Pub Date : 1900-01-01DOI: 10.28995/2686-7249-2022-4-142-162
S. Korolyova
The article focuses on the case of revered icon of St. Nicholas the Wonderworker from Kylasovo village of Perm Region. The author introduces the importance of legends in creating the existence of an icon as a sacral object and the ways the “breaks” of tradition are symbolically overcome. The paper outlines etiological plots related to the icon and the forms of its veneration as well as the history of the loss and re-acquisition of the shrine in the 20th century and reconstruction of the local tradition at the present stage. The earliest legends about the Kylasovo icon of St. Nicholas the Wonderworker (a phenomenon on the periphery of the cultural space, blinding of blasphemers) show that the plots have already become widely known and are updated in the south of the Perm region with the processes and events of the 17th–18th centuries. The realities of the Soviet era (the closure of a rural church, disappearance and discovery of a miraculous image hidden in a village house) contribute to a new round of the development of the oral tradition. The history of the salvation of the shrine was published on the official website of the church of Kylosovo village. It can be considered as the beginning of the inclusion of modern oral legends about this icon into the fields of official church culture. In the 2000s another problematic situation was the restoration (in fact, rewriting) of the revered icon. It should be noted about a link of a significant part of folk legends with “crisis points” in the life of the parish, caused by the “instability of being” of the local shrine (loss, transfer to another church, radical restoration). In such situations the legitimation of the current changes and confirmation of the miraculous nature of a religious relic as functions of religious become the important functions of religious narratives. Such functions are generally inherent in legends about shrines when modern material highlights their pragmatics more obvious
{"title":"THE RETURN OF THE SHRINE AND ITS LEGITIMATION THROUGH LEGENDS. THE CASE OF ST. NICHOLAS THE WONDERWORKER, THE ICON OF KYLASOVO","authors":"S. Korolyova","doi":"10.28995/2686-7249-2022-4-142-162","DOIUrl":"https://doi.org/10.28995/2686-7249-2022-4-142-162","url":null,"abstract":"The article focuses on the case of revered icon of St. Nicholas the Wonderworker from Kylasovo village of Perm Region. The author introduces the importance of legends in creating the existence of an icon as a sacral object and the ways the “breaks” of tradition are symbolically overcome. The paper outlines etiological plots related to the icon and the forms of its veneration as well as the history of the loss and re-acquisition of the shrine in the 20th century and reconstruction of the local tradition at the present stage. The earliest legends about the Kylasovo icon of St. Nicholas the Wonderworker (a phenomenon on the periphery of the cultural space, blinding of blasphemers) show that the plots have already become widely known and are updated in the south of the Perm region with the processes and events of the 17th–18th centuries. The realities of the Soviet era (the closure of a rural church, disappearance and discovery of a miraculous image hidden in a village house) contribute to a new round of the development of the oral tradition. The history of the salvation of the shrine was published on the official website of the church of Kylosovo village. It can be considered as the beginning of the inclusion of modern oral legends about this icon into the fields of official church culture. In the 2000s another problematic situation was the restoration (in fact, rewriting) of the revered icon. It should be noted about a link of a significant part of folk legends with “crisis points” in the life of the parish, caused by the “instability of being” of the local shrine (loss, transfer to another church, radical restoration). In such situations the legitimation of the current changes and confirmation of the miraculous nature of a religious relic as functions of religious become the important functions of religious narratives. Such functions are generally inherent in legends about shrines when modern material highlights their pragmatics more obvious","PeriodicalId":124543,"journal":{"name":"RSUH/RGGU Bulletin. \"Literary Theory. Linguistics. Cultural Studies\" Series","volume":"74 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124922441","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.28995/2686-7249-2021-9-116-125
Olga M. Shchedrina
This article introduces the concept of “digital light” into the Russian-language space of media theory, and also offers its conceptualization as a distributed network medium that transforms cultural practices. The article substantiates the need to distinguish digital light as a separate concept. Unlike the concept of “electric light” introduced by McLuhan, the content of the concept of “digital light” is based on the constructive and physical features of this medium, and not on abstract ideas about “pure information”. This article describes the media properties of digital light, determined by its semiconductor structure and the property of sampling the electrical signal. It substantiates the productivity of considering these structures in the context of a broad concept of digital light, rather than individual technological forms or software solutions. Considered not as a separate technological form, like a light bulb or a screen, but as covering the entire set of radiating and controlling means, and as a dynamic developing network, the elements of which can be both visible to a person and invisible to him (as a part of the infrastructure), digital light creates various situations of multi-channel exchange of electrical signals, eliminating the boundaries between its own digital structure and the illuminated objects of the environment. In particular, digital light allows interactive digital installations to exist and can process and visualize big data in real time. Digital light, understood in this way, turns out to be a medium with its own “message”, which overcomes McLuhan’s claim of electric light as a “medium without a message”.
