Cultural Reception Research Articles

EMIGRATIONAL TRAUMA OF WAR IN VLADYSLAV IVCHENKO’S LITERARY VISION

The Russian war against Ukraine has been going on for 10 years and continues to influence the national culture in a very distinctive way. Over the past decade, this traumatic event has created a peculiar cultural discourse where literature has taken a special place. Its new stage, which began in February 2022, not only gave rise to an even more intense artistic reaction to the lived experience of Ukrainians, but also opened up prospects for new literary themes and methods of their interpretation. Trauma in its individual and national dimensions naturally became the central issue in such texts. Vladyslav Ivchenko’s book “After the 24th” clarifies and complements the discourse of the cultural reception of the war, describing its front and rear experiences in real time. The trauma of forced emigration, triggered by the full-scale Russian invasion on February 24, 2022, is a new problematic aspect that requires special attention. The author of the paper analyzes a new dimension of the emigrational trauma, related to the war experiences of Ukrainian refugees. Through the fates of three individual women, Vladyslav Ivchenko demonstrates the prospects of Ukrainian national trauma, which includes the loss of homes, loved ones, and, most importantly, the belief that the world and life could return to what they were before February 24, 2022. The trauma of forced emigration continuously offers new perspectives for understanding the behavior of a national culture during the war, particularly in the context of creating wartime literature, which is an effective component of the trauma recovery process. Literature plays an important role in this context, and Ivchenko’s book exemplifies this role most effectively.

Michelangelo Antonioni’s tetralogy of alienation on cinema screens in the People’s Republic of Poland: A study of the critical reception

The People’s Republic of Poland, an undemocratic state that existed from 1947 to 1989, was politically dependent on the Soviet Union. It relied on its cultural policy of heavily rationing access to products made in capitalist countries; few exceptions were made to this policy, but of them, Italian director and filmmaker Michelangelo Antonioni’s filmography was one of the most important, even though not all of his films were released to the Polish public until 1989. This article focuses on the critical reception of Michelangelo Antonioni’s ‘tetralogy of alienation’ in the People’s Republic of Poland during the 1960s and 1970s. Antonioni’s tetralogy comprises L’avventura (The Adventure), La notte (The Night), L’eclisse (The Eclipse) and Deserto Rosso (Red Desert). In this article, I examine how Polish critics grappled with the differences between the cinematic world depicted in these films and the realities of the ‘people’s democracy’ in Poland. I focus on the cultural reception of these films, utilizing reviews published in film magazines, cultural magazines and the daily press from the period.

“Can you guess what every woman’s worst nightmare is?”: Good for Her Film, and Contextualising Rape-Revolt in post-Weinstein America and Promising Young Woman

The #MeToo moment following Harvey Weinstein's sexual abuse allegations led to a change in the way we make sense of ra;e allegations within popular discourse. In film, changes to the discursive construction of women's rights movements became key to what Barbara Creed calls the Feminist New Wave cinema. The rape-revenge film inserts itself into this new landscape of social and online activism too, as it starts to evolve into a 'rape-revolt' narrative structure, which aims to treat rape within film as a source of political revolt and a way to challenge institutions which uphold rape culture. Promising Young Woman (Emerald Fennell, 2020) interrogates these changes to the public reception of rape culture within a post-Weinstein framework which allows for a nuanced perspective on rape-revenge, taking into account a flawed criminal justice system, corrupt institutions, and enablers' personal failures. This article argues that the Weinstein scandal and its consequence on public discourse have started to influence the ways in which cinema makes sense of rape, and furthermore situates films of the Feminist New Wave within a movement which social media users have called the 'Good for Her' film. 

Linguistic difference in the effect of organized programs on socioeconomic inequalities in breast cancer screening: ecological study in Switzerland.

The objective of this study is to examine how the effect of organized mammography screening programs on breast cancer screening participation differ between socioeconomic strata and how this relationship may be modified by the context of linguistic differences. Switzerland, marked by its diverse linguistic landscape, reflects cultural variations alongside differences in public health strategies. The goal of this study was to assess potential socioeconomic differences in regional mammography screening programs effectiveness to improve breast cancer screening participation. Data on 14 173 women in the regionally adapted breast cancer screening age range was drawn from five cross-sectional waves of the nationally representative Swiss Health Interview Survey (1997-2017). Socioeconomic indicators included education, household income, and employment status. Poisson regression was used to estimate the adjusted prevalence ratios of up-to-date (last 2 years) mammography uptake. Inequality was assessed using relative index of inequality and the slope index of inequality. Organized screening programs were generally effective and increased up-to-date mammography uptake by close to 20 percentage points in both regions. While in the Latin cantons, screening programs had no impact on socioeconomic inequalities in screening, it reduced inequalities for women with lower education in the German cantons. This modification effect of screening programs was not seen for income and employment-related inequalities and did not differ across linguistic regions. Public health agencies should consider the different cultural reception of programs as addressing these differences could help ensure that breast cancer screening initiatives are not only effective, but also culturally equitable across different socioeconomic groups.

