Concepts of mediology as a synthetic science of XXI century

Concepts of mediology as new synthetic science of XXI century have been analyzed in the article. Research field of this science is relatively wide. It covers paths of media culture development in new cultural reality, the problems of media semiotics and, tasks of media policy and media management as well as perspectives of media education. Mediology is not dogmatic but dynamic rapidly developing science. Possibilities of it become wider due to technical progress and processes that go on in social and cultural sphere of the outside world. © 2015, Canadian Center of Science and Education. All rights reserved

People and Myths in Mediaspace: On the Question of Cultural Ecology

Considering the role of media culture as a factor of the information age, the author argues that media reality – the new socio-cultural environment artificially created during the digital revolution – is mythological. This means that the myth becomes a certain control mechanism; penetrating into the individual’s inner world of, it affects both conscious and unconscious spheres, “programs” them. In this regard, the “cultural ecology” of the media space becomes particularly important. The crucial part of such ecology is the system of edia education contributing to the formation of a new personality type for the 21st century. Keywords: digital revolution, mediaculture, media reality, media space, myth, mythopoeia, mediaeducation, cultural ecology

Истина и судебная аргументация в романе Ф. М. Достоевского "Братья Карамазовы"

We examine the reasons of the judicial error in the Dmitry Karamazov case depicted by Fyodor Dostoevsky in The Karamazov Brothers and argue that the truth can and should be established in both of the process types, adversary and investigative, and that the three con-ceptions of truth, referential, inferential and pragmatic, play an evaluative role in that. The Dmitry Karamazov case shows that the formal view of the truth suffices for deciding a case, but it cannot prevent judicial errors when the epistemological ideal of the material truth falls into oblivion

Características lexicas dos subdialectos cristãos do tatar

This article is devoted to lexical peculiarity study of baptized Tatar (Kryashens) dialects, an ethnoconfessional group of Tatars in the Volga and Ural regions living in the Republic of Tatarstan and neighboring republics and regions. Within the framework of lexical features, they analyzed the Turkic words that were outdated for the modern Tatar language, as well as the borrowings that took place in the dialects. The vocabulary of Kryashen dialects basically coincides with the common Tatar vocabulary, however there are specific features that distinguish these dialects from the Tatar literary language and its dialects. The presence of these features is conditioned by the relatively isolated development of the Kryashens from other ethnographic groups of the Tatar people. A rather large place in the dialects is occupied by words that occur in ancient Turkic language and in a number of modern Turkic and Finno-Ugric languages, for example: arıw / aru - 'saint; good; clean', ardaqlı - 'esteemed', küz - 'burning coal, fire', pıçu/peçü - 'to cut', etc. The work also examines the borrowings, most of which are Russian words, and Arab-Persian, Chuvash and Udmurt borrowings are used less. Examples are given for each group and the features of their application are determined.Este artículo está dedicado al estudio de la peculiaridad léxica de los dialectos tártaros bautizados (Kryashens), un grupo etnoconfesional de tártaros en las regiones del Volga y los Urales que viven en la República de Tatarstán y en las repúblicas y regiones vecinas. En el marco de las características léxicas, se analizaron las palabras turcas que estaban desactualizadas para la lengua tártara moderna, así como los préstamos que tuvieron lugar en los dialectos. El vocabulario de los dialectos de Kryashen básicamente coincide con el vocabulario tártaro común, sin embargo, hay características específicas que distinguen a estos dialectos del lenguaje literario tártaro y sus dialectos. La presencia de estas características está condicionada por el desarrollo relativamente aislado de los Kryashens de otros grupos etnográficos del pueblo tártaro. Un lugar bastante grande en los dialectos está ocupado por palabras que ocurren en la lengua turca antigua y en varias lenguas turcas y finouguras modernas, por ejemplo: arıw / aru - 'saint; bueno; clean ', ardaqlı -' estimado ', küz -' quema de carbón, fuego', pıçu / peçü -' cortar', etc. El trabajo ademas examina los préstamos, la mayoría de los cuales son palabras rusas, y árabepersa, Chuvash y los préstamos Udmurt se usan menos. Se dan ejemplos para cada grupo y se determinan las características de su aplicación.Este artigo é dedicado ao estudo da peculiaridade lexical dos tártaros dialetos batizados (Kryashens), um grupo étnico-confessional de tártaros em regiões do Volga e dos Urais que vivem na República do Tartaristão e repúblicas e regiões vizinhas. No marco das características lexicais, analisaram as palavras turcas que estavam desatualizadas para a moderna língua tártara, bem como os empréstimos que ocorriam nos dialetos. O vocabulário dos dialetos de Kryashen basicamente corresponde ao vocabulário comum Tartar, no entanto, existem características específicas que distinguem estes dialetos de Tatar língua literária e seus dialetos. A presença dessas características é condicionada pelo desenvolvimento relativamente isolado dos Kryashens de outros grupos etnográficos do povo tártaro. Um lugar bastante grande nos dialetos é ocupado por palavras que ocorrem na antiga língua turca e em várias línguas e finuras turcas modernas, por exemplo: arıw / aru - 'saint; bom clean ', ardaqlı -' caro ', küz -' queima de carvão, fogo ', pıçu / peçü -' corte ', etc. O trabalho também examina os empréstimos, a maioria dos quais são palavras russas, e os empréstimos árabe-persa, chuvache e udmurto são usados menos. Exemplos são dados para cada grupo e as características de sua aplicação são determinadas

