Ludmila M. Pletneva, Praskovya E. Bardina, Svetlana V. Berezovskaya, Alexandra Yu. Tsurikova
The Exhibition Hall Museum of Seversk was opened on December 24, 1987 as an exhibition hall. In the first years of its existence, it hosted temporary exhibitions from abroad, central museums of the Soviet Union, as well as exhibitions of local artists and the Children’s Art School. In the early 1990s, the government ceased to financially support traveling exhibitions. The museum faced the problem of how to fill its space. The archaeological excavations conducted by the Tomsk State University and the Seversk Archaeological Inspectorate, which were well known to the Seversk Administration, suggested the idea of creating a Department of Archeology and Ethnography at the museum. This Department was created in 1993. PhD of History P.E. Bardina, E.A. Vasilyev and L.M. Pletneva, came to the Department from the Tomsk State University. From the very beginning, they made it their goal to open a local history exhibition in a few years. In order to create its own collection, the museum needed to undertake archaeological and ethnographic expeditions. It developed a clear plan to excavate already known monuments and, with significant financial support from the Seversk Administration (then known as the City Council of People’s Deputies), brought this plan to life. The museum actively collected ethnographic materials in the surrounding villages. After each year of work, it presented exhibitions. At the same time, the museum developed a Scientific Concept and a Thematic Exposition Plan. In 1997, both documents were approved by the Scientific and Methodological Council of the museum. The Thematic Exposition Plan consisted of three sections: archeology, history of the first Russian settlement on the site of the future city, and ethnography. The exposition as a whole covers the ancient history, the Middle Ages, modern and contemporary times. The archaeological section presents exhibits dating back to the Stone, Bronze, Early Iron, and Middle Ages. The historical section demonstrates documents from archives on the history of the Virgin MaryAlekseevsky Monastery, religious items, photographs of churches from the surrounding villages and priests, a copy of a fragment of the S.U. Remezov’s map. A model of a Russian log cabin with three walls, a front corner and a Russian stove is the central part of the ethnographic exposition. Agricultural and haymaking tools, tools for handicrafts, such as cooperage and blacksmithing, as well as for women's handicrafts, are presented on the outer wall of the log cabin. At a certain distance from the log cabin, there is a hunting hut with tools for hunting, fishing and pine nut harvesting. The exposition is continually updated and supplemented. A particularly large update took place in 2009. In subsequent years, considerable attention was paid to the introduction of innovative technological developments into the exposition. Using the exposition, the museum provides guided tours, classes for schoolchildren and senior kindergarten groups
{"title":"THE HISTORY OF THE LOCAL HISTORY EXPOSITION “ALONG THE RIVER OF TIME” IN THE MUSEUM OF SEVERSK","authors":"Ludmila M. Pletneva, Praskovya E. Bardina, Svetlana V. Berezovskaya, Alexandra Yu. Tsurikova","doi":"10.17223/22220836/41/22","DOIUrl":"https://doi.org/10.17223/22220836/41/22","url":null,"abstract":"The Exhibition Hall Museum of Seversk was opened on December 24, 1987 as an exhibition hall. In the first years of its existence, it hosted temporary exhibitions from abroad, central museums of the Soviet Union, as well as exhibitions of local artists and the Children’s Art School. In the early 1990s, the government ceased to financially support traveling exhibitions. The museum faced the problem of how to fill its space. The archaeological excavations conducted by the Tomsk State University and the Seversk Archaeological Inspectorate, which were well known to the Seversk Administration, suggested the idea of creating a Department of Archeology and Ethnography at the museum. This Department was created in 1993. PhD of History P.E. Bardina, E.A. Vasilyev and L.M. Pletneva, came to the Department from the Tomsk State University. From the very beginning, they made it their goal to open a local history exhibition in a few years. In order to create its own collection, the museum needed to undertake archaeological and ethnographic expeditions. It developed a clear plan to excavate already known monuments and, with significant financial support from the Seversk Administration (then known as the City Council of People’s Deputies), brought this plan to life. The museum actively collected ethnographic materials in the surrounding villages. After each year of work, it presented exhibitions. At the same time, the museum developed a Scientific Concept and a Thematic Exposition Plan. In 1997, both documents were approved by the Scientific and Methodological Council of the museum. The Thematic Exposition Plan consisted of three sections: archeology, history of the first Russian settlement on the site of the future city, and ethnography. The exposition as a whole covers the ancient history, the Middle Ages, modern and contemporary times. The archaeological section presents exhibits dating back to the Stone, Bronze, Early Iron, and Middle Ages. The historical section demonstrates documents from archives on the history of the Virgin MaryAlekseevsky Monastery, religious items, photographs of churches from the surrounding villages and priests, a copy of a fragment of the S.U. Remezov’s map. A model of a Russian log cabin with three walls, a front corner and a Russian stove is the central part of the ethnographic exposition. Agricultural and haymaking tools, tools for handicrafts, such as cooperage and blacksmithing, as well as for women's handicrafts, are presented on the outer wall of the log cabin. At a certain distance from the log cabin, there is a hunting hut with tools for hunting, fishing and pine nut harvesting. The exposition is continually updated and supplemented. A particularly large update took place in 2009. In subsequent years, considerable attention was paid to the introduction of innovative technological developments into the exposition. Using the exposition, the museum provides guided tours, classes for schoolchildren and senior kindergarten groups","PeriodicalId":41702,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta-Kulturologiya i Iskusstvovedenie-Tomsk State University Journal of Cultural Studies and Art History","volume":"7 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74185093","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}
N. Mitiukov, Arina N. Pislegina, Irina V. Preobrazhenkaya
Terraced windows, along with frames, are a unique element of Russian wooden architecture. But if in the major cities of the Pre-Urals, the old wooden quarters were demolished for serial building in the middle of the 20th century, the center of Votkinsk retained its almost original appearance of the mid-19th century. As a result, the carved terraced windows are no longer so massively represented in other cities of Udmurtia and the Urals. Nevertheless, due to economic activity, the private sector of Votkinsk is actively being built up, and the owners of wooden houses that are not architectural monuments everywhere are replacing carved terraced windows with plastic windows that are more comfortable in everyday life. As a result, it is likely that in a couple of decades such an expressive element of Russian wooden architecture as the Votkinsk carved terrace windows can be lost forever. Therefore, the objective of this work consisted, firstly, in photo fixing windows still available in Votkinsk, and secondly, in their cluster analysis to identify typical signs. Their definition is necessary, for example, if, with the improvement of the production technology of serial windows, it again becomes possible to return this element of architecture, then the starting point can be not only simple imitations of preserved monuments of wooden architecture, but the existing database in all its richness of forms. In 2013-2015 the authors surveyed 35 terrace windows of Votkinsk were surveyed, mainly central streets: Kirov, May 1 and Lenin, which are presented in the appendix. During cluster analysis, it was revealed that the most common type of window consists of three modules with an arched completion with the same width of modules. As a rule, the upper part of the window consists of three elements, divided by straight partitions. The ornament of the window itself, as a rule, has axial symmetry and consists of two parts. The presence of elements that are difficult to manufacture, including semicircular and parabolic ornament lines, testifies to the high production culture and craftsmanship of the workers who made the terrace windows, the production technology of which was possible only in the workshop or artel conditions. Undoubtedly, the influence on the windows of the neo-Gothic style, which could have been brought to Votkinsk by invited foreign experts. Local culture also had a great influence. But Udmurt motifs are extremely limited, as evidenced, for example, by the lack of asymmetric parts built on the principle of rotation. In addition, obviously Orthodox motifs have been found, for example, the use of the triptychiconostasis form, ornaments in the form of a “forked” cross superimposed on the silhouette of an Orthodox church cloth. In general, Votkinsk terrace windows can be considered as a unique cultural phenomenon on the territory of Udmurtia, which is so massively not found now.
