Emphasis is placed on the urgency of the problem of human integrity as a cultural and historical fact of society and art, in particular music. The aim of the article is to define the phenomenon of differential ontology and anthropology as a musical gestalt in the context of I. Stravinsky's musical creativity and reflection. The research methodology is a systematic, comparative approach, transcendental, phenomenological, dialectical methods that implement the program of seeing the anthropological semiosphere of music as a cultural unity. The scientific novelty of the article is that the implicit and explicit modes of anthropology of music in the work of I. Stravinsky are determined. I. Stravinsky has Ukrainian roots, his influence on the formation of European culture is still underestimated from the standpoint of Ukrainian mentality, cordocentrism, which was explicitly defined in the theoretical reflection of the author as the search for "whole man". The folklore and mythological motifs of the works created for the Diaghilev seasons are characterized, as well as the disposition "avant-garde - neoclassic", which becomes the main epicenter of the composer's thoughts on the musical phenomenon. Conclusions. It is proved that the stage synthesis in the works of I. Stravinsky has its own musical image, where the impetus to the search for the musical integrity of the work as an analogue of a harmonious, integral person dominates. The symbiosis of musical and choreographic constellations took place as a stimulus to universal harmony, and the musical fabric of the work was formed as a universal synthesis of sacred, mythological, creative intentions. Stage synthesis, which can be described as a kind of musical can not be separated from the choreographic, scenographic images that form a single whole. Stravinsky was a charismatic leader of the musical avant-garde of the twentieth century, who defined the Frying Pan line of "two hearts" - a profane and sacred element of the musical phenomenon as a universal ontology of the whole human artist.
The study is devoted to the philosophical understanding of the problem of the cultural origins of Russian philosophy. In the author's opinion, the source of diversity of modern approaches to the phenomenon of Russian Philosophy is, first of all, the absence of a unified methodological approach. The diversity of research on the phenomenon of the Russian philosophy origins is also a consequence of research susceptibility to certain methodological influences. The paper aims to identify a number of philosophical, historical, literary approaches to the problem of the genesis of the eighteenth century Russian Enlightenment. It is necessary to clarify the mechanisms and procedures for the reception of Western European ideas and concepts by Russian Enlightenment during the eighteenth century. On the basis of adaptation of natural law terms, the author considers certain trends in the theory of reconstruction of the Enlightenment phenomenon in Russia. He reveals a number of significant features of the process of reconstruction of the Enlightenment ideology formation on Russian soil, including the idea that European concepts and theories are assimilated by the domestic semiosphere in the form in which they existed in the culture of the West. The author highlights the idea, that researchers were convinced that Russia of the XVIII century already had a national philosophy. The paper also draws attention to the lack of analytical interest in the problems of transformation of the language of expression of political phenomena. In the same row, there is also the idea that the process of reception of the enlightenment heritage of the West had a revolutionary, not an evolutionary, specificity, and was devoid of cultural prerequisites. Basing on the material of historical and historical-philosophical studies, the author considers the possibilities of constructing a methodologically integral reconstruction, chronologically covering the entire period of the XVIII century. The research methodology is based on the approach that includes an analytical description of the problems of the thematic fields of discourse, concepts and theories of the Enlightenment on the Russian soil. The result of the analysis is the systematization of contradictions in the process of analyzing the phenomena of the Russian Enlightenment in the XVIII century.
El presente texto es una aproximación metodológica y conceptualsociocultural desde una mirada crítica, decolonial, exploratoria e imaginativa, conla cual se pretende establecer algunos presupuestos y ejes de análisis que permitancomprender el fenómeno social de la centralidad discursiva de lo jurídico-políticohegemónico. A su vez, pretende propiciar debates y reflexiones sobre la condiciónsocial, el lazo social y el sentido social mediante otros enfoques y perspectivas deíndole interdisciplinaria, como elemento característico de un modo de pensar yhacer ciencias sociales situadas y emergentes. Es así que en un primer momento serevisarán los aportes y atributos del análisis crítico del discurso; en el segundo ytercer momentos se describirá y sustentará el trazo y la fundamentación de la metáforade las ondas junto con el de la semiosfera estatal, como estrategias figurativasde las relaciones de dominación jurídicopolíticamente mediadas y espacializadas; y en el último se abordará la relevancia de la contraposición entre los conceptosde pueblo y multitud y su incidencia en la potencialidad de lo emancipatorio yla resignificación del espacio discursivo constituyente. Al final, plantearemos algunasconsideraciones a manera de conclusión.The present text is a methodological and sociocultural conceptualapproach from a critical, decolonial, exploratory and imaginative perspective, withwhich it is intended to establish some assumptions and axes of analysis that allowunderstanding the social phenomenon of the discursive centrality of the hegemonicjuridical-political, as well as encouraging debates and reflections on the socialcondition, the social bond and the social sense through other interdisciplinary approachesand perspectives, as a characteristic element of a way of thinking anddoing situated and emerging social sciences. Thus, at a first moment the contributionsand attributes of the critical analysis of discourse will be reviewed; in thesecond and third moments, the outline and the foundation of the wave metaphorwill be described and sustained together with that of the state semiosphere, asfigurative strategies of the politically mediated and spatialized relations of legaldomination, in the last the relevance will be addressed of the contrast between theconcepts of people and the multitude and their impact on the potentiality of theemancipatory and the resignification of the discursive constituent space, and at theend some considerations.
