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| 101 | The paper deals with the positioning of the city in a new communicative situation. The social construction of the city’s reality in the form of a discussion on its distinctive features has begun to play a special role. The branding is achieved through giving and maintaining a brand values. Through this communication, a city acquires an identity, distinguishing it from other cities. Today, the very nature of positioning changes when the message in post-modern conversation is given the character of the intertext. Then branding is the management of brand communication in order to make it recognizable and successful. This means that the brand value is communicated to it not only by the brand managing authority, but also by the actively perceiving party. Identity here is the resultant constructive activity of society, forming an adequate model of a sustainable image of the brand of the city. Keywords: city brand, city image, new communicative situation, positioning, branding, conversation / discussion, social construction of the city as a brand | 828 | |||||
| 102 | 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 | 817 | |||||
| 103 | The study presents the main concepts of Parajanov’s cinematic poetics, which is deeply bound with the filmmaker’s Weltanschauung: a mixture of ancient, medieval and modern civilizational models, of Oriental and Western, Christian, Islamic and pagan patterns of behaviour, of mythic-archaic, soviet and postmodern anthropological models, that melt together in harmony only in the unique topos of Transcaucasia. Keywords: immersion into myth, language of stage convention, Byzantine man, the invisible war, postmodernism, cinegenic arche-types, sacred in motion, cinematic archeography | 806 | |||||
| 104 | The article examines the effect of the victory in WWII on the status of the Stalinist regime and on the representations of power in Soviet war films. Already in the last stages of the war (e.g., Fridrikh Ermler’s The Great Turning Point) the experiences at the frontline and on the home front were being transformed into a narrative of Victory, which started to replace the Revolution as the focal point of the myth of creation of the Soviet nation; the creation of a “useful past” was initiated. These moves were then fixed in a range of socalled “feature documentaries” that were supposed to recreate on the big screen the history of victorious “Stalinist blows”: Igor Savchenko’s The Third Blow, Vladimir Petrov’s Battle of Stalingrad, Mikhail Chiaureli’s The Fall of Berlin. These films had a particular kind of poetics and were very different from the pre-war Staliniana, giving a visual form to the transformed myth where Stalin was no longer just Lenin’s confidant, best pupil and heir, but where he was the only saviour of the country and the winner in the great war. Keywords: late stalinism, soviet cinema, Great Patriotic War, representation of power, Fridrikh Ermler, Vladimir Petrov, Mikhail Chiaureli | 806 | |||||
| 105 | Report on the origin of five-domed churches was read in the meeting of the Society of Ancient Literature in St. Petersburg on March 13, 1881. The text of the report was published in the same year by S. Dobrodeev’s printing house. Author of the report – Prince Grigory Gagarin (1810–1893), Russian painter, art restorer, architect, obergofmeyster of court of His Imperial Majesty, the vice-president of the Academy of Arts of the Russian Empire, Major-General. In his project Holy Ascension Cathedral in Alagir (Ossetia, 1851–1853) was built. He painted the Sioni Cathedral of the Dormition in Tbilisi. He is known for another study of this kind, published in 1887: “Collection of Byzantine and ancient ornaments, collected and drawn by Prince G. G. Gagarin”; this book is a collection of ornamental details and scenes typical for the Eastern Christian architecture, painting, miniatures and mosaics. The main text of the report “Origin of five-domed churches” is reproduced below in modern spelling and punctuation without finishing chronological list of Muslim dynasties and without illustrations, occupied the 6 sheets in the original edition. Author of the study explains the origin of the common type of Russian five-domed temple through traditions of Byzantine architecture, revealing the original pattern in ancient Constantinople temple of the Holy Apostles. | 806 | |||||
| 106 | On the obverse of a rare gold quarter stater, struck c. 250–225 BCE in northern France and recently found near Ringwould, Kent, one sees the head of Apollo with a lyre and a bow (?) hidden in his curly hair, which proves that it was designed by a local master on the basis of a gold stater of Philipp II of Macedon (382–336 BCE). On the reverse of this small (13 mm) coin we see a strange long-haired Celtic deity: driving his sky-chariot, this god holds a huge hammer in his right hand. A big bee is depicted before the horse’s snout. This reminds of Sucellos, the Celtic god of agriculture, underworld and alcoholic drink, the “good striker,” usually depicted with a hammer in one hand and a cup in another, or, perhaps, the Roman Silvanus. It appears that this image became a prototype for another and quite extraordinary Celtic coin, struck in Normandy, France, c. 100 BCE, which displays a model ship as the victor’s prize in a chariot race. The head of Apollo (now crowned with a wreath) is again found on the obverse, but on the reverse a typologically similar divine charioteer holds – instead of a hammer – a model of a ship. A working hypothesis therefor could be that the image of a bee, also a conductor to the underworld, is simply replaced by the artist with an image of a ship, as if the divine traveler drives his chariot under sky at days and sails away and sinks below the horizon at nights. The image can further be placed both in mythological and historical context. There is quite reasonable to suppose, with D. Ellmers, that this special coin was issued as a gesture of propaganda, designed to show the coastal inhabitants that they are protected at sea and land, and to merchants that the passage through the Channel is safe. Parallel interpretations of the metaphors of pilot, helmsman, the observational tower and harmony, current in the Platonic tradition (Plato, Numenius, Olympiodorus, etc.), could to my mind also help to understand this unusual image. It is fascinating to observe how an unknown artist independently follows the steps of the Greek philosopher in his reinterpreting of a complicated mythological image in a political sense. Keywords: Platonism, the heavenly traveler, body and soul, a passage to the underworld, the charioteer, pilot, kybernētēs metaphors, Sucellus, harmony, the Celtic ships | 802 | |||||
| 107 | The article discusses the ways of visual transfer of Jerusalem and the Holy Land cultural realities on the Russian Christian culture. The specificity of this culture maximally expressed in the temple action. The relationship of the liturgical time with a real topography of the Holy Land as the place of the events described in the Gospel is investigated in this article. It demonstrates the meaning of the liturgical action as a pilgrimage to the holy places of Jerusalem and the surrounding area. The meaning is expressed in the semantic connection of historical events, its Palestinian localization and the liturgical “reproduction”. A temple area’s Palestinian “marking”, which is complemented by the iconic (sacral-visual) line is noted. When the liturgical tradition based on the Palestinian topic is transfered, reverse movement arises, i.e. the liturgically fixed topical markers are spread on space surrounding a temple. In consideration of the typological affinity name and image, the author draws attention to the iconic images as anagrams. He offers to define visual spatial complexes presented in such images-anagrams as “anatopy”. This images involve all semiotic features of anagrams, which indirectly marks a historical reality and its eschatological sense. Keywords: temple space, iconic image, anatopy | 802 | |||||
