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151 | The article is devoted to the study of the functions of visual codes in verbal discourse. The problem of the codes of photography and cinema in the plot and the composition of the novel discusses on the basis of the modern Russian prose, the status of the visual in the narrative, the interaction of visual and verbal as a feature of the poetics of the modern Russian novel reveals. The use of the visual in the narrative of the novel is associated with the production of existential problems and serves to increase the semantic density of the plot, open in history. Update the language of literary text is due to the attraction of terms of photography and cinema, as metaphors of existence, these language elements begin to define the structure of the narrative. Keywords: visual code, fiction narrative, modern Russian prose, poetics, composition, photography, cinema | 880 | |||||
152 | The paper suggests some keys to understanding Ludwig Wittgenstein’s late notes on colors. The authors point here at the crucial difference between the internal and external relations. This distinction is comparatively common for the later Wittgenstein and appears one of the main contexts in Wittgenstein’s investigations of colors as research of kinds of logical differences. The authors also consider Wittgenstein’s scattered notes in accordance with the following main contexts: language games and their dependence on perception, the relationship between color concepts and empirical judgments about the color of everyday objects, identity, interdependence between colors as a kind of a logical system and everyday language games. The paper also focuses on various exceptions from our color system (from the cases of color blindness to the natural relativization of color logic within a variety of language games). Finally, the authors consider the problem of meaning in connection with the study of color concepts. Keywords: color, color concepts, identity, logic of colors, language games, internal and external relations | 880 | |||||
153 | The article is devoted to the transformations of the imagery of taxidermic objects in natural history museums. By examining several cases these transformations are linked to changes in a network of heterogeneous contexts - scientific theories and paradigms, the role of the museum, national politics, and public morals. While discussing the topic a taxidermic object is understood as an object of science with its own materiality and history and science museum is considered as a space for the representation of nature, scientific categories, and moral and political ideas, and as an instrument of collective empiricism. The history of taxidermy in a museum is the history of erasing its artistry and artificiality in favor of an objective representation of nature “itself". This naturalization makes it possible to turn the stuffed animal, now anonymous and standardized, into a taxon of Linnaean taxonomy, inseparable from considerations of public resource management. The consequences of such entry into the museum for the visual nature of taxidermy are written out. Next, we consider the change in taxonomy in the XIX century and the introduction of the idea of life in taxidermic exposition through dioramas and biological groups. A concrete example demonstrates the use of taxidermic dioramas as a tool for moral and political transformation of individuals through the aura-like experience of nature. In the middle of the XX century, the decline of taxidermy begins. Due to the withdrawal of up-to-date science from natural history museums, changes in politics, collective imagination, and the ethics of dealing with colonial heritage and nature, museums are losing funding and visitors and are gradually shifting to the periphery of culture. It is shown that they find themselves in a twice contradictory position between their own anti-historical and naturalizing scientific nature and the historicity of denaturalized exhibits, between the ambiguous aesthetics, history of taxidermy and the changed moral order. Museums tried to resolve these contradictions and return to the current culture by including in the communication about the environmental agenda and the environmental reinterpretation of taxidermy exposition with the help of occasional material and discursive interventions that turn stuffed animals into allegories of extinction. This move allows them to stay within the boundaries of the natural science discourse of preservation species diversity, while simultaneously appealing to the moral sense of the visitor and influencing the collective sensibility. At the same time, it reproduces the mythologem of the "golden age", based on the opposition between nature and culture, natural and artificial. Thus, these contradictions are not completely resolved. The first possible way further are artistic interventions on the territory of the museum, in which the Museum delegates to artists the right of critical reflection on scientific ideology and power. A number of examples of such interventions are provided and analyzed. The second way are new taxidermy collections, initially created not as a result of the objectifying approach of science, but as a manifestation of systematic violence and a new nature, indifferent to the above-mentioned oppositions. Such taxidermy can become a tool for understanding the new nature in an era so aptly called the anthropocene, and a working object of posthumanistic imagery. Keywords: science museum, natural history museum, taxidermy, exposition, nature, visuality, contemporary art, posthumanism | 880 | |||||
154 | The article is devoted to the study of the semantic, imaginative and iconographic component of the pictorial representation of the story of Yusuf in Mughal miniature painting of the 16th–17th centuries. In Muslim culture, Yusuf is a prophet and messenger in the Quran, as well as the main character of the famous poem “Yusuf and Zulaykha” of ʻAbd al-Rahman Jami. On the basis of the examples from the mughal pictorial art the author of the article consider the problem of existence in the Mughal cultural environment of the two artistic practices, the traditional visual embodiment of the image of Yusuf in the vein of Persian art and his pictorial and symbolic interpretation in the Mughal style. On the one hand, Mughal artists knew and skillfully applied iconography of the story of Yusuf which was elaborated in the Persian miniature painting. On the other hand, the conventional iconography and stylistic component could undergo certain changes in the Mughal painting. The Mughal pictorial interpretations corresponded to the refined aesthetics and philosophy of the Mughal court culture, as well as were consistent with the Mughal power ideology. Mughal miniatures with scenes from the story of Yusuf served not only as illustrations for the famous poem of Jami, but also decorated the divans of famous Indian poets and skillfully decorated Mughal albums-muraqqaʻ. Keywords: interpretation of the pictorial narrative, Yusuf, Joseph, Mughal painting, The Great Mughals, India | 873 | |||||
155 | The article presents an analysis of the semiotic aspects of significant texts and visual samples in the discursive art practice of post-Soviet Kazakhstan from the 1990s to nowadays. Literary centricity as a universal property of the entire post-Soviet visual culture is revealed on the previously unstudied material, which has intermedial and intertextual specifics. Art discourse is analyzed on the thematic and rhetorical levels, using verifiable scientific methods for these levels (content analysis, critical discourse analysis, the deconstruction method). As a result, the art objects of post-Soviet Kazakhstan, with the texts included in them, are analyzed in the article in the local historical and political context. Three projects were identified: Eurasian, Pan-Turkic, and liberal. As given intertexts, they determined the social and cultural boundaries and assessments of Kazakhstani artists. The projects, as written and proved in the article, had their historical foundations and still determine the real policy. The art ideas which appeared within the framework of these projects find a modern medial reflection. The work, for the first time in the scientific literature, proves that medial experiments in the practice of Kazakhstani contemporary art (texts and performances by Sergei Maslov, Ziyakhan Shaigeldinov (Shai-Ziya), Yerbol Meldibekov, Elena and Viktor Vorobyov, as well as modern actionists) documented the process of what is happening, reflected the traumatic nature of reality itself. For the first and only time in the public space of the country, as the article shows, by means of art practice, these experiments have criticized the quasi-real world of Kazakhstan's social and cultural space. In the Kazakh contemporary art itself, there have always been a lot of texts and subtexts, which are often directly included in art objects or have created them. The article traces that these were such text samples that generated their own meaning along with a visual idea at a given point in time, which can be called the creation of discourse. The work also reveals that representatives of contemporary Kazakh art used the aesthetics of the absurd as a mechanism for transforming post-Soviet everyday life into a different and new reality, similar to how it happened in absurdist fiction of the twentieth century. At the same time, visual samples in Kazakhstani practice of the late 20th and early 21st centuries became real cultural aggregators, they replaced the written text and influenced its functioning in culture. The article reveals the still practically unexplored usage of the aesthetics of television intermediality in Kazakhstani contemporary art. Art projects and manifestos of Kazakh artists of the 1990s and the 2000s are presented as unique socio-political discursive texts that predicted the specific socio-political realities of the post-Soviet country. Keywords: art project, discursive practice, literary centricity, intermedial, intertextual, cultural text, performance, post-Soviet, aesthetics of absurd | 870 | |||||
156 | The article presents the problem of visualization and its relation to memory types on the example of the series of stories by writer Victoria Vartan “To be similar to David of Sasun” and visual “translation”, that is, the film “The Road to David of Sasun” (1987). The theoretical premise of this article was the ideas of Aleida Assmann and Jan Assmann, which made it possible to trace and describe the types of memory (individual / subconscious, social, collective and cultural) on the in-text and extra-textual levels of the selected empirical material. The analysis showed that the Armenian national epic does not lose its vitalism and always manifests itself thanks to individual and social memory. In its turn, social memory is “refracted” into a sign form (artistic text, film text) and becomes an asset and part of culture, that is, cultural memory. Impact for the manifestation of the epic material was the didactic intentions of Victoria Vartan with the aim of inculcating the education of the future generation to universal values (humanism, readiness to help the weak and defenseless and the elderly, etc.). In addition the film, in turn, becomes an implicit propaganda tool for raising the spirit on the eve of the maturing Nagorno-Karabakh conflict in the late 1980s. Keywords: individual memory, social memory, collective memory, cultural memory, visualization of the epic, Armenian epic, epic and cinema | 867 | |||||