Abstract The analysis of the relationship between fashion and institutions could represent a new approach in the theoretical analysis of fashion. This article is an attempt to show how, from an analysis of Simmel, Lotman, Volli and Legendre and a semiotic-juridical perspective, the topic of fashion can be linked to an anthropological-juridical perspective and a juridical conception of fashion as a normative institution. Juridical knowledge appears to be essential for the anthropological understanding of the phenomenon of fashion and too many studies have forgotten the contribution of the juridical sciences to the theoretical configuration of the question. From a complex historical-juridical analysis of the notion of Corpus Iuris (Kantorowicz) emerges the value of the medieval notion of corpus mysticum as a fictional body, referring to a political context that is both liturgical and ritual. The reference to this idea thus passes from the Corpus Iuris Civilis of medieval canonical law to the modern aesthetic signification (fictional and iconic) of the notion of the political body, referring to the modern state, which is still to be found on the well-known frontispiece of Hobbes' book the Leviathan and then to the fictional and stylised bodies of the models in a fashion show. Following the theories of Legendre, the conclusion of this article suggests to reintroduce the secularised juridical and theological lexis for the aesthetic relationship between the natural body and the fictitious body, seen as a mystical and political body, considered present in the practices of dressing and twentieth-century fashion. Fashion is one of the forms through which, in mobilising desire, the human being constructs that "second body", fictitious, represented, parallel to the real body, which is constitutive of the subjective and collective identity of a society. This body is fashioned under the ritualised and institutionalised form of the garment that hides the body, concealing its animality, which gives access to a collective fictitious reality, of which, we could add, all the products of the semiosphere, including the juridical institutions, are formed.
The purpose of the work is to find out the variability of the reflection of the ethno-cultural codes of the traditional Ukrainian costume in the couture creations of the world of high fashion. The research methodology is based on the application of a systemic approach, as well as a set of such scientific methods as analytical, comparative, cultural, art history, and semiotic, which makes it possible to comprehensively consider the given issue and formulate well-founded conclusions. Scientific novelty is characterised by a systematic generalisation of the problem of the interaction of ethnic components of culture (at the level of ethno-cultural codes and semantic series) with modern cultural and artistic visions in the dimension of the world of high fashion. It has been found that the specificity of the interaction of fashion and ethnic culture is manifested in the borrowing of folk symbols by fashion, but their embodiment is subject to the sign-symbolic code of modernity, this process actually takes place along the local-global line. Conclusions. Summarising, we note that fashion as a socio-cultural phenomenon is a formed semiosphere, which is a moving structure mediated both by the general cultural trends of its time, and by the ideals and values of society, its preferences. The art of high fashion Haute couture embodies author's samples-concepts, which are endowed with a number of meanings and connotations, relaying them in general. Fashion acts as an open system of cultural interpretations, citations, variability, forming a new semiotic space. The use of ethnic components and ethnocultural codes in high fashion works not only adds to them "depth of sound" and polystylism, but is also included in the artistic postmodern game and exchange of meanings, signs in the symbolic/imaginary/real system, forming new cultural texts. Ukrainian ethno-cultural codes in the practice of high fashion were repeatedly included in the creation of collections of world fashion trends, giving the samples original variability and color. At the same time, the world of high fashion actualises the levels of cultural perception of ethnicity, tradition, updating and expanding the artistic language of modern culture.
Key words: ethnocultural codes, high fashion, couture products, Ukrainian traditional costume, ethnic culture, global, local.