| 108 | Urban morphology of the city center is considered as an integral phenomenon. Their topology localization, structure and semantics of own text is represented in the observers reflection. I attempt to reveal the essence of the integrity as characteristics of a system in architectural context and show the types of its manifestation in the various examples. The article describes а syntax of urban morphology and its influence on the perception of centrality. Keywords: integrity, city center, urban morphology, perception, urban environment | 797 | |||||
| 109 | The article deals with the issues of cultural memory, memory as a commitment and ethical and artistic aspects of remembering (including memory and oblivion of Shoah victims). The author presents these issues in the context of Robert Fludd’s concept of “ars memoriae” and discusses them on the example of artistic, social and educational activities of the “Grodzka Gate - NN Theater” Center in Lublin (Poland). Keywords: memory, remembering, memory theatre, Shoah, Lublin, “Grodzka Gate – NN Theatre” Centre | 795 | |||||
| 110 | The article describes the typical features of modern popular culture: the dominance of the hyper-real object, simulation, replication, visual representation. Some of the most common critical judgments about the nature and functions of popular culture are analyzed. It is shown that production of simulacra and of hyper-real objects can be connected with the ways of production of popular forms of social and cultural existence rather than with the implementation of escapist attitudes and replacing of reality with its counterfeits. Therefore, it should be assumed that hyper-real objects do not deny the reality as such, but only its forms that have lost their efficiency, cultural significance and value in the eyes of the community or its individual groups. It is shown that the foundation and the source of the typical features of popular culture should be connected with the demand and wish for visual ization. It is argued that it is not due to the primitiveness of the consumer or an escape to the world of illusions, but to the need for the desired fullness of feeling and suitable models of understanding the world, as well as schemes for organizing and managing one’s actions. In these terms, replication should be interpreted as a way of establishing and maintaining stability, balance, completeness of theclaimed cultural and social space. Keywords: popular culture, mass culture, simulacrum, hyper-reality, replication, visual representation | 791 | |||||
| 111 | Prof. S. V. Zagraevsky undertook a comprehensive analysis of methodology and applications of hierotopy, which is defined as a special kind of activity on creation of so-called “sacred spaces”, and as a special area of historical and cultural research, which identifies and analyzes the examples of this activity. Hierotopy is an extremely broad concept, applicable to actually every scientific discipline (history of architecture and urban planning, and culturology, and ethnography, and philosophy, and art history, and musicology, and religious studies, and political science, and odorology (studying of smells), and many others, down to “mystical knowledge”). The author expressed doubts about scientific validity and practical value of hierotopy, and noted that it is a compilative theoretical layering, which is able to produce scientific achievements only to the extent that it remains within the framework of traditional scientific disciplines. “Superstructure” in the form of an act of faith that almost every artifact is a part of a certain “sacred space” (i. e. has some “higher supernatural sense”) is unproved, therefore, unconvincing, therefore, redundant, therefore, harmful, because overloads scientific text and contradicts to “Occam’s razor” – “Entities should not by multiplied without necessity”. Scientific text must be maximally versatile and should not cause ideological rejection in those readers who do not profess the faith of the author of this text. This is required by basic scientific ethics. Keywords: hierotopy, methodology, architecture, town-planning, scientific research of culture | 790 | |||||
| 112 | The article focuses on daily life visualized by the video material “Allied Expeditionary Forces in Siberia”. The uniqueness of this newsreel is that it is the only historical source among the famous films of American and British intervention that reflects the cinematics of the Civil War period in eastern Russia. Historians have not comprehensively studied this newsreel; moreover, its earlier analysis contains errors and inaccuracies, which explains the relevance of this work. The authors aimed at identifying the filming locations; determining the daily routine features of soldiers of the interventionists’ armies, the Whites and the Reds; revealing the peculiarities of the life and behavior of Siberians in the areas of hostilities and front lines, clarifying the chronology and attribution of the events captured by the camera. The authors analyzed written sources to supplement video materials, which made it possible to verify the attribution of the film frames. On the basis of their method (“cutting scripts”), the authors were able to identify the following: places captured in the film; time of action; images of various groups of the Civil War participants. It has been established that the recording was conducted in Vladivostok, Khabarovsk, Spassk, at the Pogranichnaya Station, Nikolsk (nowadays Ussuriysk), Harbin, on the Circum-Baikal railway, in Irkutsk, Krasnoyarsk, Omsk, Yekaterinburg, Ufa, and at other places of the Trans-Siberian railway. The visual images of the military of several foreign states such as Americans and their allies in the Entente (British, Japanese, Canadians, Italians, and French) have been identified. The authors examined the images of Germans and Czechs as representatives of the Fourth Union as well as the visual images of representatives of the Russian White Army and Red Army forces. The documentary frames allowed evaluating the external manifestations of people’s feelings in the period of disruption. The newsreel frames visualize the everyday life of civilians in the front line and in the territories controlled by the Whites (including the characteristics of moving around the country, arranging life in temporary housing, supporting prisoners, and observing military parades of the interventionists). The models of child behavior in the front line zone captured by the camera are of particular interest. The authors analyzed the range of the emotional reactions of the participants in those events: the vivid manifestations of feelings among the interventionists and the restrained manifestations among Siberians. For most of the latter, the sense of what was happening was not so clear. The constituent parts of the empirical material and the method of the analysis contributed to the study of the everyday routine concerning the front and the front-line life: the emotions and behavior of the participants in the events as well as the details of Siberians’ and refugees’ life. Keywords: film “Allied Expeditionary Forces in Siberia” (1918–1920), visual history, semiotics of cinema, Civil War in Siberia, American Expeditionary Forces, United States Army Signal Corps | 786 | |||||
| 113 | The article covers certain specific aspects of modern cinema that are developing in accordance with certain tendencies. We are in the presence of children’s and youth’s cinema rebirth engaging the mechanisms of spiritual and moral values. Powerful metaphysical basis in cinema leads to a change of visual space and time as well as to the forming of parable genre specifics. Modern cinema refers to the Soviet cinema therefore the heroic basis and the reference to history are increased. Keywords: children’s and youth’s cinema, semiotics of hero, new type of hero, metaphysics, parable, historical context, heroism | 785 | |||||
