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POISTORĖ VIETOJ POSTMODERNYBĖS: J. BAUDRILLARD’AS

Author(s): Jovilė Kotryna Barevičiūtė / Language(s): Lithuanian Issue: 72/2007

This article represents a reflection on J. Baudrillard’s conception of posthistory – essentially different from nowadays so widespread conception of the end of history as a diagnosis of postmodernity. What is a difference between a posthistory and a postmodernity? The authoress asserts that an interpretation of history given by J. Baudrillard defines contemporary social and ontological existence in a much more precise way than theories of the end of modernity or postmodernity. Why is this so? It is so because of the fundamental category which organizes an interpretation of history by this thinker – the nihilism. The authoress of this article defines J. Baudrillard’s historical nihilism as a “transparent” one basing herself on the fact that the thinker applies a diagnosis of posthistory to media which has destroyed a reality rather than to reality itself. It is on the ground of above-mentioned category of “transparent” nihilism that problems of J. Baudrillard’s posthistory are being analysed. On the first part of the article an authoress reflects a role of media in contemporary world under an ontological point of view stressing a decay of binary opositions – a decay so pernicious for reality. In the second part conceptions of postmodernity and posthistory are compared stressing the fact that postmodernity treats contemporary epocha s a continuation of history whereas posthistory treats it as a situation outside the history. It is shown in the end that although a diagnosis of postmodernity regarding a contemporary epoch is particularly widespread it is not precise nevertheless. This is why it is proposed to substitute it for conception of posthistory arguing that times are fundamentally different from the rest of historical periods.

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NEGAILESTINGASIS SOCIALINIS DIAGNOSTIKAS JEAN BAUDRILLARD (1929–2007)

Author(s): Jovilė Kotryna Barevičiūtė / Language(s): Lithuanian Issue: 72/2007

In memoriam to Jean Baudrilllard (1929-2007)

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Ахматова и античная культура: о некоторых смысловых компонентах мифа о поэте в «поэме без героя»

Author(s): Galina Michailova / Language(s): Russian Issue: 2/2006

The article deals with the problem of the adaptation of ancient themes, motifs and images to A. Ahmadova's poetry. The author of the article refers to some of the ancient tragedies and the analogies of their application in the "Poem Without a Hero" peculiarities and structure of images. The author, analyzing a fragment of a "small poem without a hero" - the so-called multiple poetry - finds links to Plato's and Horace's texts. The direct and indirect approximation of the text of the "Poem Without a Hero" text with the philosophical and artistic texts of the Ancient Authors allows us to more precisely define the concept of ethics and aesthetics of A. Achmatova, reflected in this most important work of her. In the author's opinion, ancient texts are primary sources of culture, often understood by poets through the prism of later literature, can be regarded as the source of its so-called "masculine line" of its poetry.

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Славянофильский подтекст романа А. Платонова «Чевенгур»

Author(s): Aleksandr Dyrdin / Language(s): Russian Issue: 2/2006

The article discusses the philosophic Platonov’s novel "Chevengur" and analyzes the position of this writer as the successor to Slavophiles, since Slavophile views in the novel are presented in various contexts whose logical connection is different. Like Slavophiles, A. Platonov seeks to reveal the objective essence of the world, combining nature and spirituality. The writer's worldview contacts Slavophilic views in his efforts to distinguish between the Russian type of the fugitive of the truth, which accumulated the faith "as a power of mind" (A. Chomiakov). In the novel Chevengur A. Platonov portrayed various manifestations of the national character and developed a generalized image of the Russian Orthodox Church. The author of the article assumes that the concept of the unique spiritual concept of the Russian people and culture mission can be described, albeit not fully, by the creative philosophy of Platonov.

