Pub Date : 2023-01-01DOI: 10.37816/2073-9567-2023-69-217-223
Natalia V. Mikhalenko
The paper explores the semantics and poetics of the literary estate of the 19th century in the process of its transformation into a literary cottage or house of creativity in the texts of K. G. Paustovsky (the book “Golden Rose”, the play “Our Contemporary Pushkin”, fragments of the “Tale of Life”, letters from Pushkin and Tarusa near Moscow, Riga Jurmala). The study shows that the context of the classical “manor culture” (contact with nature, peace and reflection, communication in the writer's circle) is seen by Paustovsky as the most favorable environment for creative work, creating of works of art. One can see how in the letters and in the literary texts of the writer, the image of solitary creativity arises in a village house, a seaside cottage, often in the cold season, which is a symbol of the greatest concentration, interaction with nature and at the same time detachment from the ordinary circle of occupations and immersion into artistic space. The writer's communication, the exchange of ideas, stories about new ideas, which took place in the house of creativity or when living together in the country, seems to be some invariant of the literary estate salon.
{"title":"Topos of Creativity in the Works of Paustovsky","authors":"Natalia V. Mikhalenko","doi":"10.37816/2073-9567-2023-69-217-223","DOIUrl":"https://doi.org/10.37816/2073-9567-2023-69-217-223","url":null,"abstract":"The paper explores the semantics and poetics of the literary estate of the 19th century in the process of its transformation into a literary cottage or house of creativity in the texts of K. G. Paustovsky (the book “Golden Rose”, the play “Our Contemporary Pushkin”, fragments of the “Tale of Life”, letters from Pushkin and Tarusa near Moscow, Riga Jurmala). The study shows that the context of the classical “manor culture” (contact with nature, peace and reflection, communication in the writer's circle) is seen by Paustovsky as the most favorable environment for creative work, creating of works of art. One can see how in the letters and in the literary texts of the writer, the image of solitary creativity arises in a village house, a seaside cottage, often in the cold season, which is a symbol of the greatest concentration, interaction with nature and at the same time detachment from the ordinary circle of occupations and immersion into artistic space. The writer's communication, the exchange of ideas, stories about new ideas, which took place in the house of creativity or when living together in the country, seems to be some invariant of the literary estate salon.","PeriodicalId":41255,"journal":{"name":"Vestnik Slavianskikh Kultur-Bulletin of Slavic Cultures-Scientific and Informational Journal","volume":"65 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135710866","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 : 2023-01-01DOI: 10.37816/2073-9567-2023-69-356-365
Pavel L. Ovchinnikov, Marina L. Zaitseva
The present paper deals with the leading trends in the development of Russian jazz art. The authors substantiate high productivity of the “thaw” era in Russian art leading to the emancipation of society, the expansion of the range of cultural communication and formation of the auto-image of Russian jazz. The research explores refraction of jazz aesthetics in stylistics as a youth subculture with its own slang, musical preferences and behavioral models. While the negative consequence of the promotion of jazz as a musical reference point for representatives of this youth subculture was the narrowing and stereotyping of listeners' expectations, the emergence of new artistic types, themes and images that do not lose their significance at the turn of the 21 century came to be the positive side of the popularity of jazz among young people. The paper reveals how Moscow jazz of the 1950s and 1960s entered a period of active development of jazz improvisation techniques, as well as embraced the experience of foreign collectives. Basing on the study of bibliographic sources and musicological literature, the authors identify the leading trends of the Moscow jazz school of the given period: transformation of ensemble interaction strategies, intellectualization of the perception of jazz music, institutionalization of jazz in Russian musical culture. The paper specified socio-cultural factors that determined the leading role of the Moscow jazz school in the period of the 1950s and 1960s in the creation of youth clubs, amateur associations and jazz study centers, jazz festivals, the appearance of the first professional educational institutions of the pop-jazz profile.
