scholarly journals Features of the representations of Ukrainian identity in the visual content of popular telegram channels

2020 ◽  
Vol 10 (19) ◽  
pp. 37-48
Author(s):  
Konstiantyn Kysliuk ◽  
Keyword(s):  
Cultural Memory ◽  
Political Identity ◽  
Communication Channels ◽  
Visual Content ◽  
Visual Array ◽  
Military Equipment ◽  
The Past ◽  
Public Consciousness ◽  
Military Mobilization ◽  
Value Preferences

In the article had been considered the features of the representations of Ukrainian identity in the visual content of 5 most popular Telegram-channels («Ukraine 24/7»; «Ukraine now», «Ukraine Online», «TSN», «Insider UA»). Two groups of its markers had been determineted – Political Identity (combination of blue-yellow colors, national banner or emblem (trident) as the center of the image or the dominant background) and Military (man and women in Ukrainian military uniforms, weapons and military equipment) In fact, the share of which markers had been highest than formally 2–3% of the total visual content for every group. The first group, which embodies the civic and political identity, had been determineted as a leading Its spread had been explained by the direction of the current government's domestic policy on «citizens of Ukraine» who were not differentiated according to geopolitical and value preferences. The production of Military markers had been explained by the continuing relevance of military news in the context of the undeclared war between Russia and Ukraine. It also reflects the state of partial military mobilization of public consciousness over the past 6 years. The broadcast of such images in the Telegram had been detached from its traditional basis – a real, ethnically charged identity. Whose identification characteristics (uniform, chevrons, stripes, awards, badges on military equipment) had been not brought to the center of image. On the basis of previous researches of the author had been noted that another – ethnically charged level of Ukrainian identity was more widely represented on social networks Facebook and Instagram. There Ukraine was associated with a woman in a national costume or an image of a field with ripe wheat or sunflower. The greater share of accompanying military images (14% of the total visual array in Facebook communities), the presence in their visual content of a special female military (3%) did not really change the narrative «Ukraine as a woman does not want war». In these communication channels had been found the only common present day symbol of Ukraine, both visual and memorial, – the images of the Independence Monument on the square of the same name in Kiev. This clearly demonstrates the incompleteness of Ukraine’s postmodernization processes, including at the area of values, cultural memory and the hierarchy of identities.

Re-centering the Cinema Experience in a Multi-Platform, Digital Age

2015 ◽  
Vol 8 (5) ◽  
Author(s):  
E. W. Nikdel
Keyword(s):  
Physical Environment ◽  
Cultural Memory ◽  
Emotional Response ◽  
Physical Space ◽  
Film History ◽  
Cultural Activity ◽  
Film Culture ◽  
The Past ◽  
Imminent Death ◽  
Multiple Media

With the advent of online distribution and the rise of multiple media devices, claims of the cinema’s imminent death have surfaced with greater intensity than ever before. Of course, with an ever-widening array of platforms these accounts have placed a newfound emphasis on the cinema as a distinctive physical space, one that plays host to a very particular and much cherished cultural activity. This article considers the substance of these claims by tracing a very particular historical route. Firstly, be revisiting Baudry’s notion of the dispositif, this article detects the importance of the physical environment in the process of film consumption. Secondly, I relate this emphasis on the physical to the traditional notion of the cinephile, a practice that ritualises the cinema experience. Many accounts across the spectrum of film history will attest to the profound ways in which the physical experience of the cinema summons a rich emotional response. Lastly, I consider how the cinema and the collective nature of film consumption provides an authentic trace to the past and a very certain time and place in history. In turn, despite competition from cheaper and more convenient platforms, this article will endeavour to show how the cinema retains its place at the centre of contemporary film culture. KEYWORDS Cinema, dispositif, cinephilia, cultural memory.

