Cultural Paradigm Research Articles

Content validity for an autobiographical interview for older adults.

To validate a proposal for an autobiographical interview oriented to the typical older adult. Questions for a semi-structured autobiographical memory interview were designed and a protocol for its application was developed. Fourteen Speech and Language Pathologists judges and 14 older adults were used. Additionally, 2 interviews were conducted. Subsequently, content validity was obtained by means of Lawshe's classic procedure. Also, using a complementary evaluation for comprehensibility and length of the interview, as well as a data triangulation procedure with the judges and participants of the pilot experience. Of the 22 items evaluated, only 4 were above the critical reference value (0.49). The need to incorporate this measure of analysis in the context of respect, identity and agency of older adults is discussed as part of a change in thinking under the gaze of person-centered care and a communicative competence model. As well as the need to incorporate different cultural paradigms and the use of digital technologies.

Феномен абречества на Северном Кавказе как форма социального протеста в конце XIX – начале ХХ вв.

Introduction. The article examines the features of the abrek movement in the North Caucasus in the second half of the 19th century, which is interpreted as one of the forms of social protest. The author casts doubt on the scientific perspective of attempts to determine the beginning of the abrek practice in the region. At the same time, the hypothesis about its origin and connection with the custom of blood feud is supported. Materials and Methods. The author shows how the ideology of abrechestvo changed depending on the socio-political and economic situation in the North Caucasian region, and emphasizes the ambiguity of the perception by the local population of people who took the path of robbery. The study is based on the analysis of texts by domestic and foreign Caucasian scholars and materials obtained from the archival funds of the Central State Archive of the North Ossetia-Alania. Retrospective, illustrative and personal biographical methods were used as methods of historical and political research. Analysis. The author of the article draws attention to the ambiguous perception of the phenomenon of abrechestvo and the attitude towards it by various social strata of the population of the North Caucasus, as well as the discord in its assessment by Caucasian scholars who occupied various socio-political positions. In the eyes of the poor, the doomed were defenders of justice, while for the official authorities and local elites they were bandits and criminals. Abreks are assessed by Russian revolutionaries (E. Eshba, A. Sheripov), who shared the ideals of Marxist teaching and defined abreks as fighters against oppression and defenders of the social lower classes of society. The author also examines the image of the «noble robber» in folklore, where the abrek is endowed with the most revered traits by the general public - generosity, courage, selflessness. However, for the most part, real abreks did not always correspond to the qualities that were attributed to them. Often, the arbitrariness of the robbers forced people to get rid of them, including helping the official authorities track down and eliminate abreks. Results. Based on the results of the study, it can be concluded that as a result of a fundamental change in the socio-political, economic and cultural paradigm in the North Caucasus, there are noticeable transformations in the practiced protest forms used by the population defending their right to identity. In the historical period under review, the abreks acted as defenders of «traditional values», sought to prevent the introduction of elements of capitalist modernization into everyday life, a certain part of the mountain society, the least prepared to accept the changes that were taking place.

Intelligenсe architectonics methodology: international language training of students

The intelligence architectonics methodology refers to personification principles model focused on creating the conditions for widening boundaries of language potential of a student in terms of intercultural communication based on emotional balance and comfort as well as intellectual capacity and ability development via varied activities in all stages of the human speech communication process within the “chain” of educational programs – at school, university, and at In-service institutions for specialists based on recurrent education. Given the intricacy of the dynamic communication process and its fundamental importance in human intercultural communication, this survey is intended to provide a comprehensive model of speech dynamics priority for addressing the following issues – how to consider the cultural paradigm that reads “from observation to generalization and replication through cooperation”. Special emphasis is on the social significance of language and cultural mission of educational organizations in the aspect of modeling the corpus of life-based integrative communicative situations in the security education and information space. In this regard the main principles of language education via teaching intercultural communication are in need of thorough investigation of the analysis-synthesis activities within the dynamic intellect and culture development.