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Veganism 2.0: Gastromania, nutrition, and digital communication

Author(s): Simona Stano / Language(s): English Issue: 1/2021

The vegan population has risen significantly over the past decade, and is expected to continue increasing. Social media are believed to have played a major role in such a rise. According to a Google study (2018), veganism started to spread markedly in 2012, the same year that Instagram became popular, and has then grown in correlation with the expansion of the social network (with over 88 million #vegan posts out of a billion monthly active users and more than 500 million people using the platform daily today). Since 2016 conversations around veganism have increased also on Twitter, reaching nearly 20 million Tweets in 2018 and registering a further growth of 70% in 2019. Moreover, the number of Google searches for veganism has spiked from a popularity rating of just 17 out of 100 in 2008 to 88 in 2018. Functioning both as platforms for sharing and commenting on information and as effective channels for proselytizing, these and other social media have evidently extended the boundaries of the vegan movement, making it become one of the biggest contemporary food trends. This paper aims at identifying and describing the main cultural transformations and forms of life promoted by “veganism 2.0”, based on a semiotic approach particularly attentive to the analysis of the narrative level and the patemic dimension. To this purpose, the intersections between the so-called “gastromania” and other trends characterising contemporary foodspheres, such as “gastro-anomy” and the “ideology of nutritionism” are taken into account, paying particular attention to the gastronomic discourse in present-day digital mediascapes and the complex dynamics characterising them.

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#Foodporn: fetishized sharing of food and its images

Author(s): Francesco Piluso / Language(s): English Issue: 1/2021

Once translated into images, food acquires a broader meaning. Food is no longer merely something to eat, but to show, share and look at. The increasing amount of images and pictures of dishes on our social networks, associated with hashtags such as #foodporn, expresses this renewed social, communicative and provocative function of food. However, the exhibition of these images is quite ambivalent when it comes to establishing determined patterns of visual and social relationships with and between users. The aim of this article is to analyze and attempt to provide mediation to this ambivalence. The pornographic exposition of food images no longer presupposes a transitive form of consumption by the user, but becomes pure and self-reflexing spectacle. The images are obscene (Baudrillard [1981] 1994) and characterized by an excess of transparency on their object which abolishes any form of seduction (Baudrillard [1979] 1990). Barthes ([1980] 1981) defines this kind of image as unary. Pornographic images are an emblematic example. In terms of their self-evident objectivity, these pictures lack any punctum, any piercing sign of a relationship with or openness to the observer (see Eco 1962; 1979). Nevertheless, behind their apparent transparency, the images are always products of specific perspective cuts, and still able to convey mystery, meaning and involvement. The unary image of food is a further fragment in a series of multiple perspectives on the same object. Such potentiality is actualized in our (social) media culture in which sharing and continuous remediation of images and pictures of food constitute a complex storytelling of the object. This, in turn, fosters further participation by the users. The ambivalence between the indifference of the pornographic image and the involvement in the serialization of the detail is synthetized by the notion of fetishism (Baudrillard [1972] 2019). The social (and) media scenery seems to exemplify and radicalize a sort of commodity fetishism, in which social relationships between users are shaped and mediated by (social) media relationships between images of food.

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Gastromaniac. How (food) influensers create trust

Author(s): Kristian Bankov / Language(s): English Issue: 1/2021

In the first part of the paper, I shall offer a brief overview of a hypothesis developed in another publication, which explores the relationship between the primordial feeling of trust that each person’s face elicits to varying degrees and how this represents a type of capital for influencers. In the second part of the paper, I shall develop this model using theoretical know-how from the field of brand management, where a beneficial link between the influencer communication model and that of legendary brands emerges. Thus, for an influencer to build invaluable trust capital with his/her followers in the first place, he/she must start from the position of some passion or sacred beliefs which give authenticity to the core expertise underlying the influence being exerted. In this model, the communicative performance of the influencer and the quality of his/her narrative take centre stage. Credibility depends on the synchrony between these elements and the extent to which the constructed public influencer’s character is true to itself in its various manifestations. An explicitly or implicitly defined lifestyle is always present in the system. It provides concreteness and makes it easier for followers to compare and imitate.