City’s Cultural Memory: Modern Practices of Symbolizing the Past

2021 ◽  
Vol 18 (4) ◽  
pp. 352-364
Author(s):  
Natalia G. Fedotova
Keyword(s):  
Cultural Memory ◽  
Point Of View ◽  
Fundamental Aspect ◽  
Modern World ◽  
Cultural Meanings ◽  
Urban Identity ◽  
Symbolic Forms ◽  
The Past ◽  
Symbolic Resource ◽  
The City

The article is devoted to the discourse of the city’s cultural memory. The relevance of studying this topic is determined not only by the fundamental aspect associated with the episodicity of existing studies of this phenomenon. From an applied point of view, the city’s cultural memory is a symbolic resource that can be used to create an appealing image, form a sustainable urban identity, and strengthen the citizen’s sense of belonging to the city. The accumulation and objectification of cultural memory take place in symbolic forms, which makes it important to study the practices of symbolizing the urban past, the essence of which is to generate the significance of the relevant or latent layers of cultural memory for the citizens.The article presents the results of the final stage of research related to the study of the process of constructing the cultural memory of the city. The purpose of the article is to analyze modern practices of symbolizing fragments of the urban past, which mean their significance for contemporaries. Basing on the culturological cross-section of the issue, the author integrates different research contexts. The methodological basis of the article is the communicative approach that focuses on the processes of meaning formation, and the constructivist method that considers memory as a multi-layered and dynamic construct. Analyzing the practices of symbolizing the urban past by the example of Russian cities, the author of the article demonstrates how the episodes of the city’s memory are updated in the modern world, how cultural meanings become memorable for citizens. The author uses the results of previous studies and identifies the following elements of the symbolization of the urban past: a) ways of encoding fragments of the past; b) communicative trajectories of memory symbolization; c) factors of producing meanings about the collective past of the city. The obtained results open up new frontiers in understanding the processes of formation of the collective ideas about the city, and prospects for empirical research, forecasting and constructing the cultural memory of Russian cities, giving them the opportunity to change their present and future.

scholarly journals Television as a Hybrid Repertoire of Memory

2013 ◽  
Vol 2 (3) ◽  
pp. 52 ◽  
Author(s):  
Berber Hagedoorn
Keyword(s):  
Cultural Memory ◽  
New Model ◽  
The Past ◽  
Media Platform ◽  
The Media ◽  
Dynamic Production

In this article, television is reconsidered as a hybrid ‘repertoire’ ofmemory. It is demonstrated how new dynamic production and scheduling practicesin connection with highly accessible and participatory forms of user engagementoffer opportunities for television users to engage with the past, and how suchpractices affect television as a practice of memory. The media platform HollandDoc is discussed as a principal casestudy. By adopting and expanding Aleida Assmann’s model of the dynamics ofcultural memory between remembering and forgetting, a new model to studytelevision as cultural memory is proposed which represents the medium’shybridity in the multi-platform era.

scholarly journals Reception of Natalie's Ramonda, Armistice Day Symbol in Serbia

2020 ◽  
Vol 14 (4) ◽  
Author(s):  
Senka Kovač
Keyword(s):  
Cultural Memory ◽  
Representative Sample ◽  
Public Discourse ◽  
First Year ◽  
World War ◽  
World War One ◽  
First Year Students ◽  
The Public ◽  
Ongoing Process ◽  
The Past

Nataliе’s Ramonda, a symbol of Armistice Day – November 11 in Serbia, is a new memorial symbol constructed and promoted by politicians in 2012. The Armistice Day was celebrated then as a national holiday in Serbia. The reception of this symbol has been explored over a five-year period, both in a public discourse and on a representative sample of first year students at the Faculty of Philosophy in Belgrade. In public discourse, as well as among students of the Faculty of Philosophy, Natalie’s Ramonda is perceived as an emblem, a badge, and most often as a symbol. It was seen as an emblem on the lapel of public and media figures, inaccessible to broad commercial promotion and sales. In public discourse and among students at the Faculty of Philosophy, Natalie’s Ramonda was perceived in several answers as a medal, and is also recognized as a flower that symbolizes the suffering of the Serbian people in World War One; symbol of the nation’s rebirth – the flower phoenix, as a mark of peace and freedom. As a newly constructed symbol of the Armistice Day in Serbia, for the past seven years, Natalie’s Ramonda has been a mediator in the public culture of remembrance and in the ongoing process, by becoming a part of cultural memory.

