Yeni Medya Teknolojilerinin Kullanılmasının Siyasal İletişime Getirdiği Yenilikler

The new media, which is under the traditional media, is rapidly becoming an extremely important channel for political communication. In our digital age, which refers to the electronic revolution shaped by means of communication, before the electronic revolution, which is accepted as a leap in the developmental line of the history of civilization as synonymous with the information and knowledge community, political communication also changes like every other issue. Radio and television have risen to a central position in the political relations of people in the electronic world; In this process, channels, radio and television, which are among the 3 issues in the classification between receivers, transmitters and channels, have made the way of using and benefiting from both transmitters and receivers into a habit, in accordance with their own characteristics. In this process, which took place within the boundaries drawn by television-mediated political communication, each of the parties had to construct roles, wishes, expectations, identity, constitutionalism, reconciliation, activities according to the instrumentality of television. By internalizing the drawn framework and borders more and more every day, it has indexed all kinds of political activities that can be realized through the media in daily life to radio and television, and then to new media tools. Key Words: Technology, Political Communication, New Media.

Разновидности Текстовой Динамики В Свете Феномена Признаковости В Повести Ф. М. Достоевского «Двойник» (Статья Первая)

В настоящей статье изучаются поэтические принципы и функции двух типов структурно-семантической логики, влияющей на возникновение текстовой динамики в «Двойнике». Парадоксально, что главная линия развития сводится к структуре высокой повторяемости рекуррентных / рекурсивных фигурирований стабильных нарративных единиц, мотивов, лексических элементов текста. Их постоянное возвращение (см. события, характерные черты персонажа, семантические признаки, компоненты устойчивых фразеологических выражений) создает впечатление модели неизменного мира, в котором не происходит никаких смен. Такой феномен можно условно назвать динамикой рекуррентности под знаком статичности. Транспозиционная динамика, с другой стороны, определяется в качестве второго направления текстового развертывания, формирующего механизм порождения смысла. Транспозиция в данной работе понимается в широком смысле, со специальным сосредоточением на 1) трансфигурации и проек\xD1\x86ии смысла путем сдвига от однородности семантических признаков к наделению означающих или означаемых новыми признаками (проблема референтности); 2) процессах семантической интеграции, касающейся включения мелких смысловых единиц в более крупные формации (семантический признак → мотив → литературный персонаж). Цель статьи состоит в выяснении взаимоотношения (своеобразной интеракции) двух типов динамики. Рассматриваемое смысловое образование, воплощаемое в минимальной единице моторной (моторно-словесной) «экспрессии» Голядкина, обладает двойной ориентацией, основанной на корреляции движения и остановки, которую В. B. Виноградов интерпретировал в своей знаменитой работе. С точки зрения объекта изучения в настоящей статье указанная нарративная и лингвистическая единица подвергается толкованию в качестве рекурсивной пары мотивов, обладающей особенной способностью перевоплощаться путем транспозиции. Применением метода «close reading» в пятой главе повести, где появляется двойник господина Голядкина, подробно продемонстрировано, как транспозиция действует в рамках процесса смысловых интеграций. Значение мотива врага претерпевает сдвиг от смысла человеческого врага к смыслу петербургской погоды и человеческой судьбы как новых субъектов. Они ассоциируются с мифологией и литературной культурой (интертексты), подводящими к толкованию личности Голядкина. Образ главного героя проецируется на его двойника многими семантическими признаками. «Тоскливая побежка» в смысле столкновения Голядкина с самим собой представляет его в качестве прозревающего героя, который как л\xD0\xB8тературный персонаж развивается постепенно, включением в этот процесс и образ двойника как транспозицию фигуры, также представляющей собой динамическое смысловое образование. Соотношение Голядкина и его двойника в аспекте проблемы первичности и вторичности поставлено также в контекст семиотики Пирса. The paper examines the poetic principles and functions of two sorts of structural-semantic logic influencing the emergence of textual dynamics in The Double. Paradoxically, the main developmental line consists in a highly repetitive structure of permanent reiteration of fixed narrative units, motifs, and lexical items in the text. Their constant recurrence (cf. events, character traits, semantic attributes, and elements of stable idiomatic phrases) creates the impression of a static world model in which no changes occur. This may be called recursive dynamics under the sign of a static state. Transpositional dynamics, on the other hand, can be regarded as the second direction of the textual developmental movement, producing the mechanism for meaning-generation. Transposition is interpreted broadly, in the paper, with a special accent on 1) meaning transfigurations and projections through the shift from the uniformity of semantic attributes to the acquiring of new attributes by the signifier or the signified (the problem of reference); 2) processes of semantic integration concerning the inclusion of smaller semantic units into larger ones (semantic attribute → motif → character figure). The purpose of the paper is to clarify the reciprocity (the special interaction) of the two types of dynamics. The semantic formation under scrutiny embodied by the smallest unit of Golyadkin’s motoric-verbal expression has a double orientation based on the correlation of motion and stop interpreted by V. Vinogradov in his famous study. From the perspective of the paper’s research object, this narrative and linguistic unit is examined as a recursive motif pair with a special capacity of transformation through transposition. It is demonstrated in detail, within the close reading of the fift h chapter, where Golyadkin’s double appears, how transposition works through a process of semantic integrations. The meaning of enemy is shift ed from human rivals to Petersburg weather and human fate as new subjects, associated with mythology and literary culture (intertexts), leading up to the interpretation of Golyadkin’s personality. The protagonist’s figure is projected upon his double through many semantic attributes. The “melancholy flight” as his encounter with himself presents him as an awakening hero, who as a character is developed gradually, including his double as his figure-transposition which also embodies a dynamic semantic pattern. The correlation of Golyadkin and his double in the context of firstness and secondness is also put into the context of Peircean semiotics.

