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This article considers the perception of the main group and personal exhibitions of Soviet third-wave émigré artists by the American press between the 1970s and 1980s. It analyses reviews in periodicals, which recorded the amplitude of growth and decline of interest in exhibitions of USSR artists, and correlates the results with the events of the cultural life of the Cold War period. The author refers to articles in American specialised magazines (Art in America, ARTnews, Artforum, October, etc.) and daily newspapers (The New York Times, Newsweek, etc.) as well as in Russian émigré publications in circulation in New York (Novoe Russkoe Slovo, Tretia Volna, A–Ya, etc.). The majority of the sources come from the archive of L. P. Talochkin (1936–2002), a collector of Soviet unofficial art of the 1960s–1990s (now the archive is kept in the Garage Museum of Contemporary Art).The author notes that in the 1970s, the American press was mostly interested in the political hype around unofficial artists, as well as their status as “artists in exile”, whereas in the 1980s, the emphasis shifted towards the analysis of the artistic value of the works. Special attention is paid to the gradual introduction of the idea of the genetic connection of Soviet unofficial art with the Russian historical avant-garde, which legitimises the fact that American critics were becoming aware of it. The term “second avant-garde” in relation to non-conformism first began to be used by the artist and researcher M. Grobman (Jerusalem) in the 1970s, M. Tupitsyn and D. Bowlt (New York) emphasised in their publications the connection of some third-wave émigré artists with the Russian historical avant-garde in the 1980s. Similar analogies were often used by the American daily press, but the terms themselves (“second avant-garde”, “neo-avant-garde”) in relation to post-war unofficial art were not widely used in professional art history literature, remaining in the cultural situation of the period under consideration., Статья посвящена восприятию значимых групповых и персональных выставок художников-эмигрантов из СССР (третья волна) американской прессой на протяжении 1970–1980-х гг. В ней проанализированы отзывы в периодических изданиях, зафиксировавшие амплитуду подъемов и спадов интереса к выставкам художников из СССР, результаты соотнесены с некоторыми событиями культурной жизни периода холодной войны. Материалом для исследования послужили статьи в американских специализированных журналах («Art in America», «ARTnews», «Artforum», «October» и др.) и ежедневных газетах («The New York Times», «Newsweek» и др.), а также в русскоязычных эмигрантских изданиях, имевших хождение в Нью-Йорке («Новое русское слово», «Третья волна», «А–Я» и др.). Существенная часть источников взята из архива Л. П. Талочкина (1936–2002), коллекционера советского неофициального искусства 1960–1990-х гг. (ныне архив хранится в Музее современного искусства «Гараж»).Автор отмечает, что в 1970-е гг. американскую прессу более всего интересовала политическая шумиха вокруг неофициальных художников, а также их статус «художников в изгнании» (artists in exile), тогда как в 1980-е гг. акцент смещается в сторону анализа художественной ценности работ. Особое внимание обращается на постепенное внедрение идеи генетической связи советского неофициального искусства с русским историческим авангардом, легитимирующей его вхождение в поле зрения американских критиков. Термин «второй авангард» по отношению к нонконформизму впервые начинает употреблять в 1970-е гг. в своих публикациях художник и исследователь М. Гробман (Иерусалим), в 1980-е гг. связь некоторых художников-эмигрантов третьей волны с русским историческим авангардом подчеркивали в своих статьях М. Тупицына и Д. Боулт (Нью-Йорк). Подобные аналогии зачастую использовались ежедневной американской прессой, но сами термины «второй авангард», «неоавангард» по отношению к после­военному неофициальному искусству не получили широкого распространения в профессиональной искусствоведческой литературе, оставшись в культурной ситуации рассматриваемого периода.

American literature is rich in stories of individualists who succeeded only by their own merits and faced the unknown, unexplored territory also called the frontier. This idea defines the identity of the nation to the point that even long after the literal frontier has been conquered and explored, the American spirit is to find new frontiers. This paper provides a brief sociohistoric overview in order to explain why individualism and self-reliance marked the American identity and what conditions those created in America. It also discusses the problems of society which clashed with those ideals, and thereby created the new moral frontier. The analysis focuses on three works: Walden or, Life in The Woods (1854) and Civil Disobedience (1849) by Henry David Thoreau and Narrative of the Life of Frederick Douglass, an American Slave (1845) by Frederick Douglass, all of which uphold the unadulterated idea of individualism and self-reliance. Whereas Thoreau intended to overcome the materialistic, superficial way of modern life and live only on the factual necessities in order to seek out what makes a happy and fulfilled life, Douglass wanted to overcome the hurdles of his life and the life of all other slaves, which he managed to do through his own hard work and expediency. The paper also provides a comparative analysis and synthesis of Thoreau’s and Douglass’s works and their philosophies and differentiates between two kinds of frontier – the internal, or personal, and the external, or the socio-political one – by analysing how those frontiers are overcome by perseverance.

