Cognitive Thesaurus of Cultural Code: Communicative and Epistemological Aspects

2020 ◽  
Vol 43 (2) ◽  
pp. 234-243
Author(s):  
S. Altybayeva ◽  
Keyword(s):  
Literary Text ◽  
Historical Narrative ◽  
Art World ◽  
Cultural Codes ◽  
Narrative Structures ◽  
Communicative Strategies ◽  
Communicative Process ◽  
Cultural Code ◽  
The Stability ◽  
Conceptual Core

The article discusses the problem of the formation of the cognitive thesaurus of the developed theory of the cultural code, defines some aesthetic-communicative strategies of the literary discourse of Kazakhstan. It is noted that in the implementation of these strategies a specific role is played by specific epistemes– cultural codes. The cultural code is defined as a significant semiotic unit of text included in its conceptual core. Such concepts of the theory of cultural code as philosophical, ideological, conceptual core, ethnostereotype, heterotopic markers, detailed multicultural landscape and others receive terminological design. The thesis of knowledge of the world and understanding of history, modernity, the possible future through the universalization of the art world, multiculturalism, complex narrative structures is substantiated. The specificity of a historical narrative is analyzed with its characteristic capacious referential mode, involving the reader in the active communicative process of decoding narrated events, cultural artifacts. The heterotopic markers of myth-folklore units in the structure of a literary text are studied, the stability and iteration of traditional ethnocultural codes are noted.

scholarly journals Topos of irony in the receptive-interpretative space of the postmodern literary text

2020 ◽  
pp. 125-132
Author(s):  
Anna V. Kuznetsova
Keyword(s):  
Specific Area ◽  
Literary Text ◽  
Literary Texts ◽  
Regulatory Mechanisms ◽  
Art World ◽  
Forming Mechanism ◽  
Cultural Codes ◽  
Aesthetic Practice ◽  
The Aesthetic ◽  
Language Text

The article is devoted to the main semantic and text-forming mechanism for organizing a literary text - the topos of irony from the standpoint of establishing its role in the reception and interpretation of the postmodern worldview embodied in such a text. Since reality is not conceived of postmodernly outside of the language (text), the need for receptive competence and the handling of information defined by a specific area of ​​communication and possessing accuracy increases. The recipient focuses only on the necessary part of the information flow, so the text is the basis of the methodology of world perception. Cultural codes and cultural competencies acquire the properties of regulatory mechanisms capable of selecting perceived facts. The relevance of the article consists in establishing those correlative relationships and factors that determine the reception and interpretation of the postmodern literary text. These factors include topos of irony, the correct decoding of which is due to presuppositions characteristic of the representative of a particular socio-linguistic and cultural collective. All postmodern literary texts are characterized by a playful character, which, in turn, now determines the foundation of artistic creativity in general, and not just those texts that put comic or only satire as part of the comic in the center of the art world, determining their aesthetic tasks. The purpose of the article is to determine the ontological status of the topos of irony in the receptive-interpretative space of the postmodern literary text. The topos of irony in the postmodern literary text is the textual and style-forming principle of the aesthetic practice of a particular author, the purpose of which is to engage the recipient in the dialogue, co-creation in receptive and interpretive activities, “unrolling” the literary text itself in the coordinates of the ironic and game scenario. Since irony is a kind of intellectual provocation that allows the author to identify “his” reader, there is also the need to consider the topos of irony in relation to the specifics of a socio-linguistic and cultural collective.

scholarly journals Formation of skills of working with cultural codes in classes in philological disciplines

2021 ◽  
Vol 27 (3) ◽  
pp. 65-71
Author(s):  
Sergei A. Golubkov
Keyword(s):  
Large Scale ◽  
Symbolic Capital ◽  
Literary Text ◽  
Point Of View ◽  
Fantastic Literature ◽  
Conceptual Apparatus ◽  
Cultural Codes ◽  
Postgraduate Studies ◽  
Cultural Code ◽  
Narrative Techniques