The Transformation of Screen Culture As a Phenomenon of Information Age

The article raises the question of transformations of screen culture in the XXth–XXIst centuries. Screen culture as a phenomenon of audiovisual synthesis has gone a long way from the moment of its inception (photography, invention of cinema, later the development of radio, television, and video) to a wave of `digital revolution' that has produced the new forms of screen art, manifested not only in the digitization of cinema, photo, and television products, but also in computer technologies, online social networks, etc. It was the screen culture that became the construct of such a phenomenon as `virtual reality'

NATIONAL AND CULTURAL REALIAS OF TRANSLATIONS INTO TATAR

Purposes: This article is devoted to the study of realityн translation, the identification of the main types and difficulties of translation based on the material of literary works translated from Russian into Tatar. Implication/Application: Among the objective difficulties of the works of Russian writer translation into the Tatar language, one can note the mismatch of Russian and Tatar words or phrases expressing realities. It is especially difficult to translate those words and expressions that are close in meaning, but differ in “volume”. Results: The authors show the dependence of translation strategy choice on external sociocultural and pragmatic factors. The study also found out what problems may arise during the transfer of realities in translation, and the main difficulties are highlighted that arise during the translation of realities, in particular, during the absence of an equivalent, correspondence or analogue in the translated language, the need to convey not only the meaning of reality but also its color. Novelty: In our work, the essence of the realities was determined, the main aspects of reality transfer during translation were analyzed, the types of correspondences by a value between the realities, which can be grouped into three main ones, are considered: full, partial correspondence and its absence

The Concept of Self-Sacrifice in the Philosophy of Andrei Tarkovsky's Work

The article analyzes the fundamentals of the moral philosophy of Andrei Tarkovsky, a unique Russian film director, thinker, and art theorist whose films are recognized as masterpieces of screen culture along with the works of M. Antonioni, I. Bergman, L. Buñuel, L. Visconti, A. Kurosawa, F. Truffaut, F. Fellini, S. Eisenstein, and others. The subject under study is the concept of self-sacrifice in the works of Tarkovsky as a distinctive "code" of his spiritual heritage. Creating his own original artistic world, Tarkovsky dwelled upon such vital philosophical categories as "life and death", "faith and faithlessness", "man's spiritual existence", "problems of conscience", "self-sacrifice", etc. This is evidenced not only by his screen works, but also by archives, diaries, and theoretical works, based on which the author provides an interpretation of the philosophy of Andrei Tarkovsky's work focusing on the concept of self-sacrifice and the specifics of its artistic interpretation © 2022 Aesthetics Media Services. All rights reserved

