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| 1 | In this article authors attempted to discover (identify and describe) changes of the symbolical meanings/marks/codes of political transformations within visual representations on the basis of Russian fashion magazines materials covering period between 1980 and 2013 years. On the example of 918 pictures from magazines and 135 Mercedes-Benz Fashion Week Russia 2012/2013 photos, this research completed in screening design of studying processes of political changes with “steps” connected to significant stages of regime transformations. Authors conclude that through fashion magazines, intensively filled with visual tokens, public political processes are not just reflected which allows to clarify their semantically-communicative codes, rather is ongoing anticipatory legitimization of social order and political regime changes, probably, initiated and/or supported by powered groups. Keywords: visual political studies, Russian political regime, representations, fashion, gender | 1190 | |||||
| 2 | The article presents the description and investigations of Zigmund Freud and Karl Gustav Jung concepts, who suggested the theories of dreams. Freud’s theory of dream is analyzed, dream functions are characterized, the basis of dream theory is given in this paper. There is a detailed characteristic of two kinds of dream (a clear dream and a hidden sleep) in the article. Freud’s method of dream investigation is described in detail. C. G. Jung‘s investigation point of view is considered. He criticized Freudianism and proposed his own concept, which was later called «analytical psychology». In this paper the basis of Jung’s dream theory is given, the method of his dream investigation is described. The authors suggested graphical images (schemes), which clear illustrated Freudianism and classical psychoanalysis concepts. The article is based on a wide range of sources, which include works of classical author of psychoanalysis in Russian and original language. Keywords: dreams, image, symbol, psychology, methodology, system, structure, personality, Freudianism, classical psychoanalysis | 1132 | |||||
| 3 | The article deals with historical aspects of the research of images predominantly of visual character occurring during a sleep period. The review of prescientific and scientific concepts related to the study of sleep and dreams is carried out. The paper presents the analysis of a wide range of literary sources, including papers of researchers and scientists in source languages and also in Russian. It should be noticed that the given research characterizes only the history and culture originated in Africa (Ancient Egypt) and Europe. Reviewed history of views and assessments of the phenomenon of dreams and approaches to the study of this psychic phenomenon is given in chronological sequence. Keywords: dream, dreaming, Ancient history, Classical Antiquity, Middle Ages, Renaissance, religion, philosophy, culture, scientific concepts | 1108 | |||||
| 4 | The article contains a detailed description of the psychocorrectional method of images, symbols and plot of the dream developed by the authors. The paper substantiates the background of the given psychological practice for providing individual psychological treatment and for development of the comprehensive psychocorrectional and rehabilitational programs. The stepbystep guide of transformation of the initial dream is provided. Practical use of the original method is illustrated by clinical example. Peculiar features of the proprietary methodology, the psychologist and patient problems arising during psychocorrectional process are described. The paper presents the efficiency and the results of approbation of the developed psychocorrection method. Keywords: dream, sleep hygiene, dreaming, image, symbol, plot, psychocorrection, psychotherapy, personality, intrapersonal conflict | 979 | |||||
| 5 | According to B. Hellinger, the method of family constellations is being analyzed through the prism of natural-science concepts. It was the first time B. Hellinger’s concepts were systematized and represented and thereafter accepted by the academic science. The object and the subject of the psychological correction were selected, the methodological basis of the method was described, methods, target audience, indications and contraindications to the application of the method, equipment and materials, the peculiarities of the method were described. The family was analyzed in the function of systematic education, the psychological laws that are active in family systems were described. Difficulties and conditions that limit the use of the method were defined. The method’s modifications were highlighted. There was given a detailed, step-by-step description of the classical systematic family constellation scheme introduced by B. Hellinger. The author’s view on the issues under the investigation is also suggested. The importance of B. Hellinger’s method as a unique tool of visualizing the structure of the genus and family is highlighted. Author’s graphic images (charts) that vividly illustrate the family system of a client, the psychological laws of family systems, the sequence of phases of placement client’s family system were designed as a result of the analysis of literary sources. Information that is given in the present article complements the existing theoretical principals and analysis of empirical experience of classical systematic family constellations suggested B. Hellinger. According to the data of the conducted research the following conclusions were made. The method of «Systematic family constellations» proposed by B. A. Hellinger is flexible and specific. High capacity correction of the method allows you to recommend it for use in practical psychology. Multiaspectual method of B. A. Hellinger is a unique instrument that helps to visualize the structure of the genus and the family, to demonstrate the differences between hierarchical, chaotic and harmonious family systems models. Method of systematic family constellations can provide psychological assistance in areas related to tribal, family and parent-children relationships. Constellations conducted within the B. A. Helinger’s method create conditions that are good for conflict resolutions, understanding and optimization of the life scenario, development of the personality. The psychological mechanism that ensures the effectiveness of the system of family constellations is presented as expansion of human knowledge about its relationship with the world around him and the subsequent transformation of his own personality which results in the change of the objectively existing reality. Keywords: psychological training, methodology, system, structure, element, B. Hellinger, family, genus, constellation, visual perception, visualization, systematic approach, phenomenological approach | 973 | |||||
| 6 | The article considers the question of the meaning and the use of the term “visual semiotics.” The subjective scope of visual semiotics and its correlation with other areas of the Humanities is determined here. On the one hand, visual semiotics is a part of semiotics as a whole; on the other hand, it acts as a complex research area, including visual aspects of various socio-cultural (communicative) practices in its sphere. The study of the visual aspects of communication confirms the thesis about mainly pragmatic nature of the sign as an element of the communication system. The author comes to the conclusion that the term “visual semiotics” may be called multidisciplinary research field that is formed by scientific interest to visual communication, carried out in different “optically” organized forms of cultural activity. Keywords: visual semiotics, pragmatics, sign, cultural communication, multidisciplinary knowledge | 950 | |||||
