Будущее тела. Тезисы выступления на круглом столе "Антропология кинообраза"
What if being human is separated from humanity? How some of the most common ideas of Western democracy (equality, political power, humanism) are ex-posed and staged by non-humans? These are my questions for recent Hollywood monies like Transformers or X-man.
The article presents results of systematic review of data on prophylactic and therapeutic efficacy of ibuprofen. Data search was performed by PubMed database and Google search. 27 publications for analysis were available. Prophylactic efficacy of ibuprofen was studied in 14 studies. Summarizing of the results showed that ibuprofen prevents pain and decreases its following intensity after different surgical or dental operations. There is no significant difference in prophylactic efficacy of single dose ibuprofen and acetaminophen.Therapeutic efficacy of ibuprofen was described in 13 studies. Administration of the drug for pain stopping in children is reasonable. The analgesic effect of ibuprofen compared to placebo was shown in all studies of patients with migraine and diseases of ENT-organs. 5 studies performed in last 5 years showed efficacy of ibuprofen in trauma patients, including children with non-complicated fractures of extremities.
This article is an attempt to study the discourse of pain as a product of human activity rebellious man. From the point of view of the author, the reasons of the ambivalent behavior, characteristic of Russian culture can be explain of rebellion behavior. Inexplicable and sanctuary of a single rebellious person starts projected on the culture itself, formed with the help of cultural products such rebellious people. Using literary texts by Dostoevsky, the author tries to consider how in a particular subject alternates desire to carry out the punishment and repression, and the need for experience and a shame for the act committed. The author believes that in such moments in the subject at the same time conflict with each other Master (cold and ruthless) and God (warm, tending to Love and Sacrifice). Rebellious man doubles in his quest to be the same as God, to suffer for other people, and the master, able to send the violence and implement the repressive acts. Duality of Russian culture largely affects the duality of the pain. Discourse pain texts Dostoevsky revealed in numerous situations actualization pain. The author believes that the subject is in a situation of choice between two strategies. From the point of view of the author, the pain may be due to implemented violence against any victim or be the consequence of acquiring own. The subjects are the carriers of Russian culture presented in the mysterious image of the hero of Dostoevsky. In this article, the author talks about the factors contributing to the transformation of energy in the protest cultural products. From the point of view of the author, the problems exposed by Fyodor Dostoevsky, fully projected onto the real political and cultural practices.
The review focuses on liguistic research into sensory vocabulary within the framework of contemporary Sensory Studies. The author analyzes the extant approaches to sensory processes, considers their heuristic potential for Linguistics, describes contemporary trends in the study of sensory vocabulary and outlines the prospects of the emerging discipline.
The review is aimed at specialists in General Linguistics, Psycholinguistics, Linguistic Semantics and Cognitive Linguistics.
This paper is dedicated to the analysis of the existential-ontological concept ofH. Plessner. In the paper the thesis that the philosophical anthropology of H. Plessner refutes the existential-ontological substantiation of the whole world-comprehension in the pre-empirical anthropology as the theoretical doctrine of “being-consciousness” is substantiated. According to Plessner, the philosophy of person is impossible without the philosophy of nature, as far as the mode of existence of the person can be perceived only as the mode of being of the “natural entity”. On this basis the philosophy subject is to be, according to Plessner, not theoretical, but “living”, or natural, existentia.
On the occasion of Doha being a cultural capital of the Middle East in 2010 and Istanbul being a cultural capital of Europe, Doha Orientalist museum is holding a symbolic exhibition “A Journey into the World of the Ottomans”, accompanied by a catalogue. Major part of the illustrated exhibition artworks are to come from the Orientalist museum own collection, the Rijksmuseum, as well as other major collections. The exhibition will bring together artists from the sixteenth century onwards, including Bernardino Campi, Jacopo Ligozzi, Nicolas Rycks, Jean-Baptiste Vanmour, Jean-Étienne Liotard, Antoine Ignace Melling, Francesco Hayez, John Frederick Lewis, Walter Gould, Alberto Pasini, Germain Fabius Brest, Oskar Kokoschka, Nikolai Kalmikoff, Vanessa Hodgkinson and Bas Princen. The artworks selected are to illustrate the history of the orientalism development from the sixteenth to twenty first century, which throughout the years shaped the image of the Ottoman world in Europe, covering different genres of orientalist art. - See more at: http://www.skira.net/a-journey-into-the-world-of-the-ottomans.html?___store=en&___from_store=default#sthash.V8N9Mye4.dpuf
The article is devoted to the formation of the image of the pre-revolutionary history of Russia on the example of Yuri Tarich's film Wings of Serf (1926). In the first post-revolutionary decade, there was a departure from previous standards in the image of national history. Authors searched for new forms of screen representations of past events. Although the film inherits the tradition of depicting the king as a murderer and tyrant, the creators – director Yuri Tarich and screenwriter Victor Shklovsky – tried to transfer on screen revolutionary understanding of history. The film is influenced
by historical theory of Mikhail Pokrovsky, and Shklovsky introduced the economic element in the scenario as the main engine of the plot.
The avant-garde figures who came to cinema (Shklovsky, first of all, was a literary critic) came up with the rules of screenwriting craft on the go and challenged the boundaries of cinema's possibilities in practice. The purpose of Wings of Serf’s screenplay was to move away from the one-sided image of Ivan the Terrible and determine his actions as of economic basis. Shklovsky and Tarich developed the idea of the revolutionary remaking of the image of the past in their next work, the film version of Captain's Daughter.
The article covers the history of foreign screenings of Wings of Serf, focusing on the history of censorship bans and re-editing of the film for USA. The author shows in the article the possible influence of Wings of Serf on Ivan the Terrible by Sergei Eisenstein, which is implicitly present in both artistic and plot terms.
Despite success and foreign distribution, the movie was visually traditional, realistic, and researchers considered, most often, as the prologue before radical change of the relation to Ivan the Terrible in the thirties. The article shows how filmmakers of the first decade after the revolution used to work with historical material.
This collection of essays was published in a form of a catalogue for one of the propgrams screened at the Yamagata International Documentary Film Fstival in October 2019. The program entitled "The Creative Treatment of Grierson in Wartime Japan" was co-organized by the Yamagata International Documentary Film Festival and the National Film Archive of Japan and presented a broad variety of wartime Japanese documentaries as well as British and Soviet films that have influenced them. The collection of essays explores the development of wartime Japanese documentary cinema from variety of historical and theoretical perspectives.
The paper examines a rare explored phenomenon of Soviet cover design –a number of official releases produced by the only recording concern Melodija on the one hand, and so-called “tape-albums” became widespread among underground people in the late Soviet Union, on another.