Protas M. O. Paradigm transformations of the art of the XX–XXI centuries: style formation strategies. — Qualifying scientific work as a manuscript.
Thesis for a Doctor of Arts degree in specialty 26.00.01 — Theory and History of Culture. — Modern Art Research Institute of the National Academy of Arts of
Ukraine. Kyiv, 2021.
The dissertation examines the factors and negative consequences of paradigm transformations that have led to the emergence of a global phenomenon of post-culture, the process that started at the beginning of the twentieth century. In this con-text, for the first time in the national scientific discourse, thorough attention is paid to the research of the peculiarities of the formation of fine arts (and, in particular, Ukrainian sculpture), which are determined by the stylistic paradigms of modernism, postmodernism and postpostmodernism. The aspect of contemporary art, which in the space of domestic culture-formation processes has been reflected as a process of reification of the artistic consciousness and the formative principles, is, among others, considered especially attentively. The analytical focus on the phenomenon of deepening of the crisis of post-culture art in contemporary visual and theoretical and critical discourses is determined by the relevance, under the conditions of capitalism’s late phase, of the traditions of the philosophical and methodological approach developed by the Frankfurt School of Philosophy. The dissertation also takes into account the fact that among the examples of interdisciplinary research, the world-system analysis of I. Wallerstein’s “Time-space” is a rather productive
method of studying the paradigm shift of civilizational culture towards rational techno-identity, as it diagnoses by means of cyclic models of dialectical
development of transformation of social and his-torical, cultural and artistic phenomena. The consideration of cultural and historical amnesia cultivated by
contemporary artistic practices and of the previous century’s Soviet art’s transcendental aphasia is car-ried out from the perspective of consistent critical
analytics of the positive experience of artificially imposed in Soviet times the single method of social realism, which pre-vented the expression of subjective- and
individually-based styles of modern and ear-ly avant-garde of the national plastic school of the first third of the twentieth century, but after the collapse of the USSR
the Soviet totalitarian narratives were superseded by the no less totalitarian on the principle of action technoid system of market ideol-ogy of the cultural industry.
Keywords: post-culture art, paradigm transformations, Ukrainian sculpture, XX century art, XXI century art, style, commodification, reification of style consciousness,
model of cyclical development.