{"title":"DIGITAL LIGHT AS A CONCEPT OF MEDIA THEORY","authors":"Olga M. Shchedrina","doi":"10.28995/2686-7249-2021-9-116-125","DOIUrl":"https://doi.org/10.28995/2686-7249-2021-9-116-125","url":null,"abstract":"This article introduces the concept of “digital light” into the Russian-language space of media theory, and also offers its conceptualization as a distributed network medium that transforms cultural practices. The article substantiates the need to distinguish digital light as a separate concept. Unlike the concept of “electric light” introduced by McLuhan, the content of the concept of “digital light” is based on the constructive and physical features of this medium, and not on abstract ideas about “pure information”. This article describes the media properties of digital light, determined by its semiconductor structure and the property of sampling the electrical signal. It substantiates the productivity of considering these structures in the context of a broad concept of digital light, rather than individual technological forms or software solutions. Considered not as a separate technological form, like a light bulb or a screen, but as covering the entire set of radiating and controlling means, and as a dynamic developing network, the elements of which can be both visible to a person and invisible to him (as a part of the infrastructure), digital light creates various situations of multi-channel exchange of electrical signals, eliminating the boundaries between its own digital structure and the illuminated objects of the environment. In particular, digital light allows interactive digital installations to exist and can process and visualize big data in real time. Digital light, understood in this way, turns out to be a medium with its own “message”, which overcomes McLuhan’s claim of electric light as a “medium without a message”.","PeriodicalId":124543,"journal":{"name":"RSUH/RGGU Bulletin. \"Literary Theory. Linguistics. Cultural Studies\" Series","volume":"86 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123042639","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.28995/2686-7249-2022-3-114-121
Tat’yana A. Bystrova
The article is concerned with the perception of Pasolini’s works and ideas in the contemporary Italian literature. Many modern writers mention or refer to Pasolini in their works. For some of them he is a brilliant rebel of the 1970s (Elena Ferrante), others are still shocked by his death (Andrea Baiani), some turn to his literary heritage, borrowing individual ideas and images (the idea of Post-history cited by Antonio Scurati, the theme of duplicity by Sandro Veronesi, the theme of consumerism in modern society by Walter City) or echo by the very structure of their works (Giuseppe Genna). Pasolini becomes an example or a beacon for many modern writers, he is seen as a man who is undividedly devoted to the word and at the same time has a clear ideological position, who put above all the needs of his neighbors and who took on himself the role of the national conscience revealing the ills of modern society.