Parliamentary talk, despite its central place in politics, has not been the focus of many qualitative studies. The present study investigates how parliamentary talk emerges in a dialogue between different arguments in the parliament. At the same time, this is a study of politics, of how human interaction gives birth to laws that regulate life in two contemporary democracies, Slovakia and Poland. It provides a close-reading of two political debates: on the state language in Slovakia and on gender parity in Poland. This study draws on hermeneutic and semiotic thinkers such as Gadamer, Bakhtin and Lotman to elaborate a dialogical understanding of language that can provide the basis for a method of textual analysis. The dialogical understanding of language emphasises that text and talk must be studied in the context of an interaction. The unit of analysis is a pair of utterances, a question and an answer. Until an utterance has been interpreted, it carries only the potential of meaning; its meaning is materialised by the responses it receives. The study further argues that conversation analysis and its tools can usefully be applied to the study of political debate. The method provides for the analysis of the dynamics between micro-scale interaction in the parliament and the macro-scale dynamics of culture. These dynamics assume two different forms that Lotman termed as "translation" and "explosion". The study shows that parliamentary debate is characterised by a constantly evolving topic of discussion, namely that the meaning of the bill at the start of the debate and at the end of the debate are really two different bills. This is not because the content of the bill has undergone changes, but because in the course of the debate, the bill has generated new cultural connections. Casting a vote in support of the bill does not approve just the bill itself but a whole set of interconnected political, social and cultural values—what Lotman approached as the semiosphere. This study suggests Lotman's cultural semiotics can provide for "imperfect hermeneutics" that is sensitive to the dynamic and contested nature of tradition in politics whilst acknowledging the inevitability of culture in mediating political talk.
Abstract Intercultural communication has been a popular topic both in and outside academic studies, yet most researches in this field have been conducted with the methodology of comparative anthropology while the studies on the dynamic process of intercultural communication have been limited, which serves as the primary motivation to write this paper. The thorniest obstacle to conduct the study is to find a feasible and applicable methodology for the analysis of the process of intercultural communication, which deflated and even impaired the author's confidence to do the study from time to time. Fortunately, months of meditation finally saw the enlightenments from semiotics, a profound science that can provide insights into various humanity and social sciences. A thorough introduction to semiotics is impossible in an MA paper; therefore, only the related theories helpful to study intercultural communication are presented, including the dichotomy theory by Saussure, trichotomy theory by Peirce, theory of cultural semiotics by Lotman, and the semiotic concept of code by scholars such as Eco and Barthes. With this semiotic theoretical framework, the present paper elaborates the definitions of culture and communication and explains their semiotic features from different perspectives. Culture is semiotic in that it refers to not only the metaphysical existence but also the psychological traces, both of which are related with sign. The semiotic feature of communication is explained by identifying the sign as the carrier of information and semiosis as the realization of meaning. In this sense, intercultural communication as a subject based on culture and communication should be understood via semiotics as well. Limited by the size of the present paper, this study focuses exclusively on the process of intercultural communication. The ingredients involved in the process are figured and their roles are identified to the semiotics theories, based on which a semiotic model of intercultural communication is established. This model as the core of the present paper is described in detail and the mechanism of intercultural communication revealed by the model is explained accordingly. The relationship between the semiospheres, the nature of representamen, and the psychological processes as interpretant, are three most significant factors affecting intercultural communication. The findings of this paper explain the humanity subject of intercultural communication in a scientific view, which provides new understandings as well as indicates new research methods.
The purpose of the article is to reveal the peculiarities of the use of twelve archetypes (K. Pearson's concept) in modern visual content of social media using the example of advertising videos. Research methodology. The analytical method, the method of systemic, typological and structural-functional analysis, as well as the semiotic and phenomenological method were applied. Scientific novelty. The peculiarities of the use of archetypes (K. Pearson's concept) in modern visual content of social media are considered using the example of advertising videos; the archetypes of the Rebel, the Explorer, the Hero and the Ruler are analyzed as cultural universals and typical images of the visual content of social media at the current stage; the peculiarities of the use of archetypes in the process of influencing users - potential recipients are revealed. Conclusions. The cultural practice of the digital society is implemented within the innovatively organized semiosphere, which is characterized by the blurring of internal boundaries, which in turn leads to new forms of interaction between elite and mass culture. The specificity of the use of archetypal images, in accordance with the transculturality of the vocabulary of the visual Internet context, involves the creation of a visual text using coding, which can be equally easily deciphered by users belonging to different ethnic, linguistic and cultural groups. The fundamental influence on the features of visual Internet content is exerted by the environment of new media, which is dominated by the spectacular presentation of information, bright visual vocabulary and dynamic presentation. Speed, efficiency, demonstrability, the predominance of the latest technical effects in digital visual content cause the user's dependence on new images, effects and elements of the visualization vocabulary. Accordingly, visual archetypal images are created based on the principle of attracting and retaining the user's attention. The role of archetypes as cultural universals in the process of advertising influence on the viewer is fundamental, since on their basis an appeal to certain aspects of human consciousness and being is formed with the aim of effective influence on a potential recipient. Thus, appealing to one or several archetypes and creating a visual series based on them is the basis of the influence of the advertising video as a tool of "cultural management". The video's appeal to a specific archetype can be seen as a definition of the cultural theme on the basis of which the advertising message is built.
