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| 251 | The article examines the photographic representations of Sakhalin in the end of XIX century, in the period of A. P. Chekhov’s stay on the island. Sakhalin is viewed as a peculiar cultural and geographical space with clear frontier characteristics. Sakhalin regional identity is seen as formed on the basis of ideas of “the remote island – continent” and “the place of nameless misery”. Beginning with an analysis of Sakhalin in the context of imperial imagination, authors rediscover a photofixation of the island in the above-mentioned period. Analysis of Chekhov’s photo collection is addressed to the works of frontier and memory studies as well as visual anthropology. The article is based on empirical data of Archive of Amur region Research Society (Vladivostok) and photos from Benedict Dybovsky’s (1833–1930) album that is stored in Kamchatka Regional United Museum (Petropavlovsk-Kamchatsky). Developing a discourse about photography as a valuable resource for visual representation of the frontier territories, the authors give systematization and classification of the main images of Sakhalin at the end of XIX century (a case of photographer I. I. Pavlovsky), present the correlation between photographic and literary images as well as reveal the role of those photos in perception of Sakhalin inside and outside of an empire. The article argued that visual criteria of Sakhalin’s life were created by means of typical protagonist’s positions and scenes (labor and everyday life of hard laborers), physical anthropology (indigenous faces, faces of criminals), architect and natural landscape of the island. The authors came to the conclusion that photos of Sakhalin as well as literary works on the island depict the visible margins between Sakhalin and other parts of Russia and present the specifics of Sakhalin regional identity. Keywords: photography, frontier, Sakhalin, Russian Empire, visualization, constructing the image of region, XIX century literature, Anton Chekhov, Innokentii Pavlovsky. | 1080 | |||||
| 252 | Based on post-structural definitions of discourse(s), the article is aimed at criticizing the reductionist essence of canonical definitions of Teacher Language Awareness (TLA)], perceived as a formula for the regurgitation of western discourse practices in the English Language Teaching classroom. Based on a multimodal perspective and an ideological conceptual square, the research reports a case study illustrating how Euro-American imperial history is visualized in its entextualization in the non-language material of an English language textbook. The results of the case study reveal that in the process of re-entextualization the authors have de-emphasized the negative image of the Self by negating not only the Euro-American colonial atrocities but also their post-colonial repetition such as fascism in Spain. This concealment or content sanitation is part of the untarnished image the West projects through ELT as part of its role in the process of globalization and its connection to the neo-liberal empire, a fact that openly challenges the validity of TLA as a construct. The work also introduces the concept ‘content edulcoration’ (education + dulce (in Spanish) + decoration) understood as the means of syntactic and lexical language manipulation as well as its realization in the voice of transcript readers and images, all of which make non-language material suitable for educational purposes. From a practical viewpoint, each of the instances in the case study offers the counter-discourse necessary for resistance to the neo-colonization of the mind. The article suggests a reconceptualization of teacher formation and development in the era of globalization as well as the feasibility of researching similar issues in other major European language teaching textbooks. Keywords: EFL, discourse(s), ideology, teacher language awareness, content sanitation, content edulcoration, Euro-American colonial history, colonization of mind, multimodality | 1076 | |||||
| 253 | Questions of eugenics still remain relevant, which is not only due to the scientific appeal of the subject of the research, but also has a certain social and political subtext. Ethical communication includes a different number of opinions on this issue: their analysis is important for creating a system of moral requirements in comparison with the traditional, classical understanding of morality. In order to talk about the possibility of liberal eugenics, the author of the article sets two main tasks: 1) to determine what the concept “moral system” includes, isolating the boundaries of the action of morality (particularizing) or, conversely, making it universal in its prescriptions (absolutizing); 2) to establish whether eugenic “interventions” associated with genetic variability are possible in this regard, or they are unacceptable. In the course of solving the first problem, the author comes to the conclusion that the logic does not contradict the individual-perfectionist morality: my desire is realizable if it does not infringe on the interests of other people and does not cause them any harm. Consequently, the traditional (classical) understanding of morality, which claims to be universal and universally valid, has outlived itself, and in the context of applied research is unacceptable since moral norms are idealized and abstracted from a specific human life. Therefore, within the framework of the study of the second task, the author believes that moral reorientation is necessary. However, full legalization can lead to the blurring of the boundaries of ideas about good and evil, and, in the case of a paternalistic approach, morality should be based on the precautionary principle associated with responsibility to future generations, which in this case forces us to return to absolute moral restrictions. Human curiosity generates a desire for eugenic research: the author of the article, by analyzing the moral dilemmas presented in specific cases, demonstrates that despite the fact that eugenic prospects seem quite tempting, they are fraught with certain “pitfalls” that can have unpredictable consequences. Therefore, even if moral absolutism does not stand up to criticism, its power remains significant. There is no doubt that the moral permissibility of interventions in the gene structures of potential members of the community should have its own limits of “justification”: if universal criteria are developed, their number will increase over time because it is impossible to grasp and anticipate all the cases of a particular human life, and this will lead to the blurring of the boundaries of the morally permissible. Therefore, the particularism of morality, as a way out of the situation, is not a new moral system, but a kind of a negative belt of heuristics that helps to ethically justify each specific unique case in liberal eugenics. The necessity of semiotic diagnostics of the boundaries of the morally permissible in each unique case has been fixed. Keywords: semiotic diagnostics of the boundaries of the morally permissible, ethical discourse, biomedical technologies, absolutist moral prohibitions, moral choice, moral risk, pater-nalism, traditional morality, consequentialism | 1076 | |||||
| 254 | The formation of cognitive maps of geographical space is a crucial condition for an agent’s cognitive activity, determining his possible orientation as the highest psychical function. The initial way of understanding oneself in the surrounding world for humans was to correlate oneself with one’s natural dimensionality and to form an anthropomorphic system of measures and coordinates. This article considers processes of transforming natural geography into a culture-determined one, resulting in the formation of world maps based not on the objective vision of geospace but on mythological, religious, pragmatic, and ethnocentric factors. The influence of human’s technological extensions on transformation of his natural spatial ideas into cognitive schemata and on change in his spatial “worldview” is analyzed by the example of accessibility/inaccessibility of geographical objects. The paper posits that the possibility to interpret geographical knowledge and skills as symbolic and culture-determined options of the orientation ability are fixed not to natural, but technological mode of travel. Furthermore, the paper describes a special hybrid construct of orientation/locomotion that arises in the conditions of technological progress and sets a new topology of man’s cultural body, a technologically transformed topology of the surrounding world. Additionally, it is stated that any technical development does not abolish human dimensionality but only modifies it, expanding natural human abilities and identity. Keywords: cognitive activity, identity, cognitive map, geography, geospace, technologies, anthropomorphic dimensionality, spatial orientation, transport, embodiment | 1075 | |||||
| 255 | The article analyzes the interaction of sacred and secular elements in the space of the Christian Church, the problem of the boundary between the secular and the sacred, and options for its solution in the history of the Christian Church. The nature of the interaction between the sacred and the secular is determined by the cosmic character of Christianity. Christianity seeks to sanctify the surrounding world and change it by divine principles, since the world was created by God and has His image. The highest form of transformation of the world is the sacrament of the Eucharist. The final transformation of the world, according to the Christian doctrine, is possible after the Second Coming of Christ. Since the first centuries of Christianity, the border of the sacred and secular spaces in the temple was mobile, and the service involved the active participation of the laity. In the first centuries of Christianity, the altar of the temple stood out from its space, but was not separated from the faithful. Lay people were able to see what was happening in the altar and participate in the sacraments through offerings. Such features are typical for both Byzantium and Russia of the 10th–13th centuries. Later, the problem of disturbing the balance of the secular and sacred elements appears; it is solved differently in the West and East. The Christian West has taken the path of integrating the sacred into its secular life. Initially, this was manifested in the performance of prayers and sacraments “facing people”. There was an idea that such a performance of prayers corresponds to the Last Supper of Christ and the apostles. For the same reason, the bishop’s place in the church was moved closer to the praying lay people. Later, there was a transition to perform liturgy in national languages. All this led to the progressive desacralization of liturgy. In the East, liturgy developed in a different way. The separation of the sacred and secular spaces became a priority, which was manifested in the increase in the height of the altar barrier and in the appearance of a high iconostasis. Then the activity of lay participation in liturgy decreases, and, in the 17th century, the final separation of the sacred and secular spaces takes place. As a result of Patriarch Nikon’s liturgical reform, the position of the priest changes. A priest is understood as a bearer of grace, whose position is higher than that of a lay person. Words that have a secular meaning are removed from the texts of the service. The sphere of secular life that is separate from church life appears. This leads to the secularization of culture. Thus, Western and Eastern Christians came from the Christian idea of sanctifying the world in different ways to the secularization of culture and worship rather than to the sanctification of the space of people’s lives. But liturgy and the arrangement of the temple in the Christian East, with its tendency to separate its space from the secular, still preserve the sacred content of Christianity to a greater extent than the West. Keywords: sacred space, secular space, liturgy, liturgical text, temple, laity, priests, Western Christianity, Eastern Christianity, Patriarch Nikon’s liturgical reform | 1070 | |||||
| 256 | The article attempts to justify the use of cartography as a method of studying literature rooted spatially and autobiographically, the example being Miron Białoszewski’s map of Warsaw created as part of the project “Topo-Graphies: city, map, literature”. Literary cartography is presented here both as a method of interpreting literature and researching urban culture. At the same time, attention is drawn to its contribution to the understanding of cartography and the theory of space and methodology of cultural studies, as well as to the social and ideological dimensions of creating maps, especially their iconicity. Keywords: city, urban culture, map, literary cartography, geocriticism, geopoetics, “third space”, topography, Topo-Graphies, Warsaw, Miron Białoszewski, spatial practices, literature as urban practice | 1069 | |||||
| 257 | The article analyzes the visual representation of the conflict of urban identity. Urban identity is understood as one of the facets of personal identity that exists in the synchronic and diachronic unity. The theory of social roles allows exploring the synchronic aspect of urban identity, highlighting the “transport roles” of the city dweller and the conflicting aspects of “transport identity”. The conflict of urban identity in the synchronic aspect is actualized with sharp and irreparable changes in the urban environment. The conflict affects people’s alienation from the city, the destruction of their urban identity. The diachronic aspect of urban identity is closely related to memorial culture, which contains a wide range of identification choices. Visual representations of memorial culture influence the development of urban identity, the formation of people’s stable representations about themselves as residents of a certain city, the value experience of their connection with the city. Keywords: city, urban identity, conflict of urban identity, memorial culture | 1063 | |||||
