Articles de revues : « Popular culture – pictorial works »

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Fejes, János. « Strangers of Popular Culture – The Verbal and Pictorial Aesthetics of Mythological Metal Music ». Acta Universitatis Sapientiae Communicatio 4, n^o 1 (1 décembre 2017) : 37–60. http://dx.doi.org/10.1515/auscom-2017-0002.

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AbstractExtreme metal music is held to be a destructive genre of popular culture, treated as a pariah for many. Being a seriously misunderstood genre, I would like to highlight that metal music is a result of conscious work process that cannot only be noticed on the level of the music but on the level of verbal and pictorial expressions too. In my paper, I would like to show the working mechanisms of the so-called “(neo)pagan/mythological metal” movement, focusing on the rhetoric side of its mentioned expressions, searching for the ways these bands rewrite ancient myths and legends.For my research, I will use three main threads: 1) history of religion (looking for the connections of the reception of ancient topics in contemporary society, e.g. New Age Cults and New Religious Movements); 2) reception theory, as the thoughts of Northrop Frye, Wolfgang Iser (1972), and John Fiske (2011) all should help to understand the general processes behind reading and producing texts; 3) subculture studies – e.g. the works of Richard Schusterman and Deena Weinstein (2002) to have a deeper insight to the genres standing on the edge of mass and high culture.After a general introduction, I would like to demonstrate the above mentioned through some case studies. The chosen mythological cultures are going to be the world of the ancient Middle East (Mesopotamia, Egypt, and the Old Testament), the classical Roman world, and the Viking Era, also showing some Hungarian and Romanian examples in the last section. In each section, the following issues should be examined: band and stage names connected to the topic, album titles, lyrics, and album covers. All these together will show us many clear patterns from romantic nostalgia to allegoric concepts, all revolving around the essence of metal music: being a Stranger in a familiar society.

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Semerenko, Lubov I., et Oleksandr O. Pliushchai. « Pictorial as readable : ekphrasis in a literary work and reader’s p ». Alfred Nobel University Journal of Philology 1, n^o 23 (juin 2022) : 50–59. http://dx.doi.org/10.32342/2523-4463-2022-1-23-4.

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The interaction of arts which poets, writers, artists, scholars and philosophers have always paid considerable attention, has gained popularity recently and it has been given serious consideration in art history, literary and cultural studies, and aesthetics. Some researchers explain a growing interest in the phenomenon of increasing significance of visuality in modern culture. The aim of the article is to clarify the status quo in the study of ekphrasis in literary and cultural studies. To achieve the aim pursued, the following research methods have been used: cultural-aesthetic, comparative and hermeneutic. The paper focuses on the concept of ekphrasis and its use in literary works and studies the current trends in the study of ekphrasis, regarding its definition, typology, functions, ekphrastic genre invariants, and reader’s perception of ekphrasis. Some exemplary instances of ekphrasis description in English ekphrastic poetry and emotive prose have been considered, and the verbal means of ekphrasis generation have been analysed. The analysis of the most popular works of domestic and foreign scholars such as: N.S. Bochkareva, L. Geller, N.N. Yefimova, A.Yu. Krivoruchko, V. Cunningham, J. Hollander, L. Spitzer and many others, has allowed to make the conclusion that most scholars use the definition of ekphrasis as a “poetic description of a pictorial or sculptural work of art” suggested by Leo Spitzer, although, the definition of ekphrasis as a “verbal representation of visual representation” of James Hefferman, which is a broader concept is also popular. Different classifications of ekphrasis have been suggested by the researchers. N. Braginskaya, for instance, distinguishes the dialogical and monological ekphrasis on the basis of the internal structure of the text, the main difference being the manner of presenting information to the reader. The typology of ekphrasis and its main functions are mainly given on the basis of creative works of a particular writer or poet and many researchers pay attention to sense general features of ekphrasis as the process which combines iconic and sign images in verbal discourse. Ekphrasis, being the representation of other arts in literature, expands considerably the narrative space. The origin of ekphrasis goes back to the ancient times where it is seen as a rhetorical device. In classical rhetoric, ekphrasis could refer virtually to any extended description of art objects. Ekphrasis, an ancient rhetorical term, has been now revived in academic circles, in the studies of art and literature. After languishing in obscurity until 1967, when Murray Krieger published a notable essay on it, ekphrasis is commanding major attention, “ploughing the inexhaustibly fertile ground where literature meets visual arts”. There are various approaches to the study of the ekphrastic tradition, and the historical approach being one of them, can be seen in many works. Ekphrasi in modern research is a multifaceted and polyfunctional phenomenon. The typology of ekphrasis and its main functions are mainly given on the basis of the particular poet`s or writer`s creative works, paying attention to some general features of ekphrasis which combines iconic and sign images in verbal discourse. The phenomenon of ekphrasis merits further consideration, especially, due to the availability of Liliane Louvel’s The Pictorial Third: An Essay into Intermedial Criticism, which provides the author’s innovative approach to the understanding of the relationships between the literary text and image.

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Fadeeva, T. E. « 360° ILLUSTRATION IN CONTEMPORARY VISUAL CULTURE ». Izvestiya of the Samara Science Centre of the Russian Academy of Sciences. Social, Humanitarian, Medicobiological Sciences 25, n^o 89 (2023) : 92–99. http://dx.doi.org/10.37313/2413-9645-2023-25-89-92-99.

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The object of the article: the works of contemporary artists working with the 360° format and creating the so-called. "spherical illustrations" or 360° illustrations, controlled panoramic images. Works were selected as material, reflecting the types of strategies for the work of artists with this medium, demonstrating the connection between the artist's intention and the formal, structural solution of the work. Subject of the article: the specifics of 360° illustration, its expressive possibilities, as well as the strategies of artists who turn to this format as an instrument of aesthetic impact on the viewer in the context of the modern communication society. The study is devoted to the actively developing phenomenon of 360° illustration, which is currently becoming increasingly popular among artists and delineates new aesthetic horizons for illustration as an art form. The main goal of the study is to identify the specifics of the phenomenon of spherical illustration in modern visual culture, the contextualization of 360° illustration in the field of modern visual culture. The author made the following conclusions: the 360° illustration is the ultimate version of the structure of the classical pictorial image with a direct perspective, which at the same time carries out a “Copernican revolution” in terms of the viewer’s attitude to the artistic image (from a passive recipient, he turns into active interpreter and co-author of the artist), thus, on the one hand, illustrators get to expand the repertoire of their own expressive means (partly borrowing the techniques of screen arts), and, on the other hand, the viewer gets the opportunity to be "inside" the image and experience it as a subjective aesthetic experience.

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Dimarco, Christa R. « Van Gogh’s Parisian Gardens on the Butte Montmartre ». Nineteenth Century Studies 34 (1 novembre 2022) : 1–41. http://dx.doi.org/10.5325/ninecentstud.34.0001.

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Abstract Vincent van Gogh generated around 150 paintings, plus drawings and works on paper, while he lived in Paris from 1886 through 1888. Scholars tend to focus on the paintings he made after he left the capital for the Provençal town of Arles. Iconic Arlesian images such as Night Café and Sunflowers have overshadowed the Paris-period paintings and, in turn, the sociocultural underpinnings of his oeuvre. This essay focuses on one of the largest bodies of imagery Van Gogh completed in Paris: a series depicting small gardens for the working class that sprawled down a hill behind a popular tourist attraction on the Butte Montmartre. These works have been seen as depictions of rural Montmartre, but the essay locates them in the context of tourism and also connects them to Émile Zola’s 1873 novel Le Ventre de Paris. In doing so, the author views Van Gogh’s seemingly traditional landscapes as departing from the pictorial compositions he studied and embracing instead a pictorial frame that conveys the subjugation of the working class amid social reform efforts related to communal gardens.

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NIKOLENKO, K., et O. NIKOLENKO. « CONTEMPORARY STRATEGIES OF STUDYING INTERTEXTUALITY ». Philological Studies, n^o 33 (19 avril 2021) : 13–19. http://dx.doi.org/10.33989/2524-2490.2020.33.228193.

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The article explores the definition and the essence of intertextual theory as it is interpreted by M. Bakhtin, J. Kristeva, R. Barthes and other prominent scholars and literary critics of the 20th century, particularly from the viewpoint of poststructuralism. In the broadest terms possible, intertextuality can be defined as a set of relations between texts, which can include direct quotations, allusions, literary conventions, imitation, parody and unconscious sources among others. This concept dramatically blurs the outlines of texts, making them, in R. Barthes’s words, an “illimitable tissue of connections and associations.” The term itself was originally coined by the French semiotician and philosopher Julia Kristeva in the late 1960s. By combining Saussurean and Bakhtinian theories, J. Kristeva produced the first enunciation of intertextual theory, wherein she essentially suggested reconsidering the widely accepted notions of the author’s “influences” and the text’s “sources”. This theory was further developed by R. Barthes, who proclaimed the “death of the author” and insisted that the literary meaning can never be fully grasped by the reader, because the intertextual nature of literary works always leads readers on to new textual relations. In turn, French critic G. Genette introduced the notion of ‘transtextuality’ as a more comprehensive term, and put forward five types of transtextual relations (intertextuality, paratextuality, metatextuality, architextuality, hypertextuality). This theory has also become widely popular in the era of postmodernism, not just in relation to literary works, but also in other domains (cinematography, architecture, pictorial arts etc), as imitation of well-known artistic styles, direct and indirect references to various works of culture have become a salient feature of postmodern art. In general, it should be emphasized that intertextuality subverts the concept of the text as self-sufficient, hermetic totality. Instead, it emphasizes the fact that all literary production takes place in the presence of other texts, works of culture, and various social and historical factors. The reader also plays a crucial role in interpreting the text, because the reader’s previous experiences, their cultural and educational background will inevitably influence the scope of meanings that the reader is able to extract from the text.