The thesis discusses dialogue as a tool in peacebuilding. The problem statement raises the need for knowledge of what dialogue is, competence in how to employ dialogue and adherence to the use of dialogue, for it to be a tool in peacebuilding. Through the ontological position of constructivism, I argue for a reconstruction of the term dialogue. The thesis aims to develop on a theoretical framework for defining dialogue. Dialogue is defined as a form of communication with the goal to understand the other. To inform and challenge the definition of dialogue, I collected empirical data from dialogue experts in Norway and data from the United Nations. Based on the data, I discuss dialogue as an attitude and a culture in the analysis. Further, the analysis discuss requirements, limitations and effects of dialogue. The thesis argues that change and cooperation are possible effects of dialogue, rather than integral parts of dialogue as a form of communication. I present Bernstein's theory of framing as a measure to analyse dialogue as a tool in peacebuilding. Strong framing regulates 'what can be said', 'where' and 'by whom' and is thus a limitation for dialogue. Through Jakobson's model of communication, I argue that dialogue attributes different meaning to the functions in language than other forms of communication. Dialogue has an emotive and relational function, including context, feelings and the whole person when understanding the other. Through Lotman's theory on semiosphere, I inform that dialogue is an exchange of information, requiring both difference and similarities. Codes translate the information from the contexts of the sender and the receiver. Drawing on Lotman's theory, I argue that there is a difference between translation and interpretation. Addressing hermeneutics, I argue that there is a difference between interpretation of text and interpretation in dialogue, drawing on Gadamer. Further, drawing on Habermas, I argue that interpretation is inhibiting in dialogue as I have the possibility to ask question to the subject. Peacebuilding is defined through Galtung and Lederach. Drawing on Smith's pallet of peacebuilding, dialogue is defined as an integral part of peacebuilding. I argue that it is due to the goal of dialogue as understanding that dialogue can be a tool in peacebuilding. Understanding builds relations and can have positive effects. I take a critical view of dialogue used to achieve other goals, as a misuse of the term. Dialogue is thus a tool for understanding, which can be used as a tool in peacebuilding. Dialogue can be a sustainable tool in peacebuilding as it can contribute to adaptability, as defined by Lederach. The thesis further argues that the United Nations has a low visibility of their work and definition of dialogue.
Este artículo está escrito en primera persona, pero sostiene que, para comprender el sentido de una selfie, hace falta articular distintos niveles de análisis. Primero, hay que diferenciar entre el sentido de la práctica misma de tomarse selfies y el sentido de las selfies mismas como imágenes. Además, hay que considerar que hay selfies cuya naturaleza de selfie se oculta en la comunicación de estas imágenes (cripto-selfies), así como hay imágenes que circulan como selfies pero que en verdad no lo son desde el punto de vista de su producción empírica (pseudo-selfies). Hay, entonces, cripto-selfies, pseudo-selfies, e incluso meta-selfies, es decir, representaciones de contextos sociales en los que se sacan selfies (este último sub-género, como veremos, es muy utilizado por los políticos). La práctica de sacarse selfies y las imágenes que produce dan lugar a sentidos que se pueden distribuir según la famosa tripartición hermenéutica formulada por Umberto Eco. En las selfies hay una intentio auctoris, o sea un sentido que el sujeto quiere expresar de manera más o menos consciente a través de este formato fotográfico y de su contenido; luego hay una intentio lectoris, o sea el sentido que se desprende de una selfie o de un conjunto de selfies cuando sean observadas e interpretadas por un público; pero incluso hay una intentio operis de la selfie, o sea, un sentido que esta práctica, su formato, y los textos que producen implícitamente conllevan en el marco de la historia de la cultura y sobre todo en la estructura de la semiosfera actual. ; This article is written in the first person, but maintains that, in order to understand the meaning of a selfie, it is necessary to articulate different levels of analysis. First, we must differentiate between the meaning of the practice of taking selfies and the meaning of selfies themselves as images. In addition, we must consider that there are selfies whose nature is hidden in the communication of these images (crypto-selfies), as well as there are images that circulate as selfies but that are actually not such from the point of view of their empirical production (pseudo-selfies). There are, then, crypto-selfies, pseudo-selfies, and even meta-selfies, that is, representations of social contexts in which selfies are taken (the latter sub-genre, as we will see, is widely used by politicians). The practice of taking selfies and the images it produces give rise to meanings that can be distributed according to the famous hermeneutical tripartition formulated by Umberto Eco. In selfies there is an intentio auctoris, that is, a meaning that the subject wants to express in a more or less conscious manner through this photographic format and its content; then there is an intentio lectoris, that is, the meaning that emerges from a selfie or a set of selfies when an audience observes and interprets them; but there is also an intentio operis of the selfie, that is, a meaning that this practice, its format, and the texts it produces implicitly entails within the framework of the history of culture and especially in the structure of the current semiosphere.
