Greek High Culture in Hellenistic and Early Imperial Bithynia

The article attempts to set out evidence for various forms of Greek high culture in Bithynia from the fifth century BC to the middle of the third century AD, taking as a cut-off point the tetrarchic period in which Diocletian’s choice of Nicomedia as a capital had a marked impact on its and other Bithynian cities’ cultural life. The preliminary prosopography lists representatives of Greek culture by city, subdividing into the categories doctor, grammaticus, historian, philosopher, poet, rhetor or sophist, and scholar (with a sprinkling of other performers). Only Nicaea, with 30 names, makes a strong and persistent showing; of other cities only Nicomedia musters more than 10 names, though Prusa and Prusias ad mare produce several doctors. Prusias ad Hypium, by contrast, can boast only a single philosopher, perhaps a rhetor who moved to Nicaea, and a visiting tragic performer.

Kultura wysoka na służbie, czyli o mitologizmach we współczesnych stylach i odmianach polszczyzny

High Culture on Duty or Mythology-Based Expressions in Contemporary Styles and Varieties of Polish The purpose of this article is to outline the stylistic and varietal extent of mythology-based expressions (of Graeco-Roman provenance), which include mythologically motivated linguistic units with varying formal (single words and polywords) and semantic (primary and secondary meanings) status. Due to their conventional origin, these units primarily belong to the literary variety of Polish. Additionally, they form the basis of numerous academic terms. To a much lesser degree, they also serve as fodder for other speech genres, styles and varieties of Polish that are conditioned by present-day cultural, civilizational and communicative changes, realized, for instance, in the language of journalists, internet users, public figures, manufacturers or owners of commercial and service facilities. The expressions in question are used in texts that differ stylistically, where they perform not only denotative-connotative but also axiological and expressive functions. Kultura wysoka na służbie, czyli o mitologizmach we współczesnych stylach i odmianach polszczyzny Celem niniejszego opracowania jest próba pokazania stylistycznego i odmianowego zasięgu mitologizmów (o grecko-rzymskiej proweniencji), do których można zaliczyć motywowane mitologicznie jednostki języka o różnym statusie formalnym (jedno- i wielowyrazowe) i semantycznym (o znaczeniu prymarnym i wtórnym). Jednostki te ze względu na swe konwencjonalne źródło przynależą przede wszystkim do książkowej odmiany polszczyzny. Dodatkowo, stały się one także podstawą wielu terminów naukowych. W nieznacznym stopniu zasilają też inne, warunkowane współczesnymi zmianami kulturowo-cywilizacyjnymi i komunikacyjnymi gatunki mowy, style i odmiany polszczyzny, realizujące się choćby w języku dziennikarzy, czynnych internautów, osób publicznych, producentów czy właścicieli obiektów usługowo-handlowych. Mitologizmy używane są zatem w tekstach o różnej stylistyce. Pełnią w nich funkcje nie tylko denotacyjno-konotacyjne, lecz także m.in. aksjologiczne i ekspresywne.

Echoes of Medieval and Pre-Modern Animal Trials in the Interlude Declamatio sub forma iudicii (1735)

Declamatio sub forma judicii can be found in the Graudenz Codex (1731–1740). It is an interlude that jokingly reports an animal trial. The interlude is a humorous treatment of the historical trials on animals that continued from the Middle Ages to the eighteenth century. Onthe one hand, such eighteenth-century discussions of animal trials continued the medieval tradition. This would confirm the diagnosis about the existence of the “long Middle Ages”, especially in Central and Eastern Europe, where the cultural trends could be somehow belated in comparison to those in the West. On the other hand, perhaps writing about animal trials in the eighteenth century was already a form of medievalism. High culture propagated anthropocentrism in its thinking about animals, while folk culture entailed anthropomorphism. In animal trials animals are treated as subjects to the same regulations as humans, which means that they were seen as very much similar to humans. The eighteenth-century interlude recreates this tradition, but it is a source of satirical laughter.