{"title":"The Main Trends in the Development of the Moscow Jazz School (1950s – 1960s)","authors":"Pavel L. Ovchinnikov, Marina L. Zaitseva","doi":"10.37816/2073-9567-2023-69-356-365","DOIUrl":"https://doi.org/10.37816/2073-9567-2023-69-356-365","url":null,"abstract":"The present paper deals with the leading trends in the development of Russian jazz art. The authors substantiate high productivity of the “thaw” era in Russian art leading to the emancipation of society, the expansion of the range of cultural communication and formation of the auto-image of Russian jazz. The research explores refraction of jazz aesthetics in stylistics as a youth subculture with its own slang, musical preferences and behavioral models. While the negative consequence of the promotion of jazz as a musical reference point for representatives of this youth subculture was the narrowing and stereotyping of listeners' expectations, the emergence of new artistic types, themes and images that do not lose their significance at the turn of the 21 century came to be the positive side of the popularity of jazz among young people. The paper reveals how Moscow jazz of the 1950s and 1960s entered a period of active development of jazz improvisation techniques, as well as embraced the experience of foreign collectives. Basing on the study of bibliographic sources and musicological literature, the authors identify the leading trends of the Moscow jazz school of the given period: transformation of ensemble interaction strategies, intellectualization of the perception of jazz music, institutionalization of jazz in Russian musical culture. The paper specified socio-cultural factors that determined the leading role of the Moscow jazz school in the period of the 1950s and 1960s in the creation of youth clubs, amateur associations and jazz study centers, jazz festivals, the appearance of the first professional educational institutions of the pop-jazz profile.","PeriodicalId":41255,"journal":{"name":"Vestnik Slavianskikh Kultur-Bulletin of Slavic Cultures-Scientific and Informational Journal","volume":"71 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135710876","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 : 2023-01-01DOI: 10.37816/2073-9567-2023-67-264-276
Valentina Y. Solomatova, E. Morozova
The wedding ceremony is one of the integral stages of a person's life, richly saturated with traditions. A wedding is on a par with such events in a person's life as birth and death. For many centuries, the peculiarities of its conduct, rituals that should be observed, have been formed. Textiles occupied an important place in the wedding tradition. It was not only part of the bride's dowry, but also accompanied the entire procession, being an integral part of it. At the same time, the wedding textiles had to be decorated with a certain ornament bearing a sacred meaning, since pagan beliefs played an important role in the wedding process. With the adoption of Christianity, wedding customs have changed, but the importance of textiles in wedding activities has remained the same. Embroidery and weaving were an ordinary women's needlework and a kind of entertainment, in which the principle of “copying” was preserved, that is, sewing according to the pattern, the canon. When creating a dowry and, in particular, towels, young girls copied the drawing and ornament of an earlier period. That said, Slavic pagan symbols were able to find their place in Orthodoxy and were copied from generation to generation. The original semantic load that the Slavs put into reproducible patterns was eventually forgotten. But the repetition of ancient ornaments continued on wedding textiles, namely on towels. Thus, it was believed that these symbols protect a young family from the evil eye and help to find happiness. An important place in the design of wedding textiles is occupied by such symbols as “orepey” (or “burdock”), “World Tree” (or “Tree of Life”) and “Great Goddess” (or “Great Mother”, “Makosh”), depicted as a female silhouette.
