scholarly journals Romantic arts in modern mass culture

2021 ◽  
pp. 143-146
Author(s):  
Дарья Андреевна Сигида ◽  
Елена Анатольевна Гербут
Keyword(s):  
Mass Culture ◽  
Modern Society ◽  
Modern Culture ◽  
Single Body ◽  
Creative Personality ◽  
Artistic Life ◽  
Internal Properties ◽  
Modern Mass

В статье рассматриваются некоторые виды романтического искусства, их связь с внешним и внутренним свойством личности, принцип субъективности. По Гегелю, в классическом искусстве имеет место совершенное слияние идеального содержания и чувственной формы. Но дух не есть просто единичный конечный дух, соединенный с единичным телом; он есть божественное и бесконечное. И в романтическом искусстве, христианском по всем своим целям и устремлениям, никакое чувственное воплощение не ощущается адекватным духовному содержанию. Определяется первое искусство в ряду романтических искусств, которое должно указанным способом сделать видимым свое содержание в формах внешнего человеческого облика и всех природных творений, но без того, чтобы задерживаться на чувственности и абстракции. Выполнение этой задачи ставит перед собой живопись. В статье определяется место массового искусства в современной культуре, где творческая личность как создатель и потребитель этого искусства транслирует новое искусство, которое должно выдерживать новую реальность XXI в. Этап смены укладов вносит в искусство свои правила и пожелания, а также требует подчиняться новым законам в художественной жизни современного общества. The paper discusses some types of romantic art, their connection with the external and internal properties of the person, and the principle of subjectivity. According to Hegel, in classical art there is a perfect fusion of ideal content and sensual form. But the spirit is not just a single finite spirit connected to a single body; it is divine and infinite. Also, in romantic art, which is Christian in all its goals and aspirations, no sensual embodiment is felt adequate to spiritual content. The first art in the range of romantic arts is defined, which should, in this way, make visible its content in the forms of external human appearance and all natural creations, but without lingering on sensuality and abstraction. The fulfillment of this task is set by painting. The publication defines the place of mass art in modern culture, where the creative personality, as the creator and consumer of this art, translates new art, which should withstand the new reality of the 21 century. The stage of changing styles introduces its rules and wishes into art, as well as requires obeying new laws in the artistic life of modern society.

scholarly journals Влияние масс-медиа на сознание человека в пьесах Александра Марданя

2018 ◽  
pp. 153-164
Author(s):  
Maria Sibirnaya
Keyword(s):  
Mass Media ◽  
Mass Culture ◽  
Real Life ◽  
Point Of View ◽  
Contemporary Culture ◽  
Modern Culture ◽  
Factors Affecting ◽  
The Mass Media ◽  
Music Information ◽  
Modern Mass

Nowadays the influence comprehension of the mass media as one of the most significant factors affecting contemporary culture, acquires the special significance. All kinds of new information receiving by media channels obtain the stereotyped, frequently repeatedly cultural and axiological orientations, which become fixed in people's consciousness. Skillful manipulation of information makes the power of suggestion from mass media practically unlimited. Therefore, the public opinion is created by the mass media. Being so closely intertwined with the mass media, the modern mass culture is coming through all elements of people's lives. Moreover, it appears in the literary works, which reflect the influence of the mass media on the consciousness, mentality, point of view and decisions of the literature characters, using their set example in the literature. Odessian playwright Aleksander Mardan presents his characters in the context of the events, which entails new circumstances both due to the characters decisions and out of more extensive economic and political changes. One may notice the presence of mass media in the form of music, information broadcasts and press almost in all Mardan's play. One may track out the influence on the character’s consciousness and reveal the difference between the official version and what happened in the real life. Using the performance tool, there is the action in the play showing the influence of the stereotypes implicated by the mass media. The performance reveals not only the stereotypes affection influencing the mentality of the characters, but also the viewers whose interpretation of the play’s direction is not always critical enough. Therefore, the question about the relationship between the society and mass media, about the level of freedom in mass media from the society and concerning the influence exerted by mass media on the modern culture and the human's consciousness is repeatedly presented in Alexander Mardаn’s plays.

scholarly journals “THE SEAMY SIDE OF THE CITY”: MARGINAL LANDSCAPES AND CONTEMPORARY VISUAL CULTURE

