scholarly journals ЯЗЫК КАК РЕЗЕРВУАР КУЛЬТУРНЫХ КОДОВ В ФИЛОСОФИИ П.М. БИЦИЛЛИ

2020 ◽  
Vol 54 (4) ◽  
pp. 114-119
Author(s):  
И.О. Щедрина
Keyword(s):  
Cultural Studies ◽  
Modern Philosophy ◽  
Creative Work ◽  
Philosophy And Literature ◽  
Cultural Information ◽  
Cultural Codes ◽  
The Subject ◽  
Cultural Code

Одним из актуальных сегодня терминов при работе с тематикой языка и культуры становится «культурный код». Понимаемый как некоторый набор смысловых установок конкретной общности он глубоко укоренен в философии и литературе. Культурными кодами задается творчество, обретающее смысл только в условиях существования языка. Культурная информация оказывается в буквальном смысле обусловлена языком и закодирована паттернами. В статье очерчивается потенциал изучения творческого наследия П.М. Бицилли, философа-эмигранта, обратившегося к тематике языка как резервуара культурных кодов. Ключевые слова: язык, культура, философия, культурный код, русское зарубежье, П.М. Бицилли «Cultural code» is one of the most relevant terms today in the field of language and cultural studies. Understood as a certain set of semantic attitudes of a particular community, it is deeply rooted in modern philosophy and literature. Cultural codes define any creative work, which acquires meaning only in the framework of the existence of language. Cultural information turns out to be literally conditioned by language and coded by patterns. The article outlines the potential of studying the heritage of Pyotr Bitsilli, an emigrant philosopher who turned to the subject of language as a reservoir of cultural codes. Keywords: language, culture, philosophy, cultural code, Russian émigrés, P.M. Bitsilli

Traditional costume as a cultural code: iconography, symbolic and semantics (on the example of a women’s costume)

2020 ◽  
Vol 42 (1) ◽  
pp. 206-212
Author(s):  
Elvira Fayzullina ◽  
◽  
Tatyana Khristidis ◽  
Keyword(s):  
National Culture ◽  
Self Awareness ◽  
Structural Components ◽  
Creative Practice ◽  
Cultural Information ◽  
Cultural Codes ◽  
Symbolic Structure ◽  
History Of ◽  
Cultural Code ◽  
Over Time

The article is devoted to the research of the traditional costume as the material embodiment of the cultural code. The semantic-symbolic structure of a traditional costume undoubtedly reflects significant cultural information about its owner: social and age status, gender, self-awareness, etc. All this together reflects the cultural code of one or another national culture. From the perspective of this research, the traditional women’s costume of the peoples of Eurasia, which, in the opinion of researchers, allows even deeper understanding of the popularity of its motifs in the creative practice of modern designers. In the article, the very history of the emergence and evolution of the basic elements of a traditional women’s costume is considered as a kind of reflection of cultural codes. The researching on the basis of functionality expressed in everyday, festive, ceremonial and ritual functions of clothes is likened to structural components of a cultural code. At the same time, one can trace how over time the iconography, symbolism and semantics associated with his transition from one category to another change in a costume.

scholarly journals Peculiarity of Implementation of the National Cultural Code in Tatar Poetry and Prose of the Second Half of the XX Century

2019 ◽  
Vol 9 (1) ◽  
pp. 7421-7424
Keyword(s):  
20Th Century ◽  
Practical Interest ◽  
Creative Work ◽  
Spiritual Values ◽  
Cultural Codes ◽  
History Of ◽  
Cultural Code ◽  
National Poetry ◽  
Main Components ◽  
The Given

The study of the specifics of the manifestation of cultural codes in Tatar poetry and prose of the second half of the 20th century is of great scientific and practical interest. The timeliness of the chosen topic is conditioned by the need to identify the uniqueness, originality of Tatar national poetry and prose of the given period. At the same time, it should be noted that Tatar poetry and prose of the period of returning to national origins has not undergone comprehensive, holistic, detailed, structural study in terms of reflecting national identity. The goal of research: systematic and comprehensive study of the creative work of Tatar writers of the second half of the 20th century in respect of the aspect of the specifics of the manifestation of the national cultural code in them, identifying the nature of literary interactions and interrelations with Russian literature. The article deals with the specifics of the implementation of the Tatar national cultural code in the works of Amirkhan Eniki, Mirgaziyan Yunys, Ravil Bukharaev, Zulfat, Robert Minnullin, Renat Haris, Hassan Tufan and Ildar Yuzeev. The works under study reflect the Tatar national worldview and contain its main components: the image of homeland and native land, national holidays, moral and spiritual values and the history of the Tatar people. They also reflect the organic connection of the creative work of these writers and poets with the Tatar national culture and literature.