{"title":"PIER PAOLO PASOLINI AND CONTEMPORARY ITALIAN LITERATURE","authors":"Tat’yana A. Bystrova","doi":"10.28995/2686-7249-2022-3-114-121","DOIUrl":"https://doi.org/10.28995/2686-7249-2022-3-114-121","url":null,"abstract":"The article is concerned with the perception of Pasolini’s works and ideas in the contemporary Italian literature. Many modern writers mention or refer to Pasolini in their works. For some of them he is a brilliant rebel of the 1970s (Elena Ferrante), others are still shocked by his death (Andrea Baiani), some turn to his literary heritage, borrowing individual ideas and images (the idea of Post-history cited by Antonio Scurati, the theme of duplicity by Sandro Veronesi, the theme of consumerism in modern society by Walter City) or echo by the very structure of their works (Giuseppe Genna). Pasolini becomes an example or a beacon for many modern writers, he is seen as a man who is undividedly devoted to the word and at the same time has a clear ideological position, who put above all the needs of his neighbors and who took on himself the role of the national conscience revealing the ills of modern society.","PeriodicalId":124543,"journal":{"name":"RSUH/RGGU Bulletin. \"Literary Theory. Linguistics. Cultural Studies\" Series","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123702921","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.28995/2686-7249-2023-3-62-70
L. V. Dubakov
The aim of the work is to analyze Buddhist images, motifs, ideas present in Limonov’s novels, stories, poems and essays; as well as the features of Limonov’s perception of the Buddhist religion. E. Limonov refers to Buddhism in his work already in the early period and pays attention to it throughout the entire creative path. Buddhism for Limonov is closely connected with geographical space. It’s the religion of the East, which is ideologically opposed to the West. The same confrontation can be seen in Limonov’s stories written in the West: Buddhism is portrayed in them as a religion of peace against the backdrop of non-virtuous European fuss. Buddhism in the mature Limonov’s works is also an integral part of the large Russian world, where, being Russified, different cultures, religions and political projects are united. Buddhist motifs manifest themselves differently in Limonov’s Russian urban and communal everyday life, in the landscape – both negatively and harmoniously. Buddha Shakyamuni in Limonov’s works is not an object for veneration, but a variant of an “unearthly” superman revolutionizing the spiritual life of people. Limonov’s attitude to Buddhism ranges from acceptance to denial. Such different positions are due either to his subjective assessment of specific people who find themselves in connection with Buddhism, or to political or philosophical expediency.
{"title":"BUDDHIST IMAGES IN THE PROSE AND POETIC WORKS OF E. LIMONOV. BETWEEN REJECTION AND ACCEPTANCE","authors":"L. V. Dubakov","doi":"10.28995/2686-7249-2023-3-62-70","DOIUrl":"https://doi.org/10.28995/2686-7249-2023-3-62-70","url":null,"abstract":"The aim of the work is to analyze Buddhist images, motifs, ideas present in Limonov’s novels, stories, poems and essays; as well as the features of Limonov’s perception of the Buddhist religion. E. Limonov refers to Buddhism in his work already in the early period and pays attention to it throughout the entire creative path. Buddhism for Limonov is closely connected with geographical space. It’s the religion of the East, which is ideologically opposed to the West. The same confrontation can be seen in Limonov’s stories written in the West: Buddhism is portrayed in them as a religion of peace against the backdrop of non-virtuous European fuss. Buddhism in the mature Limonov’s works is also an integral part of the large Russian world, where, being Russified, different cultures, religions and political projects are united. Buddhist motifs manifest themselves differently in Limonov’s Russian urban and communal everyday life, in the landscape – both negatively and harmoniously. Buddha Shakyamuni in Limonov’s works is not an object for veneration, but a variant of an “unearthly” superman revolutionizing the spiritual life of people. Limonov’s attitude to Buddhism ranges from acceptance to denial. Such different positions are due either to his subjective assessment of specific people who find themselves in connection with Buddhism, or to political or philosophical expediency.","PeriodicalId":124543,"journal":{"name":"RSUH/RGGU Bulletin. \"Literary Theory. Linguistics. Cultural Studies\" Series","volume":"79 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121462537","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.28995/2686-7249-2019-9-109-117
M. Odesskiy
{"title":"СURTIO MALAPARTE'S POLEMIC WITH L. TROTSKY (THE NOVEL \"THE BALL AT THE KREMLIN\")","authors":"M. Odesskiy","doi":"10.28995/2686-7249-2019-9-109-117","DOIUrl":"https://doi.org/10.28995/2686-7249-2019-9-109-117","url":null,"abstract":"","PeriodicalId":124543,"journal":{"name":"RSUH/RGGU Bulletin. \"Literary Theory. Linguistics. Cultural Studies\" Series","volume":"14 11","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"113978020","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.28995/2686-7249-2022-7-21-35
S. Voronova
According to the information-axiological approach of Yu.A. Vedenin and M.E. Kuleshova, spiritual and intellectual values transmitted in the form of information from generation to generation play a significant role in the formation of the cultural landscape. The comprehensive study and actualization of cultural heritage as part of the cultural landscape reveals the role of traditional culture values in the modern socio-cultural situation. There is a close connection between the cultural landscape and local self-awareness through recognizable and meaningful images, concepts and symbols. Associative meanings and meanings of the cultural landscape of the territory affect the socio-cultural potential of the local society, the identification of its place in the external environment. At the turn of the 19–20th centuries the inhabitants of the Staritsky region were actively engaged in research in the field of local history, archiving, sought to preserve the local cultural heritage in collective practices, collecting, in publications in historical periodicals. Historical and cultural landscape served as inspiration for research of I.P. Krylov, A.N. Vershinsky, S.I. Pokrovsky, A.D. Ushakov. The clergy played a huge role in preserving regional culture. The clergy of the Staritsky Upper Volga region were members of the Tver Scientific Archival Commission, subscribers of historical journals, collectors of local folklore and archivists. The old manors, being at a distance from the provincial center, and possessing a powerful cultural and historical potential, had a great influence on the culture of the county as a whole, their artistic values served as the core of the collection of the county museum.
