scholarly journals CULTURAL MEANINGS OF THE PRODUCTION-CONSUMPTION CYCLE

2021 ◽  
pp. 20-24
Author(s):  
G.V. Gornova
Keyword(s):  
Cultural Meanings ◽  
Reproduction Cycle ◽  
Semantic Component ◽  
Production And Consumption ◽  
Modern Economic ◽  
Empirical Material

The article explores the cultural meanings of the classical reproduction cycle ‘production-consumption’. The purpose of the article is to analyse the implicit semantic component of the processes of production and consumption, in which the value symbolism of the joint existence of people objectified. The empirical material for the analysis is classical and modern economic and sociological conceptual ideas that represent the cultural meanings of the reproduction cycle.

Power, Patronage and the Production of Catholic Material Culture in Nineteenth-Century Ireland

2020 ◽  
pp. 139-160
Author(s):  
Caroline M. McGee
Keyword(s):  
Nineteenth Century ◽  
Material Culture ◽  
Catholic Church ◽  
Cultural Meanings ◽  
Historical Perspectives ◽  
The People ◽  
Production And Consumption ◽  
Ecclesiastical Architecture ◽  
Human Autonomy ◽  
The Impact

This chapter examines Catholic religious authority in the context of the production and consumption of ecclesiastical architecture and art. It moves beyond consideration of this material culture from nation-state or formalist art-historical perspectives to explore the levels of human autonomy and agency that came to bear on building and decorating projects at the turn of the nineteenth century. Using a case study model, it analyses the multiple forms of authority inscribed in Catholic Church buildings whose aesthetic shifted from the modest to the sublime during the period. In so doing, it demonstrates the impact of religious power on architects, transnational commercial art industry businesses, and lay donors, and produces a more nuanced cross-disciplinary picture of the multiple cultural meanings, tangible and intangible, of nineteenth-century ecclesiastical architecture and the people behind its production.

scholarly journals Cultural meanings in language: metaphors of vanity

2021 ◽  
pp. 87-95
Author(s):  
Sergey G. Vorkachev
Keyword(s):  
Russian Language ◽  
Semantic Features ◽  
Cultural Meanings ◽  
Personal Property ◽  
Semantic Component ◽  
The Subject ◽  
Evil Spirits ◽  
Abstract Categories ◽  
Semantic Transfer ◽  
The Russian Language

The article is devoted to the study of metaphorization in the field of abstract categories in linguistic consciousness on the example of the cultural meaning “vanity”. The aim of the article is to establish the role and functions of metaphorical transfer in the visualization of abstract cultural meanings. The work used the methods of semantic, component, definitional and conceptual analysis, with the help of which the means and functions of semantic transfer in the metaphorization of vanity were investigated. The material for the research was the collected corpus of aphoristic sentences about vanity and the contexts of the metaphorical representation of vanity in the National Corpus of the Russian language. It is established that the metaphor in the language performs two main functions: cognitive, which gives the intellect the ability to comprehend something rationally incomprehensible, and expressive-evaluative, which allows the subject of speech to emotionally highlight any aspects and characteristics of the object. In the visualization of vanity, all the main types of metaphorical transfer on the auxiliary subject are used. Of the totality of semantic features of any category, in most cases, only a few are metaphorically distinguished, and these are connotative, evaluative features that are not associated with its definitional core. The attribute of negative evaluativeness in the semantics of vanity is metaphorized through the assimilation of this personal property to various kinds of unpleasant, harmful and dangerous creatures, plants, phenomena and objects. Like all “sinful passions” that subjugate a person and take possession of his will, vanity in speech is easily demonized – it is likened to “evil spirits”, mainly a demon. A specific feature of “reflexive feelings” – directed at oneself – conveys the likeness of vanity to a certain expanding substance, blowing a person from inside. In isolated cases, the likening of vanity to a crooked mirror and cotton wool metaphorizes such an essential semantic features of it as the imaginary, emptiness and futility of flaunting virtues. Thus, the study indicates that when metaphorizing abstract categories, which include vanity, not definitional semantic features of this category are visualized, but mainly semantic features relevant to assessment and emotional attitude of the subject of speech.

