scholarly journals CULTURE-BASED STUDIES’ TOPOGRAPHY IN THE MODERN FRENCH SOCIAL SCIENCE

2019 ◽  
pp. 14-17
Author(s):  
B. E. Nosenok
Keyword(s):  
Social Sciences ◽  
Cultural Studies ◽  
Cultural History ◽  
Interdisciplinary Approach ◽  
The Body ◽  
Social Knowledge ◽  
History Of Culture ◽  
Critical Turn ◽  
Definition Of ◽  
First Time

Cultural studies as a humanities researcher takes the place of an expert. The relevance of this topic is due to the lack of development of the issues of “culture-based studies” in Ukrainian culturology. There is a lack of translated into French or Ukrainian languages of French sources published since 1975. French culturological science, which developed after 1975, is almost not represented in Ukrainian culturology. The present stage of the development of French historiography, which lies at the heart of cultural history, and cultural studies, is associated with increased attention to social knowledge. This stage is characterized by the deployment of a “critical turn”, which proceeds from the following principles: the interdisciplinary approach, the significance of cultural expertise, the severity of publications and the multiplicity of their forms, multidisciplinarity. The “critical turn” affects the following spheres of knowledge: la Culturologie, les Études culturelles, les Sciences de la Culture. The article substantiates the relevance of the use of the concept of “culture-based studies” to the definition of processes that are unfolding within the framework of French humanities and are associated exclusively with the theoretical formations in the context of the social sciences. The purpose of the article is to outline a map of culture-based studies in the field of French humanitaristics. The methodology of the article is based on the application of interdisciplinary and multidisciplinary approaches to research in the field of culturology. Also, methodological developments in the field of “critical turn” and the achievements of the sociological circle and the interdisciplinary discussion club “Eranos” were applied. The scientific novelty of the article is to substantiate the appropriateness of the use of the concept of “culture-based studies” on the definition of processes that are unfolding within the framework of French humanitaristics and relate exclusively to theoretical formations in the context of social sciences. This concept to the field of Ukrainian culturology is introduced for the first time. Also, for the first time, the place and forms of culturology in French humanities were clarified. Conclusions. Working with a source base and methodology is one of the points that are compulsory on the way to the solution of the tasks, the main of which is the formation of the body of fundamental works for French history (including the history of culture) and historiography of the period since 1975 year to the present day. On the basis of this building, there is the prospect of building an alternative national cultural history project addressed to the vector of the French historiographical, historical-anthropological and cultural-related issues in the field of social knowledge. The article presents the arguments why it is appropriate to use the concept of “culture-based studies” in the context of conducting research in relation to French humanitaristics, in particular, the modern period of its development.

Derrida on Pornography: Putting (It) Up for Sale

Derrida Today ◽  
2013 ◽  
Vol 6 (1) ◽  
pp. 97-114 ◽  
Author(s):  
Christopher Morris
Keyword(s):  
Cultural Studies ◽  
English Translation ◽  
The Body ◽  
The Past ◽  
French Original ◽  
Definition Of ◽  
Critical Discourses ◽  
Academic Debate

Over the past thirty years, academic debate over pornography in the discourses of feminism and cultural studies has foundered on questions of the performative and of the word's definition. In the polylogue of Droit de regards, pornography is defined as la mise en vente that is taking place in the act of exegesis in progress. (Wills's idiomatic English translation includes an ‘it’ that is absent in the French original). The definition in Droit de regards alludes to the word's etymology (writing by or about prostitutes) but leaves the referent of the ‘sale’ suspended. Pornography as la mise en vente boldly restates the necessary iterability of the sign and anticipates two of Derrida's late arguments: that there is no ‘the’ body and that performatives may be powerless. Deriving a definition of pornography from a truncated etymology exemplifies the prosthesis of origin and challenges other critical discourses to explain how pornography can be understood as anything more than ‘putting (it) up for sale’.