{"title":"Semantics of the Ornament of Wedding Woven Towels of the 9–18 Centuries and their Role in Wedding Rights","authors":"Valentina Y. Solomatova, E. Morozova","doi":"10.37816/2073-9567-2023-67-264-276","DOIUrl":"https://doi.org/10.37816/2073-9567-2023-67-264-276","url":null,"abstract":"The wedding ceremony is one of the integral stages of a person's life, richly saturated with traditions. A wedding is on a par with such events in a person's life as birth and death. For many centuries, the peculiarities of its conduct, rituals that should be observed, have been formed. Textiles occupied an important place in the wedding tradition. It was not only part of the bride's dowry, but also accompanied the entire procession, being an integral part of it. At the same time, the wedding textiles had to be decorated with a certain ornament bearing a sacred meaning, since pagan beliefs played an important role in the wedding process. With the adoption of Christianity, wedding customs have changed, but the importance of textiles in wedding activities has remained the same. Embroidery and weaving were an ordinary women's needlework and a kind of entertainment, in which the principle of “copying” was preserved, that is, sewing according to the pattern, the canon. When creating a dowry and, in particular, towels, young girls copied the drawing and ornament of an earlier period. That said, Slavic pagan symbols were able to find their place in Orthodoxy and were copied from generation to generation. The original semantic load that the Slavs put into reproducible patterns was eventually forgotten. But the repetition of ancient ornaments continued on wedding textiles, namely on towels. Thus, it was believed that these symbols protect a young family from the evil eye and help to find happiness. An important place in the design of wedding textiles is occupied by such symbols as “orepey” (or “burdock”), “World Tree” (or “Tree of Life”) and “Great Goddess” (or “Great Mother”, “Makosh”), depicted as a female silhouette.","PeriodicalId":41255,"journal":{"name":"Vestnik Slavianskikh Kultur-Bulletin of Slavic Cultures-Scientific and Informational Journal","volume":"75 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83301443","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 : 2023-01-01DOI: 10.37816/2073-9567-2023-67-35-44
O. A. Muradyan
The study deals with the issue of the relationship between society and those individuals who are called geniuses from the point of view of the concept of the Russian thinker, autodidact, scientist and teacher K.E. Tsiolkovsky, who presented the main points on this topic in his works. The text consistently collects and systematically presents the specifics of the figure of genius itself and the qualities that it should possess, as well as a modern view of the acceptance of the genius of discoveries. As an example of a creative and brilliant personality in relation to other people and the view that we have today, the method of neurography is considered. At the final stage, the question is raised about the possibility of genius and the formation of a type of society that can be called perfect. The author draws parallels between the views of K.E. Tsiolkovsky and his Western contemporary J. Dewey on education and creative activity in it, in the context of educating a future genius. As a result, the author reviews the ranks of personalities proposed by K.E. Tsiolkovsky.
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Pub Date : 2023-01-01DOI: 10.37816/2073-9567-2023-68-68-80
O. Sukhorukova
The paper deals with theoretical approaches to the interpretation of the concept of “tradition”, and its relationship with conservative ideology. The author draws attention to the issues related to the incorrect interpretation of tradition and shows the negative consequences this may lead to. Referring to the article by S. V. Lurie “The Traditiology of E. S. Markaryan: the difference from foreign theories of tradition”, the author analyzes and summarizes the information on the interpretation of tradition in this work, but notes that there is no information about domestic researchers who studied the national tradition and its essence. This determined the main content of the study, in which the central place is occupied by the ideas of the tradition of two domestic researchers, participants in the Eurasian movement of the philosopher, the linguist N. S. Trubetskoy and the theologian G. V. Florovsky. N. S. Trubetskoy considers tradition as a mechanism for the transfer, preservation and renewal of the basic values of Russian culture from generation to generation. In case of disruption of this mechanism, there is either acceptance of other people's values, or rejection of innovations. Both harm society, and not only does not provide prerequisites for its development, but can lead to a social crisis. G. F. Florovsky looks at the preservation and development of theological tradition on the example of the religious teaching of hesychasm as the central link in culture. For theologian, what matters is the Christian tradition embodying not only the past, but the present and the future, and which bases on the passed historical stage of embodying the ideas of the theanthropic process.