157 | The author starts from the premise that the second volume of Peter Sloterdijk’s Spheres contains the conception of what could be called cartographic dispositif and tries to reconstruct separate provisions of this conception and relate them with some ideas made by contemporary specialized studies on the history of cartography. One of the main points, which Sloterdijk shares with these studies on maps and cartography, is that maps are too complex to be simple expression of spatial facts. Inscribing arguments about cartography in context of own theory of terrestrial globalization, Sloterdijk shows that cartographers were among its main actors and maps and globes of Earth were among its basic representational mechanisms and practical tools. The article provides description of what exactly was said by Sloterdijk about cartography and cartographic representations, extremely powerful tools of visualization and epistemic accumulation, but at the same time of political and economical control and of re-ordering of space. The main conclusion of the article is that Sloterdijk’s conception of cartography is in a unique position to support the sense of dizzying and intriguing complexity of cartographic representation and its historical types and forms (their very diversity is good enough reason for dizziness). This sense stands against deceptive obviousness (“we all know what a map is”), generated by equally deceptive “democratization of maps”, their pervasive presence and everyday uses. And if, as Matthey Edney says, “a map is representation of space complexity”, the very map is complex, being a strange hybrid of intelligible and empirical, theoretical and obvious, imaginary and real, what is seen and what is read, scientifical and political, actual and virtual, representation and performativе. But maybe this principal complexity of cartographic representation makes it a worthwhile object of research and fascination. Keywords: globe, map, cartography, cartographic dispositif, visualization, Sloterdijk | 867 | |||||
158 | The paper deals with the deficit of constructive understanding of the phenomenon of “Motherland” in the context of nation building, of resource mobilization of the society. The author tries to methodologically prove the research of “Motherland” phenomenon. The author compares the current situation with the period of the Soviet nation creation of the mid 30s of the last century. Themes is also explored on the example of the Winter Olympics in Sochi and of the Crimea-Russia reunion. The possible charges and different solution scenarios are shown. Keywords: Motherland, Russia, nation, construct, empire, Olympics, Crimea. | 861 | |||||
159 | The author traces on the basis of documentary, architectural, archaeological and iconographic data the history of the colors of the fortifications of Moscow Kremlin, Kitai-Gorod, White City and Black City since the time of Yuri Dolgoruky until the mid XX century. Keywords: architecture, Moscow, fortifications, color | 859 | |||||
160 | During the 20th century, the prose of F. M. Dostoevsky became more and more established as a “theatrical genre” on the Latvian stage. At the beginning of the century and during the years of the First Republic (1920–1940), Riga’s theatregoers were offered stage versions of almost all of Dostoevsky’s novels. This process was facilitated by the attentiveness of the Riga Russian Theater to the classical repertoire as a whole, as well as by the presence of a number of prominent Russian actors – Mikhail Chekhov, Gregory Khmara, Vasily Kachalov, etc – in Riga. At this time, the Riga theater of Russian drama made several productions based on original dramatizations of Riga directors Mikhail Muratov, Rudolf Ungern, Elena Roshina-Insarova. In the Soviet period, the search of theaters in Latvia focused on two polar tendencies – polyphonic or monologic Dostoevsky. The stage version of the novel “Crime and Punishment” was carried out in 1978 by a playwright and director Mark Rozovsky, a poet Yury Ryashentsev and a composer Eduard Artemiev. The play “Ubivets” (“Murderer”) is a polycode text, a deconstruction of the polyphonic nature of Dostoevsky’s novel “Crime and Punishment”. According to the author’s genre definition at the time of writing, the play should be understood as a literary and musical performance (a musical). Applying the concept of M. M. Bakhtin for the composition of the play, Rozovsky deconstructs the novel into elements of the future polyphony. The word of Dostoevsky becomes two-voiced due to the combination of prose and poetry texts, to the linking of musical and literary languages, as well as through the synthesis of a high individual voice and the lower, penny dreadful, poly-voiced element of the crowd-choir. The visually stage text unfolds through the semantics of carnival, farce performance, town square performances, through the visualization of signs of culture of blessed fools and street aesthetics. Keywords: F. M. Dostoevsky, Crime and Punishment, Mark Rozovsky, dramatization, M. Chekhov’s Riga Russian Theatre, Latvian theatre tradition, visual semiotics, polycode text | 859 | |||||
161 | Great playwrights, whose names are associated with the “golden age” of the ancient Greek theater, often put on tragedies on the same subjects and even with the same names. Turning to the existing interpretations or creating new ones, they tried to teach a lesson to the city and instruct its audience-students on a certain interpretation of the current events. The polemic between the authors of the ancient Greek tragedies gave an additional flavor to the theatre agons, and the polemic between the modern researchers studying it has created a space for an interdisciplinary dialogue on the features of the ancient visual culture, amongst other things. In the article, a comparative analysis of three versions of the mythological plot about Orestes and Electra, presented in the tragedy by Aeschylus “The Libation Bearers” and the tragedies of the same name “Electra” by Euripides and Sophocles, is carried out. These ancient Greek playwrights represent a hierarchy of the significance of the main characters – the brother and the sister, who are carrying out a plan of vengeance for the death of their father Agamemnon, through the hierarchy of their virtues and life principles. The comparison of the three tragedies is carried out according to a scheme that allows you to see these hierarchies: 1) at the beginning of the tragedy, where the first meeting of Orestes and Electra, during which they begin to try to assert their right to instruct themselves and others, takes place; 2) at the moments when the heroes come into conflict in point of who has the right to instruct under the supervision of the gods as the supreme instructors, and in what subjects; 3) at the end of the tragedy, when the heroes see the results of their instructions. The city, in which the tragic action unfolds, is either narrowing down to the particular family, where everyone thinks of himself as a mentor to the others, or expanding to the intellectual and political community of citizens who can be instructed by the example of their rulers. Aeschylus, Euripides and Sophocles offer the reader / spectator different “formats” of visual instructions in which the divine will and human desires are combined. In addition to the ancient Greek literary tradition, the mythological subjects about Orestes and Electra were reflected in the material culture (ancient Greek vases, relief images and bronze artifacts), which is another level of visualization of the instructions, this visualization being primary to the theater in some cases, and secondary in others. The tradition of depicting the mythological scenes about Orestes and Electra on the artifacts had taken shape long before the theatrical productions of Aeschylus, Euripides and Sophocles, partly predetermining their “discourse of the word’ and “discourse of the image”, and being partly transformed under their influence. Keywords: anthropology of city, visual instructions, theatrical visualization, Aeschylus, Euripides, Sophocles, Electra, discourses of word and image in the ancient Greek drama | 857 | |||||
162 | This article is devoted to a primary analysis of the material obtained as a result of the study of the cultural space in Western Siberia and Lower Silesia in 2017. The study was carried out within the framework of the international project “Visual organization of urban space: preservation, translation, historical and cultural perspective” (Tomsk, Wroclaw). The task of this project: search and description of visual invariants of various cultural areas (in particular, Russian and Polish cultures) in the context of defining the forms of construction cultural, national, civil, religious, professional and other identities through means of visual presentation and communication, along the lines of a multidisciplinary analysis of cross-cultural processes. The author confirms the thesis about the presence of Jerusalem allusions (metaphors, citations) in the space of modern urban texts, using the example of Tomsk and Wroclaw. The correlation of the allegorical and literal in the construction of architectural allusions in Western Siberia and Lower Silesia is shown. The difference between the spatial images of historic Jerusalem and the Heavenly City is considered. The role of the sacred city center in the organization of the city space has been revealed. The role of the monastery court as icons of Heavenly Jerusalem (the new Eden) is substantiated. The semantic and structural connection between the Calvary and the mysteries of the Passion of the Lord is described on the example of the monastery ensemble of the Baroque period. Keywords: city, urban space, sacred topic, Tomsk, Wroclaw, Jerusalem, architectural allusion, cloister, calvary, mystery of Passion | 853 | |||||
163 | The article is devoted to one of the key problems of urban anthropology and urbanism, related to the theme of human dimensionality of the city. The author analyzes the concept of “human dimensionality”, discusses the introduction of this concept into science by the methodologist and philosopher of science M. K. Petrov. On the example of the genesis of the ancient city, the article analyzes three classes of criteria for the city’s human dimensionality: the city from the point of view of the sacred beginning that generates the phenomenon of the city; the city in terms of social measure and the birth of the ancient polis as a meeting of citizens (citizenship and the voice of a citizen as a measure of the city); and the city from the point of view of the physical, bodily space of the settling of the city. The article describes the phenomenon of the genesis of the city in the categories of urban planning and its first experience – Hippodamus’ City. In connection with the physical criterion of dimensionality, examples and practices of urban space exploration are discussed using various measures and dimensions related to the human body, starting with the ancient polis and ending with the modern experience of reviving the idea of the physicality of the city and such a character of city life as a pedestrian. The article discusses such measures as body, palm, span, foot, stage, step. The problem of the connection between the idea of human dimensionality and the idea of the dimensionality of being (by the example of Heidegger’s analysis of the Protagoras thesis about man as the measure of all things) is discussed. In conclusion, the author discusses the problem of the loss of human dimensionality in modern megacities and attempts to revive the dimensionality of a person in the city through a pedestrian figure (research and practice in urban pedestrian anthropology). Keywords: measure, human dimensionality, city, city measure, urban anthropology, antique polis, Hippodamus’ City | 852 | |||||
