The emerging global middle class, which is expected to double by 2050 desires more walkable, liveable neighbourhoods, and as distances between work and other amenities increases, cities are becoming less monocentric and becoming more polycentric. African cities could be described as walking cities, based on the number of people that walk to their destinations as opposed to other means of mobility but are often not walkable. Walking is by far the most popular form of transportation in Africa's rapidly urbanising cities, although it is not often by choice rather a necessity. Facilitating this primary mode, while curbing the growth of less sustainable mobility uses requires special attention for the safety and convenience of walking in view of a Global South context. In this regard, to further promote walking as a sustainable mobility option, there is a need to assess the current state of its supporting infrastructure and begin giving it higher priority, focus and emphasis. Mobile phones have emerged as a useful alternative tool to collect this data and audit the state of walkability in cities. They eliminate the inaccuracies and inefficiencies of human memories because smartphone sensors such as GPS provides information with accuracies within 5m, providing superior accuracy and precision compared to other traditional methods. The data is also spatial in nature, allowing for a range of possible applications and use cases. Traditional inventory approaches in walkability often only revealed the perceived walkability and accessibility for only a subset of journeys. Crowdsourcing the perceived walkability and accessibility of points of interest in African cities could address this, albeit aspects such as ease-of-use and road safety should also be considered. A tool that crowdsources individual pedestrian experiences; availability and state of pedestrian infrastructure and amenities, using state-of-the-art smartphone technology, would over time also result in complete surveys of the walking environment provided such a tool is popular and safe. This research will illustrate how mobile phone applications currently in the market can be improved to offer more functionality that factors in multiple sensory modalities for enhanced visual appeal, ease of use, and aesthetics. The overarching aim of this research is, therefore, to develop the framework for and test a pilot-version mobile phone-based data collection tool that incorporates emerging technologies in collecting data on walkability. This research project will assess the effectiveness of the mobile application and test the technical capabilities of the system to experience how it operates within an existing infrastructure. It will continue to investigate the use of mobile phone technology in the collection of user perceptions of walkability, and the limitations of current transportation-based mobile applications, with the aim of developing an application that is an improvement to current offerings in the market. The prototype application will be tested and later piloted in different locations around the globe. Past studies are primarily focused on the development of transport-based mobile phone applications with basic features and limited functionality. Although limited progress has been made in integrating emerging advanced technologies such as Augmented Reality (AR), Machine Learning (ML), Big Data analytics, amongst others into mobile phone applications; what is missing from these past examples is a comprehensive and structured application in the transportation sphere. In turn, the full research will offer a broader understanding of the iii information gathered from these smart devices, and how that large volume of varied data can be better and more quickly interpreted to discover trends, patterns, and aid in decision making and planning. This research project attempts to fill this gap and also bring new insights, thus promote the research field of transportation data collection audits, with particular emphasis on walkability audits. In this regard, this research seeks to provide insights into how such a tool could be applied in assessing and promoting walkability as a sustainable and equitable mobility option. In order to get policy-makers, analysts, and practitioners in urban transport planning and provision in cities to pay closer attention to making better, more walkable places, appealing to them from an efficiency and business perspective is vital. This crowdsourced data is of great interest to industry practitioners, local governments and research communities as Big Data, and to urban communities and civil society as an input in their advocacy activities. The general findings from the results of this research show clear evidence that transport-based mobile phone applications currently available in the market are increasingly getting outdated and are not keeping up with new and emerging technologies and innovations. It is also evident from the results that mobile smartphones have revolutionised the collection of transport-related information hence the need for new initiatives to help take advantage of this emerging opportunity. The implications of these findings are that more attention needs to be paid to this niche going forward. This research project recommends that more studies, particularly on what technologies and functionalities can realistically be incorporated into mobile phone applications in the near future be done as well as on improving the hardware specifications of mobile phone devices to facilitate and support these emerging technologies whilst keeping the cost of mobile devices as low as possible.
The diary papers of V. Vynnychenko (1911—1925) as a special interpretive field for studying the author's world-view aesthetics and his creative intentions are analyzed. The text of the diary is systematized, based on the relevant material: the author's thoughts on the nature of creativity as a special way of comprehending the world and a person in it; creativity as a manifestation of a person's specific mental organization; creativity as an opportunity for self-manifestation in the present/future dyad; etc. The degree of correlation of conditions and possibilities to create, which were important for V. Vynnychenko as a politician while the fundamental changes at the beginning of the XXth century in Ukraine took place are also noticed in the article. The author's issues given in the diary are considered in the aesthetic context of the literary process at the turn of the XIX-XXth centuries, when cardinal changes took place under the influence of interpretative changes of the world picture in philosophy and culture in general are represented in the given work. In addition, attention was paid to the concept of «creative act» and its understanding by V.Vynnychenko as astaged phenomenon: the plan, the stages of its realization, the role of intuition, fiction, fantasy in the creation of the another reality. The author's interpretation of the author's phenomenon taking into account to the interaction of the concepts of «endowment», «talent» and «genius» is given and commented. The emphasis is placed on V. Vynnychenko's diary thoughts about the latest trends in Ukrainian literature of the early XXth century: homocentration, modernism as an art system renovation of the genre and poetic paradigm. To sum up, this allowed to understand the creative laboratory of the author more deeply and earnestly. The diary material is directed to the artistic creation of V. Vynnychenko - the play «The black Panther and the White Bear» for their semantic proximity: the process of creativity, psychological, aesthetic dominant of creativity, symbolism, artist's essence researches. The perspective of the proposed direction of studying mnemonic and literary material is grounded, which allows the use of an interdisciplinary methodology for understanding aesthetic phenomena. ; В статье предпринята попытка проанализировать дневниковые записи В.Винниченко 1911—1925 годов как особое интерпретационное поле для изучения эстетики миропонимания художника слова, его творческих интенций. Текст дневника систематизирован, исходя из соответствующего материала: размышления писателя оприроде творчества как особого способа постижения мира ичеловека в нём; творчество как проявление специфической психической организации человека; творчество как возможность самопроявления в диаде «настоящее/будущее» и так далее. Также в исследовании уделено внимание проблеме корреляции условий и возможностей творить, поскольку это для В.Винниченко-политика было важно, учитывая историческое время кардинальных трансформаций начала XX века вУкраине. Непосредственно художественную проблематику, представленную в дневнике, впредлагаемой студии рассмотрено в эстетическом контексте литературного процесса рубежа XIX—XX веков, ведь именно тогда произошли кардинальные сдвиги под влиянием интерпретационных изменений картины мира в философии, культуре. Кроме того, было обращено внимание на понятие «творческий акт» и суждения В.Винниченко о нём как о стадиальном явлении: замысел, этапы его реализации, роль интуиции, выдумки, фантазии в создании второй реальности. Представлено ипрокомментировано авторское трактование феномена художника слова с учетом взаимодействия понятий «одаренность», «талант», «гениальность». Акцентированы дневниковые размышления В.Винниченко оновейших тенденциях в украинской литературе начала XX века: гомоцентризация, модернизм как художественная система, обновление жанровой и поэтикальной парадигмы. Вместе взятое это способствовало более глубокому и убедительному представлению творческой лаборатории художника. Материал дневника спроецирован на литературное наследие В.Винниченко – пьесу «Чорная Пантера и Белый Медведь», поскольку они смыслово близки: процесс творчества, его психологические, эстетические доминанты, символика, изучение естества художника. Обоснована перспективность предложенного направления изучения мнемонического и литературного материала, что позволяет использовать интердисциплинарную методику объяснению эстетических явлений. ; У статті зроблено спробу проаналізувати щоденникові записи В.Винниченка 1911—1925 років як особливе інтерпретаційне поле для вивчення естетики світобачення митця, його творчих інтенцій. Текст щоденника систематизовано з огляду на відповідний матеріал: роздуми митця про природу творчості як особливий спосіб осягнення світу й людини в ньому; творчість як вияв специфічної психічної організації людини; творчість як можливість самовияву в діаді теперішнє/майбутнє тощо. Також у розвідці йшлося про ступінь кореляції умов і можливостей творити, що для В.Винниченка-політика було важливо з огляду на історичний час кардинальних змін початку XX століття в Україні. Власне мистецьку проблематику, репрезентовану в щоденнику, в пропонованій студії розглянуто в естетичному контексті літературного процесу межі XIX—XX століть, коли в ньому відбувалися кардинальні зрушення під впливом інтерпретаційних змін картини світу в філософії, культурі загалом. Крім того, було звернено увагу на поняття «творчий акт» і його розуміння В.Винниченком як стадіального явища: задум, етапи його реалізації, роль інтуїції, вигадки, фантазії в творенні другої реальності. Подано й прокоментовано авторську інтерпретацію феномену митця з урахуванням взаємодії понять «обдарованість», «талант», «геніальність». Зроблено акцент на щоденникових роздумах В.Винниченка про новітні тенденції вукраїнській літературі початку XX століття: гомоцентризація, модернізм як художня система, оновлення жанрової та поетикальної парадигми. Разом узяте це уможливило глибше й переконливіше осягнення творчої лабораторії митця. Щоденниковий матеріал спроектовано на художню творчість В.Винниченка – п'єсу «Чорна Пантера і Білий Медвідь» через їхню смислову близькість: процес творчості, психологічні, естетичні домінанти творення, символіка, дослідження єства митця. Обґрунтовано перспективність запропонованого напряму вивчення мнемологічного й літературного матеріалу з огляду на можливість використання інтердисциплінарної методики осягнення естетичних явищ.
Purpose. Based on the study of philosophical anthropological concepts, to highlight the project of personality in different historical periods, to reveal the meaning of humanistic issues in the postmodern epoch, to identify the essential features of the image of human of the second half of the XX the beginning of the XXI century. Theoretical basis. The methodological basis of the article is the principles of historicism, integrity, objectivity regarding the mastery of the issue of person's image in postmodernism. The research applied comparative-historical, culturological, analytical, axiological approaches to reveal the problem of individuality in the second half of the XX the beginning of the XXI century. The theoretical basis of the article consists of scientific works in the field of philosophical anthropology, history, cultural studies, and aesthetics. Originality. The author revealed the peculiarities of transformation of the personality model from antiquity to postmodernism, specified the image of man of the second half of the XX the beginning of the XXI century. Conclusions. The analysis of anthropological ideas of Western philosophy of different ages shows the variety of views about understanding the nature of the person, its complexity and ambiguity. In the epoch of postmodernism humanistic issues are of particular relevance, which is connected with social and political uncertainty, domination of mass consciousness, loss of national and cultural identity. The image of a person of this period is deprived of a solid foundation, it is blurred and relative. The destruction of faith in the absolute in the context of the second half of the twentieth century contributed to the formation of confidence in the interdependence of all things (including certain historical periods), raised the problem of the personality image to a new ontological level. Orientation in the achievements of European civilization, perception of its anthropological experience, intercultural dialogue contribute to the productive use of the achievements of mankind in order to understand the modern person and to form its adequate image. In its essence, postmodernism does not set the goal to realize a retrospection of subject type. However, separating from the cultural memory the excerpts of ideas about a person, by certain styles and directions, it builds on their formations its own eclectic image of the individual. ; Цель. На основе изучения философских антропологических концепций осветить проект личности в разные исторические периоды, раскрыть содержание гуманистической проблематики в эпоху постмодернизма, выявить сущностные особенности образа человека второй половины ХХ – начала XXI века. Теоретический базис. Методологической основой статьи являются принципы историзма, целостности, объективности в изучении вопроса образа персоны в постмодернизме. В исследовании применены сравнительно-исторический, культурологический, аналитический, аксиологический подходы к раскрытию проблемы индивидуальности во второй половине ХХ – начала XXI века. Теоретической базой публикации стали труды ученых в области философской антропологии, истории, культурологии, эстетики. Научная новизна. Выявлены особенности трансформации модели личности от античности до постмодернизма, уточнен образ человека второй половины ХХ – начала XXI века. Выводы. Анализ антропологических идей западноевропейской философии разных эпох показывает многообразие взглядов на понимание сущности типа персоны, ее сложность и неоднозначность. В постмодернизме гуманистическая тематика получает особую актуальность, что связано с социально-политической неопределенностью, доминированием массового сознания, потерей национальной и культурной идентичности. Образ героя указанного времени лишен прочной основы, он размыт и релятивен. Уничтожение веры в абсолюты в контексте второй половины ХХ века способствовало формированию уверенности во взаимозависимости всего сущего (в том числе определенных исторических периодов), подняло проблему проекта индивидуума на новый онтологический уровень. Ориентация в достижениях европейской цивилизации, восприятие ее опыта, межкультурный диалог способствуют продуктивному использованию приобретений человечества для понимания современной персоны и формирования ее адекватного имиджа. По своей сути, постмодернизм не ставит целью осуществить ретроспекцию типа субъекта, однако, выделяя из культурной памяти отрывки представлений о личности, которыми для него являются определенные стили и направления, на их образованиях строит собственный эклектичный образ индивидуума. ; Мета. На основі вивчення філософських антропологічних концепцій висвітлити проект особистості в різні історичні періоди, розкрити зміст гуманістичної проблематики в епоху постмодернізму, виявити сутнісні особливості образу людини другої половини ХХ – початку ХХІ століття. Теоретичний базис. Методологічною основою статті є принципи історизму, цілісності, об'єктивності щодо вивчення питання образу персони в постмодернізмі. У досліджені застосовано порівняльно-історичний, культурологічний, аналітичний, аксіологічний підходи для розкриття проблеми індивідуальності у другій половині ХХ – початку ХХІ століття. Теоретичною базою публікації стали праці науковців у галузі філософської антропології, історії, культурології, естетики. Наукова новизна. Виявлено особливості трансформації моделі особистості від античності до постмодернізму, уточнено образ людини другої половини ХХ – початку ХХІ століття. Висновки. Аналіз антропологічних ідей західноєвропейської філософії різних епох показує розбіжність поглядів на розуміння сутності типу персони, її складність та неоднозначність. У постмодернізмі гуманістична тематика набуває особливої актуальності, що пов'язано з соціально-політичною невизначеністю, домінуванням масової свідомості, втратою національної та культурної ідентичності. Образ героя зазначеної доби позбавлений міцної основи, він розмитий і релятивний. Знищення віри в абсолюти у контексті другої половини ХХ століття сприяло формуванню впевненості у взаємозалежності всього сущого (у тому числі певних історичних періодів), підняло проблему проекту індивідуума на новий онтологічний рівень. Орієнтація у здобутках європейської цивілізації, сприйняття її досвіду, міжкультурний діалог сприяють продуктивному використанню досягнень людства задля розуміння сучасної персони й формування її адекватного іміджу. По своїй суті, постмодернізм не ставить собі за мету здійснити ретроспекцію типу суб'єкта, однак, виділяючи з культурної пам'яті уривки уявлень про особистість, якими для нього є певні стилі й напрями, на їх утвореннях будує власний еклектичний образ індивідуума.
