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Metaphorical expressives in Tuvan lexicography 图瓦语词典编纂中的隐喻表达
E. K. Annai
Fixation and assignment of labels to specific semantic derivation cases, namely metaphorical expressives (expressive lexical units) in Tuvan dictionaries, are considered and compared with their Russian equivalents. The Russian language influence on the semantic structure of the Tuvan lexemes is observed. Metaphorical expressives are lexemes formed by metaphorical derivation resulting in new (figurative) meanings without changing the form. The number of such units in the colloquial speech was found to increase under the Russian language influence in recent decades. New formation models non-typical for Tuvan but common in Russian have appeared. Also, the calques of Russian expressives based on models absent in Tuvan were found: bash aaryy (lit.: head pain) → “person or problem causing emotional pain or frustration to the speaker” from Russian golovnaya bol’ with the same meaning. The analysis showed Tuvan dictionaries not to reflect this phenomenon sufficiently, i.e., word figurative meanings, namely metaphorical expressives, are not represented there broadly enough. It may be because the labels marking certain words’ usage areas, particularly the label razg. (colloquial speech) is used rather liberally since the stylistic differentiation process is still ongoing in standard Tuvan. While actively used in oral colloquial speech, most expressive meanings of polysemantic words revealed in the study are not found in Tuvan dictionaries. In Russian, there are special colloquial dictionaries, as well as regional dictionaries with stylistic labels. There are no such dictionaries in Tuvan, mostly due to its vague stylistic differentiation. However, the Tuvan language is still evolving, with dictionaries updated accordingly.
在图瓦语词典中,标签固定和分配到特定的语义派生案例,即隐喻表达(表达性词汇单位),并与俄语对等物进行了比较。观察了俄语对图瓦语词素语义结构的影响。隐喻表达是指在不改变形式的情况下,通过隐喻派生而产生新的(比喻的)意义的词汇。近几十年来,在俄语的影响下,这种单位在口语中的数量有所增加。新的地层模式在图瓦族中不常见,但在俄罗斯很常见。此外,根据图瓦语中没有的模型,发现了俄语表达词的calques: bash aaryy(字面意思:头痛)→俄语golovnaya bol '中具有相同意思的“给说话者带来情感痛苦或挫折的人或问题”。分析表明,图瓦语词典没有充分反映这一现象,即词的比喻意义,即隐喻性表达,在图瓦语词典中没有得到足够广泛的体现。这可能是因为标记某些词的使用区域的标签,特别是标签razg。(口语)的使用相当自由,因为标准图瓦语的文体分化过程仍在进行中。本研究揭示的多义词在口语口语中积极使用,但在图瓦语词典中却找不到其大部分表达意义。在俄语中,有专门的口语词典,也有带有风格标签的地区词典。图瓦语没有这样的词典,主要是由于其模糊的风格区分。然而,图瓦语仍在不断发展,词典也随之更新。
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引用次数: 0
СHILDREN'S LIBRARIES: THE CASE OF TOMSK, 1960–1970 Сhildren的图书馆:托木斯克的案例,1960-1970
A. I. Ermolova
The paper discusses the activities of children's libraries in Tomsk in the 1960s and 70s. The main goal of this study is consider the history of children's libraries in the city and reveal the role of libraries in educational, cultural, political and ideological components of the everyday lives of young Tomsk residents. There are several reasons for addressing this problem. In the USSR, children were always not only in the care of the state, but also part of the political discourse about the happy childhood and the man of the future who was expected to live under communism. In this context, children's libraries were given a special status as places that successfully combined educational, cultural, political and ideological activities for children. The Tomsk Region has always been considered the intellectual center of Siberia. Therefore, it seems obvious that there has always been a special focus on the development of libraries in Tomsk. For example, the number of public libraries in the Tomsk Region increased from 135 in 1945 to 495 in 1964. This study addresses the history of children's libraries in the city. The thematic focus of their collections, and According to the regional archive, in the 1960– 70s, there were four active children's libraries in the city. The main ones were City Children's Library No. 1 located at 167 Lenin Avenue, and Marshak Children's Library No. 2 located at 17a Nikitina Street, The two other were smaller in size: Library No. 3 (81 Michurina) and City Children's Library No. 6 (9 Kolkhoznaya). The statistical reports of libraries demonstrate the increasing interest of young Tomsk residents in library activities: the number of readers, as well as number of visits grew from year to year. The libraries had quite diverse collections, which included not only books, but also periodicals. Some interesting observations can be made about the distribution of genres: socio-political publications are the second most popular genre, after fiction. Libraries were not only a place where children could receive and read books, but also hosted a variety of cultural, educational and leisure events, such as matinees, debates, exhibitions, and poetry evenings. There were Young Readers Clubs which arranged book discussions and meetings with interesting people. All this evidence suggests that children's libraries were an essential part of the city's social and cultural life. They acted as a kind of educational centers where young Tomsk residents could find answers to their questions. They were also places of leisure where children could spend their free time. Moreover, libraries inculcated some ideologically correct attitudes. Meetings, disputes, and quizzes held in libraries always addressed topics related to Lenin, communism, and activities of the Commuunist Party of the Soviet Union.