164 | In my paper I aim at comparing the images of two radical 19th century revolutionists such as Sergei Gennadevich Nechaev and Stepan Nikolaevich Khalturin with the ambivalent portraits of these historical characters that appeared in the Russian and Soviet press before and after the 1917 Russian Revolution. According to a number of publications, Nechaev’s figure was given a special position by the Soviet intelligentsia of the 1920s. Also Khalturin became, at the time, particularly popular for having been the leader of the Russian workers’ movement. Main questions asked in my Paper include, but are not limited, to the following: how Russian Populists were featured through cinema? By what specific visual devices in the two fictional films shown throughout the 1920s – such as “The Palace and the Fortress” and “Stepan Khalturin” (both directed by Aleksandr Viktorivich Ivanovsky) – were the stories of the recent revolutionary past reorganised in relation to the projects predominating in the Soviet post-revolutionary present? I shall specifically focus the paper on how the characters of Nechaev and Khalturin were treated by the well-known historian Pavel Eliseevich Shchyogolev, who made use of new sources (emerged from the former archives of the Tsarist secret police departments) for composing the screenplays of the above-mentioned films. Keywords: soviet history, film history, building the visual image, Russian populists, Sergei Nechaev, Stepan Khalturin | 851 | |||||
165 | In this article, I continue the study of sacred topics of Russian cities. Here I define the syntactic meaning of the architectural ensemble “cathedral – gate”. The article shows that the main semiotic function of the cathedral is the visual designation of the city sacred center, which expresses the idea of the beginning and center of the inhabited world. Being structured in a certain way in its internal volume, the cathedral also acts as the dominant architectural element that gives orderliness to the entire urban space. The dynamics of the cathedral interior, spread over the city as a whole, gives the urban topic the property of “transitivity”, movement, spatial unevenness. Such heterogeneity of the urban living environment is optically expressed as a hierarchical “condensation” of sacred space from the periphery to the center (concentricity). The direction of this increase in sacredness is set by two positional dominants – the main entrance to the city and the cathedral. In Kiev of Yaroslav the Wise, these positions are occupied by the Cathedral of St. Sophia and the Golden Gate. This urban planning “scheme”, which is reproduced in all Russian cities and monasteries, corresponds to the spatial structure of the Garden of Eden, the Israeli “marching camp”, historic Jerusalem and the Heavenly City. The Russian city, organized according to the described “type” (Aldo Rossi), is a multi-layered spatial icon, an architectural representation and a concrete embodiment of archetypal sacred space. Keywords: visual semiotics, Eastern Christianity, city, sacred architecture, visual organization of space, center, concentricity, cathedral, gate | 851 | |||||
166 | The article compares two texts of a different nature, but with a single semantic kernel: the script for the film “Teorema” and its screen implementation. The research is built through the analysis of the relationship between all the characters in the film with the central character, since the author (P. P. Pasolini) gives him both a deep content and a multifaceted symbolism. On the way of comparing the word and the frame, the following conclusion is made: what is written in the text of the script carefully and verbosely is visualized on the screen by mean and minimal speaking means, and vice versa – what several words are said about, expands in the visual text of the film and turns into a perfect and the finished thought. In Pasolini’s style, the word continues the frame, while the frame is a silent word, which means the word embodied in eternity. Keywords: cinematography, semiotics of cinema, filmscript, Pasolini, initiation, mythological thinking, image of the desert, transformation, hierophanic representation | 841 | |||||
167 | The article reviews the development of prosthetic limbs (arms and legs), particularly, their visual transformation over the time. Traumas are imprinted on the spiritual and physical condition of a particular individual, people “with disabilities” can lose jobs or significantly reduce their productivity. The possibility of reparation by means of prosthetics definitely has a positive effect both for the individual and society as a whole. Prosthetics develops in parallel with the development of technology and allows people with “disabilities”/“additional requirements” to have a full life: cope with everyday life, work, sports, travel, have hobbies, participate in the Paralympics, etc. Bionics (or biomimetics) is an applied discipline, which studies the applications of principles of organization and functioning of living matter in the creation of technical systems and devices. Bionic prostheses (biological prostheses) are artificial analogues, which structurally and functionally imitate the operation of the lost organ. In the article, the author mainly focuses on prosthetic arms and legs. There is a number of challenges in creating artificial organs and limbs under the apparent progress in bionic prosthetics: the imperfection of the design, limitations in signal transmission, high price. General trends in prosthetics give scientists, technicians, physicians, anthropologists, philosophers and other researchers hope and reason to make both optimistic and negative predictions associated with the introduction and development of technology, computers, robotics, and prosthetics. This entails issues not only in technology, but also in philosophy and ethics. Do technological effects on humans (NBICS technologies, creation of laboratory creatures, hybrids, chimeras, cyborgs and the extension of the modifications of human nature) have a therapeutic nature, or do they aim at improving humans in the eugenic trans-humanist sense? We observe how today’s reality and visions of the future are formed by semiotic means. Visual symbolism is a dominant tool in these processes. We can conclude that this domination leads to new ways of adaptation: adaptation to the preservation of one’s own identity with the aggression of the visual environment. Thus, there are new people with a different personality that need new forms of protection. The author refers to bioethics as an interdisciplinary system, which is designed to protect and respect life, personality and autonomy. It is important to treat patient’s autonomy with respect as the basic rule and principle of bioethics. In defining this principle, it is necessary to consider that respect for autonomy is in many ways attention to individuality. People can determine their identity and destiny due to scientific discoveries. The assumptions and conclusions are made concerning the increased value of the visual component of modern bionic prostheses. In the past, prostheses were designed mainly to hide, to disguise, to compensate for the lost functions, but now they also become an important part of visual expression, attraction of attention, even epatage. Keywords: bionics, bioethics, bionic prosthesis | 838 | |||||
168 | The paper studies the phenomenon of a non-personal biography, a biography of a cultural object, based on the works of Peter Ackroyd, a modern British writer who became well-knows at the edge of 20–21 centuries with his biographical books about famous Britishers as well as meta-fictional historical novels. The work presents a vision of the biography of the city as a genre that provides for the author and the reader a way for personification of comprehension and experiencing of a national history and culture as an event of private life, thus transforming a historical fact into a piece of personal biography. Keywords: image of the city, British literature, city narrative, national identity, memory, postmodern literature, cultural code | 832 | |||||
169 | 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 | 831 | |||||
170 | In this article, I continue the study of sacred topics of Russian cities. Here I consider the issue of the functions of the church over gate in the structure of the city as a sacred text. I argue that the architectural composition “city gate + temple” originated in Old Russia and does not have Byzantine historical prototypes. The construction of the Golden Gate in Kiev was part of a unified program for creating urban sacred space (hierotopy). The explanation of this program in accordance with the ‘idea transfer’ model removes the question of the Byzantine prototype of the Kiev Golden Gate. The semantics of the Russian overgate church has a multilayered character. First, such a temple expresses the idea of supreme patronage, or divine protection. Secondly, the overgate church demonstrates the idea of the triumph of Christianity over paganism, of order over chaos. Thirdly, the overgate church is an optical means for expressing the conformity of a city (or monastery) with historical Jerusalem or Constantinople. Fourthly, the gate with the temple (especially with the temple dedicated to the Virgin Mary) is a visual presentation of the dogma that God became man, that is, about the entry of God into the empirical world. Finally, fifthly, the sacred gates with the temple on them function as a structural analogue of the gates of the Heavenly Jerusalem. Accordingly, that city (or monastery) into which these gates lead is perceived as the “spatial icon” of the Heavenly City, which will descend from above at the end of times. The overgate church has a special meaning due to its numerous semantic links with the Most Holy Theotokos, as well as due to its syntactic relations with the main city cathedral. Such semantic connections are established, among other things, on the basis of the Christian reception of certain “urban” texts of the Old Testament. The overgate church is a necessary spatial and visual element of the sacral symbolism of the Eastern Christian cities. Keywords: visual semiotics, Eastern Christianity, city, sacred architecture, cultural and semiotic transfer, visual organization of space, city gate, overgate church | 831 | |||||
171 | Architectural and landscape environment (spatial text) is considered as an important component spaces of social life. We discuss the possibility to extend submission to the spatial text by including natural formations. It is shown that the architectural value of the text occur in the process of operating architectonic, domain-functional and socio-symbolic codes. These codes serve as means of existence of the variety of functions of architecture. An appeal to the primary and secondary codes of interested and prepared subject is a complex condition of perception, understanding and assigning values of the architectural environment. Keywords: architectural environment, architectural text, semantics of architecture, semantic universe, codes | 828 | |||||