| 114 | Continental philosophy was often being characterized (most significantly by Badiou) as having a particular relationship with language manifesting in an acute sense of and purposeful usage of style. Yet the matter of tone has rarely been addressed as something significant. One of the rare examples is Of an Apocalyptic Tone Recently Adopted in Philosophy by Jacques Derrida. Having long dismissed with the separation of “rhetorical decorations” and “conceptual content” Derrida proposes a certain tone as a defining characteristic of philosophy, capable of saving it from a crisis or killing it altogether. Another we encounter in the works of Gilles Deleuze who characterises style and even a concept itself as a “hue” or “colour” of a text (in L’abécédaire) and in relation to the notion of Stimmung (in Logic of Sense) in opposition to the language’s function of designation. The same notion – Stimmung, meaning “attunement’ or “mood’, linked to Verstimmung - “delirium” or “mis-tuning” - appears in Of an Apocalyptic Tone. Is philosophy itself a particular kind of tone or hue of a text? The answers to these questions, as I suggest, differ depending on which of the two approaches - Derrida’s “harmonic” one or Deleuzian “colouristic” one - takes to philosophical conceptual creativity. By analysing and comparing these two approaches this paper suggests a particular relation between tone (both in the sense of sound and of colour) and concept. It also suggests that a certain integration of these two approaches can be achieved through analysis of time (as rhythm and detour), as presented in Quentin Meillassoux’ Subtraction and Contraction. Keywords: tone, colour, Derrida, Deleuze, Meillassoux, envelope, sound studies, spectralism | 785 | |||||
| 115 | Education is permanent and not always purposeful process in which the brain changes physically. It is important which information people get and how they do it. At the same time, the interrelation of cognitive and corporeal impacts of information invokes a bioethical aspect of the problem. Bioethics as a form of modern culture emphasizes the right of an individual to be what one wants, and the duty of society is to provide an individual with this opportunity. Currently, bioethics protects the individuality of a person in the medicine field but not in fostering and education. The specific characteristics of modern times make it necessary to use bioethics in the field of pedagogy. Firstly, visual presentation of information largely replaced the verbal one. Secondly, life itself became a product of technology, so it turned into an artefact. Thirdly, the pace of innovation reveals how frail intellectual traditions are. Fourthly, the innovations of convergent and biomedical technologies create new risks. And, finally, existence in the environment of new risks requires a new degree of responsibility for choice made by an individual. In this case, an individual must make both bodily and mental choices on a constant basis. Bioethics is placed at the intersection of some trends: it protects individuality from the arbitrariness of biomedical operations, assesses new risks, retains the moral positions of philosophical traditions for determining the permissible limits of intervention of the artificial into the natural. Since education deals with different personalities, different situations, a high-quality usage of visual teaching aids requires relying on cultural traditions of perception and individual characteristics of the perceiver. Effectiveness cannot always be achieved using only one point of view. Therefore, it is possible and necessary to use different approaches and methods. This allows speaking about the need to combine different approaches and designate limits of their applicability, and the very combination of different approaches makes sense since each of them is focused on a single aspect. The understanding of the scope of these aspects is fundamental, which is clearly demonstrated by the research model of an information-synergetic approach chosen by the authors. The research position presented in this work opens up opportunities to categorize theories of visual information perception, which is undoubtedly relevant for a methodological regulation of their application in pedagogical bioethics. Keywords: pedagogical bioethics, bioethics, synergetic, perception of visual information, symbolism of bioethics, information-synergetic approach | 783 | |||||
| 116 | This paper reveals the ideas of diversification management, and analyzes the possibility of their implementation as a conceptual basis for the management of general education organizations. Evolutionary and globalization world processes determine one of the leading trends, which is reflected both in the labor market conditions and in the conditions of the educational services market, and is characterized by the diversification of the workforce and the diversification of consumer preferences. This trend, reflecting certain difficulties and advantages of the development of public relations, can be applied by heads of educational organizations to improve management effectiveness in the context of using the human potential of the subjects of the educational process and ensuring the competitiveness of the educational organization. Most often the studies on this issue discuss the categories of “diversity management”, “diversity management” and “diversification management”. Migration processes and inclusion processes actualize the search for new content, methods and technologies of the educational process within the framework of the federal state standards of general education, since there are various schools, including multinational groups of students, and, consequently, parents. This trend requires a search for managerial, social and pedagogical strategies for the successful development of the school and of education quality in the new conditions. Today, the skills of the head of a general education organization, related to the successful management of personnel of different age, gender, physical abilities, ethnicity and race, are more in demand than ever. These skills in school management are no less important for interaction with other subjects of the educational process: students and their parents. The quintessence of organizational behavior in a modern school is the management of the diversity of subjects of the educational process, which requires acceptance of individual and sociocultural characteristics, special attention to them, as well as manifestation of tolerance towards them. Today, heads of general education organizations are forced to seek not only ways to “coexist” for teachers and support staff, students and their parents of different religions, nationalities, age and sex, but also ways to manage effectively the “potential difference”. Implementation of this goal is facilitated by the concept of diversification management, which serves as a methodological basis for the search for effective management strategies in the current situation. The paper was prepared within the framework of the research “Formation and Development of the Pedagogical Metatheory of Diversity Management in Educational Systems”, state task of the Ministry of Education and Science of the Russian Federation No. 27.2617.2017/4.6. Keywords: general education organization, diversification management, competitiveness of organization, heterogeneous pedagogical staff | 779 | |||||
| 117 | The ways of constructing of local urban spaces by the means of visual presentation are analyzed in this article. I use the concept of space as a cultural-anthropological construct having a communicative (sign) nature. I show that the local spaces of a city as a complex semiotic system are organized in the process of zoning (division into specific zones) of the common urban space with simultaneous visual marking of the specific specialization of the formed zones. I establish here three types of visual-semiotic acts forming local urban spaces: a) creating of space, b) transforming of space; c) transfer of space. The creation, the transformation and the transfer of urban loci are practical means of influencing overall look of the city, accessible to the inhabitants of the city. These means are illustrated by examples of the formation of local spaces of Tomsk. Keywords: city, space, zoning, visual constructing, visual semiotics of city, participation in culture | 778 | |||||
