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401 | The aim of this research is to study the territorial geocultural environment on the material of еру toponymic vocabulary containing color elements. The article considers the toponymic system of the language as a semiotic space that reflects not only the features of a geographical object, but also its socio-cultural characteristics. Toponyms are visual signs of the cultural landscape of a certain territory. They are the result of a meaningful (but rather complex and contradictory) nomination process, as well as a product of human cognitive activity and a kind of a “business card” of a geographical object. In the naming process, the nominator chooses one of many features of the referent that seems to him the most important. This feature is fixed in the internal form of the name of a geographical reality with the help of nominative means available in the language. One of the obvious features of any geographical object is its visual characteristics (shape, size, length, height, color, etc.). The color characteristic acts as one of the main motivating features in toponymic naming. And since color is one of the main parameters of visual perception of the surrounding reality, a color marker in the composition of a toponym is quite common. Color itself has a lot of cultural and symbolic meanings, which are preserved when the color designation is included in the name of a geographical object. The language material of the article is toponyms whose elements are the names of the classical seven-color optical spectrum, i.e., the seven colors of the rainbow (red, orange, yellow, green, blue, indigo, violet). The research material (more than 27 thousand American toponyms with a “rainbow” element) was obtained by a continuous sampling method from the Geographic Names Information System, in which more than two million toponyms are recorded. Each of the considered color markers is investigated from several perspectives in the article: the symbolism of the “rainbow” color is studied and systematized; a quantitative analysis of toponyms with a given color designation is carried out (depending on the type of named objects); the productivity of the use of color identification depending on the type of a toponym is revealed; a correlation between the color marker and the toponym distribution area is established; the main motivating factors of “color” naming, such as the visual characteristics of a geographical object and additional cultural and symbolic meanings are identified. The article proves that a color marker, as an element of a toponym, not only describes, defines, and characterizes the physical and geographical features of a topographic object, but also reflects the national and cultural features of the phenomena of reality in speakers’ minds. The anthropocentric direction in the study of the toponymic vocabulary, focusing on the analysis of units of the toponymic system in close connection with people’s mental and spiritual-practical activities allows regarding this system as a product of human cognitive activity (L. Weisberg, E. M. Vereshchagin, V. N. Telia, V. G. Kostomarov, et al.), and the elements of this system as a reflection of the worldview specific to a particular society, its views and ideas. The results of the study indicate the importance of the color element in toponymic nomination, which is the basis of the perceptual layer of the toponymic concept, i.e., it reflects the sensory image of a geographical object based on a person’s visual perception of the surrounding reality. The author confirms that, since color is an important source and transmitter of cultural and historical information about the object of the name, it is perceived as a kind of a symbol and a fundamental factor in the conceptualization of mental processes in toponymic naming. Keywords: toponym, toponymy, coloronym, color designation, transformation, categorization, symbol, sign | 79 | |||||
402 | The article presents a study of the role of visual works of the 14th–18th centuries created in the time of the spread of the plague or in anticipation of an epidemic for its witnesses. The existential and social contribution of religious rituals specializing on the disaster and aimed at surviving are determined in the article. Historically and socially stable traditional ritual responses to the spread of the plague were the most important tools for those living during it. In ritual practices, the witnesses of the epidemic received significant experience of recreating the ordered being-in-the-world and the destroyed social ties. Thus, rituals specializing on the disaster rebuilt order in the world that was constantly disintegrating and asserted its stability. The problem of the uniqueness of the purpose of the abundant frescoes, altarpieces, icons, paintings created during the plague is comprehended. Based on the material of the evolution of the figurative expressions of the cult of St. Sebastian, who became one of the defenders of the plague, the article shows how the uniqueness of their expressive surfaces contributed to the revival of feelings and the birth of forms of sensory presence in the world freed from the plague’s pressure. Evoking powerful streams of sensations in the viewer, the power of the image acts as the resource of reviving feelings that are not exclusively related to the circumstances of the epidemic. The visual rhetoric of the works thereby counteracts the extinction of consciousness fixed by witnesses in the historical reports of the plague. The study of the iconography of the images of St. Sebastian reveals how visual works also allowed flexible variations of the meaning of salvation, including the affirmation of the openness of the future. For instance, unique works developed the technique for protecting witnesses of the epidemic. The forms of presence motivated by the works at their meaning and sensory levels could put an end to life’s complete subordination to the epidemic. Starting from the 16th century, this trend of reorientation of sensory presence as a response to a large-scale epidemic disaster was also developed with architectural structures. Keywords: epidemic, anomie, consciousness, extinction of consciousness, visual image, work of art event, forms of presence, restructuring of sensory experience | 76 | |||||
