Comparative Study on Transmedia Awareness of Traditional Media Audiences and Social Media Users in Turkey and Ukraine

The theory of mediatization focuses on discussions on the intertwining of the media with social institutions such as politics, family and religion, influencing and being affected by these structures. In general, mediatization refers to the social and cultural process in which a field or institution becomes to some extent dependent on the logic of the media (Hjarvard, 2011). Hjarvard draws attention to the processes of mediatization as a concept by cultural and social phenomena through the media, and their symbolic content is more or less under the influence of the media. The media is determinative on the fictional world with it produces and, on its audience (consumers). It influences, directs and shapes them through the discourse it produces. Mediatization is an important issue in the context of media literacy and especially transmedia methods. Because transmedia content practices and methods increase the mediatization effect and affect the orientations of the individual and society, especially when it comes to inadequacy in the context of media literacy. Therefore, this study focused on the awareness of the audience (consumers) about transmedia applications. It is seen that the studies conducted in the field of transmedia have developed in terms of content production methods, strategies and audience engagement. It is understood that there are not enough studies on subjects such as audience impacts or audience awareness. In this context and in this study, the competence of multimedia viewers who use social media and follow a traditional media tool to understand and be aware of the content transitions between different media tools has been examined. The television channel was chosen as the traditional media medium for the research study due to its widespread viewing.

The symbolic content of the city in modern architectural culture: analysis of theory

Выполнен анализ научных, философских, художественных произведений, предметом осмысления которых является содержание понятия «город». Город в целом и его архитектурно-средовая составляющая в частности представляют явления не только материальной, но и духовной культуры: они выражают ценности современного общества, транслируют определённую информацию, формируют устойчивые образы в коллективном сознании. Цель работы – выявление тех аспектов информационной составляющей городской среды, которые наиболее читаемы и применимы в градостроительном контексте на уровне практики. Основное внимание уделено восприятию человеком природных ландшафтных характеристик городской среды и неотъемлемых элементов планировочной структуры города, которые присутствуют в нём с древних времён до наших дней в самых разных культурах. Методика исследования включает изучение библиографических источников и интернет-ресурсов, анализ и синтез теорий, а также частично герменевтический и феноменологический методы философского познания. Значения природных и материальных элементов городской среды, закреплённые в человеческом сознании и культурном пространстве, отражены через понятия архетипа и городского текста. В результате работы обосновано наличие смысловой ткани города как категории, требующей изучения и принятия во внимание в процессе проектирования в целях создания устойчивой городской среды, соответствующей как параметрам физического комфорта, так и параметрам человеческого сознания, и универсальным культурным ценностям. Значимость исследования состоит в том, что синтез знаний в области нематериальной природы города будет способствовать развитию целостного осмысленного ценностно-ориентированного подхода к архитектурно-градостроительному проектированию.

Functions of Borrowed Vocabulary in Literary Texts by a Bilingual Author

The article is devoted to understanding the functional range of borrowed vocabulary in the Russian-language literary text of a bilingual author. In modern science, there is an opinion that this range is limited to a specific nominative function. Moreover, there is a research position that the fact of borrowing vocabulary from an ethnic language is an indicator of interference, that is, in a broad sense, it indicates an unconscious, often erroneous, inclusion of a foreign language word in a literary text. Based on modern research in the field of literary bilingualism, we refute this thesis and strive to show that the functional load of borrowings in works of verbal creativity is very significant: lexical units with a national-cultural component play an important role in text and plot formation, have conceptual, archetypal, symbolic content, act as significators of onto-linguistic being and perform an aesthetic function.

