4 research outputs found
ΠΠ·Π³ΠΎΡΠΎΠ²Π»Π΅Π½ΠΈΠ΅ ΠΏΠΎΠ΄ΡΡΠ°ΠΊΠ°Π½Π½ΠΈΠΊΠ° Π² ΠΏΠ΅ΡΠΌΡΠΊΠΎΠΌ Π·Π²Π΅ΡΠΈΠ½ΠΎΠΌ ΡΡΠΈΠ»Π΅
Die Bedeutung von Biomaterialien zur Regulation der Eigenschaften humaner mesenchymaler Stammzellen als Stromazellen in dermalen Γquivalenten
Die Bedeutung von Biomaterialien zur Regulation der Eigenschaften humaner mesenchymaler Stammzellen als Stromazellen in dermalen Γquivalenten
Post-apocalypse visualization strategies in modern popular culture
ΠΠΊΡΡΠ°Π»ΡΠ½ΠΎΡΡΡ. Π’ΠΎΡΠ°Π»ΡΠ½Π°Ρ ΡΠΊΡΠΏΠ°Π½ΡΠΈΡ ΡΠΊΡΠ°Π½Π½ΠΎΠΉ ΠΊΡΠ»ΡΡΡΡΡ ΡΠΎΠ·Π΄Π°Π΅Ρ Π½ΠΎΠ²ΡΠ΅ ΡΡΠ΅Π½Π΄Ρ, ΠΊΠΎΡΠΎΡΡΠ΅ ΠΎΠ±ΡΡΠ»Π°Π²Π»ΠΈΠ²Π°ΡΡ Π²ΠΎΠ·Π½ΠΈΠΊΠ½ΠΎΠ²Π΅Π½ΠΈΠ΅ Π½ΠΎΠ²ΠΎΠΉ Π°Π½ΡΡΠΎΠΏΠΎΠ»ΠΎΠ³ΠΈΡΠ΅ΡΠΊΠΎΠΉ ΡΠΈΡΡΠ°ΡΠΈΠΈ. Π‘ΠΎΠ²ΡΠ΅ΠΌΠ΅Π½Π½ΡΠΉ ΡΠ΅Π»ΠΎΠ²Π΅ΠΊ ΠΏΠ΅ΡΠ΅ΡΡΠ°Π΅Ρ Π½Π°ΡΠ»Π°ΠΆΠ΄Π°ΡΡΡΡ ΠΏΡΠΈΠ²ΡΡΠ½ΡΠΌΠΈ ΠΎΠ±ΡΠ°Π·Π°ΠΌΠΈ, ΡΠ²ΡΠ·ΡΠ²Π°ΡΡΠΈΠΌΠΈ Π΅Π³ΠΎ ΡΠ°Π½ΡΠ°Π·ΠΈΠΈ Ρ ΡΠ΅Π°Π»ΡΠ½ΠΎΡΡΡΡ. ΠΠ½ Π½Π°ΠΌΠ΅ΡΠ΅Π½Π½ΠΎ ΠΈ Π΄Π΅ΠΌΠΎΠ½ΡΡΡΠ°ΡΠΈΠ²Π½ΠΎ ΡΡΡΠ΅ΠΌΠΈΡΡΡ ΠΎΠΊΡΡΠΆΠΈΡΡ ΡΠ΅Π±Ρ Π΄Π΅ΡΡΡΡΠΊΡΠΈΠ²Π½ΡΠΌΠΈ ΠΎΠ±ΡΠ°Π·Π°ΠΌΠΈ, Π²ΡΡΠΊΠΈΠΉ ΡΠ°Π· ΠΏΠΎΠ΄ΡΠ΅ΡΠΊΠΈΠ²Π°ΡΡΠΈΠΌΠΈ ΡΡΡΠ³ΡΠ±Π»ΡΡΡΡΡΡΡ ΠΎΡΡΡΠΎΡΡ ΠΏΡΠΎΠ±Π»Π΅ΠΌ ΡΠΎΠ²ΡΠ΅ΠΌΠ΅Π½Π½ΠΎΠΉ ΡΠΈΠ²ΠΈΠ»ΠΈΠ·Π°ΡΠΈΠΈ. ΠΠΎΡΡΠΎΠΌΡ ΠΏΠΎΡΠ²Π»Π΅Π½ΠΈΠ΅ ΠΈ Π±ΡΡΠ½ΠΎΠ΅ ΡΠ°Π·Π²ΠΈΡΠΈΠ΅ ΠΆΠ°Π½ΡΠ° ΠΏΠΎΡΡΠ°ΠΏΠΎΠΊΠ°Π»ΠΈΠΏΡΠΈΡΠ° Π²ΡΡΡΡΠΏΠ°ΡΡ Π²ΠΈΠ·ΡΠ°Π»ΠΈΠ·Π°ΡΠΈΠ΅ΠΉ ΡΠ°Π½ΡΠ°Π·ΠΈΠΉ ΠΎΠ±ΡΠ²Π°ΡΠ΅Π»Ρ ΠΏΠΎ ΠΏΠΎΠ²ΠΎΠ΄Ρ ΠΎΡΡΡΠΎΠΉ Π½Π΅ΠΎΠ±Ρ