403 | The article deals with the problems of historical memory visualization in Internet memes. In the digital age, the construction of historical memory is no longer a matter for professional historians and political actors only. Internet users actively create historical media content, interpret historical events, and make representations about the past. This practice destroys the line between historical knowledge and memory. Visualization has become a key form of representation of the past in the media environment. Digital technologies for creating visual images transform historical memory. Internet users perceive polysemantic images of the past on an emotional level. The main emotions are nostalgia for a bygone era and the desire to recreate historical reality. At the same time, visualization of the past strengthens the simulation of historical reality. For people, the authenticity of historical events ceases to be a value, since they have equated history and myth. In visual historical images, the masses do not resurrect the past, but create the present. This gives rise to fakes. The emergence of historical fakes is due to both the general concept of the post-truth, in which the authenticity of the fact ceases to matter, and the visualization of distributed polysemantic images, which leads to the simulation and semiotization of the media sphere. The Internet meme is characterized by its emotional impact, changeable structure and viral spreadability, so it introduces historical images into the mass consciousness with high efficiency. It is the perfect embodiment of a historical fake. Historical memes combine mythological representations of the past with current agendas, popular culture stereotypes, and modern media images. By compiling various elements, Internet memes distort historical reality and create new images of historical memory while visualizing them. Internet memes about Peter I illustrate these processes. The Russian Emperor is a highly mythological historical figure in Russia, with his reign, life, and actions being presented as a collection of myths in popular consciousness. These myths include an order to shave beards, the "opening of a window" to Europe, construction of a fleet, and establishment of a Northern capital on marshy lands. These stories are reflected in Internet memes, connecting with the visual characteristics of current events. The practice of combining ideas about the past and the realities of the present allows users to actualize the memory of Peter I in the mass consciousness and fit modernity into the historical context. The case “Peter I and Shrek” shows how the visual image of a historical person becomes a part of digital culture, and the image of mass media acquires the status of historical reality. Keywords: media environment, images of past, memory studies, wistfulness, visual images, fake | 75 | |||||
404 | The relevance of the study of ornament in a semiotic way is confirmed by the active research in the world semiotic science enriching its methodological reserve more and more. The results of studies on problems of ornament as a semiotic structure and ethnographic code since the mid-twentieth century are illustrated by dozens of works on the material of different cultures: Slavic, Balkan, and many others. However, it should be acknowledged that at the moment all the diversity, beauty, intelligence, plasticity, aesthetics and semantics of Kazakh (and wider Turkic) ornament are little known outside Kazakhstan. Many aspects of Kazakh ornament remain insufficiently studied from the standpoint of semiotic research, which will expand the horizons of understanding not only ornamental art itself as a “chronicle of culture”, but also its symbolic nature and code system. Ornament in such a reading appears as a special kind of language, a sign system that exists in structural unity with other structures of the cultural whole. On the one hand, ornamental design functions in the field of various types of traditional art and crafts: textile art and costume, wood and stone processing, jewelry, pottery, architecture, rock art, tamgas, and others; thus, considering ornament as a special kind of a sign system, we should also remember the polysemantic nature of ethno-sign codes. On the other hand, the internal structure of ornament correlates with other languages of culture: music, poetry (oral culture), writing, dance, etc., as well as with the phenomenon of Tengrian calendar, which is seemingly incommensurable in its functionality. The article presents the results of a study of the structural model of ornament in its correlation with the languages of other phenomena of Kazakh culture. Keywords: ornament, Kazakh culture, semiotic basis, ethno-sign code | 74 | |||||