From Poetry As the Excess of Language to Poems Generated by Artificial Intelligence (Poet As Researcher in the World of New Cultural Paradigms)

From Poetry As the Excess of Language to Poems Generated by Artificial Intelligence (Poet As Researcher in the World of New Cultural Paradigms)

Межпарадигмальность как состояние современной музыкальной культуры

The aim of this article is to define the problem of the “laminary” state of contemporary musical culture, in which various paradigms of artistic experience that have emerged and established in different periods of cultural history coexist and actively interact with each other. The cultural paradigm is comprehended as a complex hierarchical integrity formed by an internal unity of ideas, intuitions, and feelings that permeate the entire vertical of life. The classical and non-classical universal models of culture with their local-historical and metahistorical dimensions are present at the highest level of paradigmatic generalization. The internally heterogeneous classical paradigm reflects the demand for a creative attitude towards clarity, completeness, perfection, rationally comprehensible order and harmony. The non-classical paradigm, marked in musical creativity from the first modernist experiments to the postmodernist playing with the near and distant past, manifests the setting of “breaking down” traditions, overcoming the inertia of the past, as well as bringing in radical experiments in the field of sound and its organization. Against the background of the “fatigue” from postmodernism at the turn of the 20th and the 21st centuries in music scholarship, there are broad discussions currently happening of such concepts as post-postmodernism, metamodernism, and postnonclassics, all of which assert a breakthrough toward new strategies of art. At the same time, none of these tendencies that lays claim to paradigmatic significance reflects a holistic picture of the art of music in its aesthetic, stylistic, and linguistic plurality. Perhaps the important reason for this is the tendency to remain in the simultaneity of the different models of artistry. This way, it seems natural to examine the borderline artistic phenomena in the direction of interaction of paradigms. In order to determine the relevant processes in music culture, the productivity of the introduction of the term “interparadigmality” is substantiated. Among the key parameters of interparadigmality, the author identifies the simultaneous relevance of various cultural modes, aesthetic values, and genre-style models. Interparadigmality, which fixates the openness and mobility of the boundaries between different cultural models, corresponds with the concept of crisis (as being at the border), with the idea of “creolization” and “creolized systems” (the definition of Yuri Lotman), and the terminology of the “philosophy of instability” created by Ilya Prigozhin. At the same time, it is particularly interparadigmality, by bringing chaos to the borderline areas of paradigm interaction, which becomes applicable to the search for a holistic approach to contemporary musical realities.

Маска и душа: шекспировские образы в поэзии Элиота

Poetic and dramatic works by T.S. Eliot include numerous allusions to Shakespeare's plays, different collisions based on Shakespearean plots, theatrical techniques and settings of the great playwright, etc. This paper considers the ways and instruments of transforming and representing Shakespearean images in Eliot’s poetic texts, such as “The Love Song of J. Alfred Prufrock”, The Waste Land, “Marina”, “Coriolan”, etc. The important aspect of Eliot's reception is the appeal to Shakespeare’s heroes (Hamlet, Lady Macbeth, Ophelia, Pericles, etc.) as archetypes for creating his own poetic characters. The researcher identifies two main ways of transforming and representing Shakespearean images: masks and dramatic monologues (“dramatis personæ”). The characters in Eliot’s poems use Shakespearean masks as a means of self-identification (Prufrock), they are components of “compound” images (“a cubist woman” in The Waste Land). The dramatic monologues of Eliot’s protagonists are pronounced on behalf of Shakespearen heroes (Pericles, Coriolan). Shakespearean allusions in Eliot’s poetry are to expand the boundaries of the text, deepen the characters, include them into a certain cultural paradigm, etc. The analysis of Shakespearean images in Eliot's poetry allows us to understand the peculiarity of perception for Shakespeare and methods of poetic mastering of his heritage in Modernist culture.

Validez de contenido para una entrevista autobiográfica para adultos mayores

ABSTRACT Purpose To validate a proposal for an autobiographical interview oriented to the typical older adult. Methods Questions for a semi-structured autobiographical memory interview were designed and a protocol for its application was developed. Fourteen Speech and Language Pathologists judges and 14 older adults were used. Additionally, 2 interviews were conducted. Subsequently, content validity was obtained by means of Lawshe's classic procedure. Also, using a complementary evaluation for comprehensibility and length of the interview, as well as a data triangulation procedure with the judges and participants of the pilot experience. Results Of the 22 items evaluated, only 4 were above the critical reference value (0.49). Conclusion The need to incorporate this measure of analysis in the context of respect, identity and agency of older adults is discussed as part of a change in thinking under the gaze of person-centered care and a communicative competence model. As well as the need to incorporate different cultural paradigms and the use of digital technologies.