本文论述了解释“传统”概念的理论途径及其与保守意识形态的关系。作者提请注意与对传统的错误解释有关的问题，并表明这可能导致的负面后果。参考s.v. Lurie的文章《e.s. Markaryan的传统学:与国外传统理论的差异》，作者分析和总结了该作品中关于传统解释的信息，但注意到没有关于国内研究者研究民族传统及其本质的信息。这决定了研究的主要内容，其中中心位置是由两位国内研究人员的传统思想占据的，他们是哲学家，语言学家N. S. trubetsky和神学家G. V. Florovsky的欧亚运动参与者。特鲁别茨科伊认为，传统是俄罗斯文化基本价值代代相传、保存和更新的一种机制。在这种机制被破坏的情况下，要么接受别人的价值观，要么拒绝创新。两者都危害社会，不仅不能为其发展提供先决条件，反而会导致社会危机。G. F. Florovsky以作为文化中心环节的“混沌”的宗教教义为例，考察了神学传统的保存和发展。对于神学家来说，重要的是基督教传统不仅体现了过去，而且体现了现在和未来，这是基于过去的历史阶段体现了神择过程的思想。
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Pub Date : 2023-01-01DOI: 10.37816/2073-9567-2023-68-266-272
O. Rumyantseva
The novel “Jezus z Nazarethu” by the Polish writer R. Brandstaetter is the result of an “artistic experiment”: recreating biblical events, the writer revises the Gospel texts, adds scenes and reinterprets the psychological motivation of the characters. Trying to express a deeply personal religious experience, the author at the same time cares about the objectivity of the image, freeing images from the influence of readers' culture and putting events and characters into a universal historical context. The paper undertakes analysis of the influence of these specific features of the work on the choice of lexical means of creating the image of St. Joseph. The author also examines lexemes selected by the writer for the nomination and characteristics of the character, along with their role in disclosing the image and the artistic idea of the work. The paper traces how the changes in the nominations reflect the development of the character's image and the development of new social roles. Based on the study of lexical means of creating an image, the main character traits of Joseph are determined: patience, caring for family and love for poverty. It also allowed concluding about the idealization of the protagonist in order to represent a specimen model for readers.
波兰作家r·布兰德斯塔特(R. Brandstaetter)的小说《耶苏·拿撒勒图》(Jezus z Nazarethu)是一次“艺术实验”的结果:作者重现了圣经事件，修改了福音文本，添加了场景，重新诠释了人物的心理动机。作者力图表达一种深刻的个人宗教体验，同时又注重形象的客观性，使形象不受读者文化的影响，将事件和人物置于一个普遍的历史语境中。本文分析了作品的这些具体特征对圣约瑟夫形象塑造的词汇手段选择的影响。作者还考察了作者为提名和人物特征而选择的词汇，以及它们在揭示作品形象和艺术理念方面的作用。本文考察了提名的变化如何反映人物形象的发展和新的社会角色的发展。通过对塑造形象的词汇手段的研究，确定了约瑟夫的主要性格特征:耐心、顾家、爱穷。它还允许对主人公的理想化进行总结，以便为读者呈现一个样本模型。
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Pub Date : 2023-01-01DOI: 10.37816/2073-9567-2023-67-68-76
S. Mitasova
The article analyzes the specificity and scope of the “sacred” category in cultural studies, in contrast to other areas of humanitarian knowledge. The etymology of the word “sacred” is given, which shows the binarity of the category: holy and damned, utmost attractive and forbidden. In theology, the category of the sacred is understood exclusively as an attribute of the divine; in religious studies it was revealed that this category can exist outside of religion. Sociologists of religion asserted that the sacred and the profane are irreconcilable in society, therefore the sacred is taboo. In psychology, the sacred is interpreted as the archetype of the soul, ignoring which is dangerous for the human psyche. From the point of view of cultural studies, applying an interdisciplinary approach, the author interprets the sacred as a cultural form (reified symbol). The following characteristics of sacred symbols are revealed: esotericity and democracy (simultaneous hermeticity, mystery and openness for exploration), tradition and axiologisity (preservation of the true meaning and change in value over time), nationality of symbols as a synthesis of the ethos of a people for its self-preservation. The non-utilitarian expediency of symbols helps to preserve the cultural codes contained in the religious and mythological heritage. The author proposes to consider the sacred as a process of formation and development of a cultural form, which changes its meanings over time, being subject to different value interpretations. Cultural discourse presupposes the study of the sacred symbol in all possible completeness of the accumulated meanings of the latter in order to increase its cultural and creative potential for future generations.
