Selfi es

2018 ◽  
Vol 2018 (1) ◽  
pp. 83-96
Author(s):  
Ramon Reichert

The history of the human face is the history of its social coding and the media- conditions of its appearance. The best way to explain the »selfie«-practices of today’s digital culture is to understand such practices as both participative and commercialized cultural techniques that allow their users to fashion their selves in ways they consider relevant for their identities as individuals. Whereas they may put their image of themselves front stage with their selfies, such images for being socially shared have to match determinate role-expectations, body-norms and ideals of beauty. Against this backdrop, collectively shared repertoires of images of normalized subjectivity have developed and leave their mark on the culture of digital communication. In the critical and reflexive discourses that surround the exigencies of auto-medial self-thematization we find reactions that are critical of self-representation as such, and we find strategies of de-subjectification with reflexive awareness of their media conditions. Both strands of critical reactions however remain ambivalent as reactions of protest. The final part of the present article focuses on inter-discourses, in particular discourses that construe the phenomenon of selfies thoroughly as an expression of juvenile narcissism. The author shows how this commonly accepted reading which has precedents in the history of pictorial art reproduces resentment against women and tends to stylize adolescent persons into a homogenous »generation« lost in self-love

2020 ◽  
Author(s):  
А.Б. Бритаева

В представленной статье на материале произведений Музафера Дзасохова известного современного осетинского писателя, поэта, публициста, переводчика, рассматриваются художественные особенности лирической прозы, а именно, автобиографической повести в осетинской детской литературе. Повесть Весенние звезды (1973) и ее продолжение На берегу Уршдона Барагун (1981) стали началом эпопеи о жизни отдельно взятой семьи, а на их примере всей страны в тяжелые послевоенные годы. В качестве одной из важнейших констант художественного мира писателя рассматривается образ детства. В ходе анализа особое внимание уделяется преобладанию нравственного аспекта, актуализации проблемы регулятивно-воспитательной функции национального этикета, ценностно-нормативных ориентиров осетинской ментальности. С опорой на биографический и историко-генетический методы, основное внимание в исследовании акцентируется на темах послевоенного детства, роли семьи и общества в формировании нравственных ориентиров, в становлении личности, образе матери, теме памяти, а также на художественном осмыслении этих проблем и тем в автобиографических повестях писателя. Типологически воплощение детской темы в творчестве М. Дзасохова во многом опирается на традицию изображения детства в русской автобиографической прозе XX в. В заключительной части сформулированы выводы, отражающие особенности лирической прозы в творчестве М. Дзасохова, обозначено место автобиографических повестей автора в контексте осетинской детской литературы второй половины XX века.Актуальность и научная новизна работы обусловлены недостаточной исследованностью истории и проблем осетинской детской литературы. Результаты исследования могут быть использованы при написании истории осетинской детской литературы. The present article examines the artistic features of lyrical prose, namely, autobiographical story in the Ossetian childrens literature in the works of Muzafer Dzasokhov, a well-known modern Ossetian writer, poet, publicist, translator. The story Spring Stars (1973) and its continuation - On the Bank of Ursdon Baragun ... (1981) marked the beginning of an epic about the life of a family, and via their fates the author shows life of the whole country in the difficult post-war years. The theme of childhood is considered as one of the most important constants of the writers artistic world. In the course of the analysis, special attention is paid to the predominance of the moral aspect, the actualization of the problem of the regulatory and educational function of national etiquette, the value and normative guidelines of the Ossetian mentality. The focus of the study is based on biographical and historical-genetic methods and highlights the themes of post-war childhood, the role of the family and society in the formation of moral guidelines, in the formation of personality, the image of the mother, the theme of memory, as well as on the artistic understanding of these problems and topics in autobiographical novels of the writer. Typologically, the embodiment of the childrens theme in the works of M. Dzasokhov is largely based on the tradition of depicting childhood in Russian autobiographical prose of the XXth century. The formulated conclusions in the final part reflect the peculiarities of lyrical prose in the works of M. Dzasokhov, the place of the authors autobiographical stories is indicated in the context of Ossetian childrens literature of the second half of the XXth century. The relevance and scientific novelty of the work are due to insufficient research on the history and problems of Ossetian childrens literature. The results of the study can be used in writing the history of Ossetian childrens literature.