УПРАВЛЕНИЕ АРХИВОМ КАК ОБЪЕКТОМ КУЛЬТУРНОГО НАСЛЕДИЯ

The main purpose of the article was to present an archive as an object of cultural heritage. Since the 19th century the concept of cultural heritage protection has been taking shape in philosophy and international law, which, in addition to architectural, museum and library objects, extends to archival collections. In the late 20th century the development of digital technologies contributed to the elaboration t of a new approach, which involved not only ensuring the safety, but also the availability of cultural property for all. For the effective implementation of new approaches, the cultural heritage protection policy is being replaced by the cultural heritage management paradigm. The management of a cultural heritage site must be carried out based on a specially developed Management Plan. The main aspects of documentary heritage management are regulated by the UNESCO Memory of the World Program. The management of an archive as an object of cultural heritage is carried out through the creation of the projects aimed at promoting information on archives and archival documents in society. The activities aimed at popularization of archives in the Republic of Belarus became especially urgent in connection with the implementation of the national plan of events for the Year of Historical Memory in 2022.

Twentieth-сentury modern art: evolution and main trends

In the eighteenth century, Western civilization entered a historical epoch known as the Enlightenment, which established a new cultural and artistic paradigm of modernity. A German philosopher Jürgen Habermas remarked in this context: “The Enlightenment project formulated by the Enlightenment thinkers in the eighteenth century consisted in their desire to create an objective science, a universal morality and law, and an autonomous art based on their internal logic of development.” The following two centuries brought incredible diversity and depth to the Western art scene. They witnessed an unprecedented array of movements and creative originality. In addition, and in pursuit of the proclaimed ideal of total autonomy, twentieth-century artists revised the three most essential principles of art. The masters of modernism reinterpreted a traditional relationship between the means of representation and the object of art. They developed a new understanding of the role of the author in creating an artwork. And finally, they changed their view of the relationship between art and life. Those three features, in my opinion, comprise the substantive evolution of twentieth-century modern art.

Genesis and evolution of scientific and pedagogical knowledge

From the position of axiological and systemic approaches the paper attempted to reflect the phenomenon of scientific and pedagogical knowledge, which genesis, evolution and formation was carried out in the process of historical development of society, bifurcational socio-cultural changes, and intensive deployment of knowledge in technological paradigms. The consideration of the essence and stages of the formation of knowledge, the main trends in its production and formation through the prism of changing, expanding and improving the terminological apparatus reflects the meanings in the philosophical ego-text of scientists, the development of emerging educational practices, new didactic samples. The authors conducted a typological analysis of the concept of “knowledge”, which makes it possible to state its indisputable philosophical significance, unconditional semantic content, undoubted phylogenetic essence, in accordance with which the paper appeals to cultural and historical paradigms; to education as the most important means of teaching and educating the subject; to the architectonics of the experience of becoming a subject in education by building knowledge potential and developing a thesaurus in a historical aspect, which contributed to the expansion of the sacred landscape of the individual by unfolding his practice of social design. Through the study of analytical differentiation and the identification of the orientation vector of scientific and pedagogical knowledge in the historical aspect, in the modeling of the cognitive picture of knowledge, the paper considers the development of the knowledge paradigm in technological paradigms through the problematic field of their main resource, basic factors, fundamental achievements and sources of narratives, which contributes to the establishment of the social nature of knowledge through the discovery of its main types, character, generation paths, markers of maturity.

