Cultural Codes of Society: Scientific and Practical Significance in Modern African Studies

Author(s):  
Aida Moseiko ◽  

The article is devoted to the topic of searching for cultural codes. It presents the author’s approach to understanding the place and role of the problem of cultural codes in modern studies of Africa. The article presents an overview of the main options for understanding and defining cultural codes from the standpoint of both theoretical-rational and empirical-intuitive approaches. The relevance of the topic of cultural codes is considered in two aspects: from the point of view of contribution to the scientific development of the problems of cultural codes as an interdisciplinary problem and from the point of view of solving the practical task of increasing the effectiveness of the system of Russian-African relations based on mutual understanding and mutual respect of partners. The problems of cultural codes are considered in the context of the global transformations of the 20th to 21st centuries with their great and tragic events that changed the essence and configuration of the regions of the world. Two world wars, the October Revolution, the collapse of the colonial system, the collapse of empires, the destruction of the USSR, the globalization of the world, the whole spectrum of postcolonial events raised the question of understanding countries and regions of each other around the world. As conclusions, the article defines the basic principles of studying African realities in the problem area of cultural codes: 1. Cultural codes of various cultures are value-semantic complexes formed on the basis of social experience and the information received in it. 2. Social experience is characterized by a number of parameters: geographical; geopolitical – defining relations with the outside world and the formation of historical memory, which in Africa is based on a generalized concept of the West, the image of the slave trade, colonization, racism, apartheid; and cultural and historical parameter. 3. Cultural codes form a semantic picture of the world, characteristic of each culture, on the basis of which people evaluate events and make choices that determine their activities and relationships. 4. Cultural codes evolve and change depending on social experience. 5. Cultural codes of different cultures interact in the forms of mutual influence or unilateral aggressive influence. Africa is characterized by the aggressive influence of Western culture, which has led to the emergence of border codes, the essence of which is the forced combination of traditional African codes with alien Western components. Hermeneutics, understood as the interpretation of the meanings of cultural texts, is considered as a research method. Two possible scenarios for the development of the border situation are considered: negative and positive. The negative scenario assumes the onset of acute social cataclysms, up to social chaos and the destruction of basic values. A positive scenario involves the renewal of society and the growth of its creative potential. It is necessary to predict the vector of development of the situation according to one of the above scenarios. The author believes that the deformation of African cultural codes and the “hacking” of Russia’s cultural codes of the late twentieth – early twenty-first century can become one of the points of contact that can consolidate Russian and African partners in the realization of the national interests of both sides.

2019 ◽  
Vol 17 (3) ◽  
pp. 66-82
Author(s):  
Ludmila B. Sandakova

The article deals with the problem of the epistemological status of the complementarity principle in socio-humanitarian studies. It clarifies the content of the principle of complementarity and the possibility of its application from the point of view of its methodological significance for studying the interdependence of language, world view and the picture of the world. It is shown that the authentic application of the principle is possible within the framework of a constructionist epistemological model, subject to a number of methodological requirements for the organization of the research process. To correlate the complementary description languages in the designated problem area, the interdisciplinary conceptual apparatus of cultural studies seems productive.


2019 ◽  
Vol 3 ◽  
pp. 44-50
Author(s):  
Natalia Tkachuk

The evolving economy today is non-stationary in the nature of its character of behavior which becomes the reason of emergence of imbalances and instability of the market environment that cause the emergence of nonlinear processes in functioning of the banking system which may carry a threat to its development. Super fast tempos of change in the globalized world generate flows of institutional and innovative disturbances that test banks and banking systems for viability and encourage them to study the peculiarities of their behavior in terms of non-linearity and non-equilibrium. Knowledge and interpretation of synergetic properties of the banking system today have not only theoretical but also practical significance for development and implementation of the concept of self-organization of banks. The theoretical questions of mutual influence and interconnection of entropy and information on the processes of self-organization in the banking system are considered. The functioning of the banking system in an unstable environment with chaotic and orderly behavioral stages is characterized by a nonlinear dynamics of entropy, as well as a significant dependence on the influence of management information that enters the system. Saturation of the banking system with this information makes it possible to force out chaos from it, it increases its orderliness and effect of functioning. From the point of view of entropy and informational approach, the nature and conditions of self-organization in the banking system are disclosed. It was established, that fundamental condition for self-organization in the banking system is to transfer the system to a non-equilibrium state when it becomes quite sensitive to external disturbances. It is noted, that entropy represents a measure of disorder of the system, and its growth increases chaos and can lead to devastating consequences in the functioning of the system. The processes of self-organization in the banking system will only be possible if its order is growing.


