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
In the cultural sphere, the period between the October Revolution and the initiation of the first five‑year plan was marked by a series of heated public debates about the function of visual art and media in the new socialist society. Prominent theorists, including the Commissar of Enlightenment, Anatolii Lunacharskii, and writers associated with the journal Lef, such as Boris Arvatov and Sergei Tret´iakov, participated in these debates, as did modernist artists and realist painters. Photography was a central theme, and by 1925 the question of how the advances in photographic and other forms of mechanical reproduction were changing the nature of the visual had emerged as the debates’ most pressing problem. While all of the debates’ contending factions recognized the significance of photography, they also agreed that the material components of painting—particularly color and surface texture—remained essential to the development of comradely socialist relations. This article brings to light for the first time the aspects of early Soviet thought on aesthetics and communication that led to the firm establishment of painting as a visual medium essential to socialism. It demonstrates in particular that the materiality of painting and its traces were linked to the activation and transmission of the sensations of the body, which were considered necessary for the formation of socialist connections.
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.