Visual turn as an interpretive model of stage synthesis of arts in the culture of the XX–XXI century

Visual turn as an interpretive model of stage synthesis of arts in the culture of the XX–XXI century Purpose of the Article. The research is related to the definition of visual and virtual dimensions of the interpretation of fashion activity as a certain communicative scene. The research methodology is to apply a retrospective analysis of visual patterns in the stage space of everyday culture. The scientific novelty of the work is that the scene is perceived by the recipient as an optical phenomenon, has a wide space in which the actor of action or event performs certain communicative acts verbally and optically. The components of this synthesis plastically, gesturally, verbally-dramatically and optically-visually present a whole selection of arts that form a stage synthesis. Drama is verbalized as a plastic behavior, where the action, movements determine the high space of mise-en-scène of the tank, which testifies to both the expressive arts known since ancient Greek chorea and the visual-optical patterns. Thus, in the context of visual rotation, ocular centrism is actualized - trust in the picture. Conclusions. It should be noted that there is an artistic critique of the media, producers, galleries, magazines, that is, a space of unification and adequate representation of various art phenomena is formed. It is not the artists themselves, the actors of the big stage, the producers of the great culture of everyday life who live a full life, but those who create art events, local scenes of the presentation. Visual research tends to eclecticism, which turns into a polymorphic set of discourses, which indicates that you need to find a comfort zone, certain attractions of everyday culture. Without them, the realization of a modern art product is no longer possible. Advertising management, imageology are presented in society as an indirect reality, similar to virtual technology. Imagination as a video presentation becomes a problem of interpretation, a problem of vision. Visual culture tries to rehabilitate the image and determine its meaning without a name, without a name. Such a culture without a name leads to the fact that researchers are beginning to determine only what has a name. Art history describes the relationships between objects, chronological order, movement, formal preferences, and iconographic data. Needless to say, the work of art in this case remains an individual creation, a special source of life, and a social text. The culture of everyday life in the context of visual rotation is simultaneously a text, an image, a stage artifact, a pattern, and a flash image. Key words: culture, culture of everyday life, stage synthesis of culture of everyday life, image, visual turn.

CULTURAL PERSPECTIVE AND CULTURAL PERSONALITY OF THE CELEBRITY OF PRESIDENT HO CHI MINH

President Ho Chi Minh made great contributions to the international communist movement and the liberation of oppressed peoples through his domestic and foreign revolutionary activities. In terms of culture, PresidentHo Chi Minh made outstanding contributions to Vietnamese culture and human culture. Therefore, on the 100th anniversary of his birth (1890-1990), President Ho Chi Minh was honored by UNESCO as a world cultural celebrity. The article will further clarify the views on culture and cultural personality of President Ho Chi Minhthrough policies and actions that demonstrate the great stature of a great man - a great culture in the twentieth century.

NOMADIC PICTURE OF THE WORLD IN THE NOVEL OF S.SANBAEV “WHITE ARUANA”

Myths, tales and legends have been referencing readers of S. Sanjeev's prose to the ancient times of the Great Steppe, despite the fact that the action of fiction take place in the twentieth century. The story of Satimzhan Sanbaev «White Aruana», which has become the hallmark of the Kazakh writer's prose, is devoted to the urgent topic «man and nature». The motives of freedom, longing for the lost great past, the indestructible call of the Motherland are central to the story. Formation of the national identity of the Kazakh people is mainly based on works imprinted in oral folklore. The problem of “man and nature” is solved by the author in terms of the increased responsibility of the inhabitants of the planet Earth for the world. The narrator reinforces mythology, psychological overtones, and tragedy against the background of an ordinary household plot. The life of the inhabitant of steppe has depicted in the fate of one family. This skill has become a peculiarity of the style of the Kazakh prose writer. The failures of the protagonist Myrzagali are perceived as a consequence of the gradual decline of the ancient and great culture of nomadism, the cosmos of Tenriism. The loneliness of the individual in nomadic culture is determined by nature, living conditions, infinity and boundless vastness of the steppe, in which the problem of «man and space» is relevant in the twenty-first century.