| 118 | In this article, I continue the study of sacred topics of Russian cities. Here I analyze the semantic connection between the inscription above the altar of the St. Sophia Cathedral in Kiev and the mosaic image of the Virgin Oranta in the apse. This inscription is a quotation from the book of the Psalter; it originally refers to Jerusalem as a sacred city. Reproduction of this excerpt in the Kiev cathedral denotes the sacred status of Kiev as the new Jerusalem and the “mother” of Russian cities. In addition, the phrase “God in the midst of her” indicates the Mother of God, which became the “house” of God (or the “temple” of Wisdom). Thus, the icon of Oranta, inscribed with a quote from the Psalm, appears as a visual symbol of the Christian city, in the sacral center of which is the cathedral dedicated to Sofia. The image of Oranta is flanked by the Annunciation scene, located on the altar pillars. This scene semantically corresponds to the metaphysical entrance of God into the space of the human world. And the configuration of the entire altar complex represents a metaphor of the gate, referring to both the religious status of the Virgin Mary and the hierotopic model of the visual organization of the space of the Eastern Christian city. Keywords: visual semiotics, Eastern Christianity, city, sacred architecture, visual organization of space, St. Sophia Cathedral, gate, Annunciation, semantics, iconography | 778 | |||||
| 119 | The author offers for readers a review of the recently published book by Oleg Voskoboynikov “Millennial Kingdom” (Moscow, 2014). The methodology, based on which the author of the monograph investigates of European culture of the Middle ages, is considered. The specificity of the organization of the text is defined: the combination of encyclopedic knowledge and the author’s narrative. It is shown how the author of reviewed book interprets the meaning and function of the middle Ages artworks, regularly emphasizing the relationship of visual images with the fundamental characteristics of human existence and human consciousness. Actuality of Voskoboynikov’s book is argued in terms of the development of art history and in the field of modern methodology of the human sciences. Keywords: anthropology, semiotics, history of culture, fine arts, Middle Ages, monograph, book review | 775 | |||||
| 120 | The main theme of the article is the notion of paradigmatic character of visual image for the topical and methodological self-consciousness of the visual culture studies. Among main questions under consideration are the following: what is a structural unity between material and meaningful aspects of visual representations? How is this unity connected to the ways the socially relevant visual representations circulate in contemporary culture? One of the key conclusions of the article: the notion of the specific iconic materiality – the structural interconnection of modes of seeing, understanding and presence, put into effect in some perceptive acts – is able to function as an explanatory model for a set of important processes in contemporary visual culture such as the current priority of visual forms of communication, historical durability of cultural imagery (despite instability and diversity of their visual embodiment), enhancement of the role of visual literacy and, as a consequence, necessity of the revision of current educational standard. Keywords: image, visual culture, iconic materiality, iconic rite | 775 | |||||
| 121 | The paper describes the genesis of idea of the way as a method of cognition. The author admits that the idea of the way as a method of knowledge of the world and oneself in this world was the first in the history of culture. Gradually, as civilization developed, the method of knowledge as conquest became increasingly dominant, and the study of the world began to be built on the principle of fixation and extraction of the object of knowledge. In both cases, visualization and visual experience play a key role. The author shows that vision plays a different role in different paradigms of knowledge. In the method of capturing the vision becomes a tool of capture. In the method the way the vision becomes a means of seeing the sense of things and mark man’s place in the world. Keywords: method, way, visual journey, capture | 774 | |||||
| 122 | In this article, I continue the study of sacred topics of Russian cities. Comparison of syntactic functions and dedication’s semantics of St. Sophia Cathedral in Kiev and Constantinople is made in the article. The semantic link between the Old Testament character of God’s Wisdom and the composition of city in Eastern Christianity is picked. I revealed the fundamental idea which lies in the base of the town planning: the supernatural protection exerted to the city in response to his dedication to God. This dedication is visually expressed in the sacred complex consisting of the cathedral as an urban dominant and the gates in the city wall. I made a distinction between two meanings of the concept of Wisdom in Scripture and Tradition: 1) as a direct naming the person and 2) as the description of the name content. On this basis, I made a comparative analysis of the “sophia’s” icons, and I realized their general classification. The semantic analogy between the sacral dominants of Jerusalem, Constantinople and Kiev is demonstrated. It is proved that the Hagia Sophia in Constantinople has the same dedication as the Holy Sepulcher (Anastasis) of Jerusalem. On this basis, I conclude synonymy of these cathedrals, along with the identity of their syntactic positions in the urban text. Keywords: visual semiotics, Eastern Christianity, city, sacred architecture, visual organization of space, St. Sophia Cathedral, syntax, semantics, iconography, cultural semiotic transfer | 773 | |||||
| 123 | 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 | 773 | |||||
| 124 | The authors reconstruct the concepts of university by John Stewart Mill and William Whewell. They argue that modernization of Russian society requires a deep reconsideration of the idea of university education, especially, in terms of the humanities. The analysis of the discussion between Mill and Whewell could contribute to the understanding of the spirit of Victorian England as well as of some significant controversies between liberals and conservators in their debate on the social purpose of the university. The authors claim that this debate is still relevant for the current Russian reform of higher education. In the first part of the paper the authors discuss anthropological assumptions that gave rise to Whewell’s and Mill’s differences in viewing the human nature as well as in the meaning of history. While following empiricism, Mill accepted the idea of tabula rasa. Hence, he argued that the university should firstly give space for self-realization of individuality. At the same time, Whewell considered the human nature as an inalienable part of cultural tradition. In accordance with this, the university should primarily provide connection of the times and integrity of intellectual tradition. The authors discuss the ideological attribution of Whewell’s ideas, namely, his so-called “traditionalism”. They argue that Whewell should not be considered as an old-fashioned hunker, since he claimed that tradition was to be saved as long as it generated some new fruitful ideas. The authors pay special attention to Whewell’s philosophy of history. He considered rises and falls of civilizations as a cyclic process, which was congruent to the periods of dominance of mathematics and philosophy in culture. Whewell argued that the decline of Greek culture was predetermined, when simple geometrical conceptions of the school of Plato were debased and weighed down by a cumbrous apparatus of crystalline spheres. The authors claim that this visual image comes from the basic presumption of Whewell’s philosophy of science: the development of scientific knowledge should be considered as an advancement in a clear and definite understanding of object. Hence, clearness and visual simplicity of model representations are the most reliable proof of knowledge enhancement. The authors analyze the historical context of the Whewell-Mill debate. They put Whewell’s ideas into the context of his reformist activity in Cambridge University. They argue that Whewell tried to adapt W. Humboldt’s model of the university to the context of Victorian England. In the final part of the paper, the authors discuss how Whewell’s ideas could be used for the modernization of philosophy education in Russia. They propose that the integration of the STS (science & technology studies) into the university programs in philosophy could make philosophical knowledge more relevant and attractive for scientists. This turn to the more “practical” (in Whewell’s sense) way of teaching philosophy could be used for the justification of the heuristic potential of philosophical knowledge in science as well. The authors conclude that nowadays this mode of self-representation of philosophy is the most relevant one. Keywords: Whewell, Mill, philosophy of science, reform, liberals, conservators, university, education, philosophy, Victorian Age, STS, social context of knowledge | 771 | |||||
