The article is devoted to “pseudomorphosis” as a form of intercultural interaction, expressed in the penetration of the phenomena of one culture into the space of another, followed by the replacement of its content and filling out the form. Introduced by O. Spengler, this term and its semantic component, by analogy with “pseudomorphosis” in mineralogy, were justified by the scientist on two historical-cultural examples. The text attempts to develop the provisions of Spengler in relation to the understanding of the nature of pseudomorphosis in culture. The definition of pseudomorphosis given by the German scientist is analyzed and refined, its translation into Russian is corrected. In a broad sense, pseudomorphosis is defined as the process and result of the penetration of the phenomena of some cultures into others, followed by filling the space of host cultures with foreign content and reducing their uniqueness and originality, until their complete loss. Besides that, this process includes the distortion of the phenomena of penetrating cultures, which, being in a different environment, are refracted so that they cease to correspond to the nature of the culture that gave rise to them. The question of heuristic significance of analogies with natural processes used in research of historical and cultural reality is considered. This aspect is supported by such examples as the organicism of Gerder, Goethe and N.Y. Danilevsky; cyclic views of many researchers, which are justified at the level of cycles underlying natural processes; “diffusionism” in the study of intercultural interactions; evolutionism in historical and cultural studies; synergetic interpretations of culture and its dynamics. Starting from the analogies of Spengler, fixed by him at the level of the natural science, the various forms and scales of pseudomorphosis in culture are identified: “monocultural” and “multicultural”; “full” and “partial”; pseudomorphs of “vesting”, “substitution” or “displacement”; “negative” and “aggregative”. Historical-cultural examples of this phenomenon are given at the level of the spread of Greek, Roman, European and globalization influence on other cultures. In addition, examples of distortion of cultural phenomena that exist in a different environment, themselves refracted so that no longer correspond to the nature of the culture that gave rise to them, are touched upon. In this case, the example is the refraction of the Egyptian, Chinese, and, in general, Eastern cultures in the Western European cultural space. Besides, there are other examples. The problem of the relationship of monologue, pseudomorphosis and dialogue in intercultural interactions is posed.
{"title":"Pseudomorphosis as a form of intercultural interaction: based on “The decline of the West” by O. Spengler","authors":"I. Leonov","doi":"10.17223/22220836/47/6","DOIUrl":"https://doi.org/10.17223/22220836/47/6","url":null,"abstract":"The article is devoted to “pseudomorphosis” as a form of intercultural interaction, expressed in the penetration of the phenomena of one culture into the space of another, followed by the replacement of its content and filling out the form. Introduced by O. Spengler, this term and its semantic component, by analogy with “pseudomorphosis” in mineralogy, were justified by the scientist on two historical-cultural examples. The text attempts to develop the provisions of Spengler in relation to the understanding of the nature of pseudomorphosis in culture. The definition of pseudomorphosis given by the German scientist is analyzed and refined, its translation into Russian is corrected. In a broad sense, pseudomorphosis is defined as the process and result of the penetration of the phenomena of some cultures into others, followed by filling the space of host cultures with foreign content and reducing their uniqueness and originality, until their complete loss. Besides that, this process includes the distortion of the phenomena of penetrating cultures, which, being in a different environment, are refracted so that they cease to correspond to the nature of the culture that gave rise to them. The question of heuristic significance of analogies with natural processes used in research of historical and cultural reality is considered. This aspect is supported by such examples as the organicism of Gerder, Goethe and N.Y. Danilevsky; cyclic views of many researchers, which are justified at the level of cycles underlying natural processes; “diffusionism” in the study of intercultural interactions; evolutionism in historical and cultural studies; synergetic interpretations of culture and its dynamics. Starting from the analogies of Spengler, fixed by him at the level of the natural science, the various forms and scales of pseudomorphosis in culture are identified: “monocultural” and “multicultural”; “full” and “partial”; pseudomorphs of “vesting”, “substitution” or “displacement”; “negative” and “aggregative”. Historical-cultural examples of this phenomenon are given at the level of the spread of Greek, Roman, European and globalization influence on other cultures. In addition, examples of distortion of cultural phenomena that exist in a different environment, themselves refracted so that no longer correspond to the nature of the culture that gave rise to them, are touched upon. In this case, the example is the refraction of the Egyptian, Chinese, and, in general, Eastern cultures in the Western European cultural space. Besides, there are other examples. The problem of the relationship of monologue, pseudomorphosis and dialogue in intercultural interactions is posed.","PeriodicalId":41702,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta-Kulturologiya i Iskusstvovedenie-Tomsk State University Journal of Cultural Studies and Art History","volume":"15 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75099158","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}
This article examines the influence of various socio-economic and cultural realities on the practice of environmental design through the prism of the “context” concept. In other words, the work is aimed to study the process of forming the “practical context” of environmental design. The paper studies the place of environmental design as an academic discipline in the bachelor system of leading universities in various countries of the world. The author comes to the conclusion that only in Russia and China this major is referred to the field of art and is considered as an “artistic” discipline, which is due to the close methodological interconnection. Attention is paid on the question of components that make up the “practical context” of environmental design. The paper dwells on the classification of “context” idea. The author considers the possibilities of using linguistic concepts “linguistic context”, “socio-communicative context” and “cognitive context” in environmental design. “Linguistic context” includes aims, methods and content of environmental design and forms its internal factor. The “socio-communicative context” as an external factor can be divided into two types: a “situational context” (functions of main phenomena in concrete time), and “cultural context”, which is reflected in cultural needs of society. The “cognitive context” of environmental design is responsible for the designer's understanding of the processes occurring in the surrounding space. It is indicated that the Internet as part of the “situational context”, is one of the most important phenomena of the modern era, a key channel for transmitting information, and has the following properties: “accessibility”, “interactivity”, “openness”, “universality”. On the issue of “cultural context”, it is noted that environmental design pays special attention to the “spiritual” component of human culture and at the same time can not be considered in isolation from the cultural needs of society, which in the modern world can be characterized by the concepts of “complexity”, “diversity”, “practical nature” and “territoriality”. Within the “cognitive context” of environmental design, it is introduced the category of “aesthetic trends in design”, which symbolizes designer's perception of aesthetic issues. By establishing a balance between internal and external factors, the environment designer sets a “cognitive context” based on the relationship between “characteristics of cultural consumption”, “aesthetic trends in design” and “functionality of phenomena of time periods”. All the described types of context constitute the “practical context” of environmental design. The text and graphic materials of this work can be useful in the research, systematization, and creation of practical projects of environment design, as well as in teaching.