Narratives of Incorporation: An Anthropological Analysis of Same-Sex Civil Unions in New Zealand

<p>In this thesis I examine civil unions from the perspective of New Zealand-based same-sex couples who have chosen to formalise their relationship. My approach is qualitative and in-depth and focuses on interpreting participants' own meanings and beliefs while also recognising the need for broader contextual knowledge. Through participants’ narratives, I explore why it was important for couples to have a civil union, how they chose to mark or enact the occasion, and the meanings they attribute to their choices and actions. Rather than treating the civil union as an isolated event, my analysis situates the civil union within four longer processual trajectories: individual biographical narratives, partner interactions, close social relationships, and trajectories of a socio-political nature. I then explore the contours of participants’ civil union ceremonies in terms of scale, style, and symbolic content. Throughout the thesis, I argue that civil unions facilitate incorporation for same-sex couples on a number of levels: incorporation in terms of inclusion in an important ‘meaning-constitutive’ practice; familial incorporation; and incorporation into mainstream society more generally. The incorporating effects of civil unions owe much to the symbolic capacities of law, the meaning inscribed in the socially dominant cultural model of marriage, and the characteristics of ritual. The importance of ritual to the anthropological enterprise is reaffirmed through this study; not only do rituals provide an important lens through which to examine the normative values of society but also the origins of social revitalization.</p>

Narratives of Incorporation: An Anthropological Analysis of Same-Sex Civil Unions in New Zealand

<p>In this thesis I examine civil unions from the perspective of New Zealand-based same-sex couples who have chosen to formalise their relationship. My approach is qualitative and in-depth and focuses on interpreting participants' own meanings and beliefs while also recognising the need for broader contextual knowledge. Through participants’ narratives, I explore why it was important for couples to have a civil union, how they chose to mark or enact the occasion, and the meanings they attribute to their choices and actions. Rather than treating the civil union as an isolated event, my analysis situates the civil union within four longer processual trajectories: individual biographical narratives, partner interactions, close social relationships, and trajectories of a socio-political nature. I then explore the contours of participants’ civil union ceremonies in terms of scale, style, and symbolic content. Throughout the thesis, I argue that civil unions facilitate incorporation for same-sex couples on a number of levels: incorporation in terms of inclusion in an important ‘meaning-constitutive’ practice; familial incorporation; and incorporation into mainstream society more generally. The incorporating effects of civil unions owe much to the symbolic capacities of law, the meaning inscribed in the socially dominant cultural model of marriage, and the characteristics of ritual. The importance of ritual to the anthropological enterprise is reaffirmed through this study; not only do rituals provide an important lens through which to examine the normative values of society but also the origins of social revitalization.</p>

Screening the Revelation: Bill Viola — Andrei Tarkovsky

The article is devoted to the problem of generating symbolic content in contemporary art. The problem is directly related to the vitality of art itself, which depends on the ability to create a universal picture of the world. In the art of the 20th century, the process of replacing symbolism with symptomatology begins, which gradually leads to a narrowing of the sphere of the symbolic content of culture, since ambiguous symbols are replaced by completely unambiguous symptoms or signs of a particular traumatic problems. This process is associated with the materialization of the symbolic and, in general, with the strengthening of the materialist dominant in the culture of the 1920s–1960s. The article examines the problem of the embodiment of symbols using the example of the work of film director Andrei Tarkovsky and video artist Bill Viola, who largely inherited Tarkovsky in the 1980s–2010s. The comparative analysis is based on the works of Tarkovsky and Viola, in which both masters strive to create moments of revelation. These symbolic moments, Goethe and his interpreter, the philosopher Karen Swassjan, call the revelations of the unsearchable — the universal, open in the private. Tarkovsky and Viola strive to create such moments on the screens, most often resorting to showing the interaction of the characters with the symbolic elements of fire and water. Also, both of them reconstructed different European paintings of the Renaissance and Baroque as a reserve of symbolic. Their search is not always successful precisely because of the substitution of a symbolic image for a symptomatic one: replacement of the unsearchable or unimaginable with scenes of dreams or hallucinosis. However, the search for Tarkovsky and Viola is so intense that the very ambiguity of the results is the most important symptom of the state of modern culture, testifying to a crisis in understanding the possibilities of representation. Turning to screen art, to that form of life that becomes structure-forming, both Viola and Tarkovsky strive to recreate in it the possibility of revelation, the presence of a supermaterial image that opens a saving life path.