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Ayu Lestari, Dita, Megi Primagara, Shinta Aulia Sari, Afifah Meilina, Silfiah Fauziah, Ade Irfany Sugesti, Aisyah Nasywa et Ahmad Diva Salwi. « Meme Culture : A Study of Humor and Satire in Digital Media ». International Journal of Advanced Multidisciplinary Research and Studies 4, n^o 4 (9 juillet 2024) : 134–40. http://dx.doi.org/10.62225/2583049x.2024.4.4.3013.

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Meme culture is an interesting phenomenon in digital media that plays an important role in digital communication and culture that has become a popular tool for conveying information and ideas that spread rapidly on the internet and social media platforms. The purpose of this study is to examine more deeply how the satire discourse is contained in pictorial texts and purely texts in memes how the role of memes in digital media, and how their impact in digital media as well as knowing how the role of memes in shaping individual and group identity. This research is interesting because the satirical humor style contained in memes is an effective, practical, absurd response to entertainment, politics, education, culture, and others and can shift, exclude, and reverse discourse, because it can create new discourse. This research study uses critical discourse analysis by Norman Fairclough, which identifies that discourse can be a series of spoken and written words or a series of speech acts. With this analytical knife, it was found that satire in memes on social media is used in the form of satire and criticism of things that are going viral and how these issues affect social media in the real world. Memes are not seen as silent, passive, and ready-made texts when produced. Instead, memes are dynamic and mobile strategies through comedic satire.

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LIU, Mingxuan. « REPRESENTATION OF THE CITY IN TRADITIONAL CHINESE GOHUA PAINTING : MOTIFS, TYPOLOGY, PICTORIAL AND STYLISTIC FEATURES ». HUDPROM : The Ukrainian Art and Design Journal 2023, n^o 2 (15 octobre 2023) : 57–65. http://dx.doi.org/10.33625/hudprom2023.02.057.

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The representation of the city in traditional Chinese painting has certain features and traditions that distinguish it from the representation of urban imagery in Western art. First of all, this is an artistic generalization of the urban landscape as part of the artistic context of nature. It is also important to focus attention on the depicted identities of the urban space (houses, streets, bridges, as well as the nature that surrounds the city, etc.). In addition to this, gohua in its historical development has an obvious tendency to panoramicity and a generalized way of perception, which actualizes a special system of artistic motifs. Within the historical context of Chinese painting, the city often has a symbolic meaning, and its visuality is represented through the symbolism of color, space or emblems. After all, the use of traditional artistic materials and techniques is of great importance, which determines the palette of artistic techniques and directly affects the artistic motifs of the representation of the city. The representation of the city within the gohua reflects the peculiarities of Chinese culture and perception of the world. Cities are considered as part of nature and interconnected with it. This approach gives works of art depth and symbolic meaning. It is substantiated that the cityscape in the context of the general phenomenology of guohua has its own conceptual and terminological niche, which can be translated as “urban ink painting” (都市水墨). In turn, within this niche, the most popular artistic technique is “meticulous painting” (gongbi /工笔画; literally, “working with a brush”). The following typical pictorial and stylistic features of the urban landscape genre within Chinese ink painting, which are characteristic of the modern stage of development of Chinese fine art, have been established: 1) Expressiveness, which is expressed in the artist’s effort to convey not only the appearance of the city landscape, but also the emotional reaction to the landscape; 2) Minimalism: the desire to build an artistic foundation with the minimum number of colors and elements and focus on the expressiveness of details; 3) Line graphics: as a sign reflects the European approach to understanding the technique and imagery of Chinese painting; in the urban landscape genre, it affects imagery by conveying the shapes and contours of objects; 4) Contrast, with the help of which artists create volume, depth and texture of the urban landscape; 5) A separate artistic parameter is symbolism, which is a field of interpretation of the general pictorial and stylistic repertoire

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Mroziewicz, Karolina. « The Image of the Lithuanian and Ruthenian Legacy of the Jagiellons in 16th-Century Pictorial Catalogues of Polish Monarchs ». Ikonotheka 27 (10 juillet 2018) : 133–56. http://dx.doi.org/10.5604/01.3001.0012.2322.

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This article analyses the dynamics that were present in the manner of representing the Lithuanian and Ruthenian legacy of Ladislaus Jagiello and of the first two generations of his descendants in popular 16th-century pictorial catalogues of Polish monarchs. The catalogues actively supported the collective memory and facilitated the integration of Lithuanian and Ruthenian traditions in the Kingdom of Poland. An analysis of the textual and visual message of Maciej of Miechów’s Chronica Polonorum (1519, 1521), of the treatises by Justus Decius appended to it in 1521, the illustrated chronicles of Marcin (1551, 1554, 1564) and Joachim (1597) Bielski, and the visual contents of Tomasz Treter’s Regum Poloniae icones (1591) series has shown that a typical feature of 16th-century works on the first Jagiellons is the non-uniformity of their literary narrations, which contrasts with the relatively stable image of the Jagiellons in the pictorial catalogues. The textual narratives were much quicker to react to the current political, cultural and confessional needs than their visual counterparts, and they accordingly adjusted the literary image of the first Jagiellons. In the dynastic narrations the unfavourable image of the Jagiellons, still present in the first two decades of the 16th century, was replaced by a laudatory narrative concerning the predecessors of Sigismund the Old, which brought into prominence the dynasty’s ancient lineage and its contributions to the Kingdom of Poland. The Eastern roots of the Jagiellons were assimilated into the Polish historical representations by crediting the Lithuanians and Ruthenians with a Sarmatian genealogy. The narratives of the nobility dating from the second half of the 16th century associated the dynasty’s history with that of the nobility and presented it in the light of the religious, heraldic and socio-ethical interests of Polish noblemen. Ladislaus Jagiello was therefore depicted as a leader of the Polish and Lithuanian nations, operating at the intersection of two diverse cultures, i.e. cultures which were not subject to any evaluative assessment unless they were detrimental to Polish traditions and interests. The last discussed pictorial catalogue, i.e. a series of depictions of monarchs by Tomasz Treter, is a rare example of reaching back to Jagiello’s Eastern heritage by choosing a Ruthenian painting as a model for his depiction. The use of a Ruthenian representation of the king from all the paintings funded by Jagiello is proof of interest in the Eastern artistic tradition and of its gradual integration into the cultural heritage of the Crown on the eve of the Union of Brest (1596).

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Stanicka-Brzezicka, Ksenia. « Design jako próba przywrócenia kanonu ? Pojęcia, metody i dyskursy a niemieckie i śląskie wzornictwo pierwszej połowy XX wieku ». Artium Quaestiones, n^o 32 (15 décembre 2021) : 37–66. http://dx.doi.org/10.14746/aq.2021.32.2.

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In the article, the concept of canon is related to the process that has been defined as the transition from applied art to design. The thesis is then put forward that this processcan be seen as the canonisation of products intended for mass production. The above statement suggests that a (qualitative?) change has taken place between designing and producing artistic and also utilitarian objects and the phenomenon called design. However, an answer to this problem first requires a clarification of terms. If we understand design and production historically in the context of the transition from handicraft to machine production, i.e. within the narrative socio-economic history, and if we place design in the ontology of visual culture, its pictorial representations and materiality, we will see a shift of focus to aesthetic values, related to form and materiality, and thus canonisation – the establishment of icons (of design). The canon will in this sense be a defence against aesthetic relativism. Escaping into the canon is art history’s way of dealing with the social, economic and knowledge and technology arts was included in the research on searching for connections with Bauhaus as an exemplification of the canon. Design as historically understood industrial design and design as a creative activity, as the energy needed to produce a canonical utilitarian object, i.e. one whose aesthetic or artistic value will go far beyond utilitarian, form the framework in the text for methodological discussion, reflections on defining concepts and critical analysis of scientific discourses and their possible junctures. transfer issues that are indispensable in the study of crafts, arts and craft and design. The history of art (but also popular culture!) has canonised many works and phenomena. One example is the Bauhaus, widely seen as the canon of 20th-century design, although Gropius himself defined its purpose in the words: “das ziel des bauhauses ist eben kein ‘stil’, kein system, dogma oder kanon [...]”. Similar phenomena took place concerning the design of the first half of the 20th century from the Lower Silesia area: the slogan “Breslauer Moderne” referred, in part, to the Werkbund exhibition in 1929 (WuWA), and the activity of the Wrocław Academy in the field of applied arts was included in the research on searching for connections with Bauhaus as an exemplification of the canon. Design as historically understood industrial design and design as a creative activity, as the energy needed to produce a canonical utilitarian object, i.e. one whose aesthetic or artistic value will go far beyond utilitarian, form the framework in the text for methodological discussion, reflections on defining concepts and critical analysis of scientific discourses and their possible junctures.