The article deals with the formation of skills of working with cultural codes in the process of teaching literary disciplines in bachelor's, master's and postgraduate studies. The author proceeds from the modern understanding of the cultural code as an integral concept, which includes a large number of interrelated elements (mythological archetypes, ideologems, intertextuality phenomena, behavioral stereotypes). The interest in this problem is relevant. The totality of cultural codes is the symbolic capital of nations, social groups, and generations. From a scientific point of view, the use of the concept of a unique writer's code is very productive. A great artist of the word passes on a certain creative code as a baton to subsequent writer's generations a unique system of artistic signs (quotes, characters, keywords, plot schemes, genre models, narrative techniques, etc.), recognized by both readers and writers-followers. There are such personal cultural codes as Gogol's, Leskovsky's, Chekhov's, and Dostoevsky's code. The cultural code is usually implemented in a literary text in both explicit and implicit forms. These are satirical and humorous works, associative lyrical prose, alternative historical and quasi-documentary texts, and fantastic literature. The very presence of hidden semantics and complex intertextual references sets the reader the task of adequate creative decoding of the work. Literary works created with the use of cinematic code (editing effects, freeze-frame, detail enlargement, visual dynamics) are also difficult to decipher. The article deals with the choice of literary disciplines that have large resources for the purposeful study of cultural codes. The assessment of the means of identifying the cultural code in a literary text is given. Attention is paid to developing an accurate understanding and targeted use of the system of concepts that each discipline has. This is due to the difficult metamorphoses in our era of the philological thesaurus due to the development of the sometimes contradictory conceptual apparatus of relatively autonomous foreign-language literary scientific systems. In the process of deepening the knowledge of such a conceptual apparatus, undesirable eclecticism should be avoided. The main result of such work is seen by the author of the article in the gradual acquisition of all the knowledge, skills and abilities that allow students to find the optimal balance between the practice of scrupulous concrete analysis of a particular literary text and a holistic vision of the cultural era and the literary process as a large-scale dynamic system.

Traditional costume as a cultural code: iconography, symbolic and semantics (on the example of a women’s costume)

2020 ◽  
Vol 42 (1) ◽  
pp. 206-212
Author(s):  
Elvira Fayzullina ◽  
◽  
Tatyana Khristidis ◽  
Keyword(s):  
National Culture ◽  
Self Awareness ◽  
Structural Components ◽  
Creative Practice ◽  
Cultural Information ◽  
Cultural Codes ◽  
Symbolic Structure ◽  
History Of ◽  
Cultural Code ◽  
Over Time

The article is devoted to the research of the traditional costume as the material embodiment of the cultural code. The semantic-symbolic structure of a traditional costume undoubtedly reflects significant cultural information about its owner: social and age status, gender, self-awareness, etc. All this together reflects the cultural code of one or another national culture. From the perspective of this research, the traditional women’s costume of the peoples of Eurasia, which, in the opinion of researchers, allows even deeper understanding of the popularity of its motifs in the creative practice of modern designers. In the article, the very history of the emergence and evolution of the basic elements of a traditional women’s costume is considered as a kind of reflection of cultural codes. The researching on the basis of functionality expressed in everyday, festive, ceremonial and ritual functions of clothes is likened to structural components of a cultural code. At the same time, one can trace how over time the iconography, symbolism and semantics associated with his transition from one category to another change in a costume.

Russian Emigration's Literary Heritage in China: a Cultural Code

2021 ◽  
Vol 16 (1) ◽  
pp. 118-124
Author(s):  
Natalya V. Kim ◽  
Keyword(s):  
Cultural Heritage ◽  
Literary Work ◽  
Research Approach ◽  
Middle Kingdom ◽  
Native Culture ◽  
Cultural Codes ◽  
Integrated Research ◽  
Literary Heritage ◽  
Cultural Code ◽  
Literary Methods