2021 ◽  
Vol 26 (4) ◽  
pp. 641-648
Author(s):  
Valentin N. Stepanov

This paper presents the T-Magic formula revealing ontology of social media which has become a transgressive form of media through its ability to build a digital community, sharing digital identity, and building a digital social capital, that prevails over offline human relations, and includes supporters and doubters estimated for their contact establishing function. Social media belongs to the so called culture of participation, and is considered as a versatile social phenomenon building a hybrid digital culture. Mutation seems to be a key characteristic of media in general and social media in particular. The consequences of the mutation change shows pathway to a new ontology of digital communication, that of digital physics with a special focus on digital space and digital time, digital substance and digital energy. Transformation displays a technological turn in digital communication that reveals technological sources of digital energy. Transfiguration unveils the essence of digital substance, that of a social media sapience. Transgression outlines digital space and digital time, and is a means of overcoming real space and time by means of certain text units establishing bridges to connected personal or collective accounts or aggregate archives. The main function of the media text transgressiveness is to raise a so called publicity capital of a media subject initiating or releasing the post.


Author(s):  
Gürsel Demirok

The present article is a printed version of Gürsel Demirok’s speech at the Institute for European Global Studies on May 29, 2001. Demirok outlines the history of the relations between the EU and Turkey and discusses the importance of the Helsinki European Council. Further, he names the criteria for the accession of Turkey to the European Union and assesses what work has been done. In the final part of his presentation, he discusses the Accession Partnership and the Turkish National Program for the Adoption of the Acquis.


Author(s):  
D.R. Kołodziejczyk ◽  
M.A. Kaczka

Abstract In August 1739, Hotin was captured by Russian troops during the war fought by the Ottoman Empire simultaneously against Russia and Austria. The fortress commander, Ilyas Kolchak Pasha, a Muslim convert from Bosnia, was imprisoned in St. Petersburg while the entire provincial archive was transported to Russia. Today it is held in Moscow and contains almost three thousand documents in Ottoman-Turkish and in Polish, while its small section has also been discovered in Chernihiv. Since the eighteenth century, many other Ottoman documents have been incorporated into the so-called Kolchak Pasha archive in Moscow, including documents from Azov and Perekop, from the archives of Ukrainian Cossack hetmans, and even from the archive of Russian tsars, including two original oath-letters (artnames) sent by the Crimean khans in 1634 and 1646. Needless to say, most of the documents origin from Hotin, from the time when the post of its governor was occupied by Kolchak Pasha. The present article traces the history of this collection, its composition, and offers some glimpses into everyday life of the sancak of Hotin in the 1730s. Its final part is devoted to the Polish language section of the archive and to the network of Kolchaks correspondents in Poland-Lithuania, mostly consisting of opponents to August III, brought to the Polish throne in 1733 with the armed support of Russia. Apart from mutually providing information, both sides exchanged gifts and small favors, while Polish nobles sent their wives to go shopping in Ottoman Hotin, thus rendering the border between Christianity and Islam much more transparent than it has often been assumed.Аннотация В августе 1739 г. Хотин был захвачен российскими войсками в ходе войны, которую Османская империя вела одновременно против России и Австрии. Комендант крепости, Ильяс Колчак-паша, обращенный в ислам боснийец, был пленен и отправлен в Санкт-Петербург, в то время как весь провинциальный архив был перевезен в Россию. В настоящее время он находится в Москве и содержит более трех тысяч документов на османско-турецком и польском языках, одновременно небольшая его часть также была обнаружена в Чернигове. Начиная с XVIII в. множество других документов были также включены в состав так называемого архива Колчак-паши в Москве, включая документы из Азова и Перекопа, из архивов украинских казацких гетманов и даже из российских царских архивов, включая шертные грамоты (artname), отправленные крымскими ханами в 1634 и 1646 гг. Излишне говорить, что большинство документов имеют хотинское происхождение в период, когда пост наместника занимал Колчак-паша. Представленная статья обрисовывает историю этой коллекции, ее структуру и дает некоторое представление о повседневной жизни Хотинского санджака в 1730-е гг. ее заключительная часть посвящена польскоязычной секции архива и сети агентов Колчака в Речи Посполитой, в основной состоявшей из противников Августа III, возведенного на польский трон в 1733 г., благодаря вооруженной российской поддержке. Помимо двусторонней поставки информации, обе стороны обменивались подарками и небольшими взаимными услугами. При этом польские дворяне и их жены выезжали за покупками в османский Хотин, делая тем самым границы между христианским и исламским мирами более прозрачной, чем часто принято считать.