{"title":"Theoretical study of the environmental design context","authors":"Xiaogeng Chang","doi":"10.17223/22220836/45/9","DOIUrl":"https://doi.org/10.17223/22220836/45/9","url":null,"abstract":"This article examines the influence of various socio-economic and cultural realities on the practice of environmental design through the prism of the “context” concept. In other words, the work is aimed to study the process of forming the “practical context” of environmental design. The paper studies the place of environmental design as an academic discipline in the bachelor system of leading universities in various countries of the world. The author comes to the conclusion that only in Russia and China this major is referred to the field of art and is considered as an “artistic” discipline, which is due to the close methodological interconnection. Attention is paid on the question of components that make up the “practical context” of environmental design. The paper dwells on the classification of “context” idea. The author considers the possibilities of using linguistic concepts “linguistic context”, “socio-communicative context” and “cognitive context” in environmental design. “Linguistic context” includes aims, methods and content of environmental design and forms its internal factor. The “socio-communicative context” as an external factor can be divided into two types: a “situational context” (functions of main phenomena in concrete time), and “cultural context”, which is reflected in cultural needs of society. The “cognitive context” of environmental design is responsible for the designer's understanding of the processes occurring in the surrounding space. It is indicated that the Internet as part of the “situational context”, is one of the most important phenomena of the modern era, a key channel for transmitting information, and has the following properties: “accessibility”, “interactivity”, “openness”, “universality”. On the issue of “cultural context”, it is noted that environmental design pays special attention to the “spiritual” component of human culture and at the same time can not be considered in isolation from the cultural needs of society, which in the modern world can be characterized by the concepts of “complexity”, “diversity”, “practical nature” and “territoriality”. Within the “cognitive context” of environmental design, it is introduced the category of “aesthetic trends in design”, which symbolizes designer's perception of aesthetic issues. By establishing a balance between internal and external factors, the environment designer sets a “cognitive context” based on the relationship between “characteristics of cultural consumption”, “aesthetic trends in design” and “functionality of phenomena of time periods”. All the described types of context constitute the “practical context” of environmental design. The text and graphic materials of this work can be useful in the research, systematization, and creation of practical projects of environment design, as well as in teaching.","PeriodicalId":41702,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta-Kulturologiya i Iskusstvovedenie-Tomsk State University Journal of Cultural Studies and Art History","volume":"17 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74255599","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 considers methodological approaches to the interpretation of the dance subject on the example of the famous French artist E. Degas (1834-1917) in the context of understanding the school of the Paris Opera Ballet, which is the center of French cultural life and brings new forms of dialogue in the morphological sphere of interaction of related arts. The unflagging interest of researchers to the problems of the works of E. Degas throughout the history of his study, both at the level of a single country, and in the context of world artistic culture determines the undoubted relevance of our narrow topic. The works of Edouard Degas are devoted to the study of the artworks of Russian, but mainly the foreign art critics, however, they do not consider in an in-depth section of ballet themes, paying it not enough attention, despite the fact that it is the first significant experience and even a kind of experiment in the world of fine arts. The aim of the article is to trace the creative activity and special interest of E. Degas in the subject of dance. To reveal and analyze the artist's creative method on exemplary works. To prove the importance of his graphic and pictorial works in the popularization of ballet as art. To work out, clarify and supplement the methodological aspects of approaches to the interpretation of the ballet theme and trends of its development in the creative process by analyzing the specific works of E. Degas which are in museum and private collections. The complex analysis from the viewpoint of art history and theater studies enables us to reveal the genre fusion reflected in the stylistics of the romantic ballet epoch, refracted in the everyday life of dancers at rehearsals and in dance classes, as portrayed by the artist. The author refers to various works of E. Degas, which convey the peculiarities of his impressionistic creative method, accurately capturing the specifics of the French school of classical ballet. The author analyzes his method, which in many respects differs from other impressionist masters, who depicted landscape views and life of Paris and its suburbs in open spaces. It is a fragmentary and at the same time large, unrehearsed, casually seen world of dance in its most varied manifestations, enclosed within the walls of the theater. The paper shows that the searching creative thinking peculiar to Edgar Degas introduces new ways of observing and depicting in the sketches and finished works different and simultaneously canonical poses and movements of the dancers in solitary figures and ensemble groups conditioned by the specificity of classical choreography. In spite of one common theme, the artist resolves different creative compositional and coloristic tasks in depicting the backstage theatrical life. On the basis of the interdisciplinary nature of the subject the author engages with a wide range of issues, covering not only methodological, but also substantive aspects (names of the depicted, composi