The essence of concept of non-conformism and its application in relation to informal youth movements is revealed. Manifestations of non-conformism among "informals" are studied. An analysis of conformal and non-conformal behavior of youth subcultures is presented. An attempt to uncover common, unifying elements of the main informal movements is made through the prism of the manifestations of non-conformism. Problems of enable of the youth underground in the process of formation of social thought in the modern era are described

Статья поступила в редакцию 23.12.2018 г. Автор статьи исследует этапы символической биографии поколения либеральной советской интеллигенции 1960-х гг., которая именовала себя шестидесятниками. Цель статьи — выявить динамику мировоззренческой позиции и типологию поведения шестидесятников. Автор характеризует символические этапы жизненный пути генерации и выявляет формирование нонконформизма как одного из базовых мировоззренческих и аксиологических принципов. The author of the article explores the symbolic biography stages of the 1960s generation of the liberal Soviet intelligentsia, who called themselves ‘the sixtiers’. The purpose of the article is to reveal the dynamics of the ideological position and typology of behavior of the sixtiers. The author characterizes the symbolic stages of the generation’ life path and marks out the formation of non-conformism as one of the basic ideological and axiological principles.

Поступила в редакцию 10.06.2019. Принята к печати 26.11.2019. Submitted on 10 June, 2019. Accepted on 26 November, 2019. Статья посвящена восприятию значимых групповых и персональных выставок художников-эмигрантов из СССР (третья волна) американской прессой на протяжении 1970–1980-х гг. В ней проанализированы отзывы в периодических изданиях, зафиксировавшие амплитуду подъемов и спадов интереса к выставкам художников из СССР, результаты соотнесены с некоторыми событиями культурной жизни периода холодной войны. Материалом для исследования послужили статьи в американских специализированных журналах («Art in America», «ARTnews», «Artforum», «October» и др.) и ежедневных газетах («The New York Times», «Newsweek» и др.), а также в русскоязычных эмигрантских изданиях, имевших хождение в Нью-Йорке («Новое русское слово», «Третья волна», «А–Я» и др.). Существенная часть источников взята из архива Л. П. Талочкина (1936–2002), коллекционера советского неофициального искусства 1960–1990-х гг. (ныне архив хранится в Музее современного искусства «Гараж»). Автор отмечает, что в 1970-е гг. американскую прессу более всего интересовала политическая шумиха вокруг неофициальных художников, а также их статус «художников в изгнании» (artists in exile), тогда как в 1980-е гг. акцент смещается в сторону анализа художественной ценности работ. Особое внимание обращается на постепенное внедрение идеи генетической связи советского неофициального искусства с русским историческим авангардом, легитимирующей его вхождение в поле зрения американских критиков. Термин «второй авангард» по отношению к нонконформизму впервые начинает употреблять в 1970-е гг. в своих публикациях художник и исследователь М. Гробман (Иерусалим), в 1980-е гг. связь некоторых художников-эмигрантов третьей волны с русским историческим авангардом подчеркивали в своих статьях М. Тупицына и Д. Боулт (Нью-Йорк).Подобные аналогии зачастую использовались ежедневной американской прессой, но сами термины «второй авангард», «неоавангард» по отношению к послевоенному неофициальному искусству не получили широкого распространения в профессиональной искусствоведческой литературе, оставшись в культурной ситуации рассматриваемого периода. This article considers the perception of the main group and personal exhibitions of Soviet third-wave émigré artists by the American press between the 1970s and 1980s. It analyses reviews in periodicals, which recorded the amplitude of growth and decline of interest in exhibitions of USSR artists, and correlates the results with the events of the cultural life of the Cold War period. The author refers to articles in American specialised magazines (Art in America, ARTnews, Artforum, October, etc.) and daily newspapers (The New York Times, Newsweek, etc.) as well as in Russian émigré publications in circulation in New York (Novoe Russkoe Slovo, Tretia Volna, A–Ya, etc.). The majority of the sources come from the archive of L. P. Talochkin (1936–2002), a collector of Soviet unofficial art of the 1960s–1990s (now the archive is kept in the Garage Museum of Contemporary Art). The author notes that in the 1970s, the American press was mostly interested in the political hype around unofficial artists, as well as their status as “artists in exile”, whereas in the 1980s, the emphasis shifted towards the analysis of the artistic value of the works. Special attention is paid to the gradual introduction of the idea of the genetic connection of Soviet unofficial art with the Russian historical avant-garde, which legitimises the fact that American critics were becoming aware of it. The term “second avant-garde” in relation to non-conformism first began to be used by the artist and researcher M. Grobman (Jerusalem) in the 1970s, M. Tupitsyn and D. Bowlt (New York) emphasised in their publications the connection of some third-wave émigré artists with the Russian historical avant-garde in the 1980s. Similar analogies were often used by the American daily press, but the terms themselves (“second avant-garde”, “neo-avant-garde”) in relation to post-war unofficial art were not widely used in professional art history literature, remaining in the cultural situation of the period under consideration.

