Lviv National Academy of Arts

Data on the localities and phenotypic composition of C. nemoralis in Lviv and its surroundings, which have not been published or have only been partially published previously, are summarised. Most of them were received between 2022 and 2025. The records of this species in Briukhovychi, Horishnii, Zymna Voda, Konopnytsia, Rudno, and Sokilnyky were first described. For the first time, a complete composition of phenotypes registered near large garden centres in Pidbirtsi (Plants Club), Horodok (Elit Flora) and near Davydiv (GalSad) is presented. The tables present data for 8 thousand adult specimens of C. nemoralis from 59 sites in 11 settlements of the Lviv region. Moreover, some small samples, as well as records of single individuals of C. nemoralis in the administrative boundaries of Lviv and beyound are described in the text. The presented data confirm the rapid spread of C. nemoralis in the studied area. They also demonstrate a fairly clear association of many newly formed colonies with young ornamental plantings (most often conifers, but also ornamental shrubs). This confirms the crucial importance of garden centres in the rapid spread of this species. Although at some sites of Lviv and its surroundings the phenotypic composition of C. nemoralis may be limited to several, and occasionally even one group of phenotypes (founder effect), in general, a great diversity of the shell colouration was recorded in the studied area. Similar to other parts of Eastern Europe, individuals of C. nemoralis with brown shells are the rarest in Lviv and its surroundings. In addition to Lviv, such specimens have been found in recent years in Briukhovychi, Horishnii, Horodok, and Pidbirtsi. From 2019 to 2025, almost all possible variants of the band fusion among shells with five normally developed bands were found in Lviv and its immediate surroundings, with the exception of the rarest ones. Compared with the summarised data for the species range, the phenotypes (123)(45) and (12345) are somewhat less common, while 123(45) is somewhat more common here. The obtained data can be used in the future to monitor both the further spread of C. nemoralis in the Lviv region and possible changes in its phenotypic composition due to random processes or climatic selection.

The article discusses the prevalence in religious studies of not just an evolutionary, but essentially orthodox Christian approach to the historical development of religions. Instead, it justifies the expediency of considering any religion as a dissipative system, for which the emergence and development of various components (branches, directions, churches) in the process of development is natural, and using the example of Christianity, it shows that the development of religions corresponds to the main characteristics of chaotic / dissipative systems. The argument is that a practically homogeneous Christian community existed only during the lifetime of Jesus Christ, while from the first steps of apostolic preaching, one can speak of the development of a pan-Christian system through the formation of its various ethno-national components. Western Roman-Byzantine Christianity achieved the status of Orthodoxy, the “only correct” Christian doctrine represented by the state church organization, precisely thanks to the support of the Roman emperors. And already in the status of a state religion, the doctrine of a single Christianity and a single Church began to spread, from which various communities began to depart as a result of numerous “heresies”. Such a purely political imperial concept contradicts the natural development of any system, especially one as large as Christianity.

У статті розглянуто есе як актуальний жанр академічного письма у сфері культури і мистецтва з акцентом на його комунікативний потенціал. Актуальність дослідження зумовлена зростанням ролі есеїстичних форм у сучасному гуманітарному дискурсі, де вони функціонують як гнучкий інструмент інтерпретації мистецьких явищ і культурних процесів. Мета статті — виявити особливості есе як жанру, що поєднує наукову аналітичність із суб’єктивністю авторського висловлювання, та визначити його комунікативні можливості у сфері культури та мистецтва. У статті простежено, що есе в культурно-мистецькому контексті виконує не лише інтерпретаційну, а й медіативну функцію, забезпечуючи взаємодію між автором і реципієнтом через відкриту структуру тексту, діалогічність та багатозначність висловлювання. Окрему увагу приділено академічному есе як формі наукової комунікації, що сприяє формуванню критичного мислення, розвитку аргументаційних стратегій та індивідуального стилю дослідника. Показано, що комунікативний потенціал есе полягає в здатності інтегрувати різні дискурсивні практики — наукову, естетичну та публіцистичну, що особливо актуально для досліджень культури і мистецтва. У висновках зазначено, що есе як жанр академічного письма виступає ефективним засобом репрезентації складних культурних смислів, забезпечуючи відкриту інтерпретацію та діалогічну взаємодію в гуманітарному просторі.

The purpose of this study is to identify the historical and technological characteristics of Ukrainian blown glass through a comparative analysis of Ukrainian, Murano, and Bohemian glassmaking traditions. The article examines the development of glass production in Ukrainian lands from the sixteenth century to the twentieth century and evaluates its place within the broader context of European glassmaking. The research is based on methods of historical analysis, comparative technological analysis, and material culture studies. The source base includes historical, archaeological, archaeometric, and art-historical publications devoted to glassmaking technologies, forest glassworks, artistic glass production, and the preservation of traditional manufacturing knowledge. Particular attention is paid to the technological technologies, manufacturing practices, and mechanisms of technological knowledge transmission. The study demonstrates that Ukrainian blown glass developed under conditions significantly different from those that shaped the Murano and Bohemian traditions. Unlike the highly regulated and centralized production system of Murano, Ukrainian glassmaking evolved through a decentralized network of forest glassworks dependent on local resources and empirical knowledge. In contrast to the increasingly standardized and export-oriented Bohemian model, Ukrainian hutas remained closely connected to regional markets and adapted production technologies to local environmental and economic conditions. The research shows that the technological characteristics of Ukrainian blown glass, including chemical variability, visible inclusions, colour variations, and irregular forms, were direct consequences of the production environment and should be interpreted as material evidence of historical manufacturing processes rather than solely as indicators of technological limitations. The article further analyses the transformation of huta traditions during the twentieth century. It is demonstrated that many technological practices associated with historical forest glassworks survived within artistic glass production, educational institutions, and professional communities. As a result, huta technologies gradually evolved from a regional manufacturing system into a form of technological and cultural heritage. The study concludes that Ukrainian blown glass should be regarded as a distinct historical and technological trajectory within European glassmaking rather than as a peripheral variant of the Murano or Bohemian traditions. The comparative analysis highlights the diversity of technological solutions that coexisted in European glass production and contributes to a broader understanding of the relationship between technology, craft knowledge, natural resources, and cultural development in the history of material technologies.

The article investigates integrating systems thinking and constellation practices into English language teaching for specific purposes to art students. The relevance is determined by the need to update language training methods, considering the creative potential and intercultural interaction of future specialists. Global trends in foreign language education within competence-based, communicative, action-oriented, and interdisciplinary approaches are analyzed. A systemic approach is substantiated as a fundamental basis for forming a holistic understanding of linguistic and sociocultural processes in professional training of future artists. The paper characterizes the didactic potential of constellation exercises, spatial-role models, and creative project tasks as interactive tools for analyzing interrelations within the artistic environment and modeling creative and communicative processes. It is proved that this innovative approach significantly activates linguistic spontaneity, develops critical and creative thinking, persuasive argumentation, and collaboration skills, while positively impacting students' intrinsic motivation and engagement in a modern artistic educational setting. The conducted study convincingly demonstrates that systems thinking enables future artists and designers to perceive a foreign language not merely as a communication tool, but as a powerful analytical and creative resource for professional growth, self-expression, and intercultural dialogue. The obtained results confirm high effectiveness of a systemic approach in successfully fostering professional identity, intercultural competence, development of reflective skills, self-analysis, and graduates' readiness for international professional communication in the era of globalization. Prospects for further research are outlined regarding the improvement of relevant methodological models, their adaptation to various modern learning formats, and practical implementation in higher art education institutions.