2021 ◽  
pp. 104-112
Author(s):  
Lei Huang

The purpose of this paper is to reveal the role of stylization as a style­forming principle in the evolution of the pastoral genre based on textbook chamber­vocal compositions (arias by W. A. Mozart), as well as little­known ones. The methodology. The proposed research differs from other studies, which are close in the topic (T. Livanova, A. Korobova, A. Taylor and others), by an interpretative­cognitive approach dictated by the challenges of modern performing practice. A comparative analysis of pastoral semantics in European and Chinese poetics was also used. The results. On the basis of vocal miniatures created in the XX century (S. Vasylenko “Pastoral” op. 45, No. 5 and A. Rudianskyi “Lotus” and “The Flute on the Water” from the cycle “The Lake of White Lotus” (2001), a parallel of the European pastorals and ancient Chinese poetry from the point of view of a pastoral person in different pictures of the world has been drawn. The onto­sonological foundation of the pastoral is made up of a human voice accompanied by a shepherd’s pipe, landscape sound painting (the singing of birds, the murmur of a brook), and the vastness of natural landscapes (plain air). The author develops the conceptual apparatus of the theory of the pastoral to reveal the richness of various composing interpretations of the genre, its dynamics: “semantics of the pastoral”, “ontology of the pastoral image”, “pastoral person”, “pastoral picture of the world”. The topicality of the interpretative­comparative analysis is the conclusion about the necessary principles of stylization of the pastoral: the presence of a genre invariant with its own stable, psychological mechanism of recognition by listeners; historical distancing from the prototype (ancient poetry, baroque opera); creative synthesis of many traditions of the artistic existence of the genre and the signs of its national musical attribution. Poetic text and symbolization of the musical language are also the mechanisms of stylization of the pastoral in vocal music. Musical and poetic symbols, created by the author’s intuition, form a new life for the pastoral in the creative work of the XX century composers. If the composer’s interpretation of the genre invariant of the pastoral has ensured its viability for millennia, then the performer of pastoral compositions is responsible for their genre and style “purity”. The performers must master the technique of recreating the sound­like world of a pastoral person. The practical significance of the topic is confirmed by the fact of the actualization of the pastoral in the performance of the XXI century, due to the systematic inclusion of its samples into the concert repertoire of vocalists (including those from the People’s Republic of China), which requires appropriate historical and theoretical knowledge when modelling the behaviour of a pastoral person in the modern cultural situation.