2021 ◽  
Vol 17 (2) ◽  
pp. 61-87
Author(s):  
OLGA A. LAVRENOVA ◽  
Keyword(s):  
Visual Culture ◽  
Urban Space ◽  
Mass Culture ◽  
Homeless People ◽  
Point Of View ◽  
Urban Landscapes ◽  
Modern Culture ◽  
Cultural Phenomenon ◽  
Feature Films ◽  
Modern Mass

The topic of people thrown to the sidelines of life is considered in a double frame—in the context of the way the urban space is arranged and in the context of modern visual culture (feature films, video and photo blogs, videos on popular YouTube channels). The most hyped-up type of marginal landscape in modern media is slums. The otherness of such spaces has always been a subject of interest and curiosity, for “gazing”—interpretation, perception and entertainment. In modern mass culture, the “location” of the global south slums is especially trendy. In such exterior, hyper-popular feature films such as Slumdog Millionaire have been shot, causing a new cultural phenomenon—mass slum tourism. This phenomenon seems to be ambiguous from an ethical point of view; but from the point of view of visual culture, it is voyeurism brought to the level of an art and everyday life practice. The second type of marginal urban landscapes is local “invasion” into the decent and institutionalized city space. This art form serves as a “location” for a psychological drama of superfluous people. Features of national identity are most clearly manifested on its seamy side rather than anywhere else. Japanese townships of the homeless, incorporated into central and well-to-do areas, are no strangers to order and aesthetics; while Russian realities—chaos, departure from norms and underground—are completely opposite. Classic films devoted to this issue—Dodes’ka-den by Akira Kurasawa, Promised Heaven by Eldar Ryazanov, The Lady in the Van by Nicholas Hytner—model these seamy spaces and their peculiarities inherent in national culture. Very popular now are YouTube channels about the life of homeless people, which show real characters in their real habitats, introducing marginal spaces into the rank of a hot-topic visual culture. This type of visualization provokes another cultural phenomenon— the perception of marginal loci and their inhabitants as an interactive performance. Interactivity can vary from attacking to fraternization, from preaching to charity. Odd as it may seem, hyper-visualization and aestheticization of social ulcers contributes to their social invisibility. It is a problem, which no one is going to solve anymore; it has become a part of modern culture with its own philosophical and aesthetic arguments—and in a certain sense they act as its justification.

scholarly journals Applied Cultural-Historical Psychology in Front of Current Challenges

2020 ◽  
Vol 39 (3) ◽  
pp. 3-12
Author(s):  
Valery I. Oleshkevich ◽  
Natalia S. Burlakova
Keyword(s):  
Clinical Psychology ◽  
Modern Society ◽  
Modern Culture ◽  
Information Spaces ◽  
Psychological Phenomena ◽  
Long Time ◽  
Data Correlations ◽  
Multiple Challenges ◽  
Modern Mass ◽  
Crisis Situations

Relevance. The current situation of the pandemic and a number of other crisis situations in modern society have shown the insufficient development of the methodology of clinical psychology which for a long time has been focused on the study of various kinds of clinical groups, the creation of single techniques, individual correction and psychotherapy. As it turned out, such a multidisciplinary and mostly naturalistic organization of clinical psychology does not meet the problems that arise in the modern mass information society, in particular in crisis situations. The study shows that cultural-historical clinical psychology meets criteria of multiple challenges. The objective of the article is to analyze the possibilities for the development of clinical psychology in a crisis situation of a pandemic, to compare the possibilities and ways of both traditional and cultural-historical psychology to respond to the challenges of new social and cultural realities. Our task in this research was to broadly present the main directions of development of clinical psychology with an orientation towards increasing compliance with the requirements of modern culture. Results. A number of trends in the development of clinical psychology, its progress in the direction of cultural-historical clinical psychology are outlined. The possibilities of a shift from ascertaining studies to anticipatory and project ones are shown. This type of a shift means moving from the study of facts and data correlations to the study of cultural and historical mechanisms of the formation of disorders and psycho-techniques of corrective and preventive influence. The prospects for the move of culturalhistorical psychology in the direction from the receptive study of clinical groups to the control of the formation of patho-psychological phenomena in large social groups and information spaces are outlined. Conclusions. A new field of methodological and ontological developments is presented with the aim of creating a systematic applied cultural-historical psychology that can actively and in anticipatory manner answer the questions of modern society and culture. The research has shown the possibility of involving this area of psychological science in solving urgent practical problems arising during the pandemic and other crisis situations.