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Kol'tsova, Natal'ya Zinov'evna, et Liu Miaowen. « Dialogue of arts in the novel “The Artist is Unknown” by V. Kaverin ». Litera, n^o 9 (septembre 2020) : 42–50. http://dx.doi.org/10.25136/2409-8698.2020.9.33780.

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Prose about the artist is fairly popular in the world and Russian culture, but the novel “The Artist is Unknown” by V. Kaverin holds a special place within the Russian literature, and the title itself is precedent for the philologists – it is mentioned each time when it comes to genre of the novel about artist. Kaverin not only creates a vivid image of the artist-painter, but also restores his manner via literary style. The pictorial beginning is prevalent in the text; however, orientation towards other types of art, namely sculpture and theatre, are also noticeable sculpture and theater, which is reflected in the character sphere and in the composition itself. In the novel “The Artist is Unknown”, theater and painting are deeply intertwined – and not only scenes of the play engage painting, but also the authorial “painting” involves theatrical aesthetics. However, namely the art of painting, is in the center of Kaverin’s attention, while the ekphrasis technique becomes the fundamental principle for arranging artistic material. It should be noted that the focus of attention of the audience falls onto imaginary ekphrasis, description of the image that exists only in the author's imagination, which allows revealing the features of Kaverin's original idiostyle that correlates certain literary techniques with the painter's technique (the author thinks in the categories of color, painting, texture, and perspective). In such way, painting becomes a metalanguage, the way of understanding the laws of art as such, and thus, the laws of literature, including such categories as narrative perspective and composition. The boundary between genres of the novel about artist and the novel about the novel in Kaverin's text is quite lucid: the fate of the artist is inseparable from the fate of his creation, and the questions of skill, purpose and designation of works comprise the very essence of conflicts of the novel.

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Pichugina, Olga K., et Denis V. Ilitchev. « “THE MADONNA WITH A VEIL” BY RAPHAEL SANTI. ORIGINAL. COPIES. IMITATIONS ». Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, n^o 40 (2020) : 172–83. http://dx.doi.org/10.17223/22220836/40/14.

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The article is devoted to the history of the existence and technique of the original, copies and imitations of the Madonna with the Raphael Madonna del velo, one of the most popular objects of copying in the European pictorial culture of the 16th – 17th centuries. The history of the original Raphael is closely connected with the medieval icon of Madonna del Popolo, revered as the hand-made work of the apostle Luke and the lifetime portrait of the Mother of God. The glory of the medieval original in the eyes of contemporaries was projected onto the picture of Raphael, giving it the status of an actual interpretation of the ancient shrine. This explains the special interest in its copying. During the 16th century, the original Raphael, now stored in the Conde Museum in Chantilly, France, was updated, radically changing the plot of the work. In the XVII century, imitations of Raphael's paintings were often distributed, often created by large masters. The article deals with the methods of copying, typical for artistic practice of the 16th century. As a rule, the painting, which came out of the walls of the workshops of famous artists, was the product of the collective work of the master – the owner of the workshop, apprentices and pupils. The finished composite composition created by the master was previously performed in the form of a cardboard-priporokh, the so-called spolvero, with which it was transferred to a picturesque base. The cardboards were carefully preserved, donated and handed down by inheritance. Traces of spolvero are found in the original Madonna del velo. Currently in the scientific literature there are references to more than one hundred copies of the Madonna with a veil. Some of them are considered works of the 16th century. The most famous copies are kept in the Louvre, the Center of P. Getty, the collection of D.P. Morgan and Del Drago. The Louvre copy of the painting is considered the closest to the original. In all of these works, the drawing of the part of the composition related to the initial version of the original is relatively accurately reproduced. The figure of Josef, which appeared later, is reproduced in different versions with significant variation in the position and proportions of the head and hand drawing. It can be assumed that the compositions of early copies were created either directly from Rafael’s cardboard. Or usеd copies from it. The figure of Josef may have been directly copied from the original or created from cardboard, in which the drowing was of simplified schematic nature. Two-figured copy of the painting, displaced from panel to canvas by one of the Russian school of restoration A.F. Mitrokhin in 1827, kept in the Urals in the Art Museum of Yeraterinburg.

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MOTENKO, Yaroslav, et Yevheniia SHYSHKINA. « FUTURISTIC DIGITAL VISUAL CONTENT AS A TOOL OF RUSSIAN PROPAGANDA AT THE BEGINNING OF THE 21 ST CENTURY ». Almanac of Ukrainian Studies, n^o 33 (2023) : 48–54. http://dx.doi.org/10.17721/2520-2626/2023.33.7.

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At the beginning of the XXI century, a noticeable segment of the digital environment of the Russian Federation became a mass representation of visual images advertising its armed expansion with the aim of establishing itself within the borders of the USSR and seizing the territories of other states. Among such digital images, illustrations in the genre of alternative history attract attention. Their purpose is to exert propaganda influence in the youth environment. The authors of these works identify Russia and the Soviet Union and suggest the public users to dream about the topic: "How would the course of world history change if the USSR existed in the 21st century?". Source criticism of these visual sources indicates that they belong to the means of informationpsychological influence, which are an integral part of the Russian-Ukrainian hybrid war. The viewer's subconscious feels the aggressive influence of a visual series of Soviet political symbols in the plot, which uses motifs from wellknown works of mass culture, as well as scenes of violence. As a result, in a viewer is formed a psychological setting for a positive assessment of the historical experience of the USSR and a tolerant attitude towards the heroization of the Soviet totalitarian past. One of the most popular plots of propaganda content is the revival of the Soviet Union as a neo-imperial communist project using advanced military-space technologies and the war of the Russian Federation with NATO. The communities "USSR-2061" and "Russian Space Society" are points of crystallization of supporters of such ideas on the Internet. These communities spread their visual messages on Telegram, Facebook, Twitter, VKontakte, LiveJournal and YouTube. As a carrier of ideological allusions are used digital paintings, made by techniques of concept and promo art. Both types of visual art are widely applied in the process of gamification of the digital space. Therefore, they correspond to the aesthetic tastes of modern youth, turning them into the main object of a visual information attack. The conceptual charge of these arts attaches to the use of historical pictorial symbols: the coat of arms and flag of the USSR, details of the landscape, interior, clothing, weapons, and transport. In the paintings depicting the metropolises of the second half of the 21st century, the viewer sees architectural monuments in the style of the Stalinist Empire. Colorful scenes of battle painting «promise» the viewer the complete destruction by Soviet soldiers of the future world of the «collective West». So, according to the authors of the article, the futuristic visual political message for the Russian regime in the course of the hybrid war turned into one of the means of informationpsychological influence, capable of performing manipulative and campaigning functions both in the Russian Federation and in other countries, that belong to the orbit of its desired political influence. The potential possibilities of using futuristic political messages as an informational weapon necessitate further scientific study of this phenomenon.

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Khachatrian, Liernik. « SOUND IMAGE OF DUDUK IN CHAMBER‑SYMPHONIC WORKS OF A. TERTERYAN AND R. ALTUNYAN ». Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 58, n^o 58 (10 mars 2021) : 129–43. http://dx.doi.org/10.34064/khnum1-58.08.

