scholarly journals Contemporary Art Culture as a Creator of Publicity New Forms: Experience of Perm Theatrical Community

2020 ◽  
Author(s):  
Elena Malinina ◽  
Keyword(s):  
Contemporary Art ◽  
Urban Space ◽  
21St Century ◽  
Contemporary Culture ◽  
Site Specific ◽  
Early 21St Century ◽  
The Public ◽  
Museum Theatre ◽  
The Public Sphere ◽  
Street Environment

This article covers some new forms of publicness in the field of art culture of the Russian city of Perm, e.g. dramatics as a performance in a street environment, and synthetic museum-theatrical form under the conditions of a stage box. The study was accomplished mainly via culturological method. At one time theatre left the urban environment, but in the 21st century theatrical forms have begun to permeate urban space again, the statement primarily concerns site-specific theatre. This is equivalent to the birth of new theatrical-city publicity, a new modality of the interpenetration of the public and the private. One of the best-known theatrical projects in this field is ‘Remote X’ (‘Rimini Protokoll’ band). Here, the close co-existence habitual to city dwellers turns into a social substrate, and a way to implement interpersonal artistic communication, thereby largely changing the disposition of the former, and transforming itself. Another new form of relationship between collective and individual aspects in the public sphere is the synthetic museum-theatre form, on the example of immersion dramatics ‘Permian Pantheon’ (Perm Academic Theatre, stager Dmitry Volkostrelov). The natural ‘calendar-seasonal’ tempo-rhythm of the dramatics creates a triple semantic effect risen from artistic reality. It immerses the viewer into the process of traditional subsistence in whole (actualisation of the cultural collective unconscious), represents cultural phenomena (which corresponds to the culture-focused paradigm of artistic consciousness of the second half of the 20th century to the early 21st century), reaches the level of worldview values, the philosophical generalisation of cultural-existential reality. Thus, on the example of two Perm theatrical plays the author can speak about the origin of new forms of publicness in contemporary culture to entail new relationships between publicity and privacy in the current realities.

THE CYPRIOT THEATRE IN THE MIDST OF GLOBAL CRISIS

2021 ◽  
Vol 1 (46) ◽  
pp. 103-120
Author(s):  
Marina Athanasiou-Taki
Keyword(s):  
Public Sphere ◽  
21St Century ◽  
Technological Advancement ◽  
Site Specific ◽  
The Public ◽  
Social Resistance ◽  
Devised Theatre ◽  
Global Events ◽  
The Public Sphere ◽  
The Impact

In the 21st century, the era of globalization, the technological advancement and the ongoing migration movements, the global com-munity experiences a deep and multi-dimensional crisis (sociopolitical, financial, and cultural). This paper discusses the impact of these multi-ple aspects of the crisis in the theatre of Cyprus, especially during the second decade of the 21st century. The theatre in the time of crisis seems to suffocate within the traditional frames of dramatic theatre. As a re-sult, a group of young directors, without hesitation, confront and keep up with the new trends observed internationally, thus introducing new theatre forms (devised theatre, site-specific theatre, happenings etc.) in the Cypriot theatrical landscape and seeking to develop a new way of dialogue with the audience. Cypriot theatre today uses methods and approaches (ideological and aesthetic) that renounce fundamental the-atrical conventions of dramatic theatre. This fact allows us to talk about experimentation, as well as about presence of elements of post-dramatic theatre in the country. The making of theatre in the public sphere is now an act of social resistance to local and global events and the first step that may lead to political and social change.

scholarly journals Ukrainian academic lexicography: Achievements and prospects of development

2021 ◽  
pp. 54-65
Author(s):  
Liliia Didun ◽  
◽  
Zinaїda Kozyrieva ◽  
Keyword(s):  
21St Century ◽  
Public Life ◽  
National Academy Of Sciences ◽  
Early 21St Century ◽  
The Public ◽  
Thirtieth Anniversary ◽  
Creative Personality ◽  
Different Types ◽  
History Of ◽  
Academy Of Sciences