scholarly journals CULTURAL UNIVERSALS IN THE RITUAL TRADITION OF THE TURKIC-MONGOLIAN PEOPLES: VOCABULARY AND CONTEXT

2021 ◽  
pp. 114-123
Author(s):  
Людмила Санжибоевна Дампилова ◽  
Надежда Романовна Ойноткинова
Keyword(s):  
Sacred Space ◽  
Semantic Context ◽  
Cultural Codes ◽  
Ritual Action ◽  
The World ◽  
Deep Meaning ◽  
The Subject ◽  
Cultural Code ◽  
First Time ◽  
Ritual Context

В данной статье рассматривается в семантическом контексте с обрядовым действом лексика в сибирских тюркских и монгольских языках, связанная с культом гор, земли и воды. Основными языками исследования являются алтайский, бурятский и якутский с привлечением монгольских, хакасских, тувинских параллелей. У тюрко-монгольских народов прослеживаются общие принципы организации сакрального пространства, концептуально схожие ритуальные действа в коллективном обряде, посвященном духам-хозяевам местности, присутствуют универсальные атрибуты и символы, характерные для шаманизма и буддизма. Впервые проведен сопоставительный анализ лексем, семантики и символики слов, связанных с обрядовыми действами и сопровождающий их вербальный контекст. Целью работы является выявление сохранности, распространения и трансформации культурных универсалий, имеющих вербальное выражение. Актуальным представляется исследование древнейших культурных кодов, сохранившихся в предметной и акциональной сферах обрядности. Понятие культурного кода в изучении обрядности позволит получить ключ к пониманию культурной картины мира и расшифровать глубинный смысл составных частей обряда (смыслов, знаков, символов, норм и т. д.). В итоге констатируем, что некогда существовала единая тюрко-монгольская традиция шаманизма, имевшая общую культурно знаковую систему, что подтверждается лексическим материалом и их обрядовым контекстом. Рассмотренные два основных ритуала жертвоприношения (кровавые и бескровные) доказывают как древние связи, так устойчивую универсальную последовательность и сохранность акциональных кодов в обрядовом событии монгольских и тюркских народов Сибири. Выявлено, что ключевые лексемы, используемые в предметном коде, имеют универсальную семантическую нагрузку в обрядовом событии. Лексические соответствия и схожие ритуальные предметы и действа, скорее всего, доказывают восхождение обряда к единым корням с последующими региональными и временными трансформациями. Установлено, что одинаковые атрибуты ритуала со схожим или разным лексическим обозначением являются архетипами, отражающими общие культурные коды тюркских народов Сибири и монгольских этносов. The authors consider the vocabulary of Siberian Turkic and Mongolian languages, related to the cult of mountains, land and water in a semantic context with the ritual action. The main languages of the study are Altai, Buryat and Yakut with the involvement of Mongolian, Khakas, and Tuvan parallels. In rites of Turkic-Mongolian people devoted to the host spirits of the area, the general principles of the organization of the sacred space, conceptually similar ritual actions are traced. There are universal attributes and symbols which are illustratory of shamanism and Buddhism. For the first time, a comparative analysis of lexemes, semantics and symbolism of words related to ritual actions and accompanying their verbal context was carried out. The purpose of the work is identifying the preservation, dissemination and transformation of cultural universals with verbal expression. A study of the oldest cultural codes preserved in the subject and actional spheres of rite seems relevant. The concept of a cultural code in the study of rite will provide a key to understanding the cultural picture of the world and allows deciphering the deep meaning of the components of the rite (meanings, signs, symbols, norms, etc.). As a result, we state that there was once a united Turkic-Mongolian tradition of shamanism, which had a common culturally significant system. It is confirmed by lexical material and their ritual context. The considered two main rituals of sacrifice (bloody and bloodless) prove both ancient ties and a stable universal sequence and the preservation of national codes in the ritual event of the Mongolian and Turkic peoples of Siberia. It is revealed that the key lexemes used in the subject code have a universal semantics in the ritual event. Lexical correspondences and similar ritual objects and actions most likely prove the ascension of the rite to single roots with subsequent regional and temporary transformations. It was established that the same attributes of the ritual with a similar or different lexical designation are archetypes reflecting the general cultural codes of the Turkic peoples of Siberia and Mongolian ethnic groups.