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Introduction. Today duduk is one of the most popular folk instruments. Modern academic composers include it in their works, and it is significant that it appears in large conceptual compositions, such as a symphony. Despite the significant interest of researchers in the fine art of playing the duduk, the sound image of this instrument is almost not assigned a role, and this article aims to fill this gap. Formulation of the problem. Today duduk is one of the most popular folk instruments. Modern academic composers include it in their works, and it is significant that it appears in large conceptual compositions, such as a symphony. Despite the significant interest of researchers in the fine art of playing the duduk, the sound image of this instrument is almost not assigned a role, and this article aims to fill this gap. Analysis of the latest publications on the topic. Metaphor is a rather unstable term in the perception of art and has many unstable categories. O. Dyachkova paid special attention to the aspect of artistic metaphor, and the knowledge of symbols in music through the understanding of metaphor and up to the metaphysics of images was carried out by Yu. Nikolaevska. Also in this article we rely on the study of themes in Armenian music (J. Zubaryan) and the role of duduk in modern music (M. Rukhmyan). The purpose of the article is to reveal the sound image of the duduk in the chamber-symphonic works of A. Terteryan and R. Altunyan through the selection of the category of timbre of metaphor. Methods. In order to realize this purpose, many general scientific and special musicological research methods have been used – historical-and-genetic, deductive, comparative, organological, stylistic, genre and performing analysis. Results and Discussions. In this article it is offered to investigate the phenomenon of the timbre of metaphor through the sound image of a duduk on the example of symphonic works of today. A characteristic review of R. Altunyan’s symphonic works from the standpoint of using such an archaic instrument with a long history as a duduk is given. Symbolic programmaticity, sound aura, genre-stylistic signs, melody based on the Armenian monody are all business cards of A. Terteryan’s main works. An analytical thorough consideration of the Third Symphony of this composer has been made, where the great role of the timbre of the duduk, which closely interacts with the zurna, bells and other participants of this work, is evident. The connection between modern music making and the traditions of ancient times has been traced, which makes it impossible to exist without each other. We have to reveal the sound image of the duduk in the chamber-symphonic works of A. Terteryan and R. Altunyan through the selection of the category of timbre of metaphor. Metaphor is not a rare phenomenon in modern art. It is everywhere, from literature and painting to manifestations in architecture. Even in the music sphere, it is not possible without it and is used in different variations. O. Dyachkova for the first time systematized all existing theories of metaphor, considering it from different specific angles of musicology. Thus, we will consider metaphor as a general aesthetic principle of musical art, a phenomenon of re-intonation and as a special form of dialogue of the artist with the world. «Metaphor as a kind of artistic discovery depends on the intonation and semantic memory of the listeners». With this thesis, O. Dyachkova offers us to comprehend the full depth of this concept and to understand that metaphor is also closely connected with semantics and intonation, which directly explosively interacts with the timbre. Therefore, the derivation of the concept of «timbre of metaphor» has a very clear basis. It is further suggested to pay more attention to the duduk and its remarkable timbre possibilities in the zone of metaphorical phenomena. The timbre of the duduk occupied a high position in the art of cinema, as well as in small academic genres, especially songwriting. The weaving of a duduk into the score of a work, its figurative and semantic load in it, differs depending on the author’s intention. For example, in “Let the Field” for chamber string orchestra and bells with bagpipes by R. Altunyan, Armenian folk instruments seem to remind of themselves, cry out for the revival of their tradition. The composer, using an ensemble of four bagpipes (soprano, alto, tenor, baritone) and zurna, seeks to preserve the ancient traditions of the Armenian people, as he emerges from the situation of dying tradition, almost pictorially painting the “empty field” in which he, the composer, revives this tradition. Duduk performs a slightly different semantic load in A. Terteryan’s Third Symphony, composed in 1975. A. Terteryan’s work took an important place in the development of Armenian music in line with the modernist trends of the second half of the twentieth century. It became an example of the most radical combination of innovation and tradition and marked the beginning of a new stage in the development of Armenian symphony. This is largely due to the specifics of the composer’s thinking, which is based on the principle of connection and interaction of a kind of two “stylistic” poles – the musical art of West and East. Researchers consider A. Terteryan’s symphony from the point of view of neo-symbolism, which emerged in the art of the second half of the twentieth century, which defined “the scope and depth of cosmosophical concepts, the universalism of the musical language of symphonies”. They are based on the sonorous technique of writing, colorful undifferentiated layers of musical fabric. The atom of symphonic music is sound, which is “represented by the simplest primary element of music”; it also carries the main semantic load, is a “grain” from which the whole theme of the work can be grown. In A. Terteryan’s symphonies symbolic programmaticity is connected with genre-stylistic signs of “music of the past”, which activates the «memory of music». At the same time, it is the ancient folk instruments that bear this semantic symbolic load, which embodies the incorruptible images of the folk culture of Armenia. Thus, the duduk in A. Terteryan’s work connects modernity and gray antiquity, giving music special national features, distinguishing it from the general context of symphony of the twentieth century. Conclusions. The sound image of the duduk in the chamber-symphonic works of R. Altunyan and A. Terteryan reflects and explains the interpretation of the timbre of the metaphor, which is quite new for the perception of such a not entirely academic instrument by musicologists.

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Dawar, Jagdish Lal. « Representation of Popular Culture in Premchand's Works ». Social Scientist 24, n^o 4/6 (avril 1996) : 109. http://dx.doi.org/10.2307/3517793.

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Cerquera Hurtado, Miguel Ángel. « Libros y escritura en la pintura de Murillo ». ACCADERE. Revista de Historia del Arte 6 (2023) : 37–63. http://dx.doi.org/10.25145/j.histarte.2023.06.02.

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"This article addresses the world of books in the pictorial works of Bartolomé Esteban Murillo. Firstly, it focuses on studying the formal representation of books depicted in the paintings of the Sevillian artist, analyzing their binding, closures, format, cuts, inscriptions, and other relevant aspects. Secondly, it examines all the elements present in these paintings from which we can obtain information related to the reading and writing practices characteristic of the 17th century. The aim is to demonstrate how pictorial works offer us insights into various aspects of books and written culture, often going beyond what meets the eye."

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Yu, Mina. « The Pictorial Visualisation of the Popular Culture in the 20th Century Korea ». Art History 37 (28 février 2019) : 167–97. http://dx.doi.org/10.14769/jkaahe.2019.02.37.167.

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Malloy, Daniel P. « Four Recent Works in Philosophy and Popular Culture ». Teaching Philosophy 35, n^o 3 (2012) : 293–304. http://dx.doi.org/10.5840/teachphil201235330.

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Pratama, I. Gede Yudha. « KAJIAN BAHASA RUPA BUDAYA MESATUA BALI DALAM CERITA BERGAMBAR ». Jurnal Bahasa Rupa 5, n^o 1 (28 octobre 2021) : 112–21. http://dx.doi.org/10.31598/bahasarupa.v5i1.775.

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Reviving oral traditions in Mesatua Balinese Culture seems far less than the written and image tradition. Mesatua Bali was once known as a culture that is conveyed by verbal storytelling, now it seems that it will be more efficient and interesting if it is copied in the appearance of a pictorial story (cergam), and it will be more interesting if it is presented in digital media. Interestingly, pictorial stories (cergam) greatly influence children's interest in following Balinese Mesatua culture. The Nusantara Katur Community adapts the Mesatua Balinese culture into a pictorial story made with a visual appearance that can arouse children's imagination when they can see. reading, and hearing a series of story satua (fairy tales) contained in a series of pictorial stories (cergam). Researchers used descriptive research methods to describe the characteristics of shape, color and composition through the study of visual language theory, starting from the content of the wimba, the way of the wimba, and the inner and outer layouts, in the view of pictures and documentation of the pictorial story works of the Nusantara Katur Community. The collection of materials is done by technique data reduction and data preparation to the conclusions presentation process. This research provides results results of visual language very indispensable role in supporting the illustrated story stories (cergam) that are presented. In addition to displaying visual images that are able to captivate children, they must also be able to present the plot of a story that is also attractive to children, because it is through a story idea that visuals can be created that are able to attract children's reading interest in pictorial stories (cergam).

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BRANIŞTE, Ludmila. « Text et langaje visuel : un proces de mise en abîme ». Arta 31, n^o 1 (septembre 2022) : 115–19. http://dx.doi.org/10.52603/arta.2022.31-1.16.

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The problem of the pictorial past in literature and of literary influences in painting has created a whole tradition. The literary experience of the image and the pictorial exercise in literature demonstrated the affinities between them, based on a specific view of the world. From contemporary philosophy, culture and literature, painting chooses its elements, symbols and ideational background, which is the substrate of the pictorial work. Translating them into the language of images, the painter reaches a more personal interpretation of literary works. The article presents a reflection on the prolific artistic career of the artist Cezar Secrieru, whose work creates a unique creative dynamic by transposing the mental and literary image into his canvases. The “Correspondences” of the arts enrich the deep ideational background of his creation, but also the diversification of the pictorial meanings potential.

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Shoos, Diane. « The Female Subject of Popular Culture ». Hypatia 7, n^o 2 (1992) : 215–26. http://dx.doi.org/10.1111/j.1527-2001.1992.tb00895.x.

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This essay discusses the place of popular culture, especially visual representation, in theories of female subjectivity and examines two recent works on women and popular culture as representative of two primary critical and methodological approaches to the female subject. The essay considers the limitations and implications of both qualitative communication research and text-based feminist criticism and the need to construct a dialogue between them.

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Beskrovnaya, Tat’yana V., et Marina V. Shakurova. « Transformation of the family image as a subject of upbringing in Soviet oral and pictorial culture (1917-1991) ». Vestnik of Kostroma State University. Series : Pedagogy. Psychology. Sociokinetics 29, n^o 2 (29 septembre 2023) : 18–25. http://dx.doi.org/10.34216/2073-1426-2023-29-2-18-25.

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The article actualizes development concepts of the family image as a subject of upbringing in Soviet oral and pictorial culture. The purpose of this article is to trace the transformation of Soviet family image in specific historical conditions and to present the correlation between the domination of the maternal or paternal image and the educational effect of family in general - via analysis of works of Soviet art in 1917-1991. Research design: The author uses to trace transformation of the family image as a subject of upbringing in Soviet oral and pictorial culture such methods as literature analysis, synthesis, association method, comparative historical analysis. The conclusion dwells upon the idealization and even hypertrophy of the family image presented in Soviet oral and pictorial culture - which is premised on the necessity of the family image to be aligned with main ideological guidelines consistent for the particular history period. Nevertheless, the main distinctive feature of Soviet family is its educational impact, traditionalism, stability, aspiration for bright new future. Distinctness of the image of Soviet family, existing in the realm of ideological principles, is defined in Soviet oral and pictorial culture. Art, while forming in Soviet mass consciousness the family image specified by ideology, could come through the strict censorship and reveal the real family life. It is art that makes it possible to see and appraise in objective way the educational role of Soviet family in communist society.