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Semiotics of digital cacogastromania

Author(s): Gabriele Marino / Language(s): English Issue: 1/2021

Cucinaremale (“badcooking” or “cookingbadly”) is an Italian Facebook group created in 2014 which now (February 2020) counts more than 126,000 members. It was conceived to let members post their everyday culinary disasters and amusingly show solidarity with each other, while struggling in a cruel world where — as the official description suggests — everybody seems to have become a professional cook, capable of distinguishing even the different types of salt on the market: “Enough with this craze for cooking: hurray for pre-cooked food!”. The article proposes an analysis of the culinary ideologies at stake and a typology of the textual practices carried out by the cattivicuochi (“badcooks”). cucinaremale provides a true manifesto against the global food craze better known as gastromania — a true cacogastromania (“bad gastromania” or “mania for the bad food”).

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Semiotics, blogs and gastromania

Author(s): Francesco Mangiapane / Language(s): English Issue: 1/2021

The current culinary megatrend owes much to Internet socialization practices. Discussions online began very early (the boards of Chowhound, for example, have already been operating since 1997), which says a lot about how much the “great conversation” of online communities is linked to gastronomic discourse. This paper propose a semiotic assessment of such a connection.

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Gastromania on Italian TV

Author(s): Alice Giannitrapani / Language(s): English Issue: 1/2021

By turning on the TV, at any time of the day or night, one can come across programs in which food is the undisputed protagonist. Actually, the presence of food on TV is not a contemporary phenomenon, but it goes back to the origins of television. Over time, the way of narrating food has been transformed, as well as the role attributed to it and the values (gastronomic and social) associated to it. In this paper, after having traced a historical overview of Italian food television programming, we focus on the analysis of four recent programs. The objective is to understand how settings, rhythmic and temporal scansion, and the distribution of roles among the various actors involved configure narratives with well-structured mechanisms and convey different ways of understanding cooking, the role of the chef, and the relationship with the audience at home.

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Imagination and evolution of taste

Author(s): Reni Yankova / Language(s): English Issue: 1/2021

Taste is a complex biological, cultural and even psychological phenomenon. We can trace both significant differences and significant similarities in taste quite easily, if we observe human communities in different regions, countries and continents. For example, it is no surprise that most of us share a passion for sweet taste and might dislike bitter or sour. At different ages, people appreciate a variety of foods and drinks and preferences usually change due to physical and social exposure to a given diet. One thing that remains clear is that our taste constantly evolves, notwithstanding whether we discuss taste as a personal system of preferences or if we analyze it as a social convention of favoured sensory experiences. The evolution of taste is a multidirectional process and its roots can be traced back to biology, geography, cultural and social studies, religion, etc. However, in the current paper we will focus on a less examined perspective which seems to offer a fruitful research direction. How does thinking and creativity influence the evolution of taste? How important is our imagination in the taste formation process? Are we able to create an unprecedented dish or we are obliged to follow certain rules and predispositions in our creative culinary experiments? In order to answer these questions, we will start by looking at imagination itself. We will trace this idea back to Aristotle and Kant to define the essence of this controversial philosophical concept and to specify its function in reasoning. Then we will analyze certain aspects of creativity in taste, in order to observe the evolution of certain culinary tendencies. Last but not least we will focus on the influence of social media and the digital communication. Does digital living today improve the culinary imagination or not? Is the culinary evolution in the XXI century triggered by the social media and ease of access to information online?