{"title":"THE ROLE OF THE CULTURAL LANDSCAPE IN THE FORMATION OF THE REGIONAL IDENTITY OF THE STARITSKY UPPER VOLGA REGION AT THE TURN OF THE 19-20TH CENTURIES","authors":"S. Voronova","doi":"10.28995/2686-7249-2022-7-21-35","DOIUrl":"https://doi.org/10.28995/2686-7249-2022-7-21-35","url":null,"abstract":"According to the information-axiological approach of Yu.A. Vedenin and M.E. Kuleshova, spiritual and intellectual values transmitted in the form of information from generation to generation play a significant role in the formation of the cultural landscape. The comprehensive study and actualization of cultural heritage as part of the cultural landscape reveals the role of traditional culture values in the modern socio-cultural situation. There is a close connection between the cultural landscape and local self-awareness through recognizable and meaningful images, concepts and symbols. Associative meanings and meanings of the cultural landscape of the territory affect the socio-cultural potential of the local society, the identification of its place in the external environment. At the turn of the 19–20th centuries the inhabitants of the Staritsky region were actively engaged in research in the field of local history, archiving, sought to preserve the local cultural heritage in collective practices, collecting, in publications in historical periodicals. Historical and cultural landscape served as inspiration for research of I.P. Krylov, A.N. Vershinsky, S.I. Pokrovsky, A.D. Ushakov. The clergy played a huge role in preserving regional culture. The clergy of the Staritsky Upper Volga region were members of the Tver Scientific Archival Commission, subscribers of historical journals, collectors of local folklore and archivists. The old manors, being at a distance from the provincial center, and possessing a powerful cultural and historical potential, had a great influence on the culture of the county as a whole, their artistic values served as the core of the collection of the county museum.","PeriodicalId":124543,"journal":{"name":"RSUH/RGGU Bulletin. \"Literary Theory. Linguistics. Cultural Studies\" Series","volume":"51 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122803992","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.28995/2686-7249-2021-9-139-156
Zemfira Salamova
Social media has contributed to the spread of fashion, style or lifestyle blogging around the world. This study focuses on self-presentation strategies of Russian-speaking fashion bloggers. Its objects are Instagram accounts and YouTube channels of two Russian fashion bloggers: Alexander Rogov and Karina Nigay. The study also observes their appearances as guests in various interview shows on YouTube. Alexander Rogov received his initial fame through his television projects. Karina Nigay achieved popularity online on YouTube and Instagram, therefore she is a “pure” example of Internet celebritiy, whose rise to fame took place on the Internet. The article includes the following objectives 1) to study the self-branding of fashion bloggers on various online platforms; 2) to analyze the construction of fashion bloggers’ expert positions and its role in their personal brands. Turning to fashion blogging allows us to consider how its representatives build their personal brands and establish themselves as experts in the field of fashion and style in Russianlanguage social media.