This paper offers an overview of dictionaries of Ukrainian complied by lexicographers of the Institute of the Ukrainian Language of the National Academy of Sciences of Ukraine since the Institute’s foundation; it is devoted to the Institute’s thirtieth anniversary. The article addresses a question as to whether modern Ukrainian academic lexicography is ready to meet the public life needs in independent Ukraine testifying to the devotion to tradition. The Slovnyk Ukraїnsʹkoї Movy (Ukrainian Dictionary, 1970—1980) in 11 volumes served as the basis for both the Slovnyk Ukraїns’koї Movy (Ukrainian Dictionary, 2012) and Slovnyk Ukraїnsʹkoї Movy v 11 Tomakh: Dodatkovyi Tom (Ukrainian Dictionary in 11 Volumes: Additional Volume, 2017) in 2 books, which reflects continuation of tradition of the academic explanatory lexicography. In 1999—2000, the academic edition of the Slovnyk Synonimiv Ukraїnsʹkoї Movy (Ukrainian Dictionary of Synonyms) in 2 volumes was published. It became a valuable reference publication in the national monolingual lexicography. In phraseography, the latest achievements are represented notably by the Frazeolohichnyi Slovnyk Ukraїns’koї Movy in 2 volumes (Ukrainian Phraseological Dictionary, 1993) and the Slovnyk Frazeolohizmiv Ukraїnsʹkoї Movy (Ukrainian Dictionary of Phraseologisms, 2003). The neographic direction is represented by dictionary materials Novi i Aktualizovani Slova ta Znachennia (New and Updated Words and Meanings, 2002-2010), whereas the Rosiisʹko-Ukraїnsʹkyi Slovnyk (Russian-Ukrainian Dictionary, 2011—2014) in 4 volumes covers the field of the translated academic lexicography. The two dictionaries are of great importance to the Ukrainian academic lexicography in general, namely the combined dictionary of the Ukraїnsʹkyi Leksykon Kintsia XVIII — Pochatku XXI Stolittia (Ukrainian Lexicon of the Late 18th — Early 21st Century: Dictionary-Index, 2017) in 3 volumes and Slovnyk Movy Tvorchoї Osobystosti XX — pochatku ХХІ Stolittia (Dictionary of the Language of Creative Personality in 20th — early 21st Century). The latter contains references significant for reflecting the lexical and phraseological structure of Standard Ukrainian. Finally, reestablished in 2003 the annual Lek sy ko hrafichnyi Biuletenʹ (Lexicographic Bulletin) covers issues related to the history of lexicography, making of dictionaries of different types, and the Ukrainian vocabulary, lexicology, and phraseology. Keywords: explanatory lexicography, source basis of lexicography, synonym dictionary, phraseological dictionary, combined dictionary, author’s lexicography, neography, linguopersonology.

scholarly journals Formation of Subcultural Entity under the Influence of Public Sphere

2020 ◽  
Author(s):  
Yuliya Kuzovenkova ◽  
Keyword(s):  
Public Sphere ◽  
Urban Space ◽  
Symbolic Capital ◽  
The Public ◽  
Youth Subcultures ◽  
Long Time ◽  
New Space ◽  
The Public Sphere ◽  
Short Time ◽  
The City

The last two decades have been a time of serious transformation of youth subcultures. Researchers speak about the formation of the postmodernism paradigm of subculture and the virtualisation of sociocultural phenomena. The subcultural subject and the power that formed it continue to exist in the new realities, but are undergoing a transformation. Changes having occured to the public sphere were especially significant for a subcultural entity since it is the public sphere where a subcultural entity can present itself to authorities, thereby maintaining its social subsistence. Our research was aimed at studying how the transformation of the public sphere has affected the entity’s subculture. For the study, the authors employed the method of a qualitative half-structurated interview and draw on the disciplinary authority concept suggested by M. Foucault. The analysis was based on materials of interviewing some representatives of the graffiti subculture in the city of Samara (twenty-two people) from 2016 to 2018. The author has established that the subcultural subject is processual and dependent on the practices in use; a change in practices leads to a change in the subject. Changes of practices in the graffiti subculture were a result of the virtualisation of culture. The author has identified the changes that have taken place in the subcultural subject under the influence of the transformation of the public sphere (the ‘short time’ of instantaneous fame prevails over the ‘long time’ of the symbolic capital of the nickname, new space-time coordinates within which the entity exists, the ‘digital body’ of the subcultural entity becomes ever more informative rather than that which was created via sketches placed in urban space). Unlike the public sphere, the private sphere under the influence of a subculture ideology remains unchanged.

scholarly journals The Problem of Fundamentalism in Foreign Orthodoxy: the Review

2019 ◽  
pp. 23-35
Author(s):  
Anna M. Yakovleva ◽  
◽  
Alexey V. Volobuev ◽  
Keyword(s):  
Public Sphere ◽  
21St Century ◽  
The Public ◽  
Mass Consciousness ◽  
Conservative Beliefs ◽  
The Public Sphere ◽  
Definition Of ◽  
The Given ◽  
Modern Era ◽  
The Church