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When food mobilizes emotions: reaching foreign and domestic audiences

Author(s): Loukia Kostopoulou / Language(s): English Issue: 1/2021

This paper aims to explore food films and their symbolism. Food is a way of creating national identities, and enhancing the sense of belonging. It also evokes the concept of ‘nostalgia’ and has the capacity to mobilize strong emotions (Mintz 1996). The semiotic analysis of food underlines how the biosphere and the semiosphere intersect in various instances of human life (Danesi 2004). In cultural settings, food symbolizes substance and conveys different meanings. This research material will focus on the analysis of images (food, culinary preparations and different eating events) as portrayed in Tassos Boulmetis’s 2003 film Πολίτικη Κουζίνα/ A Touch of Spice, and the domestic and international trailers of the film. The analysis will be based on Lotman’s notion of the semiosphere.

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Virtual tryvertising. Marketing strategies for empowered customers

Author(s): Federico Biggio / Language(s): English Issue: 1/2021

The aim of this study is to look at the experiential marketing strategy of virtual tryvertising, by analysing a specific case study: the augmented reality application Ikea Place. It provides customers with a set of tools to prefigure a virtual representation of a piece of a furniture within a physical space, in order to appraise its fitness in a prior time to its actual purchase, and hence to provide a benefit for him/her. The semiotic analysis will be carried out by taking into account the use practices prescribed by the application and the promotional discourses of the company. In particular it will look at two advertising videos which accompanied the launch of the application in 2013 and 2017. It will also consider the added value and the experiential gain for users that the adoption of this type of technology entails, in order to understand AR media not only as a mere strategy for commercial purposes, but as a tool for empowering the users’ appraising skills traditionally used in the context of a dressing room of a physical store.

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Marketing Semiotics in Digital Games: Myth’s Analysis in The Walking Dead and Heavy Rain

Author(s): Dinko Jukić / Language(s): English Issue: 2/2021

The paper analyses the significance of the role of parenting and guardianship in the digital games The Walking Dead and Heavy Rain. The aim is to present, analyse and explain the phenomenon of myth, mythical structures in digital games, culture, and brand identity. R. Barthes’ semiotic theory was used, which analyses constructs through denotation, connotation, and myth. The units of research analysis are scenes from the games that will be presented, described, interpreted, and understood by deconstruction analysis. In the first part, the phenomenon of myth is theoretically elaborated, and then the mythic structure in digital games is analysed. The focus is on myth as a phenomenon, which from a pedagogical point of view, shows the role of parenting and guardianship. Also, the analysis of the connotative sign shows the influence of the media on digital culture, but also on the creation of elements of brand identity of digital games. We will confirm these theses by analysing the content of the mythical structure. The unit of analysis is the mise-en-scène and refers to everything that interacts with the digital game and the player. The central concept is a semiotic analysis of the psychological concept of fidelity that is connected to the model of brand identity through the model of attachment. Finally, through a semiotic analysis of the attachment construct, the attachment construct from the aspect of brand identity is also presented. The brand was observed according to J. N. Kapferer’s theory and analysed at the message and sign level. The contribution of this study is manifested in an interdisciplinary approach to work through marketing, psychology, pedagogy, media theory and semiotics.

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Narratiiv ja topos Heino Elleri “Sümfoonilises legendis”