{"title":"FASHION BLOGGERS AS CELEBRITY EXPERTS IN RUSSIAN-SPOKEN SEGMENT OF SOCIAL MEDIA","authors":"Zemfira Salamova","doi":"10.28995/2686-7249-2021-9-139-156","DOIUrl":"https://doi.org/10.28995/2686-7249-2021-9-139-156","url":null,"abstract":"Social media has contributed to the spread of fashion, style or lifestyle blogging around the world. This study focuses on self-presentation strategies of Russian-speaking fashion bloggers. Its objects are Instagram accounts and YouTube channels of two Russian fashion bloggers: Alexander Rogov and Karina Nigay. The study also observes their appearances as guests in various interview shows on YouTube. Alexander Rogov received his initial fame through his television projects. Karina Nigay achieved popularity online on YouTube and Instagram, therefore she is a “pure” example of Internet celebritiy, whose rise to fame took place on the Internet. The article includes the following objectives 1) to study the self-branding of fashion bloggers on various online platforms; 2) to analyze the construction of fashion bloggers’ expert positions and its role in their personal brands. Turning to fashion blogging allows us to consider how its representatives build their personal brands and establish themselves as experts in the field of fashion and style in Russianlanguage social media.","PeriodicalId":124543,"journal":{"name":"RSUH/RGGU Bulletin. \"Literary Theory. Linguistics. Cultural Studies\" Series","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125123476","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.28995/2686-7249-2022-7-185-198
Vadim Danilov
In the 1990s, a new architectural criticism was born, strikingly different from the previous Soviet examples. From the narrowly professional genre, architectural criticism turns back into journalism, combining the artistic interpretation of architectural works and the socio-political views of the authors, placing architecture in broader cultural contexts, inheriting the practices of the pre-revolutionary period. One of the most representative examples of the new post-Soviet criticism is the “Project Russia” journal. In many articles published in this journal in the 1990s the previous architectural era is represented in different contexts, usually in specific negative ways. This article demonstrates that the particular image of Soviet modernism in the 1960s - 1980s is one of the key components of the new discursive identity of post-Soviet architectural criticism, which is being formed against the backdrop of large-scale socio-cultural and political changes.
{"title":"THE IMAGE OF “SOVIET MODERNISM” IN THE ARCHITECTURAL CRITICAL DISCOURSE OF “PROJECT RUSSIA” MAGAZINE IN THE 1990S","authors":"Vadim Danilov","doi":"10.28995/2686-7249-2022-7-185-198","DOIUrl":"https://doi.org/10.28995/2686-7249-2022-7-185-198","url":null,"abstract":"In the 1990s, a new architectural criticism was born, strikingly different from the previous Soviet examples. From the narrowly professional genre, architectural criticism turns back into journalism, combining the artistic interpretation of architectural works and the socio-political views of the authors, placing architecture in broader cultural contexts, inheriting the practices of the pre-revolutionary period. One of the most representative examples of the new post-Soviet criticism is the “Project Russia” journal. In many articles published in this journal in the 1990s the previous architectural era is represented in different contexts, usually in specific negative ways. This article demonstrates that the particular image of Soviet modernism in the 1960s - 1980s is one of the key components of the new discursive identity of post-Soviet architectural criticism, which is being formed against the backdrop of large-scale socio-cultural and political changes.","PeriodicalId":124543,"journal":{"name":"RSUH/RGGU Bulletin. \"Literary Theory. Linguistics. Cultural Studies\" Series","volume":"13 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125168783","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.28995/2686-7249-2022-4-392-400
Z. Toshchenko
The article analyzes the meanings of the studied processes and phenomena. It is shown that modern sociology is limited mainly to traditional approaches, which are based on the analysis of phenomena – obvious, relatively simply interpreted concepts. It is shown that with all the variety of methodological orientations and methodological techniques, sociological research is mainly aimed at identifying, using and taking into account indicators of the life world, which are expressed through knowledge, opinion, needs, motives, value orientations, interests and other components of public consciousness, as well as such behavioral shares as deeds and actions. A prominent place is occupied by the phenomena of the macro-, meso- and microenvironment. With this approach, these components of the life world appear as phenomena perceived in experience, as objects of sensory contemplation, as a product of empirical knowledge. The conclusion is substantiated that such an approach seriously limits the possibilities of cognition. A transition to the use of the “noumenon” category is required, which makes it possible to reveal the intelligible, latent essence of phenomena and processes, which becomes apparent as a result of study, comprehension and contemplation. In this regard, the essence and content of the noumenon are determined, its ascent from the phenomenon is revealed, as well as its use in the study of social reality – the life world of people, social groups and communities of the modern world.