scholarly journals On Memory of Plates and Dishes

Fluminensia ◽  
2020 ◽  
Vol 32 (2) ◽  
pp. 117-136
Author(s):  
Krystyna Pieniążek-Marković
Keyword(s):  
Cultural Memory ◽  
Regional Identity ◽  
Literary Fiction ◽  
Western World ◽  
Individual Identity ◽  
The Past ◽  
Literary Sources ◽  
The Social ◽  
History Of ◽  
The Common

The aim of the article is to discuss how elements of food narratives meals and kitchen tools used for cooking are used in order to consolidate and shape the Croatian cultural memory, especially in the context of its Mediterranean heritage.For this reason, the texts by Veljko Barbieri, collected in the four volumes under the common and significant title Kuharski kanconijer. Gurmanska sjećanja Mediterana, are analysed. His circum-culinary narratives are a combination of encyclopaedic knowledge, references to historical and literary sources, personal memories and literary fiction. They can be easily inscribed in the Croatian (collective and individual) identity discourse since they are able to strengthen the collective (either national and supranational, or geo-regional) identity, and to construct the cultural memory. They also show Croatia's affiliation to the Western world along with its cultural-civilization rooting in antiquity, the Mediterranean region and Christianity, thus forming a part of the founding memory that develops a narrative about the very beginnings of Croatian presence on this land. The gastronomic narratives serve to create the cultural memory and this version of history which is to stabilize the social identity described by Pierre Nora and Andreas Huyssen. Through his stories, Barbieri shapes memory based on the representation of the past. In the analysed narratives, the memory carriers are dishes and plates which find reference to the oldest history of Croatia rendered by myths and other narratives. Associated with dishes, the pots enable the narrator to recall the past and the identity coded in individual dishes. They also participate in the processes of repeating, storage and remembering which generate a symbiotic relationship between man and thing. The memory carriers that is, food and plates depicted in Barbieri's culinary narratives do not convey their content in a neutral way, but construct their marked images.

scholarly journals Rola języka w uwalnianiu się z dziedzicznych traum

Politeja ◽  
2020 ◽  
Vol 17 (2(65)) ◽  
pp. 189-204
Author(s):  
Katarzyna Marcol
Keyword(s):  
Collective Memory ◽  
Cultural Memory ◽  
Social Position ◽  
Traumatic Experiences ◽  
The Past ◽  
The Social ◽  
The World ◽  
The 19Th Century ◽  
The Village

The Role of Language in Releasing from Inherited Traumas. Negotiations of the Social Position of the Silesian Minority in Serbian Banat The aim of the paper is to show the dependence between language, collective memory (also post-memory) and sense of identity. This issue is analysed using the example of an ethnic minority living in the village of Ostojićevo (Banat, Serbia) called ‘Toutowie.’ Their ancestors came in the 19th century from Wisła (Silesian Cieszyn, Poland); they left their homes because of great hunger and were looking for jobs in Banat. Narratives about the past contain traumatic experiences of the past generations transmitted in the Silesian dialect and constituting communicative memory. At the same time, a new Polish national identity is being constructed, supported by institutions and authorities; it carries a new image of the world and creates a new cultural memory. This new identity – shaped on the basis of national categories – leads to changes of its self-identification and gives the opportunity to raise its social position in the multi-ethnic Banat community.

scholarly journals Museum Collections as a Reflection of Cultural Landscape: the Interpretation of Collective Memory

2018 ◽  
Vol 3 (4) ◽  
pp. 170 ◽  
Author(s):  
Oskar Habjanič ◽  
Verena Perko
Keyword(s):  
Collective Memory ◽  
Cultural Landscape ◽  
Local Community ◽  
Political Identity ◽  
Vulnerable Groups ◽  
Museum Collections ◽  
The Past ◽  
Social Tasks ◽  
The Relationship ◽  
Private Collections