'The Awful Stuff': Colin McCahon, High Art, and the Common Culture 1947-2000

<p>This thesis analyses the conditions of artistic production at two pivotal moments in the reception of modernism in New Zealand: the emergence of a tradition of modernist painting in the work of Colin McCahon in the late 1940s, and the dispersal of that tradition under the impact of postmodernism and postcolonialism circa 1990 in the work of Michael Parekowhai and Ronnie van Hout, among others. Artists’ distinctive engagement with a broad compass of visual culture is considered alongside a critique of local high culture in relation to the culture of everyday life. The reception of this work is figured as emblematic of the historical contestation over the representation of the everyday; a struggle for visibility which reveals the social antagonisms of New Zealand culture. The first part of the thesis considers the vituperative critical response to McCahon’s use of formal devices drawn from comic books and commercial design in the late 1940s, against the background of the establishment of the national high culture. It accounts for the response by exploring the social factors inherent in critical disdain for commercial art and mass culture, which drew on the trenchant opposition of British intellectuals, and suggests that in McCahon’s work popular culture is employed as a form of aesthetic primitivism with which to represent the barbarities of World War II, as well as to express the experience of everyday life in New Zealand to a broad public audience. It concludes that fundamental to the antagonism over his work was disagreement over what constituted local cultural authenticity. The second part of the thesis considers problems of New Zealand high culture figured in antagonistic relation to the culture of everyday life that were advanced by New Zealand critics in the years after McCahon produced his popular-culture inflected paintings. The anti-Americanism of New Zealand culture is considered in relation to the rise of the ‘comics menace’ as a source of moral panic in the early 1950s. However, the interest of a new generation of New Zealand scholars in popular culture is observed in changing attitudes towards comic strips (and to American culture) in the 1980s. The same scholars also seek new terms for local critical address. A final chapter of this section explores the afterlife of McCahon’s work following his death in 1987, tracking the movement of the work out into the common culture and the high culture’s contestation of his modernist legacy. The third part of the thesis opens with an account of aspects of art practice under emerging cultural conditions of postmodernism and postcolonialism in New Zealand in the 1990s, and explores the continued role of McCahon’s work in expressing and revising issues of national identity. Central here is ‘Choice!’ (1990), an exhibition of contemporary Māori art, which introduced Michael Parekowhai’s work and precipitated an ongoing discussion on the politics of identity in contemporary art. While Parekowhai located aspects of Māori identity in the traditions of high art and globalised mass culture, other artists interrogated national identity by similar means. The result was an expansion of the terms both of national identity and of the critical territories of the high culture. The thesis concludes by examining the critical furore that arose when Te Papa Tongarewa, New Zealand’s new national museum, opened with the exhibition of a painting by Colin McCahon beside a refrigerator of the same vintage. The debate, which ensued, was largely concerned with the desire of critics to separate the domain of art from the domain of everyday life. This analysis demonstrates how contestation between the high culture and the common culture represents a recurring and generative dynamic in the history of New Zealand art—in which McCahon is a pivotal figure—during the second half of the twentieth century.</p>

