Искусство в контексте пандемии: медиатизация и дискурс катастрофизма
Abstract. The article focuses on the first steps taken by the governments of the Latin American countries in their attempt to check and fight down the spread of the new coronavirus infection (COVID-19). A new alignment of political forces is considered in the light of the next cycle of the presidential election. Latin America has sunk into that crisis having a number of frankly weak points. These points might turn out to be a kind of “levers” starting the undermining of the political, economic and social spheres in the region. The current situation is getting complicated by the unsteady and shattered political landscape that has come to being in the region in the last years. The article exposes a forecast of the possible changes that could take place in the economic map of the region as the outcome of the actual global crisis.
The paper is devoted to the problem of digital life of personality. This study is based on the theoretical development of the Model of the topology of life by E.B. Starovoitenko. I proposed digital and objective shaped spaces in addition to the original Model. Besides I proposed to comprehend the new perspectives of the model of the genesis of significant I-Other relationships in the context of the total digitalization of social and personal relations, the gradual loss of physicality in these relations. The problems of communication, professional activities and relationships of personality in the context of the development of digital culture, which have become especially tangible due to isolation during the COVID-19 epidemic, are discussed.
The present investigation provides one of the first complex attempts to analyze new burgeoning part of theory, that illustrates changes in tourism sector daily within global epidemic crisis. Drawing from system and criterion approach we realized theoretical analyses of the conceptual space mentioned. The analyses mentioned showed preconditions of the considering theoretical space and illustrated the main features of its development within Russian and English academic discourses. Within each of the mentioned discourses we identified some dominating types of academic papers and a number of the most widespread topics. Basing on the analysis mentioned, we described two key investigation strategies “Eastern” and “Western” ones, which differ in general investigation logic that they are based on. The theoretical analysis showed that the question of tourism sector functioning within the pandemic (on the business process level) has not been deeply investigated yet. The key reason for it is the early stage of theorizing on the topic mentioned. At this stage investigations are often not systematic and are not coherent enough. To overcome theselimitation we suggested a model of empirical analysis of tourism sector within pandemic. In the future this model will form theoretical and methodological basis for creating effective tourism sector supporting systems for the cases of global epidemic crisis.
On the occasion of Doha being a cultural capital of the Middle East in 2010 and Istanbul being a cultural capital of Europe, Doha Orientalist museum is holding a symbolic exhibition “A Journey into the World of the Ottomans”, accompanied by a catalogue. Major part of the illustrated exhibition artworks are to come from the Orientalist museum own collection, the Rijksmuseum, as well as other major collections. The exhibition will bring together artists from the sixteenth century onwards, including Bernardino Campi, Jacopo Ligozzi, Nicolas Rycks, Jean-Baptiste Vanmour, Jean-Étienne Liotard, Antoine Ignace Melling, Francesco Hayez, John Frederick Lewis, Walter Gould, Alberto Pasini, Germain Fabius Brest, Oskar Kokoschka, Nikolai Kalmikoff, Vanessa Hodgkinson and Bas Princen. The artworks selected are to illustrate the history of the orientalism development from the sixteenth to twenty first century, which throughout the years shaped the image of the Ottoman world in Europe, covering different genres of orientalist art. - See more at: http://www.skira.net/a-journey-into-the-world-of-the-ottomans.html?___store=en&___from_store=default#sthash.V8N9Mye4.dpuf
This collection of essays was published in a form of a catalogue for one of the propgrams screened at the Yamagata International Documentary Film Fstival in October 2019. The program entitled "The Creative Treatment of Grierson in Wartime Japan" was co-organized by the Yamagata International Documentary Film Festival and the National Film Archive of Japan and presented a broad variety of wartime Japanese documentaries as well as British and Soviet films that have influenced them. The collection of essays explores the development of wartime Japanese documentary cinema from variety of historical and theoretical perspectives.
The paper examines a rare explored phenomenon of Soviet cover design –a number of official releases produced by the only recording concern Melodija on the one hand, and so-called “tape-albums” became widespread among underground people in the late Soviet Union, on another.
This paper explores, mainly from a legal perspective, the extent to which the Russian regulations of traditional TV and online audiovisual media policies have been consistent with the Council of Europe (hereinafter CoE) standards. The study compares between the CoE and Russian approaches to specific aspects of audiovisual regulation including licensing, media ownership, public service media, digitalization, and national production. The paper first studies the CoE perspective through examining its conventional provisions related to audiovisual media, the case law of the European Court of Human Rights as well as the CoE non-binding documents. The paper then considers Russian national legislation governing audiovisual media and the Russian general jurisdiction courts’ practice on broadcast licensing. The paper suggests that the Russian audiovisual regulations are insufficiently compatible with the CoE standards and more in line with the Soviet regulatory traditions.