Author(s):  
Juriy CHOTARI

The article describes the important moments of life and active political activity of one prominent female figure in the history of Transcarpathian region – Countess Ilona Zrínyi, who lived in Mukachevo in the 17th century and protected Mukachevo Castle from the Austrian invaders. The Countess' personality is also shown as a symbol of freedom and courage, which was especially emphasized during the siege of Mukachevo Castle by the Habsburgs in the second half of the 17th century (1685–1688). The article analyses eleven original letters written by Ilona Zrínyi before the siege of Mukachevo Castle. They testify to the connection between the Countess and the leadership of the Uzhanskyi and Berezhskyi counties (present-day territory of Transcarpathian region). They are stored in the Berehove Branch of the State Archives of Transcarpathian Oblast. These letters are important sources of evidence of Europe-wide history of our region. In the final part of the present article we have collected evidence based on press material and documents in the State Archives of Transcarpathian Oblast describing the so-called «Ilona-days», i.e. celebrations commemorating the personality of the great political and historical figure, Countess Ilona Zrínyi. All the official documents provide proof of the fact of how local people of Uzhanskyi and Berezhskyi counties (present-day Transcarpathia) loved and deeply respected the countess for her courage to fight for freedom against the Habsburgs, for her never-ending feeling of responsibility for her nation, and attentive care for her own motherland. During the siege of Mukachevo Castle with Ilona Zrínyi had her son, Ferenc Rákóczi II with her, who was still a child. The siege at that time taught the future leader of the liberation struggle of 1703–1711 to be courageous, and to love his motherland. Further research into sources related to Ilona Zríny’s activities may continue in the archives of Hungary and other countries as she unsuccessfully sought to form an international anti-Habsburg coalition. Keywords Countess Ilona Zrínyi, Mukachevo Castle, Transcarpathian history.


Kulturstudier ◽  
2010 ◽  
Vol 1 (2) ◽  
pp. 90
Author(s):  
Lene Andersen

<p>Mange i dag t&aelig;nker umiddelbart, at mundtlig fort&aelig;lling af traditionelle sagn og eventyr mest h&oslash;rer fortiden til. Men inden for de sidste &aring;rtier er der opst&aring;et en ny interesse for mundtlig historiefort&aelig;lling i Danmark. De nye fort&aelig;llere beretter traditionelle sagn og eventyr, men ogs&aring; historier de selv har oplevet eller fundet p&aring;, eller historier fra sk&oslash;nlitter&aelig;re v&aelig;rker. Man f&aring;r indtryk af, at historiefort&aelig;lling stadig har en forbindelse til fortiden. De st&oslash;rste fort&aelig;llefestivaler finder sted i historiske omgivelser p&aring; museer, og nutidens historiefort&aelig;llere henviser ofte til fort&aelig;lletraditionens lange historie, n&aring;r de taler og skriver om historiefort&aelig;lling.Hidtil har den nye interesse for historiefort&aelig;lling ikke v&aelig;ret genstand for forskning, men artiklen freml&aelig;gger et studie af historiefort&aelig;lleres syn p&aring; fort&aelig;lling og fortid. Fokus er, hvilke betydninger begreberne nostalgi og autenticitet har for fort&aelig;llerne. Artiklen bygger prim&aelig;rt p&aring; interviews med historiefort&aelig;llere. Fort&aelig;llerne blev blandt andet bedt om at beskrive, hvordan de umiddelbart forestillede sig, at historiefort&aelig;lling fandt sted i fortiden. Det er et positivt billede af fortiden, der toner frem, og fort&aelig;llerne bruger billederne af fortiden som afs&aelig;t til at kritisere tr&aelig;k af den moderne levem&aring;de. De kritiserer medierne og de elektriske apparater for at g&oslash;re mennesker passive og &oslash;del&aelig;gge deres n&aelig;rv&aelig;r med andre levende mennesker. Ved at genoptage - hvad fort&aelig;llerne opfatter som - en &aelig;ldgammel og udd&oslash;d tradition, &oslash;nsker de at skabe nogle oplevelser, som det moderne menneske savner i vore dages samfund. For fort&aelig;llerne danner fortiden et idealiseret modbillede til nutiden og rummer dermed mulighed for, at fort&aelig;llerne kan tale om deres idealer og h&aring;b for historiefort&aelig;lling.</p><p>Changing the Present through the Past - Oral Story-Telling in Denmark</p><p>Today, many people spontaneously think that oral transmission of traditional legends and fairy tales are a thing of the past. But in the last few decades a new interest has arisen in Denmark in oral story-telling. The new story-tellers relatetraditional legends and fairy tales, but also adventures that they themselves have experienced or invented, or stories from works of fiction. One has the impressionthat story-telling still has a link to the past. The major story-telling festivalstake place in historical surroundings in museums, and present-day story-tellers frequently point to the long history of the story-telling tradition when they speakor write about story-telling.So far, the new interest in story-telling has not been a subject for research, but the present article presents a study of the view of the story-tellers on story-telling and the past. Focus is on which meanings the concepts of nostalgia and authenticityhave for the story-tellers.The article is primarily based on interviews with story-tellers. They were interalia asked to describe how they would spontaneously imagine that story-telling took place in the past. It is a positive picture of the past that emerges, and the story-tellers use images of the past as a platform from which to criticize modernways of life. They criticize the media and electronic gadgets for making people passive and spoiling their being together with other living human beings. By reviving - what the storytellers see as - an ancient and extinct tradition, they wish to create experiences that modern man misses in present-day society. For the story-tellers, the past presents an idealized contrast to the present and thus contains a possibility for the story-tellers to expand about their ideals and hopes for story-telling.</p><p>&nbsp;</p>