{"title":"CLUSTER ANALYSIS OF CARVED TERRACE WINDOWS IN VOTKINSK","authors":"N. Mitiukov, Arina N. Pislegina, Irina V. Preobrazhenkaya","doi":"10.17223/22220836/43/23","DOIUrl":"https://doi.org/10.17223/22220836/43/23","url":null,"abstract":"Terraced windows, along with frames, are a unique element of Russian wooden architecture. But if in the major cities of the Pre-Urals, the old wooden quarters were demolished for serial building in the middle of the 20th century, the center of Votkinsk retained its almost original appearance of the mid-19th century. As a result, the carved terraced windows are no longer so massively represented in other cities of Udmurtia and the Urals. Nevertheless, due to economic activity, the private sector of Votkinsk is actively being built up, and the owners of wooden houses that are not architectural monuments everywhere are replacing carved terraced windows with plastic windows that are more comfortable in everyday life. As a result, it is likely that in a couple of decades such an expressive element of Russian wooden architecture as the Votkinsk carved terrace windows can be lost forever. Therefore, the objective of this work consisted, firstly, in photo fixing windows still available in Votkinsk, and secondly, in their cluster analysis to identify typical signs. Their definition is necessary, for example, if, with the improvement of the production technology of serial windows, it again becomes possible to return this element of architecture, then the starting point can be not only simple imitations of preserved monuments of wooden architecture, but the existing database in all its richness of forms. In 2013-2015 the authors surveyed 35 terrace windows of Votkinsk were surveyed, mainly central streets: Kirov, May 1 and Lenin, which are presented in the appendix. During cluster analysis, it was revealed that the most common type of window consists of three modules with an arched completion with the same width of modules. As a rule, the upper part of the window consists of three elements, divided by straight partitions. The ornament of the window itself, as a rule, has axial symmetry and consists of two parts. The presence of elements that are difficult to manufacture, including semicircular and parabolic ornament lines, testifies to the high production culture and craftsmanship of the workers who made the terrace windows, the production technology of which was possible only in the workshop or artel conditions. Undoubtedly, the influence on the windows of the neo-Gothic style, which could have been brought to Votkinsk by invited foreign experts. Local culture also had a great influence. But Udmurt motifs are extremely limited, as evidenced, for example, by the lack of asymmetric parts built on the principle of rotation. In addition, obviously Orthodox motifs have been found, for example, the use of the triptychiconostasis form, ornaments in the form of a “forked” cross superimposed on the silhouette of an Orthodox church cloth. In general, Votkinsk terrace windows can be considered as a unique cultural phenomenon on the territory of Udmurtia, which is so massively not found now.","PeriodicalId":41702,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta-Kulturologiya i Iskusstvovedenie-Tomsk State University Journal of Cultural Studies and Art History","volume":"10 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74669857","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}
The book collection of the famous Russian statesman of the XIX century Count Peter Alexandrovich Valuev (1815–1890) was acquired by the Ministry of Public Education in 1885 for a university under construction in Tomsk. This article is dedicated to the content study of this book collection, stored in the Scientific Library of TSU. The subject of the study is a collection of educational books and publications on the reform of the public education system in Russia in the 1860s. The main task is to study them in the context of state activities and personal characteristics of P.A. Valuev. The methodological basis of the research is bibliological and cultural-historical methods. The article presents the results of studying textbooks and publications of a legislative nature on education in Russia, included in this collection. In studying the collection, the entries in Valuev’s diary, made in the period from 1861 to 1868, when he headed the Ministry of Internal Affairs, were of a great help. The article provides brief information about the state activities of Valuev in the period from 1860 to 1880. On the eve of the Emancipation Reform of 1861 in Russia, the Ministry of Public Education, realizing the unsatisfactory state of educational institutions in the country, made a decision about their transformation. In 1856, they began with a revision of the university charter and the charter of gymnasiums and schools, adopted during the reign of Emperor Nicholas I. Only in the 1860s a consideration of the drafts of these charters prepared by this time had began. The first part considers publications related to the development of the new charters for educational institutions in Russia in the 1860s, which give an idea of the specific documents which Valuev worked with. “The Draft of the General Charter of Imperial Russian Universities” is presented in the collection in three different editions, published in 1862. The last draft of the charter, developed by members of scientific committee of the Ministry, was taken as the basis for the new university charter, which was published in 1863. The collection also contains “The Draft of the Charter of general education institutions”, as well as the “Charter of gymnasiums and pro-gymnasiums”, published in 1864. Numerous notes in copies belonging to Valuev, indicating his work on these projects, were analyzed. Another part of the collection – textbooks – gives an unusual touch to the owner's personality. The features of textbooks stored in the library are identified and the publication histories of some of them are revealed. Among those are copies of textbooks on trigonometry, chemistry, zoology, botany, etc., which contain the notes of his youngest son Nikolai. Being a highly educated person, Valuev appreciated good textbooks: not only he acquired them for his son, but also stored them in his library, despite the remaining traces of Nikolai's diligent work with these books during his studies. The content of the collection