405 | The article provides an analysis of the use of the terms “paradigm” and “turns” in bioethics research. Various paradigms in bioethics serve as its images – each paradigm reveals a certain aspect of bioethics. Bioethics can be considered, in the sense of a paradigm, as a disciplinary matrix (Thomas Kuhn), since the transition from traditional medical ethics to bioethics marked a true scientific revolution, and it can rightfully be called a paradigmatic science. More often, bioethical paradigms represent its models, varieties. This is explained by the fact that bioethics is an interdisciplinary activity, and it does not correspond to the idea of “normal science”, as no single discipline can claim an exclusive representation of bioethical research. Among the vast array of bioethics paradigms, the most discussed are the liberal, conservative, American ones, and the paradigm of the principles-based system. All of them are grounded in the principles of bioethics but examine them in different contexts, combinations, and approaches to understanding individuality, autonomy, and human dignity. The presence of turns indicates a different nature of bioethical paradigms. They began to emerge in the mid-1990s to the early 2000s, revealing shortcomings in existing paradigms and directing researchers toward aspects of bioethics that were either not considered at all or received no adequate attention from bioethics researchers. Anthropological, cultural, and relational turns share a sensitivity to cultural diversity, consideration of socio-cultural context, and dissatisfaction with the analytical methods of traditional bioethics. This has led to bioethics adopting methodological tools from empirical disciplines, particularly sociology, giving rise to an empirical turn. Today, the empirical turn continues to evolve (as evidenced by the emergence of "digital bioethics"), introducing into bioethics the methods of increasingly new disciplines while simultaneously giving rise to new challenges. The turns visualized the necessity of interdisciplinary dialogue because, as a scientific discipline, bioethics needed to rely on a specific method, and this became the interdisciplinary method. In this method, contributions from various specialized disciplines are integrated into a synthesis capable of guiding researchers in the search for ethically correct solutions. Bioethics organizes dialogue within the scientific community, involving experts from various scientific fields in addressing current ethical issues in medical science, practice, and healthcare. An example of such a dialogue is interdisciplinary research conducted at Siberian State Medical University (Tomsk, Russia), in which scientists from different disciplines and specialties participated: sociologists, doctors with experience in clinical trials of pharmaceuticals, historians, and bioethics specialists. Keywords: paradigm, empirical turn, digital bioethics, dialogue, clinical trials | 66 | |||||
406 | The challenges of artificial intelligence are considered from the methodological basis of bioethical analysis of anthropological risks and threats posed by new technologies. Society exhibits a cautious attitude towards artificial intelligence technology. Anthropological challenges of artificial intelligence represent a problematic situation regarding the complexity of assessing the benefits and harms, adequate awareness of the risks and threats of new technology to humans. It is necessary to conceptually outline the anthropological challenges of AI, drawing on images of AI perception represented in art and cinema, in ethical rules, philosophical reflection, and scientific concepts. In the projection of various definitions, artificial intelligence becomes a metaphor that serves as a source of creative conceptualizations of new technology. Images of AI are identified through conceptualization, visualization, and institutionalization of risks and correspond to specific types of attitudes towards innovation in society. The peculiarity of AI perception images, both in the forms of conceptualization and in the visual or institutional objectification of these images in ethical codes, is their active and purposeful formation. Analogous to the regulation of biotechnologies, normatively conceptualized positions regarding new technologies are divided into conservative - restrictive and prohibitive; liberal - welcoming innovations; and moderate - compromising, which often becomes the basis for ethical and legal regulation. However, sociological surveys show that those who welcome the emergence of neural networks, the widespread use of artificial intelligence, also exhibit caution and uncertainty in assessing the human future. A three-part typology of perception images of anthropological challenges is proposed, in which non-linear opposition of positions towards AI is fixed, but vectors of possible ways of habituating and semiotization of the future are outlined. The first, alarmist type, is distinguished based on an emotionally evaluative attitude. New technologies are seen as redundant, causing alarm and fear. The second type of perception, instrumentalist, is characteristic of AI actors within a professionally formed worldview. Some concepts of the professional thesaurus become common parlance. The third type is user-oriented. For this type, it is important how the interaction between AI and humans unfolds. The collective response to the anthropological challenges of AI is more likely to be formed on a utilitarian-pragmatic basis. Effective responses may be based on an individual self-preservation strategy, which, for example, may require adherence to cognitive hygiene in the field of education. In the context of AI development, the task arises of developing rules and procedures for such a preservation strategy. Keywords: artificial intelligence, neural networks, AI concept, anthropological challenges, perception images, AI ethical code, humanistic expert evaluation | 64 | |||||