Intercultural communication in the modern cultural and educational paradigm within a changing world

Intercultural communication in the modern cultural and educational paradigm within a changing world

Новая архаика и современная мифопроза. Поиск большого нарратива

The developers of metamodernism argue that it will bring new grand narratives and universal concepts to replace the discreteness and fragmentation of postmodernism. This is precisely the task that Russian mythoprose of the 2000–2010s sets itself. Contemporary Russian mythoprose is developing a universal worldview concept. It refers to the systemic interaction with the world and the world as a system of systems. This understanding is peculiar to the Russian national mentality. Modern Russian mythoprose finds a new grand narrative in the appeal to folklore-mythological description of the world. And it reveals universal truths in the actualization of the systemic connection of man, nature and higher powers. Russian folklore comes to be the right ground for literary remythologization, so that mythoprosaic writers are often professional folklorists. Mythoprose also addresses the history, crossing the world and myth and continuing the traditions of modernist neo-mythologism. The new grand narrative of modern Russian mythoprose is the understanding of the world as a system of systems. Through this grand narrative Russian mythoprose comes to the construction of new relationships between man, nature and the cosmos with the concept of metamodernism receiving the status of a full-fledged cultural and philosophical paradigm. The present paper examines the theory of the metamodernist concept of “new archaic” and modern mythoprose, determines the genre difference between mythoprose and magic realism, novel-myth and fantasy as well as highlights the work of Russian mythoprose writers. Addressing the works of I. Bogatyreva, D. Bobyleva, A. Bushkovsky, A. Rubanov, A. Grigorenko, E. Nekrasova, A. Ivanov, D. Osokin, Sh. Idiatullin we trace how the metamodernist concept of universal world order is realized.

Caravaggio’s The Crucifixion of St. Peter

This paper explores conflations of martyrdom, spectatorship, and image theory in Caravaggio’s Crucifixion of St. Peter (1601). It argues that Caravaggio employs an “iconic” visual formula as a response to the pressures of a post-Tridentine poetics. Through these strategies, an iconography of immediacy and presence is paired with a sacrificial subject-matter. This merging united witness and visual experience in the shape of the sacred image. Martyrdom, as both a historical and representational phenomenon of early modern sociality and culture, invoked the act of spectatorship. In connecting the Crucifixion of St. Peter with the cultural and aesthetic paradigms of post-Tridentine Italy, the article argues that Caravaggio’s image re-imagines the codes of iconic repre­sentation. While not a novel academic context for Caravaggio scholarship, I will read this image less as the expression of stylistic tensions in the Roman artworld than as the result of overlapping frameworks—martyrdom, Petrine iconography, and a Counter-Reformation aesthetic. Reenergized as part of the visual rhetoric of Tridentine politics, the icon reflected a new propensity for paleochristian cultural revival. Discussing both the contextual pressures of this new aesthetic regime as well as intertwining it with the increasing presence of Catholic image treatises, the article suggests an “iconic” space for reading Caravaggio’s Crucifixion. This “iconic” framework is built into the charged discourse surrounding the image itself.

Security Implication of Mutual Police and Societal Corruption in Nairobi County, Kenya

This paper uses data collected for an MA Thesis on the security implication of the mutual police and societal corruption in Nairobi County, Kenya. The study was motivated by increased insecurity in Embakasi North constituency despite tight security in the area. This study attributed this to mutual police and societal corruption that this study sought to establish. This study was guided by the Erosion Theory (ET) of corruption explaining why so many potentially good people get drawn into the vice. The study used cross-sectional survey design and stratified random sampling techniques and enlisted, 196 respondents and 10 Key Informants (K. I’s). The main data collection methods were the questionnaires for the main respondents and interviews for K. I’s. The main data collection tools were the questionnaires and Key Informants schedules. Quantitative data will be analyzed with the aid of statistical package for social sciences (SPSS). This study unraveled both, Macro and Micro police contextual obstacles where the extent and implications of the state organs such as the legislature, executive, and justice sector institutions suggested corrupt political contexts, hence constraining policing function with criminological approaches to corruption. With reference to the second objective, the study revealed the main forms of police corruption in the area which included receiving bribes to; release suspects from lawful custody, assist suspects evade arrest, cover up criminal activities, reveal police operations; protection of illegal activities, evidence tampering & theft and disclosure of privileged Information amongst others. These forms of corruption benefited organized criminal groups, which were said to be potentially risky to an extent of disabling both individuals and entire institutions, besides seeking state capture; in polity and economy. Finally, the study revealed a deeper relationship between police and society corruption based on determinant factors such as culture (p=0.01), systemic failure of governance(p=0.01), and failed economy (p=0.02). Deeper insight of police corruption seems to draw from a society wide cultural corruption paradigm. This study recommends that recommends an anti-corruption approach that goes beyond targeting “bad apples” and adopt a systems approach. Further, Political will from a benevolent dictator with presidential degrees on matters corruption will help crush this cancerous vice to the nib.