Cultural encounters between Kaehwagi Chosŏn and modern France represented in the works of Kim T’akhwan and Sin Kyŏngsuk

This paper investigates the diplomatic ties between Chosŏn and France during the Kaehwagi period, an enlightenment era in the Chosŏn Dynasty, through a comparative study of historical novels by Korean writers Kim T’akhwan and Sin Kyŏngsuk. Both authors feature Li Tsin, the first woman of her time to travel to Europe, who undergoes a transformative journey from a conservative Chosŏn lady to a modern, independent figure under the influence of French culture. The paper examines how Li's story reflects the complexities of a society caught between imperial powers and the role of modern Western culture in Korea. By analyzing the perspectives of major contemporary Korean writers on the notion of “the Other,” which represents the West and French modern culture, the study explores the significance of Li Tsin's life experiences and their impact on Korea's perception of the West. The paper aims to uncover the post-Eurocentric perspectives that have persisted from the Kaehwagi period to the present, and how the contemporary culture of France allowed for independent reflection, breaking romantic conventions and enabling an autonomous reception of French culture in Korea.

The Game-Like Experience of Virtual Reality Art: Sensational Players and Critical Audiences

This article delves into why audiences perceive virtual reality (VR) art as a game-like experience and how it impacts audiences’ reception of culture by examining two VR art pieces and their respective audience responses in focus group discussions. Through qualitative analysis, two factors are identified: the cognitive association of VR with gaming due to audiences’ preconceptions about VR, and the immersive environment of VR creating the “magic circle” that fosters the sense of play. The study argues that the intersection of VR and art generates the affordance allowing audiences to “play” with culture. However, the “not-serious” feature of play in VR may work against the norms and mores of a specific culture in the real world, especially when it relates to religious or ethnic culture. This article sheds light on the implications of the game-like experience in VR for creating VR applications beyond gaming, particularly in art and cultural heritage.

The Images of Jesus and the Virgin Mary in the Early Qing Collection of Taoist Immortal Stories

The book Lidai Shenxian Tongjian (The Comprehensive Mirror of Immortals Throughout the Dynasties), a compilation of Taoist narratives from the early Qing dynasty, contains a dedicated section on “The Life of Jesus,” accompanied by two images portraying Jesus and the Virgin Mary. “The Life of Jesus” is believed to have originated from Gaspar Ferreira’s Nianzhu Guicheng (Rule for the Recitation of the Rosary) and Diego de Pantoja’s Tianzhu Yesu Shounan Shimo (The Passion of the Lord Jesus). The narratives and images of Christian content within Tongjian showcase the influence of Chinese Ming–Qing Taoist immortal stories and the indigenization of Christianity that resulted in a fusion of Chinese and Western cultural elements. Multiple versions of the accompanying images exist in different editions of Tongjian, indicating an evolution in the depictions of Jesus and the Virgin Mary. Through a comparative analysis of these images and their variations, we can glean valuable insights into the Qing dynasty editors’ reception of Western culture, shedding light on the process of localizing Christianity during the Ming–Qing period and emphasizing the significance of the cultural exchange and mutual understanding between Chinese and Western civilizations.

Intersecting language and society: a prototypical study of Cinderella story translations in China

The stories of Cinderella, highlighting the theme of kindness, are classic children’s literature worldwide. In China, the translation of the Cinderella stories has been listed in the Chinese textbook series launched in 2004, exerting a profound influence on generations of Chinese readers. This study investigates how Huiguniang, the Chinese counterpart of the character Cinderella, has become a household name among Chinese children. By examining the changes, correlations, and shifts of their prototypical features under the framework of the Aarne-Thompson-Uther classification in the three Chinese translations of the Cinderella stories and the ancient Chinese folklore The tale of Ye Xian, the study examines how factors such as external stability, internal dynamic trade-offs, and the iterative nature and empowerment of translation have popularized and canonized Huiguniang in China. The study further extends its focus within the broader context of discourse studies, embracing the intersections of language and society, as it brings to light the intricate dynamics of translation, empowerment, and cultural reception.

