To date, Russian cosplay community has thousand members from all over the country, and the word "cosplay" is widely used in media. Despite its prominence, cosplay remains a fan practice or, using Henry Jenkins’ term, participatory practice. In participatory culture (or cultures) fans not only consume media content but actively interpret it and make their own. This article attempts to restore the history of Russian cosplay – its development and its perception. Using media publications from newspapers and magazines that are not directly related to mass culture, we gain a view from outside the community and analyze different context of the usage of the word "cosplay". In sum, we try to answer the question if russian cosplay community and cosplay itself are stigmatized as a part of participatory culture or not.
This article is dedicated to analysis of current state of British popular music that was capaciously named as ‘Retromania’ by famous English music critic Simon Reynolds. The author explores a model of the referencing with the Past, its components and features of cultural forms. In the focus of research are processes that redirect and radically change the structure of musical statement.
The article deals with the origins of Hobbes's representations of visual perception, to show by way of example, on the one hand, the functioning of the mechanism of perception in the work of Hobbes and, on the other hand, features the conversion from the scholastic understanding of sensation to the mechanistic treatment. Shall be reconstructed a context of the emergence of Hobbes’s optical theory, established the lines of succession (J. Kepler, I. Beckman, W. Warner). The author argues that Warner’s optical theory was a connecting link between the scholastic aristotelianism and Hobbes’s mechanicism and prepared the way to change from the metaphysical to the physiological understanding of visual perception.
The article is dedicated to Heidegger’s understanding of spatiality. It isn’t reconceptualized ontology or cognitive modeling, but recovering of experience structures, closer to aesthetic descriptions, as dimension, expression, narration of the space. Heidegger’s conception of spatiality is rupture with phenomenology, and it pretends to base aesthetics and artistic practice both on complex notion of a priori experience of spatial relations.
In this paper we consider the presuppositions of the question of Othello in the context of the important Christian ideas: the idea of salvation, the idea of repentance, the value of prayer and the ratio between the «earthly» world and the heavenly world. Like this, Hamlet says that murder of Claudius during prayer «is hire and salary, not revenge». Shakespeare's characters comprehend concepts of « life» and « death» in terms of earthly suffering and heavenly bliss. In this context the words of Othello have special meaning. The murder of Desdemona Othello calls «sacrifice». In the tragedy the sacrifice is the opposition of the murder. In this semantic context Othello calls itself «An honorable murderer» («For nought did I in hate, but all in honor»). In this way, question of Othello gives special sense to his action.
The article is an attempt to analyze Ridley Scott's "Robin Hood", who instrumentalized the history in his draft. It's curios to do it in order to understand what is necessary to consider in case the historical film can be watched as authentic, can be regarded in such way? Can we say that the film is really an attempt to reconstruct the history or just a "decoration", which is more convenient for the author to conduct the dialogue with the audience?
The article is devoted to the problem of corporeality as a sociocultural phenomenon. Today “corporeality” is being re-evaluated in connection with the “extended body” concept and manifestation of the principle of “morphological freedom”, as well as the development of technologies that allow changing the structure of the human body through surgical, genetic, plastic and other corrections. The article examines such directions of development / “improvement” of a person as “cyborgization” and “virtualization”, and also analyzes some practices of contemporary art and design which dwell upon the concepts of body and transgression. In addition, the article attempts to integrate the “extended body” phenomenon into the current socio-economic context.
This paper considers the strategies of trophy films exhibition in the USSR during the first postwar. Through analyzing transcripts of film official’s sessions, resolutions of the Council of Ministers of the USSR and other archival sources, this research is aimed to reconstruct the history of exhibition and circulation of foreign films in the frames of Soviet model of distribution. As multiple studies have shown, the circulation of trophy films was aimed to fulfill the governmental budget. Last but not least, the Soviet film distribution system implied the coexistence of several types of film networks (state network, trade union network, ministerial network), each of which had to fulfill the annual plan of profits. This decentralization resulted in the networks to compete with each other. Under these circumstances, trophy films became a valuable source of revenues. This article shows how the practices of this inter-network competition, such as spreading of Soviet and foreign films, the struggle for cinema theatres, advertising and film exhibition policies, have influenced the history of film distribution in the USSR.
This article is concerned with how Helmuth Plessner's anthropology interprets fine art, both philosophically and historically. This article reviews the essential notions of Plessner's philosophy of art, these are philosophy of style, a pattern ofoeuvre, and a piece ofart; also supports Plessner's thesis about a death of artistic consciousness from the spirit of music as part of criticism of expressionism; and concludes that Helmuth Plessner states that the modern painting disrates thingness and denies all traditions forms and ways of vision, considering this denial as a symptom of a modern drama in a consciousness of a human being who has lost his/her anthological place and founds himself/herselfin front of open emptiness of Nothing created by his/her freedom.
This paper is dedicated to the analysis of the existential-ontological concept ofH. Plessner. In the paper the thesis that the philosophical anthropology of H. Plessner refutes the existential-ontological substantiation of the whole world-comprehension in the pre-empirical anthropology as the theoretical doctrine of “being-consciousness” is substantiated. According to Plessner, the philosophy of person is impossible without the philosophy of nature, as far as the mode of existence of the person can be perceived only as the mode of being of the “natural entity”. On this basis the philosophy subject is to be, according to Plessner, not theoretical, but “living”, or natural, existentia.
The article presents a development way of the symbolic language of the Dutch painter Jan Toorop (1858-1928), a contemporary of Van Gogh and Gustav Klimt, who played a big role in the formation and establishment of the symbolism in the European countries at the end of XIX-beginning of the XX century. Analyzing the personality of the artist, his creative path, and the main works, the article reveals the style of the works and its importance for the development of certain art areas.