| 7 | The author discusses the basis of isomorphism of urban and technological systems relying on the fact of congruence of the morphological structure of the city and the type of technology. The main thesis is the assertion that every type of city is characterised by a certain way of life, by the type of technology used, and by everyday life things. The article gives a distinction of three types of things: the pre-industrial thing, the industrial thing, and the virtual thing – the image. Project as a cognitive structure of a possible life has different shapes: mythological, scientific, ideological and virtual – in the form of an image. Keywords: project images, thing, image, city, technology | 898 | |||||
| 8 | The article investigates the communicative function of visual image. The author makes the distinction between the concepts of “image”, “exterior” and “picture”, analyzes the main characteristics of the image as a cultural mediator. Man is a communicative being. The natural environment of human existence is a space of culture. A human presence in the culture is ensured by communicative way, using different “languages of culture”. A system of visual objects is one of these “languages”; these objects have a semiotic and pragmatic meaning for humans. The human perception of exterior means the identification of an object, the human perception of image means the getting of a message. “Exterior” is a concept associated with the spatial orientation of the person, which has the ability of visual perception; the “image” is a concept describing the communicative situation, which ensures the presence of the subject in culture. The author considers a picture as a way of capturing and presenting of the image, whereas the perception of the image has communicative nature. Visual communicative situation takes place when the image is for the person, first, a fragment which requires contextual (semantic) defragmentation; secondly, as a personally relating to him reality, causing the individual response and transforming the person in the active (pragmatic) condition. Keywords: visual studies, visual anthropology, communication, culture, image, picture, fragment, subject | 873 | |||||
| 9 | The article is devoted to the study of the main anthropological parameters of urban space. The basis for this study is the humanitarian approach in urbanistics. According to this approach, the city is a specific, complex cultural construct, embodying in its material “arrangement” the fundamental aesthetic, social and philosophical attitudes of people. This embodiment has a “two-way” character. The visual organization of urban space, on the one hand, captures cultural meanings, values, myths and priorities. On the other hand, it produces certain emotions, organizes a specific goal setting, affects a person’s life strategy and his daily activity, prescribes norms and guidelines for the person. This dual functionality of the city anchored in visual signs and markers. Any material object that enters the “fabric” of the urban environment can be read as such a sign or marker. The study of the “human” parameters of the urban space should take place in the perspective of convergence of semiotics and urbanistics in the general context of anthropological knowledge. This will allow to understand and form the urban habitat as a sphere of communicative praxis of the townspeople. The article considers three fundamental principles of organization of the urban environment: space, time and values. These principles express the basic parameters of human existence: the uneven extent of material corporeality (different semantic intensities), the historicity of being (the presence of the past and the future in the present), and normativity (value orientations). Practical axiology of urban spaces forms the separate loci in such a way that, on the scale of the general space of the city, they can become spaces of solidarity and complicity. The values of social memory, national traditions, cultural history, civic identity, personal life, constructive development (through the cultural accumulation of meanings) orient the activity of citizens on such solidarity as an integral goal. These values can unite both ordinary citizens and city government officials in their activities in the visual construction of urban space. On this path, a certain contrast can be overcome between the planned “cybernetic” activity of administrations and the spontaneous creativity of the inhabitants. This path leads to the collective urban asceticism – to caring for the city as the common “body” of its inhabitants. Urban space, which is perceived as an anthropological and not a physical phenomenon, is a visually structured sphere of human communicative practices. As a result of such practices, a general biography of the city and its inhabitants develops. Keywords: city, urban environment, visual semiotics, axiology, humanitarian urbanistics, communicative practices, anthropology of city, space, time, values | 802 | |||||
| 10 | I analyze here the interpretation of a city as a complex transphysical phenomenon which has communicative and semiotic nature. This formulation of the problem will allow to approach the study of a city as a difficult organized space. Its visual marking expresses not only the functionality of individual objects and areas how much human notions of existential comfort, historical and mythical narratives and axiological prescriptions. Epistemic ‘optics’ of visual semiotics will provide an opportunity to review and understand a city not as a physical place, which is structured by material objects, but as a human communicative environment, as difficult organized, semiotically marked space. This space reflects a features of human being and initiates (translates in time) the cultural and communicative human activity. Keywords: visual semiotics, visual communication, visual text, urban space, anthropology of city, contemporary urban studies | 783 | |||||
| 11 | Man finds himself in the world not as pure mind or consciousness, but as embodied being. This embodiment is not a simple natural fact, man is not the product of his or her own body, on the contrary, people in history always have bodies as their own objects and representations. French anthropologist M. Moss believed that for construction unified concept of human being we must base on different sciences – sociology, psychology and physiology. In this article concept “techniques of the body” analyses through the theory of motions developed classic psychophysiology N. A. Bernstein. It is hypothesized that different types of movements can be generalized by notion “gesture”. Gesture – is a movement that is able to experiment with space and time, it is the way by which a person can transcend his own boundaries. In a gesture of material and intentional sides fused together. Gesture suggests The Another Man. The human body takes on the role of media. Understanding of environment can carried out through the body and senses, not only through logic and language. Keywords: techniques of the body, M. Mouss, schemes of movements, N. A. Bernstein, symbolical coordination, gesture, media, image. | 752 | |||||