Author(s):  
Яньминь Гоу ◽  
Светлана Геннадьевна Коровина

Исследование русских и китайских культур полезно для выявления интернационального и национального. В статье дан сопоставительный анализ китайских и русских примет, содержащих номинацию собака, с позиций лингвокультурологии. Реконструкция паремиологической картины мира помогает понять соотнесенность зоонимической лексики с менталитетом народов двух стран и оценить особенности их мировосприятия. В качестве материала исследования послужила авторская картотека, состоящая из 44 русских и 23 китайских примет, извлеченных из лексикографических источников методом сплошной выборки. Анималистический образ, легший в основу паремий, дал возможность классифицировать приметы с точки зрения доминантной составляющей действия номинации собака как в антропоцентрической, так и в фенологической направленности, выявлено численное превосходство паремий представленных групп. Рассмотрены возможности образования семантического поля «собака» в русской и китайской языковой системе. Дается описание паремий с точки зрения религиозных убеждений, климатических особенностей; приведена оценка единиц, схожих в плане содержания, но различных в плане выражения. Показано, как русские и китайские обычаи находят отражение в приметах как культурно заряженных текстах. Практическая значимость данного исследования заключается в том, что наблюдения и выводы могут быть полезны для расширения знаний о взаимосвязи зоонимической лексики, используемой в составе паремий, с духовным миром и культурой людей разных национальностей. It is important to study the Russian and Chinese cultures in order to identify the international and national about them. The article provides a comparative analysis of Chinese and Russian signs containing the dog nomination from the standpoint of linguoculturology. Reconstruction of the paremiological picture of the world helps to understand the correlation of zoonymic vocabulary with the mentality of the people of the two countries and assess the features of their perception of the world. The author’s card index, consisting of 44 Russian and 23 Chinese signs, extracted from lexicographic sources using a continuous sample, was used as the research material. The animalistic image that formed the basis for proverbs, gave the opportunity to classify the signs in term of the dominant orientation of the action of the dog nomination in both anthropocentric and phenological patterns, the numerical superiority of the paroemias of the groups represented was revealed. The article considers the possibilities of forming the semantic field «dog» in the Russian and Chinese language systems. The description of paroemias is given from the point of view of religious beliefs, climatic features, and the assessment of units that are similar in terms of content, but different in terms of expression. It is shown how Russian and Chinese customs reflect in signs as culturally charged texts. The practical significance of this study is that its observations and conclusions can be useful for expanding knowledge about the relationship of zoonymic vocabulary used in the composition of paroemias with the spiritual world and culture of people of different nationalities.


Author(s):  
Oleh Kopeliuk

Background. The research is devoted to revealing the semantic analysis of the dramaturgy of one of the large-scale compositions in the creative work of IvanKarabyts – the cycle “24 Preludes” for the piano. The composition was written by Ivan Karabyts in 1976 and today it is of great interest to concert performers and fans of modern piano music. The attention of pianists to the cycle “24 Preludes” by I. Karabyts is attracted, firstly, by the distinctive, original musical language, secondly – by a wide range of performing capabilities and means of expression, and thirdly – by vivid images that inspire pianists to reproduce artistic ideas, hidden philosophical implications. The object of research is the cycle “24 preludes” for the piano as a musical encyclopaedia, reflecting the artistic era in the context of the Ukrainian renaissance of tthe 1970s, and the aim is to identify stylistic patterns by means of the semantic analysis of the dramaturgy of the cycle, finding the intersection in a kind of dialogue with a diverse, significant fund of the music of the 20th century. The methodology of research is focused on the relationship of special methods of analysis: functional-structural, intonation, genre, style, semantic and interpretative one. Results. Ivan Karabyts chooses for his cycle a model of tonal dramaturgy of the cycle “24 Preludes”, introduced by F. Chopin and later by D. Shostakovich, namely – the movement along the circle of fifths in the ratio of major-minor. From the point of view of musical semantics of the preludes of the cycle they can be divided into 5 thematic groups (contemplative and introspective lyrics; grotesque and dance; sound imitation and spatial-visual; stylistic allusions; and tragedy ones), varied in genre-stylistic sense (according to the criteria of modelling the awareness of the lyrical hero (I – the world around me.) The dramaturgy of the cycle is built through their correlation, while forming a certain plot, which begins with the image of the lyrical hero, and ends with a demonstration of the society which is ambiguous and problematic for a human. The composer chooses the prelude as a genre with a historical memory of culture, which allows performers and listeners to experience the range of psychological moments of the human spirit in the turbulent world of events of the last third of the 20th century. The composer is fascinated by this genre not by chance, because the prelude allows reflecting in miniature numerous states of “fixed” moments of existence, the inner balance of the artist and the world. Each prelude in the cycle is a kind of creative laboratory, a field of creative experiments. It reflected both already developed and new methods and principles of the composer’s thinking. While performing one prelude after another as a whole composition, one realizes that this genre expresses the freedom of creativity, the element of existence: it is a fantasy, and a story of the heart, and the revelation of the spirit, and at the same time – bright genre sketches. Conclusions. The analysis of the musical semantics of I. Karabyts’s piano cycle “24 Preludes” testified to the presence of 5 genre-stylistic groups in the cycle (according to the criterion of the dual world notion “psychology I – the world around”). Thus, the genre-semantic analysis of the piano cycle “24 Preludes” has shown that I. Karabyts does not lose touch with history and time, by paying tribute to the masters of the 18th–20th centuries, continuing to develop the type of tonal dramaturgy, laid down by J. S. Bach. In the cycle there is a special “counterpoint” of the “blues” stylistic. The dramaturgy of the cycle has a detailed plot, which begins with the image of the lyrical hero, and ends with a demonstration of the society ambiguous and problematic for a human (“I – World”). The dramaturgy of the romantic dual world turns into a harmony of the modern world with multiple images, echoes of time and inner drama. The genre semantics and its analysis allow the performer to comprehend the large-scale cycle as an artistic picture of the world, and its stylistic unity – as a spiritual universe which belongs to the Ukrainian art of the 21st century.