172 | The article analyzes the musical and carnival space of Old Tiflis since late 19th up to early 20th century. Mainly visual and artistic texts of Armenian artists and writers – Vano Khojabekyan, Agasi Ayvazyan, Vagharshak Elibekyan served as an empirical material for this article. In the course of the reasoning, the following thesis is substantiated: Old Tiflis was a multicultural, musical and carnival city, in which a dance language was formed (Kintauri, Bagdaduri). Old Tiflis was a ‘hybrid’ space in which ritual (sacral) and profane dances (kintauri, baghdaduri, lezginka, etc.) could be seen simultaneously. The article briefly presents the basic approaches to the analysis of the Tiflis text: the Tiflis text of Armenian literature, the Tiflis text of Georgian literature, the Caucasian text of Russian literature. The author explains the connotative difference between the designation of the toponym Tbilisi versus Tiflis, which is key in the discourse “Tiflis text of Armenian literature”. Old Tiflis was a multinational city in which musical instruments of the West (piano, violin, mandolin) and the East (drum, zurna, duduk, kamancha, etc.) ‘met’ and ‘lived’ together. Social ‘top’, the elite was oriented towards Western music and invested in teaching their children to play the violin, piano, etc., while the social ‘bottom’ (kinto, carachocheli) turned to the Eastern, Caucasian instruments and melodies. At this very juncture the language of social ‘bottom’ dances (kintauri, baghdaduri) was formed. The article presents also the functions of the Eastern instruments and the scope of their use. Duduk and zurna were the most ‘omnivorous’, used during weddings, revels, christenings, commemorations, and in oriental baths during rest and parties. The main ‘heroes’ of Old Tiflis were mainly the representatives of the social ‘bottom – kinto and carachocheli. The article also describes the inner world of kinto, his lifestyle, the psychological state of his soul and appearance. The material of Vano Khodjabekyan’s graphic drawings (“Clown in Ortachali”, “Drunk Bear”, “Cout in Boat at Kura”), Vagharshak Elibekyan’s “Meeting with the writer Raffi”, “Zurnachi” and paintings introduces the language of clothing and the spirit of revels. The Old Tiflis dance language is so vital and lively that it was retransmitted in Soviet cinematography (G. Danelia “Don’t Cry”, “Mimino”) and at the present stage, is presented by different dance groups all over the world (for example, Ramishvili & Sukhishvili). In addition to the profane dances, the article also presents a ritual (sacral) dance, when the groom dances on the burial stone of his deceased father (Khojabekyan “The dance of the groom on the burial stone of the deceased father and circular dance with unmarried friends”) is an echo of the archaic, mythologized thinking. The ritual dance shines through Armenian, Georgian and Caucasian dances. Chronologically this dance was documented for the first time in letters of an Armenian scholar and cleric Grigor Magister (XI century), but the last manifestation of such ritual dance performed by Armenian groom is seen only in graphic drawings of Khojabekyan on Old Tiflis whereas in other Western and Eastern regions it wasn’t perceived. An empirical analysis of the primary texts showed that Old Tiflis being a carnival and musical space where different values, customs and traditions of various peoples were ‘cooked’, had its urban flavor, the language of dances, feasts, and revels. Old Tiflis of the late XIX and early XX century still remained at the junction of the national, mythical and European mixture. Old Tiflis was an interesting example of cultural ‘interspace’. Keywords: kinto, kintauri, baghdaduri, lezginka, sacral dance, ceremonial dance, dance of the groom on the burial stone, zurna, duduk, barrel organ (organ), reveling, visual semiotics, microhistory, urban anthropology, semiotics of the city | 826 | |||||
173 | In this paper the example of the two brightest artists of Soviet Culture by Mikhail Bulgakov and Andrei Tarkovsky’s analysis of the historical parallels between the strategies of survival in post-revolutionary intellectuals of 1920s–1930s and in the so-called period of thaw 1960s. In the years become popular innovation, the diversity of genres and techniques, personality. However, the official ideology of rigidly delineated boundaries of the “originality”, building a hierarchical vertical Party – Spectator – Author. It is shown that common to both periods was a sense of the dynamics of life, optimism, innovation, talent and amazing confidence in their creative powers. Cultural needs at different times and different places of the problem to the artists, but the relationship with the ideological “zone” are being built all the same laws of hierarchy and censored. It is emphasized that it becomes common place and getting into the lists of the most unreliable of independent, original, refusing to coincide with the mainstream. In this sense, “The Passion of Andrew” to a certain extent repeats the fate of Bulgakov’s plays. With respect to the two artists worked two opposite forces. On the one hand, the query time, pushed them to the surface, was in need of their creative talent and courage. On the other hand, this prevented the passion to notice that the life of Soviet people and all the built-in ideological dogma, going beyond that is dangerous. Revealed that the dominant strategy in a changing ideological situation in relation to the striking individuality, creative initiative, innovation, was the official silence and quiet the ban. Both biographies are manifested in full measure. As a conclusion they say that to Tarkovsky and Bulgakov now apply these definitions, as a legend, a model of responsibility and fidelity to the vocation. Keywords: Mikhail Bulgakov, Andrey Tarkovsky, cinema of 1960, Soviet culture, official ideology, revolution of 1917, censorship | 823 | |||||
174 | The semiotic analysis of local urban space on the example of the library “The Green Lamp” in Tomsk is made in this article. Motivation, goals, as well as the history of the visual construction process and transformation of a specific communicative locus on a big city scale are considered here. Such characteristics of the social space of the library-cafe, as dynamism, structural variability, creative style, orientation to personal comfort, cultural environment as a place for organizing events are shown in this article. This example allows to see how the personal initiative of the citizens can become the driving force of the real transformation of the urban space. This initiative gives life dynamics to the space of the city, forms comfort zones, constructs stylistically unique communicative loci in which a big city approaches the human format. Keywords: urban space, visual construction, microurbanism, communication, library-cafe, Tomsk | 821 | |||||
175 | The “philosophical horizon” of modern European science was not formed exclusively by the efforts of the scientific community. The ground for the scientific revolution of the modern era was also prepared by the art of Alberti, Leonardo and other masters of the Renaissance. The Renaissance art theory and practice testify to the visual elaboration of the philosophical and conceptual guidelines which were later to become the basis of modern European science. This also includes such principles as geometrization of nature and science, overcoming of the Aristotelian and scholastic gap between physics and mathematics, between the natural and the artificial, between the superlunar and sublunar worlds. Renaissance artists fitted the celestial and the terrestrial into geometric shapes such as pyramids, triangles, etc. The theory and practice of Renaissance painting recognized geometry as a universal law valid both for the superlunar and sublunar worlds. The mathematical principles of nature were developed by Renaissance masters in the form of the theory of perspective and the theory of proportions. It should be noted that the Renaissance mathematical perspective did not derive from comprehending phenomena, but was brought into the real world as a compositional basis. This implies that Renaissance artists started from the a priori assumption of the mathematical order of nature and then tried to confirm this thesis at the visual level through representation of the corporeal world using the mathematical law of perspective and the theory of proportions. Renaissance artists realized that things made with men’s hands and those created by God are to the same extent subject to the same natural laws. The drawings of Leonardo can be interpreted as the visualization of engineering thinking which extends not only to mechanisms but also to natural objects and the human body structure. Leonardo’s anatomical studies can be regarded as engineering drawings which visually demonstrate the structure of the represented object. In this regard, the drawings of Leonardo foreshadowed the formulation of the mechanistic principle which turned to be one of the most important ones in modern European science, and which asserted the absence of a fundamental difference between the natural and the mechanical. The example of Renaissance painting demonstrates that fundamental philosophical conceptions as well as ideological shifts, transition to new fundamental ideas concerning space, time and the place of man in the universe, are simultaneously expressed in more than one way. In particular, they can be represented in visual images, in a sign-and-symbol form, in scientific conceptions, in philosophy, literature and art of a certain period. There are constant exchanges between different cultural practices as, for example, between philosophy, science and art: communication, exchange of information, translation from a sign and symbol language into a figurative one and vice versa, visualization of non-image information. Keywords: visual, modern European science, Renaissance painting, theory of perspective, theory of proportions | 820 | |||||
176 | The modern era can rightly be called the era of criticism. All that can be done can be done better; therefore, almost any achievement or decision, primarily of politicians and entrepreneurs (but not least of all of scientists, designers, architects, writers and even people of art), is accompanied by protest or criticized. Achievements or decisions either affect personal rights, or threaten the environment, or damage cultural, gender, national or religious identities. At the same time, protest should be presented in a bright visual form. Any protest slogan should receive an additional symbolic refinement or extension. Symbols can be understandable or require few thinking efforts; and both these conditions should not harm the overall transparency of the protest function. These symbols of protest oppose metaphorically encoded video sequences to the complex party programs. The decoding of protest symbols is not difficult (“anything goes”) and provides a general understanding and unity of the protesters (or its illusion that, in general, does not change things). The symbolic visualization of the unifying values of protest (e.g., of the collective rejection of suffering or of the rights loss) and its decoding compensate the lack of a generalized symbolic means of communication, which is a guaranteed means of achieving communicative success. Such a symbolic visualization would ensure that any participant of protest communication has their contact request accepted, that is, addressed to other participants. Such communicatively generalizing symbols or media (power, truth, money, faith) belong to classical macro-systems (the ones of politics, science, economy, religion), which allows these systems to solve the main communicative problem, to provide collective actions, and to coordinate common interests and decisions. But protest communication, on the contrary, is dispersed into several heterogeneous key topics. The debate on these topics integrates communities and institutionalizes these communications into such social movements as feminism, environmentalism, anti-globalism, etc. However, unlike the clear communicative symbols of the political and economic systems, the absence of such a generalizing symbol in protest communication is not a competitive advantage. In the article, the authors consider the communicative and symbolic resources of protest communication that have been developed during the Internet network epoch as a functional compensation for its thematic fragmentation in the absence of a single unifying symbol. Keywords: visualization of protest communication, system-communicative approach, activism, social networks | 819 | |||||
