Abstract
The purpose of the article is to determine the sociocultural determinants of the formation for interpretation systems of fashion activity as a factor in the global problems of our time. The research methodology has used the methods of fashion semiological analysis by R. Barthes and system-semiotic analysis of pop culture, advertising, and fashion by J. Baudrillard. Scientific novelty lies in the linguistic-semiotic interpretation of fashion as a cultural phenomenon. Conclusions. It was found that in the context of theatrical influences fashion has its own figurative feature, which is analysed as a specific discourse. The fashion space of the 20th century is the totallogy of scenism, which begins from a theatre wall, a ramp, a proscenium, and ends with an open-air theatre of large stadiums, festivals, and theatrical political battles. The philosophical-aesthetic and cultural dimensions of fashion are associated with the linguistic-semiotic direction of research, with a semiological turn. However, there is still no unambiguous interpretation of this turn. Some call it linguistic-semiotic, others semiological. Sometimes it is said that this turn actually reflected the dichotomy of the transcendental philosophy of Neo-Kantianism and the entire post-Kantian synthesis that arose in the 20th century, as well as the philosophy of dialogue. The article presents an analysis of discursive fashion practices of the 20th century.
Highlights
If the transcendental subject of the classics was monistic and carried one ascending “I”, that is, consciousness was defined as the unshakable harmony of the universe, the postmodern dialogism indicates the heterogeneity of culture subject or subjects living by interaction and dialogue
The fashion space of the 20th century is the totallogy of scenism, which begins from a theatre wall, a ramp, a proscenium, and ends with an open-air theatre of large stadiums, festivals, and theatrical political battles
On the one hand, it remains monistic, and on the other hand, it expresses the problem of the event interpreter, the interpretant, as well as the problem of sign connotations, which sometimes eliminate the monism of the ascending principle
Summary
The purpose of the article is to determine the sociocultural determinants of the formation for interpretation systems of fashion activity as a factor in the global problems of our time. The research methodology has used the methods of fashion semiological analysis by R. Barthes and system-semiotic analysis of pop culture, advertising, and fashion by J. Scientific novelty lies in the linguistic-semiotic interpretation of fashion as a cultural phenomenon. The fashion space of the 20th century is the totallogy of scenism, which begins from a theatre wall, a ramp, a proscenium, and ends with an open-air theatre of large stadiums, festivals, and theatrical political battles. The philosophical-aesthetic and cultural dimensions of fashion are associated with the linguistic-semiotic direction of research, with a semiological turn. There is still no unambiguous interpretation of this turn. The article presents an analysis of discursive fashion practices of the 20th century
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