. The review deals with the problem of Orthodox fundamentalism in the discussion of Englishspeaking authors of different denominations, representatives of canonical and non-canonical Orthodox churches, which took place in theological discussions, in journalism and at scientific conferences mainly in recent years. The main materials are first introduced into the scientific circulation in Russian. The concepts of fundamentalism in Orthodoxy in the foreign press are presented; the definitions of Orthodox fundamentalism, the main theses of opponents and their argumentation are given. Frequently, the word “fundamentalism” in relation to Orthodoxy is used as a banal nickname for those opponents who have traditional or conservative beliefs, are prone to “ritualism”, shows intolerance and lack of readiness for dialogue, including ecumenical. However, since the beginning of the 21st century, theologians, priests and scholars have been trying to give a stricter definition of such fundamentalism as a phenomenon of the modern era, especially in its demise. It is primarily about the attitude to the works of the holy fathers of the Church. It is expressed, in particular, the opinion that the veneration of patristic writings, along with the resolutions of the Councils (which constitutes the Holy Tradition) should be revised. However, the concept of “Orthodox fundamentalism”, as follows from the given review, has not yet been formed. But one can speak of such signs of it, connected, in particular, with a wide exit to the public sphere of mass consciousness, as the striving to minimize theological provisions, absolutization of some provisions of dogma to the detriment of others, and the logos (modern) reading of the myth.

scholarly journals Women in South Korean Politics: A Long Road to Equality

2006 ◽  
Vol 3 (2) ◽  
Author(s):  
Heike Hermanns
Keyword(s):  
Attitudinal Change ◽  
Female Representation ◽  
Parliamentary Elections ◽  
Early 21St Century ◽  
The Public ◽  
South Korean ◽  
Korean Politics ◽  
Successful Women ◽  
The Public Sphere ◽  
Direct Outcome

This paper examines the reasons for the increase in female representation in South Korean politics in the early 21st century. It is not a direct outcome of Korea’s democratisation process but a result of attitudinal change as well as the efforts of women’s organisations. The Korean experience shows that female representation in parliaments is not the only way to influence politics and policies on women’s issues. This paper starts with a general discussion of democratic procedures that influence female representation before looking at their application in South Korea. Coinciding with procedural changes, societal transformation paved the way for the advancement of women in the public sphere. Women’s organisations play an important role in promoting gender equality and women’s policies, especially since the late 1990s after they started to engage with the state. Their efforts included the introduction of quotas that allowed more women to enter formal elective politics, more than doubling the number of successful women in the 2004 parliamentary elections. Further steps are needed, however, to ensure sustainable and irreversible progress.

The Politics of Immersive Storytelling

2020 ◽  
pp. 175-190
Author(s):  
Christian Stiegler
Keyword(s):  
Social Media ◽  
Virtual Reality ◽  
Mass Media ◽  
Public Sphere ◽  
20Th Century ◽  
21St Century ◽  
Digital Platforms ◽  
The Public ◽  
Media Logic ◽  
The Public Sphere

This article applies and extends the concept of social media logic to assess the politics of immersive storytelling on digital platforms. These politics are considered in the light of what has been identified as mass media logic, which argues that mass media in the 20th century gained power by developing a commanding discourse that guides the organization of the public sphere. The shift to social media logic in the 21st century, with its grounding principles of programmability, popularity, connectivity, and datafication, influenced a new discourse on the logics of digital ecosystems. Digital platforms such as Facebook are offering all-surrounding mediated environments to communicate in Virtual Reality (‘Facebook Spaces') as well as immersive narratives such as Mr. Robot VR. This article provides an understanding of the politics of immersive storytelling and of its underlying principles of programmability, user experience, popularity, and platform sociality, which define immersive technologies in the 21st century.

scholarly journals I Don't Want to Be a Citizen (if it Means I Have to Watch the ABC)

2002 ◽  
Vol 103 (1) ◽  
pp. 14-23 ◽  
Author(s):  
Alan McKee
Keyword(s):  
Middle Class ◽  
Public Sphere ◽  
Social Engagement ◽  
Social Organisation ◽  
The Political ◽  
Contemporary Culture ◽  
The Public ◽  
Political Processes ◽  
The Media ◽  
The Public Sphere

This paper argues that much writing about media and citizenship tends to rely on a set of realist or structuralist assumptions about what constitutes a state, a citizen and politics. Because of these assumptions, other forms of social organisation that could reasonably be described as nations, and other forms of social engagement that could be called citizenship are excluded from consideration. One effect of this blindness is that certain identities, and the cultural formations associated with them, continue to be overvalued as more real and important than others. Areas of culture that are traditionally while, masculine, middle-class and heterosexual remain central in debates, while the political processes of citizens of, for example, a Queer nation, continue to be either ignored or devalued as being somehow trivial, unimportant or less real. The paper demonstrates that this need not be the case — that the language of nation and citizenship can reasonably be expanded to include these other forms of social organisation, and that when such a conceptual move is made, we can find ways of describing contemporary culture that attempt to understand the public-sphere functions of the media without falling back into traditional prejudices against feminised, Queer, working class or non-white forms of culture.

