ISSUES


# 4(21)2015
Issued 1.07.




# 3(20). 2015.
Issued 1.09.




# 2(19). 2015.
Issued 1.07.




# 1(18). 2015.
Issued 1.04.



# 4(17). 2014.
Issued 1.01



# 3(16). 2014.
Issued 1.10








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Call For Papers

# 1(22) 2016: "Thanathos and Culture"

Guest Editor

pict Olga KIRILLOVA
Assistent Professor, PhD in Philosophical Science; Master of Philosophy

Life, death and immortality in the field of Cultural Studies are not only cultural universals but also semantic principles structuring cultural patterns and becoming the basis of new ways of art interpretation, which finally onthologizes Cultural Study/Research. New trends of Cultural Research arise within non-medical thanathology: philosophical thanathology brightly represented by the research project "Thanathos of St Petersburg" (A.Demichev, M.Uvarov, V.Rabinovich et al.) and erothanathology as its methodological synthesis with erotology (introduced by M.Epstein) used broadly for analysis of literary text and narrativity (R.Krasil'nikov et al.) Immortology of culture which presumes the projective 'work with eternity' had been introduced specifically in the field of Cultural Studies by V.Rabinovich. Eschatology becomes a 'personal eschatology' on the verge of mythopoetics and 'philosophy of the end of history' which is reflected by philosophy and art. The key thanathological and vitalogical patterns on which cultural typology is based are to be discussed in the current issue as well as the contemporary culturo-logical representations of death in art, the 'text of the city', sacred rites and everyday practices.

Main headings:

  • Culture as a discoursive field of communication with the past: from the ancestors worship to the blogs of classic writers
  • Philosophical and historical thanathology in Cultural Study
  • Immortological dimensions of culture and Cultural Research
  • Immortology and ethics: pro et contra
  • The phenomenon of Cemetery in culture
  • Erothanathology as a field of methodological interlacing of erotology and thanathology in Cultural Research
  • The Idea of 'Final' and eschatological concepts in Philosophy of History, Cultural Studies, Religious Philosophy, Mythology
  • Thanathology of Art: methodological problems of analysis of a work of Art
  • Thanathological patterns of narrativity
  • Thanathography of cinema: "Shooting Death at Work"
  • Death and New Media. Mediatization and memorization of Thanathos



# 2(23) 2016: "Axiology of Culture"

Guest Editor

pict Ilya DOKUCHAEV
Far Eastern Federal University (FEFU), Vladivostok, Russia. Department of Philosophy, Doctor of Philosophy, Professor

Cultural studies scholars frequently think of their subject as of a transgressive scientific practice being more of a summary of the results obtained by other concrete, specific areas of cultural investigation. Such generalization may often be to a certain extent superficial. What we have to do is to reveal real artifacts of culture which can be specifically studied and, on the other hand, provide us with a view of culture as a historical and spatial whole.
Culture as a social organism permits to discover itself in three different perspectives: phenomenologically (as the universe of meanings and their existential modes), socially (as a system of norms and communicative practices), and existentially (as an assemblage of values). The system of culture models – which generate and integrate the culture – rests on value as a concrete artifact. Values are what helps us to look at culture in its meaningful unity and reveal its real – in addition to constructed – aspects as a historical and spatial entity.
The meaningful and communicative aspects of culture are what enables us to view it in its integrity which illustrates, in its turn, the universal laws of communication and cognitive practices unrelated to history or tying to the latter only superficially.
In connection with the above, we suggest addressing a range of issues which can be called ‘classical’ for our understanding of the status of cultural studies as a science and of culture as a specific region of being.

We offer the participants several topics to discuss:

  • Cultural studies as an integrative science. Integration as generalization and creation, genesis. The role of values in integrating our knowledge of culture
  • Value as a culture artifact, as one of the aspects of culture and its generative model
  • Values and value systems. Spiritual and material content (realization) of values
  • The subjective and the objective in the content of values. Evaluation and culture reference as the forms of common and special knowledge
  • Relative and absolute values. Value relativism and common human values
  • Values and meanings. Values and communication (signs)
  • Value and benefit, value and norm, value and truth, values and artistic imagery
  • Value and deontologic forms (law, morality, ethics, canon)
  • Value as a generative model. Models, ideal types (constructs) and the laws of nature
  • Axiology and phenomenology/hermeneutics of culture. Culture axiology and the semiotics of culture
  • An existential conflict between the finiteness of the material and the infinity of the spiritual being of man; existential values (the meaning of life)
  • Re-evaluation of values and culture-genesis
  • Value orientation, cognition and performance (arts) as the three ways of resolving an existential conflict
  • Historical types of existential values. The meaning of life in traditional culture and creative culture
  • Existential values of mass culture and elite culture. Values and totalitarian culture
  • Existential values and networking culture

The papers should be submitted by 1st June 2016.



# 3(24) 2016: "Museum: Past, Present and Future"

Guest Editors

pict Mikhail PIOTROVSKY
The State Hermitage Museum, St. Petersburg, Russia, Director, Doctor of Historical Sciences, Professor, Corresponding Member of RAS
pict Antonina NIKONOVA
Saint-Petersburg State University, Institute of Philosopy, Department of Museum Studies and Monument Protection, Associate Professor, PhD.