| 125 | In the paper necessity of usage of visual approach to teaching course of bioethics is proved. It is caused by specific of teaching bioethics to first-year students of Medicinal university. Between different forms of visual means used at this course author especially notes the importance of films. Keywords: bioethics, visual means, cinematography, cases of conscience, individuality | 769 | |||||
| 126 | As shown by current research in the field of metaindividual psychology of art, emotional response to some action/event can have different forms of realization and manifest not only in the verbal form, pantomime or behavioral strategies, but also in visual art. The analysis given in the paper is an attempt to show the forms of manifestation of the Mughal dynastic pride on a specific empirical material and to explore meanings and value which could be assigned to the material objects of Timurid art and Mughal culture. The pictorial manifestation of dynastic pride of the Great Mughals was predominantly implemented in the field of visual propaganda (state regalia and miniature painting). Keywords: dynastic pride, heirloom, family tree, genealogical seal, dynastic portrait, Great Mughals, Timur, Timurids | 767 | |||||
| 127 | The present research deals with the smart cities as a phenomenon of the 21st century and as a new paradigm in the history of the city, which has challenged industrialism and urban archaism. The problem is analyzed in the light of new managerial, social, and technological practices from various parts of the world. The paper demonstrates obstacles and difficulties of the introduction of this project in a city with objectively high intellectual potential. Structurally in the article an image of the future “smart cities” is revealed through analysis of the formula of “smart city”: “smart authority – smart community – smart technologies”. The emphasis is on increasing the leading role of smart communities. The transformation from a technocratic approach to a humanitarian approach is shown. This is reflected not only in the evolution of the concept and world practices of “smart communities”, but also in changing the vision of the mission of the “smart cities” themselves in our era. Keywords: smart cities, smart communities, Russia, image, creativity | 766 | |||||
| 128 | The paper is devoted to the visuality of exhibits in science museums. The author begins by briefly outlining the specificity of science museums as places of epistemological accumulation and collective empiricism, and a range of problems associated with the museum representation of working objects of science. Problems are divided into two blocks. A case study of the exposition of the Hall of African Peoples of the American Museum of Natural History shows the multidimensionality of the content that could be broadcast by the exhibits. Firstly, it is shown that the scientific accuracy in the reproduction of nature was the key principle in the creation of the dioramas in the Hall. However, this principle was interpreted by the key participants of the production in different ways. There were two incompatible interpretations. According to one, belonging to the founder of the Hall, taxidermist C.E. Akeley, following nature meant recreating its harmony and perfection. This meant that not specific individuals were represented, but a perfect archetype, under which the animals that best met criteria of perfection were carefully selected. This epistemic orientation is close to what L. Daston and P. Galison called truth-to-nature. The oother interpretation belongs to James Perry Wilson, the leading artist of the exposition at a late stage of its production. He strictly followed the materials accumulated during the African expeditions, meticulously reproducing each landscape. This required the suppression of subjective interpretation in order to give the word to nature itself. Such an orientation is closer to mechanical objectivity. The contradiction between these interpretations, however, was rather virtual since they direct different elements of the dioramas. Moreover, the entire exhibition as a whole implements Akeley’s idea. D. Haraway discovers the dual nature of his idea. Analyzing the entrance group of the museum, the design of the exposition of the Hall of African Peoples, as well as the peculiarities of the dioramas and their creation, she shows that although Akeley sought to reveal the virgin world of Africa, he turned the exposition into a screen for his own moral and political notions. The central motive of these ideas is the resistance to the decline of nature by way of its conservation in the Hall and the resistance to the decadence and the disintegration of social ties in a modern industrial city. At the same time, the selection of animals for dioramas and their representation beyond any scientific neutrality expressed patriarchal and organicist ideas about the structure of the social world. The analysis shows that the expositions and exhibits of science museums require a comprehensive analysis that takes into account not only the representation of scientific content, but also a broader context, including ideas about the role and place of science and scientific knowledge and the moral and political conditions of production and functioning of exhibits. Keywords: science museum, exhibit, visuality, representation, nature, moral, organicism, epistemic virtue, social philosophy | 766 | |||||
| 129 | The article gives a conceptual distinction between the doctrinal and navigational methods used in anthropology. The first involves the desire for the essential and objective determinations of man. The second presupposes alignment of orientation and navigation practices with the aim of finding a event place for people in being. The author analyzes the experience of using the concept of anthropological navigation introduced by the author in concrete visual and pedagogical practices. The description of the tool of anthropological navigation, anthropoid cartoid, and the way of working with it is given. A distinction is made between the geographical cartoid and the anthropoid cartoid. The author analyzes the experience of developing cartoids for their application to specific situations related to building personal life trajectories. The first lessons of this experience are described. Keywords: anthropological navigation, anthropoid cartoid, geographic cartoid, resource map, place in being, trajectory of personal life, ontological topic of the self-determination | 764 | |||||
| 130 | The problem of the semiotic correlation of body and clothes from the point of view of the implementation of power in interpersonal communication is investigated in this paper. The main functions of clothes – adaptation, identification, sovereignization and manipulation – are reviewed in the text. It is shown that the clothes acquire inverse character by manipulating; at the same time it become in means of influence and aggression’s tool, in the method of the conquest of another’s will. The body which is opened by means of clothes becomes a tradable commodity, and the way to move goods market, activating the mechanisms of seduction. In this context, a problem of women’s emancipation is formulated in a new way. Besides, themes of “scattered” power and semiotic mechanisms of its implementation in the culture are investigated. Semiotics of power implies, however, not only the direct but also the inverse power vector: clothes can express the internalization of norms and exteriorization of personal existential positions. Therefore, clothes are at the intersection of semantics and pragmatics. The vector of power, which is not only expressed, but also carried out through clothing in her relationship with the dressed / undressed body, depends on the fundamental pragmatic presupposition: either it is a vector of violence and the subordination of the will of others, or it is a vector of retention of their own and other people’s privacy norm, of self-organization and self-management norm. Keywords: visual anthropology, visual semiotics, dress, power, manipulation, norm, visual expression, privacy border | 763 | |||||