Author(s):  
Л. Х. Мухаметзянова ◽  
К. М. Миннуллин

Традиционный фольклор является обширной сферой человеческой деятельности, именно поэтому важна фиксация и изучение этнокультурных явлений и их переосмысление. Данная статья посвящена исследованию некоторых вопросов взаимовлияния двух самостоятельных областей фольклористики: языческого в древности обряда сөрән (сорэн) и не менее древнего жанра – эпоса, выявлению общих проблем в данных областях народной культуры. Рассматриваемые с точки зрения историко-мифологических, художественных, эстетических, нравственно-воспитательных, социально значимых критериев, дошедшие до наших дней обрядовые и эпические акции вправе называться институтом сохранения самобытности, ценностей и творческого самовыражения. Выявление ранних мифологических представлений и исторической памяти народа, зафиксированных в вербальном эпическом тексте обряда, например, способно играть немаловажную роль в этнической идентичности той или иной нации, что особенно важно для современного общества. Научные изыскания по данной тематике способствуют созданию баланса между процессом глобализации в культуре и необходимостью сохранения и поддержания этнического разнообразия в современном мире. Цель исследования – определить общие корни эпоса и обряда сорэн, по сохраненным в обрядовом и эпическом фольклоре кодам установить эволюционирующие признаки мифологического сознания этноса. Основным источником фактического материала в исследовании послужили тексты тюркского эпического фольклора, а также песенные тексты, исполняемые во время названного народного праздника; широко использованы вновь найденные во время научных экспедиций материалы, в особенности – по обрядовому фольклору. В исследовании использованы сравнительные, структурно-описательные, историко-типологические методы. Научная новизна статьи заключается в том, что здесь впервые в своеобразном этническом примере поднимается вопрос интеграции эпического наследия и обрядового фольклора, рассматриваются современное состояние и трансформация календарно-обрядового праздника сорэн у татар, вводится в научный оборот новый материал по обрядовому фольклору татар в сравнении с образцами тюркского эпоса. Подход авторов к проблеме в малоисследованном ритуально-ситуативном аспекте позволил выявить некоторые общие маркеры и коды, бытующие в эпической и обрядовой культуре народа. В результате исследования охарактеризовано соотношение традиционности и современности в татарском эпическом и календарно-обрядовом фольклоре, установлена некоторая стилистическая и жанрово-поэтическая общность между обрядностью и эпосом, сделаны соответствующие выводы, определен потенциал темы для дальнейшего изучения вопроса. Traditional folklore is a vast area of human activity, which is why it is important to fixate and study ethnocultural phenomena and their rethinking. This article is devoted to the study of some issues of the mutual influence of two independent areas of folklore: the pagan rite of Soren in antiquity and the no less ancient genre – the epic, identifying common problems in these areas of folk culture. Considered from the point of view of historical, mythological, artistic, aesthetic, moral, educational, socially significant criteria, ritual and epic actions that have come down to our days can be called an institution for the preservation of identity, values and creative self-expression. Revealing the early mythological ideas and historical memory of the people, recorded in the verbal epic text of the rite, for example, can play an important role in the ethnic identity of a particular nation, which is especially important for modern society. Scholarly research on this topic contributes to the creation of a balance between the process of globalization in culture and the need to preserve and maintain ethnic diversity in the modern world. The purpose of the study was to determine the common roots of the epic and the Soren rite, and from the codes preserved in ritual and epic folklore, to establish the evolving signs of the mythological consciousness of the ethnos. The main source of factual material in the study was the texts of the Turkic epic folklore, as well as the song texts performed during the said folk holiday; materials newly found during scientific expeditions were widely used, in particular – on ritual folklore. The study used comparative, structural and descriptive, historical and typological methods. The scholarly novelty of the article lies in the fact that for the first time, in a kind of ethnic example, the issue of integration of the epic heritage and ritual folklore is raised, the current state and transformation of the Soren calendar-ritual holiday among the Tatars is considered, new material on the ritual folklore of the Tatars is introduced into scientific circulation in comparison with samples Turkic epic. The authors' approach to the problem in a little-studied ritual-situational aspect made it possible to identify some common markers and codes that exist in the epic and ritual culture of the people. As a result of the study, the relationship between tradition and modernity in the Tatar epic and calendar-ritual folklore were characterized, some stylistic and genre-poetic commonality between ritual and epic were established, appropriate conclusions were drawn, and the topic's potential for further study of the issue were determined.