«The activities of museum are expressed in collecting and restoration, not in storage only; it cannot be passive, patient, indifferent expression of discord and disregard to loss».
N. F. Fedorov, Museum, Its Meaning and Purpose

Museum as an institution of memory and repository of cultural values, does not avoid axiological and ontological contradictions inherent in any cultural phenomenon. In different epochs of its existence museum in its key role – that of a link with the past, with tradition and with the classical knowledge was seen as a critical object of rhetoric: as "grave" or "cemetery" of art in the period of modernism (in the texts of K. Malevich or the Italian futurists), or as an analogue of text functioning as an object of deconstruction in the postmodernism era. The evolution of museology, use of new technologies and media does not remove the eternal antinomies of museum: dialectics of true and false, dead and immortal, temporal and eternal, past and present, real and virtual.
The dialectical essence of museum manifested itself in ideas about its future in the concepts of museologists. We note the transformation of museum's mission from research and educational institution (N. F. Fedorov) to public (F. I. Schmitt) and back to educational one (A. F. Kots). Museum as a constant essence of culture, as a “highest court”, according to N. F. Fedorov, gradually acquires the features of a new cultural center offering museum services and creating museum product, responding to "increasing recreational and hedonistic needs of visitors", as noted F. I. Schmidt, creating his social project of museum. Developing the ideas of predecessors, Kots identified three antinomies of museum space initially immanent to it and determining the direction of its transformation: "three moments of museum activities are in a constant inner conflict: the functions of Display, Study and Storage or, more precisely – the first two functions are contrary to the third". The three antinomies of museum activities simultaneously determine the uniqueness of museum among other memory institutions.
The museum boom in the recent years only sharpened the debate, because collecting of marginal and questionable artifacts in a museum can destroy the original idea of ideal museum as a collection of masterpieces and famous names. In determining the value status of contemporary art museum often becomes the ultimate authority, but this position is not devoid of contradictions. Which in this case is a decisive criterion for evaluation: iconological link with tradition, or personal taste of a curator? No accident is the emergence in the second half of the 20th century hypothetical concepts of museums: "Imaginary Museum" of A. Malraux, "Museum of obsessions" by H. Szeemann, "Anti-Museum" of J. Cladders. Thierry de Duve in the book Kant after Duchamp put forward the thesis that true art can be actualized in the imagination of every individual, who creates his own imaginary museum according to personal taste.

We propose to consider the following topics presupposing the essence of museum's antinomies:

  • The true and the false in museum context
  • Curator and audience as author and addressee
  • "Figures of silence" and "figures of speech” in the museum discourse
  • Museum in the context of postmodern paradigm
  • Fake, copy, paraphrase in museum space
  • Death and immortality of classical museum
  • Dialectics of modernity and tradition in art museum
  • Image and concept in museum space
  • Expositioner and visitor in museum: dialectics of alienation

The papers should be submitted by 1st September 2016.



# 4(25) 2016: "Design in Culture"

Guest Editor

pict Tatiana BYSTROVA
Ural Federal University named after the first President of Russia B.N.Yeltsin, Yekaterinburg, Russia
Doctor of Science in Philosophy, Professor of Cultural Studies and Design Department, Head of the Research Group UrFU "Open City: from the theoretical conceptions to the innovative projecting", Honorary Worker of Higher Education of Russian Federation, Scientific Editor of Journal of Architecture and Design "Academicheskij Vestnic UralNiiproject RAASN"

Design appeared on the cusp of the nineteenth and the twentieth centuries, and the epoch, when craftsmen and artists created object forms, came to an end. From now on such qualities as mass production simplicity, ability to be up-to-date, and high functionality have become new guiding lines. Unique hand-made things, which were made with love, were replaced with a stream of more affordable, but less custom-made rationally designed replicated items. These items are made of modules, assembled like a construction set, and often have more in common with technical devices or machines than with living organisms.
Nevertheless, it is design which claims to be a tool for creating harmonious living environment, and this idea becomes even more relevant as industry and cities grow bigger and bigger. However, is it possible to create harmony for everyone? Or is it easier to impose your items on the vast masses, hiding behind market researches, fashionable slogans, and claims about being original? Will people be able to endure it and to adapt? These questions seem quite appropriate considering the expansion of hand-made items and decoupage workshops.
Design changes the traditional aesthetics of object environment denying the redundancy and decoration, which had been so typical of the nineteenth century. The tendency for purifying the solutions will again become prevalent until the period of postmodernism, and then it will come back enriched with new ecological meanings. Being an opposite of calm and peaceful conservators, design transfers the ideas of projectivity on every sphere of culture: from education to politics, from gardening to games. After design the whole world turns into our own project, but it wasn’t always like this. The end of design also puts an end to the culture, where things were few in number, where they served to several generations and were considered either as a part of a human body, or as a sign of human high moral values. What came instead is unknown both for designers and researchers due to high diversity and rapidity of contemporary design.

We offer the participants several topics to discuss:

  • How to retain the object: methods for investigating design within culture
  • Meanings of a thing
  • Everyday life structures of the 20th century as a design project: before and after
  • Between temptation and harmony
  • Commercial and non-commercial discourses in design
  • The role of design in the development of economies: experience of Germany, Italy, France, and Japan. Who’s next?
  • New objectives of design within the contemporary social and cultural space: educational, tourist, and museum design, design for persons with disabilities
  • Regional versions of design: working with tradition, peculiarity of a product
  • Projectivity as a way of thinking in the 21st century
  • Humanitarian component of the design education
  • City and design

The papers should be submitted by 1st December 2016.

 

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