Este artículo está escrito en primera persona, pero sostiene que, para comprender el sentido de una selfie, hace falta articular distintos niveles de análisis. Primero, hay que diferenciar entre el sentido de la práctica misma de tomarse selfies y el sentido de las selfies mismas como imágenes. Además, hay que considerar que hay selfies cuya naturaleza de selfie se oculta en la comunicación de estas imágenes (cripto-selfies), así como hay imágenes que circulan como selfies pero que en verdad no lo son desde el punto de vista de su producción empírica (pseudo-selfies). Hay, entonces, cripto-selfies, pseudo-selfies, e incluso meta-selfies, es decir, representaciones de contextos sociales en los que se sacan selfies (este último sub-género, como veremos, es muy utilizado por los políticos). La práctica de sacarse selfies y las imágenes que produce dan lugar a sentidos que se pueden distribuir según la famosa tripartición hermenéutica formulada por Umberto Eco. En las selfies hay una intentio auctoris, o sea un sentido que el sujeto quiere expresar de manera más o menos consciente a través de este formato fotográfico y de su contenido; luego hay una intentio lectoris, o sea el sentido que se desprende de una selfie o de un conjunto de selfies cuando sean observadas e interpretadas por un público; pero incluso hay una intentio operis de la selfie, o sea, un sentido que esta práctica, su formato, y los textos que producen implícitamente conllevan en el marco de la historia de la cultura y sobre todo en la estructura de la semiosfera actual. ; This article is written in the first person, but maintains that, in order to understand the meaning of a selfie, it is necessary to articulate different levels of analysis. First, we must differentiate between the meaning of the practice of taking selfies and the meaning of selfies themselves as images. In addition, we must consider that there are selfies whose nature is hidden in the communication of these images (crypto-selfies), as well as there are images that circulate as selfies but that are actually not such from the point of view of their empirical production (pseudo-selfies). There are, then, crypto-selfies, pseudo-selfies, and even meta-selfies, that is, representations of social contexts in which selfies are taken (the latter sub-genre, as we will see, is widely used by politicians). The practice of taking selfies and the images it produces give rise to meanings that can be distributed according to the famous hermeneutical tripartition formulated by Umberto Eco. In selfies there is an intentio auctoris, that is, a meaning that the subject wants to express in a more or less conscious manner through this photographic format and its content; then there is an intentio lectoris, that is, the meaning that emerges from a selfie or a set of selfies when an audience observes and interprets them; but there is also an intentio operis of the selfie, that is, a meaning that this practice, its format, and the texts it produces implicitly entails within the framework of the history of culture and especially in the structure of the current semiosphere.
Метою роботи є історико-культурологічний аналіз дихотомії Сходу і Заходу як антиномних систем з іманентними семантичними кодами. Методологія. Концептуальним методологічним ядром дослідження є історико-компаративний аналіз дихотомії Схід-Захід. За допомогою метода герменевтичної інтерпретації розкриті особливості східної та західної цивілізацій, що обумовлюють їх дихотомію; для визначення механізмів інтеракції цивілізацій був використаний діалогічний метод. Наукова новизна роботи полягає у концептуалізації феномена дихотомії Схід–Захід з позицій бінарної опозиції Я–Інший. На основі історико-компаративного аналізу східної та західної цивілізацій розкриті чинники, механізми і результати їх взаємодії на різних етапах світової історії. Висунуто гіпотезу для пояснення переходу світової системи від глобалізації до нової форми інтернаціоналізації – діалогізації. Висновки. Розглянуто історико-культурологічний аспект дихотомії Схід–Захід у ракурсі концепту Я–Інший. Визначені чинники світоглядного паралелізму східних і західних цивілізацій як антиномних систем з різним світоглядом, традиціями, економічним та військово-політичним потенціалом. Простежені змістові трансформації дихотомії Схід–Захід в умовах входження однієї культури у семіосферу Іншої культури у часовій перспективі. Розкриті чинники діалогічного повороту у міжнародних відносинах в умовах всесвітніх інтегративних процесів на зламі XX–XXI ст. Показано, що у XXI ст. на зміну глобалізації приходить діалогізація як сучасна форма інтернаціоналізації суспільного життя, що ґрунтується на комунікативному принципі. ; The purpose of the article is a historical and cultural analysis of the dichotomy of the East and the West as antinomy systems with immanent semantic codes. Methodology. The conceptual methodological core of the study is a historical-comparative analysis of the East–West dichotomy. With the help of the hermeneutic interpretation method, the peculiarities of eastern and western civilizations which determine their dichotomy are revealed; the dialogic method is used to determine the mechanisms of interaction of civilizations. The scientific novelty of the work lies in the conceptualization of the phenomenon of East–West dichotomy from the standpoint of the binary opposition I–Other. Based on the historical-comparative analysis of Eastern and Western civilizations, the factors, mechanisms, and results of their interaction at various stages of world history are revealed. A hypothesis was advanced to explain the transition of the world system from globalization to a new form of internationalization – dialogization. Сonclusions. The historical-culturological aspect of the East-West dichotomy is considered from the perspective of the concept I–Other. The factors of the worldview parallelism of Eastern and Western civilizations as antinomian systems with different worldviews, traditions, economic and