The article devoted to Magic Lamp magazine, the Russian periodical of 1817. The magazine was published in Saint Petersburg in small printing; only 12 issues were published. It makes Magic Lamp magazine to be a bibliographical rarity. Objective function of Magic Lamp magazine was to amuse and enlighten people. In addition, it could be used as peculiar phrasebook and guidebook for foreigners visiting Saint Petersburg. The articles display typical everyday episodes taking place in the capital of Russia in the early (...) 19th century. It is a valuable source of information about Saint Petersburg’s everyday life and folkways of the time, when Pushkin was living there. Magic Lamp magazine is an artifact of polygraphic culture, because it is one of the first illustrated magazines in Russia. Magic Lamp magazine can be qualified as sociocultural phenomenon valuable for comprehension and study of Russian history, way of life, and linguistics. (shrink)

On the example of the analysis of the content of films-leaders of the box office box office, the value dynamics of the symbols of success is revealed as an objectively occurring sociocultural process in film communication. Cultural production and consumption are being rethought as the self-communication of society, which has sustainable trends. The connections of the sociocultural process of symbolizing success with communicative, semantic and semiotic processes have been studied. The specificity of the dialectical contradiction between sociocentric and personocentric symbols (...) of success is described. The theoretical provisions that reveal the structural and functional side of the socio-cultural process of symbolizing success are presented, its objectivity is proved on the example of the analysis of an array of films, the dominant tendencies in the halo of the cultural space of the general film market are determined. The book is addressed to scientists, students and teachers interested in cultural dynamics, social communication, the role of cinema in modern society. (shrink)

У статті подається короткий огляд прагматичного емпіризму Джеймса, емпіризму Дьюї, неопрагматистських ідей Рорті, огляд метамоделей Крейга щодо теорії комунікації. На основі даного огляду авторка обґрунтовує необхідність радикалізації прагматизму та аналізує його вплив на комунікаційні дослідження. Досліджується теорія комунікації Роберта Крейга, яку він розглядає як практичну дисципліну. Доводиться, що всі теорії комунікації є взаєморелевантними, якщо їх адресують у практичний життєвий світ, в якому «комунікація» вже є багатозначним терміном. Кожна традиція теорії комунікації походить з риторичних посилань на певні загальноприйняті уявлення про комунікації, (...) оскаржуючи інші переконання. Взаємодоповнення та напруженість традицій породжують теоретичний метадискурс, який перетинається з існуючим практичним метадискурсом у суспільстві та потенційно інформує про нього. За попередньою схемою комунікативного поля риторична, семіотична, феноменологічна, кібернетична, соціально-психологічна, соціокультурна і критична традиції теорії комунікації вирізняються властивими способами визначення комунікації та проблем спілкування, метадискурсивними словниками та метадискурсивними загальними поняттями. Запропоновано порівняльну аргументацію між традиціями, розглянуто результати для теоретичної роботи та дисциплінарної практики в цій галузі. (shrink)

Human simultaneously is the acting person of a few autonomous and interdepending forms of evolutional process. Accordingly, it is possible to select three forms of adaptation and three constituents of evolutional strategy of survival of humanity – biological, sociocultural and technological adaptations. The actual and potential consequences of development of so-called High Hume technologies (technologies of the guided evolution)  most essential from major technological adaptations of humanity  are analyzed. The phenomenon of bio-power within the framework of global coevolutional (...) methodology as one of central elements of mechanism of mutual co-ordination of biological and sociocultural forms of evolutional process from one side and technocultural balance, with other is examined. (shrink)