| 258 | Internet sites are an additional space of uniting by interests, a place for upholding rights and freedoms. They are becoming more popular for social activism manifestations. Conflicting, destructive interactions in the formats of trolling, fail, and flame are observed in social networks within the seeming freedom of the Internet. A popular way for young people to present their sociopolitical views is the Internet meme: a visual-verbal means of mass communication, a tool for activation, a translator of emotions. The aim of this study is to analyze the visual-discursive features of the information content of the youth regional community “Memes about Native Saratov” posted on the social network VKontakte. “Memes about Native Saratov” is a group of sociopolitical “digital folklore”, the main content of which is Internet memes and their discussion. The criteria for choosing the “Memes about Native Saratov” group were: openness of the official regional Internet community; daily updates with new content; availability of sociopolitical content; publications with radical, rude, aggressive destructive content; quantitative and demographic characteristics. This Internet community has a significant number of young subscribers in Saratov Oblast. The members of the community, jokingly and seriously, draw sociopolitical images of the urban environment, criticize the indifference of the power structures of the region and Russia, the inaction of utility service providers, or the indifference of the city dwellers. The consistently solved research problems were focused on the collection and interpretation of discursive data using the methodology of qualitative and quantitative content analysis. The results of the analysis of three topics indicating the community’s semantic field—“Authorities Serving the People”, “Communal Lawlessness”, “Center–Periphery: ‘Russian sorrows’ ”—are presented in the article. The field included 125 memes. The authors’ understanding of the content of a constructive and destructive civic orientation is formulated in the article. Based on the score ranking, the rating of youth activity within the selected topics of the semantic field of the community for the period of 2019 was compiled. The general episodes and the specifics of discursive content, its destructiveness in Internet memes of various semiotic structures and comments on memes in each thematic area of the “Memes about Native Saratov” community were determined. The tendencies observed in the civic discourses of the youth are revealed, the prospects of manifestations of youth citizenship in the urban Internet community are identified. The study allowed the authors to present the specifics of the content of each thematic area identified within the “Memes about Native Saratov” Internet community, with a focus on the analysis of destructiveness, the discursive features of its content. Keywords: urban Internet community, youth, civic activity, destructive content, constructive content, memes, visual-discursive content, content analysis | 1063 | |||||
| 259 | The essay is dedicated to the iconographic analysis of the images of Martha and Mary in European paintings. The iconographic tradition with the construction of a visual series of works from the High Renaissance to the Art Nouveau style is analyzed. The formal techniques that determine the poetics of the compositional construction of paintings are described: geometric schemes, spatial plans, attributive signs, etc. As a result of the quantitative analysis, it has been determined that the surge of interest in the visualization of the images of Martha and Mary is characteristic of the Baroque and, to the greatest extent, of Italian and Flemish artists, while the plot is developed in different ways. It has been established that the identification of the image of Mary with the penitent Mary Magdalene is characteristic only for Italian paintings. For works of the Baroque Spanish, Flemish (the exception is the painting by Peter Paul Rubens), and Dutch schools of painting, and, subsequently, for works of academism, realistic art, and symbolism, the plot of Martha and Mary is developed on the basis of the inclusion of the figure of Christ in the compositional scheme, which most corresponds to the gospel text. Based on the iconography of the plot and the anthropological approach to reading the semantics of visual images, the textual and contextual meanings of the visual representation of the images of Martha and Mary are revealed. In the Baroque and in the countries of established and triumphant Catholicism, one of the most important connotations of the plot is the reflection of the opposition of earthly and spiritual wealth, which is eloquently manifested in the interpretation of the images of the sisters and formal compositional techniques. Italian artists’ paintings are dominated by the decision in favor of the beauty and wealth of Mary Magdalene as opposed to the plainness of Martha, who often looks like a servant. In everyday terms, Italian artists develop a motif of rivalry between the two female types, giving preference to the passionate and attractive Mary Magdalene, which is completely unusual for Flemish art, whose iconography speaks rather of the “status quo” that exists between the sisters and their service to the Lord, while the difference between earthly and spiritual service is emphasized not so much by the emotional characteristics of the images, but by the compositional structure and attributes of each of the sisters. Visualization of the question of which of the services leads to heaven, in the figurative solution of the plot about Martha and Mary, appears for the first time in Antonio Allegri da Correggio’s painting, and then, only four centuries later, in the paintings of the Symbolists Maurice Denis and Mikhail Nesterov, who reproduce the figures of Christ, Martha, and Mary against the background of the image of Heavenly Jerusalem. As the main conceptual anthropological characteristic of the plot about Martha and Mary, the dualistic irreducibility of the ways of earthly and heavenly service to each other and, at the same time, the involvement of both of them in the divine plan for man, which, as before, remains an actual existential problem of human existence, is revealed. Keywords: iconography, semantics of visual image, semiotics of visual image, visual anthropology, Martha and Mary | 1062 | |||||
| 260 | The article “Moral Blindness – The Gift of the God Machine” by John Harris is an example of a lively scientific critical discussion. It is written in the form of a refutation of the opponent’s statements and refers to the key problem of ethics: why something should be done. The choice of this article for translation is determined by its polemical fervor, which allows seeing the track on which neurotechnologies actualize the old philosophical discussion about the benefit of and respect for autonomy. Professor Harris indicates the reasons why the development of the biotechnological concept of morality contradicts the very spirit of ethics as a free and creative acquisition of the value of moral action. Keywords: moral enhancement, the value of life, feminization, the all female world | 1056 | |||||
| 261 | The article is devoted to the peculiarities of constructing urban identity in the rapidly growing Russian metropolis. The author analyzes the social construction of the image of the city and urban identity based on the epistemological concept of the diversity of types of cognition. In the framework of this concept, religion, mythology, art, etc. are considered as various logical systems that use specific methods of presenting and processing information; moreover, each of the types of cognition has its own, not completely replaced by other types, functions in the overall cognitive process. As a result, we see the combining and interweaving of everyday experience and scientific information, mythologies and ideological attitudes, artistic representations and philosophical generalizations in the construction of complex epistemological images such as the image of the city. The regularity of the presence of a mythological component in the construction of the image of the city and urban identity is related to the fact that some cognitive patterns of the myth solve some problems arising in this construction more efficiently than the rational forms of thinking. The most important of these mythological schemes are: (1) the anthropomorphic nature of mythological representation, which allows personifying the image of the object and thereby creating a human attitude to it; (2) the case determinism: the myth explains social facts by unique events that have occurred in the past and have shaped this or that tradition. The case determinism makes it possible to construct explanations when other grounds are unavailable; (3) the special semantic load of the naming procedure in mythological thinking, which includes, among other things, the ability to change the status and fate of an object by changing its name. This scheme is also in demand in conditions of lack or obscurity of other, more pragmatic ways of changing social reality. The functional complementarity of the types of cognition clearly manifests itself in a situation of a shortage of objective grounds for the image of “my city”. In cities with a long history and prevailing cultural traditions or with special distinctive features of the climate, nature, location, the construction of the image of the city is based on objective characteristics, and the scientific (historical, cultural) knowledge, as well as the artistic component, dominates in it. In the absence of features that clearly mark the city, the non-rational, including mythological, component of the image of the city increases. We can trace this trend by example of Novosibirsk—a relatively young technological metropolis. The mythological component in the image of the city is strong both in the mass consciousness of the citizens and in official rhetoric. The main mythological schemes in the construction of the image of Novosibirsk are the personification of the moment of the emergence of the city by strengthening of the figure of the demiurge—a person who creates the city as a new social world by his own free will and independent decision; the purposeful creation of iconic places with the subsequent attribution of history to them (an analogue of a mythological precedent); the formation of the tradition of preserving all historical names when naming streets in order to create the effect of “depth of history”. Keywords: modern mythology, image of city, urban identity, social construction, types of cognition | 1055 | |||||
| 262 | The article is semiotic-typological analysis of Yerevan State University (YSU) interior space and external grounds. It is a part of Yerevan City discourse, which depicts separate part of Yerevan downtown, and fragments of the interior and exterior space of YSU. Moreover, this article is a continuation of the discourse “University Space”. YSU cultural artifacts are described both by culturalhistorical as well as by a semiotic method. Russian reviews have described the semiotically labeled spaces of the university mainly by a cultural-historical approach. The cultural environment has become the meta-language concept of this approach. The cultural-historical methodology does not imply a semiotic metalanguage and analysis. This reveals psychological and cultural values, different historical eras and signs of identity, etc. The article is a detailed description of the starting point of the university exterior grounds represented by the central sculpture, interior works of art and bas-relief of the YSU Library. The central space of Yerevan State University is semiotized by various sculptures, monuments, and bas-reliefs. These are signs of social and cultural memory, referring to different cultural eras: from the Middle Ages to the Soviet Empire. The principal sculpture of the university garden represents the founder of Armenian alphabet Mesrop Mashtots and other prominent representatives of the Armenian medieval university traditions. The figures depicting Mesrop Mashtots and Sahak Partev refer to the past, pointing to the antiquity of the Armenian alphabet and the deep roots of the Armenian scholastic university tradition. Among medieval cultural figures, we see other renowned poets and writers of New and Contemporary Armenian Literature such as Abovyan, Nalbandyan, Tumanyan, and Charents. They played an important role in the formation of public and literary life, leading to the Europeanization of Armenian literature, as well as to paradigmatic cultural transitions. The analysis of empirical material demonstrated that the range of historical artifacts also incorporates the Soviet era (socialist realism). Detailed study of the basrelief of socialist realism showed that it is a stereotypical artifact of the Soviet era, a visual propaganda of Soviet totalitarian ideology. Keywords: semiotics of space, university space, Yerevan State University, visual semiosis, Mesrop Mashtots, Sahak Partev, socialist realism. | 1054 | |||||