military-political potential are identified. The semantic transformations of the East-West dichotomy are studied in the context of the entry of one culture into the semiosphere of another culture in a time perspective. The factors of the dialogical turn in international relations in the context of global integration processes at the turn of the XX – XXI centuries are revealed. It is shown that in the XXI century globalization is being replaced by dialogization as a modern form of internationalization of social life based on the communicative principle. ; Целью работы является историко-культурологический анализ дихотомии Востока и Запада как антиномних систем с имманентными семантическими кодами. Методология. Концептуальным методологическим ядром исследования является историко-компаративный анализ дихотомии Восток–Запад. С помощью метода герменевтической интерпретации раскрыты особенности восточной и западной цивилизаций, обусловливающие их дихотомию; для определения механизмов интеракции цивилизаций был использован диалогический метод. Научная новизна работы заключается в концептуализации феномена дихотомии Восток–Запад с позиций бинарной оппозиции Я–Другой. На основе историко-компаративного анализа восточной и западной цивилизаций раскрыты факторы, механизмы и результаты их взаимодействия на различных этапах мировой истории. Выдвинута гипотеза для объяснения перехода мировой системы от глобализации к новой форме интернационализации – диалогизации. Выводы. Рассмотрен историко-культурологический аспект дихотомии Восток–Запад в ракурсе концепта Я–Другой. Определены факторы мировоззренческого параллелизма восточных и западных цивилизаций как антиномних систем с разным мировоззрением, традициями, экономическим и военно-политическим потенциалом. Прослежены смысловые трансформации дихотомии Восток–Запад в условиях вхождения одной культуры в семиосферу Другой культуры во временной перспективе. Раскрыты факторы диалогического поворота в международных отношениях в условиях глобальных интеграционных процессов на рубеже XX–XXI вв. Показано, что в XXI в. на смену глобализации приходит диалогизация как современная форма интернационализации общественной жизни, основанная на коммуникативном принципе.
Метою роботи є історико-культурологічний аналіз дихотомії Сходу і Заходу як антиномних систем з іманентними семантичними кодами. Методологія. Концептуальним методологічним ядром дослідження є історико-компаративний аналіз дихотомії Схід-Захід. За допомогою метода герменевтичної інтерпретації розкриті особливості східної та західної цивілізацій, що обумовлюють їх дихотомію; для визначення механізмів інтеракції цивілізацій був використаний діалогічний метод. Наукова новизна роботи полягає у концептуалізації феномена дихотомії Схід–Захід з позицій бінарної опозиції Я–Інший. На основі історико-компаративного аналізу східної та західної цивілізацій розкриті чинники, механізми і результати їх взаємодії на різних етапах світової історії. Висунуто гіпотезу для пояснення переходу світової системи від глобалізації до нової форми інтернаціоналізації – діалогізації. Висновки. Розглянуто історико-культурологічний аспект дихотомії Схід–Захід у ракурсі концепту Я–Інший. Визначені чинники світоглядного паралелізму східних і західних цивілізацій як антиномних систем з різним світоглядом, традиціями, економічним та військово-політичним потенціалом. Простежені змістові трансформації дихотомії Схід–Захід в умовах входження однієї культури у семіосферу Іншої культури у часовій перспективі. Розкриті чинники діалогічного повороту у міжнародних відносинах в умовах всесвітніх інтегративних процесів на зламі XX–XXI ст. Показано, що у XXI ст. на зміну глобалізації приходить діалогізація як сучасна форма інтернаціоналізації суспільного життя, що ґрунтується на комунікативному принципі. ; The purpose of the article is a historical and cultural analysis of the dichotomy of the East and the West as antinomy systems with immanent semantic codes. Methodology. The conceptual methodological core of the study is a historical-comparative analysis of the East–West dichotomy. With the help of the hermeneutic interpretation method, the peculiarities of eastern and western civilizations which determine their dichotomy are revealed; the dialogic method is used to determine the mechanisms of interaction of civilizations. The scientific novelty of the work lies in the conceptualization of the phenomenon of East–West dichotomy from the standpoint of the binary opposition I–Other. Based on the historical-comparative analysis of Eastern and Western civilizations, the factors, mechanisms, and results of their interaction at various stages of world history are revealed. A hypothesis was advanced to explain the transition of the world system from globalization to a new form of internationalization – dialogization. Сonclusions. The historical-culturological aspect of the East-West dichotomy is considered from the perspective of the concept I–Other. The factors of the worldview parallelism of Eastern and Western civilizations as antinomian systems with different worldviews, traditions, economic and military-political potential are identified. The semantic transformations of the East-West dichotomy are studied in the context of the entry of one culture into the semiosphere of another culture in a time perspective. The factors of the dialogical turn in international relations in the context of global integration processes at the turn of the XX – XXI centuries are revealed. It is shown that in the XXI century globalization is being replaced by dialogization as a modern form of internationalization of social life based on the communicative principle. ; Целью работы является историко-культурологический анализ дихотомии Востока и Запада как антиномних систем с имманентными семантическими кодами. Методология. Концептуальным методологическим ядром исследования является историко-компаративный анализ дихотомии Восток–Запад. С помощью метода герменевтической интерпретации раскрыты особенности восточной и западной