{"title":"Peculiarities of E. Dega's creative method in the interpretation of the theme “Paris opera ballet”","authors":"Tatyana Portnova","doi":"10.17223/22220836/45/15","DOIUrl":"https://doi.org/10.17223/22220836/45/15","url":null,"abstract":"The article considers methodological approaches to the interpretation of the dance subject on the example of the famous French artist E. Degas (1834-1917) in the context of understanding the school of the Paris Opera Ballet, which is the center of French cultural life and brings new forms of dialogue in the morphological sphere of interaction of related arts. The unflagging interest of researchers to the problems of the works of E. Degas throughout the history of his study, both at the level of a single country, and in the context of world artistic culture determines the undoubted relevance of our narrow topic. The works of Edouard Degas are devoted to the study of the artworks of Russian, but mainly the foreign art critics, however, they do not consider in an in-depth section of ballet themes, paying it not enough attention, despite the fact that it is the first significant experience and even a kind of experiment in the world of fine arts. The aim of the article is to trace the creative activity and special interest of E. Degas in the subject of dance. To reveal and analyze the artist's creative method on exemplary works. To prove the importance of his graphic and pictorial works in the popularization of ballet as art. To work out, clarify and supplement the methodological aspects of approaches to the interpretation of the ballet theme and trends of its development in the creative process by analyzing the specific works of E. Degas which are in museum and private collections. The complex analysis from the viewpoint of art history and theater studies enables us to reveal the genre fusion reflected in the stylistics of the romantic ballet epoch, refracted in the everyday life of dancers at rehearsals and in dance classes, as portrayed by the artist. The author refers to various works of E. Degas, which convey the peculiarities of his impressionistic creative method, accurately capturing the specifics of the French school of classical ballet. The author analyzes his method, which in many respects differs from other impressionist masters, who depicted landscape views and life of Paris and its suburbs in open spaces. It is a fragmentary and at the same time large, unrehearsed, casually seen world of dance in its most varied manifestations, enclosed within the walls of the theater. The paper shows that the searching creative thinking peculiar to Edgar Degas introduces new ways of observing and depicting in the sketches and finished works different and simultaneously canonical poses and movements of the dancers in solitary figures and ensemble groups conditioned by the specificity of classical choreography. In spite of one common theme, the artist resolves different creative compositional and coloristic tasks in depicting the backstage theatrical life. On the basis of the interdisciplinary nature of the subject the author engages with a wide range of issues, covering not only methodological, but also substantive aspects (names of the depicted, composi","PeriodicalId":41702,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta-Kulturologiya i Iskusstvovedenie-Tomsk State University Journal of Cultural Studies and Art History","volume":"568 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86799570","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 term “cardiognosis” is a neologism at the turn of the XX-XXI centuries. F.M. Dostoevsky used in the “Diary of a Writer” and in the Great Pentateuch its Russian counterpart - “heart knowledge”. The chronologically explainable absence in the heritage of the classic of the lexeme under study, based on the addition of Latin roots, does not at all contradict the fact that F.M. Dostoevsky made an invaluable contribution to the intellectual tradition of studying cardiognosis that has developed in Russia. The creator of the “Diary of a Writer” invariably correlated this category with folk Orthodoxy. He saw the “heart knowledge of Christ” as the most effective and infallible way of attaining God. Dostoevsky developed such a perception as a result of his deep immersion in the context of the Bible and patristic literature. The writer was convinced that the cardiognostically conditioned faith of the Russian people is a guarantee of their special - world-unifying - destiny in the future. Nevertheless, he did not idealize popular types, noting their susceptibility to temporary obsession. However, this feature, according to F.M. Dostoevsky, does not exclude the openness of the heroic path to every Russian Vlas. In the “Diary of a Writer”, the occasional semantic content of the category “heroism” (“bo-gatirstvo”) is especially expressively explicated. It is understood not as an indication of a military ethos, but as a service to God in a broad sense. The basis and inspiration of heroism (bogatirstvo), according to F.M. Dostoevsky, is precisely cardiognosis. The writer is sure: a heart that “contains God” can transform into a “better person” even one who has sinned, but who repented in time. On the pages of the “Diary of a Writer” F.M. Dostoevsky not only defines the “best people” of the past of Russia (“Tikhon, Monomakh, Ilya...”), but also admires their followers from the 19th century. He considers those contemporaries who are ready to sacrifice themselves for the protection of brothers in Christ (General Chernyaev, Sophia Lurie, Foma Danilovich Lotaryov) as the incarnators of spiritual heroism (bogatirstvo). Dostoevsky's causal comprehension of the categories “cardiognosis” and “heroism” (“bo-gatirstvo”) showed a significant trait of the Russian national character, demonstrated the writer's faith in the saving mission of the God-bearing people.
