Ihor Yudkin
Abstract. The old problem of artistic abstractedness is intrinsically connected with that of mediation as one of the fundamental morphological qualities of any sign. Now this problem gains attention due to the newly appeared syntactic concepts of subjective perspective and predicative hierarchy. In particular the textual multidimensionality and the existence of oblique and latent subjects of observation, as well as of participation, within the represented flow of events come back to the approbated scenic devices of inner monologue (soliloquy) and contribute essentially to textual integration. In its turn the differentiation of textual segments according to the grades of abstractedness impact upon their subjective or predicative functions enabling thus their mutual transitions and transformations.

Olena Berehova.
Abstract. Modern musical practice certifies that music that is the most abstract type of art and has undoubted advantages in the voice recreation of the emotional states and moods today sets many examples of the search of additional artistic means by composers for providing of more close intercommunication with a listener. In the most cases a composer finds these means in the visual types of arts, and they begin to carry out the role of additional visual codes in the system of musical communication: Composer — a Piece of music — Performer — Listener. Visualization on the first stage of the system of musical communication (“Composerˮ) embraces specific synesthetic (that is involving simultaneously auditory and visual) perception by some composers of domestic and artistic phenomena (such were Nikolai Rimsky-Korsakov, Alexander Scriabin, Mikalojus Čiurlionis, Olivier Messiaen and other composers), and also abilities both for musical and graphic arts (M. Čiurlionis, K. Stetsenko, S.Turkevych-Lukiianovych, Lesia Dychko and others).

Contents.
The Culturology Ideas: research works’ collection. Kyiv: Institute for Cultural Research, Academy of Arts of Ukraine, 2017. Issue 11. 270 pp.