REVOLUTION IN KYRGYZSTAN OF 2020 AND THE SADYR JAPAROV’s POPULIST PROJECT

There are two tendencies in populism studies that this paper addresses. The first can be defined as empirical Western-centrism manifested as the dominance of the European and American agenda in mainstream works on populism. Although, some researchers emphasize the global significance of the phenomenon, the proportion of studies related to the populist parties, movements, and leaders in the rest of the world is significantly inferior to the number of works on the Western agenda. The second trend is the tradition to approach populism, mainly, as a manifestation of some kind of crisis of democratic ‘normality’ in the context of electoral processes and party competition in liberal democratic political systems. If so, does it mean that populism is an indistinctive phenomenon beyond democratic party systems or the Western world? Moreover, what should be done with cases discovered in the non-democratic or non-liberal context, do they have the potential to develop the theory of populism. Therefore, my intention in this paper is to broaden the understanding of populism with the case of the revolution in Kyrgyzstan of October 2020 and the new Kyrgyz president Sadyr Japarov elected in January 2021. I believe that populism can be found beyond the Western left-right ideological opposition as well as to draw its strength and distinct symbolic content from alternative sources. Therefore, I am going to argue within the framework of Laclauian that Japarov’s political logic is essentially populist, although the Kyrgyz political system cannot be described as liberal or democratic. Moreover, I am convinced that the Kyrgyz case can contribute to the development of populism studies, while the theory of populism can suggest the further development of the situation in Kyrgyzstan.

Світобудова Михайла Гуйди

Purpose of the article is to show the particular features of the model of the universe in the genre portrait-paintings and compositions of the modern Ukrainian artist M. E. Guyda are investigated. Historico-culturalogical, comparative, iconographic and iconological methods are applied. The ideological content and the particular features of the formal solution of figurative compositions are considered in the context of the heritage of world art. The national character of the images and symbols of the house, the clan and the native land are revealed; as is the nature of the manifestation of the relationship of the earthly and the heavenly. It was found that in the center of creation in compositions of M. E. Guyda is a spiritually inspired person from the folk. The depiction of people of different ages in interaction with nature helps to convey a natural course of time. It was clarified that the European aristocratic ceremonial portrait is foundational for the Ukrainian master. Artistic-stylistic analysis revealed that in the portrait-paintings "At the Well" (2013) and "Baba Kilyna" (2016), canonical composition was transformed by the artist through the expansion of space filled with individual symbolic content. The components of the ritual ceremonial portrait (columns, draperies, table-altar) are transformed into the image of a Cossack courtyard with a hedge, a tree of life, a well, a rainbow path. In the painting "Green Festivities" (2004), the house is shown as a temple. In the composition "Chumatsky Way" (2014), the world is presented as a universe – a model of the universe-house, with the architectonics of earth and sky. Scientific novelty is that the transformation of the canonical composition of the ceremonial portrait in the work of the contemporary artist M. E. Guyda is shown. The cultural and historical content of the master’s compositions was studied in connection with the problems of national self-identification and polystylism of the art of the twentieth century.is that the appeal to archetypes and symbols allowed the artist to expand the chamber space of his native Cossack house-yard to the "Model of Guyda’s Universe". The persuasiveness of individual pictorial images and symbols is based on the unity of personal, emotional perception of life with supra-individual mythological thinking. Practical significance. The presented materials, their artistic and stylistic analysis and generalization can be used in scientific research devoted to the art of portrait painting in Ukraine and in the world.