The Hurt(ful) Body

2017 ◽  
Keyword(s):  
Early Modern ◽  
Cultural History ◽  
Art History ◽  
Interdisciplinary Approach ◽  
Early Modern Period ◽  
The Body ◽  
Literary Studies ◽  
Dialectical Approach ◽  
History Of ◽  
Theatre Studies

This book offers a cross-disciplinary approach to pain and suffering in the early modern period, based on research in the fields of literary studies, art history, theatre studies, cultural history and the study of emotions. It has a sustained focus on visual sources, textual material and documents about actual events rather than well-known thinkers or ‘masterpieces’ of art history, and a preference for cases and historical contexts over systematic theory-building. The hurt(ful) body brings under discussion visual and performative representations of embodied pain, using an insistently dialectical approach that takes into account the perspective of the hurt body itself, the power and afflictions of its beholder and, finally, the routinising and redeeming of hurt within institutional contexts. The volume’s two-fold approach of the hurt body, defining ‘hurt’ both from the perspective of the victim and the beholder (as well as their combined creation of a gaze), is unique. It establishes a double perspective about the riddle of ‘cruel’ viewing by tracking the shifting cultural meanings of victims’ bodies, and confronting them to the values of audiences, religious and popular institutional settings, and practices of punishment. It encompasses both the victim’s presence as an image or performed event of pain and the conundrum of the look – the transmitted ‘pain’ experienced by the watching audience. This will be done through three rubrics: the early modern performing body, beholder or audience responses, and the operations of institutional power. Because of its interdisciplinary approach of the history of pain and the hurt(ful) body, the book will be of interest for Lecturers and students from different fields, like the history of ideas, the history of the body, urban history, theatre studies, literary studies, art history, emotion studies and performance studies

scholarly journals Meaghan Morris: Cultural Historian

2018 ◽  
Vol 24 (1) ◽  
Author(s):  
Chris Healy
Keyword(s):  
Social Sciences ◽  
Cultural Studies ◽  
Cultural History ◽  
Knowledge Work ◽  
Academic Disciplines ◽  
Social Sciences And Humanities ◽  
The Social ◽  
Cultural Historian ◽  
The Moment ◽  
Cultural Theorist

Meaghan Morris was celebrated at the Meaghan Morris Festival as a mentor, a cultural theorist, a much-loved colleague, a lecturer, a polemicist and a stirrer, a teacher, an internationalist, a translator and much else besides. Here, I want to add to that chorus by making a very specific case: that Meaghan Morris is the most significant and innovative living Australian cultural historian. This characterisation is, in part, rooted in my own investments in work at the intersections of cultural studies and cultural history but it is of much greater significance. An influential contemporary characterisation of cultural studies is that it was a boomer reaction to existing disciplinary constraints, a manifestation of anti-canonical impulses that choose instead to celebrate marginality while at the same time making an innovative case for the ways in which culture matters. It follows that if, today, academic disciplines in the social sciences and humanities have become highly flexible (rather than canonical) and maintained their institutional hegemony while simultaneously becoming irrelevant to much knowledge-work and that, today, margins and mainstreams seem like next-to-useless terms to describe cultural topographies or flows and that, today, culture matters nowhere so much as the rapacious industries of media cultures, then perhaps the moment of cultural studies seems of historical interest only.1

“Slavic World: Commonality and Diversity” Young Scholars Conference 13–14 October 2020. Session “Literary studies. Cultural history”

2020 ◽  
Vol 15 (3-4) ◽  
pp. 255-259
Author(s):  
Natalia A. Lunkova
Keyword(s):  
Cultural History ◽  
Literary Studies ◽  
Slavic Languages ◽  
History Of ◽  
History Of Culture ◽  
Public Organisations ◽  
Academy Of Sciences ◽  
First Time ◽  
Young Researchers