Displacing perspectives on Renaissance: Cultural translation and the politics of Italian literature at the onset of the Cold War

ABSTRACT While the popularity achieved by several Italian cultural objects in the United States during the aftermath of World War Two has been largely acknowledged, the meanings these artefacts took on in their new cultural context are yet to be understood. To unravel the complex, multi-layered processes of cultural translation at play in transatlantic transfers at the onset of the Cold War, this article explores the U.S.-American reception of Italian culture from the vantage point of translated fiction. Retracing the public discourse around new Italian books in the United States means to recognize the emergence of a new framing narrative, that of a novel Renaissance taking place in Italy after the end of the Fascist period. Understanding the concept of a new Renaissance from a transnational perspective, at a time in which the public discourse was being reorganized across all media in response to the new geopolitical order, allows us to identify the politics of newly translated Italian fiction in the U.S. I argue that, through its framing, Italian fiction was made an ally in the cultural Cold War, coming to represent Western democracy, freedom, and creativity.

Переводческий комментарий к роману Л. Н. Толстого «Воскресение»: на материале китайского перевода Жу Луна

The aim of the study is to determine the typology and functions of the paratext of translation commentaries in the Chinese translation of Leo Tolstoy’s novel “Resurrection” made by Ru Long (1916-1991). The paper proposes a scientific definition of a translation commentary as a paratext, as well as a classification of 273 translator’s commentaries based on statistical, linguistic and typological analyses. The scientific novelty lies in the fact that the paper is the first to highlight and analyze the complete corpus of commentaries made by the translator of Leo Tolstoy’s novel “Resurrection” into Chinese and to determine their important role in the context of the foreign cultural reception of a classic work of Russian literature. As a result of the study, it was found that Ru Long’s translation commentaries perform an essential explanatory and descriptive function and contribute to the understanding of the meanings of the novel by potential readers. The proposed classification makes it possible to systematize all the variety of commentaries and identify their strategic importance as a paratext for the interpretation and foreign cultural assimilation of a translated work.

Hopeless Romantics: Australian Studies in Romanticism

ABSTRACT For most of the twentieth century, Romantic writers were largely ignored by serious Australian scholars even as they were celebrated and imitated outside the academy. This article tracks the belated emergence of Romanticism as a specialist field of study in Australia while providing what is often a counter-narrative about the broader reception of Romantic literature and ideology by the Australian public. In tracing these contrary yet entwined histories, the article shows how Romantic literature has been and remains implicated in the ongoing project of Australian colonization from 1788 to the present. It has been conscripted into the work of establishing a series of penal colonies on stolen Aboriginal land; of valorizing an English-speaking territorialization of that land; of shaping settler subjectivity; and of defining a national identity often vexed in its relationship to anglophone cultural centers. Exploring the ways in which the reception of Romantic culture is diffracted across various Australian sub-cultures, the essay arrives at the field as it exists today: at a critical Australian Romanticism that is, and needs to be, increasingly attentive to the history of the field and its investments in the settler-colonial state.

LINGUOPOETIC ANALYSIS OF BAROQUE UKRAINIAN ELEGY "CUPIDO SEU AMOR ALATUS" BY ILARION YAROSHEVYTSKYI

Background. Latin baroque literature of Ukraine represents inheritance and unique interpretation of classical and medieval plots. Ukrainian poets and Ilarion Yaroshevytskyi, in particular, demonstrate their literary mastership and cultural reception of the time. His poem reflects the baroque worldview of distorted world and struggle of good and evil, spirit and flesh, Christian and pagan views, ascetic and secular life. The goal of the article was to conduct in-depth analysis of linguopoetic peculiarities of the poem in order to present the author's embodiment of the baroque worldview by the language means. Methods. The following methods were employed: method of linguostylistic and linguopoetic analysis, method of cultural interpretation, contextual and interpretative method, classification, systematization and generalization. Results. Analysis of the elegiac poem revealed the following linguopoetic peculiarities: 1) at lexical level – the use of mythological names denoting divinities and their epithets (Mars / Gradivus, Venus / Diona / Cypris / Erycina, Artemis, Lar); mythological characters (the Meduse Gorgon, Daedalus and Icarus, Eryx, Charybdis); 2) at syntactic level – parallel constructions / chiasm; inversion of the three types; 3) at stylistic level – direct speech; irony; repepetitions; comparisons; 4) at conceptual level – the oppositions of war and peace; secular and ascetic life; christian and mythological worldviews; spiritual and corporeal love. Conclusion. Latin elegy, represented in a poetic course "Cedrus Apollinis", contributed to the development of the genre in Ukrainian baroque literature and corresponded to the classical Latin samples. The poem demonstrates the author's awareness of mythological and medieval plots and their bizarre combination in elegiac genre.