Author(s):  
Margarita E. Kaskova ◽  
Olga V. Ustinova ◽  
Elizaveta K. Bolshakova

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.


Adam alemi ◽  
2021 ◽  
Vol 89 (3) ◽  
pp. 122-130
Author(s):  
B. Botakarayev ◽  
◽  
M. Tolegenov ◽  
Y. Benli ◽  
◽  
...  

While in the past, discussions about war and peace were constantly born in various spheres of society, such as philosophy, humanities, and journalism, today these topics have become one of the most important issues of political science. However, the specific positions and opinions of leading religious experts on this issue were not particularly noted, as they did not contradict the secular point of view. In the era of globalization, the network of interaction between people and society has become a complex phenomenon. Globalization not only contributes to life in a positive way, but also has a negative impact. Although scientific development, which contributes to positive changes in the world, has entered an effective and rapid process in recent years, the sphere of influence of terrorist organizations is also spreading beyond the borders of the country. Terrorist organizations, on the other hand, use this process to their advantage and threaten the whole world. A terrorist organization called ISIS was able to expand its sphere of influence in a short time, taking advantage of the benefits of globalization. Although it initially became a specific regional threat, over time it became a threat to the world. For this reason, with the fear that it will negatively affect the world and its future, we have set out to determine the structure, purpose, economic and financial foundations of this organization and the main mechanisms for combating them.


Author(s):  
J.D. Shelburne ◽  
G.M. Roomans

Proper preparative procedures are a prerequisite for the validity of the results of x-ray microanalysis of biological tissue. Clinical applications of x-ray microanalysis are often concerned with diagnostic problems and the results may have profound practical significance for the patient. From this point of view it is especially important that specimen preparation for clinical applications is carried out correctly.Some clinical problems require very little tissue preparation. Hair, nails, and kidney and gallbladder stones may be examined and analyzed after carbon coating. High levels of zinc or copper in hair may be indicative of dermatological or systemic diseases. Nail clippings may be analyzed (as an alternative to the more conventional sweat test) to confirm a diagnosis of cystic fibrosis. X-ray microanalysis in combination with scanning electron microscopy has been shown to be the most reliable method for the identification of the components of kidney or gallbladder stones.A quantitatively very important clinical application of x-ray microanalysis is the identification and quantification of asbestos and other exogenous particles in lung.


1978 ◽  
Vol 17 (01) ◽  
pp. 28-35
Author(s):  
F. T. De Dombal

This paper discusses medical diagnosis from the clinicians point of view. The aim of the paper is to identify areas where computer science and information science may be of help to the practising clinician. Collection of data, analysis, and decision-making are discussed in turn. Finally, some specific recommendations are made for further joint research on the basis of experience around the world to date.


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