| 12 | This article is devoted to the analysis of the issue of one episode of the history of Russian temples construction – of the prohibition imposed by Patriarch Nikon on the construction of hipped-roof temples, which played an important role in the semiotic structure and aesthetic design of the space of Russian cities and monasteries. In the last years some researchers question the fact that Patriarch Nikon’s prohibition for hipped-roof temples construction in the middle of the 1650s took place. After analyzing all arguments “pro” and “contra”, I show that this prohibition actually took place, and its reasons were as follows. Firstly, the Patriarch took some kind of “monopoly” for such roofs, having decided to erect a tent-roofed rotunda in his New Jerusalem. Secondly, the Patriarch was obliged to take care of the financial and material sides of Church life, and hipped roofs were too expensive, technologically complicated and inefficient from the point of view of temples capacity. Thirdly, hipped roofs did not satisfy Nikon by personal (e. g., aesthetic) reasons. There is also the statistics of hipped-roof temples construction in the article: since 1513 until the beginning of the XVII century about 30–35 such temples were built, ands approximately the same quantity – since the late 1620s until the mid of 1650s. Then such construction was stopped due to Nikon’s prohibition for some decades. Keywords: Russia, architecture, hipped-roof temple, patriarch Nikon | 737 | |||||
| 13 | The author of the essay speaks about photography as a way of perception and comprehension of the urban cultural landscape on the example of Tomsk. The author writes about the city as a special communicative space, which has a visual form, contains cultural meanings and gives anthropological effects. Keywords: photography, city, Tomsk, visual environment | 714 | |||||
| 14 | In this article it’s going to be revealed, using philosophy (in particular using comparative analysis techniques), the relation between death visualization in medicine and death visualization in art as aspect of building symbolical death overcoming models with forces of art and science. There are two types of the sign situations displaying options of death overcoming by the person: they are scientific type (medicine) and cultural type (art, in particular the cinema). Two types of sign situations have being arising in the process of conflict between interpretations of death and life images that are generated in popular mentality of the modern person. Medical overcoming of death is illusory precisely as cinematic overcoming is, because the death is actually irresistible. The general conclusion of this article is the statement that the death phenomenon presented within philosophical and semiotics interpretation of cinema and medicine, in all contradictions, demands the further analysis in the direction of philosophical an- thropology and culture philosophy. It will allow to understand sociocultural appearance mechanisms of basic human’s behavior understanding models and also to extract the annexation chances of those models to various fields of culture and society. Keywords: death, sign situations, medicine, cinema, zombie, philosophy | 702 | |||||
| 15 | The article considers the principles of the visual image of Orthodoxy and the related features of translation of religious values to the culture of modern society. It is concluded that the current problems of perception of Orthodoxy in society mainly connected with the peculiarities of its translation, which has deep cultural roots. Keywords: visual image, the reverse perspective, Orthodoxy, sacred space, verbal text | 698 | |||||
| 16 | The article is devoted to problems of interpretation and pictorial manifestation of the mystical concept farr-i izadi which was an integral part of the Mughal ideological programme. The crucial idea of this conception is to proclaim the divine origin of the Great Mughals’ power and their legal right to the heavenly patronage. Theoretical concepts and verbal formulas of farr-i izadi were visually represented in the official Royal portraits in the form of halo that adorned the head of a Mughal ruler. For allegorical portraits of the Mughal emperors were also developed more sophisticated pictorial forms. Keywords: visual representation, divine light, king’s farr, holiness, halo, mughal painting, Great Mughals | 694 | |||||
| 17 | The article is systematized experience of screen adaptations of the novel “The Idiot” by F. M. Dostoevsky in globe cinema. The chronological frameworks are the first screen adaptation at the dawn of Russian cinema (1910, dir. Chardynin) and the pioneering work of the Estonian director Rainer Sarnet (2011). An overview of novels’s cinema fate is preceded by thoughts about dramatic plasticity of the great writer works. This character defines a steady interest to his work among cinematographers. We can talk about some common tags, on the language of cinema they give the visibility, the timelessness of one of the finest characters of Dostoevsky. Experiments with decorations from different eras and cultural contexts in which heroes are placed by different directors, allow us to talk about a special collective contribution of the cinema art to the decoding of the writer’s philosophy. Keywords: globe cinema, F. M. Dostoevsky, cinema language, literature, screen adaptation, cultural codes | 671 | |||||
| 18 | A fundamental problem of search of sense in the Universe is under consideration in the article. The application of such notions as sense, sign, signal to the biological (non-linguistic) processes what is a main problem of biosemiotics is discussed as well. The epistemological analysis of the concept of Umwelt coined by Jakob von Uexküll is made and its significance for the modern advances in epistemology, in cognitive science and in the theory of complex adaptive systems is demonstrated. A man in his cognitive, sense-making activity is considered in aspect of the universal evolutionary process together with the realm of living nature. It is shown that on the basis of achievements of biosemiotics, a possibility of search of new ways of integration of natural scientific and humanitarian knowledge is glimmered. Keywords: biosemiotics, perception, cognition, cognitive semiotics, cognitive agent, interdisciplinary synthesis, signal, symbol, sense, complex adaptive systems, evolutionary thinking, Umwelt | 665 | |||||
| 19 | The article discusses Andrei Tarkovsky’s religious views expressed in his works and diary 1970. Tarkovsky very carefully considers the problem of man’s relationship to God and the problem of immortality. The most important work of the director in this context is the scenario “Light Wind”, which was not implemented as a movie. The protagonist of the scenario most fully expresses the image of a religious prophet in works of Tarkovsky; director understands God as incomprehensible and infinite depth in the man, and immortality – as an infinite sequence of lives, like earthly life. In these unusual religious beliefs Tarkovsky is the ideological heir to F. Dostoyevsky. Keywords: Andrei Tarkovsky, the film script Light Wind, religion, immortality | 665 | |||||