407 | An explanation of two circumstances precedes the presentation of the main content of this article. The first relates to the fact that, with this article, the journal opens a new “Open Lecture” section. The second reveals both the meaning of the words in the section title and the primary purpose of the research, the first results of which are presented in this article. The phrase “open lecture” is the name of one of the procedures (established in the practice of domestic higher education), which is part of the preliminary selection of educators participating in the competition for a lecturer role. This procedure’s name defines the lecture as open to professional criticism: discussion of the content and its structure, the manner of communication between the lecturer and the audience and the likelihood of students achieving educational goals. The originality of the presented research lies in the fact that, firstly, all these components of the discussion are understood from the standpoint of semiotics, respectively, as semantic, syntactic and pragmatic translations. Secondly, these translations are understood as the interconnection of specific stages of the information process. It opens up the possibility of modelling the structure of the lecture content based on the characteristics of information (value, quantity, effectiveness). Thirdly, the stages of the information process are understood as mechanisms of self-organization, which makes it possible to interpret learning results from the standpoint of stimulating a transition (or lack thereof) of the students from simple reception to acceptance. Fourthly, the very formulation of the research problem is the problem of discovering the semiotic optimum in organizing the learning space. One can emphasize that, in this formulation, the problem within the pedagogical theory and practice framework is posed for the first time since the semiotic essence of education remains unnoticed in pedagogical science. The circumstance for implementing the semiotic optimum, assuming that this optimum is discovered, is the educator’s clear understanding of the student’s goals (spectrum and hierarchy of goals) in the classroom rather than the goals of the educator’s activity. Therefore, the subject of the study was chosen to be the first lecture on a subject that is extremely rarely taught at school in domestic education. Thereby, it is a lecture for which the audience may have minimal prejudice. More precisely, there can only be a premonition of the complexity of the subject, the isolation of its content from real life, which reduces the initial goals of students only to mastering ways to overcome this ‘disaster’ in their curriculum. It states the following need for the educator: (a) to have empathy; (b) maintain a balance between complexity of content and simplicity of explanation. Both necessities boil down to finding a measure, an optimal measure. The article justifies that illustrative material for a lecture should (1) serve not as proof but only as an explanation of the lecture statements. The choice of material should (2) be made from various visualizations that are events in intellectual history and also visually express the multi-layered context of known metaphors. In the case of our research, these are illustrations of works by artists from the Bruegel family; this intends (in addition to the mentioned) to demonstrate the metamorphoses of ideas within one philosophical school or tradition. Illustrations must (3) meet the requirement of end-to-end examples throughout the entire course of lectures. The material we have chosen illustrates the following. The contemplation of the world by a genius leads to the extraction of an essential detail unnoticed by others; expressing this detail in abstract form initiates a dialogue; expressing this detail in a relevant form creates grounds for interpretation among many people, which ultimately shapes the worldview of those people. The fact that there is a known case of erasing details from a painting and that the demonstrated artworks received different titles over time illustrates the change in topical emphases. The number of illustrations should (4) meet the condition: no more than one visual demonstration in a fifteen-minute lecture time interval. The article presents results obtained as of now only empirically. Experience shows that compliance with the above conditions ensures the stability of impressions among students and contributes to their understanding (and not just memorization) of the main messages of the lecture. Keywords: Peter Bruegel the Elder, information processes, effectiveness, education subjects’s goals | 64 | |||||
408 | The aim of the article is to investigate the modern phenomenon of poetry in social networks in terms of its artistic and social value, legitimacy and role in the cultural context. First of all, its main features, which are influenced by the nature of the social media platform itself, are established. The following aspects are identified: interactivity, the perception of the poem as content, a hybrid audiovisual form, the transformation of the criteria of what is considered literature under the influence of the rules of social networks and the desire for popularity and commercial success, a tool for building digital identity, performativity. All of them influence the transformation of habits of consumption of poetic content, as well as its assessment. Secondly, poets attempt to balance the roles of an influencer and a traditional poet, which contributes to the creation of a mythologized image through the way they maintain their account, certain linguistic and visual markers within the posts. In addition, poems have therapeutic properties because they come in the form of daily emotional and visual experiences. They also not only have personal value for the individual, but also spread important social messages relevant to the Western mass culture currently. Thirdly, the article establishes how poets develop their virtual identity and how this affects the content they create, which has the characteristics of being authentic and fake at the same