Культурологічний та мистецтвознавчий розгляд образотворчого мистецтва України 1940–1960 років неможливо здійснити без детального усвідомлення ключових мистецьких термінів і явищ, характерних для тогочасного суспільства. Серед таких термінів і явищ на перше місце виходить панівний метод образотворчого мистецтва радянської України — складової частини СРСР — соціалістичний реалізм. Наступним найбільшим за значенням терміном мистецького життя соціуму цього періоду є антипод соціалістичного реалізму, його опозиція — нонконформізм. Це головне дуалістичне дійство культури часів невільного соціуму, яке можна означити як «згода і незгода»., Cultural and art study of the fine arts of Ukraine since the 1940s through 1960s would not be possible without detailed understanding of the key artistic terms and phenomena characteristics of society of that time. Among such terms and phenomena, the dominant method of the fine art of Soviet Ukraine, as a part of the USSR, is socialist realism. A new artistic method, realism of the socialist direction, was formed, reflecting the main task of being a mouthpiece in a class society. To do this, it was necessary to break the habitual stereotypes of artistic trends and revive in a single image of representation, where the style and method of the proposed creativity were united in a single direction. Technology that imposed an unnatural way of new artistic rules in the state was formed concurrently to the destruction of old foundations. The first and main change was the introduction of totalitarian artistic thinking in the psychology of a large number of state artists. The first steps in the victory of the new art were the struggle with the old world. In addition to the destruction of capitalism as a class, a version of the physical destruction of the old culture was proposed. Paradoxically, many artists liked this. Having considered such moods in the artistic environment, the state planned and, during the first years of the third decade, successfully carried out a ban on all art groups, unions and associations that existed in the state. The path to the creation of unified manageable unions of artists, writers, musicians, theaters, journalists, architects was open. The next largest term in the artistic life of the society of the period is the antipode of socialist realism, its opposition—non-conformism. This is the main dualistic opposition of the culture of the unfree society, which can be designated as “consent and disagreement”., Культурологическое и искусствоведческое изучение изобразительного искусства Украины 1940–1960 годов невозможно осуществить без детального осознания ключевых художественных терминов и явлений, характерных для тогдашнего общества. Среди таких терминов и явлений на первое место выходит господствующий метод изобразительного искусства советской Украины — составной части СССР — социалистический реализм. Сформированный новый художественный метод, реализм социалистического направления, отражал главную задачу — быть рупором власти в классовом обществе. Для этого надо было сломать привычные стереотипы художественных направлений и возродиться в едином образе представления, где стиль и метод предлагаемого творчества были объединены в едином направлении. Технология насаждение неестественным способом новых художественных правил в государстве рождалась параллельно с уничтожением старых устоев. Первым и главным изменением было внедрение тоталитарного художественного мышления в психологию большого количества художников государства. Первыми шагами победы нового искусства стала борьба со старым миром. Кроме уничтожения капитализма как класса, была предложена версия физического уничтожения старой культуры. Как ни парадоксально, но многим художникам это понравилось. Рассмотрев такие настроения в художественной среде, государство спланировало и в течение первых лет третьего десятилетия успешно выполнило запрет всех художественных групп, союзов, объединений, существовавших в государстве. Путь к созданию единых управляемых союзов художников, писателей, музыкантов, театралов, журналистов, архитекторов был открытым. Следующим крупнейшим по значению термином художественной жизни социума периода есть антипод социалистического реализма, его оппозиция — нонконформизм. Это главное дуалистическое противостояние культуры несвободного социума, которое можно обозначить как «согласие и несогласие».

