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Call For Papers

 


 

# 2 (35) 2019: The Borderline Codes of Culture


Guest Editor


pict Tatiana SIDNEVA
Doctor of Science in Cultural Studies, Professor
Vice-Rector for Research, Head of the Department of Philosophy and Aesthetics of the M. I. Glinka Nizhny Novgorod State Conservatory, Nizhny Novgorod, Russia

The concept of "cultural code", established in humanitarian knowledge largely due to R. Bart's research, has gained high popularity in recent decades. Various interpretations of the concept, descriptions of its semantic and structural aspects are given, a lot of classifications are offered. Associative series, fixing the relationship of the "code" with a symbol, metaphor, mentality and archetype, vocabulary, culture, etc. have been built. The term has long crossed the boundaries of semiology and received broad significance in Culturology. This tendency was predicted by R. Bart himself, his interpretation of the "code" denies the possibility of a strict definition of the concept. The scientist warns against the use of "code" in the strictly scientific meaning of the term. He understands codes as associative fields, a supertextural organization of values established in a certain culture. In Bart's understanding, codes are "certain types of things already seen, already read, already done".
The broad interpretation of the concept of "code" has been established in modern science as the key to understanding culture, the substantiation of geopolitical, mental, ethnic, linguistic, religious, aesthetic, etc. identification of local models of culture, the codified system of values and meanings.
In modern culture the demand for the term is due to a number of reasons:
1. Its integrative nature, reflecting the possibility of a holistic coverage of a certain type of culture, allowing to identify the unity of its internal laws, as well as to fix the conjugation and delimitation of different layers of culture.
2. Freedom from rigidity, “flexibility” of semantic structure and at the same time normativity and order, which together create a multiple images of cultural phenomena.
3. Combination of ideological and non-ideological forms of knowledge, verbalized and non-verbalized meanings.
Being firmly established in cultural studies (in the meaning of meta-methodology of humanitarian knowledge), the term "cultural code" requires clarification of its competences.
The study of borderline codes of culture that exist at the "crossings" and “transitions" of meanings, values, systems is of special methodological importance.
In the context of the interaction of different codes, it is proposed to pay special attention to the problem of a border of nature and culture, "own” and “alien”, traditions and innovations, national and metanational, processes of symbolization and desymbolization in culture.
The search of productivity in the solution of the presented questions causes identification of specifics of borderline cultural codes in science, art, philosophy, geopolitics, religion, daily life. The answer to the question if the boundary code is a special "mode of operation " of the code or the genesis of the new code can be one of the results of the collective research.
Of special interest is the study of texts addressing of the following aspects of the problem:

  • "Cultural code" in the modern conceptual manual of the Humanities
  • History, theory and methodology of interaction of culture codes
  • Definition of the code in its relation to a symbol, metaphor, mentality, archetype, dictionary of culture, etc.
  • Dialogue of nature and culture, "own" and "alien", traditions and innovations, national and metanational, local and global, processes of symbolization and desymbolization in the aspect of interaction of cultural codes
  • Border, borderlands, borderline thinking in the structure of cultural codes
  • “Borderline codes" in art, philosophy, geopolitics, religion, history, everyday life
  • Reflection of cultural codes in the actual practice of art.

Deadline is 15.04.2019

 



# 3 (36) 2019: Nostalgia: memory – consumption – reconstruction

Guest Editors

pict Elzbieta TYSHKOVSKA-KASPRZAK
Dr. hab, Professor of Department of Slavic Philology, Wroclaw University, Poland
Author of Monographs «Rosyjska poezja pokolenia „odwilżowego” w Polsce» (Wrocław, 1997); «W poszukiwaniu sensu. O prozie Siergieja Dowłatowa» (Wrocław, 2014).
pict Natalya SEMENOVA
PhD, Associate Professor of Department of Russian Language for foreigners and methods of its learning, Saint-Petersburg State University
Saint-Petersburg, Russia

The word “Nostalgia” etymologically is split in two Greek words – Nostos (“return home”) and Algos (“suffering”) – and metaphorically had been transferred to longing for the past. The phenomenon of nostalgia is ambivalent – pain and delightful melancholy are interconnected. Oliver Sachs pointed out that the man “is stacked with an almost infinite number of ‘dormant’ memory-traces”.
Anything can trigger spontaneous memories – madeleine cookies and glass beads necklace, a melody, a quote, an advertisement. The commercial potential of nostalgia as much as the connection between the latter and consumerism should be considered (Cross 2015).
Nostalgia is a complex problem. Thus, analyzing films of Nikita Mikhalkov Brigit Beumers indicates on his progression from ironical nostalgia to utopian one. In 2010s the phenomenon of nostalgia induced a huge interest. In 2013 Valery Todorovsky made a television series “The Thaw”. In 2014 Oleg Nesterov was engaged in the stage project on un-filmed movies of 1960s. Two years after his alternative history novel “Heavenly Stockholm” was published. In 2015 the collection of short stories “Still photograph” appeared in Elena Shubina’s Editorial Office of AST publishing house. Maria Stepanova examined the nature of memory and postmemory in her recent novel. Nevertheless, nostalgia for the Soviet epoch is a trend that Svetlana Boym, Ilya Kalinin, Alla Salnikova and others illustrated in their works. The downside of retro and reminiscences is a feeling nostalgic for the Empire, argues Sanna Turoma.
We invite papers that explore the problems of nostalgia, pop-nostalgia, new sentimentality and postmemory. Is nostalgia destructive or on the contrary creative phenomenon? Is it identical in different post-Soviet countries? Or this longing for the past has individual features? Has nostalgia been changed after digital revolution?
The proposed papers might consider – but are not limited to:

