Магия глаз: сверхъестественные существа в японском фольклоре
Japanese culture is famous for unique folklore, where monsters called yokai have become very popular. The visual appearance of many yokai occurred in the Edo period (1603-1868) and came to us thanks to the books printed by woodblock printing. The irrepressible imagination of Japanese artists of that time gave rise to amazing creatures, who continue to inspire filmmakers, animators and comic book authors to this day.
The paper is dealt with theory and practice of screenplay elaborated within the conceptual framework of Russian Formalist School in Humanities, in particular with the legacy of Yuri Tynjanov.
Discusses the works of Japanese manga authors of the 1970s – Takemiya Keiko and Hagio Moto, who created a new genre shounen-ai (boy’s love). This genre of manga is intended for female audiences and developed in Japan, but was experienced a considerable influence of European art, especially French literature and cinema.
After the dissolution of the Soviet Union, a foreign culture poured into Russia in a powerful stream. The books of previously banned writers are beginning to be published, and comic books are also being actively promoted, including Japanese manga, about which former Soviet citizens heard for the first time. The spread of manga (and anime) abroad begins only in the mid-1980s, but already in the 1990s its first samples have reached Russia. Therefore in 1995 the first volume of Nakazawa Keiji's "Barefoot Gen", dated to the 50th anniversary of the atomic bombing of Hiroshima and Nagasaki, was published on Russian. But a year earlier another manga was released, today it can be considered the very first manga translated into Russian. It is symbolic that this was manga "Black Jack" by Tezuka Osamu. Thanks to Tezuka Osamu manga was developed into a huge industry during the postwar period and later was able to compete with American comic books and French comics band desine. Tezuka was a doctor by education and in this manga he combined his medical knowledge with the profession of mangaka. The main character Black Jack became a sort of Tezuka Osamu alter-ego and gained a great love of the readers. However, the existence of such a character, unlike, for example, American Mickey Mouse, was hardly known in Russia, so the first issues of Japanese comics were not in great demand. Despite this, in the narrow circle of domestic fans of Japanese animation and manga (otaku) the need for such kind of cultural products was brewing. In the late 1990s, with the development of computer technologies, amateur translations of manga on the Web, including the Russian-speaking segment of the Internet, are widely spread. There are exist informal publishers who publish an unlicensed manga (piratka) on paper. Subsequently, some of them are retrained into official companies, which will mark the appearance of the first Russian publishing houses translating manga in the early 2000s. In this regard, it is important to trace the contents of these works and the specifics of their publication, as well as the experience of publishers, who decided to translate Asian comics into Russian.
A Companion to Russian Cinema provides an exhaustive and carefully organised guide to the cinema of pre-Revolutionary Russia, of the Soviet era, as well as post-Soviet Russian cinema, edited by one of the most established and knowledgeable scholars in Russian cinema studies. The most up-to-date and thorough coverage of Russian, Soviet and post-Soviet cinema, which also effectively fills gaps in the existing scholarship in the field This is the first volume on Russian cinema to explore specifically the history of movie theatres, studios, and educational institutions The editor is one of the most established and knowledgeable scholars in Russian cinema studies, and contributions come from leading experts in the field of Russian Studies, Film Studies and Visual Culture Chapters consider the arts of scriptwriting, sound, production design, costumes and cinematography Provides five portraits of key figures in Soviet and Russia film history, whose works have been somewhat neglected
In the public discourse, cinematic views on the analysis of movies traditionally prevail. The author suggests another approach: in the course of the experiment aimed to reveal the audience's perception of the film „Welcome to Zombieland the author discovers an atypical interpretation of this horror film as an instrument of educating the young generation, those features of the ideological message of the film that can transform any genre into, it would seem, its complete opposite - a collection of contemporary society norms and behavior patterns. The main conclusion of the article is that the perception of a film is a complex social action which always goes beyond any cinematic interpretations.
In her research, Anastasia Fedorova explores how in the first half of the twentieth century Japanese and Russian filmmakers, critics, and audiences interacted with each other through the medium of film. Drawing on primary sources collected in Japan, Russia, and the U.S., she presents the concept of Realism as a recurrent concern and the chief motivating force behind the interactions between Soviet and Japanese cinema.