{"title":"COLLECTION OF TEXTBOOKS AND PUBLICATIONS ON EDUCATION IN RUSSIA IN THE LIBRARY OF COUNT P.A. VALUEV","authors":"G. Kolosova","doi":"10.17223/22220836/41/25","DOIUrl":"https://doi.org/10.17223/22220836/41/25","url":null,"abstract":"The book collection of the famous Russian statesman of the XIX century Count Peter Alexandrovich Valuev (1815–1890) was acquired by the Ministry of Public Education in 1885 for a university under construction in Tomsk. This article is dedicated to the content study of this book collection, stored in the Scientific Library of TSU. The subject of the study is a collection of educational books and publications on the reform of the public education system in Russia in the 1860s. The main task is to study them in the context of state activities and personal characteristics of P.A. Valuev. The methodological basis of the research is bibliological and cultural-historical methods. The article presents the results of studying textbooks and publications of a legislative nature on education in Russia, included in this collection. In studying the collection, the entries in Valuev’s diary, made in the period from 1861 to 1868, when he headed the Ministry of Internal Affairs, were of a great help. The article provides brief information about the state activities of Valuev in the period from 1860 to 1880. On the eve of the Emancipation Reform of 1861 in Russia, the Ministry of Public Education, realizing the unsatisfactory state of educational institutions in the country, made a decision about their transformation. In 1856, they began with a revision of the university charter and the charter of gymnasiums and schools, adopted during the reign of Emperor Nicholas I. Only in the 1860s a consideration of the drafts of these charters prepared by this time had began. The first part considers publications related to the development of the new charters for educational institutions in Russia in the 1860s, which give an idea of the specific documents which Valuev worked with. “The Draft of the General Charter of Imperial Russian Universities” is presented in the collection in three different editions, published in 1862. The last draft of the charter, developed by members of scientific committee of the Ministry, was taken as the basis for the new university charter, which was published in 1863. The collection also contains “The Draft of the Charter of general education institutions”, as well as the “Charter of gymnasiums and pro-gymnasiums”, published in 1864. Numerous notes in copies belonging to Valuev, indicating his work on these projects, were analyzed. Another part of the collection – textbooks – gives an unusual touch to the owner's personality. The features of textbooks stored in the library are identified and the publication histories of some of them are revealed. Among those are copies of textbooks on trigonometry, chemistry, zoology, botany, etc., which contain the notes of his youngest son Nikolai. Being a highly educated person, Valuev appreciated good textbooks: not only he acquired them for his son, but also stored them in his library, despite the remaining traces of Nikolai's diligent work with these books during his studies. The content of the collection","PeriodicalId":41702,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta-Kulturologiya i Iskusstvovedenie-Tomsk State University Journal of Cultural Studies and Art History","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77025476","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}
The article addresses the pictorial representation of the so-called “field camp” in Soviet realist painting. A field camp is a temporary site equipped for providing meals and recreation to agrarian workers and situated as close to the place of their labor activity as it possible, i.e. directly in a field. Pictures representing the field camp portray Soviet people, workers, in the process of their creative labor for the sake of socialism, which allows us to treat this type of painting as an example of Socialist realism. Amongst the multiple subjects concerning the labor activity of Soviet people, the pictorial representation of the field camp as a space of work and recreation is of interest, because it reflects the specific to Soviet culture views on the role and value of agrarian labor. Our study has pursued two main purposes: - to demonstrate the symbolical value of the field camp pictorial representation and its influence on the development of Socialist realist painting in general; - to reveal a semiotic system (a system of visual images – the signifiers) which enables pictures representing the field camp to function efficiently in Soviet painting. In the course of the study we have also accomplished several additional tasks: - to outline the history of the subject under consideration in Soviet painting; - to interpret shifts in the representation of the subject in order to reveal their connection with the transformation of artistic strategies and ideological discourse. The study addresses some new issues. Soviet painting representing agrarian labor has never been considered in cultural studies. From such a perspective, Socialist realist painting is significant as a historical source for studying Soviet culture and ideology. The analysis of a range of images representing the field camp demonstrates that having emerged in the 1930-s the pictorial representation of agrarian labor became one of the most popular subjects in the 1960s – 1970s. Such pictures make evident the essential difference between the socialist agrarian labor and the traditional farming. The field camp represents the meal of a working team, thereby manifesting the new form of social and labor relationships. The representation of the field camp acquired the following significant features: - the agrarian worker is portrayed in a new manner; - agrarian labor reflects the harmony of people and nature; - agrarian labor is depicted as the space of social harmony. We have also identified a variety of semiotic structures, which serve to express these specific features. These are the groups of signifiers representing gender relationships, opposition of “natural” and “technical”, dialectics of “individual” and “collective”, continuity of labor and domestic activities.