| 131 | In the article it is investigated the place of a literary heritage of Dostoevsky in the Lithuanian verbal and visual culture. We chose two directions for our research: 1) the translations of books of the writer on the Lithuanian language; 2) “translations” (adaptations) of novels of Dostoevsky in the Lithuanian theatrical tradition. In the first part of article authors analyze different approaches to the translations of texts of Dostoevsky on the Lithuanian language. It is shown that in modern Lithuania almost all works of the great writer are translated; however there are problems and perspectives. In the second part of article we reconstructed in a historical retrospective the experience of theatrical experiments with texts of the writer in Lithuania. It is obvious that the Lithuanian national theater used on available literary translations. It is shown that the history of the Lithuanian theater isn’t thought without Dostoevsky’s heroes today. It is possible to tell surely that many performances according to Dostoevsky’s books were included into gold fund of theatrical tradition of Lithuania and World Theater. Keywords: Dostoevsky, theatrical tradition of Lithuania, Lithuanian national theater, adaptations, Dostoevsky’s heroes, Vilnius theater of the Russian drama | 761 | |||||
| 132 | The article is devoted to the study of the visual semiotic aspects of city identity. The relevance of research on city identity is justified by its direct impact on migration patterns and migration behavior of citizens. The city identity contains a person’s stable image of himself as a resident of a certain city, fixes the citizen’s emotional and value attitudes to the history and culture of the city, to the city community, influences the individual’s self-esteem and his productive activities. The purpose of the article is to analyze the visual semiotic aspects of city identity. The article solves a number of research problems: first, the structure of city identity is theoretically described; secondly, the structural interconnection of city identity components is shown; thirdly, the visual semiotic aspects are highlighted in each component of city identity; fourthly, the influence of the affective and value-semantic component of city identity on the migration attitudes of the practical component is demonstrated. The structure of city identity consists of cognitive, affective, value-semantic and practical components. The cognitive component contains a complex of objective ideas about the city in which a person lives, about the factors affecting the conditions and quality of life in the city. The visualization of these representations is reflected in geographical maps, graphs, charts, tables. In the affective component of city identity, an emotional and sensual perception of the city by man takes place. The ability of a city to generate experiences depends on its history, culture, architecture. The ability of a person to experience the city is brought up. The visual semiotic aspect of the affective component is represented by the appearance of the city, it depends on the complexity of the architectural images, it is comprehended by a person while mastering the skills of visual communication. The positive and negative emotions affect the attitudes of the practical component of city identity. The value-semantic component of city identity serves as a form of harmonization of people’s ideas about the city, expressed in objectified forms of urban culture. The practical component of city identity directly influences the strategy of a citizen’s life choice. The specificity of the visual semiotic aspects of city identity is illustrated by examples from the classic works of domestic and foreign researchers of urban culture, as well as specific examples of the everyday urban life of Omsk over two decades of the 21st century. The article identifies the reasons for the formation of a negative city identity of Omsk residents. The results can be a direction for further research on positive and negative city identity. The practical significance of the study lies in the possibility of using by theorists and practitioners of urban development the ideas about the influence of city identity on the migration behavior of citizens. Keywords: city, city identity, structure of city identity, visual semiotic aspects of city identity | 760 | |||||
| 133 | This anonymous text, published in Moscow in 1863, is devoted to the theological and semiotic analysis of the paintings program of the St. Sophia Cathedral in Kiev, preserved by the middle of the 19th century. Judging by the note of the publishers, this text was written by the author of “Letters on Divine Service of the Eastern Church”, published by the first edition in St. Petersburg in 1835, – by Andrey Nikolaevich Muraviev, known Orthodox historian and art historian, traveler, writer, Chamberlain of the Russian Imperial Court, Chief secretary of the Holy Synod, an honorary member of the Imperial Academy of Sciences. A. N. Muraviev was born in 1806 in Moscow, died in 1874 in Kiev, where he lived permanently, resigning. It was A. N. Muraviev who saved the historic center of Kiev in the second half of the 19th century, including the architectural ensemble of St. Sophia. In 1864, he became chairman of the missionary St. Vladimir Brotherhood established on his initiative; he was also the trustee of the St. Andrew’s Cathedral in Kiev. A. N. Muraviev was the author of numerous works devoted to the history of the Orthodox Church, pilgrimage, apologetics and art history. His “Letter on Divine Service” withstood 12 editions (the last – in 1993). The following text contains a description of the mosaics and frescoes of the St. Sophia Cathedral, with interpretation of their historical, dogmatic, liturgical and symbolic meaning. The author consistently explains the “cause and significance” of key iconic images and compositions of the cathedral, individual images and their details, regularly comparing them with the iconography of St. Sophia of Constantinople. Keywords: St. Sophia Cathedral in Kiev, interior, iconography, symbolics | 755 | |||||
| 134 | In this article, I continue the study of sacred topics of Russian cities. The difference between the concepts of the “new Jerusalem” and the “new Rome” with reference to the early Russian city (on the example of Kiev) is substantiates in the article. The analogy between David, Constantine and Vladimir, on the one hand, and Solomon, Justinian and Yaroslav, on the other hand, as organizers of the sacred city space, is considered and argued. The continuity of architectural dominants in the process of implementation of the Constantinople / Jerusalem’s spatial topics in Kiev (Church of the Tithes – St. Sophia Cathedral) shows in this paper. Semiotic analysis of the image of the Virgin in the apse of Kiev Sophia in the context of the cathedral interior was made by the author. The conducted research allows to make the following conclusions. First, in the syntactic aspect, the picture of the Virgin Oranta is compositionally incorporated into a single visual system with the image of Christ Pantocrator in the dome of the cathedral; this system produces communicative internal temple space. Secondly, the semantics of the image of the Virgin includes such Her meanings as the Queen (the level of denotation), the Church, the Temple, the Eucharist and the City, or the “Indestructible Wall” (the level of connotation). Thirdly, in the pragmatic aspect, the Virgin-Oranta acts as the initiator and mediator of the collective prayerful performative action oriented towards Jesus Christ as Divine Wisdom, that is, Sophia. It is this altar image that is the semantic center and visual core of the city space of Kiev as the “new Jerusalem” and, consequently, the semantic center of the space of the entire Russian state. Keywords: visual semiotics, Eastern Christianity, city, sacred architecture, visual organization of space, cultural semiotic transfer, St. Sophia Cathedral, syntax, semantics, pragmatics, iconography, performative image | 742 | |||||