The article is devoted to the literary heritage of the Russian emigration in China and the Russian cultural code, which was preserved in the works of emigrants. A brief overview of the scientific literature, which formed the basis of the research methodology, and a description of the centers of Russian emigration in the Middle Kingdom - Harbin and Shanghai, the living conditions of emigrants are given. The relevance of the topic is due to the attention of modern researchers to the insufficiently studied literary heritage of the “eastern branch” of the Russian emigration.The material for the research was the works from the ten-volume “Literature of Russian emigrants in China” published in 2005 in Beijing. In this work, an integrated research approach is used, when various literary methods are combined with general scientific, linguistic, and private ones. The ten-volume collection includes the works of almost a hundred of Russian writers and poets in China, who for various reasons found themselves in emigration in Harbin, Shanghai and other Chinese cities. This work reveals the frequency themes of emigre creativity: Motherland, China-stepmother, historical events, faith in God, separation, longing for the Fatherland, etc. Basically, these are cultural codes, encoded information transmitted to us by our ancestors and allowing us to identify Russian culture: “Motherland”， “Holy Russia”，“Faith”，“God”，“Icon”，“Love”，“Home”， “Family”，“Soul”，“Hope”，“War”，“Separation”，“Foreign”， “Longing for the Homeland”，etc., as well as concepts (code units) that make up the concept sphere of the Russian picture of the world.The peculiar cultural mission of the Russian writers and poets of the “eastern branch” is that their literature is as much a cultural monument of their time as the works of emigrant writers of the “western branch”. Russian emigrants not only preserved their native culture, language, traditions, religion in exile but also increased the cultural heritage of Russia. The literary work of Russian emigrants in China should become a full-fledged part of the great Russian literature. Keywords: Russian emigrant literature, Russia, China, cultural heritage, cultural code, theme

The Thematic Lens

2020 ◽  
pp. 88-110 ◽  
Author(s):  
Thomas DeGloma ◽  
Max Papadantonakis
Keyword(s):  
Symbolic Interaction ◽  
Great Promise ◽  
Theory Construction ◽  
Empirical Inquiry ◽  
Social Forms ◽  
Cultural Codes ◽  
Narrative Structures ◽  
Patterned Structures ◽  
Formal Properties ◽  
Ethnographic Analysis

This chapter outlines a comparative framework for ethnographic analysis that combines contributions from formal sociology, symbolic interaction, and the strong program in cultural sociology. Building on the methodological perspective that Eviatar Zerubavel has termed “social pattern analysis,” the authors show how underlying formal properties, including patterns of social interaction, foundational narrative structures, and formulaic modes of performance, tie otherwise quite disparate cases together. Moreover, actors in different contexts merge these social forms with widespread cultural codes, resulting in patterned structures of meaning. Otherwise different cases thus emerge as variant manifestations of a common social theme. Using such social themes as analytic lenses offers great promise for theory construction and serves as a guide for expanding empirical inquiry to a greater range of contexts and cases. Drawing on research pertaining to various topics, the chapter shows how using a thematic lens provides a compelling foundation for comparative multicase analysis while honing the interpretive and descriptive strengths traditionally associated with ethnography on the underlying properties and processes that tie such cases together.

Accessible communication in the transport of non-urgent people with communication impairments

2020 ◽  
Vol 30 (Supplement_2) ◽  
Author(s):  
EM Soares ◽  
T Granjo ◽  
S Monteiro ◽  
S Bemposta ◽  
A Salvador
Keyword(s):  
Focus Group ◽  
Qualitative Analysis ◽  
Clinical Condition ◽  
Positive Impact ◽  
Careful Consideration ◽  
Clinical Level ◽  
Communicative Strategies ◽  
Communicative Process ◽  
Communication Impairments ◽  
Ambulance Crew