"Any Minute Now the World's Overflowing Its Border": Anarchist Modernism and Yiddish Literature examines the intertwined worlds of Yiddish modernist writing and anarchist politics and culture. Bringing together original historical research on the radical press and close readings of Yiddish avant-garde poetry by Moyshe-Leyb Halpern, Peretz Markish, Yankev Glatshteyn, and others, I show that the development of anarchist modernism was both a transnational literary trend and a complex worldview. My research draws from hitherto unread material in international archives to document the world of the Yiddish anarchist press and assess the scope of its literary influence. The dissertation's theoretical framework is informed by diaspora studies, gender studies, and translation theory, to which I introduce anarchist diasporism as a new term. Originating in ancient Greek, anarchism refers to a constellation of anti-statist and anti-capitalist aspirations: imagining and working towards a world without borders, an ethics of consensus, bodily autonomy, and escape from the temporal strictures of wage labor. Anarchist diasporism describes the anti-statism of stateless peoples based upon their specific relationship to time and territory, and links the theoretical insights of diaspora studies with the historical study of anarchism. Rather than producing an aspiration to statehood, immigration and deportation often informed a rejection of nationalism and a reconsideration of the meaning of diaspora. The scope of this dissertation includes writers who personally identified as anarchists, such as Anna Margolin, Yosef Luden, and Alexander Harkavy; and those like Soviet anti-Fascist poet Peretz Markish, who absorbed anarchist thought and aesthetics and were celebrated by anarchist readerships. Chapter One, "Genealogies of Stateless Anti-Statism," documents how Yiddish anarchists claimed Jewish genealogies and interpreted diaspora. Historicizing this anti-teleological worldview provides a foundation for studying anarchist diasporism in Yiddish poetry, through such literary practices as bending time and imagining history before, after and beyond the state—imaginative gestures already present in Jewish anarchist theory. I translate and examine histories by Saul Yanovsky, Rabbi Yankev Meir Zalkind, Yosef Luden, and Yosef Cohen—each of whom edited a Yiddish anarchist newspaper—and the anarcha-feminism of Dr. Katherina Yevzerov and Emma Goldman. Zalkind and Luden most deeply engage with Torah and Talmud (Zalkind's translations made talmudic labor law accessible for workers); Yanovsky and Cohen draw from the vagaries of Jewish history; and Yevzerov and Goldman confront patriarchal power. The second chapter, "'Language is Migrant': The Multilingual Language Politics of Alexander Harkavy, Emma Goldman, and the Anarchist Press," examines a few case studies of language politics in Jewish anarchism—a movement which, unlike Bundism and Zionism, did not articulate a single ideology of language. Renowned for his contributions to the field of linguistics, Alexander Harkavy also developed a philosophy of language evolution informed by his anarchist worldview. I examine the language politics of two legal cases: Emma Goldman's trial for lecturing bilingually on birth control, and the Supreme Court free speech case Jacob Abrams vs United States, which deported the editors of Frayhayt for their seditious bilingual broadsides. I discuss the close relationship between two English-language journals, A. Berkman and Goldman's Mother Earth and Margaret Anderson's Little Review. Chapter Three, "The Anarchism of Time: Comparative Temporalities in Yiddish and English Sacco-Vanzetti Poems," examines the presence and persistence of anarcho-syndicalism in Yiddish poetry. Beginning with the Proletarian (Svetshop) poets Morris Rosenfeld and Yosef Bovshover, I discuss the role of the anarchist press in the development of immigrant social worlds. I examine the poetics and political valences of temporality in svetshop poetry, particularly their utopian futurities and critique of capitalist time. Two archetypal elements of Proletarian poetry—alternative temporality and imagery of garment workers' tools—were reinvented by Modernist poets in their responses to the Sacco-Vanzetti trial. Through repetition and kaleidoscopic montage, the poetic structures of Moyshe-Leyb Halpern and Yankev Glatshteyn embody alternative temporalities beyond the linear and punitive temporality of the state. Chapter Four, "With An Undone Shirt (Mit a tseshpilyet hemd): Anarchist Temporality and Embodiment in Peretz Markish's Poema Der fertsikyeriker man," analyzes Markish's brash early work and selections from his hitherto-untranslated masterpiece Der fertsikyeriker man (The Man of Forty), a book-length poema that was rescued hours before his arrest by the Soviet Secret Police and smuggled out of Russia. I examine how anarchist themes circulated through his work, including revolutionary temporality, antimilitarism, visions of nature without borders, and representations of the autonomous body. Despite the Soviet Union's brutal surveillance and persecution of Yiddish writers, Markish defiantly used the Jewishly-marked vocabulary which Soviet language reform campaigns had attempted to purge. I consider anarchist responses to Markish's poetry in the contemporaneous newspaper Arbeter Fraynd (Worker's Friend), which claimed him "as much our comrade as our poet." The Coda points to possible future dialogues with other fields (such as postcolonial and decolonial thought, Diaspora Studies, and Comparative Literature) and connections to contemporary diasporic movements building democracy without the state. This dissertation contributes to our understanding of the multiplicities of Jewish diasporic thought and expands the body of world Modernist literature available in translation.
O objetivo do presente estudo de cunho histórico é comparar e refletir através da ótica dos registros fotográficos as mudanças que a cultura matrimonial sofreu ao longo dos tempos, bem como evidenciar através da estética e das expressões faciais/corporais de noivos e noivas as transformações captadas pelas câmeras fotográficas e analisar as mudanças comportamentais entre as gerações de mulheres e homens, considerando a influência educacional. Com este intento, buscaram-se diversas fotografias de diferentes casais de duas cidades do interior do estado de São Paulo que se casaram entre os anos de 1949 a 1981, assim como fotografias recentes de casais que se casaram entre os anos de 2009 a 2013. A pesquisa é de cunho qualitativo e trata-se de uma análise interpretativa. Foram utilizados para a realização do estudo a entrevista estruturada com perguntas abertas, bem como registros fotográficos fornecidos pelos próprios casais e pelas famílias dos casais já falecidos. É possível compreender através desses registros que as mudanças dos hábitos e costumes frente à instituição matrimonial demonstram as transformações de ser homem e ser mulher. Deste modo, evidencia-se que a fotografia funciona como um índice do que foi e do que é ser nubente em datas distintas. As desigualdades entre os registros em preto e branco e colorido confirmam que a sociedade hodierna está em constante transformação em seus hábitos e valores e isso também no que diz respeito à manifestação de afeto. Frente ao exposto, é mister a reflexão profunda acerca da importância das relações equitativas entre homens e mulheres, haja vista que muitas mudanças são necessárias de maneira a se ter uma sociedade de fato justa e equitativa em que o sexismo e a misoginia sejam de fato extintos.Palavras-chave: Cultura Feminina. Matrimônio e Relação de Gênero Photographic Records of Marriage: evidence of gender distinctions in different timesABSTRACTThe objective of the present study is to compare history oriented and reflect through the optics of the photographic records the changes that marriage culture suffered throughout the ages, as well as highlighting through the aesthetics and the facial expressions/body treatments of grooms and brides changes captured by cameras and analyze the behavioral changes among generations of women and men considering the educational influence. With this intent we got several photographs of different couples from two cities in the State of São Paulo who got married from 1949 to 1981, as well as recent pictures of couples who got married between the years of 2009 to 2013. The research is of a qualitative nature and it is an interpretative analysis. It was used for the realization of the study a structured interview with open-ended questions, as well as photographic records provided by couples and the families of the deceased couples. It was possible to understand through these records that the changes of habits and customs vis-à-vis the institution of marriage demonstrate the transformations of man and woman. Thus, evidence that the photo serves as an index of what was and what is to be betrothed at different dates. The inequalities between the records in black and white and colored confirm that society today are in constant transformation in their habits and values and that too with regard to expressions of affection. Front of the exposed, is mister deep reflection about the importance of equitable relations between men and women, given that many changes are required in order to have a fair suit society and even-handedly in the sexism and misogyny are actually extinct.Keywords: Female Culture. Marriage and gender ratio Registros Fotográficos Matrimoniales: evidencias de las distinciones de género en diferentes épocas.RESUMENEl objetivo del presente estudio de carácter histórico es comparar y reflexionar a través de la óptica de los registros fotográficos las mudanzas que la cultura matrimonial sufrió a lo largo del tiempo, así como evidenciar a través de la estética y de las expresiones faciales/corporales de novios y novias las transformaciones captadas por las cámaras fotográficas y analizar las mudanzas comportamentales entre las generaciones de mujeres y hombres, considerando la influencia educacional. Con este intento, se buscaron diversas fotografías de diferentes parejas de dos ciudades del interior del Estado de São Paulo que se casaron entre los años de 1949 y 1981, así como fotografías recientes de parejas que se casaron entre los años de 2009 y 2013. La investigación es de carácter cualitativo y se trata de un análisis interpretativo. Para la realización del estudio, se utilizó la entrevista estructurada con preguntas abiertas, así como fotografías cedidas por las parejas y por las familias de las parejas fallecidas. Es posible comprender a través de dichos registros que las mudanzas de hábitos y costumbres frente a la institución matrimonial demuestran las transformaciones de ser hombre y ser mujer. De este modo, se evidencia que la fotografía funciona como un índice del que fue y del que es novio en fechas diferentes. Las desigualdades entre los registros en blanco y negro y colorido confirman que la sociedad actual está en constante transformación de sus hábitos y valores y ello también en lo que respecta a la manifestación del afecto. Frente a lo expuesto, es míster la reflexión profunda acerca de la importancia de las relaciones equitativas entre hombres y mujeres, haya vista que muchas mudanzas son necesarias de manera a tenerse una sociedad de hecho justa y equitativa en que el sexismo y la misoginia sea en concreto extintos.Palabras clave: Cultura Femenina. Matrimonio y Relación de Género
The article considers the career of the famous muralist painter, Honored Artist of Ukraine since1994, amember of theAcademyofArtsofUkrainesince 2001, member of the National Union of Artists, author of many tapestries, paintings and punches – Volodymyr Petrovych Fedko.It is discovered the formation of the creative activity of the artist, the search of his own artistic ideal, which is based on respect for artists Boychuk and his school in conjunction with the aesthetics of Byzantine and Ukrainian art.On the basis of these outstanding events of world culture it is revealed his own experience and his desire not to withdraw into his search, but to share it with others.The article highlights the monumental heritage of the artist, who was active in the paintings of St. Michael's Cathedral inKiev, who is the author of political and cultural figures of Kievan Rus portraits gallery in the lobby of the metro station "Golden Gate" inKiev. The features of the Fedko's creative method are identified, and the landmark stages of artistic and teaching activity are determined.The topic of this article is discussed from the point of view of a unique Fedko's approach to solving artistic image, its ability to styling, transformation and his peculiar world, which was formed under the influence of ethnic identity.The article displays the understanding ofKievmonumental art of the second half of the twentieth century by the artist. Which in the present study confirms and defines a constant need for more careful study, so this topic is of particular relevance.Special attention is paid to the analysis of exquisite mosaics of subway station "Golden Gate", which was opened inKievDecember 31, 1989. Mosaics on the station are considered one of the world's best works of monumental art created in the metro areas. Authors – Volodymyr Fedko and Gregory Koren have created the perception of a modern ensemble, which successfully woven into the historical fabric of the surrounding buildings. Mosaics of the twentieth century is associated with mosaics of St. Sophia and St. Michael cathedrals, but also on the structure of the composition, the nature of the figure, the soundness of all the elements of style and organization of color images are the works of the modern.In addition to this, the author analyzes the works, which address the ideas of Christian asceticism and martyrdom, which become a major, and prompt the artist to philosophical speculation and artistic searching in the painting. The proof of that are the examples of paintings given by the author – "The Crucifixion" (1990), "Bright image" (1991), Triptych "The Crucifixion. Descent from the Cross" (1991), "Resurrection" (1994), "Trinity" (1999). These works are notable not only because of the subject, due to the author's desire to define the place of faith in the post-socialist society, but also due to the interpretation of the scenes.We have identified a number of artistic mastery of line and attention to color, respectful observance of traditions and the ability to dive into the depths of the cultural heritage of the Ukrainian people. Thanks to it the artist spreads the idea of reviving the "Ukrainian-style", which at one time was actively introduced by B. Krichevsky, M. Boychuk and others artists, who were not indifferent to the fate of Ukrainian. The main achievement of the artist is the ability to think imaginatively, to be able to highlight the formal idea and subdue her creative solution design. In his opinion it is this ability gives the artist the freedom to determine their own creative abilities.The author of this article reveals the mechanism of understanding the value of an artist interpretation and style, improvisation and transformation in the arts. And it explains the restructuring proposal of the educational process.The article describes Fedko's teaching activities, his ability to identify the main and accurately send the learning process. B. Fedko knew the need to learn to think, not discouraging, and instilling the respect for the achievements of artists of the past. And gradually develop the vision of the world, to teach students to boldly go by their own transformation.Author proves a well-established system of perception of the world by the artist, which was built in the creative business for many years. B. Fedko, who had a sensitive personality and who always feel the ways to solve the problems of modern conceptual art, never imposed his own, the only true, idea to his followers and always gave students time to reflect on and make their own decisions. He was well aware of the way of the teacher, which stood by controlling the learning process, and sincerely sought to convey to students his own experience. ; В статье раскрыты особенности подхода В. Федько к творческому и учебному процессу, акцентировано внимание на формировании его принципов в процессе создания образов. Проанализировано влияние масштабной монументальной работы, которой стало оформление станции метрополитена "Золотые ворота", на дальнейшее творчество художника, в частности на его стилистические поиски, которые и по сей день являются актуальными. Рассмотрены такие понятия, как интерпретация, стилизация, импровизация и трансформация в контексте творческой деятельности художника и использования мастером этих принципов в процессе преподавания в Киевском государственном институте декоративно-прикладного искусства им. М. Бойчука. ; У статті розкрито особливості підходу В. Федька до творчого та навчального процесів, акцентовано увагу на формуванні його розуміння процесу образотворення. Проаналізовано вплив масштабної монументальної роботи, якою стало оздоблення станції метрополітену "Золоті ворота", на подальший творчий розвиток митця, зокрема на його стилістичні пошуки, які й нині є актуальними. Розглянуто такі поняття, як інтерпретація, стилізація, імпровізація та трансформація у контексті творчої діяльності художника і використання майстром цих принципів у процесі викладання у Київському державному інституті декоративно-прикладного мистецтва ім. М. Бойчука.