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Peña, Romeo P. « Exploring the Popular Culture in the Works of Young Philippine Novelists ». World Journal of English Language 13, n^o 3 (29 avril 2023) : 274. http://dx.doi.org/10.5430/wjel.v13n3p274.

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This research paper will discuss the manifestation of popular culture in the works of young Filipino novelists. It will focus on the novels of three young Filipino novelists in the Philippines. The three Filipino novels are Peksman (Mamatay Ka Man) Nagsisinungaling Ako (at Iba Pang Kuwentong Kasinungalingan na Di Dapat Paniwalaan) by Eros S. Atalia, published in 2007; Lumbay ng Dila by Genevieve L. Asenjo, published in 2010 and Sa Kasunod ng 909 by Edgar Calabia Samar, published in 2012. These three novels were prizewinners and received citations in the Philippines. All of the authors of these three novels became fellows of the International Writing Program (IWP) of the University of Iowa. The primary objectives of this research paper are: to explore the manifestations of popular culture in the selected three novels from the Philippines as works and practices of intellectual and incredibly artistic activity of young Filipino novelists and to build a new understanding and reading of the works of young novelists of the current generation in the Philippines. The methods in exploring and investigating the manifestations of popular culture will be based on the perspectives on popular culture of the Filipino scholar Rhoderick Nuncio that explains that the manifestation of popular culture is the enlivening with popular things, technology, images, symbols, signs, and commodities in people experiences to be awakened in the rapid changes of civilization. The presence of popular culture in the selected novels highlight their recurring nature and their impact on society. Finding showed that popular culture is a complex and ever-changing phenomenon that occurs uniquely in place and time, representing a complex of mutually interdependent perspectives and values. Selected Novels written by young Philippine novelists have a significant impact for both culture and language.

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Nugraheni, Trianti, Tati Narawati et Agus Budiman. « Jaipong Dance : Representation of Local Culture, Popular Culture and Global Culture ». International Journal of Social Sciences and Humanities Invention 8, n^o 12 (28 décembre 2021) : 6716–25. http://dx.doi.org/10.18535/ijsshi/v8i12.02.

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The dynamics of the development of Jaipongan dance in West Java have undergone several metamorphosis processes and the evolution of presentation forms as a manifestation of wise reflection on the openness of external cultural influences on the development of jaipongan dance to date. The jaipongan dance is an important part of the process of cultural inheritance in West Java, which has worldwide existence. The findings show that the form of presenting the jaipongan dance has now undergone many changes from its form and function in society. This change is a manifestation of the wise attitude of the jaipongan dance creators in seeing the potential for socio-cultural change that must be positively addressed in the jaipongan dance works they create. The color of the jaipongan dance presentation has changed, but local values are still strong.

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Miković, Lazar. « FRANZ KAFKA IN SIGHT OF POPCULTURE ». Folia linguistica et litteraria XIII, n^o 45 (septembre 2023) : 369–79. http://dx.doi.org/10.31902/fll.45.2023.21.

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The paper deals with the research of elements of popular culture in Franz Kafka's oeuvre from the aspect of the relationship between society and popular culture in the 20th century. The research leads to several examples in which, while building popular culture, the heroes of Kafka's works try to solve their own emotional, family, religious and social problems. In this regard, this paper demonstrates how popular culture in Kafka's works manifests itself through the interaction of the broad masses of people with government structures, up to his personal relationship with his father, which grows into rebellion. In this way, this work points to a theme that runs through almost all of Kafka's works, which is the problem of modern man. Relying on the theory of John Fiske, this paper aims to present the importance of the elements of popular culture in the broader plan of the analyzed segments, that is, on the level of their modernist character. Since in the era of simulation and representation, any kind of authentic and original culture is virtually impossible, this paper tries to point out Kafka's unique way of resisting the imposed way of life and a view of the world through literature.

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Wollenberg, Rebecca Scharbach. « Parchment Skins and Human Skins : Some Thoughts on the Permeability of Text and Material Environment in Late Antique Jewish Reading Cultures ». Hebrew Studies 64, n^o 1 (2023) : 11–30. http://dx.doi.org/10.1353/hbr.2023.a912648.

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Abstract: Late antique rabbinic Judaism famously left no manuscript traces. Without material evidence regarding early rabbinic practices of reading and writing, scholars have struggled to close the theoretical gap between the physical remnants of epigraphic and ritual writing from Jewish communities in this period and the portraits of reading and writing preserved in medieval manuscripts of late antique rabbinic literature. Yet, Karen Stern has observed that virtually all of the methods adopted to date ultimately privilege rabbinic writings by treating them as the hermeneutical frame through which the material evidence is interpreted. This article asks if we can reverse that hermeneutic hierarchy by (re)reading the literary tradition in light of the insights brought to us by the traces of material writing from the period. As a case study, this article takes the material evidence that visitors to the Dura Europos synagogue engaged with the prepared pictorial texts and architectural spaces of the synagogue in deeply interactive ways – rubbing and touching images and even emending and adding their own words and images to those in the prepared environment. When we reconsider early rabbinic traditions in light of this popular interactive disposition towards text and image, it emerges that many early rabbinic thinkers likewise approached written and pictorial texts as inherently contingent products that invited the continued intervention of other human hands. Moreover, one discovers that many rabbinic texts theorized this interactive relationship as a manifestation of a fundamental continuity and permeability between text and the material world.

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Debnath, Kunal. « Between High Culture and Low Culture ; and also The Difference Between Popular Culture and Folk Culture ». SMART MOVES JOURNAL IJELLH 7, n^o 8 (28 août 2019) : 12. http://dx.doi.org/10.24113/ijellh.v7i8.9572.

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High culture is a collection of ideologies, beliefs, thoughts, trends, practices and works-- intellectual or creative-- that is intended for refined, cultured and educated elite people. Low culture is the culture of the common people and the mass. Popular culture is something that is always, most importantly, related to everyday average people and their experiences of the world; it is urban, changing and consumeristic in nature. Folk culture is the culture of preindustrial (premarket, precommodity) communities.

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Belozerova, Vera. « The Unity of the “Four Perfections” (si jue) in the Works of Wu Changshi (1844–1927) ». Vostok. Afro-aziatskie obshchestva : istoriia i sovremennost, n^o 3 (2022) : 184. http://dx.doi.org/10.31857/s086919080020440-1.

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The article is devoted to the creativity of Wu Changshi (1844–1927), who played a key role in preserving the continuity of Chinese fine art at the crucial initial stage of the global modernization of China's traditional culture. The subject of the study is the aesthetics of the unity of the “four perfections” (si jue), which means poetry, calligraphy, painting and seals. The synthesis of the four arts seems to be a unique achievement of Chinese culture, which influenced the countries of the hieroglyphic area. Wu Changshi's creativity is considered the culmination of the embodiment of the principle of unity of the “four perfections”. Wu Changshi's calligraphic and pictorial works are accompanied by poems most often of his own composition. Before Wu Changshi's creative impulse gained visual realization, he was invariably subjected to deep poetic and philosophical reflection, which predetermined the content of calligraphic and pictorial works. Thanks to this, the meanings of visual forms went beyond their genre affiliation. Wu Changshi created a variety of spatial and force effects in a small format of seals. Wu Changshi's monumental and heroic style in calligraphy had no equal in its energy power and corresponded to the demands of the time. Wu Changshi reformed the pictorial tradition in the direction of epigraphic painting, combining elite intellectualism with the folk immediacy of color perception. The work is based on the latest publications of Chinese and Western art critics. The research combines the techniques of traditional Chinese art studies with the methods of Western interdisciplinary analysis.

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Gao, Ruiying. « Creating through Copying : Materia Medica, Women Painters, and Late Ming Culture ». Ming Qing Yanjiu 27, n^o 2 (5 mars 2024) : 107–54. http://dx.doi.org/10.1163/24684791-12340073.

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Abstract In the late Ming, illustrated materia medica works became increasingly salient among educated elites in the Jiangnan area. This article analyzes two hand-illustrated treatises, Jinshi kunchong caomu zhuang and Bencao tupu, and the cultural contexts of their production. The interplays between copying and editing and image-text relationships in the two works provide insight into how materia medica was exploited as a pictorial subject for ideas about the human-nature dynamic. I demonstrate that materia medica images represented symbolic possession of the natural world and thus served as a maker of social distinction. I also shed light on the perpetuated tradition of making images of materia medica as an intellectual practice. My examinations of materia medica images by women artists also challenge the correlations between gender and representations of flora and fauna in the historiography of Chinese paintings.

