• A
  • A
  • A
  • ABC
  • ABC
  • ABC
  • А
  • А
  • А
  • А
  • А
Regular version of the site
Of all publications in the section: 10
Sort:
by name
by year
Article
Захарова У. С. Вестник Томского государственного университета. Культурология и искусствоведение. 2012. № 3(7). С. 15-18.
Added: Sep 29, 2018
Article
Сохань И. В. Вестник Томского государственного университета. Культурология и искусствоведение. 2013. № 2 (10). С. 23-34.

P { margin-bottom: 0.21cm; direction: ltr; color: rgb(0, 0, 0); text-align: left; }P.western { font-family: "Thorndale AMT","Times New Roman"; font-size: 12pt; }P.cjk { font-family: "Albany AMT","Arial"; font-size: 12pt; }P.ctl { font-family: "Albany AMT","Arial"; font-size: 12pt; }

The gastronomic subjects of utopies and distopies are analyzed in this artikle. Food is considered as the method of communication of power and person, as opportunity of the control and transformation of its identity. Utopies and dystopies offered relevant today the type of food and gastronomic practices – its many features allow us to assert that it is food-simulacrum. It affects to a person through seduction (special practice of “gentle” violence) and creates a new type of corporeality, of consciousness, of existence – existentially empty.

Added: Jun 15, 2013
Article
Сохань И. В., Нужа И. В. Вестник Томского государственного университета. Культурология и искусствоведение. 2014. № 16 (4). С. 18-27.

The issues connected with gastronomic culture have become increasingly topical throughout the last two decades. Food, meals, bodily and communicative gastronomic practices reflect dramatic changes of culture. Food is one of the most important and suggestive markers of everyday practices which signify the patterns and the intensity of globalisation. Russian gastronomic culture has always developed in a very specific way with the import of foreign culinary traditions being the main trend of this process. The alien traditions have been adopted first by the elite circles, then by the lower strata of the Russian population to finally become an authentic part of Russian culture. Borrowing foreign gastronomic vocabulary was the hallmark of such assimilation. Although unified fast food still remains the mainstream of the modern gastronomic culture, it is being challenged by a new tendency. The diversity of culinary traditions of different cultures in the globalized world offers an opportunity of forming a bodily identity by choosing one of the exported types of cuisines even at the level of so called Mac-variant. Today, the modern Russian food discourse reflects the process of globalization and macdonaldalisation of the domestic gastronomic culture. The major marker of the latest linguistic changes is the extension of food nominatives as the consequence of the adoption of new foreign nominatives, which denote new gastronomic practices and habits. Such words as “smoothie”, “fresh”, “sushi”, “macchiato” have become an integral part of the active gastronomic vocabulary of Russians. Gastronomic loanwords demonstrate a new crucial tendency in the modern Russian language: the substitution of the native gastronomic thesaurus with a new one of the foreign origin.

Added: Nov 28, 2014
Article
Сизова И. А., Белогубова А. С. Вестник Томского государственного университета. Культурология и искусствоведение. 2017. № 27. С. 87-98.
Added: Oct 18, 2019
Article
Сохань И. В. Вестник Томского государственного университета. Культурология и искусствоведение. 2013. Т. 9. № 1. С. 99-109.

The basic definitions of the food and the gastronomic culture, and the main methodological approaches to research of the gastronomic culture are analyzed in this article. The main approach for the analyze of the gastronomic culture and the food is the philosophical conceptualization which overcomes the narrowness of each separate disciplinary approach. So, the food and the gastronomic culture are studied from different points of view – historical, political, sociological, psychoanalytic, ethnographic, etc. Interdisciplinary approach to the analysis of gastronomic was developed in food studies. Currently, food studies includes the philosophy of food and gastronomic culture. P { margin-bottom: 0.21cm; direction: ltr; color: rgb(0, 0, 0); text-align: left; }P.western { font-family: "Thorndale AMT","Times New Roman"; font-size: 12pt; }P.cjk { font-family: "Albany AMT","Arial"; font-size: 12pt; }P.ctl { font-family: "Albany AMT","Arial"; font-size: 12pt; }

The basic definitions of the food and the gastronomic culture, and the main methodological approaches to research of the gastronomic culture are analyzed in this artikle. The main approach for the analyze of the gastronomic culture and the food is the philosophical conceptualization which overcomes the narrowness of each separate disciplinary approach. So, the food and the gastronomic culture are studied from different points of view – historical, political, sociological, psychoanalytic, ethnographic, etc. Interdisciplinary approach to the analysis of gastronomic was developed in food studies. Currently, food studies includes the philosophy of food and gastronomic culture.