time. Poets’ work, like the image they create on social media, oscillates between these two poles, conveying an ambivalent emotional message. A person’s subjective experience is put at the center. The movement of Western culture beyond postmodernism towards the currently developing metamodernism is analyzed. Sincerity versus irony is the main opposition here, relevant for the media text subgenre in question. Metamodernism combines only emerging different states of culture that have replaced the postmodern ones, so the term does not have the necessary stability and accuracy for it to be widespread. Several interpretations of the term are analyzed in the article, and common elements are pointed out. For instance, in poetry we can note its characteristic use of modernist techniques in a new context and with different goals. Another example is that at the forefront is a conscious attempt to connect the unconnected, namely, the opposite poles of binary oppositions, which postmodernism tried to deconstruct. The identification of a tendency for the recuperative qualities of literature and art to become important in contemporary society and culture speaks to the scholarly significance of the paper, as does the overall interdisciplinary nature of the article. The article also reflects new aspects of the characterization of the contemporary state of poetry, which is moving from elitism to utilitarianism and dehierarchy. Keywords: social networks, visual poetry, metamodernism, New Sincerity, myth | 63 | |||||
409 | The article analyses various aspects of comprehending the city as a cultural phenomenon, which has both a material, visible side and an imaginary, conceivable side. The author identifies the correlation of perception, representation and imagination in the process of understanding the city and argues that imagination plays a constitutive role in this process. It is emphasised that in urban studies the prevailing approach to the city is focused primarily on the consideration of its visual parameters. However, auditory, olfactory, tactile and other characteristics are significant in the process of perceiving urban spaces, since they also influence the formation of the city’s image and make this image more saturated and multidimensional. Based on the work “Imagination and perception” by P. F. Strawson, the author proves that imagination is a necessary component of the city perception. In addition, knowledge about the city and comprehending the city are considered in the article as different cognitive levels. Representation is associated with the concept of the city, and imagination is associated with comprehending the idea of the city, grasping its meaning. The increasing role of imagination in the process of cognition of sociocultural reality is determined by the change in the interpretation of this process itself in postnonclassical science and philosophy of culture. In the postnonclassical approach, the process of cognition is understood not simply as a mirror reflection of reality, but as the construction of an image of reality in consciousness, conditioned by specific linguistic, symbolic and cultural practices. The understanding of imagination in its transcendental dimension (the productive imagination in Kant’s terminology) is complemented in the article by an analysis of its sociocultural dimension. From the author’s point of view, this dimension is primarily important for understanding the city as a symbolic space of meanings that determine the uniqueness of a particular topos and its value for a person. Keywords: urban studies, urban epistemology, multisensory perception, urban imaginary, cognitive representation, productive imagination | 59 | |||||
410 | The beginning and end of this article record two literary examples, the meanings of which are conceptually interpretated. The first example – the Unseen University – captures the problem of domestic education caused by ignoring the essence of education. According to the authors, the essence of education is that education systems (of any scale) are self-organizing systems; the mechanisms of their self-organization are information processes (they represent an invariant sequence of stages); each stage of the information process expresses the result of its “work” in a semiotic form. The invariant sequence of stages strictly distributes the characteristics of information by which it is possible to judge the achievement of a “semiotic optimum” (a concept proposed by the authors) in the structure of the educational process at a particular university. These characteristics lead not so much to some kind of pedagogical innovation but rather serve to define the application boundaries for many techniques – those application boundaries that often remain “unseen”. To a first approximation, these characteristics represent the dependences of education results on the interpretation of what the goals of education subjects’ actions express. Therefore, the condition for achieving the semiotic optimum is the effectiveness of managing the goals of the subjects of education. Secondly, the effectiveness condition is the concision of the method of goal achieving. However, in the reality of life, the concision of a method is never a straight line segment connecting the “start” and “finish” points. The characteristics of information are presented in graphical and analytical form, which is not the simplest but the most concise way. A similar method – laconic graphics of conceptual schemes – is chosen to construct a semiotic optimum in lecture notes. The pursuit of this optimum determines the way the lecture itself is prepared. The lecture preparation by an educator is subordinated to the construction of the optimal balance of goals stated in the work program of the discipline, in the curriculum of a