Land-use intensification and urbanisation processes are degrading ecosystem services in the Guapiaçu-Macacu watershed in the state of Rio de Janeiro, Brazil. Paying farmers to forgo agricultural production activities in order to restore natural watershed services might be a viable means of securing water resources over the long term for the approximately 2.5 million urban water users in the region. This study quantified the costs of changing current land-use patterns to enhance watershed services. These costs are compared to estimates of the avoided water treatment costs for the public potable water supply as a proxy of willingness-to-pay for watershed services. Farm-household data was used to estimate the opportunity costs of abandoning current land uses in order to allow natural vegetation succession; a process that is very likely to improve water quality in terms of reducing erosion and subsequently water turbidity. Opportunity cost estimates were extrapolated to the watershed scale based on land-use classifications and a vulnerability analysis for identifying priority areas for watershed management interventions. Water quality and treatment cost data from the primary local water treatment plant (principal water user in the study area) were analysed to assess the potential demand for watershed services. The conversion of agricultural land uses for the benefit of watershed service provision was found to entail high opportunity costs in the study area, which is near the city of Rio de Janeiro. Alternative, relatively low-cost practices that support watershed conservation do exist for the livestock production systems. Other options include: implementing soil conservation techniques, permanent protection of areas that are vulnerable to erosion, protecting and restoring riparian and headwater areas, and applying more sustainable agricultural practices. These measures have the potential to directly reduce the amount of sediment and nutrients reaching water bodies and, in turn, decrease the costs of treatment required for providing the potable water supply. Based on treatment costs, the state water utility company's willingness-to-pay for watershed services alone will not be sufficient to compensate farmers for forgoing agricultural production activities in order to improve the provision of additional watershed services. The results suggest that the opportunity costs of land-cover changes at the scale needed to improve water quality will likely exceed the cost of additional investments in water treatment. Monetary incentives conditioned on specific adjustments to existing production systems could offer a complementary role for improving watershed services. The willingness-to-pay analysis, however, only focused on chemical treatment costs and one of a potentially wide range of ecosystem services provided by the natural vegetation in the Guapiaçu-Macacu watershed (water quality maintenance for potable water provision). Other ecosystem services provided by forest cover include carbon sequestration and storage, moderation of extreme weather events, regulation of water flows, landscape aesthetics, and biodiversity protection. Factoring these additional ecosystem services into the willingness-to-pay equation is likely to change the conclusions of the assessment in favour of additional conservation action, either through payments for ecosystem services (PES) or other policy instruments. This effort contributes to the growing body of related scientific literature by offering additional knowledge on how to combine spatially explicit economic and environmental information to provide valuable insights into the feasibility of implementing PES schemes at the scale of entire watersheds. This is relevant to helping inform decision-making processes with respect to the economic scope of incentive-based watershed management in the context of the Guapiaçu-Macacu watershed. Furthermore, the findings of this research can serve long-term watershed conservation initiatives and public policy in other watersheds of the Atlantic Forest biome by facilitating the targeting of conservation incentives for a cost-effective watershed management. ; Die Intensivierung von Landnutzung und Urbanisierungsprozessen sind Ursachen für den Rückgang von Ökosystem-Dienstleistungen im Einzugsgebiet des Guapiaçu-Macacu im Bundesstaat von Rio de Janeiro. Ein sinnvolles Instrument zur langfristigen Wasserversorgung der etwa 2,5 Mio. Wasserverbraucher könnten Kompensationszahlungen für Landwirte dieser Region sein, wenn diese auf ihre landwirtschaftliche Produktion verzichten. So kann die natürliche Vegetation im Fluss-Einzugsgebiet wiederhergestellt und damit die Ökosystem-Dienstleistung "Lieferung von sauberem Trinkwasser" erhalten werden. Diese Studie hat die Kosten für Landnutzungsänderungen kalkuliert, die der Verbesserung von Ökosystem-Dienstleistungen bezüglich der Wasserqualität dienen könnten. Diese Kosten wurden verglichen mit der geschätzten Kostenvermeidung aus der Wasseraufbereitung für die öffentliche Trinkwasserversorgung, welche ein Indikator für die Zahlungsbereitschaft für hydrologische Ökosystem-Dienstleistungen (Wasserqualität) darstellt. Opportunitätskosten, die beim Wandel der Landnutzung zugunsten verbesserter Wasserqualität entstehen, sind anhand von Haushaltsdaten landwirtschaftlicher Betriebe kalkuliert worden. Dieser Wandel ist ein Prozess, der mit hoher Wahrscheinlichkeit zur Verbesserung der Wasserqualität (gemessen als Reduktion der Trübung) durch Verringerung der Erosion beiträgt. Die geschätzten Opportunitätskosten wurden auf das Einzugsgebiet übertragen, basierend auf Landnutzungsklassifizierungen und einer Vulnerabilitätsanalyse der Wasserressourcen, um prioritäre Zonen für Maßnahmen im Bereich Wasserressourcenmanagement zu identifizieren. Um die potentielle Nachfrage nach hydrologischen Ökosystem-Dienstleistungen zu ermitteln, wurden Daten der örtlichen Wasseraufbereitungsanlage (Hauptverbraucher von Wasser) sowohl zur Wasserqualität als auch bezüglich der Aufbereitungskosten analysiert. Es wurde gezeigt, dass eine Reduktion der ackerbaulichen Landnutzung zum Erhalt von Ökosystem-Dienstleistungen hohe Opportunitätskosten im Untersuchungsgebiet, nahe der Stadt Rio de Janeiro, mit sich bringt. Im Gegensatz dazu bestehen im Bereich der Viehzucht einige kostengünstige Optionen zur Erhaltung von hydrologischen Ökosystem-Dienstleistungen. Andere Optionen beinhalten die Implementierung von Bodenkonservierungstechniken; permanenter und effizienter Schutz erosionsanfälliger Gebiete; Schutz und Wiederherstellung der Galeriewälder sowie die Erhaltung von Vegetation an den Wasserquellen und die Umsetzung noch nachhaltigerer landwirtschaftlicher Praktiken. Solche Maßnahmen haben das Potential, die Sediment- und Nährstoffeinträge in den Wasserkörper direkt zu reduzieren und damit gleichzeitig die Kosten der Trinkwasseraufbereitung zu verringern. Davon ausgehend, dass die Zahlungsbereitschaft des staatlichen Wasserbetriebes der Höhe der Wasseraufbereitungskosten entspricht, reichen die Ausgleichszahlungen für den Erhalt von Ökosystem-Dienstleistungen nicht aus, um die landwirtschaftlichen Opportunitätskosten zu decken. Finanzielle Anreize können jedoch weiterhin eine ergänzende Rolle bei der Verbesserung solcher Ökosystem-Dienstleistungen spielen, wenn sie mit spezifischen Regulierungen existierender Produktionssysteme verknüpft werden. Die Analyse der Zahlungsbereitschaft in dieser Arbeit basiert lediglich auf den Aufbereitungskosten von Chemikalien für die Verbesserung der Wasserqualität. Weitere positive Effekte durch die Wiederherstellung des natürlichen Ökosystems wurden nicht explizit untersucht. Diese Ökosystem-Dienstleistungen umfassen die Kohlenstoffsequestrierung durch die Vegetation, die Abflussregulierung durch eine erhöhte Wasserspeicherkapazität der Böden, die Erhaltung der Biodiversität und den Erholungswert der Natur. Diese zusätzlichen Dienstleistungen der Ökosysteme in dem Zahlungsbereitschaftsausgleich zu erfassen, könnten das Verhältnis von Kosten und Nutzen zugunsten zusätzlicher Schutzaktionen verändern. Dies kann durch die Zahlung für Ökosystem-Dienstleistungen oder anderer politischer Maßnahmen erfolgen. Diese Studie leistet einen Beitrag zur wissenschaftlichen Diskussion, wie die Kombination aus räumlich expliziten ökonomischen und ökologischen Informationen verwendet werden können. Ziel ist es, einen nutzbaren Einblick in die Durchführbarkeit von PES-Projekten auf der Skala von Fluss-Einzugsgebieten zu erhalten. Dies ist wichtig, um sachkundige Entscheidungsfindungsprozesse zu unterstützen, unter Berücksichtigung der ökonomischen Spielräume des Wasserressourcenmanagements im Guapiaçu-Macacu Gebiet oder ähnlichen Regionen. Die Ergebnisse dieser Studie dienen zur Unterstützung von Initiativen zur nachhaltigen Nutzung von Wasserressourcen. Weiterhin helfen die Ergebnisse dieser Arbeit der Politik bei der Setzung von gezielten Anreizen zur Bewahrung von Ökosystem-Dienstleistungen in anderen Einzugsgebieten des atlantischen Regenwaldes durch ein kosteneffektives und integriertes Management von Wasserressourcen.