“心脏病诊断”一词是20 - 21世纪之交的一个新词。陀思妥耶夫斯基(F.M. Dostoevsky)在《作家日记》(Diary of a Writer)和《大摩西五经》(Great Pentateuch)中使用了与之对应的俄语词汇——“心灵知识”。所研究的词汇经典的遗产中，基于拉丁词根的添加，按时间顺序可以解释的缺失，与F.M.陀思妥耶夫斯基对在俄罗斯发展起来的研究心脏病诊断的知识传统做出了宝贵贡献这一事实一点也不矛盾。“作家日记”的创造者总是将这一类别与民间正统联系起来。他认为“心中认识基督”是达到神的最有效、最可靠的方法。陀思妥耶夫斯基在《圣经》和教父文学的背景下深深沉浸，从而形成了这样的看法。作者深信，俄罗斯人民的心脏科信仰是他们未来特殊的世界统一命运的保证。尽管如此，他并没有把流行的类型理想化，他注意到他们容易受到暂时的迷恋。然而，根据陀思妥耶夫斯基的说法，这一特征并不排除英雄道路对每个俄罗斯人的开放性。在《作家日记》中，“英雄主义”(“bo-gatirstvo”)这一范畴的偶然语义内容得到了特别富有表现力的阐述。它不被理解为一种军事精神的标志，而是广义上对上帝的服务。陀思妥耶夫斯基(F.M. Dostoevsky)认为，英雄主义(bogatirstvo)的基础和灵感正是心脏病诊断。作者确信:一颗“包含上帝”的心，即使是一个犯了罪但及时悔改的人，也能变成一个“更好的人”。在《一个作家的日记》中，陀思妥耶夫斯基不仅定义了俄罗斯过去“最优秀的人物”(“吉鸿、莫诺马赫、伊利亚……”)，而且还赞美了他们从19世纪以来的追随者。他认为那些为了保护基督里的兄弟而准备牺牲自己的同时代人(切尔尼亚耶夫将军、索菲亚·卢里、福马·达尼洛维奇·洛塔廖夫)是精神英雄主义的化身。陀思妥耶夫斯基对“心脏病”和“英雄主义”这两个范畴的因果理解，体现了俄国民族性格的显著特征，体现了作家对承载上帝的人民的拯救使命的信仰。
{"title":"Orthodox cardiognosis of the russian people as the basis of heroism (bogatirstvo) (based on the “Diary of a writer” by F.M. Dostoevsky)","authors":"S. Kapustina","doi":"10.17223/22220836/46/4","DOIUrl":"https://doi.org/10.17223/22220836/46/4","url":null,"abstract":"The term “cardiognosis” is a neologism at the turn of the XX-XXI centuries. F.M. Dostoevsky used in the “Diary of a Writer” and in the Great Pentateuch its Russian counterpart - “heart knowledge”. The chronologically explainable absence in the heritage of the classic of the lexeme under study, based on the addition of Latin roots, does not at all contradict the fact that F.M. Dostoevsky made an invaluable contribution to the intellectual tradition of studying cardiognosis that has developed in Russia. The creator of the “Diary of a Writer” invariably correlated this category with folk Orthodoxy. He saw the “heart knowledge of Christ” as the most effective and infallible way of attaining God. Dostoevsky developed such a perception as a result of his deep immersion in the context of the Bible and patristic literature. The writer was convinced that the cardiognostically conditioned faith of the Russian people is a guarantee of their special - world-unifying - destiny in the future. Nevertheless, he did not idealize popular types, noting their susceptibility to temporary obsession. However, this feature, according to F.M. Dostoevsky, does not exclude the openness of the heroic path to every Russian Vlas. In the “Diary of a Writer”, the occasional semantic content of the category “heroism” (“bo-gatirstvo”) is especially expressively explicated. It is understood not as an indication of a military ethos, but as a service to God in a broad sense. The basis and inspiration of heroism (bogatirstvo), according to F.M. Dostoevsky, is precisely cardiognosis. The writer is sure: a heart that “contains God” can transform into a “better person” even one who has sinned, but who repented in time. On the pages of the “Diary of a Writer” F.M. Dostoevsky not only defines the “best people” of the past of Russia (“Tikhon, Monomakh, Ilya...”), but also admires their followers from the 19th century. He considers those contemporaries who are ready to sacrifice themselves for the protection of brothers in Christ (General Chernyaev, Sophia Lurie, Foma Danilovich Lotaryov) as the incarnators of spiritual heroism (bogatirstvo). Dostoevsky's causal comprehension of the categories “cardiognosis” and “heroism” (“bo-gatirstvo”) showed a significant trait of the Russian national character, demonstrated the writer's faith in the saving mission of the God-bearing people.","PeriodicalId":41702,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta-Kulturologiya i Iskusstvovedenie-Tomsk State University Journal of Cultural Studies and Art History","volume":"37 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87398710","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 history of the development of the stock work of museums in the Omsk region can be divided into two periods. The first one - until the end of the 1960s - was the time of the accumulation of objects and the formation of museum collections. The second is from the 1970s, when the processes of museum acquisition, storage, and accounting underwent qualitative changes, and the scientific study of collections began. Of particular interest is the study of those decades during which there were positive changes in the accounting and stock work of museums in the Omsk region. The sources for writing the article were the materials of the State Historical Archive of the Omsk region: reference and information materials provided by museums to higher authorities, text annual reports of museums. The development of scientific and stock work in the museums of the Omsk region is reflected in scientific publications devoted mainly to the modern “post-Soviet” period in its history, or is considered within the framework of broader topics. At the same time, the object of consideration was the private aspects of the scientific and stock work of a separate museum. The authors of the article set a goal: to present a holistic picture of the development of scientific and stock work in the framework of the transition stage in the museums of the Omsk region. The study was methodologically based on a systematic approach and viewed from a local perspective. The main issues of scientific and stock activity in the museums of the Omsk region in the 1960s-1980s are analyzed. During this period, there was a gradual transition to the scientific organization of funds. Purposeful work was carried out in the direction of improving the skills of accounting and stock work among the staff of museums, including rural ones. Museums have developed more advanced systems of accounting and storage of funds. Museum staff have developed and implemented