Black Rage: The Psychic Adaptation to the Trauma of Oppression

Integrating the story of a young Freud’s racial trauma with a novel application of the concept of moral injury has led to a realization and conceptual formulation during the pandemic uprisings of the mental construct of Black Rage as an adaptation to oppression trauma. As formulated here, Black Rage exists in a specific dynamic equilibrium as a compromise formation that is a functional adaptation for oppressed people of color who suffer racial trauma and racial degradation, an adaptation that can be mobilized for the purpose of defense or psychic growth. Black Rage operates as a mental construct in a way analogous to the topographical model, in which mental agencies carry psychic functions. The concept of Black Rage is crucial to constructing a theoretical framework for a psychology of oppression and transgenerational transmission of trauma. Additionally, in the psychoanalytic theory on oppression suggested here, a developmental line is formulated for the adaptive function of Black Rage in promoting resilience in the face of oppression trauma for marginalized people.

Traces of a fortified hamlet. Iconography and urban development of San Valentino in Abruzzo Citeriore

The paper proposes a reading of the possible urban development of the historic centre of San Valentino in Abruzzo Citerore starting from the analysis of its architectural heritage. The image of a fortified hamlet surrounded by walls, represented in a painting dating back to the mid-nineteenth century, appears in cartographic reliefs and representations accessible at the local and extra regional archives. The reading of the current architectural set of givens, which are characterized by the continuous use of building techniques related to the processing of local limestones, seeks through comparison with the historic iconography to identify persistences and alterations of the urban fabric, tracing a possible developmental line of San Valentino in Abruzzo Citeriore from medieval castrum to Farnesiano fief up to the substantial interventions of modernization and revision of the historic center operated in the last century. The requests of functional and formal changes occurring at the turn of the nineteenth and twenteeth century implicates the dismantling of the walls, the typological change of the original building and of the urban layout and the loss of the urban imagine resulting consolidated in the collective memory. An awaking context of the main features of the historic and building development of this fortified reality in the Middle Adriatic area is today an indispensable step in this path of consciousness and awareness of the society regarding the urgent problem connected to the neglect and to the conservation of the historic centres.

ОД ЕКОЛОШКЕ КА БИОЕКОЛОШКОЈ ТЕОРИЈИ ЉУДСКОГ РАЗВОЈА – ЧОВЕК И ОКРУЖЕЊЕ У ДИЈАЛОГУ

The paper represents an overview of the developmental line of J. Bronfenbrenner’s bioecological theory and its key characteristics in each developmental phase. It took three decades from the first integral representation of this theory to its mature form. That line is marked by an essential shift from the ecological to bioecological concept of human development. If we pretend to conduct a biecological valid research, it is very important to learn about teh development of this theory, even more since it is very often conceptualized as only ecological, without using its revised and complete version in research. The analysts of the Bronfenbrenner theory recognized only a few researche, among all that are declarative based on bioecological theory, that really uses bioecological “PPCT“ model as the research design. The need for this kind of overview of this “theory in development“ is highlighted more by the fact that in our region is available the very first, ecological version of the Bronfenbrenner's theory (1997, Екологија људског развоја).

DE 'ECHTE' HISTORISCHE ROMAN EN HET 'ECHTE' SCOTTIAANSE DICHTVERHAAL IN 'DE MODERNE TIJD'

THE 'GENUINE' HISTORICAL NOVEL AND THE 'GENUINE' SCOTTIAN EPIC POEM IN 'MODERN TIMES' For over a century, it has been taken for granted that David Jacob van Lennep's Discourse on the significance of Holland's soil and antiquities for sentiment and imagination (1827) inaugurated the historical novel as a specific literary genre in the Netherlands. The historical epic is supposed to have benefited similarly. In this article I inquire whether the conventional separation between historical novels and epics before and after 1827 does in fact rest on objective and tangible characteristics of these works. If we were to examine the entire corpus of historicising literature between 1780 and 1940, would we or would we not encounter a continuous developmental line? A preliminary investigation of some specific cases suggests that, as a genre, the historical epic has vanished completely, whereas the historical novel remained as vital as before up to World War II. Its objective, however, was no longer the re-enactment of the past but the dissolution of the separation between past and present.

Rudolf Bruči and the criticism of the European avant-garde

Yugoslav composer Rudolf Bruči is known on the international scene primarily as the author of Sinfonia Lesta, a composition winning the first prize in 1965 at the Queen Elizabeth Competition in Belgium. On a national level, Bruči was a powerful social entity, not only in respect of his creative freedom. As a member of the League of Communists, Bruči spent a lifetime as an official in social organizations and cultural institutions, thus dictating the rhythm of musical life of Novi Sad and the Province of Vojvodina, until the collapse of Socialism when he was suddenly forgotten. The developmental line of Bruči’s oeuvre – leading from Zhdanovian national classicism, through the adoption of elements of the European avant-garde, to the reaffirmation of a national/regional idiom in the mid-1970s – largely corresponds to the general tendencies of postwar art music in the socialist countries of Eastern and South-Eastern Europe. Bruči broke with the European avant-garde models not only in his creative practice, but he also reasoned it in the articles “The Composers’ Role in the Modern Development of Self-governing Socialist Society,” “Statements of Yugoslav Music Forum Composers’ Workgroup,” and “Manifesto of the ‘Third Avant- Garde’,” where he based his discourse on conformism, lack of communication and dehumanization of avant-garde, and in particular on Yugoslav ideological projects, such as self-management, non-alignment, and deprovincialization. The article analyzes the context in which Bruči’s creative transformation during the 1970s was expressed as the criticism of the Eurocentric cultural model, as well as the suspicion towards the imperative of modernization in a world obsessed with technological advances.