scholarly journals The intertexteme as an instrument in the past — pre­sent — future dialogical space of urbanism practices: an intersemiotic ana­ly­sis of graffiti and inscriptions in Gdansk and Kaliningrad

2020 ◽  
Vol 11 (1) ◽  
pp. 108-133
Author(s):  
Ż. R. Sładkiewicz ◽  
K. Wieladek
Keyword(s):  
Urban Space ◽  
Cultural Meanings ◽  
The Past ◽  
Urban Narrative ◽  
Semiotic Systems ◽  
Definition Of ◽  
Modified Forms ◽  
Empirical Material

This paper discusses intertextual and intervisual tools for creating the past — present — future dialogic axis in urban practices, using the example of graffiti and inscriptions in Gdansk and Kaliningrad. The authors describe the urban space as an object of research, give a definition of the urban inscription, characterize the semiotic nature of the latter, consider ter­minology problems relating to the category of intertextuality, and broadly interpret the inter­texteme as a tool in the ‘past — present — future’ dialogical space in the urban narrative. The study relies on rich empirical material. In summing up the features of semantic formation in the narrative urban practices, the authors conclude that the urban inscription is a symbolical­ly organized space in which the interpreter deals with signs of various semiotic systems and employs cultural meanings and conventions expressed in both verbal and graphic forms. The recognizability of intertextemes in both authentic and modified forms contributes to the at­tractivity of the urban text and its dialogical nature.

scholarly journals Lived Cosmologies and Objectified Commodities: Reinventing the Traditional Art of India in a World of Cultural Tourism

2013 ◽  
Vol 29 (1) ◽  
pp. 120-158
Author(s):  
Samuel K. Parker
Keyword(s):  
Visual Culture ◽  
South Asian ◽  
Cultural Tourism ◽  
Economic Benefits ◽  
The Self ◽  
Traditional Art ◽  
Production And Consumption ◽  
Economic Practices ◽  
Modern Economic ◽  
The Cost

This essay examines how the significance of ancient South Asian monuments is transformed when reframed by the practices of cultural tourism, which are grounded in the values of a modern, globalizing, economic cosmology. Ethnographic evidence collected on a visit to the archaeological park and museum at Sarnath, site of the Buddha's first discourse and home to some of the most celebrated masterpieces of ancient Indian sculpture, are here analyzed to support and illustrate a broader, social-constructivist argument about the representation of reality in Indian visual culture. I will argue that the version of 'reality' presupposed by modern economic practices, such as tourism, works to objectify ancient South Asian forms and meanings, previously precipitated out of older living practices, into reified, collectable entities. Such objects and their objectified meanings further contribute toward naturalizing and universalizing economically grounded projects of self-construction among the practitioners of an economic worldview, wherein the self is shaped by routines of production and consumption: I am what I do for a living and I am the goods—including here, the touristic experiences—that I collect. It is this economic cosmology that moves to the foreground when ancient Indian 'art' is re-presented and consumed in the form of tourism products. Meanwhile the cosmology of dharma is pushed into the background. I hope to persuade the reader that the 'cost' of doing this is too high to justify the narrow economic benefits.

scholarly journals Specificity of the Nature of the Image in the Socio-Cultural Space

2020 ◽  
pp. 29-37
Author(s):  
Sofya Kurokhtina ◽  
Keyword(s):  
Visual Image ◽  
Visual Studies ◽  
Phenomenological Approach ◽  
Point Of View ◽  
Visual Images ◽  
Cultural Meanings ◽  
Cultural Space ◽  
Modern Culture ◽  
Theoretical Approaches ◽  
Production And Consumption