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Siricar, Sanjay. « Swapna Dutta'sSt. Avila'sseries : Postcolonial Epigonous works within popular juvenile culture ». World Literature Written in English 37, n^o 1-2 (janvier 1998) : 207–41. http://dx.doi.org/10.1080/17449859808589303.

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Batyreva, Svetlana G. « Выставка изобразительного искусства, посвященная 500-летию эпоса «Джангар» : первые профессиональные художники Калмыкии ». Монголоведение (Монгол судлал) 12, n^o 2 (25 août 2020) : 302–14. http://dx.doi.org/10.22162/2500-1523-2020-2-302-314.

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The article examines the emergence of Kalmykia’s professional arts activities in the 1930s. Goals. It seeks to review formation stages of the ethnic school, determine its essentials and local features as part of Soviet artistic culture. In this regard, a fundamental research problem is that the vast majority of local pre-war visual arts works had been lost during the Great Patriotic War and Kalmyk deportation (1943–1956). Materials and Methods. Considered are works of Kalmykia’s first professional artists ― such as I. Nuskhaev, L. Ochirov,R. Bogoslavsky, etc. ― inspired by epic heritage and realia of Socialist construction. The study employs a historical-and-cultural approach which determines the use of sources (archival papers, eyewitness reports, available pictorial works and studies); characterizes the pre-war life of the republic and its integration into Socialist cultural environment. Results. The paper reveals a central event of the era, examines the preparation and arrangements of the 1940 jubilee exhibition to celebrate 500 years of the Kalmyk heroic epic of Jangar. Conclusions. Cultural heritage proved most essential to the formation of Soviet Kalmykia’s pictorial arts trend, central to the latter being traditions of Russian realistic art represented by ethnos-related works of V. Favorsky and his colleagues.

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Chen, Yixin. « Analyzing the Spiritual Connotation of Japanese Pop Culture from the Course of Modernization Based on Contemporary Japanese Writers ». Journal of Education, Humanities and Social Sciences 31 (27 avril 2024) : 125–29. http://dx.doi.org/10.54097/2m55m879.

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The development of pop culture in Japan has long historical roots. Since its post-war modernization, Japan has successfully transformed itself from an old culture-importing country to a culture-exporting country. The article focuses on a number of epochal points since Japan's post-war renaissance, analyzing a number of representative Japanese authors and their works from 1945 to the present, and understanding the birth and spread of Japanese popular culture. Studies have shown that the development of Japanese popular culture has been heavily influenced by European and American culture, but has also demonstrated rebellion and reflection on past cultures and ideologies, ultimately opening up a wide range of cultural areas on this basis. The article takes the representative writers and works of contemporary Japan as the blueprint for research, and finds that Japanese pop culture has a unique rebellious character and humanistic sentiment in its spiritual connotation. In the present day, the Japanese national psyche, on the other hand, interacts and influences popular culture.

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Leikam, Susanne. « Of Human Seismographs : The Multifaceted Roles of Pictures in the Meaning Making of Earthquakes ». Open Cultural Studies 3, n^o 1 (1 janvier 2019) : 485–93. http://dx.doi.org/10.1515/culture-2019-0041.

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AbstractThis article investigates the multifaceted roles that pictorial representations of the human body have played in earthquake visualizations. From the first conventional repertoires in early modern Europe to the photographic iconographies of the early-twentieth-century United States, human bodies have served as tangible proxies—human seismographs—visualizing not only the actual intensity of the seismic forces but also the severe disruption of contemporary cultural ideas, beliefs, and worldviews. As a general pictorial motif, the human body moreover allows viewers to emotionally identify and develop empathy, enhancing the pictures’ cultural efficacy. Drawing on samples from San Francisco’s earthquake of 1906, the study shows how the staging of bodies has stayed a central signifier of the cultural disruption even after seismology brought about the demystification of earthquakes. With the financialization of earthquakes and the shift of the public’s attention to the aftermath of earthquakes, human bodies became materialized ideology, strategically appropriated in order to promote political, economic, and ideological agendas. As such, the human body emerges as a juncture in the popular earthquake iconographies linking—but also complicating—competing categories such as, for instance, mind and matter, private and public, local and (trans)national, individual and collective.

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Hidalgo, Alex. « Introduction to the Dialogues on Reproduction and the Mesoamerican Book ». Latin American and Latinx Visual Culture 5, n^o 4 (1 octobre 2023) : 55–62. http://dx.doi.org/10.1525/lavc.2023.5.4.55.

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Mesoamerican books inhabit multiple visual and bibliographical spaces that defy simple descriptions and straightforward categorization. Historical annals, divinatory calendars, speeches, poems, and songs informed the history, culture, and ritual life of pre- and post-contact societies. Since the sixteenth century, reproduction of Mesoamerican books has played a role in shaping ideas about race, ethnicity, and culture, as well as effects of settler colonialism in the Americas. Efforts to replicate Mesoamerican books for new audiences, however, have not always followed the same principle. Narratives of exploration, empire, and state formation have often appropriated the Mesoamerican book to fulfill political or religious agendas that have decontextualized the original use of pictorial and alphabetic manuscripts. The themes explored in this Dialogues propose new ways to think about analytical frameworks used to make sense of the content of Mesoamerican books in the eighteenth through twenty-first centuries. Who possessed the intellectual credentials to write about and copy pictorial records? What aspects of Mesoamerican books have made the replication process so complex and contested? How have naming, cataloging, and preservation of manuscripts and their fragments shaped our understanding of ideas of authenticity, originality, authorship, and knowledge? How can digital technologies reshape our experience with pictorial records? Contributors engage with these questions not only to historicize violence and displacement associated with Indigenous books after European contact but to highlight the way the publication of facsimiles helped and continues to help establish intellectual credentials, center historical narratives and popular ideas about culture, and generate funding for individuals and institutions.

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Zeltsman, Corinna. « Reinterpreting Mesoamerican Codices in México a través de los siglos ». Latin American and Latinx Visual Culture 5, n^o 4 (1 octobre 2023) : 63–73. http://dx.doi.org/10.1525/lavc.2023.5.4.63.

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Mesoamerican books inhabit multiple visual and bibliographical spaces that defy simple descriptions and straightforward categorization. Historical annals, divinatory calendars, speeches, poems, and songs informed the history, culture, and ritual life of pre- and post-contact societies. Since the sixteenth century, reproduction of Mesoamerican books has played a role in shaping ideas about race, ethnicity, and culture, as well as effects of settler colonialism in the Americas. Efforts to replicate Mesoamerican books for new audiences, however, have not always followed the same principle. Narratives of exploration, empire, and state formation have often appropriated the Mesoamerican book to fulfill political or religious agendas that have decontextualized the original use of pictorial and alphabetic manuscripts. The themes explored in this Dialogues propose new ways to think about analytical frameworks used to make sense of the content of Mesoamerican books in the eighteenth through twenty-first centuries. Who possessed the intellectual credentials to write about and copy pictorial records? What aspects of Mesoamerican books have made the replication process so complex and contested? How have naming, cataloging, and preservation of manuscripts and their fragments shaped our understanding of ideas of authenticity, originality, authorship, and knowledge? How can digital technologies reshape our experience with pictorial records? Contributors engage with these questions not only to historicize violence and displacement associated with Indigenous books after European contact but to highlight the way the publication of facsimiles helped and continues to help establish intellectual credentials, center historical narratives and popular ideas about culture, and generate funding for individuals and institutions.

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Richter, Kim N., Alicia Maria Houtrouw, Bérénice Gaillemin et Alanna Radlo-Dzur. « Creating the Digital Florentine Codex ». Latin American and Latinx Visual Culture 5, n^o 4 (1 octobre 2023) : 101–13. http://dx.doi.org/10.1525/lavc.2023.5.4.101.

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Mesoamerican books inhabit multiple visual and bibliographical spaces that defy simple descriptions and straightforward categorization. Historical annals, divinatory calendars, speeches, poems, and songs informed the history, culture, and ritual life of pre- and post-contact societies. Since the sixteenth century, reproduction of Mesoamerican books has played a role in shaping ideas about race, ethnicity, and culture, as well as effects of settler colonialism in the Americas. Efforts to replicate Mesoamerican books for new audiences, however, have not always followed the same principle. Narratives of exploration, empire, and state formation have often appropriated the Mesoamerican book to fulfill political or religious agendas that have decontextualized the original use of pictorial and alphabetic manuscripts. The themes explored in this Dialogues propose new ways to think about analytical frameworks used to make sense of the content of Mesoamerican books in the eighteenth through twenty-first centuries. Who possessed the intellectual credentials to write about and copy pictorial records? What aspects of Mesoamerican books have made the replication process so complex and contested? How have naming, cataloging, and preservation of manuscripts and their fragments shaped our understanding of ideas of authenticity, originality, authorship, and knowledge? How can digital technologies reshape our experience with pictorial records? Contributors engage with these questions not only to historicize violence and displacement associated with Indigenous books after European contact but to highlight the way the publication of facsimiles helped and continues to help establish intellectual credentials, center historical narratives and popular ideas about culture, and generate funding for individuals and institutions.