177 | Cultural / culturologic studies (referred in the text as “culturology”) that being developed in Poland and Eastern Europe since 1970s, has the ambition of showing the phenomena or processes hidden behind a directly visible reality – tying them to the symbolic and axiological spheres. However, nowadays increasingly often the discourse based on values, norms, rules and meanings is enriched with issues related to ownership structures, social distinctions and relations of power. The author of the article tries to show this dialectic of various ontological orders on the example of urban studies. In functioning of city infrastructure, the basic role undoubtedly is played by “utilitarian values”. But while looking at the city as a work (something that remains in constant creation), artistic, aesthetic and ethical values seem to be the most important. The first two types (which include, inter alia, modernity, originality, beauty, order, context, chaos, ugliness, devastation), are present both in the process of shaping the urban space itself and in the formation of the styles of life occurring in it – including both everyday practices and bottom-up, spontaneous creative acts. Some of values are individual (happiness, freedom, religiousness anonymity, responsibility, care for the public good), and some are collective (community, equality, democracy, security, multiculturalism, local identity, living standards, nature, ecology). The diverse character of the social fabric of a city means clashing together various interest groups organized not only around the pursuit of power and profit but also convictions, ideologies, beliefs, and tastes. How proves Fereński, urban areas should, therefore, be seen/read as spaces of axiological disputes, strongly related to politics and economic determinants. Keywords: culturology, culture, visual culture, urban space, city, style of life, values, axiology, economy, politics | 817 | |||||
178 | The author present the results of the research into the change of mediation in the contemporary educational communication. I observe how those changes lead towards the change of the traditional role and functions of a teacher and educational communication in an educational event in particular. The objective of the presented research is to detect the interdependence between semiosis of education and the type of mediation in an educational situation. The author presents are opportunities and risks of innovative educational technology. In its basis is the ideology of the educational experiment of American scientists Gregory Bateson and Sigmunt Bauman. The training session is organized as a visual event. The mediator in the educational conflict is a static image (photo). Everything that happens in the classroom is fixed on the voice recorder. The second stage of my research work became the analysis of educational situations transcripts. At that stage we draw upon the practices of discourse analysis focused upon the relations between the participants of communication demonstrated in discourses. I believe that the interest to such ‘local’ (occurring in a classroom) could cast a light upon the nature of such interaction but also reveal the micro-processes occurring in educational community and practices. Keywords: iconic turn, visual stimulus, educational technology, visual artifact, educational event, educational conflict, presupposition, communicative strategy, communicative transgression, educational experiment | 815 | |||||
179 | The report discusses methodological tools for overcoming the extremes of the positivist and hermeneutic strategies for studying the city. Attention is drawn to individual differences between cities and urban life phenomena. The possibilities and subject areas of typology, phenomenology, topology as conceptual approaches to studying the individuality of cities are analyzed. The author introduces the concepts of studying the individuality of cities: topoi of the urban environment, everyday practices of citizens, the habitus of the city. It is shown that in the topological perspective the city looks like a “puzzle” of vital worlds, as a composition of qualitatively defined places – topoi. The concept of everyday practices of citizens is considered as a connecting link, a medium between the structure of the city and the meanings of its inhabitants. The methodological idea of the city habitus is to bring together different aspects of city life into a single model, showing their interdependence: gestalts, narratives, production and consumption practices, economic trends, cultural schematizations. The report substantiates the value of the concept ‘city habitus’, explores the observed circumstances of the city habitus existence and the conditions for its formation. Keywords: image of city, topos of city life, everyday practices, types of cities, city habitus | 813 | |||||
180 | The article describes the situation of changing perceptions of the human habitat by the example of city images and city plans. It is shown that the image of an ideal utopia city is inferior to the image of the city as a way of life and habitat. As a result, there is a transition from attempts to accurately image and seize the city and space in maps and schemes that metrically preserve the image object on a scale, to describing the city and space in the idea of the cartoid. The cardoid here is understood as a sign-symbolic image of the mode of action when a person masters space. The author shows that the cartoid as an idea and method naturally arose in the situation of the need to describe a person’s navigation, if necessary, to routing them their progress and mastering the space. The article gives examples of maps and cartoids of specific cities and territories. Keywords: city, city image, city anthropology, city space, map, cartoid, navigation, region | 812 | |||||
181 | The article is devoted to problems of the interpretation of the Mughal allegorical portrait. The author discusses the complex process of transformation of verbal signs into visual signs on a material of the pictorial panegyric. The article addresses the issues connected with various aspects of the visualization of concepts and motifs common in the Mughal culture. It is also shown that the formation of the royal portrait was influenced by political and socio-cultural realities of the time. Their introduction into visual text contributed to the actualization and concretization of the literary mythologems that formed the basis of the Mughal ideological programme. Keywords: mughal miniature, allegorical portrait, visual panegyric, badshah Jahangir | 806 | |||||
182 | The present paper deals with the relationship between the visual image and the poetic text in the emblematic message of the hagiographic art of baroque. Specifically two different traditions of the 17th–18th centuries, namely the Cretan and the Russian, were studied by the typical examples of the icon “Μέγας εἶ, Κύριε” (“Great Art Thou, O Lord”) by Ioannis Kornaros and the iconographic type of the “Living cross”. The comparative analyses of the function of the poetic text – the homonymous prayer of St. Sophronius of Jerusalem and the religious poem of Silvestre Medvedev – on these icons revealed that in spite of the obvious differences there are certain common features which correspond to the general trends of the changing role of the icons in the European spiritual and social context. Keywords: talking icons, emblem, Baroque, Cretan school, Ioannis Kornaros, Silvestre Medvedev, Living Cross, St. Sophronius of Jerusalem | 806 | |||||
183 | 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 | 806 | |||||
184 | The paper examines the phenomenon of the "Siberian Jerusalem" based on both materials of religious and secular texts of Siberian authors of the XIX – early XX centuries and documents of the regional archives. Special attention is paid to the analysis of Jerusalem and Palestinian toponymy in Siberia. The author aims to analyze the genesis of the phenomenon of Siberian Jerusalem: its semantics, the relation between the concepts of Siberian and New Jerusalem if such a relation exists. In terms of methodology, the article relies on developments in the field of hierotopy (A. M. Lidov) and cultural-semiotic transfer (S. S. Avanesov). The author comes to the conclusion that Jerusalem during the XVII–XXI centuries remained one of the space-forming sacred symbols of Siberia. At various times, in the social-religious and academic discourse, Tobolsk, Yeniseisk, Tomsk, Kainsk, Novokuznetsk were attributed to Siberian Jerusalem. Siberian pilgrimage and religious texts of the XIX – early XX centuries point to the fact of separation of the concepts of the Old and New Jerusalem in the consciousness of the Siberians. Siberian Jerusalem can be regarded as the image of the New Jerusalem, a continuation of the iconization of Moscow Russia. Until 1917, residents of the territory beyond the Urals recognized Tobolsk as Siberian New Jerusalem. The status of Tobolsk was reinforced by the cultural-semiotic transfer of the Jerusalem topos to Siberia in the form of an idea (Tobolsk as the center of the Universe), an image (the Tobolsk Kremlin complex) and liturgy ("the procession on the donkey"). The construction of Siberian Jerusalem was accompanied by an active transfer of the symbols of Jerusalem to Siberia, which was reflected in the toponymy of the region. Reconstruction of the origin of names reveals several sources of the creation of Palestinian toponymy in Siberia such as church construction, gold mining and the Jewish presence. Keywords: Siberia, New Jerusalem, Siberian Jerusalem, cultural and semiotic transfer, Siberian pilgrims, Jews in Siberia, Orthodoxy | 803 | |||||
185 | The origins of the later versions of Alexander Nevsky’s sculptural visualization were laid back in ancient times. It is important that, in the pre-Petrine era, the icon-painting canon mainly provided for the image of Nevsky as a schemamonk, but it was not the only possible one. It has been established with a high degree of certainty that the first image of Alexander that came to us is the previously non-attributed figure represented on the icon “Our Lady of Tikhvin with the Proto-Gospel Cycle and Saints” (first half of the 16th century). The change of the icon-painting canon to the “secular” version (1724) had objective prerequisites, since, before that, Alexander had been depicted in princely robes in monumental painting, miniatures, on hagiographic icons. The fresco from Saint Sophia Cathedral in Vologda has a “transitional” nature. The creation of the first sculpture of Alexander Nevsky (the “chest statue”, 1754) is associated with the name of Mikhail Lomonosov; two portraits of Nevsky also come from his mosaic workshop. This sculpture was preceded by a bas-relief portrait of Nevsky on his shrine (1747–1752, State Hermitage, St. Petersburg). In the 19th century, statues of Nevsky were erected on the southern gates of St. Isaac's Cathedral in St. Petersburg (I.P. Vitali, 1841–1846) and on the monument “1000th Anniversary of Russia” in Veliky Novgorod (M.O. Mikeshin, I.N. Schroeder, 1862). In the post-revolutionary era, the government refused to use the old symbols in ideological settings, and the hero of the Neva battle was forgotten. The renaissance occurred after the release of the film Alexander Nevsky by Sergei Eisenstein. This led to the emergence of a new version of the visualization of the prince – in the image of Nikolay Cherkasov. In the postwar years, this version was also reflected in sculpture (a monument in Pereslavl-Zalessky). However, in the Russian Empire and in the Soviet Union, too few sculptural images of the prince were created. Using the installation of a stele in Ust-Izhora (Archive of the St. Petersburg House of Scientists) as an example, it is shown that the reconciling of even small commemorative plaques was extremely difficult. Since the early 1990s, the situation has changed. Monuments to the prince and sculptural compositions associated with his name appeared in many cities of the country, which makes the task of typologizing them urgent. The earliest type is a “chapel”. It is a vertical architectural plastic composition completed with a “dome” and a cross. The prince himself is represented in the image of a warrior (Pushkin, Ust-Izhora, Kobyl’ye Gorodishche, partly the Leninskoye village). One more type adjoins these monuments – a “monk” (Gorodets). The sculptural images of this type can be correlated with samples of the icon-painting tradition, both of the pre-Petrine (“monk”, the scenes of life of hagiographic icons) and Petrine (“holy warrior”) eras, and with miniatures of illustrated chronicles. The remaining types of monuments represent Nevsky in the image of a warrior, in which the attributes of his holiness, with rare exceptions, play a secondary role. First of all, this refers to equestrian monuments (Pskov (Sokolikha Mountain), St. Petersburg (Alexander Nevsky Square), etc.). The article shows the relationship of these works with domestic and foreign artistic traditions. A widespread type of monuments to Alexander Nevsky is a sculpture in the form of a single figure (Gorodets, Kursk, Volgograd, Vladimir, etc.). Despite the fact that in most cases the connection with visualization trends that come from the depths of centuries is minimized in this type, it can still be traced, first of all, through elements of Orthodox symbolism. Only two monuments of this type – in Petrozavodsk and Alexandrov – represent Alexander Nevsky in the image of both a warrior and a saint. Keywords: Alexander Nevsky, history of Russia, historical memory, Russian culture, history of sculpture, history of Russian art | 803 | |||||