On user roles and fragmentation of the global network

The paper represents a critical analysis of interrelated processes: transformation of the user's role as direct subject of communication and fragmentation of the environment of interaction. The choice of the topic is conditioned by (1) the emergence of national network segments, which has recently been quite actively discussed in the context of blocking sites and VPN services as a measure for the protection of information security, and (2) users switching from the consumption of large media to isolated communities and platforms. The latter is associated, in addition to the loss of trust in major media, with deeper changes in the nature of information consumption and a change in the user's role: the network becomes a space of dialogue, where the very fact and quality of its continuation depends on the user's choice and his interpretation. According to the results of the study, it is shown that, firstly, due to the heterogeneity of the network in different segments and in different contexts, users may select messages untypical for other segments; secondly, interactive discourse predetermines the users’ choice from the array of information of those messages that seem «close» to users on the basis of their personal experience, psycho-emotional state, socio-cultural characteristics. The changes that a unit of information undergoes in a certain environment are determined by the characteristics of the environment, including sociocultural ones – they fill messages with symbolic content and determine their viability / potential to further dissemination in media space.

“Sasha Is Drawing a Rocket and Borya Is Drawing a Candy…”: Space Representation in Soviet Magazines for Children in the Late 1950s–1960s

На основе изучения содержания детских журналов «Веселые картинки» и «Мурзилка», выходивших в период конца 1950–1960-х гг. и ориентированных на дошкольников и младших школьников (примерно 5-12 лет), рассматривается, как репрезентировался «космос», под которым понимается образно-содержательный конструкт, включающий смысловое и символическое наполнение и визуализирующийся при помощи типичных космических атрибутов. Цель исследования – выявление сюжетов, способов и образов, использующихся советской пропагандой при обращении к юному читателю. Делается вывод о том, что «космос» – очень удачный идеологический и политический конструкт, содержательное и образное наполнение которого выстраивалось в соответствии с принятой в СССР воспитательной моделью. Детские журналы через свой контент о «космосе» пытались развивать в детях такие качества, как любовь к Родине, безоговорочная вера в ее успехи и достижения, прилежная учеба и трудолюбие. The aim of the article is to reveal the plots, methods and images Soviet propaganda used when addressing young readers in the representing of the concept “space” in children's magazines of the late 1950s–1960s. The author gives her definition of the term “space”, which up to now has not been clearly conceptualized. Thus, “space” is a figurative-meaningful construct with semantic and symbolic content, visualized using typical cosmic attributes. The key resources for the article are Soviet magazines Murzilkaand Vesyolye Kartinki for children from five to twelve years old. The main content of these magazines is color illustrations, short poems and stories. Looking through children’s magazines, the author first looked for visual markers of “space”: rockets, cosmonaut, spacesuit, moon, stars, etc. If they were absent, she carefully examined the meaning of the textual content of the page, if any. As a result, the text and visual materials were included in the total sample for analysis. The author systematized the materials based on the three grounds of the topic of space: storylines and heroes, methods of representation, visualization. There are three main characters most often found in children’s magazines: a child, the Moon, space. The plots around these characters have two main lines: (1) every Soviet child dreams of becoming a cosmonaut, but for this, s/he needs to study well and be hardworking; (2) only such a great country as the USSR could achieve success in conquering space. The most common way of representing “space” was color pictures and illustrations (cosmonauts at the May Day demonstration, a rocket is approaching the moon, etc.). Poems, riddles, fairy tales or short stories about space was the second popular way. Science notes about how a rocket takes off, how a cosmonaut feels in zero gravity, etc. were published. In addition, game formats were offered for children – to glue a rocket out of paper or draw a suit for a cosmonaut, etc. Children sent their own drawings about space to the magazines. Most often, the image of a rocket was used in space visualization. Portraits of cosmonauts (Gagarin, Titov, and Tereshkova) were also often used. The following conclusion has been made. Visual images, forms and ways of presenting “space” to children in the magazines Murzilka and Vesyolye Kartinki shows that “space” has become a successful ideological construct that reflects the basic principles in accordance with which the educational model was built in the USSR. Children’s magazines tried to develop in children such qualities as love for their country, unconditional faith in its successes and achievements, desire for good studies and hard work.