| 135 | The paper is concerned with the theoretical field of urban philosophy regarding its terminological and conceptual development. Numerous cultural analyses of the historical and modern city text allow to draw a conclusion that the city space in structure of a civilization has an own synergetic existence, i.e. ability to generate cultural energy and to make her exchange with other systems of human society in the course of his evolution. The similar assumption allows to allocate limits of the term “urbanistics” as the certain area of a philosophical research and to define it as the multidimensional semiotics object having strong interpretation potential. The position of urbanistics in a philosophical view establishes intrinsic approach to intellectually level of the city space that develops the movement of sense in the cultural text between a form and its significance. One of the main gnoseological tools of philosophical knowledge is the categorical framework. The purpose of this work is an opportunity to define the new philosophical and theoretical directions in categorial system of urbanistics. The philosophical structure of the categorial apparatus of urbanistics is being formulated. The substantial philosophy of R. Descartes serves as intellectual model for system creation of categorial hierarchy. This study at inclusion of hermeneutical and dialectic methods has found out that in general the urban text can be represented in two forms – an extended, encompassing the space of visual semiotics, and a mental, endowing with perpetual cultural meanings every element of urban ontology. The interrelation of two specified forms reflects the dialectic union forming the hypertext of city space and demands further conceptual expansion in structure of a philosophical research. Keywords: city structure, conceptual model, conceptual categorical apparatus, semiotics, substance, philosophical urbanistics | 741 | |||||
| 136 | The article is devoted to investigation of literary work as a summary of different outlooks or positions of an author: modifications of outlooks (material and psychological) and focusing, consideration’s focus on object or on a complex of objects. The article deals with correlation between position’s modifications in a literary work and direction of reader’s consideration. In order to identify and to distinguish different types of such kind of modifications the article proposes the typology of position’s modification. The proposed typology differs with parallel speculations developed within narratology on it’s greater differentiation of the main types of modifications and, therefore, more detail analysis of a literary work. The analysis results are presented in the form of a two-level scheme demonstrating sequentially changing of viewpoint and focus. Keywords: position, viewpoint, narratology, consideration’s directionality, counterpoint, focalization | 738 | |||||
| 137 | The article contains a number of problems concerning the history of the Moscow international film festival and the current situation associated with the expansion of the semantic field of contestant films. In the process of gathering statistic data on the program of the festival for 40 years I reveal the organizational and ideological aspects of changing the principles of selecting competitive films. Also I take into account the fact of participation in the program of famous directors and films. Besides I show how many times and which countries received the main prize, as well as which films left a noticeable mark in the history of cinema were shown at the Moscow film festival at different times. The article fully analyzes the specifics of the style and semantic component of the films shown at the last anniversary Moscow film festival. Result of analysis of contestant films reveals the stylistic and semantic trends that characterize the situation in modern cinema. It is found out that accentuation of patriotic feeling actualizes military theme, which connected with instability of social and spiritual situation in the world. Today there is a trend associated with the deepening of realistic tendencies in cinema. Cinema is often refers to classics, as well as to modern reality and is not afraid of experimenting. Keywords: the film festival, the competition program, modern film process, the theme of war in cinema, emotional empathy, moral message, desacralisation, the screen interpretation of classical literature | 737 | |||||
| 138 | 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 | 735 | |||||
| 139 | 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 | 732 | |||||
| 140 | 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. | 729 | |||||
| 141 | This article presents the research of features of hierotopy in apocalypses of medieval Russia. The concept of hierotopy was proposed by Alexei Lidov in 2002. This term means both a process of creation of sacred spaces (understood as a special kind of creativity) and a field of research, devoted to this process and related phenomena. Hierotopy initially was designed to study complex phenomena of iconography, temple architecture and religion. In order to describe previously obscure features and phenomena such terms as ‘spatial icons’ and ‘image-paradigms’ were designed. The term ‘spatial icon’ is understood as a dynamic sacred space created through religious ceremony, when a breathing environment of conducted ritual (with all its elements, participants and surroundings) is seen as a one complex spatial image. The most prominent examples of spatial icons are the ritual with Hoedegetria of Constantinople and medieval Russian ritual of “Donkey walk”. Imageparadigm is an initial sacred space ordered by God himself which is later recreated in other sacred spaces. We can see this phenomenon in attempts to recreate the image of the Holy Land in other places (like in the New Jerusalem monastery in Russia) or in a vision of byzantine temples seen as images of Heavenly Jerusalem. Later, hierotopical studies turned to investigate literature. However these studies rarely covered basic hierotopical phenomena such as image-paradigms and spatial icons. This article explores the image-paradigm of Heavenly Temple and two types of spatial icons. Image-paradigm of Heavenly Temple can be found in the Apocalypse of Abraham, Slavonic book of Enoch and in the Ascension of Isaiah. This image was initially designed in the First book of Enoch in which it echoes the structure of the Jerusalem Temple and the wilderness tabernacle, but also demonstrates its own specific characteristics which then are recreated in the images of Heavenly Temple in the apocalypses mentioned above. Spatial icons of deesis (“Descent of the Virgin into Hell”, “The apocalypse of Paul”) and heavenly liturgy (“The Ascension of Isaiah”, “Slavonic book of Enoch”) are different in their relation to Heavenly Temple. Angelic liturgy is always located in Heavenly Temple and is a remarkable part of this image. Deesis on the other hand isn’t linked to any particular location. They are also different in their relation to narrative as a whole and have a different function in its development. The expansion of deesis is consistent and gradual, deterministic in a turning of its stages. Development of this type of spatial icon sets up a culmination for a storyline and drives the plot itself (the wicked punished in hell receive mercy as a consequence of deesis’ development). Angelic liturgy, on the contrary, moves along a storyline, its culmination is more of a marker of a storyline’s culmination than the means of achieving it. Keywords: hierotopy, spatial icon, image-paradigm, deesis, angelic liturgy, Heavenly Temple, medieval Russian apocalypses | 727 | |||||
