The scientific problem of the dissertation is the culturological dimension of Ukrainian folk-art culture chronotope in the dialogue field of traditional and innovative meanings with three main explication concepts «chronotope», «folk art culture», «axiosphere» as central research and implementation categories of chronotopic concept, Ukrainian folk-art culture morphology and typology to culturological discourse.
The scientific problem of the dissertation is the culturological dimension of the chronotope of Ukrainian folk art culture in the field of dialogue of traditional and innovative meanings with explication of three main concepts «chronotope», «folk art culture», «axiosphere» as central categories of research and implementation of chronotopic concept, morphology and typology of Ukrainian folk art culture to culturological discourse. Conceptualization based on phenomenological-hermeneutic and structural-functional semiotics and morphology approaches of Ukrainian folk art culture in the unity of its symbolic, semantic and archetypal-genetic levels allows to reveal its dynamics, to clarify which the dissertation proposes the concept of heterochrony – synchronization of many times, provided classical linear narrative of history deconstruction – which involves the «compression» of space-time in favor of the spatial identities interactive dependence, involved in temporality, that, constantly moving in postmodern cultural realities, and at the same time in the universal dimension represents an amazing cultural constancy. The existence of a flexible interrelation between space and time, the growing importance of the subjective «sense of time», embodied in the appropriate spatial identities, strung on the temporal axis, necessitates the chronological models typology of Ukrainian folk-art culture, which is successively and simultaneously revealed in the following types: premodern (folklore), modern (folklorism) and postmodern (neofolklorism).
Proposed typology is to some extent conditional, because each historical model exists heterochronously and synchronously in premodern, modern and postmodern.
Scientifically proved that the Ukrainian folk-art culture, interpreted as a kind of semantic field, has its own morphology, dynamics, typology and semiotics, due to the structural grid of external and internal parameters of the chronotope. It is shown that it grows from the archetypal structures of mythopoetic heritage, forms the corresponding realm of pre-theoretical experience (life world) and at the level of self-consciousness determines the picture of the world and, in particular, the sphere of ethnos values (axiosphere) embodied in symbolic structures (semiosphere). In the proposed work, postmodern culturology categories (soft-traditionalism, transculture, glocalism) are revealed through the prism of Ukrainian folk-art culture as its phenomenal disclosures (folklorism, neofolklorism, ethnofuturism, virtual folklore, folklore of subcultures, etc.).
Definitely, that the Ukrainian folk art culture internal content, which is based on the static syntagmatic interaction (traditional) and dynamic paradigmatic (innovative) the chronotope components (archetypes and meanings) is the world environment value as a world shaping factor and semantic field of folk art – axiosphere. Within the axiosphere concept, there are three main symbolic incarnations of this environment, which consist of a symbol as a signifier and an archetype as signified: «Sophia», «Center» and «Alien» as the sacred center periphery of activity. These figures are the monomyth structural elements as a Ukrainian folk art culture component, a certain repetition of which is a fairy tale.
