The Representation of “Abundance” in the “Book on Tasty and Healthy Food”. This article explains how the slogans of “Abundance” and “Good Life” declared by Stalin in the mid 1930s were expressed in the “Book on Tasty and Healthy Food” both on the textual and visual level and proposes interpretation of this coolective work not only as a cookbook but as an example of Soviet social utopia where elements of realism and even practical utility are combines with an idealised vision of a future that has already arrived.
This research is devoted to spectator's role in the system of screen culture: in cinema, television, video art and computer games especially those designed for the virtual reality. Special attention is paid to the variety of unspoken rules and conventions in such spaces as cinema-hall and contemporary art gallery due to the way such differences affect spectator's behaviour and perception as well as the measure of his activeness in the communication process. The field of virtual reality is perceived as emerging and aesthetically dubious.
The novelty of the research is caused by problematisation of spectator's figure in post-classic screen culture. Meanwhile the role of cinemagoer is analysed in numerous issues by culture theorists and psychologists who depicted the communicative mechanics of cinema, the role of video and new media art spectator has not been explored yet. The author argues that moving images on contemporary art scene calls for viewer's activeness, critical perception and co-experiencing while the "hot" media are designed for passive audience.
The paper discusses theoretical base for studying biases of communication among contemporary students. Herbert Marshall McLuhan’s conception of media could be interpreted for this purpose. McLuhan ideas are actual again in the epoch of Internet and mobile technologies. Through development of McLuhan and his students ideas author shows that bias of communication facilitates this or that practices of gathering and analyzing information during educational process. Theoretical discussion is illustrated with cases from author’s educational practice.
The article examines the chronotope of fairy tale as a basic plot component in the structure of the novel “My Children” by the contemporary Russian writer Guzel Yakhina. The article investigates the ways of archetypical space functioning within the system of mythological time, and analyzes the principal space and time coordinates of the lives of main characters and their interaction. There is shown that Yakhina’s appeal to the genre elements of fairy tale allows her to underscore the universal and all-encompassing nature of the historical processes that shaped the tragic fate of the Volga Germans in Soviet Russia. In the novel “My Children”, the plots and images of German folklore serve as a basic model for organizing different types of space arising from the stable archaic communicative models and cultural archetypes of folk tradition. The novel presents such elements of the space and time continuum of fairy tales as the existence of borders (both open and closed) and the character’s travels within different worlds; the transformative capacity of space and time (extension and compression, appearance and disappearance, plasticity and rigidity, dynamic and static properties, etc.); the link between the “lower” and the “upper” worlds or the “space of giants” and the “space of dwarves”; and the mutual influence of space and time characteristics.The article identifies the semiotic and semantic properties of the underground, underwater, aquatic, terrestrial and aerial spaces presented in the novel. The everyday and socio-historical space and time continua in the novel are a mirror reflection of the space and time characteristics of fairy tale, while archetypes are incarnated in the domain of social interaction. Yakhina’s novel “My Children” presents such chronotopic features as relativism, invariance, and symmetry. The use of the archetypical structure of fairy tale allowed the writer to make a literary analysis of complex socio-cultural and socio-psychological processes.
The article is devoted to the problem of or- ganization of a productive dialogue between represent- atives of different sciences during the comprehensive interdisciplinary research of man in the context of tra- ditional culture. The prerequisites to the given prob- lem statement have been formed during a long-term experience of joint field studies made by the authors in Russia (Adygea, Russian North, Bashkiria, Buryat- ia, Kabardino-Balkaria, North Ossetia, Khakassia, Ya- kutia and other regions) and Mexico, as well as through the analysis of relevant results of academic and re- search work. As a solution of the given task, the authors develop the methodological construction “metaposi- tion” that allows to approach to complexity and inter- disciplinarity of research through the principle of dia- logue in the common sociocultural field. Metaposition as a technology of organization of polyprofessional co- operation of different experts in a common research space is aimed at development of scientists’ skills of fix- ation, systematization and representation of the re- sults of their work taking into account positions of their colleagues from other subject areas. Realization of this technology leads to creation of a metalanguage and to widening of researcher’s scientific culture (theoreti- cal frames of each expert, style of their scientific reason- ing and personal qualities). The development of meta- position as a stable system of cooperation between different positions of researchers suggests three inter- related stages: defining the research’s common field; re- vealing the borders of scientific positions; constructing the interpositional dialogue. Opportunities of applica- tion of the methodological construction “metaposition” at different stages of field research (before the field, at the field, after the field, during analysis of the field data) are concretized through a relevant algorithm and sup- ported by examples from the field practice.
The article is devoted to contemporary comic series perceived as a kind of "laboratory" designed for experiments with narration. Focusing on the dynamics of spatial and temporal continuums in various types of comics (books, magazines, web-pages, and interactive platforms) we argue that the manner of narration in this "sequential art" resembles that of contemporary media art being built on the principles of montage adjusting to various communicative systems.