'The Awful Stuff': Colin McCahon, High Art, and the Common Culture 1947-2000

<p>This thesis analyses the conditions of artistic production at two pivotal moments in the reception of modernism in New Zealand: the emergence of a tradition of modernist painting in the work of Colin McCahon in the late 1940s, and the dispersal of that tradition under the impact of postmodernism and postcolonialism circa 1990 in the work of Michael Parekowhai and Ronnie van Hout, among others. Artists’ distinctive engagement with a broad compass of visual culture is considered alongside a critique of local high culture in relation to the culture of everyday life. The reception of this work is figured as emblematic of the historical contestation over the representation of the everyday; a struggle for visibility which reveals the social antagonisms of New Zealand culture. The first part of the thesis considers the vituperative critical response to McCahon’s use of formal devices drawn from comic books and commercial design in the late 1940s, against the background of the establishment of the national high culture. It accounts for the response by exploring the social factors inherent in critical disdain for commercial art and mass culture, which drew on the trenchant opposition of British intellectuals, and suggests that in McCahon’s work popular culture is employed as a form of aesthetic primitivism with which to represent the barbarities of World War II, as well as to express the experience of everyday life in New Zealand to a broad public audience. It concludes that fundamental to the antagonism over his work was disagreement over what constituted local cultural authenticity. The second part of the thesis considers problems of New Zealand high culture figured in antagonistic relation to the culture of everyday life that were advanced by New Zealand critics in the years after McCahon produced his popular-culture inflected paintings. The anti-Americanism of New Zealand culture is considered in relation to the rise of the ‘comics menace’ as a source of moral panic in the early 1950s. However, the interest of a new generation of New Zealand scholars in popular culture is observed in changing attitudes towards comic strips (and to American culture) in the 1980s. The same scholars also seek new terms for local critical address. A final chapter of this section explores the afterlife of McCahon’s work following his death in 1987, tracking the movement of the work out into the common culture and the high culture’s contestation of his modernist legacy. The third part of the thesis opens with an account of aspects of art practice under emerging cultural conditions of postmodernism and postcolonialism in New Zealand in the 1990s, and explores the continued role of McCahon’s work in expressing and revising issues of national identity. Central here is ‘Choice!’ (1990), an exhibition of contemporary Māori art, which introduced Michael Parekowhai’s work and precipitated an ongoing discussion on the politics of identity in contemporary art. While Parekowhai located aspects of Māori identity in the traditions of high art and globalised mass culture, other artists interrogated national identity by similar means. The result was an expansion of the terms both of national identity and of the critical territories of the high culture. The thesis concludes by examining the critical furore that arose when Te Papa Tongarewa, New Zealand’s new national museum, opened with the exhibition of a painting by Colin McCahon beside a refrigerator of the same vintage. The debate, which ensued, was largely concerned with the desire of critics to separate the domain of art from the domain of everyday life. This analysis demonstrates how contestation between the high culture and the common culture represents a recurring and generative dynamic in the history of New Zealand art—in which McCahon is a pivotal figure—during the second half of the twentieth century.</p>

Neurotechnology and development of students and teachers’subjectivity in inclusive education

В статье рассматриваются результаты и последствия внедрения смарти нейротехнологий в инклюзивное образование. Цель работы — изучить их влияние на развитие субъектности студентов и преподавателей, применяющих цифровые технологии. Новизна исследования заключается в попытке интегративно осмыслить социально-психологические проблемы нейрообразования, связанные с внедрением и применением систем искусственного интеллекта в инклюзивном образовательном процессе, в рамках которого формируется и развивается субъектность. Изучение подводных камней нейрообразования необходимо для осмысления результатов воздействия цифровых технологий на становление и развитие обучающихся и педагогов как субъектов воспитательно-образовательного процесса. Варианты преобразования инклюзивного образования и его субъектов должны рассматриваться в контексте изменения ценностей, целей, концептов и концепций, которые определяют и трансформируют взаимоотношения человека с собой и окружающим миром. Результаты исследования показали, что нейротехнологии вызывают серьезные изменения в инклюзивном образовании, влияют на отношение человека к себе и окружающему миру и в конечном итоге могут привести к потере субъектности. Соответственно, их использование подразумевает высокую культуру инклюзивного образовательного процесса, развитие человеческих и профессиональных качеств педагогов и обучающихся. Нейрообразование может сыграть существенную роль в становлении и совершенствовании человека как субъекта при условии формирования нейросреды в контексте цифровой и общечеловеческой культуры. The article focuses on the results and consequences of the introduction of smart and neurotechnologies in inclusive education. The purpose of the study is to analyze the development of the subjectivity of students and teachers using digital technologies. The novelty of the research lies in the desire to integratively reflect on socio-psychological problems related to the introduction and application of artificial intelligence systems in an inclusive educational process, within which subjectivity is formed and developed. The study of the problems of neuroeducation is necessary for understanding the results of the impact of digital technologies on the formation and development of students and teachers as subjects of the educational process. Options for the transformation of inclusive education and its subjects should be considered in terms of changing values, goals, concepts that define and transform a person’s relationship with themselves and the world around them. Research results showed that neurotechnologies bring serious changes in inclusive education; they affect a person’s attitude towards himself or herself and the world around him or her and can eventually lead to a loss of subjectivity.They can be introduced only on the basis of a high culture of the educational process, highly developed human and digital competencies of teachers and students. Neuroeducation can play an essential role in a person’s formation and improvement as a subject provided the neuro-environment is created on the basis of digital and human culture.