P { margin-bottom: 0.21cm; direction: ltr; color: rgb(0, 0, 0); text-align: left; }P.western { font-family: "Thorndale AMT","Times New Roman"; font-size: 12pt; }P.cjk { font-family: "Albany AMT","Arial"; font-size: 12pt; }P.ctl { font-family: "Albany AMT","Arial"; font-size: 12pt; }

The basic definitions of the food and the gastronomic culture, and the main methodological approaches to research of the gastronomic culture are analyzed in this artikle. The main approach for the analyze of the gastronomic culture and the food is the philosophical conceptualization which overcomes the narrowness of each separate disciplinary approach. So, the food and the gastronomic culture are studied from different points of view – historical, political, sociological, psychoanalytic, ethnographic, etc. Interdisciplinary approach to the analysis of gastronomic was developed in food studies. Currently, food studies includes the philosophy of food and gastronomic culture.

Added: Apr 5, 2013
Article
Сизова И. А. Вестник Томского государственного университета. Культурология и искусствоведение. 2019. № 34. С. 222-233.
Added: Oct 18, 2019
Article
Захарова У. С. Вестник Томского государственного университета. Культурология и искусствоведение. 2012. № 3(7). С. 18-22.
Added: Sep 28, 2018
Article
Сизова И. А., Родионова Д. Д., Мастеница Е. Н. и др. Вестник Томского государственного университета. Культурология и искусствоведение. 2018. № 32. С. 155-166.
Added: Oct 18, 2019
Article
Колыхалова О. А., Кулдошина А. Ю. Вестник Томского государственного университета. Культурология и искусствоведение. 2021. № 1. С. 1-18.

The article analyses the works of English writers: B. Shaw, G. Wells, D. Orwell, S. Maugham between the two world wars in the context of the Soviet era. The research is based on the writers’ original texts. Their attitude towards Soviet Russia ranged from extremely negative to enthusiastically positive. Still, their contribution to the development of dialogue between two great cultures cannot be overestimated. Analysis of their work helps understand the reasons for both disagreement and cooperation that resulted in the alliance of the countries in the world wars.

Keywords: British writers, Soviet Russia, Russian literature, Soviet-British relationships, admiration for socialism, condemnation of Stalin’s socialism

Added: Nov 3, 2020
Article
Шмакова А. С. Вестник Томского государственного университета. Культурология и искусствоведение. 2020.

This article is devoted to the issue of the formation of a new national and social identity of Iranians and the reflection of this process in works of modern Iranian artists.

The purpose of this Research is to identify signs of a crisis in the mentioned nation and social identity of the Iranians through the analysis of paintings made by masters of the Tehran University of pictorial Art.

Due to the interdisciplinary nature of the study the author applied methods and approaches widely used in the field of cultural anthropology, ethnology, sociology, history and art studies.

The source base for this study consist of visual and written materials obtained by the author during her expeditions to Iran in the period of 2016 to 2020. Among the artworks there are copies of paintings by Farzane Tajik and other representatives of Masoud Keshmiri Art School, Tahere Samadi, Mojtaba Tajik, Afarin Sajedi.

Based on the basic principles of cultural relativism, the author claims the relative isolation of cultures and ethnic groups living in Iran, a variety of their origins, value systems and cultural-historical types. 

Modernistic tendencies in Iranian fine art started to express themselves after the Second World War and were accompanied by the great passionate upsurge causing strong tendencies towards abstractionism. After the death of Kamal-ol-Molk (1847–1940) – the Icon of contemporary paintings of Iran – and the establishment of the College of Fine Arts, realism and the excessive academic manner of painting was widely criticized. At the same time symbolism was starting to develop and traditional styles of Persian pictorial art were fancifully mixed with avant-gardism. Today modernism traditions are alive and well developed within the art of young painters.

Themes, genres and techniques used by modern Persian artists nowadays shows the deepest ontological crisis and the search for Self, caused by the big difference between social and religious bases of the different groups of the modern Iranian society.  

The genre and thematic diversity within the framework of the one particular gallery or museum of modern conceptual art, the lack of a logic for the placement of paintings, their classification and typology testify to the creative freedom, recognition of special originality and significance for each work, lack of censorship indicates the beginning of a new era in Iranian fine art. Nevertheless, the works of Iranian contemporary artists show the close connection with traditional Islamic culture, that gives the evidence of the multilayered nature of Iranian society that is the result of ethnic and religious interaction processes.

Modern Iranian society consists of several ethnic and religious layers, which are intertwined in a special way, and that determines basic principles of the functioning of its autonomous parts (value systems and cultural-historical types) as part of the whole complex. Therefore, the author identifies the Iranians as mixed (patchwork).

The national identity of the Iranians is a multilayered structure based on Persian culture, The Zoroastrian beliefs, Shia Islam and modern tendencies.

In the XXI century Schools of contemporary Art in Tehran are represented by Pop art, hyperrealism, surrealism, etc. An analysis of the catalogs of contemporary Iranian paintings revealed the presence of border themes and images, indicating a crisis of ontological security and social identity, the beginning of social deconstruction. At the same time, the reproduction of traditional patterns in its conjunction with new trends in the works of Iranian artists contributes to the stability of Persian culture.

 

Added: Sep 16, 2020