  • Designing nostalgia
  • Representation of historical events in memory
  • Nostalgia in the post-Soviet space
  • Nostalgia and everyday culture
  • Nostalgia and gastronomy
  • Nostalgia in cinema
  • Sociological aspects of nostalgia
  • Nostalgic genres and plots

References
Baudrillard J. The System of Objects. Moscow 2001.
Beumers B. Nikita Mikhalkov: Between Nostalgia and Nationalism. I. B. Tauris&Co, 2005.
Boym S. From the Russian Soul to Post-Communist Nostalgia // Representations (Special Issue: Identifying Histories: Eastern Europe Before and After 1989), № 49, Winter, 1995, pp. 133–166.
Boym S. The Future of Nostalgia. Basic books, 2001.
Cross G. Consumed Nostalgia. Memory in the Age of Fast Capitalism. CUP, 2015.
Sacks O. The Man Who Mistook his Wife for a Hat. Moscow, 2016.
Salnikova A. History of Christmas Ornament, or How Soviet Christmas Tree Was Decorated. Мoscow, 2011.
Turoma S. Brodsky Abroad. Empire, Tourism, Nostalgia. UWP, 2010.

Deadline is 30.06.2019


 

# 4 (37) 2019: After Post-Photography

Guest Editors


pict Maria GOURIEVA
PhD in Philosophy, Assistant Professor, St. Petersburg State Institute for Culture; Senior Lecturer, St. Petersburg State University
Saint Petersburg, Russia
Co-Organizer of After Post-Photography International Conference.
pict Friedrich TIETJEN
PhD in Art History, Independent Researcher and Curator, Vienna/Leipzig; Lecturer at Department of Art History, University of Vienna
Vienna, Austria
Co-Organizer of After Post-Photography International Conference.

The term ‘post-photography’ has circulated in academic literature since W.J.T.Mitchell’s «The Reconfigured Eye: Visual Truth in the Post-Photographic Era» (1992). Although, Mitchell considered primarily the consequence of the advent of the digital in photography, the further use of the term was circulated in a wider field where rethinking of photography and its cultural context was not always connected with distinguishing the ‘post-photography’ by emphasizing the digital technology as its main feature. Often ‘post-photographic’ discussions would concern cultural practices of creation/dissemination/use of both digital and analogue photography as well as new methodologies in research of photography’s history. Fruthermore, the ‘post-photographic’ discourse includes the criticism of juxtaposing the digital and analogue: how serious is the change introduced by digital technologies is still a question. It is likely, however, that the advent of the digital has inspired the re-consideration of problematics that had been addressed already with ‘pre-digital’ photography. One of these important questions is the photographic truth, the connection between photograph and referent: with all that we know about photography being able not only to register but to create realities, still part of our everyday experience is closely connected to trusting photographs as documents and witnesses. One other important problem of the ‘post-photographic’ discourse is the inflation of archives and intensification of exchange of images as well as the search for methods to study the massive collections of images available in digital format and the practices of digital visual communication. As ‘before digital’, it is important that photography formats the cultural experience by adjusting the optics of the mindset and prescribing the visual rhetoric of communication.
We invite authors to an interdisciplinary discussion shaped around, but not limited to, the following topics:

  • looking back: revisiting the history of photography
  • social and anthropological meanings of photography
  • photography and memory
  • photography and histories/politics of gaze/spectacle/vision
  • photography as agent and agency of collective and private histories
  • photography without referent: computer games, AR, VR
  • private photography: topoi, identities, practices
  • true/false witness: photography and the regimes of truth
  • the interdisciplinary field of photography studies and its actual problematics
  • hybrids of photographic and non-photographic practices
  • history and theory of photographic optics
  • history and theory of photo-chemistry.

* used for pictures of guest editors are images of non-existent faces produced by Nvidia’s StyleGAN algorithm on ThisPersonDoesNotExist.com.

Deadline for submissions: 30 November 2019.

 

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