The article deals with the semantic and historico-philosophical peculiarities of the formation of the contemporaneity phenomenon, as a set of ideological and worldview attitudes relevant to our age. It is indicated that the term «contemporaneity» itself was used so as to define the temporal and semantic distinction between the old (former) and the actual (present). At the same time, what was emphasized, was the indispensable historical change of the «old» to the «new» and the undeniable value superiority of «modern» (anti-ancient) over the «past» (premature). Simultaneously, the western tradition preserved a generally favorable attitude to the «classical» as to the authoritative supertemporal «topicality», the best sample of which for a long time considered to be the spiritual heritage of antiquity. Each and every time working out a different, «new» attitude towards it, the subsequent generations thus were substantiating «their own» contemporaneity. The significance of the philosophical and semiotic approach in the study of the determinant characteristics of the Western civilization during the last centuries is emphasized herein, namely: acceleration, emancipation, and democratization. In particular, the identification of the nature of the relations between «modernity», «modernization» and «Modern» remains among the insufficiently studied aspects of the issue in question. It has been substantiated that the very history of the contemporaneity can be considered in the synchronic and diachronic planes, where the first one takes into account, first and foremost, the actual «turning points» and the actions of their immediate creators, participants or witnesses, while the second one builds a logically related time sequence between what has already been done, what is now in the process of implementation and what has not yet been implemented. With the help of the «temporal layers» concept introduced by R. Koselleck, it has been established that the novelty of our era was formed under the influence of both temporal and substantive– and value-based parameters. It has been specified herein that: a) its components could differ even within one ideologically homogeneous period; b) each «contemporaneity», but for the uniqueness of its formation, also involves the inheritance of a greater or lesser number of «layers» of the already by-past shared history; c) the reoccurrence and even predictability of changes that determine the actual «spirit» of the epoch, does not deny either the radicalization of their potential meanings, nor the particular specificity of their implementation. On the example of the «modernity» of the classical paradigm in the Modern era, it has been proved that its components could differ even within a single chronological period. The basics that shared the common mathesis universalis principle were functioning in one plane, while the second plane demonstrated a high level of critical guidance to the Cartesian principles. Consequently, the Cartesian-modern interpretation of «contemporaneity» faced a semantic dispute with another interpretation. Their confrontation successfully played the role of auxiliary «causative agents» in the formation of the modern age, which convincingly linked its progress with Cartesianism. This can be illustrated by several examples: the famous intellectual «Quarrel of the Ancients and the Moderns» (fr. «Querelle des Anciens et des Modernes»); philosophical essay by J.-J. Rousseau «Discourse on the Sciences and Arts» (fr. «Discours sur les sciences et les arts»); the emergence of a new discipline – aesthetics, which diversified the traditional ideas about the canons of beauty; finally, the end to the monopoly of historians on the study of the history of contemporaneity. It has been proved that such understanding of modernization also influenced the new content of the problematic questions as to the past, present and future. The answers to them highlighted the value and emphasized the uniqueness of the contemporaneity, which is happening now and is actually implemented. Non-present was understood as the past or not yet realized «contemporaneity», the driving force of which was progress. In accordance with the vision outlined herein, certain suggestions have been made regarding the interpretation of the key elements of the contemporaneity, namely: «modernity» is understood as the leading thought tradition, as well as spiritual and mental peculiarity of the Western worldview over the last five hundred years. It is implemented practically in the processes of «modernization» of sociocultural human existence and is guided by a solid guideline for its rationocentric emancipation. The mentioned tendencies reached their peak during the historical period called «Modern» (17th – beginning of the 19th c.), and subsequently entered the most actual phase of contemporaneity called the post-Modern (or Postmodern) which finally radicalized the experience of modernization accumulated in the past. Key words: contemporaneity, modernization, modernity, Modern, actuality ; У статті розглянуто семантичні та історико-філософські особливості становлення феномену сучасності як сукупності актуальних нашій добі ідейно-світоглядних настанов. Обґрунтовано, що саму історію сучасності можна розглядати в синхронічній і діахронічній площинах. Підкреслено значущість і перспективність філософсько-семіотичного підходу у вивченні визначальних прикмет західної цивілізації впродовж останніх століть, саме: пришвидшення, емансипації, демократизації. До недостатньо досліджених аспектів порушеної проблематики належить, зокрема, з'ясування природи зв'язку між модерністю, модернізацією і Модерном. За допомогою концепції «часових пластів» Р. Козеллека з'ясовано, що новизна нашої доби сформувалася під впливом і часових, і субстанційно-ціннісних параметрів. На прикладі «модерності» класичної парадигми у період Модерну доведено, що її складники могли відрізнятися навіть у межах одного хронологічного періоду. Проаналізовано, як саме їх протистояння успішно виконували роль допоміжних «збудників» у формуванні новітньої доби, яка донедавна переконливо пов'язувала свій поступ із картезіанством. Відповідно до окресленого бачення, сформульовано деякі пропозиції стосовно тлумачення ключових складників сучасності, а саме: модерність розуміємо як провідну мисленнєву традицію і духово-ментальну своєрідність західного світорозуміння впродовж останніх п'ятсот років. Вона практично реалізується у процесах модернізації соціокультурного буття людини і керується твердою настановою на його раціоцентричну емансипацію. Згадані тенденції свого найвищого розквіту сягнули в історичний період Модерну (XVII – поч. ХІХ ст.), а згодом увійшли у найактуальнішу фазу сучасності, названої пост-Модерною (або Постмодерном), яка остаточно радикалізувала накопичені минулим досвіди осучаснення. Ключові слова: сучасність, модернізація, модерність, Модерн, новітність
The article critically analyzes the methodological state of linguocultural conceptology and touchesupon the problematic issues that require their further development. The main attention is focused on the need to revise thestructure of linguistic and cultural concepts and, in this regard, to clarify the terminological designation of these mentalformations. It is assumed that each concept of the linguoculture acquires conceptual status only when it is value-evaluative toits members, and therefore a synergetic combination of such entities is axioconceptosphere – motivational continuum of theirexistence. It is defined that the main task of linguoconceptologists is associated with the search of the relevant for thereconstruction of such motivational continuum of British and Ukrainian ethnic cultures methodological tools, to prove thatthe allocation of linguistic and cultural concepts of the value layer only as one of the components of their structures simplifiesthe mental and panchronic (deeply diachronic, etymological, historical and modern) nature of this type of formations. It isproposed three-orthodox (dimensional, cognitive-linguocomparative and linguo-synergetic) methodological approach for theanalysis of diachronic and synchronic structure of actually value concepts – TRUTH, GOOD, BEAUTY, BENEFIT that havebeen identified by ancient thinkers and successive generations of philosophers as the basic value categories and whosubsequently laid the foundations of the entire sciences – logic, ethics, aesthetics, which were considered to be a complexsystem of significant priorities (individual, collective and universal) in the life of each ethnic group and its individualrepresentative. In the article the researcher defined the stages of effective methods and techniques application for thereconstruction in British and Ukrainian axioconceptospheres: the first stage involves the application of methods of cognitiveand linguo-comparative studies, in particular, the method of a diachronic review of the etymological versions of the originalvalues of the names of these concepts, their synonyms and derivatives of the etymological sources of the English andUkrainian languages (with the help of Indo-European etymological dictionaries), the second stage – methods of structurallinguistics, modern lexical and cognitive semantics. References Alefirenko, Nikolay. 2013.Lingvokulturologiya: cennostno-smyslovoeprostranstvoyazyka.Moskva: Flinta; Nauka. 2.Chekulay, Igor, Prohorova, Olga. 2016. "Cennostno-deyatelnostnye metaforicheskie modeli v sozdanii sistemy cennostnyh konceptov angliyskogo yazyka".Nauchnyi rezultat: setevoi zhurnal 2, 1(7):44–47. 3.Fesenko, Tamara. 2000. "Konceptualnoe modelirovanie kak metod izucheniya mentalnoy realnosti cheloveka".Kognitivnaya semantika. Tambov.2:149–151.4.Fevr, Lyus'en.1991. Boi za istoriyu. Translated by A. A. Bobovicha, M. A. Bobovicha i Yu. N. Stepanova. Moskva: Nauka. 5.Hrolenko, Aleksandr. 2004. Osnovy lingvoku'turologii. Moskva: Flinta; Nauka. 6.Karasik, Vladimir, Slyshkin, Gennadiy. 2001. Lingvokulturnyi koncept kak edinica issledovaniya metodologicheskie problemy kognitivnoi lingvistiki. 7.Karasik, Vladimir. 2009. Lingvokulturnaya konceptologiya. Volgograd. 8.Knyazeva, Elena, Kurdyumov, Sergey. 1994. Zakony evolyucii i samoorganizacii slozhnyh system.Moskva: Nauka. 9.Leskov, Leonid.2004. "Sinergetika kultury". Vestnik MGU.Seriya 7. Filosofiya 45:14–36.10.Marchuk, Uliana. 2008. "Asotsiatyvnyi eksperyment yak metod doslidzhennia linhvokulturnykh kontseptiv". Naukovi zapysky. Kirovohrad: RVV KDPU im. V. Vinnichenka 75:242–246. 11.Maslova, Valentina. 2013. "Koncepty raznyh tipov i puti ih rekonstrukcii."Problemy konceptualizacii deystvitelnosti i modelirovaniya yazykovoy kartiny mira6:160–169.12.Mezhuev, Vadim.2006. Ideya kultury. Ocherki po filosofii kultury. Moskva: Progress-Tradiciya.13.Mescheryakova ,Yuliya. 2007. Krasota. Antologiya konceptov.Moskva: Gnozis.14.Pantelei M. 2006. "Otsinka u strukturi linhvokulturnoho kontseptu politican / polityk".Visnyk KhNU im.V.N.Karazina725:33–36. 15.Pimenova, Marina. 2007. "Metodologiya konceptualnyh issledovaniy".Antologiya konceptov. Moskva: Gnozis.16.Popova, Zinaida, Sternin, Iosif. 2005. Polevaya model koncepta. Vvedenie v kognitivnuyu lingvistiku. –Kemerovo: Kuzbassvuzizdat.17.Rikkert, Heinrich.1995. Nauki o prirode i nauki o duhe. Kulturologiya. XX vek: Antologiya. – M.: Yurist.18.Semehyn, Tetiana. 2011. "Dynamika semantychnoi struktury binarnykh kontseptiv PREKRASNYI/POTVORNYI v anhliiskii ta ukrainskii movakh". PhD diss., Kyiv: Nats. ped. un-t imeni M.P.Drahomanova.19.Slyshkin, Gennadiy. 2004. Lingvokulturnye koncepty i metakoncepty.Volgograd: Peremena.20.Stefanova, Nataliia. 2018. "Cognitive and ontological essence of axiological dominants and principles of their taxonomy in diachronic and synchronic review". Advanced Education:scientific journal9:225–230. doi.10.20535/2410-8286.131680>21.Stepanov,Yuriy.2007. Koncepty. Tonkaya plenka civilizacii. Moskva: Yazyki slavyanskih kultur.22.Sternin, Iosif. 2001. "Metodika issledovaniya struktury koncepta". Metodicheskie problemy kognitivnoy lingvistike. Voronezh: Izd-vo Voronezhskogo gos. u-ta.23.Stolovich, Leonid. 1988. "The aesthetic value in the world of values". Aesthetica et Calonologia67–76.24.Tkachuk A., Kurenkova T., Strekaleva T. "Cennostnyy faktor i specifika mirovospriyatiya naroda (na materiale analiza lingvokulturnyh konceptov)".Kulturologiya. URL: http://econf.rae.ru/article/6740.25.Tokarev,Grigoriy. 2000. Problemy lingvokulturologicheskogo opisaniya koncepta (na primere «Trudovaya deyatelnost»).Tula.26.Uryson, Elena. 2003. Problemy issledovaniya yazykovoy kartiny mira: analogiya v semantike. Moskva: Yazyki slavyanskoy kultury.27.Valickaya, Alisa. 2013. Aksiosfera soderzhanie ponyatiya i ego instrumentalnyi status.Aksiosferasovremennosti: filosofsko-esteticheskiyanalizinravstvennoeobosnovaniesociokulturnyhpraktik.28.Vorkachev, Sergey. 2010. "Kudazhnamplyt? Lingvokulturnayakonceptologiya: sovremennoesostoyanie, problemy, vektorrazvitiya".Yazyk,kommunikaciyaisocialnayasreda 8:5–27. ; У статті критично схарактеризовано методологічний стан лінгвокультурної концептології й порушено тіпроблемні питання, які потребують подальшого розроблення. Основну увагу зосереджено на необхідності переглядуструктури лінгвокультурних концептів і у зв'язку з цим уточнення термінологічного позначення цих ментальнихутворень. Зроблено припущення, що кожен концепт лінгвокультури набуває концептуального статусу лише тоді,коли він є ціннісно-значимим для її представників, і тому синергетична сукупність таких утворень складаєаксіоконцептосферу – мотиваційний континуум їхнього побутування. Сформульоване головне завданнялінгвоконцептологів, пов'язане з пошуками придатних для реконструкції подібного мотиваційного континуумубританської та української етнокультур методологічних інструментів, за допомогою яких вдасться довести, щовиокремлення в лінгвокультурних концептах ціннісного шару лише як одного з компонентів їхніх структур спрощуєментальну й панхронічну (глибоко діахронічну, етимологічну, історичну й сучасну) природу такого типу утворень.Запропоновано тріортодоксальний (димензіональний, когнітивно-лінгвокомпаративний, лінгвосинергетичний)методологічний підхід для аналізу діахронно-синхронної структури власне ціннісних концептів – TRUTH, GOOD,BEAUTY, BENEFIT / ІСТИНА, ДОБРО, КРАСА, КОРИСТЬ, визначених античними мислителями та подальшимипоколіннями філософів як базові ціннісні категорії і які згодом заклали основи цілих наук – логіки, етики, естетики,де їх розглядали як складноорганізовану систему ЗНАЧУЩИХ пріоритетів (індивідуальних, колективних,загальнолюдських) у житті кожного етносу й окремого його представника. Визначено етапи застосуванняефективних методів і методик для реконструкції британської і української аксіоконцептосфер: перший етаппередбачає застосування методів когнітивної лінгвокомпаративістики, зокрема методу діахронічного коментаряетимологічних версій первісних значень імен зазначених концептів, їх синонімів і дериватів в етимологічнихджерелах англійської та української мов (із залученням словників індоєвропейської етимології), другий – методівструктурної лінгвістики, сучасної лексичної і когнітивної семантики.