{"title":"THE REPRESENTATION OF THE FIELD CAMP IN SOVIET PAINTING OF 1960S – 1970S","authors":"O. Bezzubova, Polina A. Dvoynikova, A. Smirnov","doi":"10.17223/22220836/43/2","DOIUrl":"https://doi.org/10.17223/22220836/43/2","url":null,"abstract":"The article addresses the pictorial representation of the so-called “field camp” in Soviet realist painting. A field camp is a temporary site equipped for providing meals and recreation to agrarian workers and situated as close to the place of their labor activity as it possible, i.e. directly in a field. Pictures representing the field camp portray Soviet people, workers, in the process of their creative labor for the sake of socialism, which allows us to treat this type of painting as an example of Socialist realism. Amongst the multiple subjects concerning the labor activity of Soviet people, the pictorial representation of the field camp as a space of work and recreation is of interest, because it reflects the specific to Soviet culture views on the role and value of agrarian labor. Our study has pursued two main purposes: - to demonstrate the symbolical value of the field camp pictorial representation and its influence on the development of Socialist realist painting in general; - to reveal a semiotic system (a system of visual images – the signifiers) which enables pictures representing the field camp to function efficiently in Soviet painting. In the course of the study we have also accomplished several additional tasks: - to outline the history of the subject under consideration in Soviet painting; - to interpret shifts in the representation of the subject in order to reveal their connection with the transformation of artistic strategies and ideological discourse. The study addresses some new issues. Soviet painting representing agrarian labor has never been considered in cultural studies. From such a perspective, Socialist realist painting is significant as a historical source for studying Soviet culture and ideology. The analysis of a range of images representing the field camp demonstrates that having emerged in the 1930-s the pictorial representation of agrarian labor became one of the most popular subjects in the 1960s – 1970s. Such pictures make evident the essential difference between the socialist agrarian labor and the traditional farming. The field camp represents the meal of a working team, thereby manifesting the new form of social and labor relationships. The representation of the field camp acquired the following significant features: - the agrarian worker is portrayed in a new manner; - agrarian labor reflects the harmony of people and nature; - agrarian labor is depicted as the space of social harmony. We have also identified a variety of semiotic structures, which serve to express these specific features. These are the groups of signifiers representing gender relationships, opposition of “natural” and “technical”, dialectics of “individual” and “collective”, continuity of labor and domestic activities.","PeriodicalId":41702,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta-Kulturologiya i Iskusstvovedenie-Tomsk State University Journal of Cultural Studies and Art History","volume":"56 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79747715","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}
The relevance of the study is to try to make sense of the changes in photography. The problem of research is the lack of a position in modern cultural studies on the essence of photography. The problem is methodological. The aim of the study is to study approaches to photography and their evolution. Research methods are associated with philosophical and cultural analysis of the problem. There are several approaches to studying photography. The author chooses those of them that will reveal the problem of changing the relationship to the essence of photography in the cultural and philosophical aspect. Susan Sontag says that photography takes on the importance of social ritual and is perceived as an instrument of self-approval. Andre Rouille defines the place of photography in modern culture and speaks of it as a certain cultural phenomenon, art technology. Here, Rouille contrasts his theoretical grounds with the views of Roland Barth. Rouille says that photography has universality, a total manifestation in culture, Bart, on the contrary, claims that photography is an object, the photograph itself contains an object that the photograph displays. Based on different views on the problem of the essence of photography, the author proposed a number of figure of merit by which it will be possible to trace the evolution of scientific approaches to the study of photography. Thus, three main figure of merit were developed, the first of which considers photography as part of culture. Photography becomes woven into the modern cultural layer, thanks to technological innovations. It ceases to be perceived as a separate document, but is seen by each user as an integral part of everyday life. The new digital culture dictates changes in the field of visual language. On the other hand, photography also remains part of art, this is the second criterion. The creative methods of artists, photographers are expanding significantly in modern art, photography is becoming part of many artistic practices. The third criterion is related to the philosophical understanding of the essence of photography. Many researchers aim to identify the primary basis of the photographic image. The findings of the study are related to the fact that photography is experiencing essential changes in connection with the advent of digital culture. Photography takes on the shade of a social element, which allows it to be part of a person's everyday culture. There is a significant transition from a document to a certain element of public relations. Its active manifestation in mass culture, social networks speaks of the importance of photography for modern culture. Ideas about photography are associated with the socio-cultural context of its existence. Susan Sontag in the second half of the 20th century spoke of photography as an integral part of social relations, today photography is perceived as a tool for constructing the worldview of modern man, it is said about her influence on aesthetics, the f
{"title":"TRANSFORMING IDEAS ABOUT PHOTOGRAPHY: SYSTEMATIZING EXISTING APPROACHES","authors":"Ksenia V. Krasikova","doi":"10.17223/22220836/42/9","DOIUrl":"https://doi.org/10.17223/22220836/42/9","url":null,"abstract":"The relevance of the study is to try to make sense of the changes in photography. The problem of research is the lack of a position in modern cultural studies on the essence of photography. The problem is methodological. The aim of the study is to study approaches to photography and their evolution. Research methods are associated with philosophical and cultural analysis of the problem. There are several approaches to studying photography. The author chooses those of them that will reveal the problem of changing the relationship to the essence of photography in the cultural and philosophical aspect. Susan Sontag says that photography takes on the importance of social ritual and is perceived as an instrument of self-approval. Andre Rouille defines the place of photography in modern culture and speaks of it as a certain cultural phenomenon, art technology. Here, Rouille contrasts his theoretical grounds with the views of Roland Barth. Rouille says that photography has universality, a total manifestation in culture, Bart, on the contrary, claims that photography is an object, the photograph itself contains an object that the photograph displays. Based on different views on the problem of the essence of photography, the author proposed a number of figure of merit by which it will be possible to trace the evolution of scientific approaches to the study of photography. Thus, three main figure of merit were developed, the first of which considers photography as part of culture. Photography becomes woven into the modern cultural layer, thanks to technological innovations. It ceases to be perceived as a separate document, but is seen by each user as an integral part of everyday life. The new digital culture dictates changes in the field of visual language. On the other hand, photography also remains part of art, this is the second criterion. The creative methods of artists, photographers are expanding significantly in modern art, photography is becoming part of many artistic practices. The third criterion is related to the philosophical understanding of the essence of photography. Many researchers aim to identify the primary basis of the photographic image. The findings of the study are related to the fact that photography is experiencing essential changes in connection with the advent of digital culture. Photography takes on the shade of a social element, which allows it to be part of a person's everyday culture. There is a significant transition from a document to a certain element of public relations. Its active manifestation in mass culture, social networks speaks of the importance of photography for modern culture. Ideas about photography are associated with the socio-cultural context of its existence. Susan Sontag in the second half of the 20th century spoke of photography as an integral part of social relations, today photography is perceived as a tool for constructing the worldview of modern man, it is said about her influence on aesthetics, the f","PeriodicalId":41702,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta-Kulturologiya i Iskusstvovedenie-Tomsk State University Journal of Cultural Studies and Art History","volume":"91 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84401087","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}
The authors address issues of the development of contemporary art in Russian regions. On the one hand, the task is to formulate the philosophical and theoretical foundations of such an analysis. On the other hand, original empirical data are used (based on a number of Russian and European cases). The authors propose an original concept of synchronization of modernity as an attempt to overcome the contradiction between global normalization of cultural processes (“homogenization”) and opposition to it in the trends of “heterogenization” based on locality and originality. Synchronization is viewed as a “rhizome” of connections, relationships and projects in the flows of fluid modernity (Z. Bauman's liquid Modernity). The concept of “synchronization of modernity” is proposed as a philosophical basis for the analysis and practical development of contemporary art in the regions of Russia, in which, in particular, it is supposed to resolve the contradiction by homogenization (or global normalization) and heterogenization in the dynamic situation of “liquid Modernity” (Bauman) and cultural hybridization, which involves not only taking into account the conditions of deterritorialization, but also various forms of actualizing the local / regional context. These are the conditions and limitations for the formation of a “rhizome” (in the sense of Deleuze and Guattari) of contemporary art in Russia. The initial assumptions of the concept of synchronization of modernity are applied to the analysis of the current historical and cultural situation, the development of contemporary art in the regions of Russia, where this “rhizome” grows in a clash between the translation of the global international context (prestigious exhibitions, institutions, curators, auctions) and the search for distinctive regional (local) grounds. It is also shown that in the current empirical and practical context, the synchronization of modernity is implemented in several approaches: 1) “local identity”, 2) global normalization (“colonization”), 3) network “stitching of territories”, 4) chaotic search / open initiative.