their own methods of systematization and scientific description of objects and collections. When completing museum collections in the 1960s - late 1980s, the advantage was given to the collection of museum items on the history of the Soviet period. The museum collections have been significantly replenished. The area allocated for the storage of funds has increased. When completing museum collections in the 1960s - late 1980s, the advantage was given to the collection of museum items on the history of the Soviet period. The museum collections have been significantly replenished. The area allocated for the storage of funds has increased. In general, in the 1960s and 1980s there were favorable changes in the accounting and stock work of museums in the Omsk region. There is a gradual transition to the scientific organization of funds. This was facilitated by cooperation with other scientific institutions, professional development of museum staff. Methodical management of museum work in rural museums has led to the qualitative growth of this direction i
{"title":"Development of scientific and fund work in museums of the Omsk region in the 1960s - 1980s","authors":"Olga A. Landik, Galina M. Patrusheva","doi":"10.17223/22220836/45/18","DOIUrl":"https://doi.org/10.17223/22220836/45/18","url":null,"abstract":"The history of the development of the stock work of museums in the Omsk region can be divided into two periods. The first one - until the end of the 1960s - was the time of the accumulation of objects and the formation of museum collections. The second is from the 1970s, when the processes of museum acquisition, storage, and accounting underwent qualitative changes, and the scientific study of collections began. Of particular interest is the study of those decades during which there were positive changes in the accounting and stock work of museums in the Omsk region. The sources for writing the article were the materials of the State Historical Archive of the Omsk region: reference and information materials provided by museums to higher authorities, text annual reports of museums. The development of scientific and stock work in the museums of the Omsk region is reflected in scientific publications devoted mainly to the modern “post-Soviet” period in its history, or is considered within the framework of broader topics. At the same time, the object of consideration was the private aspects of the scientific and stock work of a separate museum. The authors of the article set a goal: to present a holistic picture of the development of scientific and stock work in the framework of the transition stage in the museums of the Omsk region. The study was methodologically based on a systematic approach and viewed from a local perspective. The main issues of scientific and stock activity in the museums of the Omsk region in the 1960s-1980s are analyzed. During this period, there was a gradual transition to the scientific organization of funds. Purposeful work was carried out in the direction of improving the skills of accounting and stock work among the staff of museums, including rural ones. Museums have developed more advanced systems of accounting and storage of funds. Museum staff have developed and implemented their own methods of systematization and scientific description of objects and collections. When completing museum collections in the 1960s - late 1980s, the advantage was given to the collection of museum items on the history of the Soviet period. The museum collections have been significantly replenished. The area allocated for the storage of funds has increased. When completing museum collections in the 1960s - late 1980s, the advantage was given to the collection of museum items on the history of the Soviet period. The museum collections have been significantly replenished. The area allocated for the storage of funds has increased. In general, in the 1960s and 1980s there were favorable changes in the accounting and stock work of museums in the Omsk region. There is a gradual transition to the scientific organization of funds. This was facilitated by cooperation with other scientific institutions, professional development of museum staff. Methodical management of museum work in rural museums has led to the qualitative growth of this direction i","PeriodicalId":41702,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta-Kulturologiya i Iskusstvovedenie-Tomsk State University Journal of Cultural Studies and Art History","volume":"178 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75674557","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}
Sargylana V. Nikiforova, Ija V. Pokatilova, Nadezhda R. Kharlampieva
The idea of the creation reflects essential characteristics of cultural autoreflexion, but it is not subjected to a lingvoculturological analysis. Attitude to the creation is represented in the linguistic world image of modern and traditional society. In the context of cultural forms' “massification” and loss of ethnocultural identity rises the role of increased interest in activities that structures the formation of self-identity of modern ethnophore. The study is based on a culturological approach that allows studying the correlation of cognitive and linguistic structures in the context of traditional sakha culture. Analysis of the lexical-semantic field of the CREATION concept, partly THINKING, CREATION methods were used in the study. Also the method of a conceptual modeling, component and interpretive discourse were applied. The model of cultural and linguistic concept of the CREATIVITY was suggested. And the study determines the content minimum and main ways of expression in culture. It defines the structure, combinatorics of the proposed concept and associative connections of the CREATIVITY in culture. There were established general and specific valuable characteristics of the concept in traditional culture. We have suggested an experience of recombination of translation forms and reconstruction of the intellectual space of culture directed at increase of historical-cultural and religious allusions' importance in the production of cultural texts. Keywords: national world image, mythological cognition, intellection, cognitive structure, creation