Like any other artistic profession curating hasn't been a homogeneous practice since its formation in late 1960's. In different times curatorial style was influenced by the new socio-economical circumstances of the art system as well as the changing nature of contemporary art in general. As far as the curatorial impact becomes more visible at theUkrainian art scene, the local art historical field demands an adequate critical apparatus of curatorship based oninternational experience and recent theoretical elaborations.The selected papers of foreign authors on curatorial theory and history can be divided into several main directions according to chosen subject of research: the evolution of art exhibition (B. Altschuler, R. Greenberg, W. Grasskamp, B. O'Doherty, D. Richter), museum projects (T. Benett, L. Alloway. K. Schubert), emerging curatorial strategies (K. Bokhorov, B. von Bismarck, B. Groys, C. O'Doherty, P. O'Neill). Important professional insights can also befound in texts and statements of some prominent curators (H. Szeemann, S. Sigelaub, V. Miziano, L. Lippard, M. Lind, H.-U.Obrist). The tendencies of Ukrainian curating are slightly touched in some writings of O. Solovjov, K. Botanova and O. Ostrovska-Lyuta.Despite rather diverse coverage of historical panorama of curating, there is an obvious lack of its precise classification and argumentative definitions. The goal of this paper is to present the range of most important curatorial modes in the second half of 1960-2010's.The term "curator" comes from English language and has Latin roots. In times of Roman Empire curator was atitle given to officials responsible for food provision and various civil affairs (D. Levi Strauss). During the Enlightment period curators were involved in scientific experiments. In times of Luis XIV, who initiated first group exhibitions ("salons") of Royal academy members, curator acquires its artistic sense and becomes responsible for hanging paintings (K. Bokhorov). In late XIX – early XX century art exhibitions were usually "curated" by art-critics (i.e. Felix Feneon, Roger Fry) or by artists themselves (Impressionists groups). The tradition of artistic self-organization remained vital in avant-garde circles in 1900-1910 (exhibitions of Die Bruecke and Der Blaue Reiter groups, Italian Futurists group, "The last futurist exhibition. 0.10" etc.) (B. Altshuler). In 1920-30's artists (i.e. Friedrich Kiesler, Herbert Bayer) were often engaged as authors of exhibition design for large-scale exhibitions within World trade fairs (M. A. Staniszewski).The modern meaning of the curatorial profession became legitimate in 1960's and was associated mostly with museum keeper until 1990's (R. Fleck). However, in 1960–70's the curatorship also emerged as an independent activity beyond institutions. In fact, since 1960's curatorship was divided into 2 main directions: museum or institutional curator and independent curator.The responsibilities of museum curator are focused on several main issues: acquiring new works for collection,researching and exhibiting its parts (L. Alloway); improving museum's position and collection by fundraising and political communication, satisfying public demands for education and entertainment (K. Schubert).Suggested division to museum and independent directions is fairly conditional, as practically many curators work in both directions. One of the first independent curators Harald Szeemamn started his autonomous activity after heleft the director's position in Kunsthalle Bergen. Szeeman himself defined his occupation as exhibition-maker (Ausstellungmacher in German) and since 1969 organised all his projects under the banner of self-initiated one-personinstitution The Agency for Spiritual Migrant Work (D. Levi Strauss, H.-U. Obrist). Another important independent curator of 1960's generation, Seth Sigelaub, described the role of the curators as those who have to "demystify" the rigid art institutions and thus to make the mechanisms of art production, display and distribution visible (P. O'Neill). Both of them, as well as most of their contemporaries, developed their exhibition strategies according to the recent artistic ideas (like conceptualism, land art etc.).During the 1990's another type of curating has emerged. The biennial curating of large-scale international exhibitions is aimed at combining previously unrelated local art trends in order to rethink existing geopoliticalconfiguration of the art world, as it was done in Jean-Hubert Martin's (1989) and Okwui Enwezor's (2002) projects (P. O'Neill, F. and V. Martini).Among the recent innovative modes we distinguish performative and post-representational approaches. Performative curating deals with an exhibition as an autonomous "living" medium of its own that has no final shape and may be transformed while it is on stage. This type of curatorial thinking is influenced by "relational aesthetics" artisticstrategies dealing with time-based events rather then executed objects (A. Farquarson). Post-representational curating denies the format of a static display at all and prefers discursive events with a strong educational elements and active audience engagement (N. Sternfeld, L. Ziaja, I. Rogoff).The abovementioned ideas can be summarized as following: 1) the curatorial practice since its establishing in 1960's has been always closely linked to current artistic innovations; 2) the curator as an important figure of artistic scene has become a new type of postmodernist author with its own creative and intellectual impact. ; В статье представлен краткий анализ основных моделей кураторской практики, сформированных в мировом художественном поле в течение 1960–2010-х гг., а также обзор исторических прототипов фигуры кураторав XVII – начале ХХ ст. Опираясь на исследования теоретиков кураторства (в частности, Л. Елловея, П. О'Нилла, Х.-У. Обриста и др.) и тексты известных кураторов (Х. Зеемана, С. Зигелауба), выделены и охарактеризованы такие разновидности профессии, как музейный куратор, независимый куратор, куратор биеннале, перформативный куратор, а также понятие пост-репрезентативного и образовательного кураторства. ; У статті представлено стислий аналіз основних моделей кураторської практики, сформованих в світовому мистецькому полі протягом 1960-2010-х рр., а також подано огляд історичних прототипів постаті куратора в XVII – на початку ХХ ст. Спираючись на дослідження теоретиків кураторства (зокрема, Л. Еловея, П. О'Ніла, Х.-У. Обріста та ін.) та тексти відомих кураторів (Х. Зеємана, С. Зігелауба), виокремлено та охарактеризовано такі різновиди професії, як музейний куратор, незалежний куратор, куратор бієнале, перформативний куратор, а також поняття пост-репрезентативного та освітнього кураторства.
Purpose of Research. The purpose of the article is to define the description of factors and criteria offorming offashion tendencies and project images in fashion industry, based on assimilation of different forms of official and street fashion, provided to the development and transformation of the social and cultural standards in the society of mass consumption. Methodology. The basis of the research methodology is formed by the method of design of the systems, which determines efficiency of application of system approach to the process of planning of costumes. The principles of the system approach are highlighted in the classification of typical and projective facilities ofform- ing the assortment and planning of modern clothes of mass consumption in fashion industry. Scientific Novelty. In the article, the author proves that in 1970th the forming of fashion trends was under the influence of the widespread teenagers ' subcultures and the street fashion as the reflections of necessities of a mass consumer. It is defined that the fashion tendencies, created by designers and couturier, did not have the character of dogmas. They functioned as recommendations, absorbing necessities, interests and desires of clients. It is also grounded, that at the same time there was the active development of national and regional markets offashion clothes, designers and designer brands. The local cultural tendencies and consumers ' wishes and tastes were represented properly. Conclusions. Thus, the 1970s gave a powerful impetus to the development of fashion industry. A new aesthetics in society, propagandized by the mass production of fashionable clothes for the public, formed under the influence of the democratization of «haute couture» fashion and active youth movements of the socio-cultural nature (including various subcultures of different sense). The fashion pret-a-porter clothes, offered by all leading fashion houses and designer brands, was represented by the models for a wide range of daily use and was oriented to the clients with an active lifestyle and social position. Anyway, in 1970th fashion industry went outside France as a unique fashion legislator. The active formation and development of industry, particularly textile and sewing, that had replaced the world economic crisis, promoted the creation of new brands and trademarks in Italy, the USA and France. Those brands and trademarks determined the progressive trends of silhouette, assortment, colour and other descriptions of fashion clothes of mass demand in modern fashion industry. Thus, the unique fashion does not exist anymore. It is divided into separate directions, styles, related to the necessities of different groups of consumers and possibilities of separate spheres of activity of textile and sewing industry. ; Цель работы - характеристика факторов и критериев формирования модных тенденций и проектных образов в индустрии моды, основанных на ассимиляции различных проявлений официальной и уличной моды, с учетом развития и трансформации во времени социально-культурных стандартов общества массового потребления. Методология данного исследования определяется применением системного подхода к процессу проектирования костюма, что проявляется в классификации проектно-типологических средств формирования ассортимента и проектирования современной одежды массового потребления в индустрии моды. Научная новизна. В работе обосновано, что в 1970-е годы на формирование модных тенденций активное влияние оказывали не только в значительной мере распространенные молодежные субкультуры, но и уличная мода как отражение потребностей и пожеланий массового потребителя. Определено, что модные тенденции, создаваемые модельерами и кутюрье, больше не были догматичным диктатом, а выполняли функцию рекомендаций, впитав в себя потребности, интересы и желания клиентов. Обосновано, что в то же время активно развивались национальные и региональные рынки модной одежды, модельеры и дизайнерские бренды в которых эффективнее отображали местные культурные тенденции и потребительские пожелания и вкусы. Выводы. Таким образом, начало 70-х годов ХХ ст. дало могучий толчок развитию индустрии модной одежды. Под воздействием демократизации моды «hautecouture» и активного развития молодежных движений социально-культурного характера (в том числе и субкультур различного толка), сформировалась новая эстетика в обществе, пропагандируемая массовым производством модной одежды для широких слоев потребителей. Модная одежда pret-a-porter, которую предлагали все ведущие Дома моды и дизайнерские бренды, представляла модели широкого повседневного назначения, ориентированные на клиентов с активной жизненной и социальной позицией. Как бы то ни было, именно в 70-ые годы ХХ ст. индустрия моды выходит за пределы Франции как единственного законодателя моды. Активное становление и развитие промышленности, в частности текстильной и швейной, что пришло на смену всемирному экономическому кризису, способствует тому, что и в Италии, и в США, и, безусловно, в самой Франции появляются новые бренды и торговые марки модной одежды, которые определяют тенденции развития силуэта, ассортимента, колорита и других характеристик модной одежды массового спроса. В результате становится очевидным, что единой моды больше не существует - она делится на отдельные направления, стили, привязывается к потребностям разных групп потребителей и возможностей отдельных сфер деятельности текстильной и швейной промышленности. ; Метою статті є визначення факторів та критеріїв формування модних тенденцій та проектних образів в індустрії моди, заснованих на асиміляції різних проявів офіційної та вуличної моди, з урахуванням розвитку та трансформації в часі соціально-культурних стандартів суспільства масового вжитку. Методологія дослідження передбачає застосування системного підходу до процесу проектування костюма, що проявляється у класифікації проектно-типологічних засобів формування асортименту та проектування сучасного одягу масового вжитку в індустрії моди. Наукова новизна. У роботі обґрунтовано, що в 70-і роки XX ст. на формування модних тенденцій активний вплив справляли не тільки значною мірою поширені молодіжні субкультури, а і вулична мода як віддзеркалення потреб і побажань масового споживача. Визначено, що модні тенденції, створювані модельєрами та кутюр 'є, більше не були догматичним диктатом, а виконували функцію рекомендацій, увібравши в себе потреби, інтереси та побажання клієнтів. Обґрунтовано, що в той же час активно розвивалися національні і регіональні ринки модного одягу, модельєри і дизайнерські бренди, в яких ефективніше відображалися місцеві культурні тенденції і споживацькі побажання та смаки. Висновки. Початок 70-х років XX ст. дав могутній поштовх розвитку індустрії модного одягу. Під впливом демократизації моди «haute couture» й активного розвитку молодіжних рухів соціально-культурного характеру (у тому числі і субкультур), сформувалася нова естетика в суспільстві, пропагована масовим виробництвом модного одягу для широких верств споживачів. Модний одяг prêt-a-porter, який пропонували всі провідні Будинки моди та дизайнерські бренди, представляв моделі широкого повсякденного вжитку, орієнтовані на клієнтів з активною життєвою та соціальною позицією. Саме в 70-і роки XX ст. індустрія моди виходить за межі Франції, як єдиного законодавця моди. Активне становлення і розвиток промисловості, зокрема текстильної і швейної, що прийшов на зміну всесвітній економічній кризі, сприяє тому, що і в Італії, і в США, і, безумовно, у самій Франції з 'являються нові бренди і торгові марки модного одягу, які визначають тенденціїрозви- тку силуету, асортименту, колориту та інших характеристик модного одягу масового вжитку. У результаті стає очевидним, що єдиної моди більше не існує - вона поділяється на окремі напрями, стилі, прив 'язується до потреб різних груп споживачів і можливостей окремих сфер діяльності текстильної і швейної промисловості.
