Post-Symbolic Images in Platform Capitalism

Platform capitalism brings several processes to completion that were already apparent during post-industrial capitalism. One of these involves images and their gradual loss of a symbolic dimension. The mechanisms that platforms employ to direct the production of media content reduce images to objects of immediate use and consumption. Consequently, images fail to synthetise the multiplicity of the social reality: instead of inscribing it within a horizon of meaning, they simply reflect it. This article reconstructs the “de-symbolising” process of images during the various phases of capitalism and explains why a post-symbolic aesthetics should also be viewed as “impolitical”. If the political is indeed symbolic, since the giving of meaning and direction to society (a political task par excellence) also takes place through the construction of symbolic systems, the post-symbolic aesthetic is instead imposed by platforms for purely economic reasons.

Representasi Busana Muslim Pemuda Hijrah di Channel Youtube Shift Media

Busana secara simbolik merupakan bentuk komunikasi nonverbal yang dapat mengikat suatu komunitas. Pemuda hijrah dalam komunitas Shift di Y outube berusaha menyajikan keberagaman busana dan citra simbolis dalam video-video dakwah yang menampilkan Ustaz Hanan Attaki. Penelitian ini bertujuan untuk mengetahui bagaimana representasi busana muslim yang ditampilkan oleh Pemuda Hijrah di Channel Youtube Shift Media dalam rangka menarik perhatian generasi milenial. Metode penelitian yang digunakan adalah studi etnografi virtual, dengan pendekatan kualitatif yang bersifat deskriptif dan menggunakan teori interaksi simbolik. Hasil penelitian menunjukkan representasi busana muslim yang ditampilkan dalam video komunikasi dakwah Pemuda Hijrah di Channel Youtube Shift Media bertujuan untuk melakukan pembauran dengan jamaah anak muda. Dengan menentukan segmentasi khalayak, kreator Channel Youtube Shift Media mencoba untuk menggeser busana muslim menjadi busana kasual yang lebih dekat dengan milenial saat mendatangi kegiatan kajian dakwah. Proses kontruksi makna denotatif busana muslim ditandai oleh Ustaz Hanan Attaki yang kerap tampil dengan menggunakan kemeja, kaos atau sweater dan penutup kepala model reggae (topi kupluk).Symbolically, clothing is a form of nonverbal communication that can bind a community. Pemuda Hijrah in the Shift community on Youtube tries to present various clothing and symbolic images in da'wah videos featuring Ustaz Hanan Attaki. This study aims to find out how Pemuda Hijrah displays the representation of Muslim clothing on the Shift Media Youtube Channel to attract the attention of millennial generation. The research method used is a virtual ethnographic study, with a qualitative descriptive approach and using symbolic interaction theory. The results of the study show that the representation of Muslim clothing displayed in the communication video of Pemuda Hijrah propaganda on the Shift Media Youtube Channel aims to mingle with young congregations. By determining the segmentation of the audience, the creators of Channel Youtube Shift Media are trying to Shift Muslim clothing into casual clothing that is more suited to millennials when they come to da’wah activities. The process of constructing the denotative meaning of Muslim clothing was marked by Ustaz Hanan Attaki, who often appeared wearing a shirt, t-shirt or sweater and a reggae-style head covering.

Pelican as an ornithic symbol in Ukrainian culture and arts

The purpose of the article. Investigate the determination of the image of the pelican in Ukrainian culture and art as an original manifestation of national symbolics. Methodology. The research methodology is based on the application of a systems approach in combination with historical-genetic, comparative, and art methods, with the involvement of analysis of sources from the field of Ukrainian symbolism. The scientific novelty lies in the actualization of the study of the symbolic image of the pelican as a nationally specific component of Ukrainian culture. Conclusions. The representatives of the Ukrainian avifauna acquired in the popular imagination the forms of established symbolic images, that entered the space of national folklore through mythological thinking. The penetration of the pelican symbol into the arsenal of fine arts of Ukrainian culture did not pass through the mythological element but was borrowed from Christian cult publications and images of European countries. The oldest known images of the pelican in Ukraine belong to the artistic decoration of the book, and since the XVIII century, they are found in Baroque iconography and all kinds of plastic art. In Ukrainian art, as in the art of other countries, the image of the pelican acquires a symbolic meaning in three hypostases: a symbol of Christ's self-sacrifice, paternal self-denial, and human mercy. Priority in the study of the role and place of the symbol of the pelican in the national culture belongs to an art critic, poet, political activist Natalia Kotsyubynska. Further search for information on the role of ornithological symbols in the system of Ukrainian culture opens the prospect of a deeper understanding of the national mentality of our people. Keywords: symbolic image, pelican, art, Ukrainian culture, Natalia Kotsyubynska.