Cathectic Mechanisms of Culture. Part 1

The first part of the article introduces a new research program that focuses on the constitutive role of emotions, affect, and their intensity in meaning-making. It opposes the existing broad tradition that effectively posits culture as information and sees cultural processes as coding, transferring, and processing information. I suggest that such a “cybernetic” paradigm of culture stems from the implicit or explicit domination of the computational models of cognition in sociology. However, current progress in cognitive neuroscience and its theoretical comprehension makes these models inadequate. The ongoing shift to distributed models of cognition calls for an adjustment of the concept of culture regarding its “vertical”, emotional dimension. Instead of seeing emotions as an “amplifier” of pre-existing cultural meanings or as a “fuel” of social processes, we should see emotions as an ingredient of an emergent synthesis that creates culture. The first part of the article introduces a historical-sociological reconstruction of theories recognizing an integral emotional dimension of culture; this is opposed to the entire sub-discipline of the sociology of emotions that broadly describes the mutual influences between social life and emotions as a human psychic trait. In the context of the ongoing debates about a cognitive turn in sociology, this historical-sociological reconstruction allows me to build a Durkheimian theory of cathectic mechanisms of culture based on the re-interpretation of the Freudian concept of cathexis. The article also contains the basic principles and implications of the sociological theory of cathexis.

Глобальные научные проекты

The article examines a set of scientific projects referred to the study of the prehistoric period of the Earth and the resurrection of extinct animal species using the characteristics of a global scientific project developed by I.T. Kasavin. The author reveals the unobvious connections between scientific and extra-scientific factors (such as media, utopianism, the influence of cultural paradigms, etc.), in particular, the influence of such scientific and cultural trends as posthumanism and global evolutionism was shown. The paradoxical nature of this set of projects is reflected by prospects and advantages associated with its implementation, what can be explained by the significant ideological and psychological component in its composition. The author considers the Pleistocene park in Yakutia awaiting its settlement by “resurrected” mammoths, as a Russian example of a global scientific project belonging to this direction. In addition to the identified by I.T. Kasavin characteristics the author proposes such a property of the global scientific and engineering project as the scientific and sociotechnical imaginary. The author briefly discusses a concept of the sociotechnical imaginaries in the context of the works by Sh. Jasanoff. As well the author consideres the scientific imagination (the concept of which is still based on Jasanoff’s ideas) and its role in science diplomacy using the work of S. Robinson. Finally the article concludes about the problematic points of using the concept of imaginaries in the study of science and technology (vagueness, inconsistency, lack of elaboration, if any possible) and makes a comparison of this concept with the idea of a global scientific project.

The Hlukhiv Children’s School of Arts as a component of the formation of professional music education in the Sumy Region in the Twentieth Century

The article is devoted to highlighting the process of formation of the artistic and educational component of the cultural paradigm of the Hlukhiv region of our time. The stages of the formation of professional musical education and the activities of its main carrier — the Hlukhiv Children’s Music School — have been studied. An excursion into the history of the creation of the Hlukhiv Children’s Music School was made and the prerequisites for its emergence were highlighted. As part of their analysis, the period of the educational process within the framework of estate culture and the gymnasium phase of Hlukhiv’s education is covered. The main material and technical problems that accompanied the process of establishment of the institution are highlighted. The main forms of music-making in the institution, the artistic network of the region, subject-specialist directions and the role of its educational activities are analyzed. The personal contributions of school leaders to the development of musical education are studied, and the statistics of musical education coverage of children of Hlukhiv Region are given. A parallel was drawn between the main tasks of the school and the professional direction of the teachers. The periodization of the formation of the Hlukhiv Children’s Music School has been developed.