Cyborgization

2018 ◽  
pp. 138-150
Author(s):  
Liudmila Vladimirovna Baeva
Keyword(s):  
Mass Culture ◽  
Computer Games ◽  
Modern Society ◽  
Media Culture ◽  
Philosophical Analysis ◽  
Modern Mass

The image of the cyborg in modern society is being formed from the standpoint of modern scientific developments and media culture: the various phenomena of e-culture. The article presents an overview of current research related to understanding the nature of cyborgs, a philosophical analysis of the socio-humanitarian aspects of the process of cyborgization, the arguments pro and contra. The problem of cyborgization considered in the context of transformation of gender, immortality and ethics, etc. Special attention is paid to the study of the image of the cyborg in modern mass culture, from cinema to computer games.

scholarly journals Kitsch's casus in modern culture

2019 ◽  
pp. 27-29
Author(s):  
Galina Pavlovna Klimova ◽  
Viktor Petrovich Klimov
Keyword(s):  
Cultural Studies ◽  
Mass Culture ◽  
Art History ◽  
Aesthetic Theory ◽  
Modern Culture ◽  
Modern Mass

The article discusses the phenomenon of kitsch in its modern functioning in modern mass culture. The authors reviewed modern scientific researches in aesthetic theory, art history, and cultural studies.

scholarly journals “THE SEAMY SIDE OF THE CITY”: MARGINAL LANDSCAPES AND CONTEMPORARY VISUAL CULTURE

2021 ◽  
Vol 17 (2) ◽  
pp. 61-117
Author(s):  
OLGA A. LAVRENOVA ◽  
Keyword(s):  
Visual Culture ◽  
Urban Space ◽  
Mass Culture ◽  
Homeless People ◽  
Point Of View ◽  
Urban Landscapes ◽  
Modern Culture ◽  
Cultural Phenomenon ◽  
Feature Films ◽  
Modern Mass

The topic of people thrown to the sidelines of life is considered in a double frame—in the context of the way the urban space is arranged and in the context of modern visual culture (feature films, video and photo blogs, videos on popular YouTube channels). The most hyped-up type of marginal landscape in modern media is slums. The otherness of such spaces has always been a subject of interest and curiosity, for “gazing”—interpretation, perception and entertainment. In modern mass culture, the “location” of the global south slums is especially trendy. In such exterior, hyper-popular feature films such as Slumdog Millionaire have been shot, causing a new cultural phenomenon—mass slum tourism. This phenomenon seems to be ambiguous from an ethical point of view; but from the point of view of visual culture, it is voyeurism brought to the level of an art and everyday life practice. The second type of marginal urban landscapes is local “invasion” into the decent and institutionalized city space. This art form serves as a “location” for a psychological drama of superfluous people. Features of national identity are most clearly manifested on its seamy side rather than anywhere else. Japanese townships of the homeless, incorporated into central and well-to-do areas, are no strangers to order and aesthetics; while Russian realities—chaos, departure from norms and underground—are completely opposite. Classic films devoted to this issue—Dodes’ka-den by Akira Kurasawa, Promised Heaven by Eldar Ryazanov, The Lady in the Van by Nicholas Hytner—model these seamy spaces and their peculiarities inherent in national culture. Very popular now are YouTube channels about the life of homeless people, which show real characters in their real habitats, introducing marginal spaces into the rank of a hot-topic visual culture. This type of visualization provokes another cultural phenomenon— the perception of marginal loci and their inhabitants as an interactive performance. Interactivity can vary from attacking to fraternization, from preaching to charity. Odd as it may seem, hyper-visualization and aestheticization of social ulcers contributes to their social invisibility. It is a problem, which no one is going to solve anymore; it has become a part of modern culture with its own philosophical and aesthetic arguments—and in a certain sense they act as its justification.

Moderne Ikonen

2009 ◽  
Vol 54 (2) ◽  
pp. 123-143
Author(s):  
Bernadette Collenberg-Plotnikov
Keyword(s):  
Mass Culture ◽  
Visual Experience ◽  
Modern Art ◽  
The Other ◽  
Recent Discussion ◽  
Christian Church ◽  
Other Hand ◽  
The Absolute ◽  
Modern Mass