Kritik dalam Ungkapan Bahasa Jawa: Kajian Semantik Kognitif (Criticism in Javanese Idioms: Cognitive Semantic Analysis)

Indonesia sangat kaya akan ragam budaya dan bahasa. Keanekaragaman tersebut terejawantah dalam ungkapan-ungkapan khas, seperti pantun atau peribahasa, yang mencerminkan kearifan lokal masyarakat penuturnya. Budaya Jawa merupakan salah satu budaya besar yang bertahan hingga kini. Tulisan ini mengetengahkan kritik dalam ungkapan Jawa melalui kajian semantik kognitif yang bertujuan untuk mendeskripsikan ungkapan-ungkapan bahasa Jawa yang mengandung makna kritikan dan menguraikan makna filosofi dalam ungkapan-ungkapan tersebut. Penelitian deskriptif kualitatif ini menggunakan ancangan semantik kognitif. Metode yang digunakan adalah simak, agih, padan, dan wawancara mendalam (in-depth interview) dengan teknik sadap dan perluas. Dari hasil analisis, terdapat 24 ungkapan bahasa Jawa yang mengandung kritik dan memunculkan makna personifikasi, yakni perpaduan konsep yang sama antara sifat binatang atau tokoh manusia dan sikap serta perilaku manusia. Kritik yang terdapat dalam ungkapan-ungkapan Jawa tersebut digunakan sebagai media kontrol sosial. Indonesia is very rich in diversity of cultures and languages. Those diversity is manifested in specific expressions, such as poems or proverbs, that reflect the local wisdom of the speaker community. Javanese culture known as a great culture that survives until today. This paper explores criticism in Javanese expressions in a form of cognitive semantic study. The aim of this paper is describing Javanese expressions that contain critical meanings and describing philosophical meanings in those expressions. This qualitative descriptive study used cognitive semantic design. The methods used were simak, agih, padan, and in-depth interview with tapping and expanding techniques. The analysis founded 24 Javanese expressions that contain criticism and give rise to the personification meaning, namely the combination of the same concepts between the nature of animals or human figures with human attitudes and behavior. Criticism in those Javanese idioms are used as a form of social control.

Integrasi Paham Agama: Membangun Kesamaan untuk Menegasikan Perbedaan Telaah Serat Sastra Gending

Islamization in Mataram shows symptoms of transformation of the cultural system of society, from global to local culture, from great culture to little culture; Sultan Agung, the last student of Sunan Kalijaga, played an important role in this task. as the third king of the Mataram, he strongly criticized the Islamization model which did not build local conciusness because it uprooted the cultural roots of the community from where it had grown, which would hinder the process of Islamization and the process of community maturity. For this reason, he formulated his thoughts through allegorical poems in the <em>Sastra Gending</em> Literature text. The purpose of this study is to provide an interpretation of the literary <em>Sastra gending</em> so that an integrative acculturative pattern is found in concocting a phenomenal model of Islamization in the Mataram era. This study was carried out by exploring library data, which will be assembled by utilizing historical research methodology of thought, while analyzing the contents utilizing social hermeneutics. Conclusion This study has 2 things: 1) Serat Sastra Gending contains that’s about personal self-integration and divine integration; 2) According to Sultan Agung, human should understand the essence of religious teachings in a balanced way, it will make human life harmonious and peaceful, not mutually blaming and toppling each other. That is the point of preaching with the pacifique penetration model

The geographically weighted regression approach in analyzing the factors forming economic growth