| 142 | In this article, I formulate the tasks of multidisciplinary research of “optical” aspects of culture. I argue the thesis that the solution of problem the systematic explication of the ontological meaning and existential status of the visual and semiotic aspects of culture as a communicative environment is needed in our time. This decision can become a conceptual basis for an approach of humanities to relevant theoretical descriptions of human. Such description is available in a new philosophical anthropology, which is based on the communicative definition of human being. Definition of the place, role and forms of visual semiotic activities in the cultural communicative structure of human existence – this is the first task of contemporary anthropological research. The importance of this task is determined by the prospect of productive convergence of semiotics and ontology in the field of anthropological knowledge. This convergence should become a methodological platform for theoretical foundation of human existence as a cultural communicative praxis. Keywords: anthropology, ontology, human existence, the visual aspects of culture, communication, practice | 725 | |||||
| 143 | The article aims to analyze the evolution of an integrated world-picture in the empirical subject’s mind within trading zones. The author proposes and briefly describes a typology of trading zones, including Galisonian (collaborations within and between scientific communities), Humboldtian (interactions in education), and non-Humboldtian (interactions between scientists and society). He assumes that, under certain conditions, Humboldtian and non-Humboldtian trading zones can proceed by using everyday language rather than scientific one. The translation of a scientific phenomenon’s depiction into laypeople’s language is illustrated with an example of using visual representations. The author relies on Peter Galison’s concept of trading zones, as well as on a few approaches to visual representations in science (by Russian scholars F.M. Zemlianskiy, A.I. Nikonov, and V.P. Branskiy). By elucidating the specifics of trading zones, the author discusses major conditions for the evolution of an integrated world-picture in the subject’s mind. It is shown that, nowadays, such an evolution can be possible only with rather significant approximations. Based on a peculiar artifact within a Humboldtian trading zone, the author considers an evolution of an integrated world-picture, viewing this process as largely similar to the growth of knowledge in the hypothetico-deductive model. He concludes that an integrated world-picture in a Humboldtian trading zone emerges in the mind of a tutor (transmitting information) rather than a student (receiving information), and that a similar situation can occur in non-Humboldtian trading zones. The article also provides arguments on why, despite the many difficulties, non-Humboldtian trading zones are needed, and suggests the necessity of a mediator in them. The author substantiates an idea that it is the philosopher that is most beneficial in such mediation. Keywords: trading zone, Galisonian trading zone, Humboldtian trading zone, non-Humboldtian trading zone, integrated world-picture, visual representations | 725 | |||||
| 144 | 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 | 721 | |||||
| 145 | 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 | 708 | |||||
| 146 | The article discusses several epistemological problems of media theory: clarification of meaning and use of the “cult” concept as applied to audiovisual media objects; analytical tools and determinants of television series’ success; and, finally, the ontology of a television series as an object of spectator (consumer) and professional (research) perception. Based on the example of one of the most successful television series of the 21st century, Game of Thrones, the principles of the television series’ arrangement, its relations with its literary prototype, the role of script and structural features are considered. Particular attention is paid to the differences between the audiovisual and literary works, as well as policies of television channels as the most important determinants of television series production. On the basis of the history of HBO and the television adaptation of Game of Thrones, the logic of the evolution of the television series, its capabilities and limitations associated with both economic and internal reasons related to the very form of the television series’ existence are revealed. In the first part of the article, the concept of “cult” is considered using ideas of Umberto Eco and Philippe Le Guern. The elements of the social construction of “cult” are shown, and the need for some inner causes belonging to the object itself, not only to the practices of its use, is claimed. In the second part, the story of HBO is briefly observed for revealing the causes and meaning of its turn to TV serial production. In the third part, Game of Thrones is examined in the context of correlations between the book and the film, the book and the script, the film and critics, the film and viewers, and, most of all, the reality of the film and the reality of viewers. It is shown that, unlike the standard analytical optics used for working with television content, the key factor for the success of Game of Thrones and, at the same time, the failure of its final season is the “World of GoT”: a system of perceptual objects and events accessible to the audience that produce a subjectively significant psycho-emotional response. The existence of the “World of GoT” is provided mainly by the perceptual fabric of audiovisual forms and is relatively independent from the narrative structures, which makes Game of Thrones a cult television series despite the rejection of the final season from critics and fans. Keywords: Game of Thrones, TV series, film theory, media studies, epistemology of media | 708 | |||||
| 147 | 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 | 707 | |||||
| 148 | 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 | 701 | |||||
| 149 | 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 | 701 | |||||
| 150 | In the paper, the structure, composition and properties of feminine vestimentary fashion as a visual symbolic system, are studied. It is found out that the system of female fashion cannot be deduced as a simple derivative of the costume design either in synchronic or diachronic (historical) aspect. The methodology used in the work includes techniques and methods of semiotic analysis proposed by R. Barthes, Prince N. Trubetzkoy, L. Hjelmslev, A. Martinet and Ch. Peirce. It is shewn that throughout the history the semiotic potential of fashion has always been unevenly distributed between the two genders. The man has always considered clothing exclusively as an object of use and necessity, while on the basis of the costume design, the woman was able to create a complex visual semiotic system of fashion completely separate and unrelated to the costume design directly. The real clothing, conditioned by its goals and purposes, does not mean anything. Women’s fashion, by contrast, means and represents, encodes and transposes the meanings and denotes and connotes the signifiers. Feminine fashion simulates symbolic and social reality and builds a new world of the imaginary, drawing horizons of appearances and expanding the semantic foundations of the phænomenology of clothing. In general, female fashion system is as complex as the real clothes are simple. Even in the extreme case of nudity, female nakedness transforms to a semiotic system. An approach to the classification of visual signs of women’s fashion is proposed, according to which these signs with respect to mobility can be a) static, b) dynamic and c) static-dynamic. According to the message of meaning aimed at the recipient, the signs can be divided into: i) semantic signs, ii) signs-ciphers, which, in turn, are divided into ii, α) purely cryptographic signs and ii, β) simulacra, and iii) signs-imperatives. It is revealed that the semiotic chains built by women’s fashion can be of four levels: 0) the level of expediency, 1) main denotative level, 2) level of symbolic ritual tradition (level of initial connotation of meanings), 3) level of fashion mythology (an aggregate of many levels of subsequent connotation of meanings). Keywords: fashion, feminine fashion, vestimentary code, visual vestimentary sign, semiotics of fashion | 701 | |||||