The note is devoted to an issue of increasing and transforming nostalgic syndrome in Russian mass movies of the 2000s, especially We Are from the Future (film dylogy 2006-2008) and The Black Lightning (2009). These acse-studies are chosen because of the very intensive work of sub-conscious mechanisms of trauma, symbolic therapy and hyper-compensation. Almost opposite in a question of genre and expressive means both films are very similar in their handle with the 'sacred past', its icons and fetiches.
Philosophical understanding claims to universality. Meaning, understanding, sense-formation are fundamentally human characteristics of being as a meaningful picture of the world. Sense-formation is realized always from a certain position, from a certain point of view. Therefore, it is always personal, communicative and socially representable. In this regard, the concepts and practices of philosophical sense-formation, proposed and implemented by Michael Epstein in a series of network projects and scientific monographs, as well as in the discussed article [Epstein 2019] are indicative. The author assesses the prospects of the modern philosophy of the digitizing era in the context proposed by M.N. Epstein "philosophy of synthesis". It is about philosophizing in the genre of projective dictionaries (philosophy, humanitarian knowledge in general). The projective dictionary appears as a single hypertext, which expands the scope of the conceptual integrity of the entire project. This approach realizes today's humanist position as potentiation of being, opening up new possibilities of culture. A projective dictionary, in essence, is a generative model that latently contains the energy of divergent vectors of further work, which can embody different concepts, protect different positions, but use a common terminological and conceptual resource.
The paper discusses the semantic models that determine the practice of the Russian translation of the key terminology of Karl Marx, as well as the ensuing consequences of choosing a simplifying interpretational strategy for such a translation and determining its political pragmatics. This strategy is a request for a scientific concept that rejects the prospect of capitalist development, as well as the goals of propaganda and political education. The terms der Wert (value), das Wertding (valuable thing), die Wertgegenstaendlichkeit (value objectivity) were translated as «cost» in the canonical translation, enshrined in the publication of the Institute of Marxism-Leninism (1937). At the same time, two fundamentally different aspects of the product der Gebrauchswert (value as utility is a quality characteristic, not quantifiable) and der Tauschwert (exchange value, the ability to proportionally exchange) were translated, respectively, as use cost and exchange cost. This interpretation formed the basis of discursive practices in education, social sciences, journalism, and media.
The «value» translation versions were actually removed from scientific use. However, the «cost paradigm» significantly reduces the analysis of market relations and contexts. This is confirmed by the appeal to the original texts of the first and second editions of «Capital».
Discussions regarding the transfer of K.Marx’s terminology in «Capital» are not only instructive, but have important perspectives. Nowadays, the question has grown beyond the scope of a word dispute. The failure of value-to-value reduction is manifested in the problems of neoliberalistic marginalism, the coming to the fore social and cultural (neoinstitutionalism, «culture matters»), psychological and communicative (R.Taler) factors of economic relations. At the same time, the value nature of market relations is important both in concepts like «global value chains» (M. Porter, G. Jerreffy) and in the practices of transformative investment (Impact Investing), including on the blockchain platform. This forces to return to the conceptual content of the original terms and rethinking practices appropriate narration.
Within a brief historical period, BRICS as an inter-State association has become an influential player in the world economy and politics. BRICS is a primarily political entity, and in that regard, the BRICS grouping correlates with the Shanghai Cooperation Organization (SCO). However, not all the expectations placed on the SCO by the founding countries at the time of its creation in 2001 have been met so far. The question is to what extent expectations may be fulfilled in case of BRICS.
The article contains a substantiation of the prospects for a philosophical interpretation of history, as a narrative knowledge by nature. The schemes and levels of historical narration are considered. Special attention is paid to the specifics of the Russian history conceptualization.
The stable nature of historical narratives is associated with value-normative constants, expressing the features of the historical experience of a particular society. It is all the more important to reveal the factors of the historical narratives dynamics and the diachrony generated by them. Such factors are associated with the context of the formation and translation of historical knowledge, with the participation in the historical comprehension of various social groups. The task of the philosophy of history is not so much to give answers regarding the past development of society and to build generalizing narratives, how many to identify the questions that historical explanatory narratives can answer in the context of contemporary problems common to the entire Russian society.