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Pub Date : 2023-01-01DOI: 10.37816/2073-9567-2023-68-273-283
O. Selemeneva
The paper deals with the mythological names representing the geocultural image of Ancient Egypt in I. A. Bunin’s poems of 1903 —1907. The relevance of the topic is explained by the interest of linguists in the onomastic code of I. A. Bunin’s prose and poetry, the little-studied oriental vocabulary and the appellative-onymic relationships in his artistic heritage. A group of theonyms, the referents of which are known to the reader to a varying degree, is considered as the means of verbalising the geocultural image of Ancient Egypt. Among the theonyms one can find both common units, namely Ra, Osiris, Seth and individual author’s bi-lexemes like Shakal-Anubis (Jackal-Anubis), Ra-Osiris, Jastreb-Gor (Hawk-Horus), formed in a compound way. In the I.A. Bunin’s poetry, the presence of onimicized appellatives Otec (Father), Syn (Son) and Shakal (Jackal) is marked, acting as contextual synonyms to the theonomies of Osiris, Hawk-Horus and Anubis. Acting as key units of the poetic text and referring to specific mythological plots, theonyms interact with other semantic types of onyms: toponyms Cairo, Gizekh, Thebes, hydronyms Nile and Merida, the acronym Sirius, ecclesionyms Ali, Memnon, as well as appellatives such as pustynya (desert), solnce (sun), sfinks (sphinx), more (sea), rassvet (dawn), nebosklon (skyline) etc. Together, these units form a single semantic context presenting the philosophical reflection of the author. The implementation of textual connections of theonyms ensures the formation of the geocultural image of Ancient Egypt in the individual author’s picture of the world at the intersection of mythological ideas about the Heliopolis Ennead and real knowledge of the ancient historical region.
{"title":"Theonyms as Representatives of the Geocultural Image of Ancient Egypt in I.A. Bunin’s Poems of 1903–1907","authors":"O. Selemeneva","doi":"10.37816/2073-9567-2023-68-273-283","DOIUrl":"https://doi.org/10.37816/2073-9567-2023-68-273-283","url":null,"abstract":"The paper deals with the mythological names representing the geocultural image of Ancient Egypt in I. A. Bunin’s poems of 1903 —1907. The relevance of the topic is explained by the interest of linguists in the onomastic code of I. A. Bunin’s prose and poetry, the little-studied oriental vocabulary and the appellative-onymic relationships in his artistic heritage. A group of theonyms, the referents of which are known to the reader to a varying degree, is considered as the means of verbalising the geocultural image of Ancient Egypt. Among the theonyms one can find both common units, namely Ra, Osiris, Seth and individual author’s bi-lexemes like Shakal-Anubis (Jackal-Anubis), Ra-Osiris, Jastreb-Gor (Hawk-Horus), formed in a compound way. In the I.A. Bunin’s poetry, the presence of onimicized appellatives Otec (Father), Syn (Son) and Shakal (Jackal) is marked, acting as contextual synonyms to the theonomies of Osiris, Hawk-Horus and Anubis. Acting as key units of the poetic text and referring to specific mythological plots, theonyms interact with other semantic types of onyms: toponyms Cairo, Gizekh, Thebes, hydronyms Nile and Merida, the acronym Sirius, ecclesionyms Ali, Memnon, as well as appellatives such as pustynya (desert), solnce (sun), sfinks (sphinx), more (sea), rassvet (dawn), nebosklon (skyline) etc. Together, these units form a single semantic context presenting the philosophical reflection of the author. The implementation of textual connections of theonyms ensures the formation of the geocultural image of Ancient Egypt in the individual author’s picture of the world at the intersection of mythological ideas about the Heliopolis Ennead and real knowledge of the ancient historical region.","PeriodicalId":41255,"journal":{"name":"Vestnik Slavianskikh Kultur-Bulletin of Slavic Cultures-Scientific and Informational Journal","volume":"46 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73674584","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 : 2023-01-01DOI: 10.37816/2073-9567-2023-67-45-67
I. Tsibizova
The theme of culture wars connected with the preserving of national identity and mentality’s especially actual for Serbia which applies for the role of the bridge between West and East. The term of culture war was coined by R. Virchow for the definition of German Chancellor Otto von Bismarck’s struggle against the catholic clergy. After the use of the notion by the sociologist J. Hunter and politician P. Buchahan the concept gained an unusual popularity among the researches. The origins of the Serbian culture wars are connected to the fight for national independency and either the Russian or the Western mainly to Habsburg Empire orientation. The J. Raich’s Catechism’s viewed as one of the important victories in culture war. These wars