THE SYNERGY OF BOB DYLAN'S REALITIES

The figure of poet-intellectual and musician-thinker Bob Dylan, who was awarded the Nobel Prize in Literature in 2016, has been systematically attracting the attention of researchers from different countries since the 1960s. Today, a powerful corpus of literary, linguistic, artistic, and cultural explorations has been formed, which examines various aspects of Bob Dylan’s work. At the same time, there are certain research problems, which are developed periodically and are revealed in fragments. One of these research problems is that the issues related to Dylan’s creative activity are insufficiently researched. This article analyzes the phenomenon of the prominent poet and musician, taken in a global dimension. This work considers the main components that made up the “secret formula” of Bob Dylan’s socio-spiritual success. In particular, the reality of the actual society, relayed by the figure and texts of the artist, is allocated firstly in the 1960s. The reality of the complexities of Bob Dylan’s own nature, represented by numerous socio-cultural manifestations of the poet-musician, is highlighted. The reality of historical values, embossed by Bob Dylan’s intellectual dynamics, is singled out and considered in detail. The reality of the cultural paradigm, within which his artistic development has been going on for decades, is also outlined.

Сюжеты и образы истории и культуры Дальнего Востока в романе Всеволода Иванова «Голубые пески»

This article examines Vsevolod Ivanov’s novel “Blue Sands” from the point of view of the episodes of the history of the Far East and its culture reflected in it. In the images of the three central characters of the novel – Commissar Vasily Zapus, Baron Ungern and Khan Chokan Balikhanov, having real prototypes in the history of the 19th – 20th centuries and created by the writer on the basis of documentary materials – Ivanov primarily emphasizes their great goal – the liberation of his people from external dependence and their unification based on a lofty idea. The analysis of the novel’s characters reveals these goals: for Zapus it is the embodiment of the idea of a world revolution in Red Asia, for Ungern it is the unification of the tribes of the Mongolian root into one Middle state, for Valikhanov – the revival of the Alash Horde – Great Kyrgyzstan. The legend of the blue sands introduced by the writer into the novel, which belongs, according to the classification of the researcher of the people’s utopia K. V. Chistov, to the “legends of the deliverers”, shows that the thoughts of all the heroes of the novel are unfeasible. The answer to the question why large-scale historical rescue projects and bringing people to the land of happiness by a certain hero-deliverer, cannot come true, Ivanov in the novel “Blue Sands” gives, relying on the traditions of folk culture of Siberia and the Far East. The article compares the perception of fortune-telling by sheep’s shoulder blades, common among some peoples of Siberia and the Far East, by the hero of the novel Valikhanov, who studied in St. Petersburg and who does not believe in the meaning of the rite and has lost his sense of homeland, and the lyrical characters of Ivanov’s poem “Zhauryn- Kora”, for whom the rite is part of a common cultural paradigms. The author of the article concludes that the writer in the novel leads the reader to the idea that the loss of a sense of connection with your people, their aspirations and customs embodied in culture, dooms to failure the best thoughts about the salvation of this people.

Art Critique in the Pages of the Newspaper “For Socialist Realism”

In the 1930s–1950s, there existed a truly unique publication in Leningrad – the newspaper “For Socialist Realism”, which was the official organ of the All-Russian Academy of Arts and later became the organ of the Academy of Arts of the USSR. It was also the press organ of The I.E.Repin Institute of the Academy of Arts of the USSR. It was published from 1934 to 1941, then its publication resumed in 1945 and continued until 1954. The newspaper’s pages reflected all the major events of the Academy during this period, connected both to the cultural strategies of the Soviet state and the internal life of the Academy. Artistic and critical issues were discussed in various publications by art historians, artists and educators. Among the authors of this time featured in the newspaper were I.I. Brodsky, A.M. Gerasimov, E.F. Gollerbach, I.E. Grabar, S.K. Isakov, B.V. Ioganson, A.L. Kaganovich, P.E. Kornilov, S.V. Korovkevich, N.N. Punin etc. This article analyzes the newspaper’s activity, critical articles of that time, their reflection of the cultural paradigm of the era, and provides an assessment of the work of individual representatives of Russian art.