The relationship between cultural identity and the models of social behaviour, including criminal behaviour, appears to be obvious enough. On the other hand, however, the cultural determinants of criminal offences committed by foreign nationals in Poland has not been the subject of criminological research, whereas any insights into the cultural principles guiding their conduct when staying in Poland, were gained mainly within the framework of cultural studies. The present paper sets out to address this gap, even if only partially. It would appear that an important indicator of a proper functioning of a multicultural society, which offers a common space for the co-existence of a number of different communities, is the way those communities view the applicable law in place, criminal law in particular. The knowledge of which specific components of the identity of respective groups of immigrants (be that ethnic or religious) happen to be discordant, or even openly contradict the system of social values, as reflected in the legal system in place in Poland, may also be construed as the answer to the question which specific types of behaviours and cultural factors that actually determine them, will have to be faced fairly soon by the statutory bodies dealing with the legal cases in which the suspects, or indicted persons (as well as the victims and eyewitnesses) are foreign nationals representing respective minorities. In practical terms, the most essential seems to be the question how respective individuals shape their behavioural response when faced with the need to live in an everyday reality of conflicting axiological systems? Which standards, in a situation where they cannot be simply reconciled, i.e. the communities from which they originate or the social majority they live in, would they deem valid in axiological terms, and therefore binding for themselves? One of the possible directions of research in this area consists in seeking to identify the factors or circumstances that determine an individual’s choice when faced with just such a conflict of standards. It is therefore essential to determine those factors that make a foreign national comply with the law in place (despite various consequences arising from breaching the standards upheld within a group), as well as those whose coming into play would make a foreigner break the law in order to remain true to the standards within his group (despite the legal sanctions he stands to face for making such a choice). Such considerations are actually meant to seek out the answers about individual conformity and nonconformity when faced with a conflict of values in a multicultural society. The conclusions to be drawn are all the more important that the conflict of values and the underlying standards appears to be an integral part of a multicultural society. The paper consists of two parts. The first, theoretical one, comprises reflections on the concept of multiculturalism at large, offering a presentation of selected criminology theories based on the assumption that a society is made up of various groups representing different axiological systems around which various normative systems are duly constructed, with this heterogeneity lying at the source of any deviations, and also, whilst recognizing that conflict remains very much an integral part of an axiologically multicultural society (actual multiculturalism), conflict is addressed as a phenomenon, in due consideration of the concept proposed by T. Sellin, on two levels, i.e. the external one (i.e. when the standards governing a desirable behaviour of each group, minorities and a social majority, are found conflicting), and the internal one (i.e. an individually experienced dilemma whereupon in a situation of conflict, an individual must decide which standards to abide by). The author proposes that an internal conflict be construed in a slightly modified way, i.e. as a situation where an individual is trying to determine which standard, that applicable within his own group, or the country’s s/he happens to be living in, in view of: a) the fact that both groups and their values are essential to him/her (conflict of beliefs), b) the fact that s/he wants to respect both groups and their values ( conflict between discrepant legal norms), c) fear of the potential consequences of breaking the standards in place in each of these groups (conflict of consequences – the risk of having to face the negative consequences, or suffer the loss of benefits of compliance). The second part is an empirical attempt to characterize the likely behavioural paradigms of foreign nationals representing different cultural principles when faced with a conflict of values and standards applicable in both social settings, i.e. in the society they originate from, and in the Polish society into which they migrated (external conflict). It seemed of particular significance to identify the specific factors that may affect the choice made by an individual in such a conflict situation, i.e. what would make him/her choose to break the norm applicable within his/her own group (group standard), which s/he has so far complied with, or rather break the social norms in place in the country in which s/he currently resides. Here the actual attitude of the individual to the two conflicting standards, i.e. the presence or absence of internal conflict, proved to be of key importance. Given the extent to which the values and norms instilled in people in the process of socialization may impact their behaviours and individual choices, it was assumed that as far as the principle is concerned, people in conflict situations would be true to the values in which they had been brought up, instead of the values they did not identify with, new and culturally alien to them. It is therefore all the more essential to identify the possible factors that actually influence individual choices, so that an individual would rather breach the normative standard applicable within his own group, and abide by the standards upheld by the country s/he came to. An additional benefit of the study consisted in gaining an insight as to which specific situations within a cultural group under study might spark off an external conflict (at the level of normative standards beyond the domain of individual will). In practical terms, a sample image of cultural norms applicable within a group of foreign nationals under study was obtained, of norms that remain in conflict with the social principles in place in Poland (occasionally including legal constraints). All these data are essential as the differences in the shared values, attendant normative standards and commonly accepted models of response to an infringement of a particular norm are a potential source of individual dilemmas in foreign nationals as to which standard they should actually abide by, i.e. the group one or the one applicable within social majority. They may thus provide a certain clue as to what actually look for when dealing with the members of a particular community, with a view to increasing the likelihood of an effective dialogue, achieving the intended results in mutual relations, and in the long term, persuading them to comply with the normative standards in place in Polish society. The research was conducted in three selected communities, i.e. Caucasian, Vietnamese and Nigerian ones, even though the present paper is based predominantly on the research results pertaining to groups about which the research surveys yielded the most information, i.e. foreign nationals originating from the Caucasus, with particular consideration of the Chechen nationality. The Chechen examples were occasionally supplemented with the statements made by Armenian and Georgian respondents.

Artykuł koncentruje się na porównaniu dwóch odległych zjawisk w polskiej kulturze: futuryzmu i ruchu punkowego. Formalne podobieństwa między tymi zjawiskami na pierwszy rzut oka mogą nie być uderzające, ale sens ruchu "punkowego" w dużej mierze stawia go jako spadkobiercę pewnego rodzaju antykultury, stworzonej przez futurystyczny ruch i ukierunkowanej na krytykę establishmentu gospodarczego i kulturalnego. Artykuł przedstawia kluczowe cechy futuryzmu i kultury punkowej: negację tradycji, anarchię estetyczną i moralną, ideologię młodzieży, radykalizm i ostentację w działalności. W rezultacie oba zjawiska okazują się przejawem nonkonformizmu młodzieży spowodowanego specyficzną sytuacją społeczną. The article focuses on comparing two distant phenomena in Polish culture: futurism and punk movement. Formal similarities at first glance may not be striking, but the sense of the "punk" movement largely places him as the inheritor of a kind of anti-culture, created by the futuristic movement and aimed at the economic and cultural establishment. The article presents key features of futurism and punk culture: negation of tradition, aesthetic and moral anarchy, ideology of youth, radicalism and ostentation in activities. As a result, both phenomena turn out to be a manifestation of youth non-conformism caused by a specific social situation.

This paper conducts a comprehensive study and analysis of the first post-Soviet non-conformist Artistic Union «Shlyakh», that launched its activities in Ukraine on the verge of 1980-1990's. The author found historical-political, socio-cultural and artistic preconditions of uprise, functioning and actual demise of the fellowship. There has been made analyzes of artists-members’ creativity, free of remnants of socialist realism, in particular, their post-modernist play with form, color, space and time. The paper revealed that innovative experiments and creative searchings of «Shlyakh» members significantly influenced the ideological-conceptual and artistic-stylistic features of contemporary Lviv art. We considered also social activities of the Union and found out that organization of auctions and exhibitions, support of dissident artists, advertising and poligraphic work, conducted by «Shlyakh», carried catalytic effect on the formation of a new cultural and artistic environment.