The Young Scholars Conference at the Institute of Slavic Studies, Russian Academy of Sciences, has been held since 2014. In 2020, the organisers had to change the previous timing of the event –it had previously been timed to correspond with the Day of Slavic Writing and Culture (May 24th), but for the first time it was not held in May but in October. The format of the Conference was also changed: the participants made their presentations remotely on the ZOOM platform. As usual, there were three broad topic areas: “History”, “Linguistics”, and “Literary Studies. The History of Culture”. The wide geographical coverage of the participants should be mentioned. This year, young scholars from Moscow, St. Petersburg, Yekaterinburg, Kazan, Kaliningrad, Kirov, Rostov-on-don, Chisinau (Moldova), Ljubljana (Slovenia), Macerata (Italy), and Minsk (Belarus) presented their research. Historians discussed many issues, including the problems of governance and modernisation in multinational states, memory policy in Slavic countries, and the role of parties and public organisations in overcoming crises. The section “Literary Studies. The History of Culture” focused on the reception and translation of works in Slavic languages and the problems of poetics in literature and cinema. Linguists paid attention to issues surrounding the grammar of modern Slavic languages, dialectology, and paleoslavistics. Moderators’ comments made the Conference, as usual, a kind of “school” for the young researchers. The conference proceedings have been published.

scholarly journals Genre poetics of R. Wagner’s “Parsifal” in the context of Gesamtkunstwerk idea

2021 ◽  
Vol 24 (24) ◽  
pp. 7-36
Author(s):  
Ivanova Iryna
Keyword(s):  
Cultural History ◽  
Interdisciplinary Approach ◽  
Spacetime Dimension ◽  
Musical Drama ◽  
Theatre Arts ◽  
Musical Characteristics ◽  
Materials Used ◽  
Definition Of ◽  
The 19Th Century ◽  
Gradual Transformation

Background. Over the course of the last decades, musicology was marked by a revival of interest in the phenomenon of artistic synthesis. This paper considers it in view of “general unity” as one of techniques of understanding the 19th century culture. Such a mindset can be defined by various terms, including Gesamtkunstwerk. The scholars today do not narrow this term down to a mere synthesis of arts, but add immersion into cultural history to it. This allows us to view Gesamtkunstwerk as a way of cultural memory existence, and genre poetics of R. Wagner’s musical drama as a bearer of this memory. In this context, special place belongs to “Parsifal”, which in this article is presented as an absolute embodiment of the idea of Gesamtkunstwerk. The aim of the article is to reveal compositional devices, through which references of “Parsifal” poetics and other genres of different arts create “general unity” under the sign of “Gesamtkunstwerk”. A genre method, a systematic method based on interdisciplinary approach, and a comparative one are chosen as methods of research. Research materials used in the paper relate to different branches of Humanitarian knowledge, including theatre arts (S. Mokulsky), literature (M. Bakhtin), medievistics (A. Gurevich), musicology (M. Veremiova, N. Vieru, E. Makhrova, K. Richter, A. Philippov etc.). It is noted that the definition of “Bühnenweihfestspiel” indicated in the score speaks of the relatedness of this work to the genre of medieval mystery. We have detected some common features of “Parsifal” like slow-paced events, their rather low concentration in time and meticulous development of verbally-acoustic matter. In the musical drama under consideration both a word and a system of leitmotifs function as an instrument for the above-mentioned scrupulosity; thus, poetics of a mystery is transformed into poetics of musical drama. The references of “Parsifal” to medieval epics are noted. Its plot contains only essential for the main storyline events. Cumulative method is chosen as the basic one which defines the algorithm of compositional movement, making it somewhat discrete. At the same time, the continuous flow of leitmotif development contributes to endless disclosure of the sense and its symbolization. Duality of time contributes to appearance of spatiality in genre poetics of “Parsifal”, which also corresponds to the epic poetics. There are some references between genre poetics of “Parsifal” and such types of novel as “Erziehungsroman” and “adventure novel”. The features of “Erziehungsroman”, based on a choice of constantly evolving protagonist as a plot-creating device are embodied to the fullest extent in a presentation of the main hero of “Parsifal”. In the work he passes the way from a naïve youth to the saviour of The Holy Grail, doing the deed of all-embracing love, thus the portrayal of his image is done according to the principle of development. At the same time, there have been revealed differences between the last work of the composer and “Lohengrin”. Unlike Elsa, with her gradual transformation, Parsifal undergoes this process almost instantly. But R. Wagner, using leitmotiv system, reveals subconscious psychological development, thus using it as a nonverbal explanation of one of the essential plot events in the work. The links between “adventure novel” and “Parsifal” lie in the type of intrigue, localization of space-time, due to which it is differentiated into adventurous, legendary, psychological etc. The hero, shifting into another spacetime dimension, transforms his image. This paper shows it on example of Kundry. This heroine in her cyclic “death – resurrection” transformations completely belongs to poetics of the myth, although the composer here does not use it as an example, as he fills musical characteristics of Kundry with all the traits of opera character. The article explores references of “Parsifal” to Passions by J. S. Bach. It is pointed out that in this case R. Wagner does not follow their specific traits, as he chooses the most essential features of poetics of this genre. A сonclusion is made that genre poetics of “Parsifal”, reflecting the features of poetics of another genres, incorporates their essential traits, which are then intertwined into general texture of musical drama, creating inseparable fusion, according to the Gesamtkunstwerk idea.