цивилизаций, обусловливающие их дихотомию; для определения механизмов интеракции цивилизаций был использован диалогический метод. Научная новизна работы заключается в концептуализации феномена дихотомии Восток–Запад с позиций бинарной оппозиции Я–Другой. На основе историко-компаративного анализа восточной и западной цивилизаций раскрыты факторы, механизмы и результаты их взаимодействия на различных этапах мировой истории. Выдвинута гипотеза для объяснения перехода мировой системы от глобализации к новой форме интернационализации – диалогизации. Выводы. Рассмотрен историко-культурологический аспект дихотомии Восток–Запад в ракурсе концепта Я–Другой. Определены факторы мировоззренческого параллелизма восточных и западных цивилизаций как антиномних систем с разным мировоззрением, традициями, экономическим и военно-политическим потенциалом. Прослежены смысловые трансформации дихотомии Восток–Запад в условиях вхождения одной культуры в семиосферу Другой культуры во временной перспективе. Раскрыты факторы диалогического поворота в международных отношениях в условиях глобальных интеграционных процессов на рубеже XX–XXI вв. Показано, что в XXI в. на смену глобализации приходит диалогизация как современная форма интернационализации общественной жизни, основанная на коммуникативном принципе.
The aims of the article: – to track the change of approaches to humanitarian knowledge; – to define possible ways of its development at the present stage. Methods. The methodology of the research is based on the content analysis of verbal and visual texts, and inductive techniques allowing us to generalize heterogeneousapproaches. Results and scientific novelty. The author, having postulated a double objective to trace, on the one hand, how the attitude to humanities changed during centuries, and, on the other, to draft possible routes of further development, scrutinizes the concept homo duplex starting from the early renaissance period, when humanities were singled out of the common knowledge about the human being, when the component of meaning «down to earth, not divine» shaped the kernel of the field of knowledge, later named as humanities. This type of knowledge was opposed to the theology with its concept of the divine origin of man. The author attracts Leonardo da Vinci drawing to define the major research methodology of humanities. Further tackling the evolution of the concept from the homo duplex to homo triplex, the author proves that the dynamics of econceptualization owed to a great extend to the possibility to extrapolate methods of sciences onto humanities research. Touching upon the reason of vicissitudes and recent crisis in humanities the author points to the «doctrinal way of thinking» caused on the one hand by political situation and on the other hand by the «fine art» of turning humanities postulates into a dogma. To prove the point, the author attracts verbal and visual texts, as well as historical facts. Upon this basis the contemporary structure ofthe humanitarian knowledge is being scrutinized that rests upon the integrationof humanities and neurosciences, the research kernel including brain, mind, languageand subconsciousness. The author constructs the model of heterogeneous spheres, including biosphere, noosphere, technosphere, semiosphere, socisphere, and ethnosphere. Hence, a new paradigm of research approaches that rests upon «the anthropocentric trinity»: thinking (processing) individual+ self and world creating individual + an individual who communicates both with nature and computer. Practical significance. The proposed model of heterogeneous spheres enables to outline intersections variants of sciences and humanities thus defining new conceptual meaning of homo triplex. ; Цели работы – проследить, как изменялись подходы к гуманитарному знанию, и определить возможные пути его развития на современном этапе. Методология и методики. Методология, изложенного в статье исследования, основывается на контент-анализе вербальных и визуальных текстов, а также на индуктивных методиках, позволяющих обобщить гетерогенные подходы. Результаты и научная новизна. Рассмотрен концепт homo duplex начиная с периода проторенессанса, когда произошло вычленение гуманитаристики из общего знания о человеке и компонент значения «земной, небожественный» закрепился за науками, которые обозначались словом humanitatis. Эти науки были противопоставлены теологическим, трактующим божественное начало человека. С опорой на схематичную трактовку человека, представленную Леонардо да Винчи, сделан вывод: именно этот образ сформировал ядро антропоцентрической картины мира, а впоследствии – ведущий исследовательский метод гуманитарных наук. Анализ развития концепта от homo duplex до homo triplex показывает, что динамика его переосмысления во многом зависела от возможности экстраполяции методов научно-естественного познания мира на гуманитарные знания. В качестве причины кризиса современного гуманитарного знания указывается «доктринальное» мышление, вызванное, с одной стороны, факторами политического характера, а с другой стороны, «высоким искусством» превращать постулаты гуманитаристики в догму. Для доказательства данного положения привлекаются художественные и визуальные тексты, а также исторические факты. Современная структура гуманитарного знания основана, по мнению автора, на интеграции гуманитаристики и нейронаук, где ядром исследования являются такие концепты, как сознание, подсознание и язык. Выстроена модель гетерогенных сфер, включающая биосферу, ноосферу, техносферу, семиосферу, социосферу, этносферу. Сформулирована новая парадигма научного знания, объединяющая в себе следующие черты антропоцентрического подхода: человек осознающий (обрабатывающий информацию); человек, творящий себя и мир; человек, взаимодействующий с природой и машиной. Практическая значимость. Предлагаемая модель гетерогенных сфер позволяет вычленить варианты взаимодействия естественных, точных и гуманитарных наук, что определяет новое концептуальное содержание понятия homo triplex.