Development of art, culture, and literature attractions for millennial generations

This article discusses the great potential of Tengku Amir Hamzah Stabat Park in Langkat Regency, Indonesia. The potential of the park can be used as the development of a new tourism phenomena by creating a cultural tourism market. The Langkat Malay community is known to have a high culture, but the influence of globalization causes cultural degradation. The development of cultural tourism is going to used because it is related to extracting traditional values. The trend of tourists today is a new experience through an unknown cultural heritage. The method used is descriptive-qualitative. Data were obtained from in-depth interviews, observations, FGDs, books, and other official sources. This article used cultural tourism, sustainable tourism, and creative economic development theories. The results showed that Tengku Amir Hamzah Stabat Park could be developed as an artistic, cultural, and literary attraction. The Millennial Generation of Langkat Regency still has an interest in the cultural heritage of Langkat Malays, therefore it needs to be preserved as the unique values of the region and used as tourist attractions at the local level. Tengku Amir Hamzah's work should be understood from a new perspective. The Industrial Revolution 4.0 is closely related to the development of cultural tourism.

Understanding Dalit Literature: A Critical Perspective Towards Dalit Aesthetics

Indian literature has always been governed by classical norms. Literature has been divided into ‘high culture’ and ‘low culture’. The non-Dalit writing revolves around ‘rasa’ and the motive is ‘art for art’s sake’. Dalit aestheticism is ‘art for life’s sake’. When certain forms and styles are applied imitating Sanskrit poetics, Shakespearean language or Aristotle’s ‘Poetics’, literature is considered to be following beauty parameters that are considered to be necessary for artistic pleasure. This kind of claim of holding traditional Indian aesthetics as a law book for all kinds of literature cannot be validated. The assertion of mainstream aesthetics as aesthetics for pan India is bound to exclude the truth of disregarded subjects. There is a need for Dalit literature to follow alternative aesthetics as the writings are the real story of pain and survival. How can pain be read for the purpose of pleasure? In the case of Dalit literature, the artistic yardsticks are not destroyed rather they are rejected. The traditional aesthetics will not be able to do justice with Dalit literature. Sharankumar Limbale writes “To assert that someone’s writing will be called literature only when ‘our’ literary standards can be imposed on is a sign of cultural dictatorship” (Limbale, 2004, p. 107). This paper will be an attempt to discuss the need for alternative aesthetics to understand Dalit literature.

The song genre in the work of Ukrainian composers of the first half of the ХХth century: through the prism of folklore, kitsch, and hit

The purpose of the article is to consider the development of the genre of the song of the first half of the twentieth century. The methodology of the research is based on the historical and cultural and artistic methods of studying the genre of the song. The scientific novelty is to consider the genre of the song at different stages of its development (from folklore, amateur level, Kitsch, Biedermeier to a mass song, samples of socialist realist kitsch, pop culture, hits, etc.). Conclusion. The genre of songs during the first half of the twentieth century became one of the binding links of the "low" and "high" culture and due to its availability and easier perception, with frequent use of techniques and methods of Kitch, which later fallen the basis of pop culture, enabled the birth of such a The phenomenon as a hide, separate samples of which became a "classic", are popular today, taking their niche in the treasury of national musical culture.