The Mechanismic Worldview: Thinking Inside the Box

2007 ◽  
Vol 38 (1) ◽  
pp. 161-179 ◽  
Author(s):  
JOHN GERRING
Keyword(s):  
Social Sciences ◽  
Qualitative Case Study ◽  
The Body ◽  
Causal Factor ◽  
Simple Task ◽  
The Social ◽  
Micro Level ◽  
Definition Of ◽  
General Explanation

A widespread turn towards mechanism-centred explanations can be viewed across the social sciences in recent decades. This article clarifies what it might mean in practical terms to adopt a mechanismic view of causation. This simple task of definition turns out to be considerably more difficult than it might at first appear. The body of the article elucidates a series of tensions and conflicts within this ambient concept, looking closely at how influential authors have employed this ubiquitous term. It is discovered that ‘mechanism’ has at least nine distinct meanings as the term is used within contemporary social science: (1) the pathway or process by which an effect is produced; (2) an unobservable causal factor; (3) an easy-to-observe causal factor; (4) a context-dependent (bounded) explanation; (5) a universal (or at least highly general) explanation; (6) an explanation that presumes highly contingent phenomena; (7) an explanation built on phenomena that exhibit lawlike regularities; (8) a distinct technique of analysis (based on qualitative, case study, or process-tracing evidence); or (9) a micro-level explanation for a causal phenomenon. Some of these meanings may be combined into coherent definitions; others are obviously contradictory. It is argued, however, that only the first meaning is consistent with all contemporary usages and with contemporary practices within the social sciences; this is therefore proposed as a minimal (core) definition of the concept. The other meanings are regarded as arguments surrounding the core concept.

The Concept of Social Policy (Sozialpolitik)

1979 ◽  
Vol 8 (1) ◽  
pp. 47-59 ◽  
Author(s):  
Werner J. Cahnman ◽  
Carl M. Schmitt
Keyword(s):  
Social Sciences ◽  
Social Policy ◽  
Social Action ◽  
English Language ◽  
Theoretical Foundation ◽  
German Literature ◽  
The Social ◽  
Definition Of ◽  
First Time ◽  
Language Literature

ABSTRACTThe concept of Sozialpolitik (social policy) has rarely been considered in the English-language literature thus far. The present article surveys the pertinent English, American and German literature which led to the initiation of the Verein für Sozialpolitik (Social Policy Association) in 1873. All these efforts culminated in Otto von Zwiedineck's classic book, Sozialpolitik (1911). A chapter of this book, now printed in Zwiedineck's collected essays, Mensch und Wirtschaft, is offered in English translation for the first time. The article presents and clarifies the concept of Sozialpolitik in terms of social action directed toward problems affecting society as a whole and the continued attainment of society's goals. However, the definition of these goals remains subject to change. A theoretical foundation for the integration of scientific and normative perspectives in the social sciences is thereby provided.