Author(s): Karl Joosep Pihel / Language(s): Estonian Issue: 81/2021

This article focuses on the narrative analysis of late-romantic instrumental music. Having adopted the structuralist-semiotic conception of musical narrative as proposed by Byron Almén (2008) as the transvaluation of an opposing hierarchy, and the concept of the musical topic as musical elements with specific stylistic-cultural associations, I analyse the expressive form of Heino Eller’s early symphonic poem “Symphonic Legend” (1923). Narrative logic was found to permeate the musical work despite its collage or suite-like form, as the composer introduces characteristic musical actors that re-appear in different musical contexts. These actors are largely distinguished by musical topics, the conventional stylistic associations related with their musical characteristics as Eller’s piece presents a wide synthesis of styles – from musical impressionism and expressionism to lyrical or chromatic late-romantic; and various topics, such as fantastic, ombra, apassionata, pianto, heroic, and pastoral. Further, I propose a layered narrative structure for the “Symphonic Legend”, as the jarring and abrupt changes in musical material, affect and topic between different movements of the piece suggest shifts in the level of musical discourse and a framed narrative, as proposed by Hatten (1994). The primary order-imposing hierarchy is identified as the pastoral-impressionist topic that acts as the introduction and coda to the entire piece while the transgressive hierarchy is carried by antagonistic musical material associated with fantastical and dysphoric topics (whole-tone scale, chromaticism, fanfare-like brass and ombra) and with the main theme-actor of the piece (a theme strongly resembling the main theme of the first part of Rimsky-Korsakov’s “Scheherezade”). While the pastoral beginning and end of the piece (1st and 11th sections) suggest a narrative trajectory of a romance or “the victory of the order-imposing hierarchy over the transgression”, the abrupt shifts that occur between those sections and the middle-sections of the piece suggest that these take place at a different level of discourse, placing the narrative weight in sections 2–10, where the primary conflict seems to be between the antagonistic material and the theme-actor. In the middle sections Eller seems to problematize the typical narrative trajectory of dysphoric to euphoric in 19th-century symphonic poems, as the theme-actor’s heroic apotheosis in the 9th section is undermined by its reprise in section 10 and ultimate inability to be united with the order-imposing hierarchy in the coda, suggesting an ironic narrative. This reading is hopefully the first of many narrative analyses of Eller’s and other Estonian composers’ unique late-romantic and early modern symphonic poems.

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История изучения теории знаков в Восточном языкознании и философии

Author(s): Sura Tariel Panakhly / Language(s): Russian Issue: 09/2021

The article considers the history of the development of the sign theory in Oriental linguistics and philosophy. In the course of the research, the author relies on the historical-descriptive method of linguistics to analyse the status of the sign theory in Turkic literary sources.

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Yoktan Bir Şey Yapmak: Noah Purifoy’un Junk Dada Sergisi ve Buluntu Nesne

Author(s): Aşkın Ercan / Language(s): Turkish Issue: 64/2021

Mechanization and technological developments, which gained momentum with the industrial revolution, have led to an increase in consumption at the same rate and the transformation of social and cultural dynamics. With the effect of this transformation, the artists reflected the impact of the culture industry, bourgeois life, and popular culture on social life materially and conceptually. The avant-garde art movements of the 20th century and the neo-avantgarde movements that followed have heralded innovation with a radical break from tradition in art and aimed to eliminate the art/life duality. Thus, the transformation of the art object and what the object means with this transformation have been discussed by the artists. Artist Noah Purifoy, who questions modernism and works critically on the new social order, has brought together everyday materials with the idea of "Making Something Out of Nothing" and his sensitivity to the tradition of making avant-garde art. Junk Dada exhibition is a retrospective of the artist's works produced with found objects for many years. The artist has developed a unique style and technique with found objects. This research focuses on the work of Noah Purifoy, who was influenced by political and cultural developments and transformed the object into an art form. During the research process, a literature review was done, and domestic and foreign printed sources were used.

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Ambalaj Tasarımında Minimalizm

Author(s): Merve Ersan / Language(s): Turkish Issue: 64/2021

Minimalism developed in the late 1950s as a reaction to the decorative art of abstract expressionism. Advocates of this movement in art and design emphasized purity, clarity and simplicity. Minimalism first showed its influence in the field of graphic design during the international typographic style era that emerged in Switzerland. In minimalist graphic design, sans serif typefaces, limited use of colors, dense negative areas and geometric shapes stand out. Minimalist designers aim to create objective and non-interpretive designs by eliminating all aspects of illusion and visual illusion and discarding the details that are not required to be used in the design. In this study, the use of the minimalist approach in packaging design was examined. In the field of packaging design, minimalism creates a contrasting approach with the dynamic visual language that consists of bright packaging materials, saturated colors, various fonts and three-dimensional typography that try to attract the attention of the consumer. In contrast to this traditional trend that is dominant today, minimalism strikes a balance between environmental considerations and the aesthetics of simplicity. In the examples examined in the research, it is seen that, minimalist packaging design products tries to create a sense of functionality, quality and in the consumer, as well as referring to ecology and sustainability issues.