| 20 | Visual Anthropology is a modern dynamic multidisciplinary “industry” of the humanities, based on research experience in the field of ethnography, sociology, history, cultural phenomenology, phenomenology of religion, social psychology, aesthetics and semiotics. The subject of visual anthropology’s research is a set of visual presentations of social and cultural communities and traditions. It is argued that the subject of visual anthropology are all forms of expression of social and cultural meanings, which are available for visual fixation and transmission. Visual images take up a significant segment of the culture as a social-communicative system. Currently, the image has become a leading medium of expression and transmission of important information. “Visual turn” in the culture which associated with the focus from the semantic aspect of the image to its syntax is recorded and described. Human ontology and culture fundamentally transformed in connection with this turn. The question about the “correctness” of the image disappears because of the elimination of its referential parameter. The image is now measured not by fidelity of reality, but on the effectiveness of its impact on the recipient: the priority shifts from its identity to its functionality. Since the entire anthropological reality is concentrated in this sort of images, the attitude to reality becomes technical, manipulative. Visual anthropology is actively formed as an integral research discipline, the focus of which are on visual acts – human action or set of actions (both synchronous and consecutive), relating to the visual image, i.e. is an active, aimed at the production, translation and use of a visual image. The rapid development of visual culture sector determines the relevance of research in visual anthropology and makes its one of the most dynamic areas of contemporary humanities. The author formulates a version of the epistemic structure description of visual anthropology as an integrated multidisciplinary research project. Keywords: anthropology, culture, visual image, the visual turn | 665 | |||||
| 21 | The Greeks painted their statues. This fact is not readily accepted even by specialists, as some mistaken translations and misinterpretations of the ancient sources amply testify. In the paper I analyze the most famous ancient testimonies and suggest, in some cases, their correct Russian translations. Thus, andrianta graphonta (Plato, Rep. 420 c 4) must be understood as an indication of painting of a statue, rather than a picture; equally well, circumlitio in Seneca (Letter LXXXVI) is related to a colorful painting, not waxing as some authors still think, etc. Ancient techniques of painting are finally illustrated by an outstanding example: a reconstruction of the funeral statue of a beautiful girl, called Phrasikleia (Athenian National Museum; Brinkmann et al. 2010). Keywords: ancient aesthetics, scientific reconstruction of art objects, painting, colors, Greek statues, Euripides, Plato, Pliny, Seneca, Quintilian, Plutarch | 664 | |||||
| 22 | The study defines the archetypal meaning of the house (in the classical and the Jungian sense), as an architectural object with aesthetic, psychological and narrative functions, in the scenographies of Andrei Tarkovsky, and oversees the functioning mode and the semantic enrichment of this archetype in the economy of the films. These functions of the house are put in relation with the narrative functions of the main characters, in order to reveal the fundamental role of the house as a temple or a space consecrated to the meeting and communicating between man and God. Keywords: archetype; sacred space; dome-shaped space; space open to infinity; thaboric space; house of the soul | 652 | |||||
| 23 | The article by Mikhail Semenovich Uvarov (1955–2013), offered to the attention of the reader, was previously published in the periodical “Solov’ev Studies” 2012. 3 (35). P. 16–28. We reproduce this text because of its significance for the visual semiotics of the cinema and for the continuation of the discussion about the art work of the famous Russian film director in our journal, and also as a sign of respect for the scientist and philosopher who recently left us. The article deals with the Christian aspects of Andrei Tarkovsky’s creative activity. The author considers the problems associated with interpretation of the ideas of the Christian and Orthodox theology in Tarkovsky’s films. The author outlines the challenges the Russian philosophy of art faces with in the context of the Tarkovsky’s creation activity. In the article the author revealed the specificity of the «Russian philosophy of art» conception. The questions about the religious motivation of Tarkovsky’s artistic method are discussed. The author analyzes the specific religious content of Tarkovsky’s films and controversial issues of his work. The aspects of Tarkovsky interpretation of “popular Christianity” in Russia are discussed. It is shown how religious motives in Tarkovsky’s films influenced to the contemporary Russian cinema. It is concluded that the films of Andrei Tarkovsky affect delicate strings of human soul that can awaken religious faith and great art. According to the author, Tarkovsky attained higher synthesis of human and Divine spheres, and it is Tarkovsky’s main contribution to the world art. A short essay on the life and philosophy of Professor M. S. Uvarov precedes his article. Keywords: works of Andrei Tarkovsky, philosophy of art, religious art, religious philosophy, Divine, human, faith, Christianity, Orthodoxy, Catholicism, “Russian Golgotha”. | 648 | |||||
| 24 | In this article, I analyze a traditional Russian city as a visual semiotic space. I demonstrate that the key ideological (sacred) archetypes are in the basis of the planning of urban inhabited space; these archetypes have their expression in a visual forms for structuring of life environment. I understand here a topics as a method and result of an artificial spatial organization of “place”. It is important that an urban environment has a communicative character: the topical organization of inhabited space reflects and produces human communication practices. I explore a city as a multi-layered and multi-valued semiotic space in which discrete objects and their complexes “are read” as ideological, mnemonic and suggestive signs or messages (texts). Traditional Christian city is also a sacred image or spatial icon; consequently his understanding involves the use of the semiotic procedures that are used for the interpretation of iconography. For this reason I make an ontological and semiotic analysis of Eastern Christian icons, and at the same time I assert an active iconic stance of person. My study of the city as an icon based on the concept of hierotopy (Alexey Lidov) and aionotopy (Valery Lepahin). The sacred topics of Russian city historically formed by implementing the four basic organizational models (or matrices): the cultural-historical, liturgical, eschatological and symbolic; a particular paradigmatic image is the deep content of each of these models. Cultural-historical matrix assumes the transfer (distribution) of sacred space. The concept of cultural and semiotic transfer as the mechanism of constructing semantic space complexes in the formation of culture as communication environment is explained in this article. I offer the version of the systematic describing of fundamental models of translocation systems and complexes of culturally significant meanings in the formation of living space in traditional city. I suppose three types of cultural and semiotic transfer: transfer of idea, transfer of image and copying. As an example of eidetic transfer (transfer of idea), I view the process of translation of Christian sacral topos from Jerusalem through Constantinople to Kiev. Keywords: visual semiotics, space of culture, sacred space, city, architecture, Eastern Christianity, icon, spatial icon, models of sacred topics, Russia, cultural semiotic transfer | 645 | |||||
| 25 | For investigation the nature of cinema and television grounded methodological strategy of screen metaanthropology as the way of understanding a screen culture, within its phenomenas considered in ordinary, ultimate and transcendent human being. Screen metaanthropology develops principles of metaanthropology by N. Hamitov, cinemaanthropology of G. Chmil and includes in itself approaches to the screen culture of M. McLuhan and J. Baudrillard and some of the key concepts of V. Frankl and E. Fromm. Keywords: cinema, television, screen culture, cinemaanthropology, metaanthropology, screen metaanthropology | 635 | |||||