In his article G. Vysheslavsky explores the work of British-Ukrainian artist A. Shuldizhenko (1922–1988). For the first time ever, the artist’s graphics (often signed with pseudonym Stachow) are considered in relation with the context of the culture in the Soviet Union, as well as on the background of the official and non-conformist art in Ukraine. Particular attention is paid to the trends inside of non-conformism: underground and various manifestations of «unofficial art». For the first time, the trends consonant by worldview, theme and arsenal of artistic means with the poetics and aesthetics of A. Shuldizhenko were specified.Thanks to the systematic study of the artist’s entire legacy (including previously unknown periods of work) the art periods of the artist were established. Based on it, the reconstruction of A. Shuldizhenko’s way in art was developed and presented to the reader., В статье исследуется творчество британско-украинского художника А. Шульдиженко (1922–1988). Впервые графика художника (часто подписывал работы псевдонимом Стахов) изучена в контексте культуры в СССР, а также на фоне официального искусства и нонконформизма в Украине. Особенно внимательно рассматриваются направления внутри нонконформизма: андерграунд и различные проявления «неофициального искусства». Впервые обозначены направления которые по мировоззрению, тематике и по арсеналу художественных средств созвучны поэтике и эстетике А. Шульдиженко.Благодаря проведенному систематическому изучению всего объема наследия мастера (включая ранее неизвестные периоды творчества) была создана периодизация творчества художника. На ее основе разработана и представлена читателю реконструкция пути А. Шульдиженко в искусстве., У статті досліджується творчість британсько-українського художника О. Шульдиженка (1922–1988). Вперше графіка художника (доволі часто використовував псевдо Стахов) розглядається у контексті культури СРСР, а також на тлі офіційного мистецтва і нонконформізму в Україні. Особливо уважно висвітлюються рухи у середині нонконформізму: андеграунд і різноманітні прояви «неофіційного мистецтва». Вперше позначені напрямки мистецтва, які за світоглядними налаштуваннями, тематикою, і арсеналом художніх засобів суголосні поетиці та естетиці О. Шульдиженка. Завдяки систематичному дослідженню всього обсягу спадщини майстра (включаючи раніше невідомі періоди творчості) складено періодизацію творчості митця. На її основі створено і представлено читачеві реконструкцію шляху О. Шульдиженка у мистецтві.

The following Article is devoted to one of the most interesting and probably least studied Ukrainian Soviet artists of the second half of the 20th century, Oleander Aksinin. It is impossible to look at his creative heritage without including the context of his life. The portrait of the artists being recreated through the description of the historical sources and memories of his friends and acquaintances. The totalitarian environment, where O. Aksinin lived and worked in, was absolutely unacceptable for him. It was mirrored in his rejection of compromise between his principles, spiritual beliefs and governmental institutions as representatives of ideological attitudes. For a wide understanding of the realities of life path and creativity of O. Aksinin quite important is his inner emigration. To achieve a wide understanding of Aksinin’s lifepath and creativity it is important to consider the state of inner emigration, that he went through. The result was a complete disregard by the state and the society. None the less his sensitivity for the reality he lived in, his intelligence and the depth of his humanistic principles made his artistic workout standing., Статья посвящена личности одного из наиболее интересных и, наверняка, наименее изученных украинских советских художников второй половины ХХ в., Александру Аксинину. Рассматривать его творческое наследие невозможно вне контекста его жизни. Портрет художника воссоздается благодаря экспликации биографических источников и приобщения воспоминаний его друзей и знакомых. Тоталитарная среда, в которой жил и творил А. Аксинин, была абсолютно неприемлемой для него. Это отобразилось в отказе от компромиссов между своими принципами, духовными убеждениями и властными институциями, как проводниками идеологических установок. Для широкого понимания жизненных реалий и творчества А. Аксинина важным является фактор состояния внутренней эмиграции, в котором он пребывал. Как следствие — полное игнорирование со стороны государства и общества. Но тонкое ощущение реалий, в которых он жил, интеллектуальность и глубина его гуманистических принципов, сделали творчество художника элитарным., Статтю присвячено постаті одного з найцікавіших та, мабуть, найменш досліджених українських радянських художників другої половини ХХ ст., Олександру Аксініну. Розглядати його творчий спадок неможливо поза контекстом його життя. Портрет художника відтворюється завдяки експлікації біографічних джерел та залученні спогадів його друзів та знайомих. Тоталітарне середовище у якому жив О. Аксінін, було абсолютно неприйнятним для нього. Це відобразилося у відмові від компромісів між власними принципами, духовними переконаннями та владними інституціями, як провідниками ідеологічних установок. Для широкого розуміння життєвих реалій і творчості О. Аксініна важливим є чинник стану внутрішньої еміграції, у якому він перебував. Як наслідок — повне ігнорування з боку держави і суспільства. Однак, тонке відчуття реалій, у яких він жив, інтелектуальність та також глибина його гуманістичних засад зробили творчість художника елітарною

The paper provided an analysis of sacred art as a cultural and historical integrity of the twentieth century. Transformation of sacred art in music and painting traces in the context of the movement of non-conformism and postmodern art of the late twentieth century.In the culture of Ukraine hosted a twist that begins in the twenties of the twentieth century as the search for topos sacred authentic national culture. This change is associated with a focus on sacred art. Since the emergence of an autocephalous church in Ukraine formed body of sacred writings that focus on ethnocultural on own roots Ukrainian art., В статье дается анализ сакрального искусства как культурно-исторической целостности ХХ века. Трансформации сакрального искусства в музыке и живописи прослеживаются в контексте движения нонконформизма и искусства постмодернизма конца ХХ века. Новейшая сакральность вписывается в контекст интерпретаций и приобретает новую иконографию в живописи, но в музыкальном пространстве остается определенный палимпсест, что требует междужанрових характеристик и интерпретаций., У статті аналізується сакральне мистецтво як культурно-історична цілісність ХХ століття. Трансформації сакрального мистецтва в музиці та живописі прослідковуються в контексті руху нонконформізму та мистецтва постмодернізму кінця ХХ століття. Новітня сакральність вписується в контекст інтерпретацій і набуває новітньої іконографії в живописі, але в музичному просторі залишається як певний палімпсест, що потребує міжжанрових характеристик та інтерпретацій.