2010 ◽  
Vol 4 (1-2) ◽  
pp. 37-73
Author(s):  
Paul R. Powers

The ideas of an “Islamic Reformation” and a “Muslim Luther” have been much discussed, especially since the terrorist attacks of September 11, 2001. This “Reformation” rhetoric, however, displays little consistency, encompassing moderate, liberalizing trends as well as their putative opposite, Islamist “fundamentalism.” The rhetoric and the diverse phenomena to which it refers have provoked both enthusiastic endorsement and vigorous rejection. After briefly surveying the history of “Islamic Reformation” rhetoric, the present article argues for a four-part typology to account for most recent instances of such rhetoric. The analysis reveals that few who employ the terminology of an “Islamic Reformation” consider the specific details of its implicit analogy to the Protestant Reformation, but rather use this language to add emotional weight to various prescriptive agendas. However, some examples demonstrate the potential power of the analogy to illuminate important aspects of religious, social, and political change in the modern Islamic world.


Author(s):  
Larisa V. Kolenko

The present article is concerned with the research results of the chronicles of N. Krupskaya Astrakhan Regional Research Library, representing history of the largest regional library of the Volga region in the context of development of the country librarianship as well as regional culture.


Author(s):  
Olga Lomakina ◽  
Oksana Shkuran

The article analyzes methods of explication of the traditional and widely used stable biblical expression «forbidden fruit». The study is based on a diachronic section – from the interpretation of the biblical text to the communicative intention of dialogue participants in the media space illustrating nuclear and peripheral meanings. The analysis includes biblical texts that realize the archetypal meaning of the biblical expression «forbidden fruit» in which it is called the tree of knowledge of good and evil. The secularized interest in the kind of tree, on which forbidden fruits grew, is motivated by a realistic presentation of a sad history of the first people’s fall in the Book of Genesis. Scientific hypotheses have their origins since the Middle Ages, when artists recreated the author’s story of eating the forbidden fruit. For religion, the variety of the fruit is not of fundamental importance, however, visualization in the works of art has become an incentive for the further use of the biblical expression with a new semantic segment. Modern media texts actively represent the transformation of the biblical expression«forbidden fruit» for different purposes: in advertising texts for pragmatic one, in informative, educational, ideological texts for cognitive one, in entertaining textsfor communicative one, lowering the spiritual and semantic value register of the modern language. Therefore, the process of desemantization and profanization of the biblical expression results in the destruction of national stereotypes in Russian people’s worldview.


Sign in / Sign up

Export Citation Format

Share Document