{"title":"SYNCHRONIZATION OF MODERNITY: “RHIZOME” OF RUSSIAN CONTEMPORARY ART IN GLOBAL AND REGIONAL CONTEXT","authors":"D. V. Galkin, A. Kuklina","doi":"10.17223/22220836/42/5","DOIUrl":"https://doi.org/10.17223/22220836/42/5","url":null,"abstract":"The authors address issues of the development of contemporary art in Russian regions. On the one hand, the task is to formulate the philosophical and theoretical foundations of such an analysis. On the other hand, original empirical data are used (based on a number of Russian and European cases). The authors propose an original concept of synchronization of modernity as an attempt to overcome the contradiction between global normalization of cultural processes (“homogenization”) and opposition to it in the trends of “heterogenization” based on locality and originality. Synchronization is viewed as a “rhizome” of connections, relationships and projects in the flows of fluid modernity (Z. Bauman's liquid Modernity). The concept of “synchronization of modernity” is proposed as a philosophical basis for the analysis and practical development of contemporary art in the regions of Russia, in which, in particular, it is supposed to resolve the contradiction by homogenization (or global normalization) and heterogenization in the dynamic situation of “liquid Modernity” (Bauman) and cultural hybridization, which involves not only taking into account the conditions of deterritorialization, but also various forms of actualizing the local / regional context. These are the conditions and limitations for the formation of a “rhizome” (in the sense of Deleuze and Guattari) of contemporary art in Russia. The initial assumptions of the concept of synchronization of modernity are applied to the analysis of the current historical and cultural situation, the development of contemporary art in the regions of Russia, where this “rhizome” grows in a clash between the translation of the global international context (prestigious exhibitions, institutions, curators, auctions) and the search for distinctive regional (local) grounds. It is also shown that in the current empirical and practical context, the synchronization of modernity is implemented in several approaches: 1) “local identity”, 2) global normalization (“colonization”), 3) network “stitching of territories”, 4) chaotic search / open initiative.","PeriodicalId":41702,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta-Kulturologiya i Iskusstvovedenie-Tomsk State University Journal of Cultural Studies and Art History","volume":"111 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86744588","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}
The article reconstructs the process of origin and development of the festival movement in the Urals in the 1930s – 1970s in the music and concert sphere. The history of some of the largest festivals is viewed in the context of the formation of the Soviet festive culture and the goals of the Soviet cultural policy. The authors highlight the main holidays, for which the philharmonic society prepared musical programs - the anniversaries of the October Revolution of 1917 and the formation of the USSR, the birthday of V.I. Lenin. Since the late 1930s, the scope of musical programs has steadily increased. More and more organizations were involved in the creative process - philharmonic societies, theaters, libraries, clubs, art centers, departments of public education. The concert space has expanded from the «palaces of culture» and concert halls of the city to the central squares of the city, open spaces outside the cities and villages. In the 60s, favorable conditions for the development of the music industry were formed. Philharmonic music programs turn into mass celebrations, and then into regional festivals of professional, folk and amateur art. These events covered all audiences - schoolchildren, young people, factory workers and agricultural workers, the intelligentsia. Festivals acquired names, received vivid coverage in periodicals. Sometimes preparations for such celebrations took 1–2 years, and the festivals themselves could “travel” by train or car to regional cities and large villages during the whole jubilee year. By the 70s, the Ural music festivals reached the All-Union level, and also acquired international cultural ties. Special attention is paid to the forms of education, the repertoire of groups, geography and the organization of festivals. These festivals are considered by the authors as an instrument of popularizing and educating the “right” values among the people; they were supposed to activate mass practical activities. Ideas that sounded in musical-verbal and visual form from the stadiums, the stage of theaters during the festivals for a long time will be significant and memorable for a whole generation of people in our country. Therefore, a music festival can be considered not just a form of bringing people to the world musical heritage and educating people, but also an effective way to preserve the cultural memory of a people. The article uses archival materials, including those not previously introduced into scientific circulation, which help to understand the significance of these festivals for the regional culture of the Soviet period.