Bewertungen der landschaftlichen Typizität, Eigenart und Schönheit dienen hauptsächlich der Landschafts- und Regionalplanung mit Schwerpunkt der Erholungsplanung und der Bemühung um Erhaltung historischer Kulturlandschaften. Sie werden seit Jahren in vielen Ländern der Erde diskutiert. Bild und Charakter der Landschaft und ihre Bedeutung für die Bevölkerung sind dementsprechend zu einem wichtigen Thema geworden. Im Jahre 2004 wurde in Tschechien eine Vereinheitlichung unterschiedlicher methodischer Vorgehensweisen zur Erfassung und Bewertung des Landschaftscharakters politisch und fachlich gefordert. Ergebnis der Vereinheitlichung sollte ein operationales Vorgehen zur Landschaftsbildbewertung sein, welches weiterhin zum Schutz und zur Entwicklung des Landschaftsbildes beitragen sollte. Diese Forderung machte die Anpassung eines neuen Vorgehens zur Landschaftsbildbewertung notwendig. Um dieses entwickeln zu können, mussten zuerst die bestehenden Methoden analysiert werden, um konkrete Mängel und Lücken der Bewertungsprozesse festzustellen. Da die Landschaftsplanung in Deutschland kontinuierlich entwickelt wurde, während dies in Tschechien auf Grund der politischen Situation in dem Zeitraum 1968 – 1989 nicht möglich war, wird in der vorliegenden Untersuchung die aktuelle Situation in beiden Ländern analysiert. Gegenstand der Untersuchung sind die Expertenmethoden zur Bewertung des Landschaftsbildes und des Landschaftscharakters in Deutschland und in Tschechien, welche die ästhetische Qualität der Landschaft messen. Diese wurden im Rahmen einer qualitativen Inhaltsanalyse bezüglich ihrer Objektivität, Validität und Reliabilität untersucht. Die für die Landschaftsbild- und Landschaftscharakterbewertung entwickelten Gütekriterien wurden auf insgesamt 13 Expertenmethoden angewandt und auf diese Weise auf ihre Tauglichkeit hin geprüft. Die Inhalte sowie die formalen Rahmenbedingungen der Expertenmethoden wurden auf ein Untersuchungsgebiet angewendet. An Beispielen aus dem Testgebiet im Landkreis Zlin in Tschechien wurden diese Aspekte dargestellt und veranschaulicht. Nach einer kartografischen Erfassung der Landschaftselemente wurde anschließend die Bewertung des aktuellen Zustandes anhand von Kriterien aus den untersuchten Theorien zur Landschaftsbildbewertung durchgeführt. Während der Zusammenfassung von notwendigen Forschungsgrundlagen wurden drei unterschiedliche Perspektiven zur Annäherung an die Landschaftsästhetik formuliert. Es sind die künstlerische, die philosophische und die gesellschaftliche Perspektive. Erforschung und Definition dieser Perspektiven waren notwendig, weil diese als Referenz zur Beurteilung untersuchter landschaftsbildbewertender Methoden als geeignet eingestuft wurden. Neben den Expertenmethoden wurden die landschaftsplanerischen Paradigmen und die naturschutzfachliche Gesetzgebung aus beiden Ländern zur Bewertung des Landschaftsbildes und -charakters analysiert. Die Bestandsaufnahme ergab, dass die aktuelle Landschaftsbildbewertung mittels Expertenmethoden sich durch ihre inhaltliche sowie formale Vielfalt auszeichnet. Beispiele sind hier die Nutzung von qualitativ unterschiedlichem Material (Luftbilder, historische und aktuelle Landnutzungskarten vom Maßstab 1:5000 bis 1:200 000 und Literaturquellen), die unterschiedlich stark ausgeprägte Einbeziehung von Geoinformationssystemen sowie die als relevant definierten Kriterien und Indikatoren für die Bewertung des Landschaftsbildes. Weiterhin zeigte sich ein Unterschied in der Auswahl von theoretischen Hintergründen zur Ableitung der Bewertungsskalen. Die Auswertung der Ergebnisse wurde mit Beispielen aus dem Testgebiet in Zlin belegt. Die Gesetzesanalyse von tschechischen und deutschen Landschaftsschutzgesetzen zeigte, dass die deutsche naturschutzfachliche Gesetzgebung eine sehr komplexe Aufgabenaufstellung für die Landschaftsplanung mit sich bringt, welche über Bewertung und Interpretation des Landschaftszustandes zu Planung von zukunftsorientierten Handlungsmaßnahmen hinausgeht. Die tschechische Gesetzgebung begrenzt sich im Vergleich dazu ausschließlich auf Schutzmaßnahmen. Die Europäische Landschaftskonvention schließt hingegen zukunftsorientierte Aspekte, wie Aufwertung und Gestaltung von Landschaften ein. Auf Grund dessen sind die durch die tschechische Gesetzgebung bestimmten Maßnahmen als nicht ausreichend zu betrachten und sie entsprechen nicht dem aktuellen Stand des Wissens in der Landschaftsplanung. Ein Vergleich zwischen Gesetzesinhalten und landschaftsplanerischen Paradigmen hat deutlich gemacht, dass sowohl die tschechische als auch die deutsche Gesetzgebung mehr fordert, als die Expertenmethoden zu leisten im Stande sind. Es wurde belegt, dass der Komplex der ästhetischen Qualität von Landschaft nur mit einer Paradigmen- bzw. Methodenkombination bewertbar ist. Die Lösung besteht in einer Annäherung und in der Zusammenarbeit von Experten und der beteiligten Bevölkerung. Das Landschaftsbild und der Landschaftscharakter als Instrumente der Landschaftsplanung sind nur dann gesellschaftlich begründet und berechtigt, wenn sie in der Bevölkerung unterstützt werden. Gerade Landschaftsexperten mit ihrem Fachverstand, ihrer Erfahrung und einer oft stark ausgeprägten positiven Beziehung zu bestimmten Landschaften haben die Möglichkeit, solche Diskussionen zu eröffnen. Denn alle Maßnahmen der Landschaftsplanung sowie der Landespflege haben nur dann eine langfristige Chance, wenn sie von der Bevölkerung bewusst akzeptiert werden. Unter dieser Prämisse ist der Ausbau von Kommunikation auf mehreren Ebenen der erste Schritt zu einem langfristig positiv wahrgenommenen Landschaftsbild. Eine konstruktive und transparente Kommunikation zwischen Experten aller Landschaftsdisziplinen, der Bevölkerung sowie den Investoren fördert die Identifikation mit der Landschaft und schafft Akzeptanz gleichermaßen für Prozesse der Bewahrung und der Veränderung. ; Evaluations of a landscape's typicism, uniqueness and beauty mostly serve leisure planning as well as the efforts to preserve historical cultural landscapes as part of the overall landscape and regional planning. For years these evaluations have been discussed in many countries. Accordingly, the appearance and character of a landscape and their meaning for the local population have become increasingly important issues. In the Czech Republic harmonisation of different landscape evaluation methods was called for by politicians and experts in 2004. The purpose of this harmonisation was to bring forth an operational evaluation method, which would continue to contribute to the preservation and development of the landscape's appearance. This demand required an adaptation of the landscape evaluation methods applied. In order to facilitate this existing methods had to be analysed first to identify specific shortcomings and gaps within existing evaluation procedures. Since landscape planning in Germany had been developed continuously, whereas such a development was hindered in the Czech Republic due to the political situation between the years 1968 and 1989, this study analyses the current situation in both countries. The research focused on the examination of expert methods used for evaluating the appearance and character of the landscape in Germany and the Czech Republic, measuring the aesthetic quality of the landscape. As part of a qualitative content analysis these expert methods were examined with regard to their objectivity, validity and reliability. The quality criteria developed for evaluating the appearance and character of the landscape were applied to a total of 13 expert methods testing the criteria's practicability. The contents as well as the formal overall conditions of the expert methods were applied to an investigation area in the Czech administrative district Zlin using examples from that area. Following the mapping of landscape elements the current state was evaluated applying the criteria based on landscape evaluation theories. As part of the synopsis of the necessary research fundamentals three different perspectives on approaches to landscape aesthetics were formulated. These are the artistic, the philosophical, and the societal perspective. Researching and defining these perspectives was necessary because they were considered to be suitable references for the assessment of the landscape evaluation methods that were analysed. Landscape planning paradigms and legislation with regard to nature protection drawn upon for the evaluation of the appearance and character of the landscape in both countries were analysed in addition to the expert methods. The analysis of the current state showed that contemporary landscape evaluation by means of expert methods is very heterogeneous in form and content. Examples are the use of materials of different qualities (aerial photos, historical and recent land use maps of scales between 1:5000 to 1:200 000, and literature sources), various degrees of employing geographical information systems, as well as differences with regard to the criteria and indicators considered to be relevant for evaluating the landscape. Furthermore the choice of theoretical backgrounds serving as a basis for evaluation scales differ. The evaluation of the results were backed up by examples from the investigation area in Zlin. The analysis of Czech and German landscape protection legislation showed that the German legislation includes a very complex catalogue of landscape planning tasks going beyond the evaluation and interpretation of the state of the landscape carried out to plan future-oriented measures. In comparison Czech legislation solely focuses on protection measures. The European Landscape Convention includes future oriented aspects though, e.g. improving and designing the landscape. Due to this the measures defined by Czech legislation are considered to be insufficient and do not comply with the current standard of knowledge in relation to landscape planning. A comparison of the legislations' contents and landscape planning paradigms made it clear that both Czech and German legislation demand more than the expert methods can provide. It was proven that aesthetic quality of the landscape can only be evaluated by combining paradigms and methods. The solution lies in the cooperation of experts and the population that is involved. The appearance and character of a landscape as instruments of landscape planning are only justified at societal level, if the population supports them. Especially landscape professionals – with their expertise, experience, and often very positive relationship with landscapes – can initiate discourses. All landscape planning and management measures can only be successful in the long term, if the population consciously approves. Based on this precondition communication at different levels is the first step towards a lasting positive perception of the landscape. Constructive and transparent communication between experts of all landscape disciplines, the population, as well as investors supports the identification with the landscape and serves as a basis for accepting both preservation and change.