scholarly journals Phraseological Units with the Word “Bread” in Russian, Frenchand Italian Linguocultures

2020 ◽  
Vol 11 (2) ◽  
pp. 319-329
Author(s):  
Margarita E. Kaskova ◽  
Olga V. Ustinova ◽  
Elizaveta K. Bolshakova
Keyword(s):  
Mirror Image ◽  
Point Of View ◽  
Language And Culture ◽  
Cultural Connotation ◽  
Cultural Codes ◽  
Language Groups ◽  
The World ◽  
The Subject ◽  
Cultural Code ◽  
Main Component

Language is not only a means of communication between people, but also the cultural memory of the speakers of this language. We believe that in linguistic units there is cultural information that indicates the existence of a category that correlates language and culture, and makes it possible to describe their interaction. A way of verbalizing a culture using linguistic signs is called cultural connotation. Cultural categories are a kind of stereotypes, symbols, standards, mythologemes, archetypes, rituals and other signs of both national and universal culture. The linguistic picture of the world is one of the key concepts that characterize the peculiarity of the relationship between people and the world around them, because “captures a certain image of the world, which is never a mirror image of the world”. The national specificity is revealed in phraseology most of all. It is the phraseological composition of the language that most fully reflects the features of speech behavior, the specificity of the national mentality, manifested through cultural codes. The phraseological image is essential in modeling the linguistic picture of the world of a particular people. In this article, the subject of research are Russian, French and Italian phraseological units with the word “bread” from the point of view of linguoculturology, which allows us to identify the national-cultural identity of the phraseological units under consideration. We believe that the internal form of the phraseological unit contains a certain cultural code, that is, with the help of phraseological units it is possible to characterize representatives of one or another nationality. The subject of this article is a comparative analysis of phraseological units that have the word “bread” as the main component. The object of research is the features of the use of this word as a fragment of the lexical and phraseological systems of the Russian, French and Italian languages. The article compares phraseological units with the “bread” component, which historically goes back to free phrases, analyzes the processes of rethinking both the whole expression and its components. Using the example of phraseological units, we will analize how the lexeme “bread” loses its literal meaning “food” and acquires a new content, introducing new meaning into the semantic structure of the phraseological phrase. The problem under study is very relevant, because it is caused by the growing interest in modern linguistics to study of the mechanisms of secondary nomination in different languages and the identification on the material of phraseological units of specific features of verbal thinking and perception of the surrounding reality by language groups.

Using augmented reality for navigation in space. Creating Visual Dictionaries

2020 ◽  
Author(s):  
Aida Khakimova ◽  
Oleg Zolotarev ◽  
Lyudmila Sharapova ◽  
Daler Mirzoev ◽  
Aleksanra Belaya ◽  
...  
Keyword(s):  
Augmented Reality ◽  
Visual Image ◽  
Cultural Codes ◽  
The Subject ◽  
Spatio Temporal ◽  
The City

The image of the city is a spatio-temporal continuum in which everything is interconnected, it exists as a single monolith expressing itself in the general atmosphere. The visual image of the city may contain two planes of meanings: culturally ratified and universally valid, expressed by cultural codes, and also significant only to those who are viewing the image. Therefore, the content of the visual image depends on who the subject of perception is, what he pays attention to and in what situation the process of perception of the image occurs.

ІНТЕРВАЛЬНИЙ МЕТОД У МЕТОДОЛОГІЇ КУЛЬТУРОЛОГІЇ

2020 ◽  
pp. 43-47
Author(s):  
Admink Admink ◽  
Тетяна Уварова
Keyword(s):  
Cultural Studies ◽  
Research Tool ◽  
Multidimensional Analysis ◽  
Interval Method ◽  
Cultural Research ◽  
Post Modernism ◽  
Key Concepts ◽  
The Subject

Дослідження присвячено розкриттю сутності інтервального методу та введенню його як дослідницького інструменту культурології. Об’єктом дослідження постає методологія культурології, предметом – інтервальний метод, що сформувався у постмодерністській методології. Здійснено спробу експлікації ключових принципів інтервального методу та обґрунтовування необхідності його використання для дослідження культури. Наукова новизна полягає у введенні інтервального методу у методологічний інструментарій культурології. Зроблено висновок щодо можливості введення інтервального методу у методологію культурології як інструменту багатовимірного аналізу культури. The research aims to disclose the essence of an interval method and its introduction as a research tool for the methodology of cultural studies. The object of research is the methodology of culture, the subject of research is the interval method formed in the methodology of post-modernism. In the article, the author attempts to explicate key concepts of the interval method and justifies the necessity of its use in cultural research. Scientific novelty consists in introduction of the interval method into the methodology of cultural studies. The conclusion is made considering the possibility of introduction of the interval method in the methodology of cultural studies as a tool for multidimensional analysis of culture.

