Results of a research project, realized by the Laboratory of Media Research of the Centre of Fundamental Research of the National Research University “High School of Economics” and by the Don State Technical University, became the empirical basis of the article.
"Hokusai manga" occupies a special place in the artistic heritage of Katsushika Hokusai. In its 15 volumes with ca. four thousand of figures and subjects, Hokusai created an encyclopedia of old Japan in pictures. This articles investigates the beginnings of the manga genre and pays a special attention for the interpretation of the enigmatic words "denshin kaishu" in its title. A problem of collaboration of Hokusai with other artists is discussed as well as the forms of his personal output.
In this article I consider the processes of the marketization of nation and culture. The notions and methods of contemporary marketing is used in the description of nation. In this article I examine the commodification of culture, I show how the culture is consider and describe as a “resource” in the tourism and public diplomacy discourses.
In this study based on the use of methods of corpus linguistics and semiotic analysis literary and naive autobiographies of men have been compared. Is was found that autobiographies of writers, as well as autobiographies of ordinary men, are being constructed by the authors within the boundaries of the «male culture» rules regardless of abilities and literary experiences of the authors of autobiographies. If a man brought up in an orphanage, his autobiography reproduces distorted code the «male culture». This is explained by a change in the content of «gender culture» in closed social groups and the violation of mediation in the reproduction of gender culture in deprivation conditions.
Boris Sushkevich and Nadezhda Bromley (Sushkevich-Bromley) are remarkable theatrical fi gures, actors and directors whose lot was connected with the bright and dramatic periods of our country’s theatrical life from the beginning to the middle of the 20th century. They devoted a part of their professional life to the 1st Studio of the Moscow Art Theatre (from 1919 — Moscow Art Academic Theatre), which later became a separate theater (Moscow Art Academic Theatre II, 1924—1936). Since the middle of the 1930s, they worked in leading Leningrad theaters — the Leningrad State Academic Drama Theater (Alexandrinsky Theatre) and the New Theater (1933—1953, now the Saint Petersburg Lensoviet Theatre). This article introduces little-studied archival sources of biographical nature related to the work of these outstanding cultural fi gures. Nadezhda Nikolayevna Bromley was a heiress of the Bromley — Sherwood creative dynasties, which had made a signifi cant contribution to Russian culture. She joined the troupe of the Moscow Art Theater in 1908, performed on the stage of the 1st Studio (1918—1924), was one of the leading actresses of the Moscow Art Academic Theatre II after its separation, participated in its Directing Department being in charge of the literary part. Generously gifted by nature, N. Bromley wrote poems, short stories, novels; her fi ctional works “From the Notes of the Last God” (1927) and “Gargantua’s Descendant” (1930) earned critical acclaim. Two plays by N. Bromley were staged in the Moscow Art Academic Theatre II. One of them — the full of hyperbole and grotesque “Archangel Michael” — was passionately accepted by E.B. Vakhtangov and A.V. Lunacharsky, though never shown to a wide audience. At the Leningrad State Academic Drama Theater and the New Theater, N. Bromley not only successfully played, but also staged performances based on the works by A.P. Chekhov, A. Tolstoy, M. Gorky, F. Schiller, and W. Shakespeare. Boris Mikhailovich Sushkevich, brought up by the Theater School of the Moscow Art Academic Theatre and in the Vakhtangov tradition of the playing grotesque, is one of the most interesting and original theater directors of his time. His directorial work in the play “The Cricket on the Hearth” based on a Christmas fairy tale by Charles Dickens became the hallmark of the 1st Studio (and later of the Moscow Art Academic Theatre II as well). This play remained in the theatre’s repertoire until January 1936. B. Sushkevich was a recognized theatre teacher — with his help, the Leningrad Theater Institute (now the Russian State Institute of Performing Arts) was established in 1939. Together with N. Bromley, he managed to fi ll the New Theater with bright creative content and make it a favorite of the Leningrad audience. This research expands the understanding of a number of yet unexplored aspects of the history of theater in our country and recreates the event context of the era.
Through the analysis if the association reaction of Russian and Japanese native speakers, the intensity of hospitability in the Russian and Japanese linguocultures is examined in the article. There are considered similarities and differences of perceiving the image of guest by the Russians and Japanese. The article demonstrates that the content of the semanteme "Guest" is not identical in the Russian and Japanese languages. In the conditions of active contacts between representatives of different cultures in our supersonic age, the comparative research of linguistic consciousness is an important contribution to the development of mutual understanding between representatives of different cultures, Russian and Japanese in this case. The dynamics of change of the image of guest in the Russian linguoculture is of great interest. It has been experiencing noticeable perturbations throughuot the recent decades. The application of psycholinguistic methods to achieve the mentioned aims is an uncommon and quite new phenomenon for comparing the Russian and Japanese linguocultures. The research has shown that in the Japanese linguoculture it is mainly women who extend hospitality, which reflects the traditional patriarchal practice of the Japanese society. Another conclusion is that the present-day Russians, who do no display any difference regarding the image of guest according to their gender factor, have become less hospitable as compared to the beginning of 1990s.
The article analyzes some modern media communications and practice of user interaction where the “participatory discourse” appears, when the viewers can influence the process of creation of new films, series, and network projects. The users appropriate and transform different elements of the media content and collectively take part in creation of the “participatory discourse” as a form of social-productive relations which generate a special type of culture. This type bases on the concepts of “participatory culture” and “collective intelligence”.