Abstract Introduction Paramedics may find innumerous circumstances that require careful consideration of the patient’s clinical condition. Because of that, communication between paramedics and patients in a critical condition must be as clear and effective as possible. Objectives This study aims to identify the communicative needs of ambulance’s crew members when transporting non-urgent people with communicative impairments and to create a tool that facilitates the communicative process. Methodology A brainstorming was held at Associação de São Jorge to gather information regarding the needs and difficulties experienced by the ambulance’s crew members. An audio record of this meeting was collected and a qualitative analysis was carried out. Additionally, a questionnaire was fulfilled. Based on these results, a first version of the communicative tool was developed. A pluridisciplinary focus group was held to discuss it, regarding content, form and utility. After this focus group, the second version of the communicative tool was elaborated to be tested by the crew members of this association. As so, a dynamic of three hours was implemented to empower these professionals to use this tool and other communicative strategies. Results The qualitative analysis of the first meeting collected data recognize as crew member’s needs: communicating basic and immediate needs at clinical level and at colloquial discourse. This data allowed to establish parameters for the construction of the first version of the communicative tool. The referred focus group identified the need to improve it, considering: format, content and also the need to complement this tool with other communicative facilitators (e.g. braille; gestures). Conclusion This study shows the need of facilitating the communication in non-urgent transportation. Despite the modifications that have to be done, the communicative tool that was developed already shows a positive impact in the ambulance crew and in the community.

Scottish Transnational Discourse of the Great War: A Genealogy of Eric Bogle’s “And the Band Played Waltzing Matilda” and Hugh MacDiarmid’s “At the Cenotaph”

2018 ◽  
Vol 19 (5) ◽  
pp. 323-331
Author(s):  
J. Rubén Valdés Miyares
Keyword(s):  
Discourse Analysis ◽  
Critical Discourse Analysis ◽  
Cultural Practices ◽  
Historical Narrative ◽  
Great War ◽  
Historical Discourse ◽  
Narrative Structures ◽  
Transnational Discourse ◽  
Time Critical ◽  
The Great War

A comparison of a 1971 popular song, Eric Bogle’s “And the Band Played Waltzing Matilda” with a 1935 poem, Hugh MacDiarmid’s “At the Cenotaph,” enables this article to produce a transnational, trans-genre and trans-historical discourse analysis of memories of the Great War of 1914-1918. While an ethonosymbolic approach allows for the discovery of resemblances and continuities, Nietzschean genealogy criticizes such monumental, associative views of the past and focuses instead on the casual connections between disperse moments in time. Critical discourse analysis, in turn, offers a possible synthesis by distinguishing historical narrative structures, cultural practices (the Anzac parades and cenotaphs to honor the heroic dead), and textual events, in this case the satirical representation of the Great War in later song and poetry.

LINGUOCULTURAL CODE: THEORETICAL BASIS OF RESEARCH

2019 ◽  
pp. 13-15 ◽  
Author(s):  
Natalia Myronova
Keyword(s):  
Theoretical Basis ◽  
Relevant Information ◽  
Cultural Tradition ◽  
Language And Culture ◽  
Cultural Codes ◽  
Cultural Paradigm ◽  
The People ◽  
Cultural Code ◽  
The One ◽  
Cultural Linguistics

Language is the "spirit of the people". Today the generally accepted idea is the one of the anthropocentrism of language. The formation of the anthropocentric paradigm has focused researchers' attention on a person, on its place in culture because the linguistic personality is the center of cultural tradition. Within the framework of this paradigm, cultural linguistics are developing – the science focused on the cultural factor in language and the linguistic factor in the person; the science that aims to study the correlation and the communication between language and culture, between language and consciousness. The formation of the stable nomenclature is the cultural linguistics' problem of high priority. One of the most important concepts in this field is the concept of linguistic-cultural code, along with the concepts of "cultural code" and "verbal code". The article is devoted to the analysis of modern approaches to the study of the concept of linguistic-cultural code, which is a verbal embodiment of the cultural code. It aims to analyze existing works on this problem and define the theoretical foundations of the study of the linguistic-cultural code. The article reveals typological and functional characteristics of linguistic-cultural code systems. It describes methods of classification of codes within the system on the thematic and substantive grounds, namely the division of codes into substantive and conceptual ones. The purpose of the classifications of this kind is to identify and organize material means of expressing culturally relevant information. The article considers the system of the hierarchical ordering of linguistic-cultural codes and uses the term "subcode" to denote the linguoculture of lower-level systems. The linguistic and cultural interpretation of the subcode as a unit of the lower level than the code and of its place in the system of cultural codes with branchy vertical and horizontal internal connections, forming a figurative cultural paradigm, appears to be relevant. The conclusions of the article may serve as the theoretical basis for further practical research in the field of linguoculture and linguistic semiotics.

