Музейное дело и охрана памятников
The project is designed to stimulate interest of citizens of the Asian-Pacific region (APR) to research the objects of Russian cultural. In the course of the project, four interactive excursions were held in the scientific museum of the rare book of the Far Eastern Federal University (FEFU). Foreign students of the FEFU became the students of the excursions.
The article analyses the debates among the South African establishment on the Land issue and a possible amendment to the Constitution which would enable the government to expropriate land without any financial compensation. It is crucial to note that the Land reform is currently high on the agenda of the South African society, to say the least. Debates on the expropriation of land without compensation were resumed in the country shortly after December 2017 when ANC announced its readiness to reconsider article 25 of the Constitution, the article which stipulates property rights for land. Whereas there is a common understanding in South Africa that the land issue is to be addressed as soon as possible, opinions on how to achieve this goal differ significantly. Proceeding from their field research conducted in South Africa, the authors analyze the stand of the modern church organizations and social movements on the Land reform. The question hanging in the air is whether it is acceptable to expropriate land in order to fix the housing crisis in the South African megalopolises. Also, the article attempts to consider the Land reform as a possible solution to the housing crisis in South Africa. All things considered, the Land reform is a multifaceted issue with too many stakeholders, including government and different social, traditional and religious groups. In a nutshell, the Land reform is a Catch 22 situation where any move could be fraught with serious repercussions.
This article is dedicated to an analysis of the transmission of memories of the pre-revolutionary past among the Soviet musical and artistic elite in the second half of the 1930s. Some of the memoirs and autobiographical writings from that period were initially created only for handwritten circulation or to be read aloud to friends and guests at home. In this case, the microsocial environment in which these memoirs were to function had a large influence on the thematic repertoire, hierarchy of values, and type of subjects written about and depicted, as did family memoir traditions and family archives. The author uses the concept of the episteme of memory, introduced by psychologist Jens Brockmeier, as the analytical framework for discussing this set of issues. The memoirs of the opera singer Maria Dulova, written from 1934—1935, serve as the case study.
The visual art of the last decades privileges, explicitly or implicitly, social rather than art historical or aesthetic issues. In sites ranging from university classrooms and journals to museums and biennials, the emphasis is usually put on how effectively art handles the social issues of the day while questions of aesthetic value are often treated as suspicious and ideological. Given this anti-art character in these contexts of mediation, the insistence to perceive the objects as artistic objects constitutes a paradox that has been rarely discussed in sociological terms. This article draws on ethnographic research in order to explore “biennial art” that is to say the art that displayed in contemporary art and international platforms of showcasing. These platforms struggle to maintain a concept of art as social practice while at the same time nurture an exclusive and highbrow environment in which “artfulness” is key. I call this quality artfulness so as to both underline its artificiality as well as the inventiveness and skills required for its production. Artfulness in these sites is enabled through various formal or informal rituals of valorization, including guided tours, curatorial statements, media promoting activities and artist talks. These rituals, positioning certain objects within the sphere of art and producing them as objects meriting aesthetic interpretation, resemble the politics of publicity found in aesthetic capitalism at large.