| 263 | The contemporary art world – namely, the current artistic and cultural situation, which emerged at the beginning of the Twentieth century – has led to a process of profound rethinking of the relationship between art and law. This relationship is inherent in the very concept of art and is as old as the history of the arts. In particular, the relationship between art and law, as it has structured itself from the beginning of the Twentieth century, has two vital functions – one of which is intrinsic to the concept of art, the other being extrinsic – the understanding of which is essential to investigate the contemporary art world. Keywords: Art, Ontology, Embodied Meanings, Normativity | 1053 | |||||
| 264 | L’objectivation du corps, nécessaire pour en parler, permet de grandes avancées dans le domaine de la technique, mais peut aussi devenir source de dérives déshumanisantes. Nous aborderons deux notions paradoxales et complémentaires, le corps comme objet de recherche voire de marchandise, mais aussi le même corps subjectif et parlant à soi et aux autres. Le langage de l’homme est principalement corporel. Notre chair « pense », notre corps parle. Toutes les manifestations de la vie, que ce soit la douleur, la peur, l’horreur, ou la joie, l’amour, le bonheur-peuvent être considérées comme la conscience montre par le corps. L’objectivation du corps de l’homme est une condition de son observation. Toutefois cela doit rester un moyen et non pas devenir une fin. Keywords: la Philosophie du corps, l’éthique, la Psychologie, la technologie biomédicale, la chair de pensée, l’objectif du corps | 1052 | |||||
| 265 | The present paper focuses on analysis of narrative of the Hellenistic royal portraits depicted on coins. Unlike most of the portraits in sculpture, mosaics and frescoes, coin portrait has traditionally received only an additional scholarly attention. Coin portraits were usually integrated into research as an optional means to identify portraits of other visual genres. However, the representation and replication of coin portrait with individual traits in the Early Hellenistic period shows the shift from the collective (polis) mind to the individual (monarchy). For Hellenistic kingdoms, the royal coin portrait was not only a key tool of the political propaganda, but also a visual representation of the kingship. For the study of royal coin portrait, the analysis of aesthetics and physiognomic theories of Aristotle and Peripatetics is of a great importance. The Aristotelian heritage highly influenced the Hellenistic art and was of a great importance for all artists. The body as a single sign system becomes an important means of visual narrative exploited by the power for creating positive image of the king and kingship. The ‘Physiognomy’, attributed to unknown follower of Aristotle, reveals some striking parallels with artistic devices, widely used by Hellenistic artists - ‘melting’ eye of Alexander, curly hairstyle of kings, anastole. One of the key motifs of ‘Physiognomy’ was a so-called ‘lion’ style, which indicated virtue and generosity. Some traits of this ‘lion’ style could be found in the Alexander’s portraits and then in the coin portraits of many Hellenistic kings, who to some extend imitated the image of Alexander. The royal coin portrait was made under a strict iconographic canon, where the decorum was important. Thus, it is well known some variations of royal coin portrait – in a diadem, in a helmet, in a kausia, in lion and elephant skin and in a radiate crown. Each of this headwear has its own symbolism. An important aspect of the study is a correlation between legend and image. For the Eastern Hellenistic coinage the process of artistic degradation of coin portrait and simultaneous process of growth of the legend occurs. This process shows a shift of visual and textual priorities from implicit nature of visual narrative to explicit one. Another component of the artistic narrative is a presentation of a ruler as a goddess. This tendency represents a ruler cult, which was widely developed in Hellenism. The visualized image of deified king was widely depicted on coins. Keywords: Hellenism, narrative, portrait, numismatics, Seleukids, Alexander the Great | 1051 | |||||
| 266 | The article analyzes the problems of the poetic style of the “Moscow text” in the works of Sergei N. Durylin (1887–1954) based on the notes V Rodnom Uglu [Hometown. The Life of Old Moscow] (1928–1939) written in the Tomsk exile and the poem from the “Moscow cycle” “A. R. Artyom” (1926), which is being published for the first time. Aside from the traditional approach used by literary scholars, which proposes to consider urban space as a text, the article uses a multidisciplinary visual-anthropological approach, which considers a city as a visual-communicative text and a cultural-communicative environment. This is relevant due to both a new surge of interest in urban issues and due to the peculiarities of the poetic style of the writer’s works. It is the audiovisual code that makes it possible to most adequately consider the “urban space” in Durylin’s mentioned works as the most representative for considering this topic. Durylin’s poem “A. R. Artem” serves as the micro-model of the “Moscow text”. It contains the main audiovisual semiotic “signs” of “urban space” (the image of silence, on the background of which the “sounding world” of the Moscow house and its inhabitants are depicted: Alexander R. Artyom, Anton P. Chekhov, the cat). This emphasizes the importance of the anthropological aspect in the formation of the “Moscow text” model because characters, not cultural objects or loci, are bearers of the “Moscow spirit”. In the course of the analysis, an attempt was made to determine the place of the notes V Rodnom Uglu, which had not been previously analyzed by literary scholars, in the literary process of the era. Along with other Moscow texts, a novel about Moscow by Andrei Bely, poems by Marina I. Tsvetaeva, Happy Moscow by Andrei Platonov, “Moscow” works by Mikhail A. Bulgakov and Ivan S. Shmelyov, Durylin is trying to create his own invariant of the “Moscow myth”. Diverging from the construction of the traditional plot, Durylin creates and depicts the images of the capital (quiet, golden-domed, Great Russian) which acquired an almost mythological status for the writer, expressed Moscow’s unique and timeless face, which is almost always of national significance for the writer, and, one must think, showed the reader a certain perspective on reading the notes that make up the core of Durylin’s “Moscow text”. The writer identifies three important concepts that represent Moscow’s face: the soul of Moscow, the third Rome, dissolved in the historical post-revolutionary second Babylon, became the invisible Moscow-Kitezh, a city that should rise again. It is also important that Durylin presents his supertext about the city primarily as a “human way of being in existence” and, therefore, about space as a cultural dimension of being. Along with this, he presents the sacred archetype of sobornost as culture-forming. Trying to create an objective picture, the author pays attention to the testimonies of foreigners Herbert Wells, Émile Verhaeren, and others. Keywords: “Moscow text”, audio-visual code, multidisciplinary, Durylin, sobornost, archetype | 1048 | |||||
| 267 | The article concerns resistance performances, which can be considered as one of the most important elements of modern democracies. Citizens are looking for new forms of influence on the representatives of the authorities and other decision-makers. Forms such as pickets, protests, demonstrations, and marches over the years have become the basic tools used by members of modern democratic societies. They reflect not only social problems and tensions resulting from systemic transformation (in terms of politics, law, and economics), but also strivings, aspirations, attitudes, cultural patterns of behavior and lifestyle changes. Of course, they take on various, often extensive forms, and their participants use a variety of performative strategies. In the colors used, in the materials used, in the sounds, shouts, slogans written on banners, in graphic signs, symbols the axiological order is present. After William J. T. Mitchell and Judith Butler, it can be stated that the very presence of a “physical” body of protesters in public space is a concrete form of resistance. The evoked performances, of course, are not limited only to being in a specific place and time. They have adopted and are still adopting very diverse forms, which in turn are closely related to the ideological layer. It is about the axiological order made present in the slogans, symbols, actions, street performances. In this article, the author attempts to conduct a cultural studies analysis of three events that took place in Wrocław between November 2018 and January 2019: a march on the occasion of the 100th anniversary of regaining independence by Poland, a demonstration against the mass shooting of boars and the silent march after the assassination of the president of Gdańsk, Paweł Adamowicz. Each of these forms is characterized by different aesthetics, and also shows the diversity of ways of life, thinking of Polish citizens, and, consequently, the axes of disputes and conflicts dividing them. Keywords: resistance, performance, manifestation, demonstration, march, Poland, city, public space, urban space, axiology | 1045 | |||||
| 268 | The paper retraces the formation of the way of seeing of modernity with a view to identifying its limits and thereby the contact zones as the social spaces where it engages with other ways of seeing. The starting point of the analysis is the statement that modernity in the aspect under consideration should be defined by means of pointing at the centrality and even the hegemony of the sight, but only taking into account the peculiarities of man and society that have been transformed by the modernization. The shift from immediacy of societal relations to prevalence of mediation in modernity discloses the fact of social and cultural construction of vision that becomes entangled in a network of mediating structures and turns into visuality as a way of seeing which depends on them. The consideration focuses on the concept of visuality as a representation that, albeit it presupposes the dualism of the signified and the signifier, cannot be interpreted as barely reflecting, imitating, or copying reality. What is at issue in the construal of representation is not the quiet and relaxed relation between the signified and the signifier, but the pervasive ordering of reality to be represented. Just the assumption that the subject coercively frames reality from a certain point of view makes it possible to construe the modernity in tune with Martin Heidegger’s understanding as the age of the dominance of representation. In the issue, the admission of the coercive element of representation makes it possible to specify the way of seeing in modernity as the visual regime. Such approach opens up possibilities, on the one hand, for specifying the ways of seeing which precede modernity and, on the other hand, for the detection of similarities between the theory of the linear perspective and the concept of subjectivity. The consideration proceeds from the point that the imagery of the pre-modern ways of seeing that is characterized by the insufficient structural order contains the syncretic combination of heterogeneous entities or “bricolage” as such random multitude was designated by Claude Levi-Strauss. The transition from the pre-modern way of seeing to the rudiments of the visual regime of modernity is regarded as comparable to the emergence of metaphysics and logic. They had embedded the coercive element in unorganized thinking and besides opened the door for the dominance of representation. The invention of linear perspective is interpreted as the climax of the concept of representation and in the same vein as the counterpart of the formation of subjectivity. It is also pointed out that the linear perspective underlies the only visual regime which seems to be compatible with the philosophy of modernity without reserve and therefore this visual regime is often called “Cartesian perspectivism”. Nevertheless, the question of other ways of seeing does not look as if it is closed and the visual regimes of Northern Renaissance and Baroque as often as not also have a claim on belonging to modernity. In the paper it is argued in favor of the plausibility of another trying to find the sense of alternative visual regimes and hence to decide the issue of the relevance of their attribution to modernity. In fine the concept of baroque in the wide sense is supposed to be the research tool through which the syncretic visual regimes could be studied as the limits for the visual regime of modernity. Keywords: modernity, visuality, representation, subject, visual regime, linear perspective, Cartesian perspectivism, baroque, syncretism. | 1044 | |||||
| 269 | The academic discipline “Methodological bases of visual anthropology” is taught in the Philosophy faculty of the Tomsk State University for master’s degree students in the direction of “sociology” from 2012. Master students acquire the skill of system theoretical explication of anthropological meanings contained in the photographic image, as part of the study of this discipline. They demonstrate their competence in this area in the respective thematic essays devoted to the conceptual interpretation of photo selected by them. Here are some work of master student in sociology, devoted to the analysis of the photographic image from the perspective of visual anthropology. Keywords: photography, visual anthropology, analysis of images | 1043 | |||||
