«Практика» vs. «фрейм»: альтернативные проекты исследования повседневного мира
The main purpose of the article is to codify the theoretical resources of the sociology of everyday life. The author focuses on the two research programmes of the contemporary sociology of everyday world: the frame theory and the practice theory. The author reveals basic conceptualizations of practice-orientated sociology and frame-analysis, their constructive features; analyses their inherent axiomatics and logics, trying to find their theoretical implications for the sociology of everyday life in particular and the sociological theory in the whole. The method of codification used by the author - description, distinguishing constitutive features of the basic conceptualizations, reconstructing the logic and pointing to the theoretical implications - is also the object of critical reflection in this article.
Plato’s interest in vision and the visual is multifaceted, and complex. Visual words and images are frequent in the dialogues along with many direct and indirect discussions of physiological, intellectual, and social vision. The increased emphasis in recent scholarship on the importance of visuality in Plato is a part of a ‘scopic turn,’ the effect of which was to ground interpretations of the history of western European philosophy and metaphysics in its entirety in certain optical premises.
This article considers the model of metaphorical transfer of names of natural (atmospheric) phenomena. The worn inner form of many metaphors needs to consult the diachronic aspect, which allowes us to determine the conceptual transfer vector - the emotional attitude of speakers to natural phenomena, deterministic fear of them, faith in their supernatural origin.
The monograph presents a scientific and theoretical edition and devoted to the problem of polysemy with a cognitive-semantic context, in particular, complex, not single metaphors and their cognitive heuristic function. The study is based on further development and elaboration of the theory of custody schemes of J. Lakoff and M. Johnson, and considers a metaphor as a tool for systemic understanding of deep conceptual spheres, giving the structural cohesion to the human experience. Cognitive approach to the scientific study assumes that the entire role in the formation of language values belongs to the person as a participant of communication, the observer and the media of knowledge and some experience.
Meaningful life is emotionally marked off. That’s the general point that Johansen (IPBS: Integrative Psychological & Behavioral Science 44, 2010) makes which is of great importance. Fictional abstractions use to make the point even more salient. As an example I’ve examined Borges’ famous fiction story. Along with the examples of Johansen it provides an informative case of exploring symbolic mechanisms which bind meaning with emotions. This particular mode of analysis draws forth poetry and literature in general to be treated as a “meaningful life laboratory”. Ways of explanation of emotional effect the art exercises on people, which had been disclosed within this laboratory, however, constitute a significant distinction in terms that I have designated as “referential” and “substantive”. The former appeals to something that has already been charged with emotional power, whereas the latter comes to effect by means of special symbolic mechanisms creating the emotional experience within the situation. Johansen, who tends to explain emotions exerted by the art without leaving the semiotic perspective, is drawn towards the “referential” type of explanation. Based upon discussions in theory of metaphor and Robert Witkin’s sociological theory of arts it is demonstrated an insufficient of “referential” explanation. To overcome a monopoly of “referential” explanation of emotional engagement, in particular, in literature, means to break away from the way of reasoning, stating endless references to “something else”, presupposing the existence of something already significant and therefore sharing its effects.
The article offers a detailed analysis of Louis-Ferdinand Celine’s individual style on the material of his novel Voyage au bout de la nuit. In particular it is focused on the author’s characteristical choice of the invective vocabulary, aimed at creation of a peculiar esthetic space of the literary work under study.