ASSOCIATIVE LANDSCAPE IN THE SPACE OF VISUAL AND SEMIOTIC EXPERIENCE

The article is devoted to the concept of an associative landscape and the phenomenon of the visual nature of its perception. The aim of the work is to study the sign-symbolic images of nature on the example of a cultural landscape and their visualization of graphic design. The article examines the features of associative landscapes, the semiotic concept of the cultural landscape and its semantic reading as a text, the concept of semiosphere and noosphere. The object of the research is the associative landscape as a special type of space perception based on a visual-semiotic language. The subject of the research is the cultural landscape as a visual-spatial category, expressed in sign-symbolic images and directly related to the natural environment.

FROM THE HISTORY OF LITERARY TRANSLATIONS OF K.L. KHETAGUROV’S WORKS: L.D. KIPIANI’S RUSSIAN INTERPRETATION OF THE POEM "SIDZÆRGÆS" ("MOTHER OF ORPHANS")

В статье впервые рассматривается переведенный на русский язык грузинским поэтом и прозаиком Л.Д. Кипиани текст стихотворения К.Л. Хетагурова «Сидзæргæс» (с осет. ‛Вдоваʼ, ‛Мать сиротʼ, в переводе звучит как «Мать»). Автором исследования представлен лексико-семантический анализ разноязычных текстов (оригинал, перевод), прослеживается степень воспроизведения переводчиком интенций автора. В ходе анализа установлено, что приоритетная для художественного текста функция эстетического воздействия на реципиента достигается Л.Д. Кипиани использованием лексических единиц с близким семантическим значением. Однако передача символики, заложенной К. Хетагуровым в художественных образах, не всегда находит выражение в переводе. Важные для раскрытия идейного замысла художественного текста образы-символы: «æргъæвст халон» (‛закоченелая воронаʼ), «сау айнæг» (‛черный утесʼ), «саударæг ус» (‛носящая траур женщинаʼ) и т.д. остаются вне поле зрения реципиента. Не всегда автор перевода преследует цель отразить национально-культурную специфику, заключенную в семантике выражений «зæрдæ къахын», «буц хъæбул», «дудгæ фæбадын», «къона», «гыцци», «лыстæн». В тексте перевода они находят свои русифицированные варианты или не передаются вовсе.Но там, где переводчик отходит от содержания подлинника, создается оригинальный текст в той же художественной манере, близкой к авторской. Основная идея произведения в переводе не теряется: переводчик и на русском языке демонстрирует мытарства матери сирот. Л. Кипиани в целом удалось изобразить картину жизни осетин конца XIX – начала ХХ в., представленную К.Л. Хетагуровым в стихотворении «Сидзæргæс». For the first time, the article considers the translation into Russian by L.D. Kipiani, the Georgian poet and prosaic, of the text of the poem by K.L. Khetagurova "Sidzærgæs" (‛Widowʼ, ‛Mother of Orphansʼ, translated as “Mother”). The author of the study presents a lexical and semantic analysis of multilingual texts (original and translation), traces the degree with which the translator reproduces the author's intentions. In the course of the analysis, it was found that the priority function of aesthetic impact on the recipient for a literary text is achieved by L.D. Kipiani by using lexical units with similar semantic meaning. However, the transmission of the symbolism laid down by K. Khetagurov in artistic images does not always find expression in translation. Symbolic images that are important for the disclosure of the ideological concept of a literary text: "ærgævst halon" (a freezing raven), "sau ainæg" (black rock), "saudaræg us" (a woman in mourning), etc. remain out of sight of the recipient. The author of the translation does not always pursue the goal of reflecting the national-cultural specifics contained in the semantics of the expressions "zarda kahyn", "buts kh'abul", "dudgk fabadyn", "qona", "gyzzi", "lystun". In the text of the translation, they find their Russified versions or are not transmitted at all. But where the translator deviates from the contents of the original, the created text is, nevertheless, in the artistic manner, close to the author's. The main idea of ​​the work is not lost in the translation: in the Russian translation the hardships and ordeals of the mother of the orphans are also vivdly conveyed. L. Kipiani as a whole managed to depict a picture of the life of the Ossetians of the late 19th - early 20th centuries, presented by K.L. Khetagurov in his poem "Sidzærgæs" ("Mother of Orphans").