{"title":"The CREATION concept: traditional Sakha culture experience","authors":"Sargylana V. Nikiforova, Ija V. Pokatilova, Nadezhda R. Kharlampieva","doi":"10.17223/22220836/45/8","DOIUrl":"https://doi.org/10.17223/22220836/45/8","url":null,"abstract":"The idea of the creation reflects essential characteristics of cultural autoreflexion, but it is not subjected to a lingvoculturological analysis. Attitude to the creation is represented in the linguistic world image of modern and traditional society. In the context of cultural forms' “massification” and loss of ethnocultural identity rises the role of increased interest in activities that structures the formation of self-identity of modern ethnophore. The study is based on a culturological approach that allows studying the correlation of cognitive and linguistic structures in the context of traditional sakha culture. Analysis of the lexical-semantic field of the CREATION concept, partly THINKING, CREATION methods were used in the study. Also the method of a conceptual modeling, component and interpretive discourse were applied. The model of cultural and linguistic concept of the CREATIVITY was suggested. And the study determines the content minimum and main ways of expression in culture. It defines the structure, combinatorics of the proposed concept and associative connections of the CREATIVITY in culture. There were established general and specific valuable characteristics of the concept in traditional culture. We have suggested an experience of recombination of translation forms and reconstruction of the intellectual space of culture directed at increase of historical-cultural and religious allusions' importance in the production of cultural texts. Keywords: national world image, mythological cognition, intellection, cognitive structure, creation","PeriodicalId":41702,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta-Kulturologiya i Iskusstvovedenie-Tomsk State University Journal of Cultural Studies and Art History","volume":"2001 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78269626","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 interest of psychoanalysis to Dostoevsky's work is due to the consonance of theoretical and literary discourses in the interpretation of unconscious motives that determine human behavior. The most vivid embodiment of Freud's ideas, which influenced modern philosophy, we find in Jacques Lacan, whose concepts of the subject absorbed in language and pleasure allow us to explicate the construction of femme fatale, which can describe a number of female characters of Dostoevsky. In fact, we can talk about Freud's discovery of a hysterical subject, which will later be described by Lacan no longer as a mental pathology, but as one of the structures of the psyche, along with psychotic and perverse. Removing the veneer of simplifying biologism from Freud's ideas, Lacan gives them a new sound in the light of structural linguistics, which fits them into the mainstream of the linguistic turn of philosophy. The interpretation of a number of female images of Dostoevsky carried out in this article through the prism of the Lacanian categorical apparatus allows, on the one hand, to explicate one of the constructs of his novels, and on the other - to draw parallels between the writer's intuitive insights and theoretical findings of the second half of the XX century. The phenomenon of femme fatale is considered on the material of two female characters of Dostoevsky (NastasiaFilippovna and Grushenka), whose obvious hysterical and narcissistic character traits most fully correspond to the image of femme fatale. In addition, the authors argue that femme fatale is primarily a phenomenon of language, that is, the more people talk about it, the more fatal it becomes in the eyes of others. Femme fatale realizes the enjoyment of speech and the capture of the subject by language. The authors consider the aspect of enjoying speech to be an obligatory structural component of this construction. Femme fatale is one of the faces of a Beautiful lady, who, as Lacan writes, is inaccessible to male desire, so the only pleasures that he can afford are fantasy and the enjoyment of speech. However, when he speaking about a woman, a man puts his subjectivity on the line, since the pleasure of the fullness or the pleasure of Another is outside the field of the imaginary and symbolic, and only in them can the subject exist. The desired meeting according to Lacan ends with madness or death, which Dostoevsky demonstrates to us with virtuosity in the scene after the murder of NastasiaFilippovna by Rogozhin. In his heroines, Dostoevsky, with the flair of a psychoanalyst, fixes the mechanism that triggers the utterance of a symptom and the enjoyment of speechwhich provoke the desire to possess and at the same time do not allow its realization, forcing the male heroes to circle around the object of desire in endless repetition and involving more and more victims in this circle. Signifiers cling to signifiers, finding the axis of rotation in the symbolic phallus - the femme fatale.
