Основные приемы шрифтовой бренд-идентификации территорий
The work is devoted to the study of the main compositional, constructive and plastic techniques used in modern typeface brand identification of territories. The article deals with typology of font identity and its structural analysis in the context of the problem of empirical measurability of a work of art.
In March 2011 scholars met in Prague at the conference Interculturalism, Meaning and Identity. This event revitalised this important theme related to Diversity and Recognition. The terms 'interculturalism' and 'integration' are experiencing a renaissance. As the extent of human movement between nations increases attempts are made to balance cultural difference and social cohesion. In some contexts immigration and settlement policies are becoming more draconian in response. Because of this, interculturalism can take on many meanings. However, pivotal to the way interculturalism is understood is identification. As the relationship between nation, ethnicity and language becomes more complex so too do the ways in which people represent them selves. The cultural resources drawn on and the processes used to form identities are examined in this truly international collection. So too are the implications of these developments for how we theorise culture, meaning and identity.
The article in form of a dispute discusses the issues dealt with in the article by M.V. Chekmarev and A.S. Chuprov, published in the magazine Society and Authority. In the author's opinion mass society and market economy gave birth to society, which is a matter-of-fact realization of the great Enlightenment humanism project. As a result in context of marketization a transformation of core values of traditional culture took place. The world has entered a new modality of existence - the modality of possibility.
The paper treats the issue of identity of the ego, which constitutes the central problem of personology. The skeptical approach to this problem, which sees it as not being subject to be resolved by means of science, began with D. Hume's work. Contemporary personologists (P. Ricoeur and others) approach this problem through study of culture, which imparts the ego with «narrative identity». Cultural historic psychology is a «Bridge of interpretations», upon which philosophy of culture meets psychology, and psychological data associated with «personality» are interpreted on the basis of some specific cultural philosophic theory. The «conflict of interpretations» plays and essential role in personology, which participates in the processes of emergence and overcoming of the cultural crisis. Philosophical and methodological problems that define the near term perspective development of personology are formulated: whether there are any «ego invariants» that remain regardless of any possible cultural determination; whether the ego possesses any rigidity in relation to cultural determination and, if it does, what is the nature of this rigidity; whether ego identity is destroyed when cultural determination diminishes or ceases, etc.
This paper investigates the language situation in Moscow schools with an ethnocultural component – a new form of national schools. The analysis is based on interviews which were recorded in 2007, in two Moscow schools, one of them with Armenian ethno-cultural component, and the other, with Azeri. The sample included ten students from each school (five boys and five girls).
In the paper the process of linguistic integration of Azeri and Armenian children into modern Russian society is analyzed. The comparison between these two groups is particularly appealing, because the effects of Soviet Russification, and the language situations in general, were different in Armenia and in Azerbaijan. I show that this difference influences the use of language by Azeri and Armenian children.
This chapter proposes an unfolding view of the EU as a sort of post-modern neo-medieval empire, in which narratives of othering towards Central and Eastern Europe preserve their salience.
In this paper we introduce distinction between “ontologically non-fregean” logics and “pragmatically non-fregean” ones; by means of such distinction a classification of non-fregean logics is presented as well. We believe that NFL must be considered as a many-leveled structure; each level taken separately may vary in different way – from classical to non-classical. It is not these levels themselves that we should call “fregean” or “non-fregean”, but the ways they are stuck together within the whole system. The more levels a system has, the more kinds of “fregean” and “non-fregean” we can find in it.
In article features of national and confessional self-identification of the Russian youth as parts of the title nation are considered. Ethnic and national consciousness are analyzed as significant components of process of individual and group self-identification. Research covers the studying and working youth which is arrived and which initially living in the city. The youth is the object which studying allows to predict regularities of social development in the future. Consideration of a problem considers multi-confessional, multi-ethnic and boundary in the geographical relation character of Ural as region. The emphasis is placed on specifics of behavior of representatives of title nation, as youth considerably defining a social portrait. The concept of the big city is used as steady, allocated with a number of characteristic features. Authors establish the reasons of the reduced interest to a religious and ethnic identification of with group at the young people belonging to different social groups and united by residence in the large city. The conditions necessary for an intensification of process of identification are defined. Means of updating of processes of formation of identity of youth are offered.
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.