| 270 | In this article the author makes an attempt to trace the spiritual and creative components of Pasolini and Mandelstam worldview, explicate identical patterns in its construction. Careful attention to detail and things, including them in imaging system of verse, animation of the material world and sacrificial attitude toward death unites these two poets, despite the difference of time and language. Keywords: infantilism, the absurdity of existence, world of things, paradoxes of the mind, the search for meaning, intuitive insight, finding the highest point | 1039 | |||||
| 271 | The article analyzes the source of logical paradoxes Bertrand Russell identified in the foundations of mathematics proposed by Gottlob Frege. Russell proposed self-reference of expressions as the source of paradoxes. To solve paradoxes, he developed the simple and ramified theory of types. Ontological presuppositions are well substantiated for his theory; they depend on semantic, but not syntactic, preference. Contemporary approaches in symbolical logic prefer syntactic methods. But Wittgenstein’s approach in his Tractatus Logico-Philosophicus is more interesting, especially from the perspective of his picture theory of statements. Keywords: logical paradoxes, Bertrand Russell, simple and ramified theory of types, semantic and syntactic approach, Ludwig Wittgenstein’s picture theory of statements | 1036 | |||||
| 272 | The article is dedicated to the study of practices of visualizing narratives of the city’s cultural memory on the example of the analysis of brand as a myth. The relevance of the research on the practices of visualizing narratives of the city’s cultural memory is confirmed by the increased scientific interest in the phenomena that symbolically determine the urban reality, as well as by the episodic nature of research related to the study of the city’s cultural memory. According to the author, narratives that represent the symbolic repertoire of fragments of the city’s cultural memory play a special role in the processes of representation of images of the city’s past. In this regard, the city brand is considered as a myth that conveys and supports the idea of the city for various audiences through the accessible symbolism of visual forms, evoking stable associations that identify the city through cultural meanings. Considering three levels of the narrative, the author reveals various aspects of the brand-myth functioning in the urban environment: a) the formation of a stable identification of the place and its “distinctiveness”, b) the construction of a cultural collage, parts of which form coherent texts of the city in chronology and in space, с) the implementation of social practices aimed at the reflection and interpretation of the brand idea. Since the narrative text assumes the presence of semantic sequences, the brand idea should be presented in the urban reality by regularly deciphering the meanings embedded in the brand. As an illustration of the proposed theses, the author refers to three types of city branding practices that visually manifest different ways of place uniqueness: the brand myth of the city, based (1) on folk crafts and cultural traditions, (2) on historical events, and (3) on the sacred meanings of nature. The symbolic nature of myth allows considering the city brand as one of the practices of visualizing narratives that construct urban reality through images of the city’s cultural memory. The visual media of the urban myth represent one of the modern ways of representing the narrative, which, using accessible forms, “packs” complex meanings of the city’s cultural memory into simple forms understandable for most people. Meanwhile, the mythological nature of the brand makes it a powerful determinant of structuring cultural meanings and therefore a factor in constructing urban reality. The author states that brand should be considered not only as a means of increasing the attractiveness of the place, but as a tool of understanding the city for citizens. In this regard, city branding is one of the directions of the symbolic policy of regional elites. Keywords: city, values, meanings, city brand, cultural memory, memory narratives | 1036 | |||||
| 273 | The paper is concerned with the esthetic arrangement of the new elements of Antiquity in structure of the national cultural consciousness that interprets the borrowed ancient text in a perspective of political changes. New antiquity forms were entered by Peter I into the field of Russian semiotics and founded beginning for new cultural ideas in historical formation of Russian esthetics. The Antiquity which is revealed in forms of the Byzantine model is a substratum of the Russian spiritual culture of which its linguistic parameters were set by formulas of works of East Fathers of church in national literature of Russian Middle Ages. Peter the Great’s era combines subject lines of two historically developed modes of ancient art in space of Russian esthetics: East (Greek) and Western (Latin). Article purpose is to analyze connecting of two antique paradigms in ontology of the Russian culture by means of esthetic categories: ‘beautiful’ / ‘ugly’. The research has been conducted on the example of the authentic texts of the beginning of the 18th century on the basis of philological and hermeneutical methods. Keywords: Russia, Peter the Great, text of ancient art, semiotics, antique mythology, interpretation, art form, semantic field, aesthetics | 1035 | |||||
| 274 | In this study, I analyze the role of clichés in contemporary digital audiovisual arts. The use of clichés in the author’s high art is considered to be a manifestation of a low artistic level. But the same use of clichés in folklore and popular art is not considered to be a “primitive” performance. Clichés in art are defined as a formula. The article presents an approach to formulaic art by John G. Cawelti and Juri Lotman. This approach is the methodology of my study of the role of clichés in the creation of virtual space and hyperreal fictional world. Since clichés play a very important role in contemporary popular culture, I present the data by Lev Manovich, the researcher of digital visual culture. He analyzes the digital component in the digital audiovisual medium. Thus, for the first time, I link Cawelti and Manovich in the analysis of contemporary digital audiovisual art. Speaking about the digital component in art, I should mention that the interface, defined as a formulaic construction, is its important feature. The article states that the cliché in modern digital audiovisual art is one of the main structural elements of a work of art which affects the aesthetic form and content of an audiovisual work. Using clichés, we create virtual and hyperreal worlds that help the addressee to feel escapist feelings and get immersed in these fictional worlds. Also, clichés give us the opportunity to see the new in the already familiar in the perception of art. I define the vision of “new in the already familiar” as defamiliarization by Viktor Shklovsky. The listed properties of the cliché are manifested in all digital contemporary audiovisual arts: cinema, video games, video art, and video installation. The examples are given below in the study. The obtained results are relevant for studying the new types of digital audiovisual arts such as Internet art, interactive cinema, science art, computer art, and others. These arts are now at the stage of their formal, aesthetic and content formation. The obtained results will help to understand the new processes taking place in our postmodern society Keywords: cliché, formula, formulaicity, Cawelti, Lotman, popular art, audiovisual arts, hyperrealism, Baudrillard, postmodernism, virtual space, End of Art, Manovich | 1034 | |||||
| 275 | This study is devoted to a review of theoretical foundations and concepts in the field of the use of color as an important visual component of the urban environment, as an integral part of any physical form. Color has a significant impact on the person’s emotional perception of space. Also, through color, the human mind actualizes many associative chains, which influence the process of identifying a place, cultural affiliation, etc. The concept of coloristic culture is described, and the main objects and phenomena associated with this concept are identified. Coloristic culture currently carries a certain aspect of binarity. On the one hand, there is an influence of international culture, which forms supranational tendencies in the field of coloristics and, ideally, the action of which should be aimed at the realization of universal human values. On the other hand, the importance of regional culture and its manifestations, including in the field of color, is increasing. It contributes to the deep processes of “rooting” of a person through internal identification of himself / herself with a particular culture, region, place. The rapid growth of cities, the proximity of multi-temporal architectural objects on the same environmental site, the need to search for new techniques and tools in the urban navigation actualized the use of color as an effective means of harmonizing individual city formations and the city as a whole, as well as the means of orientation in a complicated city structure. The next step is to analyze the influence of theoretical concepts on the decision-making process in the field of coloristics of the city at the present time. How real is this process regulated, to what extent is it formed spontaneously, and doesn’t it lead to the significant professional influence? Changes in urban planning associated with the transition from the working out of master plans for the city development for a period of one or two decades to the elaboration of short-term master plans are analyzed. The possibilities of professional and unprofessional influence on the coloristic decisions of the modern city are reviewed. The complex and laborious process of working with historical coloristics is described. The third stage of research includes the description of phenomena and trends in the field of color and plastic, which are only gaining strength in their influence on the urban environment and require further theoretical reflection and forecasting. Examples of the use of new materials and technologies and their influence on the color of architectural objects are given. It is noted that if in the last century architecture was the compositionally dominant color carrier, now there is the possibility of forming a memorable coloristic image of the city through iconic paving and geoplastics, an active navigation system, and the use of landscaping elements with a variety of polychrome. The information content of color, its multitextuality make it an important tool of the “culture of real virtuality” in the information age of the world. Keywords: city, urban space, urban environment, visual environment, color in architecture, modern architecture, experimental design. | 1033 | |||||
| 276 | The Thebaid by Publius Papinius Statius is the most extensive surviving account of the war started by the sons of the Theban king Oedipus—Eteocles and Polynices. This fratricidal war is a crime that Statius wants to tell the reader about, having established himself in the role of a moralizing poet who is equally Roman and Greek. In the case of Oedipus’ children, the war is a divine instruction-punishment that mortals cannot or do not want to prevent. Eteocles and Polynices, as described by Statius, are young men evil by nature, experiencing the innate hatred of each other and lust for power. Having mixed the genres, Statius created a new version of the mythological events, which both ancient Greek and ancient Roman playwrights turned to. In his version, Eteocles and Polynices are not the last generation to whom the curse passed. Though the curse descended on the male line among the descendants of the Theban king Laius, it inevitably affected the female line as well. As if giving Eteocles and Polynices a chance to become better, Statius keeps delaying the beginning of the war, which allows Polynices to have a baby who is destined to become the fourth generation of the “wicked family”. Statius does not report on the fate of this child, giving readers the right to decide for themselves whether he will become the next pedagogical fiasco or turn into a pedagogical victory over the curse of the House of Laius. The article also analyzes the terminology used by Statius and Hyginus regarding the burial of Polynices—one of the key points of the plot. To refer to the funeral pyre, Hyginus uses the word ‘pyra’ borrowed from Greek (πυρά). Statius chooses to use the Latin word ‘bustum’ to refer to the funeral pyre of Eteocles, where Antigone and Argia place the body of Polynices. The scene of Antigone and Argia burying Polynices, described by Statius and Hyginus, is reproduced on a marble sarcophagus dating back to late II AD (Villa Doria Pamphilj). The fact that the version of Antigone and Argia buried Polynices was not invented in the Roman times but is rooted in an ancient Greek tradition going back to the archaic period is confirmed by the artifacts from material culture: for example, a sarcophagus from Corinth dating from the middle of the second century AD, which demonstrates a classical Greek influence, and an Etruscan amphora dating from approx. 550 BC (Basel: Inv. Züst 209), which depicts a combat between Polynices and Tydeus that Argia and her sister Deipyle watched. Keywords: anthropology of city, tragic visualization, education space of city, Statius, Thebaid | 1033 | |||||