本文论述了托木斯克儿童图书馆在上世纪六七十年代的活动。本研究的主要目标是考虑城市儿童图书馆的历史,并揭示图书馆在托木斯克年轻居民日常生活中的教育、文化、政治和意识形态组成部分中的作用。解决这个问题有几个原因。在苏联,孩子们不仅受到国家的照顾,而且也是政治话语的一部分,关于快乐的童年和未来的人,他们被期望生活在共产主义之下。在这种背景下,儿童图书馆作为成功地将儿童的教育、文化、政治和思想活动结合起来的场所,被赋予了特殊的地位。托木斯克地区一直被认为是西伯利亚的知识中心。因此,很明显,托木斯克的图书馆发展一直受到特别关注。例如,托木斯克州的公共图书馆数量从1945年的135个增加到1964年的495个。本研究探讨了城市儿童图书馆的历史。他们收藏的主题重点,以及根据区域档案,在1960 - 70年代,该市有四个活跃的儿童图书馆。主要的图书馆是位于列宁大道167号的第一城市儿童图书馆和位于尼基季纳街17号的马尔沙克第二儿童图书馆,另外两个规模较小:第三图书馆(米胡里纳81号)和第六城市儿童图书馆(科尔霍兹纳亚9号)。图书馆的统计报告表明,托木斯克年轻居民对图书馆活动的兴趣日益浓厚:读者人数和访问人数逐年增加。图书馆的藏书种类繁多,不仅有书籍,还有期刊。关于体裁的分布,我们可以观察到一些有趣的现象:社会政治出版物是仅次于小说的第二大最受欢迎的体裁。图书馆不仅是孩子们接受和阅读书籍的地方,而且还举办各种文化、教育和休闲活动,如日场、辩论、展览和诗歌晚会。那里有年轻的读者俱乐部,安排与有趣的人讨论书籍和会面。所有这些证据都表明,儿童图书馆是城市社会和文化生活的重要组成部分。它们是一种教育中心,托木斯克的年轻居民可以在这里找到问题的答案。它们也是孩子们休闲的地方,孩子们可以在那里度过他们的空闲时间。此外,图书馆还灌输了一些正确的思想观念。在图书馆举行的会议、争论和测验总是涉及与列宁、共产主义和苏联共产党的活动有关的主题。
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引用次数: 0
UNIVERSITY CHARTERS AS A LEGISLATIVE BASIS FOR MUSEUM BUSINESS IN RUSSIAN UNIVERSITIES (XIX – EARLY XX CENTURIES) 大学章程作为俄罗斯大学博物馆经营的立法基础(19世纪至20世纪初)
Ivan S. Karachentsev
For the first time in the museum literature, the article traces the influence of university charters on the museum business in Russian universities in the XIX – early XX century. Using the original act documents extracted from the “Complete Collection of Laws of the Russian Empire”, the author showed that the charter of 1804 and all subsequent legislative acts provided for the formation of auxiliary educational institutions in universities – offices, assemblies, anatomical theaters. It is particularly stipulated that the charter of 1804 did not use the term “museum”, since it was not widely used in Russia at that time. In the act documents at the beginning of the XIX century, the word “cabinet” was used, which was in some sense a synonym for it and was used in the sense of storage, collection. But the work prescribed by legislative acts on the selection, description and preservation of exhibits, tools, and other objects necessary for teaching, allows us to talk about the birth of museum functions in universities. Starting in 1835, the charters introduced the term “museum”, they expanded the list of educational materials and aids. Taking into account the obvious lack of knowledge on the subject under study, the author gives the entire list of educational and auxiliary institutions listed in the statutes. These are the cabinets: physical, mineralogical, botanical, zoological, technological, and the collection of machines and models for applied mathematics, collections – architectural models, pharmacological, surgical instruments, obstetrical instruments, anatomical theater and collection of exhibits, zootomic theater, and collection of exhibits, as well as the Museum of Fine Arts and Antiquities. The statutes prescribe ways to replenish university collections, including through the unhindered discharge of benefits from abroad. In the university charters and staff schedules attached to the charters, it was mandatory to specify monetary amounts, determine their distribution for the maintenance of offices and museums, as well as the heads and general staff of these university departments. The article emphasizes that the charter of 1863 spelled out in detail the procedure for approving the position of curators of cabinets and museums, and in addition, their pension provision was separately prescribed. The charter of 1884 provides an expanded list of university museums, establishes the number of employees, and addresses issues of museum management. At the end of the article, it is quite appropriate to conclude that the university charters defined the legislative foundations of the museum business in Russian universities of the XIX-early XX century