Drama and Learning

2019 ◽  
Author(s):  
Anton Franks
Keyword(s):  
Everyday Life ◽  
20Th Century ◽  
21St Century ◽  
Social Relations ◽  
Social Life ◽  
Life Forms ◽  
Contemporary Culture ◽  
Late 20Th Century ◽  
Early 21St Century ◽  
Societal Level

As ways of making meaning in drama strongly resemble the ways that meanings are made in everyday social life, forms of drama learn from everyday life and, at a societal level, people in everyday life learn from drama. Through history, from the emergence of drama in Western culture, the learning that results at a societal level from the interactions of everyday social life and drama have been noted by scholars. In contemporary culture, electronic and digitized forms of mediation and communication have diversified its content and massively expanded its audiences. Although there are reciprocal relations between everyday life and drama, aspects of everyday life are selected and shaped into the various cultural forms of drama. Processes of selection and shaping crystallize significant aspects of everyday social relations, allowing audiences of and participants in drama to learn and to reflect critically on particular facets of social life. In the 20th century, psychological theories of learning have been developed, taking note of the sociocultural relationships between drama, play, and learning. Learning in and through drama is seen as being socially organized, whole person learning that mobilizes and integrates the bodies and minds of learners. Making signs and meanings through various forms of drama, it is interactive, experiential learning that is semiotically mediated via physical activity. Alongside the various forms of drama that circulate in wider culture, sociocultural theories of learning have also influenced drama pedagogies in schools. In the later part of the 20th century and into the 21st century, drama practices have diversified and been applied as a means of learning in a range of community- and theater-based contexts outside of schooling. Practices in drama education and applied drama and theater, particularly since the late 20th century and into the early 21st century, have been increasingly supported by research employing a range of methods, qualitative, quantitative, and experimental.

scholarly journals Art of the second half of XX — early XXI centuries as visual philosophy

2021 ◽  
Vol 4 ◽  
pp. 95-106
Author(s):  
Natalia Dyadyk ◽  
Keyword(s):  
20Th Century ◽  
Contemporary Art ◽  
21St Century ◽  
Visual Art ◽  
Conceptual Art ◽  
Early 21St Century ◽  
The World ◽  
Analysis And Synthesis ◽  
Death Of The Author ◽  
Contemporary Artists

Introduction. The article is focused on studying the area of intersection of contemporary art and philosophy, it is a continuation of the research project on conceptual art and its intersection with philosophy, which we started earlier. By conceptual art, we mean art aimed at intellectual comprehension of what has been seen, art that appeals to thinking and generates philosophical meanings. But if earlier we explored conceptual cinema and mainly visual art of the early 20th century, then in this article we want to turn to the visual art of the second half of the 20th century — the beginning of the 21st century, which is also called contemporary art by art critics. The empirical material of the study was the works of such contemporary artists as E. Warhol, D. Koons, D. Hirst, J. Ono, F. Bacon, I. Kabakov, D. Kossuth, the movement of “new realists” and photorealists, the movement of Moscow conceptualists and etc. Contemporary art is one of the ways of understanding the world, visual philosophy, which is of interest for philosophical understanding. The purpose of the article is to conduct a philosophical analysis of visual art of the second half of the 20th — early 21st I centuries in order to identify its philosophical sources and content. Methods. The author uses the following general scientific methods: analysis and synthesis, induction, deduction, abstraction. When analyzing works of conceptual art, we use hermeneutic and phenomenological methods, a semiotic approach. We also use the symbolic-contextual method of analyzing exhibition concepts, which is based on identifying the philosophical meanings and ideas of exhibitions of contemporary art. Scientific novelty of the study. We regard contemporary art as a visual philosophy. Philosophizing, in our opinion, can exist in various forms and forms from everyday practical (the so-called naive philosophizing) to artistic-figurative, that is, visual. Philosophical ideas or concepts are born not only from professional thinkers, but also from artists. The artistic concepts of contemporary artists are similar to the concepts of philosophers, since the goal of both is to cognize the world and grasp being. We find and describe the area of intersection of modern philosophy and contemporary art, each of which is in a situation of crisis separately and continuous dialogue together. Results. In the course of our research, we identify and describe the philosophical origins of visual art in the second half of the twentieth century - early twenty-first century: postmodern philosophical consciousness, conceptualism, the idea of “death of the author” and “death of art”, simulacrum, kitsch and camp, the method of deconstruction and its application in modern art. Conclusions. Visual art of the second half of the 20th century — early 21st century is a visual form of philosophical questioning about the essence of art itself, about the existence of a person and being in general. The works of contemporary artists are based on philosophical problems: meaning, speech and meaning, the ratio of the rational and the irrational, the problem of abandonment and loneliness of a person, the problem of the “death of the author” and the alienation of the creator from his work, the idea of the impossibility of objective knowledge of reality.

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