THE CRIMEAN TATAR MUSLIM CULTURE OF THE LATE 19TH - EARLY 20TH CENTURIES: MYKHAILO KOTSIUBYNSKYI`S RECEPTION

The article examines Mykhailo Kotsiubynskyi’s reception of Crimean Tatar culture. In the 1890s and early 1900s, the author made several trips to Crimea, where he spent two years. The works that were written under the impression of these trips ("In the Shaytan's Chains", "On the Stone" and "Under the Minarets") are analyzed. They reflect the peculiarities of the author's perception of the political, social, and religious life of the Crimean Tatars and Islam. Attention is drawn to Mykhailo Kotsyubynsky's sufficiently good awareness of Tatar culture, especially for a person not native to Crimea. The narrative reflected on the pages of these short stories was present in the field of view of the Ukrainian audience during the Ukrainian-centric period, which in Ukrainian historiography is called "Ukrainian national revival". Back then information about the Muslim culture in the Ukrainian public discourse was represented in a limited way. Emphasis is placed on the presence of Ismail Gasprinsky`s Jadidism ideas in the Crimean society of the period. The importance of Mykhailo Kotsiubynskyi`s reception of the Muslim culture for the intellectual history and understanding of the perception of Islam by Ukrainians in the late 19th and early 20th centuries is explained.

The Influence of Sino-Japanese Zen Communication on Five Mountain Poetry: A Case Study of Zekkai Chuushin

Five Mountain culture, a unique Sino-Japanese exchange, shaped Japan's development via Zen monks. These monks in China and Japan infused Zen's allure into Japan, initially captivating aristocrats and later the masses. As Five Mountain culture spread, it met the ruling party's needs, blending Chinese culture with local roots to form a distinct Japanese culture. Zen monks, especially Zekkai Chuushin, who studied in China, played pivotal roles. Zekkai Chuushin's Zen mastery, appreciation of Chinese customs, and study of Ming Dynasty calligraphy and poetry influenced the spread of Chinese culture. His masterpiece, "Jiao Jian Gao," epitomizes Chinese poetry in Five Mountain, encompassing nostalgia for China, yearning for homeland, and critiques of Japanese politics. Zekkai Chuushin's works reflect a deep exchange between Chinese and Japanese Zen literature, illustrating China's profound impact on Japanese Zen during the Muromachi period. This study explores how Japanese Zen monks, especially Zekkai Chuushin, drew inspiration from Chinese poetry. Through analysis of his poems, the authors examine the influence and adaptation of Chinese poetry in Japanese Zen literature. The comparative analysis highlights similarities and differences with native Chinese poets, shedding light on Japan's reception of Chinese culture in the Five Mountain period. Zekkai Chuushin creatively embraced Chinese poetry, leaving a profound mark on Japanese literature, skillfully merging tradition with originality and enriching Japanese literary culture while preserving Chinese poetic heritage, showcasing Japan's connection to Chinese culture through the Han language.

Bequeathing “new sincerity” in the age of the homo digitalis: Confessionalism and authorial self‐consciousness in David Foster Wallace and Bo Burnham

AbstractThe notion of “New Sincerity” has become central to the study of David Foster Wallace's prose over the years. The present article explores how the tonal arrangement that characterises the movement has lived on to influence contemporary art, examining Bo Burnham's popular comedy musicals as a notable example of this influence. Wallace and Burnham's common stance concerning cultural reception is argued to be indissociable from their socio‐cultural setting, with the two authors articulating parallel responses to an ongoing, multifaceted process of massification of public opinion, as well as to the consequences to cultural poiesis therein entailed.

Transformation of the image of a mother woman in the visual culture of independent Ukraine