Among the researchers of the visual, visualization is singled out as one of the universal characteristics of modern culture. This trend is due to the growth of visual artefacts that are rapidly filling the socio-cultural space. Many factors contributed to this, and one of the main ones is the development of media communications. The discourse on visuality went beyond the boundaries of Art Studies, which entailed the study of non-artistic visuality – the everyday life of visible things. As a result of visual experience expansion, the processes of production and consumption of visual images have changed, which is reflected in social practices. Terminological difficulties encountered in the field of visual studies speak to the problems of visual studies institutionalization. Nevertheless, we can distinguish two polar theoretical approaches: according to the first approach, the image is understood as a "cultural" representation mediated by various ideological practices. This approach has been influenced by constructivism, which is reflected in the interest in analyzing the role of images in the formation of social and cultural meanings. Also, the representational theory of imagery deals with issues related to the view of the observer and its conditioning by various scopic regimes. This paradigm is considered to be subject to emancipation trends. It asserts the change of the concept of a passive spectator, captured by images, to the concept of a spectator, who actively participates in the creation of visual images. The second approach, which is considered in the article, interprets the image from the phenomenology point of view. The phenomenological approach to visual imagery focuses on the image-presentation concept, which exists autonomously from the observer, in the mode of semantic closure, which means that the visual image has its own content that is difficult for the subject to access. The presented concept excludes reading the image only as a reflection or representation of the socio-cultural field. It is concluded that the image theory is undergoing significant changes, and vision and the viewer are becoming more independent.

Creating identity with biotechnology: the xenotransplanted body as the norm

2002 ◽  
Vol 11 (4) ◽  
pp. 333-345 ◽  
Author(s):  
Susanne Lundin
Keyword(s):  
Medical Technology ◽  
Cultural Meanings ◽  
Fetal Cells ◽  
Porcine Islets ◽  
Nature And Culture ◽  
Advanced Medical Technology ◽  
Mind And Body ◽  
Interview Studies ◽  
The Brain ◽  
Empirical Material

One of today's great issues is how an advanced medical technology like xenotransplantation should be applied. It is well known that medicine brings not only potential but also risk. On the cultural level, xenotransplantations are equally complicated; they arouse thoughts about whether our outlook on humanity will be influenced now that modern techniques can “correct” our defective bodies. The article asks whether xenotransplantation creates new cultural meanings. That is, how do newly emerging ideas of a technologically created normality raise a set of moral questions about nature and culture, mind and body? The discussion is based on interview studies with patients suffering from diabetes and Parkinson's disease. The former have been given porcine islets, while the others have had human fetal cells transplanted into the brain; the latter are also potential recipients of xenotransplants. This empirical material becomes the basis for discussing how diseases can lead to a crisis in which it is essential—on a concrete, everyday level—to find strategies for dealing with the consequences. In this process of identity and normalization, advanced biomedicine is an important factor.

On visions and promises — ethical aspects of in vitro meat

2019 ◽  
Vol 3 (6) ◽  
pp. 753-758
Author(s):  
Silvia Woll
Keyword(s):  
Animal Welfare ◽  
Environmental Issues ◽  
Meat Production ◽  
Ethical Aspects ◽  
Existing Problems ◽  
In Vitro Meat ◽  
Production And Consumption ◽  
Production Conditions

Innovators of in vitro meat (IVM) are convinced that this approach is the solution for problems related to current meat production and consumption, especially regarding animal welfare and environmental issues. However, the production conditions have yet to be fully clarified and there is still a lack of ethical discourses and critical debates on IVM. In consequence, discussion about the ethical justifiability and desirability of IVM remains hypothetical and we have to question those promises. This paper addresses the complex ethical aspects associated with IVM and the questions of whether, and under what conditions, the production of IVM represents an ethically justifiable solution for existing problems, especially in view of animal welfare, the environment, and society. There are particular hopes regarding the benefits that IVM could bring to animal welfare and the environment, but there are also strong doubts about their ethical benefits.

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