186 | The article discusses how the use of smart technologies affects educational and cognitive processes, how semiotically and epistemologically presented the assessments of the role of smart technologies in relation to the phenomena of education and cognition are. By smart technologies, the authors understand modern, basically informational, technologies of various profiles, the main task of which is to perform semiotically and epistemologically the functions of a subject, to replace a person in various spheres of life (where and as far as possible). The authors note that, in assessing the role of smart technologies, some criteria are often ignored and the role and importance of others are exaggerated. To summarize, it can be argued that the quantitative criteria for the application of smart technologies prevail over the qualitative ones, thus allowing the substitution of the essential characteristics of smart technologies to be less significant (secondary), which gives rise to certain unjustified expectations and effects. In particular, the authors analyzed one of these pseudo-effects: the educational situation, when a student is studying a particular discipline within the framework of online learning (smart technologies make this possible), begins to be semiotically visualized as epistemological. This is due to the fact that the online learning format puts a person in front of the need to “discover” knowledge independently for themselves, without having the appropriate methodological training and full-time support from the teacher. The problem is that, in a large number of studies, this situation is viewed as a definite achievement, but, as further evaluation of the results of smart learning shows, students whose methodological training is already associated with a certain methodological “baggage” cope with this role while most students only worsen their learning outcomes. It is noted that, epistemologically, such a characteristic of smart technologies as a functional replacement of a subject is directly correlated with the position of a number of constructivist trends in epistemology and cognitive sciences, according to which “knowledge without a subject” is allowed. The combination of the designated parameters of smart technologies application in education and epistemology allows a number of researchers to admit the conclusion about the possibility of the formation of smart education and smart epistemology as “objectless” ways of learning knowledge and cognition. It is shown that such a scenario is permissible, if not to separate the concepts of information and knowledge, the processes of cognition and information. It is shown that, if this requirement is ignored, the concepts of knowledge and knowledge itself lose their meanings, because knowledge as a process is a way of relating knowledge and information, which is impossible in an outer-subject form. It is concluded that smart technologies, in the context of their application in education and epistemology, should be considered as an additional tool, whose function can be reduced to performing routine, but not heuristic, creative basic actions that remain the subject’s priority. Keywords: smart-technologies, epistemology, education, cognition, subject | 800 | |||||
187 | The phenomenon of social practices and paternity comprehended in the context of a change of philosophical paradigms are considered. The “traditional” and “absence” fatherhood is examined by the author as a consequence of the binary conceptualization of gender in the classical philosophical discourse. An interpretation of the Universe throughout opposition to each other of the different aspects of reality (spiritual / physical, sensible / sensory, transcendent / immanent, etc.) is closely related with the existence in the cultural space of an ideal of estranged, rational father-man focused on out of family self-realization. Modern transformation of the father image, the appearance of “entrained” paternity trend are considered as a specific cultural implication of overcoming dualistic principle in modern philosophical ontology and anthropology. Display of photographs named “Fatherhood as a measure of a man” is conceptualized in the article as visual proof of overcoming the classic style in philosophy. Keywords: duality, binarity, masculinity, “absent father”, “traditional father”, “involved father”, “father’s revolution” | 799 | |||||
188 | People are compelled to change their approach to education because of the current trends: the uncertainty in the world of the future occupations, the idea of education throughout life, education for the purpose of personal growth. These trends allow one to navigate in a rapidly changing world and to easily learn a new specialization; they force a person to receive a more “extensive” education, on the one hand, and a more “compact” education, on the other. In any case, in a short period of time, a person needs to learn a large amount of information, to acquire new skills. It is necessary to use time effectively. Therefore, it becomes very important to increase the effectiveness of education, the methods of transmission and perception of information that must be learned. All this together makes it appropriate to use educational technologies related to personality development and students’ active inclusion in the educational process. The complex of these factors requires the creation of study kits that would competently organize visual education on the basis of neuroscience research. Semiotic diagnostics of these kits shows how to correctly combine and use them without harm to the individual, taking into account the physiological, cultural characteristics, and personal needs. For effective training, it is necessary to take into account the individual characteristics of the brain, the individual needs of a person, especially the transmission and perception of information. The purposeful organization of the educational process is the embodiment of knowledge about how the brain learns: writing lecture notes by hand, the need for periodic repetition of information. Modern man’s overload with information makes them return to reading paper books, writing lecture notes on paper, using markers and studying in a library for successful effective learning. Visual information is remembered better. Much of the information in the learning process is represented visually, at least in the form of lecture notes. Thus, it is relevant to determine the optimal ratio in the use of types of visual educational aids and study kits. Keywords: semiotics diagnostics, neuroscience, neuropedagogy, synergetics, perception of visual information, education | 799 | |||||
189 | The article is devoted to the study of visual markers of urban imaginary, which provide the accumulation and representation of collective memories of the city, and structure the process of imagination of the city. The relevance of urban imaginary research is confirmed both by the increased scientific interest in the phenomena that symbolically and mentally determine urban reality, and by the episodic nature of urban imaginary research in Russia. Urban imaginary opens the possibility of an interdisciplinary view of the city as a global text, generated by the structuring of collective imagination and formed by the dynamics of urban meanings in time and space. The work focuses on the fact that people come into contact only with fragments of the city, and in the conditions of informatization, digitalization of reality, the city as a whole exists, first of all, in the imagination of people, which approximates and reduces the symbolic code of the city. The key thesis of the work is the statement that the most important symbolic representative, thanks to which urban imaginary is structured in a particular city, is visual markers of the urban imaginary, which have an exceptional imaginative and generating effect. The author addresses the process of urban imaginary construction, reveals the typology and specificity of Russian cities visual markers that act as symbolic mediators. The dominant markers considered in the article are natural, symbolic, architectural, personalized visual markers, which may have different configuration in each city and differently structure urban imaginary. The result of urban imaginary’s visualization process, which translates collective representations of the city, is an urban image. Based on the symbolic and partly virtual nature of urban imaginary, it is emphasized that the process of representation of the city and the constructed image today have more significance than the city really is. The results can be a starting point for the further urban imaginary research, including applied research. They are part of the intellectual capital that can be used by urban elites in the symbolic struggle of cities for space and mobile resources, as well as in solving the problems of increasing the competitiveness of Russian cities. Keywords: city, urban studies, urban imaginary, visual markers. | 793 | |||||
190 | In article author investigates street art in some of Siberia cities as a ethically motivated visual integrations into common space. From historical point of view the author presents beginning of this phenomena in world specially in Russia. Signatures, graffiti, street art are seen as a manifestation of values parted in three categories: individual, involved, patterns recognized global. Street art in Siberia cities want to change social, political and what most important aksio-semiotic shape of city space. Article is way to propose research about Street Art and paintings on the walls as a visual texts on example of Siberian cities. How this visual phenomena’s exist in the city space in the East part of Russia. How do they relate to the city space? Do they reproduce the urban space? Do they visually build an image of urban space or create the illusion of a uniqueness of place? Where are they created and for what reasons? Street art can be individual experience, involved activity, political and social, global and local. Graffiti can be seen as a memorials or form to communicate function of place even hidden problems of society; as manifestation of values and form of interaction through symbols (the way they present themselves and possible interpretation); as the fight for values and beliefs (about the world) in Siberia urban space. For author cities like Tomsk, Novosibirsk, Kemerovo, Novokuznetsk, Irkutsk, Gorno-Altaisk can be seen through street art as a desire of citizens for egalitarian changes: the accessibility of art, the aesthetization of buildings, political discourse, creating values / identities based on the place of residence. The key to their study is the way in which values are presented in them, the social and economic context of their occurrence, the political form of struggle by them, local activism and the construction / expression of a neighborhood identity. Street art is not only thinking about aesthetization of the Siberian cities space is also increasingly becoming an expression and a way to realize values or way to organize public space by common people. Keywords: axio-semiotic, street art, urban space, Siberia, culture | 791 | |||||