Розкривається сутність поняття нонконформізму та його застосування щодо неформальних молодіжних течій. Досліджено прояви нонконформізму у середовищі «неформалів». Поданий аналіз конформної та нон конформної поведінки представників молодіжних субкультур. Зроблена спроба крізь призму проявів нонконформізму розкрити спільні, об`єднуючі елементи основних неформальних рухів. Розглянуті питання включення молодіжного андеграунда у процес формування суспільної думки сучасної доби, The essence of concept of non-conformism and its application in relation to informal youth movements is revealed. Manifestations of non-conformism among "informals" are studied. An analysis of conformal and non-conformal behavior of youth subcultures is presented. An attempt to uncover common, unifying elements of the main informal movements is made through the prism of the manifestations of non-conformism. Problems of enable of the youth underground in the process of formation of social thought in the modern era are described

José Jiménez Lozano is a unique writer in the Hispanic literary scene of these last decades. His work is vast and diverse, and this initial observation does not escape his narrative, which genre the write demonstrates more prolifically. Despite the apparent diversity, there is outstanding unity underlying Jiménez Lozano´s entire work. This unity lies not only on the constant return to the same matters, but also on the approaches or the reasons, from which his literary work begins. The writer reflects over his work and lets his ideas expand through the diverse manifestations of his ideas on prose. It is a talk about the rhetorical writing of this article, valuing the coherent existence between reflection and literary practice.José Jiménez Lozano es un escritor singular dentro del panorama literario hispánico de las últimas décadas. Su obra es vasta y diversa y a esta observación inicial no escapa su narrativa, género en el que el escritor se muestra más prolífico. A pesar de la diversidad aparente, existe una notable unidad subyacente a toda la obra de Jiménez Lozano. Esta unidad reposa no sólo sobre el regreso constante a unos mismos asuntos sino también sobre los planteamientos o fundamentos de los que parte su creación literaria. El escritor reflexiona sobre su labor y deja diseminado, a través de las diversas manifestaciones de su prosa de ideas, un discurso sobre la escritura que este artículo sintetiza, valorando, asimismo, la coherencia existente entre esta reflexión y la praxis literaria.

Different conceptions of conformism/non-conformism dichotomy in theoretical constructs of Frankfurt Sociological School («critical theory») are presented in the following article. Conformism and non-conformism are considered on the level of the strategy as two opposite trends of social and political behavior. This opposition is reflected in ideology terms (as a conception of «false consciousness») and in terms of power and subtraction.

Publikacijoje nagrinėjama Vinco Kisarausko kūryba ir kai kurie dailininko gyvenimo faktai, svarbūs siekiant permąstyti Lietuvos sovietmečio istoriografijoje vyraujančią šio dailininko kūrybos, kaip nonkonformistinės, interpretaciją, pagal kurią, atskaitos taškais pasirinkus ekspresionistinę raišką, dailininko kūriniai traktuojami kaip pasipriešinimas sovietų režimui ir socialistiniam realizmui. Siekiama atsakyti į klausimą, kodėl dailininko kūryba, potencialiai galėjusi keisti to laiko meninį mąstymą, nedarė didesnio poveikio nei jo amžininkams, nei jaunesnei dailininkų kartai. Straipsnyje nonkonformistinė V. Kisarausko pozicija susiejama su jo biografijos faktais, su konceptualiu mąstymu, kurio apraiškos išryškėja autoriaus tapyboje, knygose ir kt. Šia kūryba dailininkas orientavosi į Vakarų dailės kontekstą. Teigiama, kad ta V. Kisarausko kūrybos dalis, kuri galėjo provokuoti žiūrovą keisti mąstymą bei matymą, kuri galėjo daryti įtaką Lietuvos modernistinės dailės raidai, veikiant vidiniams dailininko savicenzūros mechanizmams nebuvo viešinama ir neperžengė jo dirbtuvės slenksčio. Dėl šios priežasties pažangios V. Kisarausko idėjos, turėjusios potencijos pakeisti ano laikmečio kultūrinėje terpėse vyravusį meninį mąstymą ir estetinį skonį, dailininko gyvenamuoju laikotarpiu šios misijos neatliko. On the 28th of April - the 14th of June 2015, exhibition ‘A Retrospective of Vincas Kisarauskas Work (1938-1988). Greetings to the Time’ was displayed in the National Gallery of Art (branch of the Lithuanian Art Museum). Preparing the exhibition widely known artist s creative legacy was revised. Special attention was drawn to the creative works that were not seen in public while artist was alive, even though it embodies conceptual thinking transcending the period, and would have been able to change artistic thinking of the era and the development of Lithuanian modernism. This publication attempts to ascertain what were the reasons Kisarauskas’ ideas had not influenced the art, younger generation artists and development of modernism in general. The article attempts to reject the prevailing discourse of non-conformism in the Soviet Lithuanian studies, in which creative work of Kisarauskas was perceived and valued as a resistance to the Soviet regime and social realism in Soviet Lithuania. Reconsidering the artist s biographical facts is the main objective of this publication. After Lithuania gained independence, the only reference points for a non-conformism discourse was Julius Janonis illustrated book for children ‘Poklius lurking every day’ (1960) and his first solo exhibition held in LSSR Writers’ Union Club in 1962. This article draws attention to the fact that V. Kisarauskas stylistic choice in early creative work did not exceed the formal stylistic canons of art and ‘fitted’ into the Soviet tolerated modernism frames. By that it was sought to modernize (social) realism. Hence, it is incorrect emphasize the expressionist creative concept as the author’s manifestation of a non-conformist position. Therefore, examples of his non-conformist activities are elsewhere. Nevertheless, V. Kisarauskas had a critacal position towards political ideology, which is evident from his biography: relations with intelectuals returned from the Soviet camps, deportations to Siberia and executions of the family members, as well as the artist’s participation in the political protest, anti-Soviet campaigns. Another example of V. Kisarauskas non-conformist position - he initiated sending ex-librises of Lithuanian artists to international exhibtions bypassing the control of Moscow. V. Kisarauskas fostered a historical consciousness, was in a side of resistance to the Soviet falsification of the old and the 20th c. history of Lithuania, for him it was important to preserve the Lithuanian national identity. However, such artworks (mostly graphic technique) remained hidden in the artist’s workshop during all Soviet era - it could be said artist’s self-censorship mechanism was always on. Even in the beginning of his creative work V. Kisarauskas deliberately made a divide between the public and private collections. During Soviet times, the artwork, which could affect the viewer’s mind, which was about to destroy the boundary between art and life, insinuated that things really are not like we see, were not pulled out into daylight. After 1965, Kisarauskas strived to demonstrate the internal structure of the image and use visionary forms. [...]