East java has great position to become one of provience with predominance of the economic studies which has allotment of region with affects culture. Known as the mataraman based on culture that is inherited. Derived from the influence of ancient culture mataram which centered on central java and D.I Yogyakarta. The affect of great culture on mataraman region is viewed as one of characteristic that has ability on economic activities, with the result that cause differences on economic growth’s indicators as reflection of economic’s prosperity. This study looks at the factor which provide economic growth is based on mataraman characteristic by Government Expenditure, Gross Domestic Regional Product, Mataraman, Original Local Government Revenue and analyzed using regression and Geographically Weighted Regression to get best model economic growth in mataraman, east java. The conclusion of the study is every object has different factor to influence economic growth

BRICS Countries in Political Consciousness of Russian Citizens

The article analyzes the Russian citizens’ perceptions of BRICS countries. The authors focus on the cognitive, emotional, behavioral, and symbolic aspects characterizing BRICS countries in political consciousness of the Russians as well as common stereotypes, intentions, and associations. Since the Russian Federation has political and economic interests in cooperation with the BRICS countries, it is important to study representations of Brazil, India, China and South Africa in Russian consciousness and identify the possibilities of their transformation. Proceeding from the results of qualitative politico-sociological (a series of focused interviews) and politico-psychological (projective tests) studies held in 2016-2018 the authors conclude that the emotional component prevails in the structure of Russian citizens’ perception about of Brazil, India, China and South Africa. The image of China appears to be the most complicated and multidimensional, with the key elements being the “thousand-year history”, the “great culture” and the recognition of the geopolitical power of this state. The images of India and Brazil among the Russians have a significantly more amorphous character, but at the same time hold a moderately positive emotional connotation. The image of South Africa is the most fragmented, devoid of stable emotional valence and bright associations. It is remarkable that the perception of the BRICS countries by the majority of respondents is primarily influenced by implicit factors which manifest in appeal to stereotypes and associations (India – cinema, Brazil – football, etc.). Dynamic factors, determined by political agenda, play a minor role forming the images of the BRICS countries. A noticeable feature of their representation among the Russians is the blurring of the “image of due” and “image of the future”, as well as the minimal role of the political component (with exception of China). Therefore, it is necessary to change the information policy for the countries studied. In order to enhance the understanding of significance and relevance of cooperation with the BRICS states among the Russian citizens, it seems to be necessary 1) to build a positive image of political relations with them; 2) to cement an image of a “partner” and an “ally” in mass media, both on a rational and an unconscious level of political perception.

Islam Kejawen in Action: Melestarikan Kearifan Budaya Lokal sebagai Upaya Alternatif Menangkal Radikalisme Agama dan Pengaruh Modernisasi

Kejawen Islam is a product of an Islamic process with a cultural assimilation model that gives rise to the tradition of syncretism. Da'wah by giving Islamology and its history is not effective enough in the process of Islamization in various parts of the region, including even in Western society. A formal, dogmatic radical approach can even trigger problems. Kejawen Islam has a prerequisite for it, through a cultural approach that will provide more coolness and minimize horizontal conflicts as exemplified by the previous senior ulema, Walisanga. This paper wants to revive, preserve and grow Javanese culture in shaping the attitudes and behavior of the young generation in finding identity as a nation that has a great culture - especially as an effort to counteract religious radicalism and the influence of modernization. Kejawen teachings which are considered by some to be ancient, are very relevant to be learned in modern life, which are full of changes and very rapid and radical advances which have frustrated many people here and there.

Nietzsche on the Decadence of Individuals and Cultures

Chapter 5 explores Nietzsche’s discussion of decadence. In addition to the encompassing and vague notion of decadence that amounts to a state of decline or the failure to flourish, Nietzsche also uses the idea, especially in his late works in connection with the French term décadence, to pinpoint a particular kind of malady. After explicating this quasi-technical notion, the chapter discusses the relationship that Nietzsche sees between the décadence of individuals and the decadence of whole cultures. It suggests that the connection should not be seen as simply aggregative, but is rather a relation of microcosm to macrocosm. The analogy to individual décadence suggests that when a culture seeks to remedy decadence through extremist measures, that may in fact itself be a telling sign of the culture’s decadence. The great culture can, on the contrary, integrate its decadents, not eliminate them.