{"title":"The image of femme fatale in Dostoevsky's work through the prism of the structural psychoanalysis of Jacques Lacan","authors":"Xenia A. Semenyuk, A. Semenyuk","doi":"10.17223/22220836/46/11","DOIUrl":"https://doi.org/10.17223/22220836/46/11","url":null,"abstract":"The interest of psychoanalysis to Dostoevsky's work is due to the consonance of theoretical and literary discourses in the interpretation of unconscious motives that determine human behavior. The most vivid embodiment of Freud's ideas, which influenced modern philosophy, we find in Jacques Lacan, whose concepts of the subject absorbed in language and pleasure allow us to explicate the construction of femme fatale, which can describe a number of female characters of Dostoevsky. In fact, we can talk about Freud's discovery of a hysterical subject, which will later be described by Lacan no longer as a mental pathology, but as one of the structures of the psyche, along with psychotic and perverse. Removing the veneer of simplifying biologism from Freud's ideas, Lacan gives them a new sound in the light of structural linguistics, which fits them into the mainstream of the linguistic turn of philosophy. The interpretation of a number of female images of Dostoevsky carried out in this article through the prism of the Lacanian categorical apparatus allows, on the one hand, to explicate one of the constructs of his novels, and on the other - to draw parallels between the writer's intuitive insights and theoretical findings of the second half of the XX century. The phenomenon of femme fatale is considered on the material of two female characters of Dostoevsky (NastasiaFilippovna and Grushenka), whose obvious hysterical and narcissistic character traits most fully correspond to the image of femme fatale. In addition, the authors argue that femme fatale is primarily a phenomenon of language, that is, the more people talk about it, the more fatal it becomes in the eyes of others. Femme fatale realizes the enjoyment of speech and the capture of the subject by language. The authors consider the aspect of enjoying speech to be an obligatory structural component of this construction. Femme fatale is one of the faces of a Beautiful lady, who, as Lacan writes, is inaccessible to male desire, so the only pleasures that he can afford are fantasy and the enjoyment of speech. However, when he speaking about a woman, a man puts his subjectivity on the line, since the pleasure of the fullness or the pleasure of Another is outside the field of the imaginary and symbolic, and only in them can the subject exist. The desired meeting according to Lacan ends with madness or death, which Dostoevsky demonstrates to us with virtuosity in the scene after the murder of NastasiaFilippovna by Rogozhin. In his heroines, Dostoevsky, with the flair of a psychoanalyst, fixes the mechanism that triggers the utterance of a symptom and the enjoyment of speechwhich provoke the desire to possess and at the same time do not allow its realization, forcing the male heroes to circle around the object of desire in endless repetition and involving more and more victims in this circle. Signifiers cling to signifiers, finding the axis of rotation in the symbolic phallus - the femme fatale.","PeriodicalId":41702,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta-Kulturologiya i Iskusstvovedenie-Tomsk State University Journal of Cultural Studies and Art History","volume":"70 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74494221","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 deals with one interesting historical and philosophical fact that is still poorly investigated in the field Dostoevsky's studies: the analysis of the work on Fyodor Dostoevsky conducted by the famous Russian philosopher Aleksei Fedorovich Losev while working at the State Academy of Artistic Sciences (GAKhN). The article also provides additional information about Losev's work at GAKhN in the 1920s, based on archival evidence. Particular attention is paid to the activities of the Russian philosopher at GAKhN's Literary Section in 1927-1929 (in the group for the study of ancient literature, in the Commission for the Study of Dostoevsky's work). The author cites numerous evidences of Losev's special attention to the work of Dostoevsky, including the fact that the Russian philosopher took part in discussions with reports on topics devoted to the work of the Russian writer. The author draws attention to the fact that the main point of Losev's analysis of Dostoevsky's work was the symbolism of the writer. Dostoevsky's work attracted Losev throughout his life. This is evidenced not only by youthful memories of his passion for the work of the great novelist, but also references to the Russian writer, which are observed in his works of different periods. The author notes that Losev turned to the study of the problem of the symbol in the works of Dostoevsky already in the 1920s, but the philosopher managed to publish these studies only much later. According to Losev, symbolic images permeate the entire work of the Russian writer. Losev's prose of the 1930-1940s also did not remain devoid of ideological contaminations in the spirit of Dostoevsky: suffice it to mention here such works of the Russian philosopher as Perepiska v komnate (Correspondence in the Room), Vstrecha (The Meeting), the novel Zhenshchina-myslitel' (The Woman-thinker). The same religious pathos of Losev's philosophical discourse is also present in his prose, for example, in the themes of man's estrangement from ideal life and rejection of the religious sphere. Based on a comprehensive analysis of archival sources, primarily the minutes of GAKhN meetings stored in the RGALI archive, and their comparison, the author presents, as far as possible, a picture of the activities and interests of the Russian philosopher, which helps to better represent the range of his scientific interests and significantly expands the possibilities for further research on this period of Losev's life, and also provides new materials for the history of GAKhN.