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Agudelo, Andrés Bustamante. « Enduring Absence ». Latin American and Latinx Visual Culture 5, n^o 4 (1 octobre 2023) : 74–89. http://dx.doi.org/10.1525/lavc.2023.5.4.74.

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Mesoamerican books inhabit multiple visual and bibliographical spaces that defy simple descriptions and straightforward categorization. Historical annals, divinatory calendars, speeches, poems, and songs informed the history, culture, and ritual life of pre- and post-contact societies. Since the sixteenth century, reproduction of Mesoamerican books has played a role in shaping ideas about race, ethnicity, and culture, as well as effects of settler colonialism in the Americas. Efforts to replicate Mesoamerican books for new audiences, however, have not always followed the same principle. Narratives of exploration, empire, and state formation have often appropriated the Mesoamerican book to fulfill political or religious agendas that have decontextualized the original use of pictorial and alphabetic manuscripts. The themes explored in this Dialogues propose new ways to think about analytical frameworks used to make sense of the content of Mesoamerican books in the eighteenth through twenty-first centuries. Who possessed the intellectual credentials to write about and copy pictorial records? What aspects of Mesoamerican books have made the replication process so complex and contested? How have naming, cataloging, and preservation of manuscripts and their fragments shaped our understanding of ideas of authenticity, originality, authorship, and knowledge? How can digital technologies reshape our experience with pictorial records? Contributors engage with these questions not only to historicize violence and displacement associated with Indigenous books after European contact but to highlight the way the publication of facsimiles helped and continues to help establish intellectual credentials, center historical narratives and popular ideas about culture, and generate funding for individuals and institutions.

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Polanco, Dominique E. « Renaming the Cuicatec Knowledge in the Codex Porfirio Díaz ». Latin American and Latinx Visual Culture 5, n^o 4 (1 octobre 2023) : 90–100. http://dx.doi.org/10.1525/lavc.2023.5.4.90.

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Mesoamerican books inhabit multiple visual and bibliographical spaces that defy simple descriptions and straightforward categorization. Historical annals, divinatory calendars, speeches, poems, and songs informed the history, culture, and ritual life of pre- and post-contact societies. Since the sixteenth century, reproduction of Mesoamerican books has played a role in shaping ideas about race, ethnicity, and culture, as well as effects of settler colonialism in the Americas. Efforts to replicate Mesoamerican books for new audiences, however, have not always followed the same principle. Narratives of exploration, empire, and state formation have often appropriated the Mesoamerican book to fulfill political or religious agendas that have decontextualized the original use of pictorial and alphabetic manuscripts. The themes explored in this Dialogues propose new ways to think about analytical frameworks used to make sense of the content of Mesoamerican books in the eighteenth through twenty-first centuries. Who possessed the intellectual credentials to write about and copy pictorial records? What aspects of Mesoamerican books have made the replication process so complex and contested? How have naming, cataloging, and preservation of manuscripts and their fragments shaped our understanding of ideas of authenticity, originality, authorship, and knowledge? How can digital technologies reshape our experience with pictorial records? Contributors engage with these questions not only to historicize violence and displacement associated with Indigenous books after European contact but to highlight the way the publication of facsimiles helped and continues to help establish intellectual credentials, center historical narratives and popular ideas about culture, and generate funding for individuals and institutions.

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Rustanta, Agustinus. « Dangdut Koplo as a Manifestation of Popular Culture In Indonesia ». Jurnal Komunikasi 15, n^o 2 (31 décembre 2023) : 259–69. http://dx.doi.org/10.24912/jk.v15i2.20684.

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One of the original works of Indonesians is dangdut music, more specifically, dangdut koplo. Dangdut music continues to grow, and the coming of dangdut koplo is accompanied by the human invention of information and communication technology, namely social media. This technology has succeeded in having a positive impact on the work of the nation, namely spreading dangdut koplo to all corners of the islands and even to the corners of the world. The objective of this simple piece of writing is to highlight a popular culture that occurs in Indonesia. One of the results of human thought, especially that of the people of East Java, in terms of art, especially music, can be a type of music that is light, pleasing to the ear, favored by people of all ages, strata, and social statuses, is able to eliminate all kinds of barriers in society, and can be an alternative form of entertainment. The objective of the study is to describe a new culture which emerged from the grassroot but it attracts international attention. The method used is the observation of communication phenomena that occur in society and literature study, which are then linked into propositions that can be used as subjects for the development of the scientific repertoire of culture and communication. It can be concluded that the emergence of dangdut koplo is clear evidence that everyone can produce a work that can be enjoyed by many people and can become a new culture in society that does not discredit previous works but instead strengthens and perfects previous great works.

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Bakytzhanova, Ainamkoz, et Lazzat Tuleshova. « K-POP AS A MAIN TOOL OF KOREAN ‘SOFT POWER’ TOWARDS CENTRAL ASIA ». Central Asia's Affairs 92, n^o 4 (15 décembre 2023) : 17–28. http://dx.doi.org/10.52536/2788-5909.2023-4.02.

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The Republic of Korea plays one of the leading roles in the global economy and is a dynamically developing country. As one of the key elements of South Korea's success, many researchers in their works note the so-called concept of "soft power". The strategy of the contemporary notion of "soft power" of the Republic of Korea is based on the dissemination of traditional cultural values and pop culture. South Korea places a great emphasis on the "soft power" of culture, which helped it shape a positive image and create its South Korean attractive brand on the world stage. The main focus of this paper is to examine the essence of the Korean popular culture and its implementation in Central Asian states. Toward this objective, this research first explores the emergence and diffusion of Korean popular culture, especially with regards to globalization, soft power and value change. Further, its impact on CA will be considered in different perspectives. The research concludes that the implementation of Korean popular culture works as an efficient ‘soft power’ policy instrument for South Korea's cultural diplomacy.

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Sarie, Fatma, Murthada Murthada et Jusatria Jusatria. « Bibliometric Analysis of Eco-Friendly Practices in Contemporary Popular Culture ». West Science Social and Humanities Studies 1, n^o 04 (30 octobre 2023) : 189–200. http://dx.doi.org/10.58812/wsshs.v1i04.273.

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This study undertakes a thorough bibliometric examination of environmentally conscious behaviors in modern popular culture. By applying sophisticated bibliometric techniques and citation analysis, the research reveals important publication patterns, prolific writers, recurring themes, and seminal works in the multidisciplinary domain. The findings show a consistent increase in scholarly output, with significant peaks occurring in tandem with major world events and cultural movements. The discourse's interdisciplinary nature is emphasized by prolific writers and cooperative networks, while thematic clusters including consumer perspectives, green synthesis, and sustainability are revealed through keyword analysis. The ongoing importance of foundational research is highlighted by highly referenced works such as the mainstreaming of green product developments, the idea of planned behavior in green hotels, and the investigation of the Mediterranean diet. In addition to suggesting future options, such as greater consumer insights, breakthroughs in green synthesis, and investigation of sustainable business practices, the research offers cross-cluster insights that highlight the interdependence of topics. In summary, this research provides a sophisticated comprehension of environmentally conscious behaviors in popular culture, providing insightful information to scholars, instructors, and professionals across various disciplines.

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Taylor-Jones, Kate, Edward Vickers et Ann Heylen. « Editorial ». East Asian Journal of Popular Culture 9, n^o 2 (1 septembre 2023) : 161–64. http://dx.doi.org/10.1386/eapc_00104_2.

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This editorial is an overview of this edition of the Journal of East Asian Popular Culture. It features a thematic section guest-edited by Yan Ying and Weiqing Xiao on ‘Chinese Popular Culture in Translation and Transmission’. Five articles share a focus on the lived experience of the producers and consumers engaged in ‘translation and transmission’ of popular culture in the People’s Republic of China (PRC). Two general papers complement this thematic section and illustrate the nature of translation and transmission of culture as a two-way process. The book reviews section features commentary on recently published works that relate to themes discussed in the research articles.

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Pevčíková, Jozefa. « Cthulhu Mythos : History of H.P. Lovecraft’s Monstrous Presence in Popular Culture ». Literatura i Kultura Popularna 29 (17 mai 2024) : 317–34. http://dx.doi.org/10.19195/0867-7441.29.19.

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The aim of this paper is to analyse various forms of the so-called Cthulhu Mythos and describe specific shifts in reception and reflexion of H.P. Lovecraft’s legacy in contemporary culture. The opening part of the paper introduces H.P. Lovecraft as the author of weird fiction, cosmic horror and the philosophy of cosmicism, and corrects common misconceptions regarding the Cthulhu Mythos. Then, the semiotic versioning of three versions of the Cthulhu Mythos is explained and all three versions are further analysed. Version 1.0 of the Mythos includes Lovecraft’s legacy, works of the authors from the Lovecraft Circle, but also August Derleth’s interpretations of cosmic horror and works of the next generation of authors that emerged after Lovecraft’s death or were discovered and guided by Derleth. It’s a complex set of terminology, ideas, philosophies, plot devices and narratological specifications that is, as is further explained, wrongly interpreted as a fictional mythology. Version 2.0 includes all the works created under the label of ‘Lovecraftian’ or ‘cosmic’ horror, all transmedia adaptations, influences, and pop cultural additions where the influence of the original Mythos can be traced and is either explicitly admitted or just implied. Finally, Cthulhu Mythos 3.0 is a version of the Mythos that acknowledges the existence of the previous versions, yet approaches them through a specific self-reflective, self-critical lens and is more focused on intertextual play and metacommentaries on these previous versions than on expanding them.