| 26 | The article reveals the peculiarities of modern Russian cinema, allowing it to be a specific form of philosophical and visual-anthropological national self-knowledge. The main intellectual, emotional and spiritual features of the Russian mentality are studied by means of the artistic and visual material of D. Zinchenko’s film «Elixir». As the key elements of the Russian national thinking and behavior, the authors emphasize the desire of material miracle, belief in finding the wanted by embodying spiritual values and ideas into material objects. The article notes romanticism, focus on high moral ideals, neglect of material goods, mystical hope of fate, appeal to God, peculiar to the Russian soul and character. The problem of genre of Daniil Zinchenko’s film is analized, the analysis shows its narrative structures and demonstrates elements of intertextuality – quotation, allusion, reminiscence.The authors examine in detail the specifics of the visual language and symbols of «Elixir», its mythological motifs, archetypal images, discourse of «texts in the text». Keywords: visual anthropology, semiotics of cinema, Russian studies, national self-knowledge, the mentality, Daniil Zinchenko, «Elixir», realogy, wonder, search | 628 | |||||
| 27 | Dwelling upon a notion of the “dialogue of cultures” as the defining aim of Visual Anthropology, the author thinks that one of the most important tasks of films that follow this aim is providing authentic information. In the beginning of the article I treat the characteristics of the documentary filmmaking which were in focus of attention during the early stages of the cinema development before it shifted largely to feature films. The Soviet filmmaker Dziga Vertov laid the ground for the theory of cinema language understood as the language of documentary cinema. He declared and experimentally illustrated the main spatial and temporary coordinates of the cinema language. But his ideological attempt to “build a new man” did not allow to use his formal discoveries to transform the documentary filmmaking in the means of the dialogue with peoples on screen. A filmmaker from another continent, Robert Flaherty, made this step approximately at the same time. Not pretending to be a theoretician of cinema, Flaherty made a practical discovery which showed that documentary filmmaking may not only make artistic breakthroughs but also serve a means of communication allowing representatives of remote cultures remain on screen not as exotic aliens but conduct equal dialogue with viewers. The main task of the article was to show that formal categories of the film structure (spatial and temporal) may naturally be combined with such an irrational category as the ethical responsibility of the film author before the reality. Keywords: visual anthropology, languages of cinema, dialogue of cultures | 626 | |||||
| 28 | Theses of the report prepared in 1975 below are published. The author of this report focuses on the eidetic (meaning-conformable) characteristics of visual programs and design-objects that are created during the implementation of these programs. To achieve this goal, the author examines the programs and visualization objects on the background of eidetic space, which the author found in mode of life. In addition to these theoretical issues, the author considered and those problems which relate to the method of constructing visual programs for creating design-objects – taking into account the proposed interpretation of visual installation. Keywords: design, visual object, visual installation, eidetic space, project activities | 622 | |||||
| 29 | Paper is devoted to identification of process of the existential problems conceptualization in the main types and genres of modern design graphics – from objects of outdoor advertising and environmental design to the Internet memes which were widely adopted in connection with the development of IT. Conceptualization of the existential problems, demanding their visual fixing, promotes their judgment and at the same time designs the mechanism of management of existential conditions, than obvious psychotherapeutic effect of creativity of this sort is caused. Creation and distribution of Internet memes – universal communication which allows to find for mass forms of design graphics the status of a modern folklore genre. Keywords: visual culture, visual communication, visual anthropology, conceptualization, graphic design, Internet memes | 619 | |||||
| 30 | The article analyzes visual representations of gastronomic culture which extend opportunities practices in modern mass society. New forms of social solidarity emerge on the base of common gastronomic experience that is shown by visual channels of media and the Internet. Culinary book as a traditional form of gastronomic expert knowledge acquires various visual interpretations. As images of the body, images of the food are verified for conformity to standards of glamor. Consumption of such food is offered as a situational assimilation of marks of the most cherished identity, which is represented by a media figure, a celebrity. Keywords: gastronomic culture, visual representations, corporeality, glamor | 618 | |||||
| 31 | In paper the author addresses to the analysis of cultural codes and their representation in Slavic alphabets and texts of educational alphabets. The author shows that over time cultural codes, that are crucial for the survival of man as a cultural, moral and spiritual person, cease to be broadcast in the texts of the alphabet, deformed or replaced by other codes. Extensive material of the Russian manuals for training in the diploma allows the author to draw the theoretical conclusions useful both for the theory of culture, and for linguistics. Keywords: alphabet, cultural codes, culture, cultural universal, language universal, binary oppositions, cultural norm | 616 | |||||
| 32 | The article accentuated the problem of clarifying the meaning of the basic anthropological terms. Science сonvention in anthropological terminology is one of the conditions for the development of knowledge about a man, because it ensures the maintenance of a communicative nature of anthropology. An analytical approach is required to solve this problem. This approach takes into account the historical and cultural transformation of the meaning of the term, the impact of the context of its use on its value. The article analyzes one of the key anthropological terms: “personality”. The author finds that the term was originally associated with visual semantic connotations that persist or evolve along with the development of anthropological reflection. Thus, in the ancient culture the word πρόσωπον depending on the time, the circumstances and the context means the following: 1) an appearance; 2) a face; 3) a mask; 4) a character; 5) a role; 6) an actor. The Latin persona has these meanings. In the Christian culture, this word loses its “theatrical” meaning. Token of the term πρόσωπον are now concentrated around the two semantic points: a) an appearance; b) a particular subject (“who”). The shift in emphasis from the “person-mask” for “person-hypostasis” reflects a radical transformation of thinking about a man associated with the transfer from ancient cosmological paradigm for Christian personalist platform on the basis of which a person as visible acquires a special existential depth and unique value. Keywords: anthropology, term, meaning, personality, visual aspects | 616 | |||||
