The methodological basis of the article is the main ideas systemic, systemic-thought-activity, competence-based and synergetic approaches, which allow considering the teacher's innovative competence as an integral professional and personal, a characteristic that determines the quality of activity, reflecting personal, theoretical and practical readiness to introduce innovations (i.e., to develop and implement fundamentally new images of content and learning technologies) and is expressed in the ability to successfully act in constantly updated professional environment.

The article is devoted to the analysis of the concept of "gamification of education". The study aimed to determine the features of gamification in education and analysis of innovative forms of teaching and development of the educational process in the field of culture and art. Research methods: among the theoretical -analysis, synthesis and systematization and generalization of scientific and scientific-methodical literature to clarify the state of study of the research problem and specify the concepts on whichthe process is based; among the empirical -questionnaires of participants in the educational process in order to understand the place of the method of "gamification" in the educational process of higher education institutions. The results of the study highlight the features of the phenomenon of "gamification" and its possibilities in the organization of the educational process during the training of future professionals, in particular in the field of culture and art; there are three types of gamification that are used in education (light, deep and combined); the fundamental components of the method (elements, mechanisms, dynamics, game characters)

The purpose of the work is to analyze the neo-baroque features of the urban development of former Katerynoslav (modern Dnipro). The research methodology involves reference to the general scientific principles of systematics, logic and critical analysis. In particular, theoretical methods were used in the article, including synthesis, analysis, induction and deduction. As a result of using the historical method, determined the longevity of the architectural tradition of the city, to trace the characteristic manifestations of the secession of styles against the background of the analysis of art historiography. As a result of using the method of comparative studies, it was possible to compare some examples of architectural styles inherent in the Ukrainian construction of the XIX - early XX centuries. The paper also uses the method of abstraction, which involves the ascent from general opinions to specific conclusions. The scientific novelty. In the further development of topical issues of neo-baroque style in the Ukrainian lands through the prism of modern scientific literature. Conclusions. Thus, neo-baroque, as the style of architecture became especially common in Ukraine in the late nineteenth - early twentieth century. It was then that a new appeal to Baroque traditions took place. There are many neo-baroque architectural monuments in Ukraine, which are found in different regions, including the Dnipro. Neo-baroque tendencies are widespread in the urban development of this city. First of all, the analyzed houses of the Dnipro have both expressive stucco on the facades and restrained forms. At the same time, in the urban buildings of the Dnipro, the facades contain rich decor. Windows are both semicircular and rectangular. Mostly they are decorated with brick moldings, but there are other decorations. Nevertheless, today many neo-baroque houses in the Dnipro are in poor condition, due to the installation of shops, offices on basements and plastic windows. Key words: Ukrainian culture, neo-baroque, architecture, Katerynoslav, Dnipro, urban development.

Аналізуються традиції використання засад художнього стилю українське бароко в мистецтві України під час «першої» (1910 – поч. 1930-х рр.) та «другої хвилі» (кінець 1980 – поч. 2000-х рр.) українського необароко. Відзначається зв’язок між обома хвилями, оскільки друга стала логічним продовженням першої, використовуючи й переосмислюючи спадок, набутий українською культурою протягом кількох століть. Як і «перша хвиля» українського необароко, сформована на вітчизняному підґрунті з використанням європейських модерних традицій, «друга хвиля» українського необароко виникла у контексті загальноєвропейської постмодерної естетики з активним залученням українського культурного надбання. Розглядається впровадження переосмислених традицій та мотивів українського бароко (однієї з провідних тем української історії і культури XVII–XVIIІ ст.) та українського модерну першої третини ХХ ст. у сучасному українському живописі, літературі, архітектурі, дизайні і кіномистецтві.

The article analyzes the existential, gnoseological, and axiological dimensions of philosophy and education in the socio-cultural space. Cultural phenomena are positioned in several key manifestations: cognitive (as a result of sense experience), value (as a unique phenomenon), and being (as an element of civilization existence). The tasks of the article are to highlight the key philosophical and educational constants in modern humanitarian-scientific discourse. To achieve the objectives of scientific exploration was used general scientific (analysis, induction, deduction, systematization) and philosophical (synergetics, dialectics, phenomenology) methodologies, through which the essence of the phenomenon of philosophy and education in the system of culture are revealed, and the development of these areas of social activity is analyzed. The study was conducted based on an analysis of modern philosophical, educational and cultural ideas and theories. The scientific novelty of the study lies in the attempt to reconcile philosophical and educational theoretical-methodological and practically oriented precepts in a unified socio-cultural space. Consequently, the most effective format of coexistence of philosophy and education in the system of culture is considered to be a synergetic model, which provides interaction of these fundamental spheres of social activity.