›Ikonen‹ sind heute nicht mehr nur die Ikonen der christlichen Kirche, sondern vor allem die Ikonen der modernen Massenkultur. Beide Arten von Ikonen werden in der neueren Kunstreflexion aufgegriffen: Kunst gilt entweder, verstanden als Erbin der religiösen Ikone, als Phänomen, das Absolutes in singulärer Weise anschaulich er- fahrbar macht. Oder aber die Kunst gilt umgekehrt lediglich als Klasse in der Welt der säkularen Ikonen. Demgegenüber wird im Beitrag erstens die These vertretenwerden, daß die neuere Kunst sowohl Aspekte transzendenter als auch immanenter Ikonen umfaßt. Zugleich ist es aber, so die zweite These, für unser Kunstverständnis charakteristisch, ein theoretisches Kontrastverhältnis zwischen Kunst und Ikone an- zunehmen. Dieses gründet auf einer spezifischen Reflexivität der Kunst, durch die sie sich von der Ikone beiderlei Art kategorial unterscheidet. Today, the word ›icon‹ usually no longer refers to the icons of the Christian church, but to the icons of the modern mass-culture. Both sorts of icons play a key-role in the recent discussion about art: Either art is supposed to be a descendant of the religious icon, a phenomenon that gives us a singular visual experience of the Absolute. On the other hand, art is supposed to be just one class among others in the wide world of the secular icons. In contrast to these two positions this essay contends that modern art comprehends aspects of transcendent as well as of immanent icons. Furthermore, it argues that at the same time it is characteristic for our notion of art to suppose a contrast between art and icon. This contrast is based on a specific reflectivity of art, which marks a categorical difference between art and both sorts of icons.

Mass culture in modern society: a functional approach. Scientific and methodological materials on social philosophy

2020 ◽  
pp. 40-49
Author(s):  
Anna Vladimirovna Kostina
Keyword(s):  
Mass Culture ◽  
Information Society ◽  
Social Systems ◽  
Modern Society ◽  
Social Philosophy ◽  
Digital Information ◽  
Cultural Form ◽  
Functional Nature ◽  
Natural Decay ◽  
Post Industrial

At present, social philosophy is dominated by the view that the importance of mass culture is constantly decreasing, which soon is supposed to lead to the natural decay of this cultural form. The author refutes the arguments of those who are skeptical about the position of mass culture in the post-industrial and digital information society and shows that the functional nature of this type of culture allows it to successfully fulfill its role in modern social systems. The materials of the article can be useful in preparing courses in the framework of social philosophy.

Methodology of humanitarian knowledge. Mass culture: adaptive and socializing potential

2020 ◽  
pp. 36-43
Author(s):  
Anna Vladimirovna Kostina
Keyword(s):  
Mass Culture ◽  
Modern Society ◽  
Point Of View ◽  
Social Structures ◽  
Adaptive Function ◽  
Social Communities ◽  
Positive Functions ◽  
Post Industrial

The author proves that despite the generally accepted point of view regarding the negative functions performed by mass culture in society, i.e., first of all, simplifying consciousness, escapist, and compensatory one, there is a number of positive functions performed by mass culture in modern society. Among them, the author highlights the ability of mass culture to construct social communities and the adaptive function that becomes necessary within the framework of non-traditional — industrial, post-industrial, and informational social structures. The material of the article may be of interest as a specific methodology for the study of socio-cultural phenomena.

scholarly journals Global holiday as a cultural phenomenon of the Digital Age

2020 ◽  
pp. 33-48
Author(s):  
Ivan Dmitrievich Tuzovskii
Keyword(s):  
Soft Power ◽  
Cultural Policy ◽  
Modern Society ◽  
Digital Age ◽  
Modern Culture ◽  
Methodological Foundation ◽  
Day Of The Dead ◽  
The Status ◽  
Global Status ◽  
The Subject

The subject of this research is modern celebratory culture in the context of impact of globalization processes upon festivities. The author explores a new phenomenon that emerged in the early XXI century – a “global holiday” within the framework of sociocultural transformations related to transition of humanity towards the Digital Age, and formation of the global information space. Special attention is given to the following aspects: creation of media and post-mythological global holidays of the Digital Age, and transformation of the traditional holiday into new metanational forms. The methodological foundation for studying the holidays that received the status of "global" in modern culture became the adaptation of “head page method” applied in sociological, cultural and futurological research and sociocultural monitoring, including overt observation. The conclusion is made that modern culture marks the formation of several types of global holidays that carry metanational character: the first group includes media-produced holidays associated with post-folklore and post-mythology of modern society, or represent celebratory events as award ceremonies in the field of politics, art and science; the second group includes ethnic traditional holidays that received the global status (Halloween, St. Patrick's Day, Mexican Day of the Dead, Holi “Festival of Spring”, etc.). The phenomenon of global holidays should be taken into account in creation of the national strategies of cultural policy, and the global holiday itself may become one of the "soft power" tools in the Digital Age.

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