are understood as a violent conflict between the carriers of opposing ideas, definitions and representations within a single cultural pattern or between the representatives of such different ones. In the radical conflicts the “killer identity” (Amin Maalouf) is born. The culture wars often precede the real ones which destroy the culture. The National Revival inspired by the spiritual leader of the First Serbian insurrection Dosifey Obradovic, the unsuccessful attempt to introduce a single Serbo-Croatian language, the Yugoslav model, created in the Kingdom of Serbs, Croats and Slovenes, later Yugoslavia in the transition period, the communist stage associated with changes in society after the Second World War, the denial of national tradition and open hatred for the Serbian one as such, the period after 2000, marked by abuses of privatization, the ruin of the economy, the uncritical definition of Serbia as the Western Balkans, the euphemistic understanding of the period as a transition to democracy, covering the restoration of neoliberal capitalism and sabotage of the “democratic authorities” of the serious study of national culture, the war over the school curriculum of teaching history, language and literature, challenging the value of outstanding literary works as well as the values of national identity are considered as milestones of the culture was in Serbia. The participants of the culture wars are divided into globalists oriented to the West and the traditionalists or the conservatives, who tries not only to develop a concept of Serbian national identity, but also to maintain it. K. Atanasievich and V. Dvornikovich have contributed greatly to its development. The paper highlights a negative impact of pro-Western elites not only on national identity, but also on the country`s future. The consolidation of society around Patriarch Pavel showed the relevance of Orthodoxy, as well as of Kosovo and Metohija, for the Serbian national identity. The planned Euro-pride in Belgrade is perceived as a threat to the latter. Another threat is the canonization of the Quisling Croatian bishop Alozij Stepinets and the presentation of the Ustashe children's camps Sisak and Yastrebarsko as sanatoriums for the “treatment” of Serbi
{"title":"Comprehending the Сoncept of Сulture War in Serbian Сultures Studies, Philosophy of Culture and Literature","authors":"I. Tsibizova","doi":"10.37816/2073-9567-2023-67-45-67","DOIUrl":"https://doi.org/10.37816/2073-9567-2023-67-45-67","url":null,"abstract":"The theme of culture wars connected with the preserving of national identity and mentality’s especially actual for Serbia which applies for the role of the bridge between West and East. The term of culture war was coined by R. Virchow for the definition of German Chancellor Otto von Bismarck’s struggle against the catholic clergy. After the use of the notion by the sociologist J. Hunter and politician P. Buchahan the concept gained an unusual popularity among the researches. The origins of the Serbian culture wars are connected to the fight for national independency and either the Russian or the Western mainly to Habsburg Empire orientation. The J. Raich’s Catechism’s viewed as one of the important victories in culture war. These wars are understood as a violent conflict between the carriers of opposing ideas, definitions and representations within a single cultural pattern or between the representatives of such different ones. In the radical conflicts the “killer identity” (Amin Maalouf) is born. The culture wars often precede the real ones which destroy the culture. The National Revival inspired by the spiritual leader of the First Serbian insurrection Dosifey Obradovic, the unsuccessful attempt to introduce a single Serbo-Croatian language, the Yugoslav model, created in the Kingdom of Serbs, Croats and Slovenes, later Yugoslavia in the transition period, the communist stage associated with changes in society after the Second World War, the denial of national tradition and open hatred for the Serbian one as such, the period after 2000, marked by abuses of privatization, the ruin of the economy, the uncritical definition of Serbia as the Western Balkans, the euphemistic understanding of the period as a transition to democracy, covering the restoration of neoliberal capitalism and sabotage of the “democratic authorities” of the serious study of national culture, the war over the school curriculum of teaching history, language and literature, challenging the value of outstanding literary works as well as the values of national identity are considered as milestones of the culture was in Serbia. The participants of the culture wars are divided into globalists oriented to the West and the traditionalists or the conservatives, who tries not only to develop a concept of Serbian national identity, but also to maintain it. K. Atanasievich and V. Dvornikovich have contributed