The relevance of the article lies in the analysis of the transformation of the image of a mother woman in the visual culture of independent Ukraine. The patriarchal stereotypical perception of femininity is being transformed in Ukrainian visual culture. Since Ukraine has gained its independence, the perception of the traditional role of women in society began to change under the influence of socio-cultural processes.
 The purpose of the article is to carry out a cultural reception of the image of a mother woman in visual culture as a reflection of socio-cultural dynamics in independent Ukraine. To define the peculiarities of female images in interpretive models of visual studios, to investigate the dynamics of the image of a mother woman during the years of independence, as well as to explain the culturally significant meanings of the variable spectrum of the image of a mother woman in the visual space of independent Ukraine.
 The methodology of scientific research is determined by the use of methods of cultural studies, history and sociology. The method of culturology allows us to reveal the specifics of the representation of female images in visual culture. The sociocultural method involves the analysis of the visual component of the Ukrainian Internet environment, as well as establishing the interdependence of visual culture and social changes. Historical method allows to trace the context of visual transformations.
 The results. It was proved that the image of a mother woman, peculiar to the traditional Ukrainian culture, during the first years of independence was transformed into the mythologem of Berehynia and personified the national idea. Throughout the 1990s, the image embodied the idea of state sovereignty. The period of the 2000s for mass culture was characterized by the depiction of gender-stereotypical images of motherhood and women in the role of a housewife with the emergence of the domestic violence problem. The Revolution of Dignity conditioned the narrative of struggle, which filled the image of a woman-mother with the concept of militancy. As a result of the political and historical processes taking place until today, the concept of motherhood was filled with motives of protection of one’s own land, sacrifice for the protection of one’s own child.
 The scientific novelty of the research. For the first time, the transformation of the image of a mother woman, represented in the visual culture of Ukraine during the period of independence, is considered.
 The practical significance. The results of the research can be used to study the modern visual culture of Ukraine, in further investigations of mass media and research of feminine images represented in the visual culture of Ukraine.

Southeast Asia and the Mediterranean World at the Turn of the First Millenniumce: Networks, Commodities and Cultural Reception

Archaeological materials from the Mediterranean world in Southeast Asia are scarce and their social context and cultural implications are rarely considered, while objects in Mediterranean style are often misinterpreted or overlooked. Concomitant to the increasing implementation of laboratory analysis, the range of new evidence, especially coming from recently excavated sites in Thailand and Myanmar, along with the reinterpretation of earlier data now brings the potential to compare different regions, and to discuss possible variations in terms both of the diversity and density of Roman materials. This study includes Mediterranean imports produced between the last centuriesbceand first centuriesce, as well as Asia-produced inspired objects that integrate Mediterranean elements to varying degrees, combining new data and re-analysed materials. The paper not only contributes to building the sequence of cultural exchanges, but also interprets in cultural terms the varying Mediterranean elements present.

Greek Perceptions and Receptions of Non-Indigenous Birds: Some Case Studies Regarding the Phasianidae

Investigating interactions between animals and humans has become increasingly prominent in the study of the ancient Greek world. How did the Greeks react to non-indigenous species of birds and adapt these into their local environments? As a contribution to this subject, this paper focusses on a series of related avian case studies: domestic fowl ( Gallus gallus), peacocks ( Pavo cristatus), and pheasants ( Phasianus colchicus). Using key pieces of textual and visual evidence, we not only investigate how these birds—all of which are part of the family Phasianidae—became acclimated to Greece but also draw significant conclusions about their reception in Greek society. We argue that these three species remained grouped together in Greek imagination and that their distinctiveness and foreignness were essential characteristics of their cultural reception despite varying degrees of integration (e.g., successful breeding) and utility.

R, Cultural Cultural Participation in a Pandemic Reality

The subject of the considerations was cultural participation in a pandemic reality and the resulting consequences and challenges for cultural institutions in Poland. Their identification was the main objective of the exploratory and problem-oriented article. The conclusions were based on rich literature, the results of research conducted by various specialized institutions in the form of reports and exemplification of selected practices used by cultural institutions in the field of access to cultural goods. The results obtained revealed changes in the ways and forms of cultural participation observed under the conditions of pandemic reality. The basis of their development is modern technologies that allow participation in culture in a hybrid way, allowing the reception of culture through online communication. In addition, based on the analysis, the key challenges facing cultural institutions in Poland were identified. The author’s intention was to identify possibilities for improving the activities of these entities in the new hybrid reality that most likely awaits us all in the coming years.

Sex, drugs and superbugs: The rise of drug resistant STIs

Antimicrobial resistance (AMR) presents a swiftly advancing challenge to a wide range of healthcare and health promotion practices. While rising rates of AMR share some dimensions across contexts, the specificities of field, practice, place and population shape – and at times hinder attempts to stem – the rising tide of this health threat. Sexually transmitted infections (STIs) are one area of healthcare where the threat of AMR has traditionally been met with lethargy. In this paper, we draw on a range of stakeholder perspectives across practice, innovation and regulatory systems in Australia, the US and the UK to understand and examine the evolving nexus of STIs and AMR, including the roles of cultural reception, professional practice and political traction. We argue for a critical sociology of the nexus of sexual health and evolving resistance, which will be instructive for comprehending inaction and informing future developments. We also note that part of this critical sociology must involve challenging stigma concerning sexual practices and people/groups, and recognising the role of communities in driving positive change.