particular program, and in the potential range of students’ life aspirations. From the standpoint of the authors’ concept “pedagogical bioethics”, this range of students’ life aspirations should be accepted by the educator in a modality similar to the doctor’s acceptance of the suffering of patients. For this reason, the content of a lecture is not a moralistic sermon but an explanation of the distribution of communicative formats and communicative roles within the scope of a specific idea of morality. The construction of a semiotic optimum in the circumstances of the Unseen University meets the potential of visual semiotics: finding unseen reasons for actual visibility. The second literary example in the article is Hogwarts School since its structure contains a magical instrument – the Sorting Hat – for determining those inclinations and life aspirations of students that students are yet to know how to recognize. The role of the Hat can be played by the optimal relationship between the actual goals of all subjects of education (students and their parents; teachers and developers of training programs; managers of the educational process and potential employers). Hogwarts ghosts serve as a marker of possible errors in recognizing individual goals. With sad irony, the ghosts express possible deviations within the scope of a specific idea of morality. The chosen topic of the lecture most fully corresponds to the research problem: elucidating the potential of the syntax of the goals of the main subjects of education for constructing an optimum in fixing the content of the lecture (translation in synchrony) and the content of the student’s individual work (translation in diachrony), in particular, fixed in students’ notes. It is such notes that can become a textbook created by students for themselves, that is, in awareness of the limits of personal autonomy. Keywords: Unseen University, Hogwarts ghosts, characteristics of information, communicative formats, pedagogical bioethics | 51 | |||||
411 | Today, in the context of withdrawal from the Bologna process, further transformations of our educational system are being carried out. The purpose of these transformations is proclaimed to be the creation of a national education system based on the accumulated experience and return to the best domestic traditions. At the same time, the proposed measures, which actually concern only the ratio of the three levels of higher education and do not address a number of sore points of the existing system, can be called “reforms” very roughly. This leads us to a broader problem - a number of key words that define the discourse within which our education is discussed are imprecise and ambiguous. And this not only prevents any agreement, but in some cases also proves to be simply harmful. A number of important words and concepts related to them are analysed in the historical context and in the context of the ongoing changes in the education system. The materials are words and concepts behind them, the criterion of selection of which is the reflection of important features of the current education system. The words are reform, competence, humanitarian component and a number of others. A comparative analysis of these words is carried out, taking into account the experience of foreign countries. It is shown that the imprecise use of the given words does not allow setting the necessary tasks clearly and, in general, introduces serious confusion in the discourse related to education. Moreover, since the selected words turn out to be profoundly interrelated in this discourse, their uncertainty increases, and, ultimately, the participants of the educational process find themselves in a situation where meaningful dialog is practically impossible. As a result of the word-by-word analysis, it is easy to demonstrate that, without clarifying the meanings of the named words and the concepts they denote, meaningful discussion of educational problems does not yield the desired consequences. It is suggested to work on purifying the language of educational discourse. This can be done through precise definitions of the used words-terms and argumentation aimed at clarifying any proclaimed goals and objectives. Only then can we achieve at least a relative common understanding and appropriate effectiveness in working together to improve our education. Keywords: reform, competence, educational service, fundamental, humanitarian component, graduate school | 51 | |||||
412 | The article draws a parallel between Charles Sanders Peirce’s theory of existential graphs and Philip Johnson-Laird’s theory of mental models. The existential graphs (EG) theory is a diagrammatic logical theory. Its deductive capacities are approximately compared with propositional logic, first-order predicate logic, modal logic, and higher-order logics (this section was not completed). In draft notes, Peirce also speculates on the extent to which diagrams can work beyond deduction. The mental models (MM) theory is a psychological theory, which is developed within the framework of the psychology of reasoning. It states that people reason by constructing, combining, revising, and eliminating models that are compatible with given information. In its time, EG theory had a significant impact on the development of MM theory. This article evaluates this influence. In addition, it declares possible ways for their further interaction since modern studies of Peirce’s and MM theories provide new materials. Both theories rely on iconicity and the economy of research; they prefer singular representations to sets and try to model the way in which thoughts are connected. Graphs, like models, can overcome limitations of language linearity. At the same time, they logically represent information processing, i.e. they serve both