The article examines the personal qualities are important for the development of its creativity В статье рассматриваются качества личности, важные для развития ее креативности

Confrontado com as alterações do seu tempo, com uma rápida passagem de um mundo agrícola para um industrial, com todas as implicações políticas e sociais que isto implica na jovem república americana, Henry David Thoreau propõe uma revisão dos valores que sempre deverão governar (ou mesmo, gerir se atendermos à etimologia da palavra economia) a vida. Thoreau definine aquilo que realmente deverá importar para a obtenção, diríamos, de uma vida bem vivida propondo uma vida frugal desligada de todo materialismo e de todas as paixões. É à elaboração do ensaio Uma vida sem princípios que Thoreau dedicará uma boa parte da sua vida, retocando-o aqui e além, quando quer que a sua vida, sendo perante tudo experiência, lhe ia dando a maturidade e sageza suficientes para se afirmar nas suas convicções. Sem dúvida é mais um manifesto, tal como Walden, das virtudes de uma vida simples e frutífera. Para isso, analisará o valor da vida, como único bem autêntico do ser humano, um bem a desenvolver, o que o levará a concluir que a vida deverá ser cultivada para atingir bens superiores, aqueles que fazem melhorar o ser humano como tal. É, nesse sentido, uma proclamação de independência do ser humano frente ao trabalho escravizador que em nada contribui para a formação, para a constituição de um ser humano pleno. Politicamente, Thoreau proclamará a superioridade moral de qualquer indivíduo frente ao poder avassalador e crescente do estado. O presente trabalho tratará de pôr em perspectiva alguns dos aspectos mais relevantes do ensaio Vida sem princípios e de salientar as expressões do inconformismo de Thoreau para com um tipo de sociedade avassaladora e destruidora que se impõe com uma inércia de inevitabilidade., Confronted with a rapidly changing world, a fast paced transition from an agricultural society to an industrial one, with all the implications that such a change would bring along for the young American Republic, Henry David Thoreau proposes a revision of the values that should always command or, actually, “manage” life (if any attention is to be paid to the etymology of the word economy). Thoreau defines what should be considered as essential to finally attain, what we may term as, a well lived life: a frugal life detached from all materialism and from all passions. To the elaboration of Life without Principle Thoreau dedicated a good portion of his life. It is a work that accompanied Thoreau during his lifetime and to which he made alterations, whenever life, understood as experience, provided him with enough maturity and understanding to verbalize his convictions. Without any doubt, Life without Principle is one manifesto, as much as Walden, on the virtues of a simple and fructiferous life. Thoreau will analyze the value of life, as the only authentic good, a good to be acknowledged and nurtured, something that will lead him to conclude that life must be cultivated in order to achieve superior gains, those that will improve human beings as such. It is, after all, a proclamation of independence of humanity from the ostensibly pointless work enslaving human beings in unprecedented ways and constituting an impediment to the strengthening of a full grown humankind. Politically, Thoreau will proclaim the need for the recognition of the moral superiority of any human being in confrontation with the all-encompassing, dominating power of the State. The present essay will put into perspective some of the most relevant issues in Life without Principle and will highlight the different expressions of non-conformism apparent in Thoreau’s thought regarding a destructive assailing society which imposed itself through the inertia of inevitability.