greatly to its development. The paper highlights a negative impact of pro-Western elites not only on national identity, but also on the country`s future. The consolidation of society around Patriarch Pavel showed the relevance of Orthodoxy, as well as of Kosovo and Metohija, for the Serbian national identity. The planned Euro-pride in Belgrade is perceived as a threat to the latter. Another threat is the canonization of the Quisling Croatian bishop Alozij Stepinets and the presentation of the Ustashe children's camps Sisak and Yastrebarsko as sanatoriums for the “treatment” of Serbi","PeriodicalId":41255,"journal":{"name":"Vestnik Slavianskikh Kultur-Bulletin of Slavic Cultures-Scientific and Informational Journal","volume":"40 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80058533","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 : 2023-01-01DOI: 10.37816/2073-9567-2023-68-300-316
T. Beketova
The paper discusses the development of the theory of ethnodesign, therefore focusing on packaging examples analysis, the design of which embrace the motifs of Russian and Belarusian cultures. For the first time, a classification of possible types of ethnocultural components is proposed, on the basis of which a unique verbal-visual component of ethnodesign may be formed. The study suggests a refined definition of the concept of “ethnomarker” from the point of view of design theory, and develops the structure of ethnodesign of a product tested through the example of packaging. The process of design analysis made for the following provisions: firstly, ethnocultural components, depending on their ability to associate a design product with any ethnos, are unequal and are divided into two groups — dominant and secondary; secondly, each ethno-cultural component has such a characteristic as ethno-identifying ability (proposed for the first time); thirdly, ethno-identifying ability depends on the degree of popularity and uniqueness of a particular ethnomarker. Structural and semantic analysis of packaging samples in the “Slavic style” made it possible to identify the most frequently used ethnocultural components. Among them are ethnonyms and their derivatives (Russian, Russia, Slavic, in Russian), digital fonts imitating Cyrillic writing, national costume and its elements, ethnocultural landscape, unique motifs of decorative and applied art, folklore characters, images architectural structures, household. Secondary ethnocultural components, as a rule, were widespread ornamental motifs, images of traditional management, visual display of the mentality of an ethnic group, color palette of design.
{"title":"Ethnodesign`s Theoretical Aspects by the Example of Packaging with Slavic Culture`s Elements","authors":"T. Beketova","doi":"10.37816/2073-9567-2023-68-300-316","DOIUrl":"https://doi.org/10.37816/2073-9567-2023-68-300-316","url":null,"abstract":"The paper discusses the development of the theory of ethnodesign, therefore focusing on packaging examples analysis, the design of which embrace the motifs of Russian and Belarusian cultures. For the first time, a classification of possible types of ethnocultural components is proposed, on the basis of which a unique verbal-visual component of ethnodesign may be formed. The study suggests a refined definition of the concept of “ethnomarker” from the point of view of design theory, and develops the structure of ethnodesign of a product tested through the example of packaging. The process of design analysis made for the following provisions: firstly, ethnocultural components, depending on their ability to associate a design product with any ethnos, are unequal and are divided into two groups — dominant and secondary; secondly, each ethno-cultural component has such a characteristic as ethno-identifying ability (proposed for the first time); thirdly, ethno-identifying ability depends on the degree of popularity and uniqueness of a particular ethnomarker. Structural and semantic analysis of packaging samples in the “Slavic style” made it possible to identify the most frequently used ethnocultural components. Among them are ethnonyms and their derivatives (Russian, Russia, Slavic, in Russian), digital fonts imitating Cyrillic writing, national costume and its elements, ethnocultural landscape, unique motifs of decorative and applied art, folklore characters, images architectural structures, household. Secondary ethnocultural components, as a rule, were widespread ornamental motifs, images of traditional management, visual display of the mentality of an ethnic group, color palette of design.","PeriodicalId":41255,"journal":{"name":"Vestnik Slavianskikh Kultur-Bulletin of Slavic Cultures-Scientific and Informational Journal","volume":"114 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79373599","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}
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