scholarly journals Language and cultural codes: their interaction in linguo-cultural space

2019 ◽  
pp. 180-193
Author(s):  
N. V. Myronova
Keyword(s):  
Cultural Space ◽  
Language And Culture ◽  
Genetic Codes ◽  
Cultural Codes ◽  
Sign Systems ◽  
The People ◽  
Long Time ◽  
Human Thinking ◽  
Cultural Code ◽  
Linguistic Units

For a long time, the study of ethno-language and ethno-culture was conducted based on the use of different conceptual and terminological devices, despite the significant commonality and the research possibilities in mutual connection with applying a single system of instrumental categories – universal methodological basis – semiotics. The semiotics of culture made it possible to interpret the phenomena of language and culture as phenomena of the same order. Culture is explored as a polyglot phenomenon, as a system of sign systems. In the dynamic aspect, culture, formed in the process of sociohistorical development of the people, appears as a set of schemes or programs of subjectpractical and spiritual-theoretical behaviour of people. By analogy with biological heredity, we refer to cultural heritage, in the frame of which individual behavioural programs are considered as a kind of “cultural genes”, whose systems, like genetic codes, form cultural codes. In this article, we consider the language and cultural code, namely their interaction in the linguo-cultural space. Thus, behavioural programs function in society in a signed form: in the form of social symbolism systems, in the form of etiquette signs, various kinds of signals, in the form of language. From these perspectives, we consider language as a mega program that regulates human thinking and behaviour. This approach allows us to identify the connection between language and culture. From the standpoint of the semiotics of culture, verbal speech is the main, nuclear sign system of ethno-culture, over which all other sign systems of this culture are built as its auxiliary mechanisms. The article deals with the connection between the concepts of language and code, as well as a number of related concepts. The concept of “linguistic image” is specified. The cultural code is divided into subcodes with a multi-level hierarchy. The system of cultural codes with its “vertical” and “horizontal” relations represents the figurative system of culture. Units of linguo-cultural code are formed under the interaction of cultural codes with the generally accepted code. A unit of linguo-cultural code consists of any number of lexemes, but it is a natural language embodiment of only one unit of cultural code (a separate image). Figurative codes of culture are embodied only in such linguistic units that have a figurative basis.

scholarly journals The Ordinary Social Media User as a Historian: Ways to Create a Historical Narrative on YouTube

2019 ◽  
pp. 323-337
Author(s):  
G.I. Zvereva
Keyword(s):  
Historical Narrative ◽  
Digital Products ◽  
Production Methods ◽  
The Past ◽  
Narrative Structures ◽  
History Of ◽  
Digital Stories ◽  
Network Communications ◽  
Digital Algorithms ◽  
Folk Stories

The article discusses the features of the participation of ordinary users of the YouTube platform in the creation of digital products that look like “folk” stories about Russian history of the twentieth century. Such stories are created by ordinary users within the framework of standard digital algorithms and technologies for their production. This gives rise to the effect of invariance of storytelling and makes it possible to identify repeating structural and substantial elements in them. The aim of the study is to study the specifics of technologies for creating digital stories and identifying narrative structures in them that are correlated with the components of a mediatized cultural memory. The focus of the research is video stories created by ordinary users and the semantic extension of video stories in user comment threads. The article suggests typologization of video stories by formats and production methods, as well as by their content and rhetoric. The following describes the principles of constructing stories about the past in the comments. This allows us to identify the different roles that users choose when creating macro- and microhistories. Video stories and comments on them should be considered as integral works, the interactive digital content of which is formed and transformed in the process of socio-cultural network communications.

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