Камисибай: забытый родственник манги
Kamishibai (from ‘kami’ meaning paper and ‘shibai’ meaning drama - literally paper drama) is an unusual form of manga which was popular in Japan in the 1930s-1950s. This visual experience consisted of a series of illustrations being shown accompanied by an oral commentary. An examination of Kamishibai reveals some interesting facts and explains why Japanese comics flourished after the Second World War.
A monograph about Ikkyu Sojun (1394-1481), Japanese Zen monk, poet, artist, calligrapher and the embodiment of cultural and spiritual life of his time, Muromachi epoch.
The article consists of two parts: the translation of the Introduction to the Sixth issue of Hokusai Manga (1817) with detailed commentaries, and the analysis of the phenomenon of mochi (rice cakes) in Japanese culture.
In this paper we describe the design and development of a multi-touch surface and software that challenges current approaches to the production and consumption of comics. Authorship of the comics involves drawing the ‘top level’ of the story directly onto paper and projecting lower-level narrative elements, such as objects, characters, dialogue, descriptions and/or events onto the paper via a multi-touch interface. In terms of the impact this has upon the experience of reading and writing, the implementation of paper is intended to facilitate the creation of high-level overviews of stories, while the touch surface allows users to generate branches through the addition of artifacts in accordance with certain theories about interactive narratives. This provides the opportunity to participate in the reading and authoring of both traditional, paper-based texts and interactive, digital scenarios. Prototype comics are used to demonstrate this approach to reading and writing top-level and low-level narratives.
The authors propose an original classification of the enlightenment phenomenon on the basis of the results of a largescale all-Russia study, which was carried out by the asset of the All-Russia Public and State Enlightenment Organisation «The Russian «Knowledge» Society» (in 2017), as well as on the basis of the data of investigations of the Russian Public Opinion Research Centre (2016-2018), in terms of the concept of marketing and the prevalent 7P (marketing mix model) marketing instruments in the present article. The identification of the nature and level of awareness of enlightenment projects among different target audiences, the identification of interest in the subject matter and format of enlightenment activities, the motivation for periodic training, and the determination of the capacity of the population to pay for enlightenment products were among the tasks of the above-mentioned investigations. In addition, the most successful management practices in the field of promotion of cultural, mass and socially significant projects in both towns and megacities were summarised on the basis of expert interviews, carried out within the framework of the study. The reduced classification of the enlightenment product, the simplification of which is related to the factors of digitalisation of modern society and information space, taking into account the factors of complication of the social communication process and the permanently increasing requirements for personal and professional qualities of the person (especially with regard to skills and competences of the future), is given. Diverse social technologies for promoting enlightenment activities are proposed on the basis of the formulated provisions of the mix-marketing enlightenment complex, and also the conditions for their successful implementation are revealed. According to the authors of the article, many means and techniques of forming the internal and the external environment of enlightenment organisations, which have long been widely used in practice, are not actually described in both pedagogic and marketing scientific literature. The more complete scientific detailed and systemic analysis, comparison with traditional marketing concepts will make their practical application more focused and effective.
This article is devoted to the analysis of the relationship between the formation of subcultures and the flexible identity of South Korean people, which was formed under the influence of modernization and globalization while maintaining the Confucian core of national culture.
The special Confucian type of social structure of Korea, developed from the Middle Ages to the present, recognizes the presence of various, sometimes conflicting trends, requiring alternative functioning of cultural filters and mentality, which is favorable soil for the emergence of a large number of groups with different lifestyles and values.
In the 1960s in South Korea modernization began which took place on the surface type that is without preparing the basis for such kind of transformation. The rigidity of the political regime within the country, as well as following the political and economic course of the United States and the final rejection of the search for attempts to unite the Korean Peninsula against the background of superficial reform, led to the emergence of a large number of student movements for democracy, reunification and preservation of national specificity. It is in the midst of student movements of 1960-1980s for democratic transformations new subcultures and movements were born.
Depending on the symbolism in South Korean society, nowadays one can distinguish subcultures of K-pop fans, underground and hippie, oljang, clubbers, whose members within groups have similar characteristics - a common language, communication network, personal connections, superficial acquaintances, general norms and values, behavior models and forms of relationships. In the long run, Koreans will continue to actively perceive new ideas and patterns, skillfully integrating them into their culture and monetizing them.
Main theme of the article are the types of imagery becoming increasingly characteristic of contemporary culture. The core feature of these types is their being distributed across time and space, their ability to accompany us virtually everywhere, without being tied to any organizational form. Distributed imagery opposes “traditional”, non-distributed images “representing” some identifiable subject-matter. One of the essential traits of non-distributed imagery is its normative claim addressing not only the ways of its interpretation but also bodily practices of the perceiving subject, relevant for experiencing images of this kind. In contrast to the inherent oppressiveness of non-distributed imagery, connected to a perceptual regime characteristic of it, the distributed one draws not on reduction and control of the body of the perceiving subject but – on the contrary – on intensifying (and in this sense, on emancipating) its bodily emotional self-presence. From diachronic point of view, the relationship between distributed and non-distributed imageries is mediated by quite complicated socio-historical and material-technological dynamic of the developed and late modernity. Reconstruction of this dynamic enables us to identify the genetic interrelation (continuity) between non-distributed and distributed imagery. From synchronic point of view, distributed and non-distributed imagery forms generate incompatible experience types with mutually exclusive structural characteristics and social-political implications (discontinuity).