本文首次在博物馆文献中追溯了19世纪至20世纪初俄罗斯大学章程对博物馆业务的影响。利用从“俄罗斯帝国法律全集”中提取的原始法案文件,作者表明,1804年宪章和所有随后的立法法案规定在大学中建立辅助教育机构-办公室,集会,解剖剧院。特别规定的是,1804年的宪章没有使用“博物馆”一词,因为这个词在当时的俄罗斯还没有被广泛使用。在十九世纪初的法案文件中,使用了" cabinet "这个词,它在某种意义上是它的同义词,用于存储,收藏的意义。但是,立法法案对展品、工具和其他教学所需物品的选择、描述和保存所规定的工作,使我们能够谈论大学博物馆功能的诞生。从1835年开始,特许状引入了“博物馆”一词,他们扩大了教育材料和辅助工具的清单。考虑到对所研究的主题明显缺乏了解,作者给出了章程中列出的教育和辅助机构的完整清单。这些是橱柜:物理,矿物学,植物学,动物学,技术,和机器和模型的收集应用数学,收藏-建筑模型,药理学,手术器械,产科器械,解剖剧场和展品的收集,动物剧场,展品的收集,以及美术和文物博物馆。章程规定了补充大学收藏的方法,包括通过不受阻碍地从国外发放收益。在大学章程和附在章程上的工作人员时间表中,必须规定具体的金钱数额,确定其分配,以维持办公室和博物馆,以及这些大学部门的负责人和一般工作人员。该条强调,1863年的宪章详细规定了批准内阁和博物馆馆长职位的程序,此外,还单独规定了他们的养恤金。1884年的宪章提供了大学博物馆的扩展名单,确定了雇员的数量,并解决了博物馆管理的问题。在文章的最后,我们可以得出这样的结论:大学章程确定了19世纪至20世纪初俄罗斯大学博物馆业务的立法基础
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引用次数: 0
VISUALIZATION OF MEMORY IN PROJECTS OF URAL PHOTOGRAPHERS A. BOGOMOLOVA AND S. POTERYAEV 乌拉尔摄影师a. bogomolova和s. poteryaev项目中的记忆可视化
T. Iakovleva
The article is devoted to the problem of memory visualization in the language of photography. Photography is presented as a sign system and a communicative tool of culture, as one of its mnemonic and memorial techniques. An image archive is created through a photo. It becomes a refuge of memory and material for the reconstruction and reinterpretation of memory. The author explores the nostalgic, retrospective genre of photography. The appearance of this genre demonstrates an increase in the demand of culture, society and personality for memory, to assert themselves in the present through a search for a connection with the past. The purpose of the article is the analysis of the visual language of photographic projects related to the theme of memory, the analysis of visual rhetoric, and the identification of a set of "visual toposes" and metaphors of memory. This article reviewed the projects of two young Ural photographers Anastasia Bogomolova and Sergey Poteryayev. Their work connects the theme of memory, the problem of reconstruction, reinterpretation and retranscription of the past. These projects are a kind of visual research of personal and collective memory, the development of the problems of places of memory and mythology of the place. The theme of memory in projects is directly related to the problem of identity. In the course of the study, the author of the article relies on materials from creative projects and exhibitions, information from copyright sites. The author also uses materials interviews in which photographers talk about themselves, about the history of project creation, conceptual ideas and creative orientations. Creativity of Anastasia Bogomolova appears as a performative act, as "unpacking the archive". For a photographer, memory becomes the basis of individual and family identity. In the exposition space, photographs are complemented by objects, video and sound installations, and performances. The projects of Sergey Poteryaev represent photo stories about real places and people. The photographer refers to the relationship of the fate of the disappearing settlements and their inhabitants. Using a collage technique, the photographer connects the past and the present, creates pictures of memory. The analysis of the visual language of the photo projects was carried out, the conceptual bases of the projects and creative techniques were investigated. The article identifies the key methods and techniques of working with photography, the basic metaphors and images through which personal, family, and collective memory became visible. The author shows that both photographers apply a topographical approach to memory in accordance with the nature of photography. Project photos convey such memory characteristics as paradox and surreality, multi-layered and collage, selectivity, fragmentation, and construction. The events of the past are distant from us, but images of memory exist in the present. Images of memory can fade; overlap each o
