Suchergebnisse

В статье рассматривается использование Ю. М. Лотманом концепции тернарной системы, которая является ответом на ограничения семиотических моделей, основанных на бинарных оппозициях. ; The paper will explore Yurii M. Lotman's uses of the concept of a ternary system. It is born as a response to the limitations of the semiotic models based on binary oppositions. At the same time, binaries for Lotman are closely connected to Russia's cultural dynamic, and therefore, this seemingly "pure" theoretical concept appears heavily charged with political meanings.

The article discusses the fusion of postmodernist discursive elements with the models inherited from Socialist Realism in post-Soviet culture of the 2000s. This tendency emerges as a response to a neo-conservative turn in the cultural politics of 229 the period. The most significant aspect of this tendency is detected in the focus on the war (or war-like) chronotope and conflicts. The postmodernist features of this hybridized discourse can be seen in the transformation of the war condition into a performative ritual, engaging the reader/viewer in the ecstatics of violence. However, the postmodernist play undermines "positive" message of a post-sots text: the "truth" of the protagonist turns out to be a shallow and self-contradictory rhetorics intended to mask the self-contained character of rituals of violence. The hypothesis of post-sots is tested against a wide number of films and texts of the period. Alexei Balabanov film "War" is analyzed as a model text representative for this tendency.