SCIENTIFIC AND EDUCATIONAL SOCIETY FOR CULTURAL STUDIES
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Hypotheses: THEORETICAL REVIEW E.A. Orlova. Concepts of identity/identification in socio-scientific knowledge
Discussions: IN SEARCH OF THE MEANING OF HISTORY AND CULTURE (A.Ya. Flier's rubric) A.Ya. Flier. Culture as the basis of identity V.M. Rozin. From the views of L.S. Vygotsky to the modern concept of development
Analytics: CULTURAL REFLECTIONS A.Ya. Flier. Accumulation and transmission of social experience. Socio-cultural reproduction
VIEWS A.Ya. Flier. Culture as a survival system and its 5 strategies A.P. Markov. Traditional Values – "New Ethics": the Global Conflict of Logos and Chaos Announcement of the next issue
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Khrenov Nikolai Andreevich,
Doctor of Philosophy, Professor, Deputy Research Director of State Institute of Art Studies of the Ministry of Culture of Russian Federation e-mail: nihrenov@mail.ru
Interaction of Entertainment and Visual Forms in Contemporary Culture
Abstract: The article analyzes the problem of prevalence of visual and spectacular components in artistic culture of the last centuries. The author reflects on the causes and effects of this trend, which in this context can take place in the cultural consciousness of the masses, and comes to the conclusion that the period of dominance of hypertrophied visual appel in culture comes to its ends. Keywords: Culture, literature-centrism, spectacle, visuality, theater, circus, cinema, television, program. [1] Lessing G. Laocoon: An Essay on the Limits of Painting and Poetry. M.: Khudozhestvennaya Literatura, 1957, P. 231. [2] Sedlmayr H. Loss of the Center. M.: Progress-tradition, 2008, P. 63. [3] Sedlmayr H.Ibidem. P. 66. [4] Sennett R. The fall of public man. M.: Logos, 2002, P. 233. [5] Nietzsche F. Collected Works. In the 2 vols. Vol. 2. M.: Thought, 1990, P. 548. [6] Sennett R. Ibidem. P. 267. [7] Sennett R. Ibidem. P. 302. [8] McLuhan M. Understanding media: The Extensions of Man. M.: Canon-Press, 2003, P. 371. [9] Nietzsche F. Ibidem. P. 545. [10] Nietzsche F. Ibidem. P. 548. [11] Jung C.G. Soul and myth. Six archetypes. Kiev.: State Youth Library of Ukraine, 1996, P. 351. [12] Eisenstein S. The Psychology of Art (Unpublished conspectus of lectures and articles) // Psychology of Processes of Art Creation. Leningrad.: Science, 1980, P. 183. [13] Tennis F. Community and Society. Basic Concepts of Pure Sociology. St. Petersburg .: Publisher "Vladimir Dal", 2002, P. 12. [14] Plato. Works: In 3 vol. Vol. 2. M.: Thought, 1970, P. 217. [15] Derrida J. Of Grammatology. M.: Ad Marginem, 2000. P. 470. [16] Freudenberg O.M. The Poetics of Plot and Genre. M.: Labyrinth, 1997, P. 270. [17] Freudenberg O.M. Myth and Literature of Aantiquity. M.: "Eastern Literature", Russian Academy of Sciences, 1978, P. 434. [18] Freudenberg O.M. Myth and Literature of Aantiquity. P. 101. [19] Silyunas V. Transformations of "Montage of Attractions" // Theatre. 1975. № 8. [20] Bazin A. What is Cinema? M.: Arts, 1972. P. 127. [21] Mole A. Sociodynamics of Culture. M.: Progress, 1973. P. 209. [22] Mole A. Ibidem. P. 44. [23] McLuhan M. Ibidem. P.231. [24] Kondakov I. The Image of the World Given in Words: Waves of Literature-centrism in History of Russian culture // Cyclic Rhythms in History, Culture and Art. M.: Science, 2004, P. 229. [25] Belting H. Image and Cult. A History of Image before the History of Art. M.: Progress-Tradition, 2002. P.30. [26] Freud Z. Psychoanalysis. Religion. Culture. M.: Renaissance, 1992, P. 234. [27] Bernstein B. The Visual Image and the World of Art. St. Petersburg: Petropolis, 2006. P. 69. [28] Lazarev V.N. History of Byzantine painting. Vol. 1. M.: Art, 1947. P. 13. [29] Belting H. Ibidem. P. 35. [30] Schrader P. Transcendental Style in Film: Ozu, Bresson, Dreyer // Kinovedcheskie Zapiski. 1997. № 32. [31] Bernstein B. Ibidem. P. 101. [32] Panofsky E. Idea. On the History of the Concept in Theory of Art from Antiquity to Classicism. ST. Petersburg.: Andrew Naslednikov Publisher, 1999. [33] Freudenberg O.M. Myth and Literature of Antiquity. P. 47.
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