A mapping of JLASSS: The academic consolidation of the socio-cultural studies of sport in Latin America

2020 ◽  
pp. 101269021989365
Author(s):  
Leonardo do Couto Gomes ◽  
Leticia Cristina Lima Moraes ◽  
Wanderley Marchi Júnior ◽  
Marcelo Moraes e Silva
Keyword(s):  
Social Sciences ◽  
Latin America ◽  
Cultural Studies ◽  
Latin American ◽  
American Association ◽  
Interdisciplinary Approach ◽  
Science Research ◽  
Sports Science ◽  
Human And Social Sciences ◽  
Under Construction

The present study aims to map the research published in the Journal of the Latin American Socio-cultural Studies of Sport (JLASSS) in order to provide a panorama of the development of socio-cultural sports science research within the Asociación Latinoamericana de Estudios Socioculturales del Deporte (ALESDE—Latin-American Association of Socio-Cultural Studies of Sport). In order to accomplish this aim, we catalogued the journal papers from the first edition (2011) to the last (2018), which comprised a total of 91 papers written by 153 different researchers and published in 14 issues. The most recurrent themes were related to social, cultural, and historical aspects, corresponding to 48.35% of the publications. However, despite the predominance of these themes, the thematic plurality of the journal is expressive. Therefore, it is evident that JLASSS presents an interdisciplinary approach to the human and social sciences when scientifically addressing the sports phenomenon. As a conclusion, this paper indicates that the field related to the socio-cultural studies of sport in Latin America is under construction and that ALESDE and JLASSS intend to be the protagonists in the strengthening of this field.

scholarly journals Theoretical and methodological approaches to understanding the concepts of "vitality" and "subjective vitality" in the framework of the conceptual model for the development of subjective vitality of the heads of internal affairs bodies

2020 ◽  
Vol 6 (1) ◽  
pp. 10-19
Author(s):  
Tatyana Maltseva
Keyword(s):  
Psychological Research ◽  
The Body ◽  
Subjective Vitality ◽  
Human Functioning ◽  
Energy Aspect ◽  
Life Force ◽  
Dynamic Psychology ◽  
Definition Of ◽  
Vital Forces ◽  
First Time

Today, the definition of “subjective vitality” is interpreted in many research works as the experience of a person being full of energy, the vital forces available to her. Therefore, there is a need to consider the relationship and difference in the scientific understanding and development of such ends as “life force” and “subjective vitality”. The concept of “life force”, used in modern literature, is devoid of both a supernatural character and the functions of a natural science fact. The energy aspect of human functioning is more developed in our opinion in psychological research than in philosophical and natural sciences. For the first time, a description of the energetic component of a personality in line with psychology is found in works performed in line with a psychoanalytic direction. In the dynamic psychology of K. Levin, an approach to the energy component of the personality is described. E. Byrne believed that human energy can be directed inward, towards himself, and outward. From the perspective of describing the nature of vital energy, V. Reich's approach has been developed. According to A. Lowen, a single energy, enclosed in the body, manifests itself both in psychic phenomena and in movements; this energy is bioenergy. In the work of practical psychologists, one can find a difference in understanding of vital energy and energy.

scholarly journals Mediating the Sacred between Junkanoo and the Church in Contemporary Bahamian Society

2019 ◽  
Vol 3 (1) ◽  
pp. 85-95
Author(s):  
Carlton J. Turner
Keyword(s):  
Social Sciences ◽  
Cultural Studies ◽  
Social Research ◽  
Interdisciplinary Approach ◽  
Theological Reflection ◽  
Anglophone Caribbean ◽  
The Social ◽  
African Caribbean ◽  
The Caribbean ◽  
The Church

Abstract It can be argued that theology in the Caribbean has, until recently, been reticent in engaging cultural studies, and particularly in using African Caribbean religiocultural heritages and art-forms such as carnival, reggae, stickfigting, Obeah and Myal, as examples, as sites for theological reflection. Undergirding this reticence is a colonially inherited belief in a dichotomy between the sacred and the secular; between the church and culture; and consequently, between theology and the social sciences. This paper argues that despite popular mis-conceptions, Junkanoo, a mainly Anglophone Caribbean street festival fundamental to Bahamian identity, has always functioned as a new and liberative way of doing theology in that context. Its complex relationship with the church deeply challenges concepts of sacredness, secularity, profanity, and idolatry as they are lived out in contemporary Bahamian life. This insight is important not only for theological research and discourse, but also for cultural studies and various forms of social research, since accessing the dynamic truths of such African Caribbean religiocultural productions and experiences require such an interdisciplinary approach.

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