Unveiling the subject behind diversity: Exploring the micro-politics of representation in ethnic minority creatives’ identity work

Organization ◽  
2017 ◽  
Vol 24 (3) ◽  
pp. 330-354 ◽  
Author(s):  
Patrizia Zanoni ◽  
Annelies Thoelen ◽  
Sierk Ybema
Keyword(s):  
Ethnic Minority ◽  
Identity Work ◽  
Creative Industries ◽  
The Other ◽  
Politics Of Representation ◽  
Cultural Industries ◽  
Creative Work ◽  
The West ◽  
The Subject ◽  
Creative Subject

Much literature on the cultural industries celebrates ethnicity as a source of creativity. Despite its positive connotation, this discourse reduces ethnic minority creatives to manifestations of a collective ethnic identity automatically leading to creativity, creating a paradox of creativity without a creative subject. Approaching creatives with an ethnic minority background as agents, this article investigates how they self-reflectively and purposely discursively construct ethnicity as a source of creativity in their identity work. Empirically, we analyze interviews with well-established creatives with an ethnic minority background active in Belgium. Most respondents construct their ethnic background as ‘hybrid’, ‘exotic’, or ‘liminal’ to craft an identity as creatives and claim creativity for their work. Only few refuse to discursively deploy ethnicity as a source of creativity, crafting more individualized identities as creatives. Our study contributes to the literature on power and ethnicity in the creative industries by documenting ethnic minority creatives’ discursive micro-struggle over what is creative work and who qualifies as a creative. Specifically, we show their counterpolitics of representation of ethnicity in the creative industries through the re-signification of the relation between the ‘west’ and the ‘other’ in less disadvantageous terms. Despite such re-signification, the continued relevance of the discourse of ethnicity as a key marker of difference suggests that ethnicity remains a principle of unequal organization of the creative industries.

Latviešu metālmūzikas albumu nosaukumi

2021 ◽  
pp. 361-369
Author(s):  
Ingars Gusāns
Keyword(s):  
Current Situation ◽  
Creative Work ◽  
Distinctive Character ◽  
Literary Works ◽  
The Third ◽  
Metal Music ◽  
Local Character ◽  
The Subject ◽  
The Common

The aim of the study is to describe the titles of Latvian metal music albums, from the perspective of content, by identifying the common and distinctive character of the metallic music tradition, and perhaps even the local one. Of 241 album titles (data on Dec. 31, 2019), most are in English, some in French, Latin, Russian, some consisting of digits, and 69 titles in Latvian. These titles are the subject of the research. The main source is Encyclopaedia Metallum (www.metal-archives.com), which still does not reflect the current situation concerning Latvian metal music. Album titles in this study are viewed separately from album designs and song titles and are analysed from the perspective of content. The album title is an important part of the work that has been issued because it is an element that makes the audience/buyer pay attention to the album because it must not be forgotten that today the album is also an item that you want to sell. In general, it can be concluded that Latvian metal musicians, with their album titles in Latvian, are mostly following world trends, as evidenced by the integration in the researcher Deena Weinstein’s classification of Dionysian discourse and discourse on chaos. Most titles are more relevant to the discourse on chaos because the thematic circle of chaos is wider. Latvian mythology, along with history, is an up-to-date source for the creative work of bands that is responsible for the local feeling of the titles. A large enough number are titles that are difficult to fit in the Weinstein’s division and form the third group with philosophical titles and simply all sorts of titles. If the philosophical titles follow the world’s trends, the simple titles include the names of the events, tributes, and the titles of literary works, which give them a local character.

Evil: the experience of philosophical research

2022 ◽  
Author(s):  
Pavel Gorohov
Keyword(s):  
Cultural Studies ◽  
Modern Philosophy ◽  
The Devil

The monograph is devoted to a holistic consideration of the phenomenon of evil. It examines and analyzes philosophical ideas about the nature of evil, which can be found among outstanding thinkers. The figure of the Devil as the main antagonist of God, the "fallen angel" and the progenitor of evil is studied. The main and, in the author's opinion, the most important types and modes of evil, such as hatred, meanness, betrayal, crime, etc., are analyzed. Designed for everyone interested in the problems of modern philosophy, cultural studies and ethics.

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