to local community. Cultural abilities can provide the stable development in society, influence through the cultural participation – realization of tolerance, empathy, feeling of belonging, trust, solidarity, social capital. Diversity envisages the awareness of own identity and perception of identity of another person. In the present multicultural society the socio-cultural perspective is closely connected with the feeling of identity. The problem of identity, individual and social choice under the conditions of diversity is actual not only for Ukrainian society.The important aspect of modern views at the cultural sights is the realization of values as the objects which present certain historic environment with it historically shaped cultural mutual influences and connections. The new meanings of culture appear in the process of communication, which occur in common places, in the social space. Active character of cultural communication is carried out during the dialogue which has the purpose to shape, preserve, translate and develop cultural norms, values, knowledge and senses, promoting integration, social consolidation, which is important social request of museums.Socio-cultural role of museums as institutions which promote the cognition and popularization of cultural heritage, values, meanings envisage the development of programs, which aim at dialogue and cooperation, involvement of local communities (individuals, public officials, business, cultural activists, civil society), search for new forms of presenting cultural products, familiarization with the social space of city. The important task of museum in modern sociocultural conditions is teaching individuals through applying the all-accepted, socio-moral norms and principlesas regarded to certain situation, providing them with the instrument which works in different problem situations and in different cultures. The development of tolerance, skills of constructive dialogue should be the object of the attention of cultural institutions under the conditions of present multicultural society. The detection of positive influence of different cultures during the process of cognition, critical analysis and open discussion of vulnerable and controversial questions promote overcoming of social biases and stereotypes. The contemporary cultural institutions strive to shape the answers on social challenges, offering means for understanding and realization by young people the complex interconnections of historic past, shaping the vision of their future and the role, which they can play in social life. During the process of cognition and shaping of valuable attitude of individuals to the problems of historic-cultural heritage, young people have the opportunity to get the stable feeling of belonging to the society by learning to make independent decisions, making prudent choices, anticipating the development of society in the future.
Становлення музеології як науки: історіографія дослідження
(Publishing House of Lviv Polytechnic National University, 2015) Нагірняк, Андрій
Зроблено спробу висвітлити основні здобутки історіографічних досліджень з проблеми становлення музеології як науки. Виділено напрями музеологічних досліджень та проаналізовано основні дискусійні питання. Зосереджено увагу на суті понять “музеєзнавство,” “музеологія”, “музеалія,” а також охарактеризовано літературу, у якій визначено місце музеології в системі соціогуманітарних наук. Незважаючи на інтенсивний розвиток сучасної музеології, залишається невирішеною низка питань, що стосуються вивчення музеології не тільки, як наукової дисципліни, але і як навчальної дисципліни. Також залишається невирішеним термінологічний інструментарій науки. Contemporary museum world is experiencing a period of transformation due to social challenges. This is the impetus for the development of museology as a scientific discipline that seeks to understand the epistemology of a museum and it’s foundations. There is an increased attention to the problems of museology as a young discipline, its theoretical understanding, improving professional conceptual apparatus evidence of improvement concerning the design of a mature scientific discipline. The article is an attempt to highlight the main achievements of historiographical research in the formation of museology as a science. Relevance of researching the problems of historiography is determined by many factors: the first is the five centuries development of the museum as a social and cultural institution, and triumphal procession of a museum in all cohorts in the twentieth century. And finally, unexpected transformations at the beginning of the 21 century, associated with a large number of papers analyzing different sides of the phenomenon of the museum. In the last three decades, a large number of scientific articles, monographs and books, offering understanding of different aspects of historical, theoretical or practical museology were published. However there are not enough of historiographical works on museology. The article stated that the process of formation of museology as an independent scientific discipline continued throughout the twentieth century. A number of issues and controversial discussions that represent major trends in theory and practice of museology highlight the deep integration of the museum in the social and cultural life of society. The article highlights the main achievements of historiographical studies on the formation of museology as a science. It also highlights the areas of museological research and analyzes the main controversial issues. The paper focuses on the meaning of “museology”, “musealia” and describes the literature in which there is a place of museology in the system of socio humanities. The author concludes that despite the intensive development of modern museology, a number of questions concerning museological study not only as a scientific discipline, but as a discipline in general remain unsolved.