本文主要探讨摄影语言中的记忆形象化问题。摄影作为一种符号系统和文化交流工具,作为其记忆和纪念技术之一。通过照片创建图像存档。它成为记忆的避难所,成为记忆重建和重新诠释的材料。作者探讨了怀旧、回顾的摄影类型。这种类型的出现表明,文化、社会和个性对记忆的需求在增加,通过寻找与过去的联系来维护自己在现在的地位。本文的目的是分析与记忆主题相关的摄影项目的视觉语言,分析视觉修辞,并识别出一套“视觉主题”和记忆隐喻。本文回顾了两位乌拉尔年轻摄影师Anastasia Bogomolova和Sergey Poteryayev的作品。他们的作品连接了记忆的主题,重建的问题,重新解释和重新转录的过去。这些项目是对个人和集体记忆的一种视觉研究,是对记忆的地方问题和地方神话的发展。项目中的记忆主题与身份问题直接相关。在研究过程中,本文的作者依靠来自创意项目和展览的材料,来自版权网站的信息。作者还使用了材料访谈,摄影师在访谈中谈论自己,谈论项目创作的历史,概念观念和创作取向。Anastasia Bogomolova的创造力表现为一种表演行为,就像“打开档案”一样。对于摄影师来说,记忆成为个人和家庭身份的基础。在展览空间中,摄影与实物、视频和声音装置以及表演相辅相成。Sergey Poteryaev的项目是关于真实地点和人物的照片故事。摄影师指的是消失的定居点和他们的居民的命运的关系。使用拼贴技术,摄影师连接过去和现在,创造记忆的图片。对摄影作品的视觉语言进行了分析,探讨了摄影作品的概念基础和创作手法。本文确定了摄影的关键方法和技术,基本的隐喻和图像,通过这些隐喻和图像,个人、家庭和集体的记忆变得可见。作者指出,两位摄影家根据摄影的本质,对记忆采用了一种地形的方法。项目照片传达了悖论与超现实、多层与拼贴、选择性、碎片化、建构性等记忆特征。过去的事件离我们很遥远,但记忆的图像存在于现在。记忆的图像会褪色;像照片中的图像一样相互重叠。与此同时,它们又超负荷而不足。正如记忆是多变的,流动的,它的图像可以是流动的,扭曲的,但它们帮助我们理解过去的现在。
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引用次数: 0
SCULPTURE PARKS OF THE XX CENTURY LAST THIRD – THE XXI CENTURY BEGINNING: TYPOLOGY EXPERIENCE 二十世纪雕塑公园的最后三分之一——二十一世纪开端:类型学经验
I. Steklova, Olesya I. Raguzhina
The purpose of this article is to present sculpture parks at the modern stage of development, from the last third of the 20th century to our day. The relevance of this purpose is due to the relevance of these parks, which meets, firstly, on the challenges of culture, reproducing itself in the synthesis of landscape and monumental-decorative arts; secondly, on the demands of the population in artistically interpreted natural spaces; thirdly, on the life-building claims of modern art, which is looking for optimal ways of self-presentation. The representation of the sculpture parks is implied their systematization, which, in the course of the factual and visual material analysis, exhibits the most typical trends of formal and informative diversity and takes the form of a typology. To start building a typology, it was necessary to draw up a rather broad and spacious representative sample of objects and to select reference criteria in the trends of the manifold. Thus, a representative sample was made up of 90 Europe, Asia, Africa, Australia, and North and South America brightest objects, and following criteria were put forward: environmental involvement, authorship, the nature of specific forms and links between them. Typology showed that approximately two thirds of the sculpture parks are a product of the natural environment and one third of the architectural environment. In the natural environment, in authentic natural spaces, these are co-author full (independent and contextual) and special (by place, material, style, theme) formats, as well as mono-author formats. In an architectural environment, in integrated or interpreted natural spaces, these are, first of all, city formats that can be both co-authors and mono-authors: destinations, stops, transit zones. The implementation of the typology was facilitated by the attraction of a new material for the national art history. In the scientific circulation were introduced information about objects that were not mentioned before and unknown artists. Accounting for this information, along with known realities, allowed us to reach a higher understanding level of sculpture parks as a modern hypostasis of artistic synthesis.