The article deals with the relationship between the local community, museum collections, collective memory and the cultural landscape. The ICOM Code of Museum Ethics defines a museum collection as a cultural and natural heritage of the communities from which they have been derived. The collections, especially in regional museums, are inextricably linked to the community. The cultural landscape can be read also as a bridge between the society and natural environment. The cultural landscape is vitally connected with a national, regional, local, ethnic, religious or political identity. Furthermore, the cultural landscape is a reflection of the community's activities. Therefore, private collections are the foundation of the collective memory and empower museums for important social tasks. They offer an opportunity for multilayered interpretation of the past and give a possibility for museums to work on the inclusion of vulnerable groups. The collections could be a mediator and unique tool for recovering of the “broken” memory. In this way certain tragic past events, ignored or only bigotedly mentioned by history, can be re-evaluated.

scholarly journals The fiction of History: recalling the past and imagining the future with Caesar at Troy.

2010 ◽  
Vol 23 (1/2) ◽  
pp. 143-160
Author(s):  
Richard Alston
Keyword(s):  
Cultural Memory ◽  
Political Power ◽  
Human Mind ◽  
Historical Narrative ◽  
Cultural Trauma ◽  
Historical Account ◽  
Historical Discourse ◽  
The Past ◽  
The Future ◽  
A Site

This essay considers the nature of historical discourse through a consideration of the historical narrative of Lucan’s Pharsalia. The focus is on the manner in which Lucan depicts history as capable of being fictionalised, especially through the operation of political power. The discourses of history make a historical account, but those discourses are not, in Lucan's view, true, but are fictionalised. The key study comes from Caesar at Troy, when Lucan explores the idea of a site (and history) which cannot be understood, but which nevertheless can be employed in a representation of the past. yet, Lucan also alludes to a ‘true history’, which is unrepresentable in his account of Pharsalus, and beyond the scope of the human mind. Lucan’s true history can be read against Benjamin and Tacitus. Lucan offers a framework of history that has the potential to be post-Roman (in that it envisages a world in which there is no Rome), and one in which escapes the frames of cultural memory, both in its fictionalisation and in the dependence of Roman imperial memory on cultural trauma.

scholarly journals Supernatural Characters in the Quasi-Historical Discourse of Modern Ukrainian Literature: Specificity and Functions

2021 ◽  
Vol 11 (2) ◽  
pp. 49-63
Author(s):  
Oleksandra Nikolova ◽  
Kateryna Vasylyna
Keyword(s):  
21St Century ◽  
Historical Novels ◽  
Historical Discourse ◽  
Early 21St Century ◽  
Global Problem ◽  
The Past ◽  
Public Consciousness ◽  
Historical Past ◽  
The Early 21St Century

: The article is aimed at the study of Ukrainian quasi-historical novels of the early 21st century, characterized by the renunciation of “objectivity” of the narrative and emphasized the role of imagination. These are the pieces by Bakalets and Yarish (“From the Seventh Bottom”), Vynnychuk (“The Pharmacist”, “Lutetia”), and by Yatsenko (“Nechui. Nemov. Nebach”). The study reveals the features and functions of fantastic characters in the abovementioned novels. These fictional images of modern Ukrainian quasihistorical literary discourse are characterized by infernality, grotesque anthropomorphism, destruction of traditional antinomy “otherworldly– earthly/human”, philosophical and ironic coloring. Interpreting the fantasy in quasi-historical novels is expedient in the context of the global problem of perception of historical past by people of the 21st Century, with an emphasis on significant changes in public consciousness motivating writers to “Re-write/Reimagine the past”. The spread of this phenomenon reveals public distrust of the authorities, offering “correct” answers to the questions about past events, protest against permanent manipulation of historical facts (the tendency of growing consciousness and intellectualization of society).

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