{"title":"MUSIC FESTIVAL AS AN EXPERIENCE OF PRESERVING THE CULTURAL MEMORY OF THE PEOPLE (RECONSTRUCTION OF THE URAL MUSIC FESTIVALS OF THE 1930S – 1970S).","authors":"Yulia V. Fedotova, A. Fedotov","doi":"10.17223/22220836/43/12","DOIUrl":"https://doi.org/10.17223/22220836/43/12","url":null,"abstract":"The article reconstructs the process of origin and development of the festival movement in the Urals in the 1930s – 1970s in the music and concert sphere. The history of some of the largest festivals is viewed in the context of the formation of the Soviet festive culture and the goals of the Soviet cultural policy. The authors highlight the main holidays, for which the philharmonic society prepared musical programs - the anniversaries of the October Revolution of 1917 and the formation of the USSR, the birthday of V.I. Lenin. Since the late 1930s, the scope of musical programs has steadily increased. More and more organizations were involved in the creative process - philharmonic societies, theaters, libraries, clubs, art centers, departments of public education. The concert space has expanded from the «palaces of culture» and concert halls of the city to the central squares of the city, open spaces outside the cities and villages. In the 60s, favorable conditions for the development of the music industry were formed. Philharmonic music programs turn into mass celebrations, and then into regional festivals of professional, folk and amateur art. These events covered all audiences - schoolchildren, young people, factory workers and agricultural workers, the intelligentsia. Festivals acquired names, received vivid coverage in periodicals. Sometimes preparations for such celebrations took 1–2 years, and the festivals themselves could “travel” by train or car to regional cities and large villages during the whole jubilee year. By the 70s, the Ural music festivals reached the All-Union level, and also acquired international cultural ties. Special attention is paid to the forms of education, the repertoire of groups, geography and the organization of festivals. These festivals are considered by the authors as an instrument of popularizing and educating the “right” values among the people; they were supposed to activate mass practical activities. Ideas that sounded in musical-verbal and visual form from the stadiums, the stage of theaters during the festivals for a long time will be significant and memorable for a whole generation of people in our country. Therefore, a music festival can be considered not just a form of bringing people to the world musical heritage and educating people, but also an effective way to preserve the cultural memory of a people. The article uses archival materials, including those not previously introduced into scientific circulation, which help to understand the significance of these festivals for the regional culture of the Soviet period.","PeriodicalId":41702,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta-Kulturologiya i Iskusstvovedenie-Tomsk State University Journal of Cultural Studies and Art History","volume":"62 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83018486","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}
The Spanish collection of the Stroganov Library reveals Spain as a country with a rich cultural heritage. The last owner of the family library, G.A. Stroganov, was the Russian ambassador to Spain, and his interest in Spanish subjects was reflected in the book collection. One of the most valuable publications is a series of engraved portraits of outstanding Spaniards, published from 1791 to 1819. As a cultural time-specific project of the Enlightenment era, this series reveals the value priorities of Spanish society, which allows us to understand its socio-cultural guidelines over a long historical period. An impressive share of the persons selected by the Spaniards among their outstanding representatives belongs to university figures. This speaks not only about the influence of the Age of Enlightenment, but also about the rich history of university tradition in Spain. The subject of our study is the figure of the Spanish humanist H. Núñez de Guzman (1475-1553). In his youth, he studied with Nebrija. In the College of St. Clement in Bologna he started studying the culture of classical Greece. After returning to Spain, he studied Hebrew and Arabic in Granada. He was invited by Cisneros to the University of Alcala to work on a project to create a multilingual Bible. At this university, which became an important center of Spanish humanism, he taught rhetoric and Greek. In 1524, he received a chair of Greek at the University of Salamanca, where he also taught Latin, rhetoric, and lectured on the "Natural History" of Pliny. In Salamanca, Núñez published commentaries on the works of Seneca (1529), Mela (1543) and Pliny (1544); he prepared a collection of proverbs in the Castilian language, which was published in 1555. A deep connoisseur of Latin and Greek, Núñez is considered the patriarch of the Spanish Hellenists. They were a cohort of humanists who, on Spanish soil, combined in their worldview the features of the outgoing Middle Ages and the ideas of the Renaissance. Núñez played a significant role in the development of the Greek language as a subject of study in Spanish universities. The Greek language, the knowledge of which nourished and developed humanistic upbringing and education, gets its spread in Spain during the life and activity of Núñez. In the series of portraits of outstanding Spaniards, the portrait of Núñez is placed in the fourteenth notebook, published in 1802.The engraved portrait is made by Esquivel according to the drawing of Engidanos. Núñez is depicted sitting in nature with an open book in his hands. In the biography attached to the portrait, it is noted that "few have more reason to be included in the list of outstanding people than Fernando Núñez de Guzman. His character, his erudition and behavior are an example of the highest honor." Núñez donated his valuable collection of books in Latin and Greek to the University of Salamanca. Núñez remains interesting for researchers today. The image and selfless devotion of the erudit
斯特罗加诺夫图书馆的西班牙藏品揭示了西班牙是一个拥有丰富文化遗产的国家。这个家庭图书馆的最后一位主人是俄罗斯驻西班牙大使G.A.斯特罗加诺夫(G.A. Stroganov)，他对西班牙学科的兴趣反映在藏书中。其中最有价值的出版物之一是一系列杰出西班牙人的雕刻肖像，出版于1791年至1819年。作为启蒙时代的文化特定时间项目，该系列揭示了西班牙社会的价值优先事项，使我们能够理解其长期历史时期的社会文化指导方针。西班牙人选出的杰出代表中有相当一部分是大学人士。这不仅说明了启蒙时代的影响，也说明了西班牙丰富的大学传统历史。我们的研究对象是西班牙人文主义者H. Núñez de Guzman(1475-1553)。年轻时，他师从内布里亚。在博洛尼亚的圣克莱门特学院，他开始研究古典希腊文化。回到西班牙后，他在格拉纳达学习希伯来语和阿拉伯语。西斯内罗斯邀请他到阿尔卡拉大学参与一个制作多语言圣经的项目。在这所后来成为西班牙人文主义重要中心的大学里，他教授修辞学和希腊语。1524年，他在萨拉曼卡大学(University of Salamanca)担任希腊语教授，同时还教授拉丁语、修辞学，并讲授普林尼(Pliny)的“自然史”。在萨拉曼卡，Núñez发表了对塞内卡(1529)，梅拉(1543)和普林尼(1544)的作品的评论;他用卡斯蒂利亚语编写了一本谚语集，并于1555年出版。他精通拉丁语和希腊语，Núñez被认为是西班牙希腊学派的元老。他们是一群人文主义者，在西班牙的土地上，他们的世界观结合了中世纪的特点和文艺复兴的思想。Núñez在希腊语作为西班牙大学的一门学科的发展中发挥了重要作用。希腊语的知识滋养和发展了人文教育和教育，在Núñez的生活和活动中在西班牙传播开来。在西班牙杰出人物肖像系列中，Núñez的肖像被放在1802年出版的第十四本笔记本中。这幅雕刻肖像是Esquivel根据Engidanos的图纸制作的。Núñez被描绘成坐在大自然中，手里拿着一本打开的书。在这幅肖像所附的传记中，有人指出，“很少有人比费尔南多Núñez德古兹曼更有理由被列入杰出人物的名单。”他的品格、学识和行为都是最高荣誉的典范。”Núñez将他珍贵的拉丁文和希腊文藏书捐赠给萨拉曼卡大学。Núñez对今天的研究人员来说仍然很有趣。博学的形象和无私的奉献继续唤起深深的敬意，留下的遗产-感激。