logical and cognitive purposes. That is why EG theory can specify the process of obtaining conclusions in the theory of MM. I suggest that this can be done by incorporating Peirce’s guiding principle into EG theory and extending this idea to the theory of MM. This principle is a fundamental logical rule, which directs the course of reasoning. It helps to systematise information and draw conclusions, but it cannot be fully represented by signs; therefore, it cannot be reduced to the rules of logical theories. Such rules only describe its steps. I show, how the general logical rule iconically manifests itself within the theory of EG, how specific rules of logical theories reflect its core characteristics and how this rule is integrated into MM theory despite the fact that the latter denies specific rules of logical theories. With such integration, MM theory becomes more dynamic. Finally, the article claims that Peirce’s theory can also contribute to analyses of the dichotomy of embodied or amodal representation. It is useful for clarifying complex aspects of two reasoning systems (system one and system two) collaboration. Both of these aspects are crucial for MM theory. However, they deserve their own attention, since they expect an appeal to both the means of EG theory and diagrammatic elaborations, which Peirce attributed to its pre-theoretical level. Keywords: existential graphs, mental models, guiding principle, rule of logic, pragmatism, psychology of reasoning | 49 | |||||
413 | The article analyzes representations of the lifeway in Soviet films made in the period from the 1930s to the early 1950s (the Stalinist period of Soviet cinema). The idea of the certainty of the lifeway of Soviet people and the predetermined nature of their future is described. This trend is based on the sustainability and reproducibility of behavior patterns that can be transmitted through the arts. Soviet cinema can be considered as a source of behavioral models. The article analyzes what examples of living life were created in Soviet films of the Stalinist period and how this relates to the values of modern people. The research question is posed: What meanings and significance describe the representations of the “lifeway” presented in Stalinist cinema? Based on the review of literature, two tendencies stand out: biography glorification and biography typification. This, in the context of the tasks of the art of socialist realism, was necessary to create Soviet people’s behavioral models. For an empirical analysis, a technique is used that is based on the ideas of the structural-semiotic approach. Based on psychological approaches to understanding of the lifeway, the main units of film analysis are identified: life events and time perspective (attitude to the past, present, future). The films were selected according to the criterion of correspondence of the central theme to the description of the Soviet people’s life events presented within the framework of the film over a certain period. Initially, a general analysis of films about Soviet people’s “lifeway” was carried out, and then, with the help of a case study, the film The Village Teacher (year 1947) was considered in more details. The representations of the lifeway are analyzed on the basis of the events’ content and distribution by life spheres. The following life themes are highlighted: (1) the character’s labor formation is shown as the focus of the most significant meanings of his life; (2) the theme of love is closely related to work activities; love is the “reward” of characters who are successful at work; (3) the collective is shown as a significant context of human life. The character’s internal qualities include willpower, persistence, and unity of purpose. Choosing a difficult path is also associated with heroism. Orientation towards the future, idealistic plots, and lack of information about the character’s past characterize the time perspective of Soviet films. Based on the case study, the cyclical dynamics of the “lifeway” is described as a way of “controlling the collective future” and as an optimistic confidence in it. The results are discussed in the context of the stability and reproducibility of certain values presented in Soviet films in modern people’s behavioral patterns. It is concluded that the attractiveness of perceiving life as stable is determined by a sense of comprehensibility of the structure of the world, certainty of the future, and confidence in the tomorrow. Keywords: semiotics of cinema, hero, life event, time perspective | 46 | |||||
414 | We aim at demonstrating the potential of digital visualization of argumentation in searching and defining dispute resolution, and studying argumentation in the discussion (launched by a harassment conflict in 2018) with the help of the conceptions of the new dialectics and the logical-cognitive theory of argumentation. The digital visualization is done using the OVA software. The conflict and the discussion revealed legal, moral, and social aspects of the harassment problem in Russia, which affected the dispute resolution. At the first stage of the discussion analysis, the visualization allows discovering and reconstructing the arguments in relation to the parties’ divergence of opinions, and results in an argumentation map of the dispute, by means of which we establish the dispute outcomes at the second stage and determine the solution at the third stage. The advantage of the proposed method lies in the algorithm for determining the resolution of the dispute, to which digital visualization makes a significant contribution, acting as a convenient alternative of formalization. It allows identifying features of the argument, enhances the precision of argument evaluation by escaping from the risk of remaining indistinguishable