这篇文章的目的是呈现雕塑公园在现代发展阶段,从20世纪的最后三分之一到我们的日子。这一目的的相关性是由于这些公园的相关性,首先,它满足了文化的挑战,在景观和纪念性装饰艺术的综合中再现了自己;第二,对自然空间进行艺术诠释的人群需求;第三,论现代艺术的生命建构诉求,即寻找最佳的自我呈现方式。雕塑公园的表现形式隐含着它们的系统化,在事实和视觉材料分析的过程中,呈现出形式和信息多样性的最典型趋势,并采取类型学的形式。为了开始建立一个类型学,有必要绘制一个相当广泛和宽敞的具有代表性的对象样本,并在多种趋势中选择参考标准。因此,有代表性的样本由90个欧洲、亚洲、非洲、澳大利亚和南北美洲最亮的物体组成,并提出了以下标准:环境参与、作者身份、特定形式的性质以及它们之间的联系。类型学表明,大约三分之二的雕塑公园是自然环境的产物,三分之一是建筑环境的产物。在自然环境中,在真实的自然空间中,这些是合着者完整(独立和语境)和特殊(按地点、材料、风格、主题)格式,以及单一作者格式。在一个建筑环境中,在整合或诠释的自然空间中,首先,这些城市形式既可以是共同作者,也可以是单一作者:目的地、站点、中转区。国家艺术史的新材料的吸引力促进了类型学的实施。在科学流通中,介绍了以前没有提到的物体和不知名的艺术家的信息。考虑到这些信息,以及已知的现实,使我们对雕塑公园作为艺术综合的现代本质有了更高的理解。
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引用次数: 0
HISTORY OF FORMATION AND ACTIVITY OF COUNCIL OF MUSEUMS IN MUSEUMS OF LOCAL HISTORY OF THE NORTH-EAST OF KAZAKHSTAN IN THE 40-50S OF THE XX CENTURY 20世纪40-50年代哈萨克斯坦东北部地方历史博物馆理事会的形成和活动历史
O. Truevtseva, V. A. Kozhokar
The article «History of formation and activity of Council of Museums in museums of local history of the north-east of Kazakhstan in the 40-50s of the XX century» deals with the problem of organizing research in museums. The First All-Russian Museum Congress in 1931 contributed the transformation of museums from academic centers to cultural institutions and made scientific research impossible in museums. However, the lack of professionally trained personnel, the low level of scientific description of collections, construction of expositions, exhibitions, content of lectures and excursions, led to a gradual decline of the authority of museums. Based on the documents that were found in the funds of the State archives of Pavlodar region, Semipalatinsk, Ust-Kamenogorsk, the authors convincingly prove the flawed and erroneous attitudes of the congress. The study used archival documents on the creation of Council of Museums, their personnel composition, and main activities. It is proved that the need to revive the research activities of museums has led to new forms and methods of organizing research work. Council of Museums in local history museums of the north-east of Kazakhstan were established in the late 1940s. There were difficulties in organization due to the lack of specialists who could work in the museum on a voluntary basis. They attracted employees of party, soviet, and trade union organizations who were educated as teachers of geography and history. In special cases, managers of agriculture and industry were included. The members of the Council worked in three directions corresponding to the structure of the departments of local history museums of that time: nature, history, industry and agriculture. The Council of the Pavlodar regional Museum of Local History was registered only formally, its members did not meet and did not take any part in the activities of the museum. This was explained by the insufficient number of professional personnel, due to the lack of higher educational institutions in the region, as well as the employment of specialists in the main job. A significant number of interested specialists lived in Semipalatinsk and Ust-Kamenogorsk, forming a group of local history activists there, which had a positive impact on the creation and work of Council of Museums. Members of the councils gave lectures in the museum, went on business trips to collect exhibits, were engaged in the preparation, examination and adjustment of thematic and exposition plans, preparation of collected materials for exhibition, helped to establish the relationship of museums with administrative, industrial and public organizations. Museum employees could not perform such work on their own, due to the lack of necessary professional competencies and time. Thus, we can conclude that it is necessary to include third-party workers of science and education in the museum councils. The governing bodies and museum workers felt a lack of specialists in various fie
文章“20世纪40-50年代哈萨克斯坦东北部地方历史博物馆中博物馆理事会的形成和活动历史”讨论了在博物馆组织研究的问题。1931年召开的第一届全俄博物馆大会推动了博物馆从学术中心向文化机构的转变,使博物馆无法进行科学研究。然而,由于缺乏受过专业训练的人才,对藏品的科学描述,展览、展览的建设,讲座和游览的内容水平不高,导致博物馆的权威逐渐下降。根据在巴甫洛达尔地区、塞米巴拉金斯克、前卡梅诺戈尔斯克的国家档案馆中发现的文件,作者令人信服地证明了大会的错误态度。该研究使用了有关博物馆理事会的创建、人员组成和主要活动的档案文件。事实证明,振兴博物馆研究活动的需要导致了组织研究工作的新形式和新方法。哈萨克斯坦东北部地方历史博物馆理事会成立于20世纪40年代末。由于缺乏可以自愿在博物馆工作的专家,在组织方面存在困难。他们吸引了党、苏维埃和工会组织的雇员,这些人受过地理和历史教师的教育。在特殊情况下,包括农业和工业管理人员。委员会成员的工作方向与当时地方历史博物馆部门的结构相对应:自然、历史、工业和农业。巴甫洛达尔地区地方历史博物馆理事会只是正式登记,其成员不开会,也不参加博物馆的任何活动。造成这种情况的原因是,由于该地区缺乏高等教育机构,专业人员数量不足,以及主要工作雇用专家。许多感兴趣的专家住在塞米巴拉金斯克和前卡梅诺戈尔斯克,在那里形成了一个当地历史活动家团体,这对博物馆理事会的创建和工作产生了积极影响。委员会成员到博物馆讲学,出差收集展品,准备、审查和调整主题和展览计划,准备收集的展览材料,帮助建立博物馆与行政、工业和公共组织的关系。由于缺乏必要的专业能力和时间,博物馆员工无法独立完成这些工作。因此,我们可以得出结论,有必要将第三方科教工作者纳入博物馆理事会。管理机构和博物馆工作人员感到缺乏各个知识领域的专家。博物馆的工作人员大多没有受过中等教育,大多数是高等教育。他们不具备系统化的技能,也不熟悉收集和处理博物馆材料的科学方法。博物馆理事会的决定不是正式的,但它们非常重要和必要。如果没有他们的活动,该地区的博物馆实践就不会如此有效和高效。
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引用次数: 0
RU WARE POTTERY AND THE PRINCIPLES OF MINIMALISM: TO THE PROBLEM OF THE SENSE OF FORM 如陶与极简主义原则:以形式感为问题
E. V. Vasil’eva, Y. Bu