ΠΎΠ΄ΠΈΠΌΠΎΡΡΠΈ ΠΏΡΠ΅ΠΊΡΠ°ΡΠ΅Π½ΠΈΡ ΡΡΡΠ°Π΄Π°Π½ΠΈΠΉ ΡΠ΅Π»ΠΎΠ²Π΅ΠΊΠ° ΠΈ ΠΏΡΠΈΡΠΎΠ΄Ρ Π² ΡΠ°ΠΌΠΊΠ°Ρ
ΡΠ»ΠΎΠΆΠΈΠ²ΡΠΈΡ
ΡΡ ΡΠΎΡΠΌ ΡΠΈΠ²ΠΈΠ»ΠΈΠ·Π°ΡΠΈΠΎΠ½Π½ΠΎΠΉ ΠΊΠΎΠΌΠΌΡΠ½ΠΈΠΊΠ°ΡΠΈΠΈ. Π¦Π΅Π»Ρ: ΠΏΡΠΎΠ°Π½Π°Π»ΠΈΠ·ΠΈΡΠΎΠ²Π°ΡΡ ΡΠ²ΠΎΠ΅ΠΎΠ±ΡΠ°Π·ΠΈΠ΅ ΠΏΠΎΡΡΠ°ΠΏΠΎΠΊΠ°Π»ΠΈΠΏΡΠΈΡΠ΅ΡΠΊΠΈΡ
ΡΡΠΆΠ΅ΡΠΎΠ² Π² ΡΠΎΠ²ΡΠ΅ΠΌΠ΅Π½Π½ΠΎΠΌ ΠΈΡΠΊΡΡΡΡΠ²Π΅ ΠΈ ΠΊΠΈΠ½Π΅ΠΌΠ°ΡΠΎΠ³ΡΠ°ΡΠ΅, ΠΎΠΏΠΈΡΠ°ΡΡΠΈΡ
ΡΡ Π½Π° ΡΠ΅ΠΎΡΠ΅ΡΠΈΡΠ΅ΡΠΊΠΎΠ΅ Π½Π°ΡΠ»Π΅Π΄ΠΈΠ΅ Π½ΠΎΠ²Π΅ΠΉΡΠ΅Π³ΠΎ Π²ΡΠ΅ΠΌΠ΅Π½ΠΈ. ΠΠ΅ΡΠΎΠ΄Ρ: ΠΊΠΎΠΌΠΏΠ°ΡΠ°ΡΠΈΠ²ΠΈΡΡΡΠΊΠΈΠΉ, ΠΏΡΠΈΡ
ΠΎΠ°Π½Π°Π»ΠΈΡΠΈΡΠ΅ΡΠΊΠΈΠΉ ΠΈ ΡΠ΅ΠΌΠΈΠΎΡΠΈΡΠ΅ΡΠΊΠΈΠΉ ΠΌΠ΅ΡΠΎΠ΄Ρ ΠΈΠ½ΡΠ΅ΡΠΏΡΠ΅ΡΠ°ΡΠΈΠΈ ΡΠΈΡΠΎΠΊΠΎΠ³ΠΎ ΠΏΠΎΠ»Ρ ΡΠΎΠ²ΡΠ΅ΠΌΠ΅Π½Π½ΠΎΠΉ ΠΌΠ°ΡΡΠΎΠ²ΠΎΠΉ ΠΊΡΠ»ΡΡΡΡΡ. Π Π΅Π·ΡΠ»ΡΡΠ°ΡΡ: ΠΈΠ΄Π΅Ρ ΠΊΠΎΠ½ΡΠ° ΠΈΡΡΠΎΡΠΈΠΈ ΠΏΡΠΈΠΎΠ±ΡΠ΅Π»Π° ΠΎΡΠΎΠ±ΡΡ Π°ΠΊΡΡΠ°Π»ΡΠ½ΠΎΡΡΡ Π² Π½Π°ΡΠ°Π»Π΅ Π₯Π₯ Π²., ΠΊΠΎΠ³Π΄Π° Π² ΠΠ²ΡΠΎΠΏΠ΅ ΡΠ°Π·ΡΠ°Π·ΠΈΠ»ΡΡ Π²ΡΠ΅ΡΡΠΎΡΠΎΠ½Π½ΠΈΠΉ ΡΠΎΡΠΈΠΎΠΊΡΠ»ΡΡΡΡΠ½ΡΠΉ ΠΊΡΠΈΠ·ΠΈΡ. ΠΡΠ΄Π°ΡΡΠΈΠ΅ΡΡ ΡΠΌΡ ΠΏΠΎΠΏΡΡΠ°Π»ΠΈΡΡ ΠΎΡΠ²Π΅ΡΠΈΡΡ Π½Π° ΡΠ»ΠΎΠΆΠ½Π΅ΠΉΡΠΈΠ΅ ΠΏΡΠΎΡΠΈΠ²ΠΎΡΠ΅ΡΠΈΡ, Ρ ΠΊΠΎΡΠΎΡΡΠΌΠΈ Π²ΠΏΠ΅ΡΠ²ΡΠ΅ ΡΡΠΎΠ»ΠΊΠ½ΡΠ»ΠΎΡΡ ΡΠ΅Π»ΠΎΠ²Π΅ΡΠ΅ΡΡΠ²ΠΎ. ΠΠ°ΡΠ°ΡΡΠ°ΡΡΠΈΠ΅ ΡΠΎΡΠΈΠ°Π»ΡΠ½ΡΠ΅ ΠΏΡΠΎΡΠΈΠ²ΠΎΡΠ΅ΡΠΈΡ Π²ΡΠ΅ ΡΠ°ΡΠ΅ Π½Π°ΡΠΈΠ½Π°ΡΡ ΡΠ°ΡΡΠΌΠ°ΡΡΠΈΠ²Π°ΡΡΡΡ ΠΊΠ°ΠΊ Π·Π½Π°ΠΊΠΈ Π³ΡΡΠ΄ΡΡΠ΅Π³ΠΎ ΠΊΠΎΠ½ΡΠ° ΡΠΈΠ²ΠΈΠ»ΠΈΠ·Π°ΡΠΈΠΈ, ΠΊΠΎΡΠΎΡΠ°Ρ ΠΏΠΎΠ³ΡΡΠ·Π»Π° Π² ΡΠ½ΠΈΡΠΈΠΊΠ°ΡΠΈΠΈ, Π±Π΅Π·ΠΎΡΠ²Π΅ΡΡΡΠ²Π΅Π½Π½ΠΎΡΡΠΈ Π²Π»Π°ΡΡΠΈ ΠΈ ΠΏΠ°ΡΡΠΈΠ²Π½ΠΎΡΡΠΈ ΠΌΠ°ΡΡ. Π’Π°ΠΊΠ°Ρ ΡΠ΅ΡΠ»Π΅ΠΊΡΠΈΡ ΠΏΠΎΠ΄Π³ΠΎΡΠΎΠ²ΠΈΠ»Π° ΡΠΎΡΠΌΠΈΡΠΎΠ²Π°Π½ΠΈΠ΅ Ρ
ΡΠ΄ΠΎΠΆΠ΅ΡΡΠ²Π΅Π½Π½ΠΎΠ³ΠΎ ΠΎΠΏΡΡΠ° Π²ΠΈΠ·ΡΠ°Π»ΠΈΠ·Π°ΡΠΈΠΈ ΡΡΠ½Π΄Π°ΠΌΠ΅Π½ΡΠ°Π»ΡΠ½ΡΡ
ΠΏΡΠΎΡΠΈΠ²ΠΎΡΠ΅ΡΠΈΠΉ ΡΠΈΠ²ΠΈΠ»ΠΈΠ·Π°ΡΠΈΠΈ, ΠΊΠΎΡΠΎΡΡΠ΅ ΠΎΡΠΎΠ±Π΅Π½Π½ΠΎ ΠΎΠ±ΠΎΡΡΡΠΈΠ»ΠΈΡΡ Π½Π° ΡΡΠ±Π΅ΠΆΠ΅ XXβXXI Π²Π². ΠΠ΅ΡΠΌΠΎΡΡΡ Π½Π° ΠΏΡΠ΅ΠΈΠΌΡΡΠ΅ΡΡΠ²Π΅Π½Π½ΠΎ Π΄ΠΎΡΡΠ³ΠΎΠ²ΡΠΉ Ρ
Π°ΡΠ°ΠΊΡΠ΅Ρ ΡΠΎΠ²ΡΠ΅ΠΌΠ΅Π½Π½ΠΎΠ³ΠΎ ΠΌΠ°ΡΡΠΎΠ²ΠΎΠ³ΠΎ ΠΈΡΠΊΡΡΡΡΠ²Π°, ΠΎΠ½ΠΎ ΠΈΠ·Π±ΠΈΡΠ°Π΅Ρ ΠΈΠΌΠ΅Π½Π½ΠΎ ΡΡΡ ΡΠ΅ΠΌΡ Π² ΠΊΠ°ΡΠ΅ΡΡΠ²Π΅ ΠΌΠ°Π³ΠΈΡΡΡΠ°Π»ΡΠ½ΠΎΠ³ΠΎ Π½Π°ΠΏΡΠ°Π²Π»Π΅Π½ΠΈΡ ΡΠ²ΠΎΠ΅Π³ΠΎ ΡΠ°Π·Π²ΠΈΡΠΈΡ. ΠΠΈΡΠ΅ΡΠ°ΡΡΡΠ°, ΠΌΡΠ·ΡΠΊΠ°, ΠΆΠΈΠ²ΠΎΠΏΠΈΡΡ, ΠΊΠΎΠΌΠΈΠΊΡΡ, Π°Π½ΠΈΠΌΠ°ΡΠΈΡ ΠΈ ΠΊΠΎΠΌΠΏΡΡΡΠ΅ΡΠ½ΡΠ΅ ΠΈΠ³ΡΡ Π°ΠΊΡΠΈΠ²Π½ΠΎ ΠΈΡΠΏΠΎΠ»ΡΠ·ΡΡΡ ΡΡΠΆΠ΅ΡΡ ΠΊΠΎΠ½ΡΠ° ΠΈΡΡΠΎΡΠΈΠΈ Π΄Π»Ρ Π²ΠΎΡΡΠΎΠ·Π΄Π°Π½ΠΈΡ Π½Π°ΠΏΡΡΠΆΠ΅Π½Π½ΠΎΠ³ΠΎ ΠΎΠΆΠΈΠ΄Π°Π½ΠΈΡ Π½Π΅ΠΌΠΈΠ½ΡΠ΅ΠΌΠΎΠΉ ΡΠ°ΡΠΏΠ»Π°ΡΡ ΡΠ΅Π»ΠΎΠ²Π΅ΡΠ΅ΡΡΠ²Π° Π·Π° Π±Π΅Π·ΠΎΡΠ²Π΅ΡΡΡΠ²Π΅Π½Π½ΠΎΠ΅ ΠΎΡΠ½ΠΎΡΠ΅Π½ΠΈΠ΅ ΠΊ ΠΏΡΠΈΡΠΎΠ΄Π΅ ΠΈ ΡΠ΅Π»ΠΎΠ²Π΅ΠΊΡ. Π‘ΠΎΠ²ΡΠ΅ΠΌΠ΅Π½Π½Π°Ρ ΠΊΠΈΠ½ΠΎΠΈΠ½Π΄ΡΡΡΡΠΈΡ Π·Π°Π½ΠΈΠΌΠ°Π΅Ρ ΠΎΡΠΎΠ±ΠΎΠ΅ ΠΌΠ΅ΡΡΠΎ Π² ΡΠ΅ΡΠ΅Π½ΠΈΠΈ ΡΡΠΎΠΉ Π·Π°Π΄Π°ΡΠΈ, ΠΏΠΎΡΠΊΠΎΠ»ΡΠΊΡ Π² Π΅Π΅ ΡΠ°ΡΠΏΠΎΡΡΠΆΠ΅Π½ΠΈΠΈ Π½Π°Ρ
ΠΎΠ΄ΡΡΡΡ ΠΈΡΠΊΠ»ΡΡΠΈΡΠ΅Π»ΡΠ½ΡΠ΅ Π²ΡΡΠ°Π·ΠΈΡΠ΅Π»ΡΠ½ΡΠ΅ ΡΡΠ΅Π΄ΡΡΠ²Π° ΠΈ Π½Π°ΠΈΠ±ΠΎΠ»Π΅Π΅ ΠΌΠ°ΡΡΠΎΠ²Π°Ρ Π°ΡΠ΄ΠΈΡΠΎΡΠΈΡ. ΠΡΠ²ΠΎΠ΄Ρ: ΡΠ°Π½ΡΠ°ΡΡΠΈΡΠ΅ΡΠΊΠ°Ρ ΠΏΠΎΠΏΡΠ»ΡΡΠ½ΠΎΡΡΡ ΡΠ΅ΠΌΡ ΠΏΠΎΡΡΠ°ΠΏΠΎΠΊΠ°Π»ΠΈΠΏΡΠΈΡΠ° Π²ΡΡ
ΠΎΠ΄ΠΈΡ Π·Π° ΡΠ°ΠΌΠΊΠΈ ΠΎΠ±ΡΡΠ½ΡΡ
ΠΊΡΠ»ΡΡΡΡΠ½ΡΡ
ΠΈΠ½Π΄ΡΡΡΡΠΈΠΉ ΠΈ ΡΠ²Π΅ΡΠ΅Π½Π½ΠΎ ΠΏΡΠ΅Π²ΡΠ°ΡΠ°Π΅ΡΡΡ Π² ΡΠΎΡΠΌΡ ΠΈΠ΄Π΅ΠΎΠ»ΠΎΠ³ΠΈΡΠ΅ΡΠΊΠΎΠΉ Π²ΠΈΠ·ΡΠ°Π»ΠΈΠ·Π°ΡΠΈΠΈ ΠΊΠ»ΡΡΠ΅Π²ΡΡ
ΡΠΎΡΠΈΠΎΠΊΡΠ»ΡΡΡΡΠ½ΡΡ
ΠΏΡΠΎΡΠΈΠ²ΠΎΡΠ΅ΡΠΈΠΉ ΡΠΏΠΎΡ
ΠΈ. ΠΠΎΠ΄ΠΎΠ±Π½Π°Ρ ΡΠΏΡΠ°Π²Π»Π΅Π½ΡΠ΅ΡΠΊΠ°Ρ ΡΠ΅Ρ
Π½ΠΎΠ»ΠΎΠ³ΠΈΡ ΡΠ°ΡΡΠ΅Π½ΠΈΠ²Π°Π΅ΡΡΡ Π°Π²ΡΠΎΡΠ°ΠΌΠΈ ΠΊΠ°ΠΊ ΠΏΡΠΎΠΏΠ΅Π΄Π΅Π²ΡΠΈΠΊΠ° Π½ΠΎΠ²ΠΎΠ³ΠΎ ΠΊΠ°ΡΠ΅ΡΡΠ²Π° ΡΠΎΠ²ΡΠ΅ΠΌΠ΅Π½Π½ΠΎΠΉ ΡΠΈΠ²ΠΈΠ»ΠΈΠ·Π°ΡΠΈΠΈ, Π½Π°ΡΠΈΠ»ΡΡΡΠ²Π΅Π½Π½ΠΎ ΡΠ°Π·ΡΡΠ²Π°ΡΡΠ΅ΠΉ Π³Π΅Π½Π΅ΡΠΈΡΠ΅ΡΠΊΠΈΠ΅ ΡΠ²ΡΠ·ΠΈ Ρ ΠΏΡΠΈΡΠΎΠ΄ΠΎΠΉ, ΠΊΡΠ»ΡΡΡΡΠΎΠΉ ΠΈ ΡΡΠ°Π΄ΠΈΡΠΈΠ΅ΠΉ.Relevance. Total expansion of screen culture creates new trends that cause the emergence of a new anthropological situation. Modern man ceases to enjoy the familiar images that connect his fantasies with reality. He