| 33 | It has been suggested that the modern “screen culture” is a substitute for reality, that it distorts the world around us. Perhaps these fears are somewhat exaggerated, as distorted perceptions of reality can be created by other forms of culture. However, the strong influence of cinema and television on the minds of viewers is quite obvious, so it is important to study the role of this industry in the creation of various modern myths. This article examines the process of formation in the minds of Russian viewers of the Slavic runes myth, which are depicted in films and TV programs as an ancient form of pre-Christian Slavic writing. This article shows that science knows nothing about the Slavs writing, similar to the runic writing. This fact allows us to assert that the idea of the existence of Slavic runes is a modern myth. Its genesis is connected with the appearance of pseudo-scientific historical literature in post-Soviet Russia and its influence on the formation of the literary genre of Slavic fantasy. For the first time this myth, which is very popular among Russian neopagans, hit the screens in 2004, when a four-part film series The Legend of Kashchei was released. The film was the first screen incarnation of this genre of Slavic fantasy. The viewer can see signs very similar to Scandinavian runes in the Slavic deities’ palace. Since that time, runes have become a popular feature of Russian mystical films and serials. Even if the runes do not intertwine directly with the Slavs, they are included in the context of Russian historical and cultural heritage. So viewers get used to associate the image of runic inscriptions with the pagan beliefs of ancient Russia. An even larger contribution to the formation of such representations has been made by TV programs, in particular, those shown on the channel REN TV. The existence of a highly developed Slavic runic written language is discussed as a fact in a number of such programs and fonts, stylized like the Scandinavian runes, are often used in the visual design of some of them. All this is fully in line with the ideas of Russian neo-pagans which, by the way, we can see in all these movies. But if recently it was possible to think that the Slavic runes are part of the marginal subculture of pseudohistory adherents and that it is impossible to see them in respectable media, now the situation has changed. In 2018, in Orthodox Easter, Channel One showed a docudrama The Baptism of Rus’. The subtitles of this film are stylized as runic inscriptions. Thus, despite the Orthodox-oriented nature of the film, it repeats the popular among Russian neo-pagans myth about Slavic runes, fixing it in the mass consciousness. Unfortunately, these ideas are not so harmless, as they contribute to the restoration of Nazi fabrications about the mystical symbolism of runes and the reception of these views by the Russian historical consciousness. Keywords: modern mythology, runic writing, pseudohistory, neopaganism, Nazism, Russian historical consciousness, Russian TV, Russian cinema, screen culture | 613 | |||||
| 34 | Hierotopy is a novel concept, originally developed by Alexei Lidov, that is defined both as the creation of sacred spaces viewed as a special form of human creativity as well as a related academic field of study. Sergey Zagraevsky has challenged the scientific validity of hierotopy in his opinion article published in the preceding issue of this journal. As he argues, hierotopy studies a poorly defined “sacred space”, the very existence of which has yet to be proven and can only be postulated in an act of faith. The present paper offers a response in defense of hierotopy. I analyze both Zagraevsky’s arguments as well as the assumptions underlying them, and elucidate three fundamental misconceptions within his critique. Firstly, he misinterpreted the interplay at work between the religious and the scientific in hierotopy. While he directly states in his paper that hierotopic research necessarily involves a mystical revelation by the researcher in accordance with the researcher’s own beliefs, I explain why this is a clear misapprehension of hierotopy, and, in essence, confuses the object of study with a research program itself. Secondly, his perspective on hierotopy from the standpoint of an architecture historian prevents him from recognizing the key role played by icons and iconicity in the construction of sacred spaces as well an important role of performativity. Thirdly, in attempting to assign hierotopy a fixed position within the established structure of scientific disciplines, he has overlooked its essentially holistic character and its function as an interdisciplinary discourse with its own focus. It is due to these misunderstandings that Zagraevsky arrives at a skewed conception of hierotopy, namely, that hierotopic research consists in nothing more than an attempt to divine ephemeral, sacred meanings by way of mystical inspiration, and that it is but a terminological “superstructure” that has no proper object of study, relying instead on substantial content borrowed from traditional disciplines. But in reality, as this paper argues, the main subject of hierotopy is the culturehistorical process of the formation of sacred spaces viewed as products of conscious human creativity. Its methodology is free from mysticism, even while the motivations of the actual creators of sacred spaces can be, and frequently are, influenced by religious views and tinted with mystical ideas. The invention of hierotopy has been a logical result of the evolution of the theory of sacred art, with iconography serving as its essential point of departure. Hierotopy has earned wide recognition and academic validation. Keywords: hierotopy, methodology, discourse, sacred spaces, spatial icon, visual semiotics of religion | 609 | |||||
| 35 | In the paper author considers the modification of values of medicinal university students and the associated change in view of the ideal of doctor. Summary of the paper are based on comparative analysis of social research data. Research was conducted in 2005 and 2013 in Siberian Medical University within the course of bioethics. Keywords: ideal of doctor, social research, comparative analysis, models of doctoring, transformation of values | 595 | |||||
| 36 | The paper deals with the concept of ‘Melancholy’ – one of the four humors in Hippocratic medicine, practiced in Europe and Middle East from Antiquity till the very end of the Modern time. Being a “daughter of Saturn” in the late-medieval world view, it went through a curious conceptual metamorphosis along with mythological Saturn himself during the 15th – 17th centuries. In that period, a peculiar trend of Hermetic Natural Philosophy gave rise to an utterly new type of intellectuals. Model of the enlightened genius and poet-philosopher was continuously connected with the character of Melancholy among them. Its effect on the human nature was modeled not upon the gloomy anticipations of the Aristotelian school, but the solemn definitions of Plotinus, G. Piko della Mirandola, and Agrippa von Nettesheim. Seen previously as a ‘God of death and inexorable time’, ‘the Reaper’, Saturn had been transformed to become a patron of wisdom and a mentor of melancholical ‘heroic enthusiasts’. Rich iconological diversity of practically identical motives in the art of the 15th – 17th cc. illustrates these theses. Keywords: Saturn, melancholy, humors, astrology, hermetism, iconology, Renaissance, post-medieval, Vanitas | 591 | |||||
| 37 | The article describes both the transformation and the invariance of the “New Year” holiday and of its attributes. The empirical material of the study was the textbooks published in Soviet and post-Soviet Armenia and Russia. The choice of the empirical material was determined by the consideration that textbooks, especially the ones published in totalitarian and authoritarian states, are the indicators of political change since the education system is the most dependent upon the political field. The analysis of the empirical material testified to the fact that in the selected texts Santa Claus manifests itself in multiple roles: the evil, Frost punisher, the gift-giver, the wise old man who knows the cyclic order of seasons, the bearer of folk wisdom, the demiurge, and the one fulfilling the function of decoration of winter nature. The Snow Maiden in the educational materials of the Soviet and post-Soviet era is represented in the framework of folklore and is the “background” character of Santa Claus. In the educational materials of the Soviet era, the New Year tree decorations are featured as animals without any ideological value. Gastronomic decorations-gifts in the Soviet era were utilitarian in their nature and were the signs of “abundance” of the epoch; they were given to children as gifts for holidays. New Year tree decorations of the post-Soviet era are mainly visualized in the style of minimalism and in geometric shapes. The most distinctive feature of the post-Soviet textbooks is the presence of vividly expressed Christian motifs in the Armenian textbooks and their absence in the Russian textbooks. Keywords: New Year, Santa Claus, Snow Maiden, New Year tree decoration, New Year tree, Christmas tree as a kind of holiday, holiday and leaders of the proletariat, Soviet textbooks, post-Soviet textbooks, microhistory | 588 | |||||
| 38 | The article is devoted to the history and semiotic transformations of “Donkey walk” practiced in Russia in XVI–XVII centuries on Palm Sunday which was a ritual reenactment of Jesus Christ’s entry into Jerusalem. The autor analyzes role of spatial icon in dissemination of religious values and specifics of dissemination of spatial icon in Russia. Discussed the origin of “Donkey Walk” and semantic transformation that occurred through interperation of the ritual in Russia. It is concluded that the content of “Donkey Walk” in Russia was significantly enriched: there was deep understanding of events of Sacred history and their active experience, when elements of the worldly life in all their manifestations get a sense of the sacred. However, from the 2nd half of the XVII century there was a gradual desacralization of the ritual associated with the General trends of secularization. Keywords: “Donkey walk”, Palm Sunday, the spatial icon, sacred space, Pokrovsky Cathedral, the symbolism of liturgical vestments, willow symbolism, secularization | 584 | |||||
| 39 | Media image of British multiculturalism, created and broadcast through the media, has been characterized by the methods of visual sociology in this paper. The analysis identified the following its structural elements: the confrontation between supporters and opponents held in the UK policy of multiculturalism, as well as between indigenous Britons and immigrants; appeal to national symbols in order to demonstrate their identity to any of the conflict parties, either for the purpose of reconciliation and national British identity; the relationship of the British policy of multiculturalism with the history of the UK, as well as with the modern experience of the European and Anglo-Saxon countries in coping with the cultural heterogeneity of their societies; change in the anthropological characteristics of the collective image of the British; introduction of cultural and stylistic and ethnic diversity in the domestic literature, music and the urban landscape of modern Britain, while maintaining clear boundaries between ethnic and cultural groups. Keywords: British multiculturalism, The Guardian, media image, visualization, interpretation | 575 | |||||
| 40 | This paper employs the concept of Protestant Hierotopy to explore the spiritual roots of Dutch Golden Age Painting. Hierotopic methodology, as developed by Alexei Lidov, focuses on the creation of sacred spaces as a form of human creativity. Though the Reformation may have done away with the sacred spaces of churches and sanctuaries, it introduced in their place a new kind of hierotopy: a sacralization of the whole of Creation, with a particular focus on human environments. The admiration for nature was imbued with religious feelings, while cleanliness and domesticity came to be seen as closely akin to holiness. In this paper I interpret Dutch Golden Age Painting as an iconography of this new sacrality. I argue that what we find in this art ought to be understood, not as a purely descriptive objective ‘realism’ conceived for its own sake, but rather as a ‘fervent’ or even ‘sacred’ naturalism motivated by admiration for God’s creation and enhanced by a Protestant sense of cooperating with the Creator. Such motives can be found at work in all genres of Dutch fine art. Still lifes, especially bunches of flowers, extremely lifelike and physically impossible at the same time, can be seen as icons of God’s Creation. Modest bourgeois dwellings, embellished by palace-grade Oriental carpets and marble flooring, are elevated in painted interiors to the level of veritable temples of domesticity. Early modern admiration for God’s Creation was inspired by Calvinistic teachings with regards to Nature as God’s manifestation, as well as by neostoic pantheism and by the contemporary scientific passion for the visible world and its study by observation. All these diverse influences worked together to inform a whole new worldview of Protestant Hierotopy in which the natural and the domestic acquired an aura of sacrality, while their representation in art took on an iconic dimension. Keywords: Dutch painting, Dutch Golden Age, hierotopy, Protestantism, Calvinism, Baroque, Neostoicism, Natural Theology, art theory, iconography, iconology, realism, still life, landscape, domesticity | 575 | |||||
| 41 | Chimera it’s not just one of the specific creature known on the heritage of ancient Greek culture. Today chimeras newly created in the laboratory and in the new forms of culture. Since the main goal of bioethics is to protect the individual, then we must accept and defend different forms of individuality. Bioethics, forcing to change the attitude towards animals, captures the change in the relationship of man to himself, to his life. This sympathy is change feeling of the past, in which some existential values do not seem viable, not relevant for the development of moral reasoning a person’s life. These “dead” values like “stuffed”. Keywords: chimera, taxidermy, bioethics, symbols, existential values, visual forms, volunteers, volunteering. | 574 | |||||
| 42 | The possibility to the limits of applicability for psychological theories of visual information perception are investigated. The perception of visual information is seen as a part of the information process (generation, coding, storage, transfer of information, etc.). The information process interpreted within the context of post-non-classical paradigm (V.S. Stepin). This kind of perception interpretation corresponds to the methodology of information-synergetic approach developed by I.V. Melik-Gaykazyan. Therefore, the main theses and models of informationsynergetic approach are chosen as bases for the classification and the limits of applicability for psychological theories of visual information perception. Keywords: visual information, the perception of visual information, post-nonclassical paradigm, syner-getic, information-synergetic approach | 573 | |||||