{"title":"THE FACES OF UNIVERSITY SPAIN IN THE STROGANOV LIBRARY: SPANISH HUMANIST HERNANDO NÚÑEZ DE GUZMÁN","authors":"O. Zheravina","doi":"10.17223/22220836/43/20","DOIUrl":"https://doi.org/10.17223/22220836/43/20","url":null,"abstract":"The Spanish collection of the Stroganov Library reveals Spain as a country with a rich cultural heritage. The last owner of the family library, G.A. Stroganov, was the Russian ambassador to Spain, and his interest in Spanish subjects was reflected in the book collection. One of the most valuable publications is a series of engraved portraits of outstanding Spaniards, published from 1791 to 1819. As a cultural time-specific project of the Enlightenment era, this series reveals the value priorities of Spanish society, which allows us to understand its socio-cultural guidelines over a long historical period. An impressive share of the persons selected by the Spaniards among their outstanding representatives belongs to university figures. This speaks not only about the influence of the Age of Enlightenment, but also about the rich history of university tradition in Spain. The subject of our study is the figure of the Spanish humanist H. Núñez de Guzman (1475-1553). In his youth, he studied with Nebrija. In the College of St. Clement in Bologna he started studying the culture of classical Greece. After returning to Spain, he studied Hebrew and Arabic in Granada. He was invited by Cisneros to the University of Alcala to work on a project to create a multilingual Bible. At this university, which became an important center of Spanish humanism, he taught rhetoric and Greek. In 1524, he received a chair of Greek at the University of Salamanca, where he also taught Latin, rhetoric, and lectured on the \"Natural History\" of Pliny. In Salamanca, Núñez published commentaries on the works of Seneca (1529), Mela (1543) and Pliny (1544); he prepared a collection of proverbs in the Castilian language, which was published in 1555. A deep connoisseur of Latin and Greek, Núñez is considered the patriarch of the Spanish Hellenists. They were a cohort of humanists who, on Spanish soil, combined in their worldview the features of the outgoing Middle Ages and the ideas of the Renaissance. Núñez played a significant role in the development of the Greek language as a subject of study in Spanish universities. The Greek language, the knowledge of which nourished and developed humanistic upbringing and education, gets its spread in Spain during the life and activity of Núñez. In the series of portraits of outstanding Spaniards, the portrait of Núñez is placed in the fourteenth notebook, published in 1802.The engraved portrait is made by Esquivel according to the drawing of Engidanos. Núñez is depicted sitting in nature with an open book in his hands. In the biography attached to the portrait, it is noted that \"few have more reason to be included in the list of outstanding people than Fernando Núñez de Guzman. His character, his erudition and behavior are an example of the highest honor.\" Núñez donated his valuable collection of books in Latin and Greek to the University of Salamanca. Núñez remains interesting for researchers today. The image and selfless devotion of the erudit","PeriodicalId":41702,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta-Kulturologiya i Iskusstvovedenie-Tomsk State University Journal of Cultural Studies and Art History","volume":"43 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83677279","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}
The analysis of publications on the sociology of education revealed the contradictions in the educational space under the influence of which the role of the library is changing: 1. Equality of rights to education and social differentiation. The contradiction between the declared equality of rights to education and socio-territorial barriers to obtaining education is reduced by libraries that provide free access to socially significant information and knowledge. 2. "Demographic pit" and the decline in education. A decrease in the number of enrollee at the beginning of the ХХI century led to lower requirements for enrollees and to a decrease in the quality of higher education. Modern GEF establish strict requirements for information support for educational programs of universities. The task of libraries in these conditions is to evolve along with the development of education. Libraries are included in the knowledge management process, developing services aimed at servicing new research practices. 3. Disproportions in the structure of education. The structure of educational programs does not fully satisfy the needs of the economy in specialists of the coincident profile. This creates the need for additional education, self-education, lifelong education. Libraries can promote lifelong education and self-education in various areas: – traditional informational support of training programs; – development of disciplinary discourses for teachers and students; – deepening personalization in service; – analysis of open resources for remote users and the creation of tools for their differentiation and use; – participation in the information culture formation; – Promoting the humanization of education; – project activities in popular areas; – informing about educational programs of the territory. 4. The formation of the cultural "capital" of the individual and the "products" of education. In addition to knowledge, abilities and skills in the course of education, the cultural capital of the individual and a special creative environment are formed. The library, associated with the knowledge of a new text, discourse, becomes an instrument of "cultural creation": it facilitates the search and creation of new meanings, forms and supports the creative environment. The formation of the intellectual potential of the territory is based on the interaction and development of scientific, educational and cultural spaces. The library, integrated with all its elements into this complex, dynamic sphere, is changing after its transformation. Library activities are enriched in new directions and expanding functionally, new tasks and intellectual practices appear. The library also retains its immanent functions, which no one else can perform in a changed environment: creating a content resource in the sociocultural and educational discourse of the territory and managing these collections, ensuring equal access to these resources for all users, their organization, presentation a
{"title":"THE LIBRARY AS A COMPONENT OF THE EDUCATIONAL AND CULTURAL POTENTIAL OF THE TERRITORY","authors":"N. Podkorytova, I. Lakizo","doi":"10.17223/22220836/43/27","DOIUrl":"https://doi.org/10.17223/22220836/43/27","url":null,"abstract":"The analysis of publications on the sociology of education revealed the contradictions in the educational space under the influence of which the role of the library is changing: 1. Equality of rights to education and social differentiation. The contradiction between the declared equality of rights to education and socio-territorial barriers to obtaining education is reduced by libraries that provide free access to socially significant information and knowledge. 2. \"Demographic pit\" and the decline in education. A decrease in the number of enrollee at the beginning of the ХХI century led to lower requirements for enrollees and to a decrease in the quality of higher education. Modern GEF establish strict requirements for information support for educational programs of universities. The task of libraries in these conditions is to evolve along with the development of education. Libraries are included in the knowledge management process, developing services aimed at servicing new research practices. 3. Disproportions in the structure of education. The structure of educational programs does not fully satisfy the needs of the economy in specialists of the coincident profile. This creates the need for additional education, self-education, lifelong education. Libraries can promote lifelong education and self-education in various areas: – traditional informational support of training programs; – development of disciplinary discourses for teachers and students; – deepening personalization in service; – analysis of open resources for remote users and the creation of tools for their differentiation and use; – participation in the information culture formation; – Promoting the humanization of education; – project activities in popular areas; – informing about educational programs of the territory. 