| 277 | This article aims to examine the reflection of figurative characteristics of the city’s architectural environment in artists’ landscapes. By analyzing individual figurative interpretations by different artists, the authors attempt to determine global tendencies in the reflection of the city’s architectural environment in general, and in its individual elements (architectural objects and spaces) in visual arts in particular. The authors focus attention on the specifics of the presentation of different types of urban spaces, both public and private. Analyzing public spaces of the city center, which form the “grand portrait of the city”, the authors concentrate on the reflection of the city’s landmarks—the most significant semiotic architectural objects and spaces that form a positive and presentable image of the city. Some parts of the urban space are favorite topics of urban landscapes by Omsk artists. It is these spaces that residents perceive as landmarks; they represent the most valuable, in semiotic terms, parts of the urban text. In Omsk, undoubtedly, the landmarks of the city are architectural ensembles in Lenin St. (Lyubinsky Prospect) and Tarskaya St.; ensembles of the Sobornaya and Nikolskaya Squares; the buildings of the Drama Theater, of the Seraphim-Alekseevskaya Chapel and of the River Boat Station, etc. Artists have favorite perspectives in depicting the architectural spaces of the central part of Omsk. One of them is a view from the windows of the House of Artist on the Om’ River, the bridge, and the perspective of Lubinskiy Prospect, which is on the other bank of the river. Artists show Lubinskiy Prospect in different ways: due to not only the chosen angle, but also their mood and attitude to the space they depict. Some artists go to the deep level of a philosophical understanding of the surrounding space, while others illustrate it as ordinary. Private landscapes, as usual, show parts of urban environment that are relatively isolated from public central urban spaces. Yards and arches are examples of it. Private spaces usually have a close, intimate atmosphere. Most private spaces are anonymous. The most vivid examples of the private urban space are yards. Omsk artists also reflect the motif of multistorey buildings, mainly concentrated in the outskirts, in their works. Some artists depict the outskirts as an empty space, while others interpret them as a habitual, familiar space full of utilitarian functions and arranged by people to meet their needs. Keywords: image of city, image of architectural environment, scenery, landscape, city landmarks, public space, private space | 1033 | |||||
| 278 | It’s about blurring the boundaries of documentary and artistic photography. The difference of time, which we experience today, is that the documentation often serves as documentation of the same document, or otherwise, it works with the image of the document. The symptoms that we find in all spheres of science, politics, economics. In the Humanities the Sciences appear more related with the dimension of the images subjects: visual anthropology, visual sociology, visual ecology. Symptomatic in this context is the attempt of historians of philosophy to work with images of ancient philosophers, the interest in visualizing the categories of education, to everyday photos. Keywords: vernissage, visual anthropology, visual ecology, documentation, expression body, gesture, portrait | 1031 | |||||
| 279 | Market square of a city or town is a spatial frame where the notion of lower middle class was formed and in which memorial events took place. Due to the tragic events of the 20th century – the First and Second World Wars, Holodomor (famine) and Holocaust, emigration and moving of peoples, destructions and distortions of town space – market squares have become a certain mythological construct. After the damages of the First World War the market squares were restored and were actively functioning. In the second half of the 20th century, most market squares were completely destroyed. Distortions of the market squares resulted in the disappearance of urban patriotism and deformation of town resident’s identity. Keywords: market squares, historical town, spatial symbol, architectural monument, town resident’s identity | 1030 | |||||
| 280 | The paper deals with the results of research the everyday family practices in public urban environment. The work is based on the empirical research results (interviews, participant observation). The author uses an interdisciplinary approach, theoretically relying on the work of representatives the sociology of everyday life (I. Hoffman). Improvement of urban environment and consideration the needs of families with children come to the forefront in modern cities. The central part of the city is the most development in urban space, since the center of the city is its face. New city areas are equipped with safe and comfortable playgrounds for children and parents. While the old city areas that came from the Soviet past are poorly equipped and unsafe. The main object of our research is the playground in old city areas, as a place for communication of parents, children and other citizens. The author tried to understand: who are the modern visitors of children’s playgrounds in old city areas? W hy do they need public spaces of childhood? The paper concludes about the heterogeneity and non-obviousness of communities spending time at playgrounds, as well as its wide functional capabilities. This allows us to note the large social potential of children’s playgrounds as possible objects for constructing comfortable public spaces in the city. Keywords: city, visual environment, public space, playgrounds, network interaction, childhood | 1029 | |||||
| 281 | The article is devoted to the main features of young scientists' views about science in the conditions of transformation of the social and cultural environment of modern cities. In the context of implementing "smart cities" projects, it is vital to consider not only the issues of their technological equipment but, first of all, the formation of a distinctive social and cultural scientific environment. The author notes that semiotic effects of both self-presentation of science in one's environment and presentation and representation of this sphere in society have a significant impact on the formation of images of science perception. Especially among young scientists who, due to their age, remain representatives of a particular group of society, but also begin to identify themselves consciously as members of the professional scientific community. It is up to young scientists to build a "visual anthropology" and shape the future space of modern cities. It is noted that the most important role in the formation of public ideas about science is played by the channels of popularization and scientific communication, the development of which in recent years allows us to talk about the communication space in which young scientists form their ideas. The article presents the results of a sociological study conducted in 2019 among the scientific youth of the Central and Siberian districts, designed to identify how the youngest cohort of scientific youth (from 18 to 35 years old) “sees” science, how it perceives its role in its living space, how the image of science in Russia is characterized for them, whether its image is attractive or not. The theoretical and methodological basis of the study is a political-psychological approach included formalized interviews and the method of unfinished sentences. The interview materials were subjected to quantitative processing and qualitative analysis. In accordance with the political-psychological approach, the content of young scientists' ideas about science was examined, their cognitive complexity and emotional sign were determined. The study showed the importance of significant judgments and stereotypes, as well as motivational attitudes and professional requests of this group in the context of individual large branches of scientific knowledge. It is concluded that the formation of the living space of a «smart» city is impossible without the development of human capital, serious work with young scientists (including socio-humanities) who will participate in the formation of a full-fledged urban infrastructure of knowledge in a meaningful way, and develop the sociocultural role of science as a certain type of specific activity in the formation of the living environment of cities. Keywords: «Smart» city, science, young scientists, sociocultural, political-psychological approach | 1029 | |||||
| 282 | Text concerns on visual dimension of urban space. It’s based on analyses of historical and contemporary processes and phenomena shaping that space. The main topic is urban landscape of Tomsk (Russia). Nevertheless, the article contains a theoretical and methodological proposal that connects anthropological-semiotic approach with the idea of presenting various urban aesthetics of the city in context of relations between systems of values and political and economic disputes over the urban space. It’s reflection on patterns of behaviour, norms, beliefs, expectations and needs of citizens. For author, city is not only a physical place structured by material objects but also as a human communicative environment semiotically and axiologically marked space, which reflects the position of a human being as a cultural subject initiating the cultural activity. On example of wooden buildings, he shows relationship between the socio-cultural and architectural complexes. The author analysed architecture and architectural environment of the city as a text (semiotic construct), which manifests different types of lifestyle, aesthetic preferences, modernisation projects, ambitions of power, political strategies. He is particularly interested in the transformation of “reality” – the impact of urban texts on the perception of space and thinking about space (also in dimension of community and social differences). Keywords: city, urban space, architecture, culture, cultural heritage, activities of residents, semiotics of urban space, urban studies, urban research, Tomsk, Siberia | 1022 | |||||
| 283 | This report clarifies the position of the university in the modern city. The relationship between the city and the university as cultural and anthropological constructs expressing the existential order of human existence is considered. The author defines the role of the university in the creation, structuring and transformation of the cultural space of the city. The article formulates the university mission, which is the formation of anthropological reality. The position of openness of the university to the city and the city to the university is argued. The prospect of overcoming the university’s strict local binding to a specific place in the perspective of understanding and visual structuring of urban space is investigated. The author outlines the perspective of mutual transparency and the merger of the city and the university in the context of solving the general problem of humanization of habitable space. Keywords: city, university, inhabited space, visual environment, spatial localization, humanization of urban studies | 1019 | |||||
| 284 | In the article, from the standpoint of system analysis the author considers some features of a fairly young conductor art in the dynamics of its genesis and development, due to the progressive evolution of musical art in general. From the standpoint of pedagogical praxeology, specific examples of outstanding performers (Arnold Katz, Evgeny Mravinsky, Herbert Von Karayan, Alexander Sveshnikov, and others) describe the professional and personal qualities that an orchestra conductor or choir should possess (especially a novice conductor), and features of the creative interaction of the leader collective and performers. Describing conduction as an object of visual perception, the author identifies the leading role of Ilya Aleksandrovich Musin in the formation of the technique of conducting art in Russia, designating the gestures of “triad” – “attention”, “breath” or “auftakt” and “attack of sound”. At the same time, determining the true nature of the art of conducting, the unity of the two main components is noted – the technical side and the expressive one. Emphasizing the primacy of the production, the technical equipment of the manual apparatus, the author updates the significance of the artistic interpretation of the conductor’s gesture, which presupposes the emotional expression of the intention, color, soul of the composer. Keywords: conductor, conducting gesture, conducting technique, musical performance, language of artistic expressiveness. | 1019 | |||||