The set of symbols of success is a set of cultural determinants of activity and their functioning is connected with the fundamental functions of culture as a system of historically developing supra-biological programs of life. The relevance of considering the symbolization of success in modern cinema is due to several factors. First, according to the majority of art historians and film theorists, cinema remains the leading, most widespread form of art throughout the 20th and 21st centuries. If we understand art (...) as a figurative comprehension of reality, its process and result, which is expressed in works, then the symbolization of success in cinema can be considered one of the most common practices for representing the determinants of activity through a figurative comprehension of reality. An analysis of this process in modern cinematography reveals the mechanisms of functioning of one of the elements of the totality of joint life programs as a segment of modern culture, limited by the boundaries of film communication. Secondly, the development of cinematography largely determines the fundamental changes in the culture of the 20th century. and there is no reason to believe that its influence is diminishing in recent times. Consequently, modern cinema remains one of the most important areas of cultural life, the study of which allows expanding scientific understanding of the patterns of changes taking place in culture. Thirdly, the development of information and communication technologies at the end of the 20th century. led to the fact that the value complexes of traditional cultures of different peoples of the world and expansive global neoplasms of a supranational nature (mass, elite, corporate, fandom, etc.) are simultaneously transmitted into the space of personal culture. Cinema in the new conditions only strengthened its position as the leading relay of value complexes. The special socio-forming qualities of cinema were noted both by its pioneers (L. Delluk, A. Dovzhenko, Ch. Chaplin, S. Eisenstein, etc.), scientists (B. Balash, V. A. Gottwald, E. M. Samuylenko, etc.) , and the ideologists of cultural revolutions at the beginning of the 20th century. G. Turner, in particular, drew attention to the fact that “to achieve control over the everyday representation of the world for a nation means to acquire strong power over the representation of individuals about themselves and about each other”, referring to the threat to the integrity and coherence of an individual’s understanding of the world under the pressure of foreign cultural domination over film communication. In this regard, the search for ways to relevantly measure the trends in the development of modern culture by marking in cinema the cultural determinants of activity, which are the symbols of success, seems to be an urgent theoretical and scientific-practical task, the solution of which expands the predictive potential of culture and its projective possibilities. (shrink)

The paper discusses a few tensions “crucifying” the works and even personality of the great Georgian philosopher Merab Mamardashvili: East and West; human being and thought, symbol and consciousness, infinity and finiteness, similarity and differences. The observer can be involved as the correlative counterpart of the totality: An observer opposed to the totality externalizes an internal part outside. Thus the phenomena of an observer and the totality turn out to converge to each other or to be one and the same. (...) In other words, the phenomenon of an observer includes the singularity of the solipsistic Self, which (or “who”) is the same as that of the totality. Furthermore, observation can be thought as that primary and initial action underlain by the phenomenon of an observer. That action of observation consists in the externalization of the solipsistic Self outside as some external reality. It is both a zero action and the singularity of the phenomenon of action. The main conclusions are: Mamardashvili’s philosophy can be thought both as the suffering effort to be a human being again and again as well as the philosophical reflection on the genesis of thought from itself by the same effort. Thus it can be recognized as a powerful tension between signs and symbol, between conscious structures and consciousness, between the syncretism of the East and the discursiveness of the West crucifying spiritually Georgia. (shrink)

The problem of the influence of machine and technique on the society and human beings is analyzed in the article. It appears a new form of expansion arrangement which is called “machine humanity” or “automation humanity” by N. Berdyaev. The philosopher is stating that a threat of mechanization and automatization becomes a danger which human race faces. Mechanization of life and society causes changes of humans’ nature. A person is not able to imagine his life without technological devices, well-managed manner (...) of life and space’s organization.Being a part of city boundary, humans start feeling dependence of it; city life’s rhythm changes human beings themselves. Therefore, the crisis of human conscience occurs. Such situation hasn’t only changed the entire life of humans but broke already existed creative harmony. Under the influence of ideas of machine’s and technique’s almightiness, the changes affected such areas as art, literature, architecture, theatre. It becomes changing the consciousness of human being who is not able to realize him out of technical devices and innovations. This influence has a vast meaning for the society and its further development. Humanity started the new age of its evolvement in which growing of the influence of machine and technique on the society was coming. (shrink)