A.F. Losev on F.M. Dostoevsky. About Losev's Activity in the Literary Section of the GAKhN

The researcher scrutinizes one peculiar historical and philosophical fact which has been generally overlooked when studying Dostoevsky. The analysis of the writer's works was carried out by the outstanding Russian philosopher Aleksei Losev at the Russian Academy of Artistic Sciences (GAKhN). The article also provides further information on Losev's work at the Academy in the 1920s. Special regard is paid to the Russian philosopher's activities in the Literary Section in 1927-1929 (in the group on Ancient Literature, in the Commission for the Study of Dostoevsky). The author provides ample evidence of the special treatment Losev paid to Dostoevsky, including numerous discussions of reports on the Russian writer's oeuvre. The article draws attention to the fact that the main focus of Losev's analysis of Dostoevsky was the writer's symbolism. It is noted that Losev turned to the study of such as early as in the 1920s. However, the philosopher managed to publish his findings much later. According to Losev, symbolic images pervade all of Dostoevsky's works. Based on the comprehensive evaluation of archival sources (recorded in the minutes of meetings, preserved at the Academy) and their comparison, the article unveils a picture of the Russian philosopher's activity and agenda. That helps us better grasp the range of his scholarly interests, significantly expands the opportunities for further research into this period of Losev's life and provides new data for the GAKhN history.

Artistic peculiarities of the philosophical works of S. S. Vasilyev-Borogonsky

The goal of this research lies in the description of artistic uniqueness of the philosophical lyrics of S. S. Vasilyev. The author reviews the problem of the poetic language of Vasilyev’s philosophical poems from the perspective of determination of the role and function of poetic images, as well as the techniques of rhetorical patterns, stylistics and syntax as method of expressing the original philosophical views. Examination of the philosophical lyrics of S. S. Vasilyev required an overview of the context of philosophical poetry of the Yakut classics – A. E. Kulakovsky, A. I. Sofronov – the forerunners of S. S. Vasilyev.  It is worth noting that the poet scrupulously adhered to the experience and traditions of his forerunners. The lyrical works of S. S. Vasilyev were oriented towards the poetics of philosophical works of the first poets. The scientific novelty lies in the fact that the poetics of the philosophical lyrics of S. S. Vasilyev is examined on the basis of literary studies for the first time. The author determines the main ideological content of the poet's philosophical lyrics: he enhanced the semantic meaning of poetic images borrowed from the folk lyrics. The designated by the poet symbolic images are comprehensible and effective means of artistic reproduction of the philosophical concepts. The rhetorical references, questions that are specific to the philosophical lyrics overall, served as the main techniques of developing the theme of the philosophical works of S. S. Vasilyev, described his personal reflections, as well as the author’s idea of the lyrical works.

Symbolic Images Associated with Color in Folk Songs

This article discusses the historical basis of the creation of symbolic images associated with color in Uzbek literature, the role of folklore in folklore. Symbolic images associated with color serve to enhance the art, charm and impact of Uzbek folk songs. In folk songs, color symbols have been explored using examples as a means of expressing ideas clearly, succinctly, and figuratively.