{"title":"ON THE RELATIONSHIP BETWEEN THE CONCEPTS OF PHENOMENON AND NOUMENON IN MODERN SOCIOLOGY","authors":"Z. Toshchenko","doi":"10.28995/2686-7249-2022-4-392-400","DOIUrl":"https://doi.org/10.28995/2686-7249-2022-4-392-400","url":null,"abstract":"The article analyzes the meanings of the studied processes and phenomena. It is shown that modern sociology is limited mainly to traditional approaches, which are based on the analysis of phenomena – obvious, relatively simply interpreted concepts. It is shown that with all the variety of methodological orientations and methodological techniques, sociological research is mainly aimed at identifying, using and taking into account indicators of the life world, which are expressed through knowledge, opinion, needs, motives, value orientations, interests and other components of public consciousness, as well as such behavioral shares as deeds and actions. A prominent place is occupied by the phenomena of the macro-, meso- and microenvironment. With this approach, these components of the life world appear as phenomena perceived in experience, as objects of sensory contemplation, as a product of empirical knowledge. The conclusion is substantiated that such an approach seriously limits the possibilities of cognition. A transition to the use of the “noumenon” category is required, which makes it possible to reveal the intelligible, latent essence of phenomena and processes, which becomes apparent as a result of study, comprehension and contemplation. In this regard, the essence and content of the noumenon are determined, its ascent from the phenomenon is revealed, as well as its use in the study of social reality – the life world of people, social groups and communities of the modern world.","PeriodicalId":124543,"journal":{"name":"RSUH/RGGU Bulletin. \"Literary Theory. Linguistics. Cultural Studies\" Series","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129829758","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.28995/2686-7249-2022-1-249-269
Marina A. Lopukhova
This paper concerns the paintings of Agostino Marti, who was active in Lucca in the 1510–1530s. His early work was based on local tradition at the turn of the 15th and 16th centuries, which was strongly influenced by Florentine models, though in the 1520s he began to adopt the visual language of the High Renaissance. The main source of his paintings in this period was the art of Fra Bartolomeo, who was well known in Lucca. But citations from Raphael’s and Michelangelo’s Roman works in his “Marriage of Virgin” (1523) and the evidence of Lucchese archives both suggest that he visited Rome in 1517. The image of St. Andrew from the Parish Church in Capannori provides further argument in favour of this suggestion. However, some spectacular details in Marti’s later paintings are similar to the prominent works of Rosso Fiorentino and Parmigianino, executed in Florence (1523) and Bologna (1527) respectively. So we may suppose that he also travelled much in the 1520s. Generally, his borrowings from High Renaissance and from Mannerist art were ingenuous and not systematic. They were anticipated by the eclectic character of late Quattrocento Lucchese painting, which was evidently more familiar to him. The use of older models, such as altarpieces painted by his teacher Michele Angelo di Pietro Membrini or by Filippino Lippi, who was an iconic figure for the Lucchese school, seems more natural for Agostino Marti.
本文涉及1510 - 1530年代活跃在卢卡的阿戈斯蒂诺·马蒂的画作。他早期的作品是基于当地的传统，在15和16世纪之交，受到佛罗伦萨模式的强烈影响，尽管在1520年代，他开始采用文艺复兴盛期的视觉语言。在这一时期，他的绘画的主要来源是弗拉·巴托洛梅奥的艺术，他在卢卡很有名。但从拉斐尔和米开朗基罗在他的《处女婚礼》(1523)中的罗马作品以及卢切斯档案的证据都表明，他在1517年访问了罗马。卡帕诺里教区教堂的圣安德鲁画像为支持这一建议提供了进一步的论据。然而，马蒂后期绘画中一些引人注目的细节与罗索·弗洛伦蒂诺和帕尔米吉亚尼诺的著名作品相似，他们分别在佛罗伦萨(1523年)和博洛尼亚(1527年)完成。所以我们可以假设他在1520年代也经常旅行。总的来说，他从文艺复兴盛期和矫饰主义艺术中借鉴的东西是天真的，而不是系统的。四世纪晚期卢切斯绘画的折衷主义特征预料到了这一点，显然他更熟悉这一点。使用老模特，比如他的老师Michele Angelo di Pietro Membrini或luchese学派的标志性人物Filippino Lippi所画的祭坛，对Agostino Marti来说似乎更自然。
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