deliberately and demonstratively seeks to surround himself with destructive images, each time emphasizing the increasing severity of the problems of modern civilization. Therefore, the emergence and rapid development of the post-apocalypse genre serves as a visualization of the fantasies of the average person about the urgent need to end the suffering of man and nature within the established forms of civilizational communication. The aim: to analyze the peculiarity of post-apocalyptic plots in contemporary art and cinema, based on the theoretical heritage of modern times. Methods. The research is based on comparative, psychoanalytic and semiotic methods of interpretation of a wide field of modern mass culture. Results. The idea of the end of history became particularly relevant at the beginning of the twentieth century, when a comprehensive socio-cultural crisis broke out in Europe. Outstanding minds have tried to answer the most complex contradictions that humanity has faced for the first time. The growing social contradictions are increasingly seen as signs of the coming end of a civilization that is mired in unification, the irresponsibility of power and the passivity of the masses. Such reflection prepared the formation of the artistic experience of visualizing the fundamental contradictions of civilization, which were especially aggravated at the turn of the XX-XXI centuries. Despite the predominantly recreational nature of modern mass art, it chooses this theme as the main direction of its development. Literature, music, painting, comics, animation, and computer games actively use the plots of the end of history to recreate the tense expectation of the imminent reckoning of humanity for its irresponsible attitude to nature and man. The modern film industry occupies a special place in solving this problem, because it has at its disposal exceptional means of expression and the most mass audience. Findings. The fantastic popularity of the post-apocalypse theme goes beyond the usual cultural industries and confidently turns into a form of ideological visualization of the key socio-cultural contradictions of the era. Such management technology is regarded by the authors as a propaedeutics of a new quality of modern civilization, forcibly severing genetic ties with nature, culture and tradition