Impact of digital culture on shaping young people's creative activity

Introduction. The object of research is the intensive impact of digital technologies on the development of culture, politics, economy and education, which gives rise to new socio-cultural practices and creative environments for human development. The goal of the article is to analyze digital culture and the degree of its influence on the formation of creative activity of adolescents and young people. Materials and methods. The research materials are based on the analysis of digital culture as a new concept of the globalisation epoch and the specifics of its influence on modern young people's creative activity. Since the research has a complex character it synthesises the analytical methods of different humanities disciplines. Using such methods as cultural-historical, cultural-semiotic, social-analytical, contextual and competence-based allows for an opportunity to undertake a full-value complex analysis of the impact of digital culture on the formation of young people's creative activity. Results. The digital transformation of educational environment, in the author's opinion, manifests itself in the following trends: differentiated approach to designing the education system (at schools and universities) towards extending its models; transformation of education into a continuous process following the growth of new knowledge and the need for permanent updating of knowledge and competencies. The teacher's functions are also changing - the pedagogue now acts more frequently as a tutor and instructor. Digital transformation of the educational environment also implies a new level of responsibility, new models of education; the above is rooted in the fact that a graduate of educational institution should not only be professionally competent and creative, but also be in demand in the labour market. Discussion on the results. Culture and its transformation in the conditions of globalisation and digitalisation is covered by research of scientists representing various fields of knowledge (Russian and foreign), which makes it possible to hold an interdisciplinary discussion on the impact of digital culture on the individual. The discussion materials make it possible to understand how digital culture influences the views on the meaning of existence, how it transforms the human life, helps to comprehend the new forms and methods of communication and education. Conclusion. The implemented research helps to outline the further ways of handling young people's prospects, formation of their creative activity in the conditions of digital culture development with regard for current requirements for the educational system. © 2023 LLC Ecological Help. All rights reserved

The Metamodern Trends in the Contemporary Opera Productions. Towards New Expressiveness

This paper focuses on the director's theater as an important stage in the evolution of the opera genre and at the same time an ambiguous cultural phenomenon. Due to the rapid growth of interest in opera in the last quarter of the twentieth century, the concept of director's opera, which owes its formation and flourishing to the postmodern condition, begins to spread in the West. At present the term director's opera is actively used in Russian art criticism. As a result, it was found that the majority of researchers of musical theater in their works associate this concept with the provocative nature of works and too speculative stage interpretations of operas, as well as apparent liberty in the treatment of classical heritage, leading to the destruction of the opera canon. Simultaneously, with the theoretical reflection of the phenomenon of director' opera, as a result of the major crises of the turn of the 20th and 21st centuries, as well as fatigue from the corrosive, destructing irony of postmodernism, the concept of metamodernism appears. According to the theorists of metamodernism, the new cultural paradigm aims to recode modern culture through art, and music was the first to embrace metamodernism that later on penetrated and conquered various cultural spheres. Defending its social significance and vitality, opera theater, following other art forms, changes its aesthetics, demonstrating trends associated with metamodernism, for instance allows for unexpected collaborations that welcome very different people to shine their otherness. As a result of the study of literature and empirical materials, the author concludes that the outlined intensions, which appeared in the period 2016–2018, can be considered as significant examples of the penetration of metamodern trends in contemporary opera theater. As the examples, the writer considers production of Verdi's opera La Traviata by Wilson and Arthur Honegger’s oratorio Joan of Arc at the Stake by Castellucci

Media Culture of a Globalised World: Evolution of Language Technologies

Received 4 June 2020. Published online 29 December 2020