191 | In seventeenth and eighteenth centuries monastic complexes had reliable fortifications, which were developed according to the newest requisites of the times. Most of the monasteries lost their ecclesiastical, religional, scientifical, cultural, and artistic roles during the twentieth century; this became the reason of their decline and gradual decay. Today, many monasteries gradually restore their original roles of spiritual havens. However, the fortifications which are essential parts of their architectural image are not protected and are in decay. In this article we present monasteries of seventeenth and eighteenth centuries which were founded both inside city walls and included in the city fortification systems, and outside cities and constructed on highlands or lowlands. As a result of the analysis it was possible do discern that the monasteries located on plains or lowlands had regular fortifications, while the ones on highlands had irregular fortifications. In some monastic complexes due to development of architectural and engineering thought, and also due to political and administrative factors, developed fortification systems arose. Keywords: fortified monasteries, regular and irregular fortifications, monastic orders, developed fortifications | 790 | |||||
192 | Visual semiotics studies a variety of fields of human culture and human behavior. In particular, various forms of social self-identification and presentation of a visual nature are directly related to the field of its study. We propose to expand this list to include forms of social clan self-presentation, which is quite obvious, but also the visual component of the intellectual practice. In our case – the ancient. The modern metaphor of the polis as a “city of speeches” is quite applicable to the ancient world. But we must add to it the equally important metaphor of the “city of viewing”. The visual curiosity of the ancient Greek was no less than the auditory curiosity. And philosophers responded to this need. The creators of the most radical visual version of philosophical behavior in ancient Greece were cynics. It was strange not only from the point of view of food austerity and eccentric manners (attributed to the Pythagoreans). It contradicted other visual examples of ancient intellectuals. The provocative behavior of cynics can be called “visual rhetoric”. In contrast to the rhetoric of Aristotle, which was aimed at preserving public order and decency, without which a policy is impossible as “communication for the sake of maximum good”, the cynics rejected public decency. They did it in a clearly visible way. Their rhetoric was illustrative. As one of her tools, they used their own body, which became a vivid expression of freedom and independence from public control. The description of cynical visual arguments allows them to be classified into the following topics. 1. Overcoming myself: Victory over myself means deliverance from the power of a social type with which a person identifies himself. In order to cope with the mandatory power of symbolic communications, it is necessary to train in oneself the “power of Socrates”: the ability to pay no attention to anything other than virtue. The cynic asceticism was intended to prevent the transformation of the satisfaction of needs into a subject of passionate lust. This was expressed in their economical minimization and in a clear demonstration of how to get rid of lust. Visual clarity freed from the fear of obsceneness. 2. Argumentation: Cynics use elements of everyday food culture as cheese, beans, and fish as illustrative tools for refuting. They actively exploit the metaphorical connotations of these objects in ancient folklore and literature. 3. Counter-Movement: Cynics visually demonstrate that they are “swimming against the stream”. They are convinced that this is the only correct way of behavior. 4. Search for a person: The famous anecdote about «the Lamp of Diogenes » testifies to the famous Heraclites’ «argument from a dream». 5. Attitude towards death: The attitude of Diogenes to his own death shows that in this case “visual decorum” must be rejected too. A dead body is more worthy of a “barbarous” (most likely Zoroastrian) burial, but not a Hellenic one. Cynics’ visual arguments were related to Antisthenes’s teaching of the correct name, which should have a one-to-one correspondence with the subject. The paradoxical behavior of the cynics was aimed at changing the focus of our view on the real. It can be said that cynic behavior is part of their “name correction” strategy. Keywords: Visual anthropology and semiotics, cynicism, Antisthenes, Diogenes the Cynic, chreia | 790 | |||||
193 | The article is devoted to the great film director Sergei Parajanov (1924–1990), his Habitus (sociocultural behavior), and unique personality. Special attention is paid to the semiosis of privacy and of social space. Parajanov’s photographs, as well as textual and visual artifacts (collages, movies, letters, and scripts) are comprised the main empirical material for the present paper. The methodological basis for the description was theory of Pierre Bourdieu and semiotic metalanguage. In the course of describing the Habitus of S. Parajanov, the author presents him as a representative of cultural border, a hybrid human, since Parajanov was a carrier of different cultures (Armenian, Georgian, Russian, and Ukrainian). A special place in the article is given to the interior of his Tbilisi apartment, the “real” component, as well as to the syntagmatic series of cultural artifacts. Special attention is also paid to the semiotic space of the toilet, its ironic, humorous and political context. The visual material provided an opportunity to analyze the structure of the Italian courtyard in Tbilisi, as well as the performances, the photo session of the great director in his own social space. S. Parajanov turned his vivid space into a holiday, aestheticized food, invented performances for guests. An important point for describing Parajanov’s Habitus was also prisoner “atavism”, a subculture of the Soviet camp, as well as a description of its hierarchical status in the zone. The reasons of the “aggression” of the Soviet establishment against. S. Parajanov are outlined and described as being connected with his playful-political performance (greetings of the demonstrators through L. Brezhnev’s eye) and a speech in front of cultural figures which “prepared” the ground for the fabricated criminal case, culminating in an eventual five-year term in a strict regime colony. An analysis of the empirical material showed that the great director worked not only while making masterpiece films, but also in the utilitarian space. His Tbilisi apartment was not only a living space, but also a creative laboratory, a workshop, a wardrobe room, and finally, a theater. Parajanov’s habitus and biography are a brilliant example for describing the repressive Soviet power of not only the Stalinist, but also the Brezhnev era, which was intolerant in relation to creative individuals. The «volcanic» nature of S. Parajanov became a prerequisite for the destruction of genre and value traditions. His outrageous, humorous, ironic thinking created performances, breaking the boundaries of the real and virtual. It was in this context that his apartment turned into a theater, a museum and a studio. With his way of thinking he destroyed the generally accepted functions of the private space; the toilet was turned into a museum, a gallery for the presentation of his diplomas, a space of outrageous, ironic and humorous texts (some sort of a “luggage room”). Parajanov’s self-irony, irony, sarcasm, extraordinary outrageous thinking became prerequisites for playing with the Soviet “sacred” values, for creating an anti-text of his era, and it was also a generator of his unique cultural habitus, performances and poetics. Keywords: Sergei Parajanov, semiotics of behavior, semiotics of interior, private space, semiotics of toilets, hierarchy of thieves, microhistory, Old Tiflis | 788 | |||||
194 | The article analyzes individual semantic structures that have an external and internal nature and help in the process of creating an actor’s image. The author is interested in precisely the problem associated with determining the place of the actor’s personality in his screen character. We can formulate some aspects of the actor’s influence on the consciousness and lifestyle of the viewer and society on the example of documentary films about three famous actors. The specificity of the actor’s personality becomes an part integral of his screen hero. The analysis of the films reveals the opportunity to explain and prove that Cary Grant creates on the screen an image that he would like to be in reality, while Jean-Paul Belmondo projects his human credo onto his screen character, and Heath Ledger ceases to exist as a person in each role, dissolving into it. The semantic core of “alter ego” in the screen image is filled with meaning depending on the internal settings of each, that is, it is purely individual, it is inevitable in the profession of a movie actor. Keywords: the Hollywood star, inner and outer transformation, duality, the process of getting into the image, the screen image, the romantic hero type | 786 | |||||
195 | The principles of visualization of the Armenian epos in urban space are analyzed in the present article by example of Armenian sculptor Artashes Hovsepyan. Thesis of this article is: Armenian epos in the Soviet and post-Soviet period in the collective consciousness is active, and its visualization and presentation in the ‘high’ art is an occasion for reflection and activation of Armenian epos reception in the Armenian socio-cultural world. The main methodological premise of understanding of the material become semiotic ideas of Charles Sanders Pierce and discourse analysis. The analysis of empirical data has shown that the bas-reliefs by Artashes Hovsepyan, dedicated to the Armenian epos, can be seen not only in the public, social and cultural space of the city, but also in the museum (metro station ‘David of Sasun’, Brandy Factory, Cafesjian Art Center), i.e. in the open space for local residents and tourists. Comparative-typological analysis of the primary text (epos) and visualization (bas-relief, cartoon, graphics) show that every form of art ‘speaks’ with his language. The multiplication of epic text is ‘an extension’ of perception Armenian epos in the Armenian society, which in turn helps to keep the epic text in the light field of the recipient consciousness. Factual material ‘high’ art has shown that it was taken only from the second (Mher the Elder), the third (David of Sasun) and fourth (Mher Junior) epic branches. But, of course, the third branch has been and remains the most favorite branch with David of Sasun as the most beloved hero of the collective memory. Keywords: epic visualization, urban space, public space, collective memory, Soviet and post-Soviet era, epos, the Armenian epos, postfolklor, semiotic translation, interpretation of the epos, Artashes Hovsepyan, bas-relief | 785 | |||||