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Міжмистецька теорія модернізму: роздуми над книгою Олени Корчової «Музичний модернізм як terra cognita»

Author(s): Mariia Vasylivna Moklytsya / Language(s): Ukrainian Issue: 3/2021

The purpose of the article is to analyze the theoretical aspect of the concept of musical modernism O. Korchova, to identify debatable aspects important for the creation of the inter-artistic theory of modernism. Methodology: used historical, cultural, and comparative methods, with the involvement of philosophy and psychology. The scientific novelty of the study is that the musicological concept of modernism is compared with the literary, which proves the need to create an inter-artistic theory of modernism, necessary in the practice of stylistic analysis of modernist works. Conclusions. An important achievement of O. Korchova's research is the search for a "stylistic formula" of each composer of the epoch. The artist is looking not just for a consonant style or form, but for himself and his style. Individual style does not arise from simple combinations of borrowed. Styles of modernism conflict with each other, to combine them, to avoid eclecticism, you need to find a way and a reason to combine. The way to find your style is never purely artistic, it is always vital. Modernists, putting art in the first place in aesthetics, discovered the concept of life creation, which distinguishes the modernist from the artists of previous eras. Life-creation is a special way of an artist into art, movement simultaneously in two dimensions, external and internal, their constant coordination and gradual transformation of oneself, with life and works together, into a cultural phenomenon. And if this happened - then something unique was formed, unique, completely individual, and at the same time universal, something original and holistic, something that will become a value for contemporaries and descendants, that is, the author's style. Just as it is not easy for every artist to find his style, so it is not easy for a researcher to find a formula for this style. But without such a goal, the study of creativity will be historiographical, descriptive, and rhetorical. It is important for every scholar who studies specific texts of culture to understand the trends of the era and the psychology of the creative process, all the laws that unite.

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Наративні концепти творчості сучасних Українських композиторів під впливом міфів або соціокультурного середовища

Author(s): Victor Ivanovich Stepurko / Language(s): Ukrainian Issue: 3/2021

The purpose of the article is to reveal the modern perception of the world, characterized by the accumulation of facts and events that cause confusion and distrust in the creative personality of new contradictions, discrepancies with real life, forming his creative thinking in a mythological way, based on combinations of different levels of perception. The methodology of the study is based on the studies of R. Bart, K. Bremon, AJ Greimas, K. Levi-Strauss, J. Lotman, W. Propp, P. Reeker, and other scholars who have considered the principles of narratives in the mysteries of the archaic era in historical and cultural orientation, to identify in them common or different from modernity. Narrative concepts of contemporary Ukrainian composers are also considered in the context of research by M. Bakhtin, E. Benvenist, B. Gasparov, E. Paduchev, and others, as a ratio of myth and narrative, given the commonality of metaphor, imagery, and symbolism. Scientific novelty. It is established that the narrative message is an expression of the authors 'desire: to return to the public space the introverted ethos of mystical suggestions of ancient erotic myths, the revival of ancient mythologized historical images, mythological narratives of the "living soul of nature ", synthesis of avant-garde ideas and pagan folklore, pagan mythology and secret rites of Carpathian molfars (magicians), the formation of narratives that are not related to any confessional style of Christian churches, expressing their own understanding of the concept of spirituality, etc. Conclusions. It is found that the narrative understanding of the world in all areas of civilization: in myths, legends, fairy tales, music, cinema, etc., is based on the formation of certain areas of personality behavior as a result of interaction with the world. Completion of this process is marked by the structuring and awareness of one's own "I" as a self-narrator, developing in the social environment in a continuous creative movement.

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