| 285 | The article provides a brief outline of the antinomic nature of bioethical discourse and the possibilities of its geometric visualization. Two visualization options are considered. The first is associated with the representation of a particular situation as a system of polarities, which in turn is modeled in the framework of a vector model. In the simplest case, the thesis and the antithesis are considered as two orthogonal vectors P1 and P2, and the synthesis is considered as their vector sum S = P1+P2. In this case, we can also introduce a more quantitative estimate of the “measure of multidimensionality” M(P) of the polar system – as the magnitude of the projection of its vector representation P on the sum vector S, i.e. M(P) = (P,es), where es = S/|S| is the unit vector of the vector S, and (P,es) is the scalar product of the vectors P and es. Using these constructs, the author analyzes one example from bioethics related to the clash of the principles of mercy and truthfulness (the problem of “lying for salvation”). An act (action or omission) is interpreted as a kind of an operator on events that transforms some events into others. It is assumed that the subject considers various possibilities in their actions and chooses those that maximize a particular value measure of the subject, in our case, the measure M(P) of the vector projection of the polar vector P of the situation on the sum vector S – the vector of synthesis of basic polarities. The second version of visualization is related to the concept of antinomies – such contradictions that are not formal logical errors – in bioethics. In contrast to errors, in antinomies, both the thesis and the antithesis have their moment of justification within the framework of certain conditions. The concept “antinome” is also used; it is the logical subject of antinomy, which is predicated by the thesis and the antithesis of antinomy. Antinomy reductions correspond to two extreme aspects of the antinome, which are called its “reducts” – by analogy with the reduction of the wave function in quantum mechanics. Various examples of antinomes are given: bioets, globolocs, and holomers. In bioets, one reduct expresses the biological (bioreduct) definition of the antinome, another the ethical (ethoreduct) one. In globolocs, global (globoreduct) and local (locoreduct) types of reducts are distinguished: the former expresses more global (universal) ethical definitions, the latter more local ones, related to the values and norms of a particular local community. Finally, holomers are a kind of antinomes in which the definitions of the whole (holoreduct) and the part (meroreduct) are antinomically connected. They are interpreted as multidimensional mental objects in some generalized space, so that their extreme aspects (antinomy reductions) can be represented as generalized projections of a more multidimensional state within certain constricted conditions (reduction intervals). In this case, it is possible to geometrically visualize such states as, for example, three-dimensional objects in space, through which antinomes can be modeled, and their reducts as two-dimensional projections of a three-dimensional body on certain projection planes (intervals of reducts). In this case, one of the central tasks of bioethics is to determine the boundaries of the demarcation of some intervals from others. For example, in solving the problem of abortion and the status of the human embryo, such a demarcation is expressed in the search for a time point that would separate the phase of a more biological definition (bioreduct) of the embryo from its more ethical state (ethoreduct). In conclusion, the author suggests that bioethical problems are connected with the idea of mental multidimensionality, which forms the basis of a possible visualization as an interpretation of mental multidimensionality in its vector representation. Keywords: antinomy, antinome, bioethics, bioets, visualization, geometrism | 1014 | |||||
| 286 | The article presents the study of urban space form the existential semiotics point of view. The main notions presented in this paper are the surrounding (i.e. the environment – landscape – city space) and the surrounded (subject – an individual human body). Maintaining the structuralist way of semiotic thinking, the author refers to the concepts of Ferdinand de Saussure (langue and parole), Algirdas-Julien Greimas (englobant / englobé), Michel de Certeau (strategies and tactics) and finally Eero Tarasti (existential semiotics, highlining the figure of the subject). The nature-culture relation discussed here is being presented in the perspective of biosemiotics also. The main part of the article contains the author’s proposal of applying Tarasti’s concept to the city space: firstly, his concept of the landscape semiotics (from 2000) and next the concept of the dynamic “Z-model” (from 2015). As the result, there is presented a complex semiotic study of the city space in the frame of the paradigm of existential semiotics. Keywords: Semiology, structuralism, existential semiotics, biosemiotics, nature-culture relations, landscape, urban space, subject, environment, Z-model, surrounding, surrounded, tactics, strategies | 1012 | |||||
| 287 | The article addresses practices of visual subversion undertaken by an independent contemporary art center called The Substation in Singapore. The curator project, “Discipline the City” examines the question of social control written into space and material and technological circumstances in a contemporary, highly urbanized metropolis. Drawing on the accomplishments of contemporary visual studies and urban studies and incorporating “material turn” into their discourse, I examine the issue of control in a disciplining city, where the source of oppression is not institutionalized and objectified power, but the material and visual properties of an urbanized reality. The political ontology of a disciplining city encompasses both forms of oppression and subversion, built into the relationships between objects, artifacts, technologies, people and other organisms that unveil themselves in social practices. Keywords: urban studies, visual studies, material turn, subversion, political ontology, disciplinary city, disciplining city, urban praxis, The Substation, Singapore | 1011 | |||||
| 288 | Philosophers of postmodernism consider language to be not a passive mediator between reality and consciousness but a prism, through which people interpret the reality: J. Baudrillard said that mass media demonstrate people signs instead of reality. It is similar to the role that advertisements and commercials play. Ads and commercials reveal and, moreover, help create intentions and desires of society, and have a close relationship with it, being a kind of a guide for the recipient. It seems to be an issue of high importance to investigate the usage of precedent-related phenomena in Japanese advertisements and commercials to distinct how Japanese society represents, evaluates, and reflects itself, what images the society and the recipient can create through them. Precedent-related phenomena are verbal and non-verbal elements which are repeated in the discourse of a linguacultural community. There are several types of precedent-related phenomena such as precedent-related text, name, phrase, and situation. Being important in emotional and cognitive ways, precedent-related phenomena are often used in connotative meanings in order to reveal cultural values and associations within the recepient: precedent-related phenomena help express values and cultural concepts of a group or society. They make possible to estimate the product or to manifest one’s position on a global scale by comparing or contrasting a real situation with a precedent-related one. Therefore, precedent-related phenomena impact the recipient with all their linguacultural information, and imply additional characteristics. Precedent-related phenomena are used not only in oral or written speech, literature, but also in advertisements and commercials, which borrow all the above-mentioned features. Thus, such phenomena help imply positive meanings to the object of ads, draw attention to it, imply characterization, become a source of argumentation through emotional cognition, entertain the recipient and bring them aesthetic pleasure when a well-known precedent-related phenomenon becomes, for example, a part of a pun or a core part of narrative advertising. Precedent-related phenomena are frequently used in headings or slogans to catch the recipient’s attention or set the tone of an advertisement, to create a more complicated image of a product via associations. The analysis shows that, among all precedent-related phenomena in advertisements and commercials, names are used more frequently. Perhaps this is due to the necessity to introduce the protagonist, who will express the product’s advantages, into the conception. A precedent-related name can also build direct or indirect arguments. Recipients follow the advertisement’s plot, where familiar precedent-related names appear, and its twists and turns help hide the intentions of utilitarianism marketing. Precedent-related phenomena can also serve a function of a password: phenomena based on national culture dominate in Japanese advertisements and commercials. Among the different source-fields of the phenomena, the “History” field predominates, the “Fairy-Tales” comes second. This highlights Japanese society’s respectful and positive attitude to their history and culture. Ads and commercials create an image of a mono-national society, who understand and value their link to ancestors and their heritage, which all the Japanese are truly proud of. Keywords: advertisement, commercial, precedent-related phenomena, communication, recognition, Japanese culture, history, literature, folklore, print | 1010 | |||||
| 289 | An analysis of the use of montage techniques as a literary method in the works of Pavel Zaltsman is presented in this article for the first time. The influence of the concept of analytical art and the practice of film editing of the 1930s on the formation of Zaltsman’s aesthetic views is revealed. At the time, the idea of montage became a kind of a cultural “fashion” of the time, and the basic principle of montage was applied not only to cinema, but also to poetry, prose, and painting. The research focus in the case of Zaltsman is retrospective. The authorial attitude of the writer Zalsman is compared with what Sergei Eisenstein did in the movie. The idea of post-utopian modernism – the portrayal of history and/or modernity in personal and social experience as a series of painful ruptures – is presented as the main narrative in Zaltsman’s unfinished novels: Puppies and Central Asia in the Middle Ages (or The Middle Ages in Central Asia). The article justifies that Zaltsman’s texts, which have become famous in our time, were generated by time itself and implement the artistic principles of the early avant-garde. The forms of interaction of the verbal, the intermedial, the cinematic, and the visual lead (in the case of Zaltsman’s texts, as described in the article) to the creation of a discourse that transforms reality in the reader’s mind. Zaltsman recodes the word in the specific and thoughtful way of structuring the text, which turned out to be possible thanks to the use of film editing techniques. The main feature of montage aesthetics in Zaltsman’s texts is dividing the text not into chapters, acts or scenes, but into fragments and episodes that reveal the writer’s montage optics. As a result, montage in the text, just like in the movies, creates subjectivity – the opportunity to perceive the reality through the eyes of the character. In the aesthetics of the novels, the montage of both planes (images) and episodes (actions) can be traced, which shapes the polyphonic novel as a film discourse. Despite the incompleteness of Zaltsman’s novels, the ideology and aesthetics of the literary texts are interesting from the standpoint of our time as they give a detached and objective view of what is happening that the author outlined using film editing techniques, and are expressed in the most original form of presenting a historical narrative that resonates with our time. Keywords: avant-garde, discursive practice, intermediality, cinema, literary text, narrative, montage, poetics | 1010 | |||||
| 290 | This interdisciplinary collaborative paper looks at the ways performing arts and fashion practices have impacted each other, such as the performative nature of some of the recent catwalk shows, including Dries van Noten’s 2021 collection and the late work of Alexander McQueen. The Body as presence, matter and meaning has become central to the arts both creatively and theoretically, with a sensory turn being emboldened by, for example, Affect Theory. Our paper notes the performative and body turn in fashion studies, and the way theatrical performance has emancipated the presence of costume – thinking of, in the UK, for example, the way Michael Clark’s early work collaborated with artists such as Leigh Bowery, the ethos of punk as an aesthetic, and the legacy of this innovation. We consider the move from the dominant gaze (director as uber author) to a more inclusive model, which recognizes that all participants, including costume designer, contribute to the ensemble creation of a performance – theatrical or catwalk. We also discuss the more recent move from made-from-scratch costume to the (adapted perhaps) found object as sustainable practice, from new and bought to second-hand, customised, recycled and upcyled. We include in our discussion the way some current theatrical costume designers have insisted on bringing their presence in the creative process to the fore, arguing for an insubordination of costume; and finally, we reflect on the difficult and slowly emerging issue of body emancipation, with changes in the modelling business including more faces and body types, and contrast this with examples of inclusive casting in theatrical performance. Finally, we consider practice as research as understood in UK universities. This model is used to capture what constitutes practice that should be taken seriously by the academic environment: the creation of “new knowledge” in ephemeral practice and durable reflective – and possibly argumentative – analysis. In writing this collaborative piece, speaking about performance fashion, about practice, and practice as research, the authors have inevitably mentioned resistance to isolation: isolation between disciplines, isolation between artists and theorists, isolation across boundaries, and the necessity of articulating ourselves so that we can speak the same language, understand each other and work together. Keywords: fashion, performance, body, punk, prosthetics, dance, catwalk, Practice as Research | 1009 | |||||