{"title":"For a reconstruction of A.F. Losev's work on Dostoevsky at GAKHN's literary section","authors":"G. Rimondi","doi":"10.17223/22220836/46/10","DOIUrl":"https://doi.org/10.17223/22220836/46/10","url":null,"abstract":"The article deals with one interesting historical and philosophical fact that is still poorly investigated in the field Dostoevsky's studies: the analysis of the work on Fyodor Dostoevsky conducted by the famous Russian philosopher Aleksei Fedorovich Losev while working at the State Academy of Artistic Sciences (GAKhN). The article also provides additional information about Losev's work at GAKhN in the 1920s, based on archival evidence. Particular attention is paid to the activities of the Russian philosopher at GAKhN's Literary Section in 1927-1929 (in the group for the study of ancient literature, in the Commission for the Study of Dostoevsky's work). The author cites numerous evidences of Losev's special attention to the work of Dostoevsky, including the fact that the Russian philosopher took part in discussions with reports on topics devoted to the work of the Russian writer. The author draws attention to the fact that the main point of Losev's analysis of Dostoevsky's work was the symbolism of the writer. Dostoevsky's work attracted Losev throughout his life. This is evidenced not only by youthful memories of his passion for the work of the great novelist, but also references to the Russian writer, which are observed in his works of different periods. The author notes that Losev turned to the study of the problem of the symbol in the works of Dostoevsky already in the 1920s, but the philosopher managed to publish these studies only much later. According to Losev, symbolic images permeate the entire work of the Russian writer. Losev's prose of the 1930-1940s also did not remain devoid of ideological contaminations in the spirit of Dostoevsky: suffice it to mention here such works of the Russian philosopher as Perepiska v komnate (Correspondence in the Room), Vstrecha (The Meeting), the novel Zhenshchina-myslitel' (The Woman-thinker). The same religious pathos of Losev's philosophical discourse is also present in his prose, for example, in the themes of man's estrangement from ideal life and rejection of the religious sphere. Based on a comprehensive analysis of archival sources, primarily the minutes of GAKhN meetings stored in the RGALI archive, and their comparison, the author presents, as far as possible, a picture of the activities and interests of the Russian philosopher, which helps to better represent the range of his scientific interests and significantly expands the possibilities for further research on this period of Losev's life, and also provides new materials for the history of GAKhN.","PeriodicalId":41702,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta-Kulturologiya i Iskusstvovedenie-Tomsk State University Journal of Cultural Studies and Art History","volume":"89 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79459773","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}
Currently, the boundaries of scientific research of various phenomena in the framework of subject specializations are expanding. The problem of developing a methodology for the essence of the structural and semantic elements of a knowable subject becomes relevant (in our case, such a subject is a “walk” as a system of life values). Studying the content and forms of walks so far has not been in the field of scientific interests of researchers. Modern technologies and practices have allowed to comprehend concepts related to the walk in the new space and time, to consider the prerequisites for the origin of the “walk” and its stages of development. The walk is a historically conditioned, sociocultural phenomenon that generates a multidimensional system of contexts. It combines the principles of labor and leisure activities of a person in various communication practices. It is initially filled with a lot of deep existential meanings. The basis for the formation of a compositional and meaningful model of a walk is the presence of the object (walk as a phenomenon) and the subject (participants of this action); implementation of the communicative goals and objectives, actions of individual heroes; the influence of external factors (including temporal, spatial). Its development is determined by current needs, human rights and interests, and value attitude to reality. The process of learning walks is extensive and varied. It is based on ontological, epistemological, sociological, axiological knowledge. The transition in the XVIII century. walks to a new level provided extraordinary opportunities for its development. During this period, we can talk about the emergence of various forms of festivities. Peter the Great played a role in this process. He allowed not only to find solutions as a “careful” way of presenting the walk to Russian society, but also made it possible to broaden views, develop certain relations with it. The origin of the city walk at the beginning of the XVIII century is a universal process aimed at the development and implementation of many elements, which subsequently allowed, above all, to develop the leisure of that time. To this day, the walk has not lost its relevance. Today, it is still multifunctional and is characterized by professional and leisure components of modern life. The impact that the walk has on society is transformative, aimed at changing for the better in terms of human health, the transformation of attitudes. In the future, the walk as a phenomenon can be used as a tool to attract attention and study the specific values of the past and modern Russian society.
{"title":"Walks in Russia of the beginning of the XVIII century","authors":"E. Voytik","doi":"10.17223/22220836/46/3","DOIUrl":"https://doi.org/10.17223/22220836/46/3","url":null,"abstract":"Currently, the boundaries of scientific research of various phenomena in the framework of subject specializations are expanding. The problem of developing a methodology for the essence of the structural and semantic elements of a knowable subject becomes relevant (in our case, such a subject is a “walk” as a system of life values). Studying the content and forms of walks so far has not been in the field of scientific interests of researchers. Modern technologies and practices have allowed to comprehend concepts related to the walk in the new space and time, to consider the prerequisites for the origin of the “walk” and its stages of development. The walk is a historically conditioned, sociocultural phenomenon that generates a multidimensional system of contexts. It combines the principles of labor and leisure activities of a person in various communication practices. It is initially filled with a lot of deep existential meanings. The basis for the formation of a compositional and meaningful model of a walk is the presence of the object (walk as a phenomenon) and the subject (participants of this action); implementation of the communicative goals and objectives, actions of individual heroes; the influence of external factors (including temporal, spatial). Its development is determined by current needs, human rights and interests, and value attitude to reality. The process of learning walks is extensive and varied. It is based on ontological, epistemological, sociological, axiological knowledge. The transition in the XVIII century. walks to a new level provided extraordinary opportunities for its development. During this period, we can talk about the emergence of various forms of festivities. Peter the Great played a role in this process. He allowed not only to find solutions as a “careful” way of presenting the walk to Russian society, but also made it possible to broaden views, develop certain relations with it. The origin of the city walk at the beginning of the XVIII century is a universal process aimed at the development and implementation of many elements, which subsequently allowed, above all, to develop the leisure of that time. To this day, the walk has not lost its relevance. Today, it is still multifunctional and is characterized by professional and leisure components of modern life. The impact that the walk has on society is transformative, aimed at changing for the better in terms of human health, the transformation of attitudes. In the future, the walk as a phenomenon can be used as a tool to attract attention and study the specific values of the past and modern Russian society.","PeriodicalId":41702,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta-Kulturologiya i Iskusstvovedenie-Tomsk State University Journal of Cultural Studies and Art History","volume":"12 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81859387","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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