From anthropological point of view culture is the product of acting humans. Human nature is created by culture and is determined by it. Language is the most important part of cultural and national identity. It develops dynamically decoding traditional values and beliefs, and those connected with modern culture. Moreover, it reveals convergence or an impact of one culture over another that is generated in different languages. To compile “converged” lexical entries it is necessary to show not only how the languages encode a particular experience of the world or how extra linguistic or cultural realia is interpreted but also what fosters their differences to be leveled.
The current analysis is based on cognitive approach that can be useful to see the implicit assumption that is embedded within the mental maps or frames of norms and values of this or that culture and to view a kind of correlation in a lexical unit. Each item is supplied with a definition to reveal its semantics, pragmatics and socio-cultural sources of their generation. It is also important to discover what significant concepts are not shared by other cultural groups. To be more precise some converged items are examined diachronically and synchronically. Among them phraseological units, neologisms and even non-equivalent items are to be taken into consideration first of all.
Minjung misul " the people's art" existed in the Republic of Korea in the 1970-1980's, artists criticized the authorities and revealed sores of the existing regime and society. They fought for democratic freedom, along with thousands participated in demonstrations. In the 1990s most artists have left the idea of fighting. However, since the presidency of Lee Myung-bak, and especially after Park Geun-hye decided to run for president, political art found new life. Lee Ha is one of the most active political artists today. His works attract more and more public attention. Lee Ha put up on the streets of Seoul posters and dropped leaflets with the imageof ParkGeun-hye,LeeMyung bak and other politicians.Duringperformancesartist was arrested by the police, and after was charged.
Thus, the political art in the Republic of Korea continues to exist and is taking new
forms. This study examined Lee Ha’s art and answered the question, what Korean political art is like today and how Korean society reacts to it.
The Proceedings of the 16th Central and Eastern European Society of Koreanology (CEESOK) Conference. Riga, University of Latvia, 29-30 September, 2017
The end of the twentieth century was marked by the extensive and explosive development of two directions in the economy and culture of society — globalization and postmodernism. The postmodern is an aggressive and protest reaction to a modernist style. Modernists believed up to nowadays that reason, science, progress, self-sacrifice, respect are eternal values. However, the creation of a global consumer society, informatization, the development of new technologies, the Internet spread, mobile communications, social networks contributed to the emergence of new relations associated with the rejection of traditional values. The economy is being actively taken root into the culture of consumption in the service industry. fashion, style, behavior standards, brands have become a commodity. Postmodern crosses culture to commerce, with consumption, liberates and releases instincts. At the same time, the newly-minted cultural mutants are characterized by imaginary identity, indifference and disunity. After the end of the Cold war, postmodernism ideas had been moved ahead over the different countries and continents successfully, until they had stumbled over China. The managerial problem of the human relations and impossibility of their measurement is shown in modern conditions as well as at the time of Platon, Aristotle, Lao-tszy, Confucius, Suntszy, etc. This phenomenon is considered by us by the example of sports development and mass culture in China. In a situation with the penetration of postmodernism into Chinese society, Chinese communist leaders are forced to address the practical wisdom of their ancestors to counter the destruction of national consciousness and the preservation of national identity. Sports has become one of the most accessible, important and capital-intensive mechanisms for the implementation of global projects. Commercialization and capitalization of major sporting mega events has become a part of political activity, national prestige in the international arena for many political systems and independent states. Several case studies illustrate how as well as how Chinese leaders try to preserve national identity and the balance of relations in society in the postmodern era using the example of the development of China’s sports reform.
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.