| 291 | The aim of the article is to examine the semiotic nature of the titles of detective novels by Darya Dontsova based on the three dimensions of semiosis: semantics, syntactics and pragmat-ics. Semiotic analysis serves as the main research method. Contextual interpretation, structural, stylistic and pragmatic analysis, metaphorical modeling and genre questionnaire are auxiliary methods. The research hypothesis lies in a supposition that the basic function of the title of a lit-erary text, unlike that of a mass media, scientific, etc. text, is to label, index a text as an integral sign. An informative function of the title can be realized after understanding the whole text, de-termining its genre, and taking into consideration the overall dialogism of the text with the au-thor’s oeuvre and with the intertext of the literary process. For advertising purposes, some titles are not intended to predict the sense of subsequent texts. The features of Dontsova’s titles are paradoxicality (elements of titles are semantically incompatible), abundance of precedent signs, intertextuality, intersemioticity, carnivalization, language game, parody, persuasion, and sug-gestiveness. The semantic parameter of title semiosis presupposes clarifying the content-related link of the titles not only with subsequent texts but also with the reader’s intertextual and in-tersemiotic knowledge. The semantics of the titles of Dontsova’s ironic detective novels is corre-lated with the frequently secondary structural components of this genre and is characterized by the metaphorical borrowing of lexemes from different source domains. The syntactics of the ti-tles is realized through relations with different components of the texts, with megatext and in-tertext, with nonverbal cultural semiospheres, including precedent phenomena. The pragmatics of the titles is to spark interest, curiosity, desire to resolve the paradoxes of the title by reading and understanding the content of the book. Paradoxicality, inherent to titles of ironic detective novels, serves as a powerful means of suggestiveness, affecting both readers’ consciousness and the unconscious resources of the psyche. The prospects of this research are to focus on the stra-tegic programs of the communicative influence of titles of popular literature, to conduct experi-mental studies on the index of the title informing properties and on the title predictive value for subsequent texts. Keywords: title, index, semantics, syntactics, pragmatics, intertext, language game, parody, persuasiveness, suggestiveness, paradox, carnivalizition, precedent phenomenon | 1007 | |||||
| 292 | Count Aleksey Sergeyevich Uvarov (Mar. 12, 1825, St. Petersburg – Jan. 10, 1885, Moscow) – Russian archaeologist, honorary member of the Petersburg Academy of Sciences, founder and leader of the Moscow Archaeological Society (1864) and the Historical Museum in Moscow (1883); the founder of the Archaeological Congresses in Russia. He conducted archaeological excavations in the south of Russia, in Suzdal and in the Taurida Governorate. Count Uvarov is the author of books “Studies of Antiquities of Southern Russia and of the Black Sea coast” (1848), “The Merya people and their way of life by results of the burial mounds excavations” (1851), “Archeology of Russia. The Stone Age” (1881). He published his articles in the journal “Antiquities” of the Moscow Archaeological Society (since 1865), as well as in the “Archaeological Herald”. He is the founder of the Uvarov Prizes of the Academy of Sciences (1857), named after his father. A. S. Uvarov’s “Collection of Small Works” was published in 1910 to the 25th anniversary of the death of the Count by his widow Praskovia Sergeevna Uvarova (1840–1924). Countess Uvarova is a well-known Russian archeologist and historian; from 1885 to 1917 she headed the Moscow Archaeological Society, having replaced her husband on this position. Two texts from the above-mentioned “Collection” are presented below: 1) a small note about the mosaic “Virgin Oranta” from the basilica of Urs in Ravenna as a prototype of a similar image of the St. Sophia Cathedral in Kiev; 2) a brief remark about the symbolic meaning of the iconographic plot “Savior the Blessed Silence”. The texts are published in the original spelling. | 1004 | |||||
| 293 | Studies of visual thinking represent one of the trends expanding our views on the principles and mechanisms of human thinking. The present paper outlines three main approaches to the study of visual thinking. The psychological approach has been set apart based on the analysis of works by Rudolf Arnheim who demonstrated that visual thinking might be understood in terms of the psychology of thinking. Arnheim presented visual thinking as a mode of thinking that allows singling out the essential – common for the whole class – properties of the observed objects. The legitimacy and relevance of the psychological approach can be circumstantially proved by a large number of visual intuitions in philosophical epistemology. The neuroaesthetic approach has been singled out based on the analysis of works by Semir Zeki and V. S. Ramachandran. The founders of neuroaesthetics came to the conclusion that visual perception is not the reflection of an object by the eye, but an active brain activity aiming at completion or modelling of an object in accordance with certain laws such as the peak shift principle, the law of isolation, the law of symmetry, etc. Developing the ideas of neuroaesthetics, we can note that these laws of visual perception are suitable for describing the procedures of abstraction and idealization. A broader interpretation of the laws of visual perception and their application to intellectual procedures seem to be a promising perspective. The gnoseological approach has been examined on the example of the notion of “point of view”, which refers both to visual and abstract thinking. Johann Martin Chladenius used this notion in the methodology of historical knowledge, treating the latter as a vision of the past under a certain angle. Another way of developing the “point of view” is presented in Frank Ankersmit’s conception. Being a representative of the narrative philosophy of history, Ankersmit interprets the “point of view” as a narrative substance which allows integrating separate utterances into a single historical narrative. The notion of “point of view” demonstrates that historical knowledge is treated as a certain vision of the past and that historical research is interpreted in terms of visual thinking. All the three mentioned approaches point out a strong link between the visual and the abstract and thus open up a particular perspective on the study of human thinking, which may, for instance, be of interest in the study of artificial intelligence. Keywords: visual thinking, neuroaesthetics, “point of view”, Rudolf Arnheim, V. S. Ramachandran, Semir Zeki, Frank Ankersmit | 1004 | |||||
| 294 | As known, Robert Bresson rejects the widespread theatrical forms of film adaptation of a literary text. The use of author’s expressive means in cinema creates a separate, unique (characteristic almost exclusively for Bresson) space for the interpretation of literary texts. Bresson’s style in cinema makes it possible to change (transform) the narrative structure of the text being filmed subtly but radically and, at the same time, to remain faithful to the spirit of the original text. So, any Bresson adaptation is interesting also as an original reading (in many ways different from literary or theatrical readings). In the article, I trace the author’s methods of transforming and at the same time preserving the spirit of the screened work on the example of the film A Gentle Woman based on Fyodor Dostoevsky’s story “A Gentle Creature” or (sometimes translated as) “The Meek One”. In the first part of the article, I offer an immanent analysis of the story and try to show the meta-plot nature of the main intrigue (at the plot level, the decisive events are immediately known and do not constitute any intrigue). The main character and at the same time the narrator leads a monologue (the story is exhausted by the narrator’s monologue) to clarify the truth of the event (his wife’s suicide) and determine his own degree of guilt. Along with other underground types and characters, the main character gets confused in his own mind and hesitates between self-exposure (admission of guilt to the Meek) and self-justification. Against the background of the monologue of the protagonist (the diegetic narrator), the silence of the Meek, together with the uncertainty of the motives of her behavior and a very general description of her character, becomes an important key element in the structure of the narrative. I prove the inconsistency of interpretive attempts to break the silence of the Meek to explain her character or her suicide. In the second part of the article, I pay special attention to the context of Dostoevsky’s remarks about various types of suicide from A Writer’s Diary and show the impossibility of explaining the Meek’s suicide by any logical or explanatory schemes (which always work in the case of other Dostoevsky’s suicidal characters). For Dostoevsky, the Meek’s suicide differs from the other described suicides and remains incredible and inexplicable. In the concluding part of the article, I consistently trace the transformation of the text in the film. The erasure of the traits of the hero’s underground consciousness and the diminution of the role of diegetic narration (without which it is impossible to imagine the meta-plot basis of the story) in the film leave intact the understatement of the Meek’s character and the vagueness of the motives of her suicide. With the radical transformation of the story, Bresson retains the silence of the Meek as the main structural defining element. At the same time, the understatement of the character and the vagueness of the Meek’s motives in the film point to an insurmountable gap between possible explanatory schemes and an anguish pushing towards a suicide and a feeling of impossibility to live. Bresson also reproduces the ambiguity and uncertainty of the protagonist against the background of despair and belated admission of his own guilt. Keywords: Dostoevsky, Bresson, underground consciousness (man), suicide, diegetic narrator | 1000 | |||||
| 295 | The number of studies on emotions has increased significantly during the past decades; new theories and models of the emotional system have appeared. It became clear to researchers that the phenomenon of emotions can be understood, used and modeled using two fundamental processes: the generation of emotions and the effects of emotions, as well as the associated modeling tasks. These tasks serve as building blocks for affective models and, for both processes, include the following components: identification of the set of areas; determination of the relationship between these areas (from emotion triggers to emotion generation, and from emotions to their effects); calculation of the intensity and magnitude to calculate the intensity of emotions in the process of the generation and the magnitudes of the effects in their occurrence; determination of functions that connect and integrate complex emotions. Interest in the problem of emotions also increases with the development of a new research direction: artificial intelligence research. Increasingly, there is a requirement for demonstration and reproduction of human-like behavior, which is very difficult to achieve without trying to model the emotional apparatus. Especially important is the modeling of emotions in the context of creating agents whose functionality is associated with communication with a human. For many practical tasks and problems (for example, recognition of emotions, realization of emotion effects or consequences), the development of machine learning technologies seems promising. However, the solution of particular tasks (such as the recognition of emotions by photo, text, etc.) has not yet led to a qualitative breakthrough in the modeling of emotional systems. Moreover, researchers are increasingly refusing to create a separate emotional system, appealing to the fact that the effects of emotions are realized in the behavior of the agent automatically if they were included in the datasets used to train the agent. An example of the practical implementation is a Microsoft chatter bot Tay released via Twitter. It quickly learned to write emotional texts, but it is clear that its behavior is not the result of the work of its own emotional system. But many researchers in the field of robotics, AI, man-computer interfaces, and cognitive sciences still create computational models based on the previously developed theories and the nature of emotions. The purpose of the emergence of such models is to create more reliable, humanlike and effective artificial characters (including NPCs, non-personal characters) and robots, and also to improve the quality of human-computer interaction. The article presents an analysis of the methodological difficulties of modeling the effects of emotions. This analysis represents a step towards formalizing the modeling of emotions and suggests a basis for developing a more systematic, general approach to modeling, as well as particular approaches to create models of the effects of emotions and generation of emotions. As a result of the analysis, a number of modeling principles are revealed, which must be taken into account. These principles, which form the basis of an agent’s modeled emotional system, can help researchers move towards the creation of a humanlike AI, which uses the emotional system as a visual language in communication. Keywords: visual language, effects of emotions, modeling of emotions, architecture of artificial agent, AI – artificial intelligence | 997 | |||||