in formulaic notation or flowcharts. The arguments resistant to the counterarguments form up the set of dispute outcomes, the subset of which convey the dispute resolution with respect to the type of dispute and the positions of the parties. The arguments are evaluated as sound or unsound by their replies to the critical questions formulated in relation to their structure, varying regarding the deductive, inductive, or plausible arguments. We reconstructed the discussion as two disputes about questions A: Did MP violate the norms of behavior by speaking or acting against the journalists? and B: Are actions like MP’s behavior harassments? We grouped the opinions of the participants in the discussion into four points of view: A1 – he did not violate, A2 – he violated, B3 – they are not, B4 – they are; identified three arguments in defense of each of A1, B3, and B4, four arguments in defense of A2; and visualized the parties’ positions and the outcomes of the disputes on three diagrams. The solution to the dispute A + B was the subset of four arguments that ensured the victory of A1 + B4: MP did not violate the norms of behavior for the lack of evidence of accusations, and this was not in his nature; harassments like MP’s actions are unacceptable, and since signs of courtships can be interpreted in different ways, accusations of indecent behavior must be brought and investigated immediately. The inconsistency in the dispute resolution in favor of A1 + B4 (MP did not violate the norms of behavior + such actions are harassments), convincing for the parties in the technical sense of the algorithm we employed, highlighted a deep disagreement between the parties about the admissibility of courtship. A deep disagreement is an abnormal divergence of opinions in a dispute, it ruled out the interpretation of the decision as convincing for the parties in a meaningful sense, but indicated a persuasive compromise way of resolving the disagreement. Keywords: dialectics, logical-cognitive theory of argumentation, argumentation logic, evaluation of arguments, critical question, persuasion | 46 | |||||
415 | The article considers the conditionality of the Japanese landscape garden’s space of signs and symbols by historical and religious-philosophical factors. The chronological framework of the study covers the Heian epoch (794-1185). Its significance in the development of Japanese landscape architecture and, in particular, garden art is connected with the emergence of a new refined aesthetics, which became the theoretical basis for the formation of the “feminine” style in Japanese culture. The rise of the aristocracy in this period gave impetus to a new style of life: palace-park and temple architectural complexes were built, part of which was a Japanese garden. In this regard, a special type of Japanese garden – landscape pleasure garden – was formed, as well as the canon of landscape architecture, reflecting the spatial and symbolic representations of the Japanese and the methods of their reproduction in the garden space. The uniqueness of the worldview foundations of the sign-symbolic space of the Japanese garden of the Heian era is expressed in the synthesis of several religious and philosophical teachings coexisting in Japan: Shintoism, Taoism, Buddhism, Zen Buddhism, and a number of religious schools that emerged as a result of the interpretation of Buddhism and its combination with Shintoism. Their symbiosis formed a special worldview, which was explicated in the culture of Japan. Japanese garden in any style is an embodiment of the model of vision of the universe through the prism of a certain philosophical and aesthetic system. Religious and philosophical foundations of the Japanese society determined the content of the symbolic-symbolic space of the garden and the choice of appropriate architectural and design techniques of its construction. The methodological basis for the semiotic analysis of the Japanese garden is the typology of spatial codes, including object-functional, architectonic, and social-symbolic codes. The significance and specificity of the application of each code in the process of constructing a landscape Japanese garden with its inherent sign-symbolic space are considered. The basic architectural and design methods of realization of spatial codes, the purpose of which is to embody the concept of the universe in the format of a Japanese garden, are revealed. The architectonic code structures the garden space, as a result of which its compositional solution corresponding to the garden concept is designed. Technically, this goal is achieved through the use of a number of architectural and design techniques. The most significant of them are the technique of suggestive metaphor, the technique of textural modulation, the technique of asymmetry, as well as planning techniques based on the theory of contrasts. Hinting metaphor is used in the coding of separate objects of the garden, for example, stones. The essence of the texture modulation technique is the alternation of the material of the paths, which is felt both tactilely and visually, which in general symbolizes the passage of different stages of human comprehension of the truth of existence in the unity of space and time. The reception of asymmetry allows visualizing the changeability of the world, its permanent movement. Justification and disclosure of the mechanism of spatial codes application allows positioning the Japanese garden as a communicative space, the sign-symbolic content of which is conditioned by the socio-cultural factor and depends on the aesthetic paradigm of the era underlying the architectural and garden art. Keywords: space of signs and symbols, Japanese garden, Heian era, landscape architecture of Japan, semiotic analysis of Japanese garden | 38 |