| 43 | The paper considers the question of how metaphor works in the transition from one conceptual scheme to another one. For this there are two levels – narrative and constructive – and it is shown that the image of the underlying metaphorical mapping allows to specify the new coordinates of mental schemes. It is through visualization metaphor provides the possibility of the active choice of the part of the meaning or the new meaning that is to be introduced into the new system of associations. For example, fragments of Heraclitus demonstrate the break with the traditional mythical metaphor of birth, and Heraclitus uses three different metaphors related to different everyday practices. Then on the instances of the doctrines of Parmenides and Plato it is shown how using the metaphor of a chariot and a cave the breakthrough to the new ideal (transheavenly) reality is arranged, and then ordering a new system of concepts, including variable and constant, the demiurge, truth, enlightenment, etc. Keywords: narrative metaphor, constructive metaphor, Ancient Greek philosophy, Heraclitus, Parmenides, Plato. | 570 | |||||
| 44 | 2014 is the centenary anniversary of the First world war, The Great War, La Grand guerre. It was a war ruined not only the bodies but also the minds of Europeans. Art is an area of culture that is most keenly anticipates and reflects all civilizational changes. On the events of the First world war it responded through the avant-garde. Among the range of avant-garde trends were two (expressionism and dadaism) that are stronger then others reacted on existential component of the processes. The purpose of this paper is to show two avant-garde experience of the early twentieth century (expressionism and dadaism) as two types of reactions to cultural consciousness on the existential crippling events of war. According to the author the response of these art movements were diametrically opposed – the tragic fight with reality by Expressionism and escapism and denial of reality by Dada. Keywords: Expressionism, Dadaism, World War I | 569 | |||||
| 45 | The article presents analysis of the problem of interaction and mutual influence of philosophical and architecture worldviews. Theoretical and methodological foundations of the of the paper were laid by semiotic conceptions of U. Eco, Ch. Jenks, existential-phenomenological conceptions of M. Heidegger and P. Virilio as well as works of postmodernist philosophers. The change in perception of space and its reorganization via architectural forms is viewed in the light of sociocultural transformation of the “fluid” modernity. Regularities in development of philosophical knowledge and architecture are revealed by the example of the ideas of postmodern philosophy embodying in new architectural forms, representing various trends of non-linear architecture. In general, postmodernism is viewed as a philosophical and world outlook foundation of the contemporary architecture. Keywords: philosophical worldview, architectural worldview, space, perception, non-linear architecture, postmodernism, poststructuralism | 562 | |||||
| 46 | We consider such a type of contemporary network communications as interchange of visual information and short messages which became popular due to availability of photo- and video-cameras, rapid and cheap connections, and drastic increase of life pace. We characterize these communications, analyze the reasons behind their popularity, study and predict their influence on people’s life and people themselves. We give some arguments in favor of decrease of the role which human language plays in our life as a mean of data transmission Keywords: visual communications, Internet, information technologies, language | 560 | |||||
| 47 | The paper raises the problem of the return to basic constructs and patterns of thinking that have been developed at the time in the classical philosophy from ancient authors. These schemes and implementation of constructs suggested phenomenological shift, that is, opening the bottom of things, the whole world, the formation of such vision, which would allow to see the world as it is. In the nonclassical case the phenomenon transformed forms raises the problem of inaccessibility of the world as it is and the need to overcome this secrecy. The idea of visualization as a phenomenological shift and body building vision are introduced. The author provides examples from the history of culture, showing different views of the phenomenon in different authors. The author introduces the concept of visualization and phenomenological shift in the broader context antropopractice, architectonic construction of personality. Keywords: phenomenon, visualization, phenomenological shift, architectonics of personality, phenomenon of personality, organon of personality | 554 | |||||
| 48 | The paper discusses the visual component of Orthodox worship, its role and place in worship, principles of transmission of religious content, causes and features of symbolism in worship, relationship to the symbol in different cultural and historical conditions. It is concluded that the visual images play leading role in transmission sacred content of religion, which is connected with the peculiarities of religious experience, which is the basis of religion. The author analyzes the forms and ways of expressing religious content through images and symbols, which are considered in aspects of the symbolism of the Liturgy as a whole and its individual elements. Historically variants relation to the symbol in the Liturgy in Byzantium and Russia are also research. Keywords: visual image, Orthodoxy, ritual, symbolism, reverse perspective | 553 | |||||
| 49 | In this article the methodological aspects of the study of the place image are presented, the specific features of their formation are researched. Based on the review of the contemporary foreign and native literature, the specific features of quality and quantity methods in the branch of territorial marketing, place image policy and place branding are analyzed. A variety of research methods depicts a complex and interdisciplinary nature of the territory image policy research. The paper also shows the peculiarities of application of statistic, semantic and psychological methods of research. The image policy as a government strategy can be successfully implicated due to the usage of quality methods (interview, Delphi method, focus groups, the repertory grid technique) on the initial stage of creation of the place image and the usage of quantity methods (ranking, surveys, statistical methods) on further stages. Keywords: place image, place image policy, methods, marketing, management | 550 | |||||
| 50 | The paper is devoted to research of the problem of forming of a territory image (country, region, city) through an innovation potential of the universities in its borders. In the paper the system of key state measures for support of the image of an innovation state is analyzed. Innovation educational environment and forming of the system of the bearing innovation universities are considered in the aspect of the effectiveness of positioning of the universities and the territories which they represent. The universities are researched both a significant innovation subject for formation of Russian innovation economics and an instrument for positioning of innovation inland and in the global world Keywords: innovation university, innovation instrument, positioning of innovation, image of territory | 541 | |||||