| 296 | The aim of this article is to map the issue of moral bioenhancement in two ways: (1) to show the basic premises and connotations of the conflict between traditional and biotechnology-oriented processes (using the problem of reducing subjective autonomy as an example); (2) to demonstrate how metaphorical visualization of the good allows one to transfer the conflict of interpretations of the good and autonomy into the space of the ontological conflict of autonomy and the good. Personal autonomy is one of the dominant ideas of modern biomedicine. Technoscience as the most significant trend in building relations between a scientist, a doctor and society is based on the idea of an active subject interested in shaping their own lifestyle and turns to the subject’s autonomy as a source of the legitimacy of the good. Meanwhile, personal autonomy is also a source of risks associated with actions, the consequences of which can be extremely destructive and completely unpredictable. The precautionary principle, whose functionality is determined by distinguishing between critical and non-critical risks, demonstrates its inefficiency in the context of an engineering and technological society. The development of neurotechnologies and brain research, as well as the active development of genetics, gives reason to believe that many behavioural strategies that can be regarded as ethically correct or ethically deviant are biologically determined. The problem of moral biologization arises on a ready-made substrate, as a process of involving neurotechnologies into solving social problems. Modern biotechnology thus somewhat goes beyond the boundaries of traditional moral and ethical discourses on autonomy and the good. With new explanations of such processes as the tendency and the possibility of moral behaviour, the predisposition to one or another type of activity, predicting a possible tendency to certain diseases in advance with high certainty, biotechnologies force us to look at a person from a certain angle: to look for the biological causes of social and moral behaviour. Despite the fact that a biotechnological commentary is considered only as an auxiliary tool for ethical norms, which explains how autonomous choice is influenced by certain biological factors, the biologization of social space is a real philosophical challenge, the essence of which is to rethink what moral choice is, how it arises and what modern autonomy and the good that flows from it are. Moral bioenhancement is a constructivist approach to morality whose task is to biotechnologically transform autonomy for the good. In this regard, it ignores the already existing discourses of autonomy and the good and, on the other hand, needs to use a metaphor for self-identification and identification of contradictions with the existing discourses of autonomy and the good. The article concludes that moral bioenhancement problematizes autonomy and, in fact, can be regarded as a form of biotechnological paternalism. Keywords: autonomy, benefit, visualization, metaphor, human occupation by technologies, moral bioenhancement, technoscience | 993 | |||||
| 297 | In this article the principles of approach to the history of a city as its biography and autobiography are justified. Autobiography is an active creative reflexive process in which the author coincides with the hero. The city can be described both as a place of creation of the autobiography, and as its most important context. Moreover, the city itself in its historical dimension can be read as a visual autobiography, sponsored by all its inhabitants – past, present and future. Every citizen, actively forming the cultural environment of the city, is the author of his own and urban biography. In an era of strong intercultural exchange and influence the city grows in time and space as a dynamic multicultural spatial structure. Using the example of Tomsk, I show how Armenian culture takes part in shaping the appearance and image of the Siberian city. The bearers of the Armenian cultural tradition mark their presence in Siberia with the help of visual signs, which are grouped into two semantic headings: faith and cuisine. Each of these headings is represented by its own set of signs, symbolizing the connection of a certain local space, group or activity with Armenia. In addition, a new theme for urban visualization appears: commemorative signs in honor of the existing friendship and cooperation between the peoples of Russia and Armenia. Keywords: urban space, visual environment, signs of identity, Tomsk, Siberia, Armenia | 992 | |||||
| 298 | Here, we explore how biopolitical techniques regulating women’s bodies address the health, longevity and propagation problems to approach the demographic crisis that Russia is facing. The research is the establishment of how and why women willingly care about their health and beauty, so that the state will enjoy healthy women as human capital, the labor force and the producer of the future labor force and Russian race. We study how the control of issues of Russian women’s diet, drinking, and beauty care can be influential factors as biopolitical techniques. The survey is based on the Foucauldian concept of governmentality that demands two complementary dimensions of biopolitics and neoliberal rationality. We investigate a triangle of neoliberal market, biopolitical rationality and women as active agents. We examine how neoliberal market produces knowledge via advertisement discourse about the ideal female subject; we demonstrate that neoliberal market marketizes health and beauty, leading women towards the state-desired way. Women as entrepreneurs invest their time and money in their human capital to enjoy social visibility and promotion. This is not objectification of bodies, rather a new form of subjectification. Habituating women toward healthy diet and moderate drinking, the state enjoys a healthy labor force. On the other hand, naturalization of sex difference by highlighting the essentially fit and attractive female body materializes the female body promising heterosexuality and obviously propagation. Moreover, conducting women to care about the beauty assures the maintenance of the myth of Russian woman’s stunning beauty. Beautified improved Russian woman’s body can mirror the superiority of race. We conclude that the reiteration of heteronormativity in all three sides of the mentioned triangle manifests that Russia uses traditional heteronormativity as a technique for managing the critical demographic situation. A feminist perspective on Russian biopolitics establishes the way the female body is regulated to divide the border between the viable subjects, the healthy, thin, fit and attractive female body and the opposing abject bodies threatening Russian demography and race. The analysis confirms that the conduct of women toward self-monitoring to gain the approved subjectivity promises healthy women as human capital. Besides, association of peculiar features to the female body constructs a truth about the normal female body, driving women to quest the constructed truth, which is naturalized as an essential feature. Attribution of properties to the female body and idealization of its man-pleasing peculiarities highlight the sex difference and contribute to the circulation of heterosexuality, which is a way to manage demographic problems. Keywords: biopolitics, neoliberal market, governmentality, entrepreneur, subjectivity, health and beauty care, diet, female body, heteronormativity | 990 | |||||
| 299 | Traditionally, medicine was considered to be a territory of mercy, which the patient turned to not only for treatment, but also for moral support and compassion. Recently, however, patients and society as a whole have been increasingly confronted with the fact that medical professionals do not respond to this request: medical care has become a service, and patients are less and less likely to find comfort and consolation in the words of a doctor. Future doctors often lose the ability to respond to other people’s pain and to empathize at the stage of training when they absorb the specific atmosphere of the medical world, join its culture. One element of this culture is the language that doctors, as well as laypeople if they are concerned with medical issues, speak and write. An important element of any language is its metaphors. By analyzing the use of metaphors in medical discourse, one can get an idea of the linguistic world of medicine, and of the medical world as a whole. It is quite revealing that one of the most common metaphors in medical discourse is the military metaphor. Like any metaphor, it not only reflects, but also forms a picture of the world in people’s minds, playing both positive and negative roles. Its negative impact on the general atmosphere of the medical world has been recognized to be so significant that there is an increasing tendency to suggest that its use in medical discourse should be abandoned, and it should be replaced by metaphors of cooperation and harmony. The first among them is the metaphor of a journey, which nowadays enters quite organically into medical discourse. This metaphor allows the patient to comprehend their long life with an incurable disease, and the doctor to find their role of an older fellow traveler, instructor, guide in this journey; communication of the former with the latter may have a therapeutic effect. By analyzing the use of the military metaphor in medical discourse in a temporal context, we can conclude that “yesterday” it allowed us to create a more or less adequate picture of the medical world in the minds of people, “today”, not keeping pace with the changes occurring in this sphere, it begins to introduce distortion, from which both patients and medical staff, as well as society as a whole, suffer; therefore, “tomorrow” its use in medical discourse will most likely decrease, giving way to metaphors of peace, unity and harmony. Keywords: medical discourse, military metaphor, metaphorical violence, metaphor of journey | 987 | |||||
| 300 | A new ontology of seeing introduced by cinéma d’auteur and video art is proposed in the present paper. This ontology is associated with the transition from a centered position of subjectivity and perspectival construction of reality belonging to classical art – to a slowed-down vision and “drifting” glance introduced by new media. These slowed, layered, drifting and uncentered types of vision and continuous plans of moving image make it possible to shape a new sensitivity of “matter” in its complex variety and specificity. This is where experimental film and video art provoke and shape a new ontology of seeing. The study is focused on cinéma d’auteur (A. Tarkovsky, L. Visconti, A. Kiarostami, I. Bergman) and aesthetically and structurally related video art pieces (P. Rist, G. Hill, E.-L. Ahtila, Y. Fudong, et al.). These artists created specific ways of guiding viewer’s glance by means of moving image; exploring the aesthetic potential of camera travelling, mis-en-scène and montage; outlining the frontier of contemporary screen culture as a promising “symbolic form” of the twentieth and twenty-first centuries. We analyze the shift from a static and centered position of the viewer of a classical painting (whose place is determined by the structure of the image’s perspective) – to the movie spectator, whose gaze, as Jean-Luc Nancy mentioned, “gets embedded” into the moving of the camera’s point of view (while the body remains motionless); and then to the drifting glance of the viewer of video art (walking in the space of a multi-channel installation or virtual reality). We argue that the transforming structures of the moving image and strategies of the gaze tend to shape new forms of sensibility in line with the current state of the communication society, the visuality of which is characterized by the ever-increasing speed and density of information, hybrid media flux, multi-layer texture, and fragmented image. In each section of the paper, we introduce one type of decentered image/glance, which is shaped in artistic experiment: (1) deep mise-en-scène (A. Bazin); (2) “empty center” (slowed-down or motionless camera losing interest in the hero); (3) “sliding glance” (smooth camera travelling, leveling all objects in significance); (4) “drifting glance” (associative poetic montage); and (5) multi-screen compositions (stratification of the moving image). In the 20th and 21st centuries, when information is transmitted, read, and accumulated at a supernormal speed, and reading it calls for a keen gaze, a diffused, drifting view turns out to be the mode of vision with which one can see the flux, dissimilation and ambiguity lying beneath the surface (screen) of contemporaneity. And artists who use moving image to create a model of a relaxed gaze and multi-faceted seeing accept this challenge; and the relaxed, decentered, drifting and wandering glance provokes the intensity of artistic seeking. Keywords: new media, new media art, video art, cinema, experimental film, moving image, multimedia installation, multi-channel projection, virtual reality, symbolic form | 985 | |||||