The comparison of various artistic phenomena, which are separated geographically and chronologically, is a complicated analytical precedent. The matching requires stable criteria, and a distance (spatial, temporal, cultural or artistic) makes the difficulties to the formulation of analytical principles. Different historical epochs form their own independent systems, which do not always imply the possibility of the direct comparison. At the same time, such juxtaposition gives possibility to identify common pictorial and ideological principles of artistic structures, which don’t have the strict identical forms. The comparison of separated artistic phenomena allows to determine the common platform of culture and to discover the integral principle of various artistic systems. This article is devoted to the comparing of two independent art systems. The Chinese Ru ware pottery of the Song dynasty and the international minimalism of the 1960s and 1980s are distanced one from another both territorially and chronologically. At the same time, they are close artistic systems, where the unifying factor is the idea and the sense of form. Within the framework of the article, the very possibility of comparing different artistic systems is considered. The text examines the possible criteria of such comparison. It raises the questions on the principles of the artistic relations. The starting point of the work is the specification of the basic characteristics for the Ru ware pottery and the determination of the basic principles of international minimalism of the 1960s and 1980s. The article examines the specific features and peculiarities of Ru ware pottery, which, despite its popularity, is not enough studied in the Russian analytical space. Besides, the text indicates the specific features of European and American minimalism. This direction also presents material for systematic study. One of the main tasks for this work is the presentation of key parameters related to the form elements of Ru ware pottery and the description of conceptual components related to the international minimalism. Comparing these two systems, authors refer to the basic categories of European theory of art, which appearance is associated with the names of Wilhelm Vorringer and Henry Welflin. The main criteria that allows to compare these artistic trends is «the sense of form» - the concept that was determined in German art-theory in the first half of the XXth century. The use of this categories and the discovery of the concept of the sense of form, allows to show a parallel between the principles of Ru ware pottery and the system of international minimalism of the second half of the XXth century.
各种艺术现象的比较,在地理上和时间上是分开的,是一个复杂的分析先例。匹配需要稳定的标准,而距离(空间、时间、文化或艺术)给分析原则的制定带来了困难。不同的历史时代形成了自己独立的体系,这并不总是意味着直接比较的可能性。同时,这种并置也使我们有可能识别出艺术结构的共同的图像和思想原则,这些原则并没有严格的相同形式。通过对分离的艺术现象的比较,可以确定文化的共同平台,发现各种艺术系统的整体原理。本文致力于两种独立艺术体系的比较。中国宋代的汝陶器与20世纪60年代和80年代的国际极简主义在地域和年代上都是有距离的。同时,它们又是紧密的艺术系统,统一的因素是理念和形式感。在文章的框架内,考虑了比较不同艺术系统的可能性。本文探讨了这种比较的可能标准。它提出了关于艺术关系原则的问题。作品的出发点是对汝陶器的基本特征进行了规范,确定了上世纪六八十年代国际极简主义的基本原则。本文考察了汝陶器的具体特征和特点,尽管它很受欢迎,但在俄罗斯的分析空间中却没有足够的研究。此外,本文还指出了欧美极简主义的具体特点。这个方向也提供了系统研究的材料。这项工作的主要任务之一是呈现与汝陶器的形式元素相关的关键参数,并描述与国际极简主义相关的概念成分。比较这两种体系,作者参考了欧洲艺术理论的基本范畴,其外观与威廉·沃林格和亨利·韦夫林的名字有关。比较这些艺术趋势的主要标准是“形式感”——这是20世纪上半叶德国艺术理论中确定的概念。这种分类的使用和形式感概念的发现,可以显示出汝器陶器原则与20世纪下半叶国际极简主义体系之间的平行关系。
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引用次数: 0
TYPOLOGICAL SYSTEMATICS IN THE SCIENCE OF CULTURE: FOUNDATIONS AND PROSPECTS 文化科学中的类型学系统:基础与展望
Audra-Kristina I. Zabulionite
The creation of a taxonomy is an important stage in the formation of culturology as a mature field of scientific knowledge. It presupposes a discussion of the question of the foundation - a taxonomic unit that specifically structures the universe of cultures and world history. Although many efforts have been made to create a type as a taxonomic unit, this problem remains unresolved. When discussing the issue of the typological taxon of culture, three of its characteristics are distinguished (integrity, qualitative certainty and the ability to express the natural order), and two reasons are identified that do not allow to solve the problem of the typology of cultures. The first is that the concept of «type» is constructed as a theoretical construct (being logically constructed, it does not express the uniqueness of civilization / culture). The second reason is found in typological strategies in the scientific program of organicism and philosophy of life (in particular, the philosophy of culture of O. Spengler). Declaring the idea of local civilizations (independent historical principles), they do not solve the problem of the structure of reality (do not introduce a discontinuous metaphysical structure). The article substantiates the idea of creating a discontinuous paradigm of culturology, and in this regard, the prospects of the results of the phenomenological tradition of philosophy. According