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Yukhimenko, E. M. « LITERARY AND PICTORIAL SOURCES OF THE SHEETS PAINTED BY THE YENISEI OLD BELIEVERS OF CHAPEL CONCORD ». Siberian Philological Forum 16, n^o 4 (30 novembre 2021) : 109–32. http://dx.doi.org/10.25146/2587-7844-2021-16-4-96.

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The article is devoted to the monuments of modern Old Believers’ culture – hand-drawn wall sheets with large text fragments created by the Old Believers of the Chapel Concord living on the Yenisei. These sheets are both a continuation of the Old Russian and Old Believer traditions and a form of modern propaganda art. In this article, the works of the Old Believers of the 20th century are considered in the context of their historical origins. Statement of the problem. Since the Old Believers’ culture as a whole is characterized by deep knowledge of the previous book culture and traditionalism of thinking, for comprehensive assessment of the painted sheets as a cultural phenomenon, it seems necessary to establish to what extent the creators of these monuments, which have an ultramodern form, were guided by tradition. The purpose of the article is to identify the literary and pictorial sources of the painted sheets of the Yenisei chapels and to characterize the features of their use. Review of scientific literature. The monuments were recently put into scientific circulation by a group of scientists who conducted archaeografical expeditions in Yenisei Siberia. The published works by A.A. Prigarin, E.V. Bykova, A.V. Kostrov, and A.A. Storozhenko are mainly devoted to the problem of visualization of images and characteristics of the environment for these sheets. Methodology. Classical historical, philological and comparative methods are used in the work. The results of the study. Specific sources of such sheets as “Two Roads – Two Ways”, “Ship of Faith” (“Ship of the Cross”), “World Wide Web. The World Wide Net” revealed the exact textual and pictorial quotations used by their creators from various editions of the facial Apocalypse, and the Life of Basil the New. In addition, the tradition is shown, within the framework of which the sheet “The inner state of the human heart during a righteous and sinful life” was created. Conclusion. A detailed analysis of the hand-drawn pictures that exist among modern Yenisei Old Believers of the Chapel Concord, shows that with all their modern content and form, they continue and creatively develop the age-old Old Believers’ tradition, which is based on a high book culture and religious thinking. Deep knowledge of this tradition is precisely confirmed by a variety of not only textual, but also pictorial quotations from the Apocalypse and other authoritative eschatological writings.

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Meng, Jinhao. « Reasearch of Current Popular Meme --- "otto" ». International Journal of Education and Humanities 11, n^o 3 (30 novembre 2023) : 59–61. http://dx.doi.org/10.54097/ijeh.v11i3.14456.

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Through the literature research and data analysis, the characteristics and motivations of sub-culture tribes are explored in this paper. Research on the hot meme "otto" found that it is popular by the curse of League of Legends professional player "otto" in the games and live streaming, and developed in various branches, such as "shuo de dao li", "chestnut hairstyle" and re-created works of the voice of "otto", mainly the singing with his voice. It is found that the users use the sub-culture meme mainly to meet their novelty-seeking demands and the pursuit of new venting means. It is found that youth under the age of 35 are seeking novelty and value guidance.

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Madigan, Mark. « Jena, Abu Ghraib, and Katrina : Using Popular Culture to Teach Wright's Works ». Black Scholar 39, n^o 1-2 (mars 2009) : 72–77. http://dx.doi.org/10.1080/00064246.2009.11413486.

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Heylen, Ann, Kate Taylor-Jones et Edward Vickers. « Editorial EAJPC 9.1 ». East Asian Journal of Popular Culture 9, n^o 1 (1 avril 2023) : 3–8. http://dx.doi.org/10.1386/eapc_00085_2.

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This editorial is an overview of this edition of the Journal of East Asian Popular Culture. It features a theme that has assumed prominence in East Asia’s cultural conversations during the latter half of 2022, namely the role of religion in public life. Five articles examine the engagement of religion with various examples of popular global culture. Two articles deal with popular portrayals of the recent colonial past in postwar Japan and Taiwan. The Book Reviews section features commentary on recently published works that relate to themes discussed in the research articles.

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Kostiuk, Ekaterina B. « Musical culture of the post-industrial society : on the problem of analyzing basic definitions ». Vestnik of Saint Petersburg State University of Culture, n^o 2 (47) (2021) : 45–50. http://dx.doi.org/10.30725/2619-0303-2021-2-45-50.

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The article deals with the problem of definitions and boundaries of concepts widely used in modern postindustrial culture, scientific and public discourse: «mass», «popular», «academic», «classical», «elite» music. Mass music has several features that are largely determined by the specifics of the socio-cultural and technical development of society in the post-industrial era. However, the loosely applied term «popular» in relation to this direction of music is inaccurate, since not only the works of mass music become well-known, but also classical, academic. In the conditions of post-industrial culture, works of not only mass, but also academic, elite music are used as entertainment, and as a commodity of «organized consumer culture», receiving, among other things, the status of «popular», which is not identical in essence to the concept of «pop music», which is one of the directions of mass music as a cultural phenomenon of the XX century. The consideration of the essential aspects of the musical directions of mass and elite music leads to the conclusion about the social conditionality of the vector of development and their demand in the conditions of modern culture.

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Andreev, Artem A. « Surreal and futuristic trends in parascientific works ». Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 62 (2021) : 143–51. http://dx.doi.org/10.37816/2073-9567-2021-62-143-151.

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The simultaneous existence of traditional and nontraditional trends in culture inevitably leads them to creative interaction. A case in point are such popular trends in the culture of the 20th and 21st centuries as surrealism, futurism, neo-surrealism, neo-futurism and parascientific creativity. A comparative analysis of these directions has shown that artistic activity in art is often manifested in a creative relationship of traditional and nontraditional cultural trends. It turns out that parascientific creativity, as a nontraditional direction of culture, in its content and plot properties is close to the works of the French surrealists A. Breton, P. Eluard, T. Corbière and Russian futurists V. Mayakovsky and I. Ignatiev, as well as contemporary neo-surrealists and neo-futurists. The author comes to the conclusion that contemporary art, based on parascientific creativity, realizes its spiritual content in culture and brings to life its new creative ideas. Thus, contemporary art is in the process of development and the search for new creative foundations in culture. The postmodern culture also contributes to this trend. It aims at constant change, novelty and originality, thereby influencing contemporary art and bringing it closer to nontraditional cultural trends.

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Turchak, Lesia. « Creativity of K. Malevich in the context of development of world and domestic art culture ». National Academy of Managerial Staff of Culture and Arts Herald, n^o 2 (17 septembre 2021) : 65–74. http://dx.doi.org/10.32461/2226-3209.2.2021.239934.

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The purpose of the article is to establish the contribution of Ukrainian avant-garde artist, pedagogue, theorist Kazymyr Severynovych Malevych to the Ukrainian and world pictorial art. The methodology consists of a range of methods: historical, biographical, theoretical. The abovementioned methodological approach allows studying the question of historical data relating to the events in Ukraine that led to the emigration waves, finding out certain biographical facts and analyzing the artist’s creative activity. The scientific novelty of the research is in establishing Kazymyr Malevych’s contribution to the development of the Ukrainian and world pictorial art. We have studied the special features of his art, theoretical works and teaching activity, as these were an important factor in preserving and popularizing the Ukrainian culture. Conclusions. Malevych’s life and art have become the valuable heritage of the whole world. He influenced the development of visual arts with his activity and personally created direction in abstractionism. Guided by his own research and artistic search, he established a new direction in avant-garde art – suprematism, which became a unique phenomenon for fine art. His style was a major influence for visual arts, architecture and design. Malevych elaborated his own manner of teaching art to students. He was followed by Ukrainian and German constructivists, American minimalists and French abstractionists. His creative ideas are still relevant to this day.

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Naumova, N. V. « Fathers of the Church in the spiritual culture of medieval Russia ». Ukrainian Religious Studies, n^o 7 (24 février 1998) : 52–60. http://dx.doi.org/10.32420/1998.7.140.

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The spiritual world of medieval Russia can be represented by the works of the most characteristic, brightest and most revered authors. Among them, undoubtedly, such as John Chrysostom, John Climacus, Isaac the Syrian, Basil the Great. The first place in popularity in Russia at all times is John Chrysostom. His Words, i.e. Some small works on this or that topic were compiled into special collections or textbooks by Zlatostruj, Zlatoust, Margarit, and sometimes the name of Zlatoust was signed by works that did not belong to him. It is also popular in collections of mixed, composed of works by various authors, mainly the fathers of the church "Izmaragd", "Golden chain". The name Zlatoust became synonymous with all "book sweetness". What is so fond of Chrysostom in Russia?

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