Цели работы проследить, как изменялись подходы к гуманитарному знанию, и определить возможные пути его развития на современном этапе. Методология и методики. Методология, изложенного в статье исследования, основывается на контент-анализе вербальных и визуальных текстов, а также на индуктивных методиках, позволяющих обобщить гетерогенные подходы. Результаты и научная новизна. Рассмотрен концепт homo duplex начиная с периода проторенессанса, когда произошло вычленение гуманитаристики из общего знания о человеке и компонент значения «земной, небожественный» закрепился за науками, которые обозначались словом humanitatis. Эти науки были противопоставлены теологическим, трактующим божественное начало человека. С опорой на схематичную трактовку человека, представленную Леонардо да Винчи, сделан вывод: именно этот образ сформировал ядро антропоцентрической картины мира, а впоследствии ведущий исследовательский метод гуманитарных наук. Анализ развития концепта от homo duplex до homo triplex показывает, что динамика его переосмысления во многом зависела от возможности экстраполяции методов научно-естественного познания мира на гуманитарные знания. В качестве причины кризиса современного гуманитарного знания указывается «доктринальное» мышление, вызванное, с одной стороны, факторами политического характера, а с другой стороны, «высоким искусством» превращать постулаты гуманитаристики в догму. Для доказательства данного положения привлекаются художественные и визуальные тексты, а также исторические факты. Современная структура гуманитарного знания основана, по мнению автора, на интеграции гуманитаристики и нейронаук, где ядром исследования являются такие концепты, как сознание, подсознание и язык. Выстроена модель гетерогенных сфер, включающая биосферу, ноосферу, техносферу, семиосферу, социосферу, этносферу. Сформулирована новая парадигма научного знания, объединяющая в себе следующие черты антропоцентрического подхода: человек осознающий (обрабатывающий информацию); человек, творящий себя и мир; человек, взаимодействующий с природой и машиной. Практическая значимость. Предлагаемая модель гетерогенных сфер позволяет вычленить варианты взаимодействия естественных, точных и гуманитарных наук, что определяет новое концептуальное содержание понятия homo triplex. ; The aims of the article: to track the change of approaches to humanitarian knowledge; to define possible ways of its development at the present stage. Methods. The methodology of the research is based on the content analysis of verbal and visual texts, and inductive techniques allowing us to generalize heterogeneous approaches. Results and scientific novelty. The author, having postulated a double objective to trace, on the one hand, how the attitude to humanities changed during centuries, and, on the other, to draft possible routes of further development, scrutinizes the concept homo duplex starting from the early renaissance period, when humanities were singled out of the common knowledge about the human being, when the component of meaning «down to earth, not divine» shaped the kernel of the field of knowledge, later named as humanities. This type of knowledge was opposed to the theology with its concept of the divine origin of man. The author attracts Leonardo da Vinci drawing to define the major research methodology of humanities. Further tackling the evolution of the concept from the homo duplex to homo triplex, the author proves that the dynamics of reconceptualization owed to a great extend to the possibility to extrapolate methods of sciences onto humanities research. Touching upon the reason of vicissitudes and recent crisis in humanities the author points to the «doctrinal way of thinking» caused on the one hand by political situation and on the other hand by the «fine art» of turning humanities postulates into a dogma. To prove the point, the author attracts verbal and visual texts, as well as historical facts. Upon this basis the contemporary structure of the humanitarian knowledge is being scrutinized that rests upon the integration of humanities and neurosciences, the research kernel including brain, mind, language and subconsciousness. The author constructs the model of heterogeneous spheres, including biosphere, noosphere, technosphere, semiosphere, socisphere, and ethnosphere. Hence, a new paradigm of research approaches that rests upon «the anthropocentric trinity»: thinking (processing) individual+ self and world creating individual + an individual who communicates both with nature and computer. Practical significance. The proposed model of heterogeneous spheres enables to outline intersections variants of sciences and humanities thus defining new conceptual meaning of homo triplex.