Most people spend much of their lives working. By working, I mean "wage labor": activity undertaken in exchange for money in a society where money is necessary for survival. This has not always been the case, and it is not the case universally, in all places, or for everyone. But it is now a fact of life so foundational in most parts of the world as to seem a feature of nature rather than history. I begin with truism because I think that the fact of work, in all its bluntness, has never been accorded proper importance in literary criticism or cultural criticism in general. There is, of course, a convenient explanation for the absence: historically, art has been either the province of the leisured classes or something made and experienced outside of the bounds of the workday. Art is, therefore, an exception to the rule of work. And even Marxist critics – those whom one would expect to believe, as Marx did, that production and labor were foundational in capitalism –tend to approach the painting or the poem from the side of the market, consumption, and everyday life, for the understandable reasons outlined above. If they tell a story about capitalism's determinative effect on art, it is usually a story about the penetration of market logics into the realm of art, a story about commodification. Few ask what the work of art might share with work in general or how the constant technological and social refashioning of the workplace might affect the horizon of possibility for artworks.My dissertation, "The Work of Art in the Age of Deindustrialization," attempts to provide one answer to these questions, a historical answer, by a reading of important literary and artistic works from the 1960s and 1970s. These are decades in which twin political and economic crises – the political militancy we associate with 1968, on the one hand, and the crisis of profitability and the dollar we associate with 1973 on the other – force a profound restructuring of capitalism and class relations. In particular, the multiple transformations of the labor process – deindustrialization, the rise of the service sector, the introduction of information technologies into the burgeoning managerial and white-collar sectors – provide a useful vantage from which to investigate the rapid changes in art and writing. Whereas the much-documented aesthetics of objects, things and facticity associated with modernism took its bearings from the factory-system (or, in a variant, anti-industrial form, from the artisanal and craft forms industrialization was in the process of destroying) such a cultural mode becomes increasingly anachronistic in the postwar era. As I argue, the productivist aesthetic of modernism gives way to an aesthetic of administration and distribution that takes signs and social relations rather than physical matter as its primary "material." Instead of the factory or workshop, such a mode draws from the routinized cognitions of office work and the forced conviviality of the service sector.The relationship between the economic and the cultural is not, as it might seem, a case of simple synchronicity or one-to-one correspondence. Experimental poetry, for example, is avant-garde in the sole sense that it is speculative, a laboratorial mode which runs ahead of the work-a-day world rather than simply reflecting it. Such experimental modes elaborated critical responses and forms of technical imagination which aimed to respond to the rigid hierarchies of 1960s society and yet, via a kind of "cunning of reason," laid some of the foundations for the new work relations which became dominant in the 1980s and 1990s. Indeed, part of my argument is that some of the most recognizable of avant-garde devices – erasing, replacing, counting, sorting, arranging by chance or rule – have been thoroughly integrated into the very office machinery (now generalized into the home) which writers use to produce their works.Such recuperation builds upon an uneasy affinity between left- and right-wing critiques of postwar capitalism. If leftists, countercultural figures and artists took aim at the rigid, bureaucratic and hierarchical nature of the corporate form and worklife in postwar society, targeting the managerial layer in particular, they found strange bedfellows in a class of business management theorists and economists who saw in that same layer a hindrance to profitability. In response to the artistic and countercultural critique, businesses concoct a new, flexible, "flattened" and adaptive corporate form that trims the middle-managerial layer by imposing upon workers a set of pseudo-democratic work relations under the sign of such corporate shibboleths as teamwork, flexibility, participation, creativity and self-management. Rather than the industrialization of culture that Adorno and Horkheimer famously bemoan, my dissertation describes the same operation in reverse – the "culturization" (or aestheticization) of industry, where the workday absorbs the resources, faculties and affects associated with the aesthetic. This operation is designed to produce more highly-productive, motivated workers but also to ward off and absorb the countercultural and artistic critiques that might lead to disaffection. The aesthetic, in this regard, becomes a mechanism for the establishment of a pseudo-democracy and a pseudo-autarky. If "self-management" – the ideal of labor militants, communists and anarchists since the 19th century – once meant freedom from the imperatives of the boss it now means, increasingly, in light of this reorganization, an internalization of such imperatives.My first chapter traces the thematics of "management" and "self-management" as they appear in the early poetry of John Ashbery, and in his controversial book The Tennis-Court Oath (1962) in particular. Numerous poems in this collection – developed from an earlier poem, "The Instructional Manual" – take up the position of the midlevel employee, who is both the object of commands and the producer of commands. The contradictions in this standpoint – examined in C. Wright Mills' White Collar and many subsequent studies of "the new middle class"provide insight into this transitional moment in capitalism, in which the extensive growth of deskilled white-collar work created, for large firms and the post-war bureaucracy, a crisis of management. One of the ways in which this appears in Ashbery's poetry is through a subtle and inventive play with free indirect discourse and point of view, in which individual moments and voices manifest as antagonistic fragments in an intersubjective field, requiring the "managerial" intervention of the arranging, organizing poetic voice or mind, a mind that is itself fragmented by its multiple allegiances and responsibilities. The experimental collages of The Tennis Court Oath illuminate the curious ambiguity of that special commodity, labor-power, which is at once object and subject: a thinking object, a commodity that speaks.As I discuss in my second chapter, one site where all of these meanings are contested – a site that again attracts the interest of both artists and business management theorists – is the emergent discourse of cybernetics, Through the central notion of "feedback," cybernetics presents an image of social self-regulation based upon reciprocal, horizontal relations rather than explicit hierarchies. Writers and conceptual artists borrow from this discourse to model utopian social forms, ones where form is embedded less in explicit command than in something like a changeable grammar or syntax – cybernetics calls this "information" – which can be revealed and manipulated by art. To give just two examples, both Hannah Weiner in her Code Poems and Dan Graham in his Works for Magazine Pages follow the founder of cybernetics, Norbert Wiener, by treating information – and by extension, the formative powers of cultural labor – as a kind of anti-entropic, organizing force. Following Benjamin Buchloh, I describe this development as an "administrative aesthetic," since the cultural artifact comes to see its vocation as one of regulating social relations. Though I treat only a handful of figures in this chapter, the list of writers and artists influenced by this conception of information (and its close cousin, entropy) provides a remarkable cross-section of the period. A partial list of figures who help forge these new aesthetic values would include, in fiction, William Burroughs, William Gass, Kurt Vonnegut, Philip K. Dick and Thomas Pynchon; in poetry, Charles Olson, John Ashbery, A.R. Ammons, Hannah Weiner and Bernadette Mayer; and in art, Hans Haacke, Robert Smithson, Dan Graham and Martha Rosler.One of the reasons why it has been difficult to approach the cultural transformations of the 1960s and 1970s from the side of labor rather than, say, consumption– from the side of the workday rather than leisure time – is that increasingly these two spheres commingle, and the values associated with leisure time are invoked to make the workday more tolerable, at the same time as the protocols and routines associated with work colonize the space of leisure time. This crossing of spheres bears in particular upon the relations between unpaid "reproductive" or domestic labor (the housework associated with women) and waged labor. The subject of my third chapter, Bernadette Mayer's project Memory (1972) – performance, installation and epic poem – investigates the crossing and blurring of these spheres, as everyday life is increasingly subsumed by the protocols of office work, and as office work is increasingly colored in the shades and hues of the street or the home. Memory models this process of merger and blurring through its incorporation of multiple media (type, photography, audio recording), artistic genres and techniques. In this sense, Mayer's elaboration of a "total" artwork which merges different technologies into one single apparatus prefigures the coming reorganization of office work around the personal computer.
Die Inhalte der verlinkten Blogs und Blog Beiträge unterliegen in vielen Fällen keiner redaktionellen Kontrolle.
Warnung zur Verfügbarkeit
Eine dauerhafte Verfügbarkeit ist nicht garantiert und liegt vollumfänglich in den Händen der Blogbetreiber:innen. Bitte erstellen Sie sich selbständig eine Kopie falls Sie einen Blog Beitrag zitieren möchten.
"To this day I feel humiliation for what was done to me… The time I spent in Abu Ghraib — it ended my life. I'm only half a human now." That's what Abu Ghraib survivor Talib al-Majli had to say about the 16 months he spent at that notorious prison in Iraq after being captured and detained by American troops on October 31, 2003. In the wake of his release, al-Majli has continued to suffer a myriad of difficulties, including an inability to hold a job thanks to physical and mental-health deficits and a family life that remains in shambles.He was never even charged with a crime — not exactly surprising, given the Red Cross's estimate that 70% to 90% of those arrested and detained in Iraq after the 2003 American invasion of that country were guilty of nothing. But like other survivors, his time at Abu Ghraib continues to haunt him, even though, nearly 20 years later in America, the lack of justice and accountability for war crimes at that prison has been relegated to the distant past and is considered a long-closed chapter in this country's War on Terror.The Abu Ghraib "Scandal"On April 28th, 2004, CBS News's 60 Minutes aired a segment about Abu Ghraib prison, revealing for the first time photos of the kinds of torture that had happened there. Some of those now-infamous pictures included a black-hooded prisoner being made to stand on a box, his arms outstretched and electrical wires attached to his hands; naked prisoners piled on top of each other in a pyramid-like structure; and a prisoner in a jumpsuit on his knees being threatened with a dog. In addition to those disturbing images, several photos included American military personnel grinning or posing with thumbs-up signs, indications that they seemed to be taking pleasure in the humiliation and torture of those Iraqi prisoners and that the photos were meant to be seen.Once those pictures were exposed, there was widespread outrage across the globe in what became known as the Abu Ghraib scandal. However, that word "scandal" still puts the focus on those photos rather than on the violence the victims suffered or the fact that, two decades later, there has been zero accountability when it comes to the government officials who sanctioned an atmosphere ripe for torture.Thanks to the existence of the Federal Tort Claims Act, all claims against the federal government, when it came to Abu Ghraib, were dismissed. Nor did the government provide any compensation or redress to the Abu Ghraib survivors, even after, in 2022, the Pentagon released a plan to minimize harm to civilians in U.S. military operations. However, there is a civil suit filed in 2008 — Al Shimari v. CACI — brought on behalf of three plaintiffs against military contractor CACI's role in torture at Abu Ghraib. Though CACI tried 20 times to have the case dismissed, the trial — the first to address the abuse of Abu Ghraib detainees — finally began in mid-April in the Eastern District Court of Virginia. If the plaintiffs succeed with a ruling in their favor, it will be a welcome step toward some semblance of justice. However, for other survivors of Abu Ghraib, any prospect of justice remains unlikely at best.The Road to Abu Ghraib"My impression is that what has been charged thus far is abuse, which I believe technically is different from torture… And therefore, I'm not going to address the 'torture' word." So said Secretary of Defense Donald Rumsfeld at a press conference in 2004. He failed, of course, to even mention that he and other members of President George W. Bush's administration had gone to great lengths not only to sanction brutal torture techniques in their "Global War on Terror," but to dramatically raise the threshold for what might even be considered torture.As Vian Bakir argued in her book Torture, Intelligence and Sousveillance in the War on Terror: Agenda-Building Struggles, his comments were part of a three-pronged Bush administration strategy to reframe the abuses depicted in those photos, including providing "evidence" of the supposed legality of the basic interrogation techniques, framing such abuses as isolated rather than systemic events, and doing their best to destroy visual evidence of torture altogether.Although top Bush officials claimed to know nothing about what happened at Abu Ghraib, the war on terror they launched was built to thoroughly dehumanize and deny any rights to those detained. As a 2004 Human Rights Watch report, "The Road to Abu Ghraib," noted, a pattern of abuse globally resulted not from the actions of individual soldiers, but from administration policies that circumvented the law, deployed distinctly torture-like methods of interrogation to "soften up" detainees, and took a "see no evil, hear no evil," approach to any allegations of prisoner abuse.In fact, the Bush administration actively sought out legal opinions about how to exclude war-on-terror prisoners from any legal framework whatsoever. A memorandum from Attorney General Alberto Gonzales to President Bush argued that the Geneva Conventions simply didn't apply to members of the terror group al-Qaeda or the Afghan Taliban. Regarding what would constitute torture, an infamous memo, drafted by Office of Legal Counsel attorney John Yoo, argued that "physical pain amounting to torture must be equivalent in intensity to the pain accompanying serious physical injury, such as organ failure, impairment of bodily function, or even death." Even after the Abu Ghraib photos became public, Rumsfeld and other Bush administration officials never relented when it came to their supposed inapplicability. As Rumsfeld put it in a television interview, they "did not apply precisely" in Iraq.In January 2004, Major General Anthony Taguba was appointed to conduct an Army investigation into the military unit, the 800th Military Police Brigade, which ran Abu Ghraib, where abuses had been reported from October through December 2003. His report was unequivocal about the systematic nature of torture there: "Between October and December 2003, at the Abu Ghraib Confinement Facility (BCCF), numerous incidents of sadistic, blatant, and wanton criminal abuses were inflicted on several detainees. This systemic and illegal abuse of detainees was intentionally perpetrated by several members of the military police guard force (372nd Military Police Company, 320th Military Police Battalion, 800th MP Brigade), in Tier (section) 1-A of the Abu Ghraib Prison."Sadly, the Taguba report was neither the first nor the last to document abuse and torture at Abu Ghraib. Moreover, prior to its release, the International Committee of the Red Cross had issued multiple warnings that such abuse was occurring at Abu Ghraib and elsewhere.Simulating AtonementOnce the pictures were revealed, President Bush and other members of his administration were quick to condemn the violence at the prison. Within a week, Bush had assured King Abdullah of Jordan, who was visiting the White House, that he was sorry about what those Iraqi prisoners had endured and "equally sorry that people who've been seeing those pictures didn't understand the true nature and heart of America."As scholar Ryan Shepard pointed out, Bush's behavior was a classic case of "simulated atonement," aimed at offering an "appearance of genuine confession" while avoiding any real responsibility for what happened. He analyzed four instances in which the president offered an "apologia" for what happened — two interviews with Alhurra and Al Arabiya television on May 5, 2004, and two appearances with the King of Jordan the next day.In each case, the president also responsible for the setting up of an offshore prison of injustice on occupied Cuban land in Guantánamo Bay in 2002 managed to shift the blame in classic fashion, suggesting that the torture had not been systematic and that the fault for it lay with a few low-level people. He also denied that he knew anything about torture at Abu Ghraib prior to the release of the photos and tried to restore the image of America by drawing a comparison to what the regime of Iraqi autocrat Saddam Hussein had done prior to the American invasion.In his interview with Alhurra, for example, he claimed that the U.S. response to Abu Ghraib — investigations and justice — would be unlike anything Saddam Hussein had done. Sadly enough, however, the American takeover of that prison and the torture that occurred there was anything but a break from Hussein's reign. In the context of such a faux apology, however, Bush apparently assumed that Iraqis could be easily swayed on that point, regardless of the violence they had endured at American hands; that they would, in fact, as Ryan Shepard put it, "accept the truth-seeking, freedom-loving American occupation as vastly superior to the previous regime."True accountability for Abu Ghraib? Not a chance. But revisiting Bush's apologia so many years later is a vivid reminder that he and his top officials never had the slightest intention of truly addressing those acts of torture as systemic to America's war on terror, especially because he was directly implicated in them.Weapons of American ImperialismOn March 19th, 2003, President Bush gave an address from the Oval Office to his "fellow citizens." He opened by saying that "American and coalition forces are in the early stages of military operations to disarm Iraq, to free its people and to defend the world from grave danger." The liberated people of Iraq, he said, would "witness the honorable and decent spirit of the American military."There was, of course, nothing about his invasion of Iraq that was honorable or decent. It was an illegally waged war for which Bush and his administration had spent months building support. In his State of the Union address in 2002, in fact, the president had referred to Iraq as part of an "axis of evil" and a country that "continues to flaunt its hostility toward America and to support terror." Later that year, he began to claim that Saddam's regime also had weapons of mass destruction. (It didn't and he knew it.) If that wasn't enough to establish the threat Iraq supposedly posed, in January 2003, Vice President Dick Cheney claimed that it "aids and protects terrorists, including members of al-Qaeda."Days after Cheney made those claims, Secretary of State Colin Powell falsely asserted to members of the U.N. Security Council that Saddam Hussein had chemical weapons, had used them before, and would not hesitate to use them again. He mentioned the phrase "weapons of mass destruction" 17 times in his speech, leaving no room to mistake the urgency of his message. Similarly, President Bush insisted the U.S. had "no ambition in Iraq, except to remove a threat and restore control of that country to its own people."The false pretenses under which the U.S. waged war on Iraq are a reminder that the war on terror was never truly about curbing a threat, but about expanding American imperial power globally.When the United States took over that prison, they replaced Saddam Hussein's portrait with a sign that said, "America is the friend of all Iraqis." To befriend the U.S. in the context of Abu Ghraib, would, of course, have involved a sort of coerced amnesia.In his essay "Abu Ghraib and its Shadow Archives," Macquarie University professor Joseph Pugliese makes this connection, writing that "the Abu Ghraib photographs compel the viewer to bear testimony to the deployment and enactment of absolute U.S. imperial power on the bodies of the Arab prisoners through the organizing principles of white supremacist aesthetics that intertwine violence and sexuality with Orientalist spectacle."As a project of American post-9/11 empire building, Abu Ghraib and the torture of prisoners there should be viewed through the lens of what I call carceral imperialism — an extension of the American carceral state beyond its borders in the service of domination and hegemony. (The Alliance for Global Justice refers to a phenomenon related to the one I'm discussing as "prison imperialism.") The distinction I draw is based on my focus on the war on terror and how the prison became a tool through which that war was being fought. In the case of Abu Ghraib, the capture, detention, and torture through which Iraqis were contained and subdued was a primary strategy of the U.S. colonization of Iraq and was used as a way to transform detained Iraqis into a visible threat that would legitimize the U.S. presence there. (Bagram prison in Afghanistan was another example of carceral imperialism.)Beyond Spectacle and Towards JusticeWhat made the torture at Abu Ghraib possible to begin with? While there were, of course, several factors, it's important to consider one above all: the way the American war not on, but of terror rendered Iraqi bodies so utterly disposable.One way of viewing this dehumanization is through philosopher Giorgio Agamben's Homo Sacer, which defines a relationship between power and two forms of life: zoe and bios. Zoe refers to an individual who is recognized as fully human with a political and social life, while bios refers to physical life alone. Iraqi prisoners at Abu Ghraib were reduced to bios, or bare life, while being stripped of all rights and protections, which left them vulnerable to uninhibited and unaccountable violence and horrifying torture.Twenty years later, those unforgettable images of torture at Abu Ghraib serve as a continuous reminder of the nature of American brutality in that Global War on Terror that has not ended. They continue to haunt me — and other Muslims and Arabs — 20 years later. They will undoubtedly be seared in my memory for life.Whether or not justice prevails in some way for Abu Ghraib's survivors, as witnesses – even distant ones — to what transpired at that prison, our job should still be to search for the stories behind the hoods, the bars, and the indescribable acts of torture that took place there. It's crucial, even so many years later, to ensure that those who endured such horrific violence at American hands are not forgotten. Otherwise, our gaze will become one more weapon of torture — extending the life of the horrific acts in those images and ensuring that the humiliation of those War on Terror prisoners will continue to be a passing spectacle for our consumption.Two decades after those photos were released, what's crucial about the unbearable violence and horror they capture is the choice they still force viewers to make — whether to become just another bystander to the violence and horror this country delivered under the label of the War on Terror or to take in the torture and demand justice for the survivors.This piece has been republished with permission from TomDispatch.