4. The formation of the cultural \"capital\" of the individual and the \"products\" of education. In addition to knowledge, abilities and skills in the course of education, the cultural capital of the individual and a special creative environment are formed. The library, associated with the knowledge of a new text, discourse, becomes an instrument of \"cultural creation\": it facilitates the search and creation of new meanings, forms and supports the creative environment. The formation of the intellectual potential of the territory is based on the interaction and development of scientific, educational and cultural spaces. The library, integrated with all its elements into this complex, dynamic sphere, is changing after its transformation. Library activities are enriched in new directions and expanding functionally, new tasks and intellectual practices appear. The library also retains its immanent functions, which no one else can perform in a changed environment: creating a content resource in the sociocultural and educational discourse of the territory and managing these collections, ensuring equal access to these resources for all users, their organization, presentation a","PeriodicalId":41702,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta-Kulturologiya i Iskusstvovedenie-Tomsk State University Journal of Cultural Studies and Art History","volume":"31 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88296948","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}
The purpose of the article is to reveal the virtual nature of historicity, clearly represented by digital practices, in a spatial aspect. The research methodology is oriented on “hermeneutical understanding”, which is interactive in nature and corresponds to the interpretational possibilities of virtual experience. The specifics of the latter conditioned a phenomenological approach to the question of the definability of the life world of subjectivity, in which the mutually exclusive factors interact. Liberal democratic reasons express the need for recreation, but they signify the unification of individuals. Historical self-consciousness is inherent in existence, but is lost in the absolute power of “here-and-now”. Sociocultural continuum bears the combination of the incompatible (grotesque), being-nonsense, but it exists as fully tangible for all. The characteristic of the transformed form of historicity, conditioned by its own virtual moment, in the aspect of space constitutes the scientific novelty of the work and allows us coming to the conclusion: the digital paradigm of space reveals the crisis of historicity through the dynamics of its virtual moment to the status of the instance of being. Thus, in terms of experiencing space, it is clear that it becomes meaningful through the image of movement based on the current accessibility of the flow. The mental quality of the space in the performance-effects is transformed into a mature declarative, and the temporality of history in the digital space is represented by the superimposition of gradations of infinity and speculative momentality in quasi-simultaneity. The movement of retrospective analysis from the unity of the historical and the logical – through the actualization of the subject – reaches a state of conditionally indefinable relation to the past. That is, the past – from the category conditioned by real facts and the deed of history – turns into a sort of a mark, from which the outlines of the future set off, loaded with “hyperreality”. The subject is a priori hypostasizing in such performances into the affective-bodily factor, manifests itself as a “hyper-sign” of the being, which is attributed to the abolition of the fullness of itself. In the sense of categorization of the basic attitude towards its reality, which is the basis of historicity, such abolition is expressed by imitation of free will, and this is obviously a comic form. The set fair obviousness and self-sufficiency of the virtual moment of historicity shows the process of canceling the obsolete integrity scenario (the subject of cultural experience) and its replacement with a virtual feature that is “prosthetic” by the digital continuum.
{"title":"THE SPACE OF HISTORICITY IN THE DIGITAL PARADIGM OF CULTURE","authors":"E. Ryabinina, I. Kovalenko, A. N. Khoroshev","doi":"10.17223/22220836/42/11","DOIUrl":"https://doi.org/10.17223/22220836/42/11","url":null,"abstract":"The purpose of the article is to reveal the virtual nature of historicity, clearly represented by digital practices, in a spatial aspect. The research methodology is oriented on “hermeneutical understanding”, which is interactive in nature and corresponds to the interpretational possibilities of virtual experience. The specifics of the latter conditioned a phenomenological approach to the question of the definability of the life world of subjectivity, in which the mutually exclusive factors interact. Liberal democratic reasons express the need for recreation, but they signify the unification of individuals. Historical self-consciousness is inherent in existence, but is lost in the absolute power of “here-and-now”. Sociocultural continuum bears the combination of the incompatible (grotesque), being-nonsense, but it exists as fully tangible for all. The characteristic of the transformed form of historicity, conditioned by its own virtual moment, in the aspect of space constitutes the scientific novelty of the work and allows us coming to the conclusion: the digital paradigm of space reveals the crisis of historicity through the dynamics of its virtual moment to the status of the instance of being. Thus, in terms of experiencing space, it is clear that it becomes meaningful through the image of movement based on the current accessibility of the flow. The mental quality of the space in the performance-effects is transformed into a mature declarative, and the temporality of history in the digital space is represented by the superimposition of gradations of infinity and speculative momentality in quasi-simultaneity. The movement of retrospective analysis from the unity of the historical and the logical – through the actualization of the subject – reaches a state of conditionally indefinable relation to the past. That is, the past – from the category conditioned by real facts and the deed of history – turns into a sort of a mark, from which the outlines of the future set off, loaded with “hyperreality”. The subject is a priori hypostasizing in such performances into the affective-bodily factor, manifests itself as a “hyper-sign” of the being, which is attributed to the abolition of the fullness of itself. In the sense of categorization of the basic attitude towards its reality, which is the basis of historicity, such abolition is expressed by imitation of free will, and this is obviously a comic form. The set fair obviousness and self-sufficiency of the virtual moment of historicity shows the process of canceling the obsolete integrity scenario (the subject of cultural experience) and its replacement with a virtual feature that is “prosthetic” by the digital continuum.","PeriodicalId":41702,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta-Kulturologiya i Iskusstvovedenie-Tomsk State University Journal of Cultural Studies and Art History","volume":"103 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90585501","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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