In the aftermath of the First World War, a generation of young men sworn to combat - yet restricted from the eschatological mission destined to them - resolve to find meaning in their lives by fully devoting themselves to fight for Brittany. Somewhat haunted by the wasteful experience of war, they consider Brittany itself as having failed. In their opinion, this defeat justifies their fight : the Breton nationalism of the inter-war period is a continued war, and can be traced through the biographies of four young men.In their struggle, Mordrel, Delaporte, Lainé and Fouéré seek for allies from supposed similar backgrounds, looking first to Ireland, Wales, and Scotland. Nevertheless, this kind of pan-Celticism fails, so the Breton nationalists direct their energies towards Flanders, Corsica and Alsace - as well as Germany, a defeated country which clandestinely challenges European nationalities, in order to dispute the various 1919 Treaties.As a result of these foreign exchanges, the young Bretons invest themselves into various schools of thought which spread across Europe in the late 1920s and the early 1930s. Thus the creation of a Breton Literature believed to be innovative can indeed be considered as a local variation of German conservative revolutionary thinking. The Breton Autonomist Party is federalist and pro-Europe, such as other 'realist' groups which are forming in Paris. The directors of the Breton National party experiment in « spiritualism » and « personalism » as theorised by Parisian and European « relèves » (relief teams), and some of these directors are also inspired to adhere to Nordism by intellectuals inclose contact with the SS.With all this in mind, it appears that the activities carried out in the name of the « Breton struggle » during the inter-war period are in no way unique to Brittany. Rather, they are the local expression of movements of European thinking, as well as the projection of anxiety and personal issues of some considerably charismatic leaders. This results in an increase in the publication of reviews and actions - both complementary and opposing to the cause - as well big differences in the quality of interpersonal relationships, in particular about issues as crucial to Brittany as religion.In 1939, collusion with the German Conservative Revolution, various ideological experiments, personal decisions, and other diverse factors conduce the nationalist Breton leaders to engage in an alliance with the occupier. This alliance offers them signifìcantly fewer benefits than were hoped for, yet at the same time many Breton militants do not question their involvement and pledges made with the Germans, to varying degrees.If we only remember a few dramatic and sensational episodes of the Breton movement during the Second World War, it must be noted that these episodes are largely the execution of theories circulating long before, all over Europe, and adapted to the Breton cause by a small number of atypical people., Au sortir de la Grande Guerre, de jeunes hommes d’une génération promise au combat mais privée de la mission eschatologique qui lui était dévolue, donnent un sens à leur vie en s’investissant dans la lutte pour la Bretagne. Hantés par l’expérience perdue de la guerre, ils conçoivent l’idée que la Bretagne elle-même a perdu la guerre. A leurs yeux, cette défaite justifie leur combat : le nationalisme breton de l’entre-deux-guerres est une guerre continuée, que les biographies croisées de quatre de ces jeunes hommes permettent de suivre, pas à pas.Dans leur lutte, Mordrel, Delaporte, Lainé et Fouéré cherchent des alliés, choisis en fonction d’une parenté de sort supposée. Ce sont d’abord les Irlandais, les Gallois, les Écossais. Mais l’interceltisme est un échec et les nationalistes bretons se tournent vers la Flandre, la Corse et l’Alsace, ainsi que vers l’Allemagne, pays vaincu qui anime clandestinement la contestation des nationalités européennes afin de remettre en cause les traités de 1919.Par ces échanges, les jeunes Bretons inscrivent leur action dans les divers courants de réflexion qui traversent l’Europe de la fin des années 1920 et du début des années 1930. Ainsi, l’expérience de la création d’une littérature bretonnante que l’on espère novatrice est une déclinaison locale de la Révolution conservatrice pensée en Allemagne ; le Parti Autonomiste Breton est fédéraliste et européiste, à l’instar des groupes « réalistes » qui s’expriment à Paris ; les cadres du Parti National Breton font l’expérience du « spiritualisme » et du « personnalisme » que théorisent les « relèves »parisiennes et européennes, certains adhèrent également au nordisme que leur inspirent des intellectuels proches de la SS.Dans cette optique, il apparaît clairement que le combat breton tel qu’il fut mené dans l’entre-deux-guerres n’a rien de spécifiquement breton : il est l’expression locale de mouvements de pensée européens, autant que la projection d’angoisses et de préoccupations personnelles de quelques meneurs plus ou moins charismatiques. Il en résulte une multiplication des revues ou actions aussi complémentaires que concurrentes, ainsi qu’une grande variation de la qualité des relations interpersonnelles, notamment au sujet de questions aussi cruciales en Bretagne que la religion.En 1939, les connivences avec les milieux de la Révolution Conservatrice allemande, les diverses expérimentations idéologiques, les choix personnels et diverses opportunités conduisent les meneurs nationalistes bretons à entretenir une alliance avec l’occupant dont ils obtiennent bien moins que ce qu’ils espèrent, sans toutefois que cela ne remette en cause les gages que nombre de militants bretons ne cessent d’offrir aux Allemands, à divers degrés. Mais si de l’histoire du mouvement breton, on ne retient volontiers que quelques épisodes spectaculaires et dramatiques de la Seconde Guerre mondiale, force est de constater que cette dernière ne fut pour lui qu’une mise en application d’idées énoncées bien avant partout en Europe, et adaptées à la Bretagne par quelques personnalités hors norme.