This Degree to supervise doctoral researches is presented in two volumes: the first is a summary note (322 pages, with notional and proper name indexes); the second brings together various articles, book chapters, statistical data and content analysis (215 pages). The first volume is itself divided into two parts: "Of Music and Poor's: synthesis and main results (1981-2007)", from pages 8 to 168, and "Anthropology of anger: grids of analysis, prospective reflection", from pages 170 to 269. A bibliography, classified into themes, has been deliberately made dense in references. Three chapters make up the first part of volume 1: "Prehistory of research and professional career", "The observation of underground musical phenomena and Identity minorities"; "Poor, poverty and social representations". Three others structure the following one: "The theorization of becoming an active minority"; "Cultures of resentment and current forms of mysticism" and "Conclusion: representations of poverty and work". As in any exercise of this kind, this synthesis of research (part 1) has been carried out with the aim of enriching the subject matter developed in already published writings, by drawing on new reading and by adding more precise notes or analyses, both for the work on popular music and for the work on social representations. In Chapter 1, a kind of professional autobiography is presented, which is related to the psychosocial and administrative issues of legitimation in research laboratories where a professional is a representative of a minority discipline (psychosociology). Since the end of the 1980s, we have been witnessing a complete reorganisation of the modes of professional integration and recognition of researchers. The obligation to join a single team, whatever the case, leads to an asymptotic career, especially if one is the bearer of a non-compliant research problem (monographic approach on a research object considered marginal in social psychology). Moreover, when the researcher does not belong to any of the dominant research disciplines of a university, one is faced with aporias and formidable professional and intellectual difficulties. In the end, this type of researcher is forced either into intra-organisational scientific marginality, by developing an invisible college of correspondents external to his or her working institution, or into the position of leadership or manager, by joining the pedagogical, administrative or scientific boards of his or her institution.The first chapter is devoted to the consequences of these structural constraints. A synthetic approach to surveys of popular music and a critical commentary on the vogue for ethno-methodological and apologetic research on these phenomena are then proposed (Chapter 2). This is because much has been written and published, both in France and abroad, on these "objects" of work, and we now find ourselves at a point where we are commenting on monographic empirical data and distancing ourselves from the work of certain researchers, activators of a fascinated theorising of these practices. A good part of this chapter is organised around this critical questioning and in defence of the so-called "acid state" model constructed during the thesis (1980-1986). Chapter 3 presents the complete data of a work, not yet published in a reference journal, of qualitative-quantitative research on the social representations of poverty. The approach to the 'poverty' subject is based on semi-directive interviews (80 subjects).An analysis of thematic content and lexicon, generated by an associative test, is also presented. Various elements are to be noted: the cognitive monopolisation effect of the terms "hunger" and "money" by poor subjects and the upper middle classes when asked to define the term "poverty" and the construction of the central core of poverty around the prototype of the homeless person, in the Paris region (implying a reduction in so-called "social" poverty and associated with modest socio-economic categories: immigrants, workers, employees, inhabitants of sensitive neighbourhoods). In chapter 4, a common theoretical and pragmatic distinction on the forms of seeking social recognition is formulated: socialisation through "identity" and socialisation through the elaboration of a work or "vocational achievement". A study model based on this elementary distinction, aiming to make this comparison operational and referring to highly differentiated social and political movements, would make it possible to better understand the evolution of contemporary societies with regard to the problems of managing cultural identifications and therefore of social integration and the construction of individuality. A study of the emergence of a constellation of heterodox and anomic behaviours is formulated. In chapter 5, the nature and form of mystical states during this historical and contemporary, strange phase of postmodernity are questioned. Trance, rage, social representations of the self, modified states of consciousness, ritualisations and aesthetics of violence, blasphemy and protest are all keys to entry and analysis to apprehend a teeming cultural reality. We then question the meaning of the invention of polymorphic collective emotions, by taking up a classic theme of research on the consequences of moral and communicational deregulation (on the Durkheimian and Mertonian anomie) in European societies. Chapter 6, of a conclusive type, focuses on the exposition of two research perspectives: the social representations of work and those of poverty. A few final comments on the importance of user-friendly and institutionalised interdisciplinarity punctuate the book. In this volume of HDR, the aim is to propose various lines of work and directions for reflection in a research design, confronted with various organisational and contemporary demands and focused on societal and current issues. The importance of the psycho-sociological analysis of interactions and behaviours has been affirmed throughout this professional biography and this prospective synthesis. ; L'habilitation à diriger les recherches se présente en deux tomes : le premier correspond à une note de synthèse (322 pages, avec index notionnels et de noms propres) ; le second rassemble divers articles, chapitre d'ouvrages, données statistiques et d'analyse de contenu (215 pages). Le premier volume est lui-même divisé en deux parties : « De la musique et des pauvres : bilan et principaux résultats (1981-2007) », de la page 8 à 168, et « Socio-anthropologie de la rage : grilles d'analyse, réflexion prospective », de la page 170 à 269. Une bibliographie, classée en thèmes, a été volontairement rendue dense en références. Trois chapitres composent la première partie du tome 1 : « Préhistoire de la recherche et parcours professionnel », « L'observation des phénomènes musicaux underground » et « Des minorités identitaires : pauvres, pauvreté et représentations sociales ». Trois autres structurent la suivante : « La théorisation du « devenir minorité active », « Cultures du ressentiment et formes actuelles du mysticisme » et « Conclusion : représentations de la pauvreté et du travail ». Comme dans tout exercice de ce genre, cette synthèse des recherches (partie 1) a été faite avec le souci d'enrichir le propos développé dans des écrits déjà publiés, en puisant dans de nouvelles lectures et par l'ajout de notes ou d'analyses plus précises, tant pour les travaux concernant les musiques populaires que pour ceux qui ont trait aux représentations sociales. Dans le chapitre 1, on se livre à une sorte d'autobiographie professionnelle, mise en rapport avec les enjeux psychosociaux et administratifs de légitimation dans des laboratoires de recherche où un professionnel est représentant d'une discipline minoritaire (psychosociologie). On assiste, en effet, depuis la fin des années 1980 à une réorganisation complète des modes d'insertion et de reconnaissance professionnels des chercheurs. L'obligation d'intégrer une seule équipe, quel que soit le cas de figure, conduit à suivre une carrière asymptotique surtout si l'on est porteur d'une problématique de recherche non conforme (approche monographique sur un objet de recherche jugé marginal en psychologie sociale). De plus, quand le chercheur n'appartient à aucune des disciplines de recherche dominantes d'une université, on se retrouve devant des apories et des difficultés professionnelles et intellectuelles redoutables. Ce type de chercheur est, d'une certaine manière, acculé soit à la marginalité scientifique intra-organisationnelle, en développant un collège invisible de correspondants externes à son institution de travail, soit à la position de leadership ou de manager, en entrant dans les conseils d'administration pédagogiques, administratifs ou scientifiques de son établissement. C'est aux conséquences de ces contraintes structurales qu'est consacré le premier chapitre. On propose ensuite (chapitre 2) une approche synthétique des enquêtes effectuées sur les musiques populaires et un commentaire critique de la vogue des recherches ethnométhodologiques et apologétiques sur ces phénomènes. C'est parce qu'on a beaucoup écrit et publié, tant en France qu'à l'étranger, sur ces « objets » de travail et que l'on se retrouve désormais à un moment de commentaire des données empiriques monographiques et de prise de distance par rapport aux travaux de certains chercheurs, activateurs d'une théorisation fascinée de ces pratiques. Une bonne partie de ce chapitre est organisé autour de ce questionnement critique et à la défense du modèle dit de l' « état acide » construit lors de la thèse (1980-1986). Dans le chapitre 3, il s'agit de présenter les données complètes d'un travail, non encore publié dans une revue de référence, d'une recherche qualitative-quantitative sur les représentations sociales de la pauvreté. L'approche de l'objet « pauvreté » est faite par entretiens semi-directifs (80 sujets). Une analyse de contenu thématique et du lexique, généré par un test associatif, est aussi présentée. Différents éléments sont à noter : l'effet d'accaparement cognitif des termes « faim » et « argent » par les sujets pauvres et les classes moyennes supérieures quand on leur demande de définir le terme « pauvreté » et la construction du noyau central de la pauvreté autour du prototype du sans-abri, en région parisienne (impliquant une minoration de la pauvreté dite « sociale » et associées aux catégories socio-économiques modestes : immigrés, ouvriers, employés, habitants des quartiers sensibles). Dans le chapitre 4, une distinction théorique et pragmatique courante sur les formes de recherche de reconnaissance sociale est formulée : la socialisation par l'« identité » et celle par l'élaboration d'une œuvre ou d'un « accomplissement vocationnel ». Un modèle d'étude fondé sur cette distinction élémentaire, visant à rendre opérationnelle cette comparaison et renvoyant à des mouvements sociaux et politiques très différenciés, permettrait de mieux appréhender l'évolution des sociétés contemporaines quant aux problématiques de gestion des identifications culturelles et donc d'intégration sociale et de construction de l'individualité. Une problématique d'étude de l'émergence d'une constellation de conduites hétérodoxes et anomiques est formulée. Au chapitre 5, c'est la nature et la forme des états mystiques, durant cette phase historique et contemporaine, étrange de postmodernité, qui sont questionnées. Transe, rage, représentations sociales du soi, états modifiés de la conscience, ritualisations et esthétiques de la violence, des blasphèmes et de la contestation, sont autant de clés d'entrée et d'analyse pour appréhender une foisonnante réalité culturelle. On questionne alors le sens de l'invention d'émotions collectives polymorphes, en reprenant une thématique classique de recherche sur les conséquences de la dérégulation morale et communicationnelle (notamment sur l'anomie durkheimienne et mertonienne) dans les sociétés européennes. Le chapitre 6, de type conclusif, est axé sur l'exposition de deux perspectives de recherche : les représentations sociales du travail et celles de la pauvreté. Quelques commentaires finaux sur l'importance d'une interdisciplinarité conviviale et institutionnalisée ponctuent l'ouvrage. Dans ce volume d'HDR, il s'agit de proposer diverses pistes de travail et orientations de réflexion dans un design de recherche, confronté à divers exigences organisationnelles et contemporaines et centré sur des problématiques sociétales et actuelles. L'importance de l'analyse psychosociologique des interactions et des conduites a été affirmée tout au long de cette biographie professionnelle et de cet écrit de synthèse prospective.