Традиційний народний одяг як джерело вивчення та популяризації культурної спадщини Закарпаття
(Publishing House of Lviv Polytechnic National University, 2015) Коцан, Василь
Йдеться про традиційний народний одяг як важливе джерело вивчення та популяризації культурної спадщини Закарпаття. Окреслено основні аспекти, для з’ясування достовірності яких одяг є цінним джерелом, наведено головні форми популяризації культурної спадщини через призму народного вбрання. In the article the question is about traditional folk clothes as important source of study and popularization of cultural legacy of Zakarpattya. An author is select basic aspects for finding out of authenticity of which clothes are a valuable source. It the ethnographic districting of edge, influences of nearby people, and also features of culture of local population. Next to scientific research a traditional folk dress is an important source for popularization of cultural legacy of our edge. The different aspects of popularization of traditional folk dress of edge can be divided into two basic groups: static and mobile. To the static forms of distribution of information about a folk dress take scientific and popular scientific researches (monographs, articles, catalogues, albums, brochures) and exhibitions, museum displays. Among the mobile forms of popularization of traditional folk dress in particular, and cultural legacy of edge on the whole, select above all things: 1) measures are on the recreation of consuetude and ceremonies of annual calendar cycle; 2) measures are on the recreation of domestic rite (births of child, wedding, funerals); 3) organization of festivals; 4) lead through of reconstructions and shows of folk suits. On the whole traditional folk clothes of Zakarpattya are the bright independent ethnographic phenomenon, one of constituents of Ukrainian traditionally domestic cultures.
Формування історичної пам’яті, міжконфесійного порозуміння на прикладі експозиційно-виставкової діяльності Львівського музею історії релігії (виставка “Репресована церква”)
(Publishing House of Lviv Polytechnic National University, 2015) Банах, Василь
На прикладі пересувної банерної виставки “Репресована церква” до 25-ліття легалізації Української Греко-Католицької Церкви розкрито особливості виставково-експозиційної роботи Львівського музею історії релігії. Проаналізовано вплив виставкової діяльності музею на спроби сприяння міжконфесійного порозуміння та формування окремих аспектів історичної пам’яті. The exhibition work of Lviv Museum of History of Religion had been analyzed on an example of a banner exhibition “Repressed church” which is dedicated to the 25th anniversary of the legalization of the Ukrainian Greek Catholic Church (UGCC). Exhibition “Repressed church” is divided into several blocks which illustrated prerequisites, reasons and chronology of repressions against the clergy and faithful of UGCC by totalitarian Soviet regime during 1939 – 1989 years. Obviously, not only members of UGCC had been repressed by Stalin’s regime but clergy and members of other religious denominations too. Those repressions are an important component of collective historical memory about World War II and it is aftermath for Ukraine and Ukrainian. Current discussions about collective tragic past of different religious communities in Ukraine, and in museums too, help to create mutual understanding and settles sharp corners towards the ecumenical process. Lviv Museum of History of Religion achieved a few tasks by representing one of the tragic pages in history of most common Christian denomination in Galicia to wide audience. Primary tasks were enlightenment and popularization. Religious and social reconciliation could be achieved by researching and demonstration of tragic events in period of Soviet pursuit of religious demonstrations which had common character.
Історико-культурне й етнонаціональне у філософорелігійних ідеях: із темпоритміки інновацій
(Publishing House of Lviv Polytechnic National University, 2015) Тіменик, Зеновій
На підставі спадщини українських мислителів 40-х рр. ХІХ – 70-х рр. ХХ ст. висвітлено темпоритміку історико-культурного й етнонаціонального у контексті (між)релігійних комунікацій і міждисциплінарного простору. Об’єктом вивчення стали: ідея Бога в структурі людини і світобудови, а також ідея істинності та повноти (між)релігійних комунікацій. З інноваційного погляду стверджено: у філософорелігійних ідеях існує історична закономірність цілісності та системної згармонізованості процесів. On the basis of heritage of Ukrainian thinkers of 40th XIX c. – 70th XX c. the historical, cultural and ethno-national tempo-rhythm in the context of interreligious communications of interdisciplinary sphere is analyzed. The object of the research is the idea of God in the structure of a human being and the world, the idea of truth and plenitude of interreligious communications. Historiosophical cuttings are made on the basis of Pagan and Christian interspaces of the spiritual and cultural being of the Ukrainian ethno-nation. The author uses the principles of graduality-continuity, wholeness, harmony and synthesis and also the relations, among them: God-Man-God, God-Man-Native Language-Cosmism-God. There are involved several models such as man-creature, awakeness-observation-intuition-cognition and so on. Taking into the consideration the historical circumstances the topic of article in the analyzed texts is investigated partially. The author finds out that historical and cultural heritage depends on ethno-national processes. From the innovative point of view there is historical law of wholeness and harmony of processes in the philosophical-religious ideas. Rationalization is provided for the ideas of consistent harmonization of a set of processes. Interdependence of Historical, Cultural and Ethno-National acknowledgement factors in functioning of the researched ideas as based on the works of Ukrainian thinkers of 40th XIX c. – 70th XX c. has been outlined for having emerged in (inter)religious communication and interdisciplinary environment.the first time.

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