to time analytics of M. Heidegger, the type of unique culture is understood as its fundamental hermeneutic structure of being. The typology of cultures is understood not as a methodological, but rather as an ontological problematics predominantly. In taxonomy, a typological taxon expresses the unique characteristics of a civilization (culture) and serves as a discrete unit that specifically structures the universe of cultures. Taking into account the uniqueness of the type as a taxonomic unit, the question of a single principle of typological taxonomy (or a single architectonics of cultural studies) is raised. This issue is solved by referring to E. Husserl's theory of objectivity, to the concepts of "quasi-region" ("pure objectivity" or formal ontology) and regional ontologies ("material ontologies"). “Quasi-region” in relation to regional ontologies acts as a formal logic of objectivity, but each region, being formally subordinate to the content, is not derived from “pure objectivity.” Each region creates its own eidetic ontology, therefore the prospect of creating a typological systematics presupposes the development of an eidetics of unique regions. Moreover, a single science of culture unites culturological discourses of unique civilizations and cultures
分类学的创立是文化学作为一门成熟的科学知识领域形成的重要阶段。它预设了对基础问题的讨论——一个专门构成文化和世界历史的分类学单位。尽管已经做出了许多努力来创建类型作为分类单位,但这个问题仍然没有解决。在讨论文化类型学分类问题时,区分了文化类型学的三个特征(完整性、定性确定性和表达自然秩序的能力),并找出了两个不允许解决文化类型学问题的原因。首先,“类型”概念是作为一种理论建构来建构的(它是逻辑建构的,并不表达文明/文化的独特性)。第二个原因是有机体论和生命哲学(特别是斯宾格勒的文化哲学)的科学纲领中的类型学策略。他们宣称地方文明的理念(独立的历史原则),并没有解决现实结构的问题(没有引入不连续的形而上学结构)。本文论证了建立一个不连续的文化范式的观点,并就此对哲学现象学传统的结果进行了展望。根据海德格尔的时间分析,独特文化的类型被理解为其存在的基本解释学结构。文化类型学不被理解为一种方法论,而被理解为一种本体论问题。在分类学中,一个类型学分类单元表达了一种文明(文化)的独特特征,并作为一个具体构成文化世界的离散单位。考虑到类型作为分类学单位的独特性,提出了类型分类学单一原则(或文化研究单一架构)的问题。这个问题可以通过参考胡塞尔的客观性理论,“准区域”(“纯粹客观性”或形式本体论)和区域本体论(“物质本体论”)的概念来解决。相对于区域本体论而言,“准区域”充当了一种客观性的形式逻辑,但每一个区域都在形式上隶属于内容,并不是来自于“纯粹的客观性”。每个区域都创造了自己的特征本体,因此,创建类型学系统的前景以独特区域的特征学的发展为前提。此外,单一的文化科学将独特文明和文化的文化话语联合起来
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引用次数: 1
BARRIERS IN DEVELOPMENT OF SMART EDUCATION: SOCIO-CULTURAL PECULIARITIES OF RUSSIA 智能教育发展的障碍:俄罗斯的社会文化特点
A. Chmykhalo, L. Korobeynikova
Smart Education is the most advanced stage of the evolution in education associated with new information and communication technologies. The world is forming a new technical and technological reality. Digital media technologies (smartphones, wi-fi connections) penetrate into open spaces of cities and towns (parks, gardens, etc.). Modernity dictates the need for a person to acquire such knowledge and skills that should allow him not only working effectively, but also spending his free time productively. This situation is not entirely new, but it makes researchers find solutions for further implementation of smart technologies in the education system in order to search for the most appropriate answers to this challenge. Russia needs to accelerate the transition to education of the future, which involves the modernization of all educational processes. The presented research touches upon the issue of the development of Smart Education in Russia. The paper reveals the current state and identifies the key barriers in the development of smart education in the world. The empirical basis of the work is a sociological survey conducted in March-June 2018. The survey used the technique of semi-formalized interviews with representatives of five groups of stakeholders: government officials, heads of organizations, teachers, students and researchers. The educational system of Tomsk (Russia) affects the interests of all above mentioned stakeholders. The survey was aimed at the determination of the role of Smart technologies in education, their importance, barriers and prospects of implementation. The article presents the results of a sociological study that revealed the position of stakeholders in relation to various aspects of the socio-cultural environment that has an impact on the formation of smart education in Russia. The evaluation of the results of the implementation of smart city and smart education projects in Europe, America and Asia shows the presence of private success, which has not led to the formation of unambiguously positive examples of their implementation. Synergy, which unites the efforts of many participants of these projects, has not yet led to the realization of the ultimate goal – significant indicators in improving the quality of life of citizens. The comparative analysis of barriers to further development of smart education identified in the studies of foreign authors with the assessment of Russian stakeholders shows the existence of significant differences between them. The introduction of smart technologies in the life of Russian society is catching up. This leads to a rather superficial nature of acquaintance of Russian society of smart education and a lack of reflection on the barriers to its implementation.