196 | The article discusses the challenges and opportunities posed by the visual turn and visual studies in the investigation of communication. The theoretical framework of the article was found in the modern concepts of multimodal communication. The article focuses on the role of a visual image in shaping our sociocultural experience and knowledge. The main research question is as follows: how communicative actors produce and interpret meanings through visual images. Visuality is considered as a semiotic resource of meaning making that is socially constructed and culturally given. The article looks at images as they are context sensitive and represent information from the sociocultural environment. The methodology of the present analysis is in line with social and cultural semiotics, and reflects the main principles of text and cultural linguistics. The findings and implications can be summarized as follows. First, the article sketches out a linguistic, or, to be more precise, text linguistic, view on multimodality and summarizes the main approaches to the visual medium of communication compared with language. The point of departure is a methodological shift within linguistics from logocentrism towards multimodality and visual resources of meaning making. In the research papers in the 2000s, linguists also legitimized the pictorial and multimodal turn. Visuality is now at the cross-point of research interests of many modern disciplines such as text linguistics, stylistics, cognitive linguistics. Multimodal texts are considered a crucial object to investigate the meaning making in its sociocultural embeddedness. Second, the suggested inquiry is in line with the issue of intericonicity and reveals the explanatory charge of visual intertextuality. I show that pictures, image-language links may emerge as rooted in certain sociocultural practices as a part of the cultural knowledge of communicators. That means they may be dependent upon the knowledge of previously encountered texts or meanings. Visual intertextuality is considered a form of intericonicity, which reflects the intersemiotic translation of verbal signs by means of signs of nonverbal sign systems. I show visual intertextuality in current Russian communicative practice as a means of meaning making through reference on images or image-language links. A conclusion looks at some requirements and directions for further research. Images may provide a new access point to investigation of the cognitive dimension of meaning making and its sociocultural dimension. They allow us to observe the forms in which socially shaped and shared experience is fixed. The visual resource provides an access to contextualization: images are context sensitive and context embedded. The use and interpretation of images gives a special angle for the active, social construction of reality through semiotic (visual) resources. Keywords: multimodality, visual intertextuality, intericonicity, sociocultural context | 785 | |||||
197 | The geocultural space of any region is formed as a result of the interaction of two weakly separable elements – geocultures developing in the given territory and cultural landscapes. The full development of a geocultural space involves the formation of a unique ontology of imagination, which creates a cognitive “foundation” for the construction of appropriate models. Ontological models of imagination characterize the possibilities of an expanded representation and interpretation of the cultural landscapes of a region. The visuality of a cultural landscape is a complex formation in which visual reactions and reflections are the result of multiple imaginations – both personal and group. The geocultural space of the Arctic, in its visual-discursive dimension, is complex, since the tradition of the “colonial view”, coupled with the tendencies to analyze postcolonial practices and to decolonize various Arctic discourses, creates an ambivalent discursive field of relevant visual practices and policies. The existential situation of post-exoticism, typologically characteristic of the Arctic regions, is a field of ontologization of multiple visual practices that consolidate rhizomatic procedures of geocultural distinctions. As a result of a field study of the coastal territories of North-Eastern Chukotka, the most visually intensive key landscape assemblages have been identified: 1) sea hunting, 2) traditional holidays of sea hunters, 3) “pristine” nature. Landscape assemblages are represented by various visual dispositives. Visual dispositives are understood as consistently reproducing and phenomenologically fixed visual landscape (geocultural) images that characterize the specifics of certain landscape assemblages. As a result of the study, five key visual dispositives have been identified that determine the specific forms of the reproduction and development of both geo-cultures themselves and the corresponding cultural landscapes of these territories: 1) the dispositive of sea hunters, the most borderline and fractal; 2) the dispositive of holidays of the traditional culture of sea hunters; 3) the dispositive of destruction and ruin associated with both the extreme natural conditions of the region and the era of the Soviet and post-Soviet development; 4) the dispositive of the “natural”, “pristine” space associated with the low development of the territory, and 5) the dispositive of multi-naturalism, manifested in the features of the visual environments of Chukchi settlements (villages, urban-type settlements, small towns). These dispositives, intertwining and interacting, create multiple, constantly transforming landscape assemblages. Within the framework of the presented visual dispositives, the phenomena of Arctic post-exoticism and internal exoticism are formed, which fix the impossibility of returning to the pre-colonial “landscape optics”. Keywords: geocultural space, Arctic, geoculture, cultural landscape, landscape visualization, ontological models of imagination, landscape assemblage, visual dispositive, post-exoticism | 784 | |||||
198 | The article is devoted to the study of the features of visual carriers of the city’s cultural memory, which are one of the types of symbolic intermediaries that connect citizens and urban environment. The relevance of the research of cultural memory of the city is confirmed by the increased scientific interest to the problems of commemoration and mechanisms of structuring social forms of memory, and to the determination of collective ideas about the city. The functioning of the of the city’s cultural memory is supported by memory carriers as units of storage of the city’s culture significant elements (symbols, images, myths, etc.), which symbolically mark the urban environment. The author focuses on the visual carrier of the city’s cultural memory, which role is to accumulate, reproduce and translate the cultural meanings of the city, forming a visual matrix of urban memory. The methodology of the study of the city’s cultural memory is not yet formed, but the author gives a number of techniques to identify significant cultural meanings as fragments of urban memory. In addition to the use of cognitive, semiotic and sociological categories in the study, a certain methodological potential refers to a communicative paradigm that focuses on the analysis of the processes of generating cultural meanings of the city and their representation in the space of the city. The specificity of the functioning of the city’s cultural memory is illustrated by the example of the author’s 2016–2018 study of visual meanings of Veliky Novgorod, which transfer the key layers of urban memory. The author suggests to consider four main groups of translators of visible information about the city’s past as visual carrier of city’s cultural memory. The author identifies and substantiates features of visual carriers of the city’s cultural memory. The obtained results can be a starting point for further studies of the city’s cultural memory. The applied significance of this research is part of the intellectual capital that can be used by urban elites of each particular city in solving the problems of the policy of the city’s cultural memory associated with the creation of collective ideas about the city, including the image of the city. Keywords: city, city’s cultural memory, commemoration, visual memory, cultural meanings | 783 | |||||
199 | The paper deals with Arkhangelsk town-planning features in the historical and cultural perspective from the end of the 16th to the beginning of the 21st century. The Pomorian city is represented as the condensed essence of a holistic ideological and semantic program which peculiar to the Russian medieval city. Arkhangelsk is developing in the tideway of the general Russian architectural tradition and of its creative interpretation of various styles techniques and motifs: from baroque to modern. The primary focus is on the eclecticism and art nouveau periods. In the eclecticism era the Novgorod, Moscow, Yaroslavl and especially northern folk architecture traditions became a significant basis for them. At the beginning of the 20th century the eclecticism yielded precedence to the Arkhangelsk art nouveau, manifested here in the pre-revolutionary period. It was focused mainly on a strictly rationalistic and functional direction. The trading houses, built according to designs of S. A. Pets with their distinctive architecture and the Belyaevsky’s wooden house with the filled with decor street façade, that combines carved paneling and open log became exceptions. The techniques of Russian wooden architecture with the forms of the art nouveau and the traditional Scandinavian architecture surprisingly combined here. All presented art styles that followed the tastes of the time remained deeply national. At the beginning of the 20th century, interest in innovative phenomena of Western European art coexisted with a deep interest in the artistic culture of the Russian people, its traditions. “In Russia, a fertile passion for its past woke up” (I. Evdokimov). In the 20th – 21st centuries, these traditions are being interrupted, which will lead to the disappearance of the historical city face. Keywords: Russia, Pomorye, Arkhangelsk, ‘grad’-city, monastery, traders’ market, architecture, art styles | 781 | |||||
200 | The article continues a series of works devoted to the study of the connection between the life of a philosopher, on the one hand, and his place of residence, on the other. The author shows how the “works and days” of a particular philosopher, in fact, through the events authored by the philosopher, form the biography of his habitats, which previously were little known. It is concluded that the biography and autobiography of the philosopher lies not only in his ideas and written works, but also in leaving event traces in the habitats, which then, after the departure of their carrier, begin to speak for him and tell his biography. In a previous article, the problem of the autobiography of a place was discussed by the author on the example of the life of M. M. Bakhtin. In this article, the author considers this topic on the example of the domestic philosopher and methodologist G. P. Shchedrovitsky. The article shows that G. P. Shchedrovitsky built his life and developed methodology as a mission, as a cultural task. Shchedrovitsky’s biography is distinguished by the fact that he built it as an extraterritorial trajectory, actually embodying the idea of personal navigation. On the material of personal testimonies and testimonies of other authors, as well as autobiographical texts of G. P. Shchedrovitsky, the author shows examples of such event traces that G. P. Shchedrovitsky left. It is shown that in different places previously unknown to the scientific world, pockets of thought and action were suddenly created, and these places became new intellectual centers. Keywords: visual space, autobiography, philosophical autobiography, philosopher’s biography, city, place, event, evidence. | 781 |