智能教育是与新的信息和通信技术相关的教育发展的最高阶段。世界正在形成一种新的技术和技术现实。数字媒体技术(智能手机、wi-fi连接)渗透到城镇的开放空间(公园、花园等)。现代社会要求一个人掌握知识和技能,使他不仅能有效地工作,而且能富有成效地利用业余时间。这种情况并不是全新的,但它使研究人员找到了在教育系统中进一步实施智能技术的解决方案,以便为这一挑战寻找最合适的答案。俄罗斯需要加快向未来教育的过渡,这涉及到所有教育过程的现代化。本研究涉及俄罗斯智能教育的发展问题。本文揭示了智能教育在世界范围内发展的现状,并指出了智能教育在世界范围内发展的主要障碍。本文的实证基础是2018年3月至6月进行的一项社会学调查。该调查采用了半正式访谈的技术,采访了五组利益相关者的代表:政府官员、组织负责人、教师、学生和研究人员。托木斯克(俄罗斯)的教育系统影响着上述所有利益相关者的利益。这项调查的目的是确定智能技术在教育中的作用、重要性、障碍和实施前景。本文介绍了一项社会学研究的结果,该研究揭示了利益相关者在影响俄罗斯智能教育形成的社会文化环境各个方面的立场。对欧洲、美洲和亚洲智慧城市和智慧教育项目实施结果的评估显示,私人成功的存在,并没有导致形成明确的积极实施例子。将这些项目的许多参与者的努力联合起来的协同作用尚未导致实现最终目标- -提高公民生活素质的重要指标。对外国作者研究中确定的智能教育进一步发展的障碍与俄罗斯利益相关者评估的比较分析表明,它们之间存在显著差异。智能技术在俄罗斯社会生活中的应用正在迎头赶上。这导致对俄罗斯社会智慧教育的认识相当肤浅,缺乏对其实施障碍的反思。
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引用次数: 1
THE SPACE OF HISTORICITY IN THE DIGITAL PARADIGM OF CULTURE 文化数字范式中的历史性空间
E. Ryabinina, I. Kovalenko, A. N. Khoroshev
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.
本文的目的是揭示历史的虚拟本质,在空间方面,数字实践清楚地表现出来。研究方法以“解释性理解”为导向,本质上是互动性的,与虚拟体验的解释可能性相对应。后者的特殊性决定了对主体性生活世界的可定义性问题的现象学方法,其中相互排斥的因素相互作用。自由民主的理由表达了对娱乐的需要,但它们意味着个人的统一。历史自我意识是固有的存在,但迷失在“此时此地”的绝对权力中。社会文化统一体承载着不相容的(怪诞的)、存在的无意义的组合,但它作为所有人的完全有形的存在。在空间方面,历史性的转换形式的特征,由其自身的虚拟时刻所制约,构成了作品的科学新颖性,并使我们得出结论:空间的数字范式通过其虚拟时刻的动态到存在实例的状态,揭示了历史性的危机。因此,就体验空间而言,很明显,通过基于当前流的可达性的运动图像,它变得有意义。表演效果中空间的心理品质转化为成熟的陈述性,数字空间中历史的时间性通过无限的层次性和准同时性的思辨瞬间性的叠加来表现。从历史与逻辑的统一出发的回溯分析运动,通过主体的实现,达到了一种与过去有条件地不可定义的关系的状态。也就是说,过去——由真实的事实和历史的行为所限定的范畴——变成了一种标记,未来的轮廓由此出发,承载着“超现实”。在这种表现中,主体被先验地实体化为情感-身体因素,表现为存在的“超符号”,这被归因于自身丰满的废除。在对其现实性的基本态度的分类意义上,这是历史性的基础,这种废除是通过模仿自由意志来表达的,这显然是一种喜剧形式。历史性虚拟时刻的设定公平的明显性和自给自足表现了取消过时的完整性场景(文化经验的主体)并代之以数字连续体“假体”的虚拟特征的过程。
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Vestnik Tomskogo Gosudarstvennogo Universiteta-Kulturologiya i Iskusstvovedenie-Tomsk State University Journal of Cultural Studies and Art History
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