World Cultural Research Articles

World Culture Heritage in sustainable development. The case of Wismar and Stralsund

Gradually realizing the consequences of development related solely to economic growth, modern cities are turning their attention towards the concept of sustainable development. Using the World Heritage Cities of Wismar and Stralsund as an example, this study examines how the concept of sustainable development relates to World Heritage status. This paper aims to identify what is the implementation of the World Cultural Heritage (WCH) protection program in urban policies and the limitations of sustainable development programs related to.The innovation of this research lies in the fact that the article considers how local governments make decisions regarding the implementation of WCH programs or sustainable development programs in cities similar in structure and historical past. The materials for the study are expert interviews with the author’s city administration, local activists, employees of museums and tourist centers, representatives of local businesses. Based on the obtained data, the main directions were identified why the city administration implements the WCH and restricts the sustainable development programs.The study showed that urban policies are formed in a situation where the status of the WCH cannot be considered solely as a benefit to the city. Today, the city administration sees the strategy of implementing the WCH program as more beneficial in the time perspective and implements sustainable development programs only with significant limitations.

Stablishment of cultural diplomacy of ukraine as a socio-cultural institute

The article presents the main factors of the institutionalization and development acceleration (from 2016) of Ukrainian cultural diplomacy. The author provides an overview of the historical way of the institute of cultural diplomacy of Ukraine becoming in 1918-1991. It is constated, that in the conditions of the new international relations paradigm approval – geoinformation (in which the main factor of the world policy system became the information flows and mass consciousness correcting) the eff orts on behalf of cultural diplomacy could improve the international image of Ukraine as an effective state, improve the competitiveness of the national art and cultural products on the world cultural market. It is considered the performance of the cultural diplomacy functions by the Ministry of Foreign Affairs of Ukraine for the national cultural product and information about the Ukrainian folk cultural- civilizational achievements distribution abroad. The author describes the complex of the special departments (institutions) in the structure of the MFA’ main body, Ukrainian diplomatic representatives, others cultural-informational institutes (foundations, unions) of the state and civil character. The article defines the main role for international-cultural communication development played by the Ukrainian Institute (UI) – the state organisation which presents the Ukrainian culture in the world and forms the positive image of Ukraine abroad. The author highlights such the main UI tasks as improving Ukraine’s recognizability in the world thru the distribution of the knowledge about Ukraine; Ukrainian language and culture popularization abroad; development of the international dialogue thru the international exchanges maintaining; ensuring Ukrainian participation in the cooperation projects in the sphere of the creatives industries, culture, education, science, economy and others; distribution of the Ukrainian civil society development, state-building, commitment to the values of freedom, democracy, national unity.

Cultural Self-identification in Terms of Bilingualism by Chingiz Aitmatov

The article deals with a phenomenon of bilingualism of Soviet national writers, who created their works both in mother-tongue and Russian language, and exceptionally in Russian. The brightest example of such kind of an artist is Kyrgyz classical writer of the second part of the 20th century Chingiz Aitmatov. The aim of our research was to define Chingiz Aitmatov’s cultural self-identification in a situation of bilingualism in his native Kyrgyzstan during Soviet times. The function of Russian language and culture for Chingiz Aitmatov’s creative works and author’s reflection concerning such issue as Russian culture as a mediator in familiarizing of small nations of the USSR with the world cultural heritage were also studied. Aitmatov considered the Russian language to be a “no compromise one” for USSR nations and small peoples in common Soviet informational space, particularly literary, in a process of integration to the global political, economic, and cultural heritage. At the same time, he put Russian culture in one cohort with the leading world cultures. According to Aitmatov, Russian cultural space had a great influence on the development of Soviet nations of Central Asia and became a mediator in a process of integration of small nations into the global cultural space. The Russian language was a helpful tool for acquaintance with the ancestry of world cultures.

Art Of Modern Uzbekistan: The History Of Its Development During The Years Of Independence

The article is dedicated to the history and development of culture and art of Uzbekistan, its traditions, at the origins of which were the leading Russian artists who came to Uzbekistan and forever interconnected their work with this land. It informs how the cultural heritage was formed in the process of formation and development of national identity, constantly enriching its own and world cultural experience, who gave the world the pinnacle of artistic achievements and an integral part of world culture.

Conceiving of Contraception: World Society, Cultural Resistance, and Contraceptive Use, 1970–2012

AbstractTaking world society theory as our point of departure, we examine the effect of world culture on contraceptive use rates around the world. World-cultural rhetoric frames contraception as a necessity for economic development, a human rights issue, and a women’s health matter. Using data on contraceptive use among married women for a sample of 159 countries over the period from 1970 to 2012, we find that linkages to all three sets of discourses are associated with increased use of modern contraceptive methods, over and above countries’ sociocultural and economic characteristics. Nevertheless, we also find that world society influences vary across major cultural zones, defined in terms of predominant religions and geographic regions. World cultural effects are strongest in Orthodox Christian, Hindu, non-Western Protestant, and sub-Saharan African countries. There is no effect in Western and East Asian countries, where contraceptive use is comparatively high, or in zones such as non-Western Catholic nations, where the unmet need for contraception is often greatest. Compared to development and women’s rights rhetoric, health-based frames appear to have the broadest and most effective reach across cultural divides. Overall, however, we find that world society processes tend to produce cross-cultural convergence in contraceptive use rates.

Chekhov’s Discourse of World Culture (To the 160th Anniversary of A.P. Chekhov’s Birth)

The purpose of this article is to prove that world culture, whether it is a picture of the world in its generalized quality or specific artistic practices in different types of art, still remains under the unabated influence of A.P. Chekhov’s personality and creativity. This applies not only to his characters, life conflicts, or individual artistic and aesthetic techniques, but also to the meaning-setting, qualitatively changed by A.P. Chekhov, which we define as “Chekhov’s discourse”. It is understood as a frame of reference in which intercultural communication takes place, and designated by a cultural matrix with its inherent codes and sometimes unexpected meanings, born of decades of Chekhov’s attention and understanding.The author believes that the main features of Chekhov’s discourse of world culture are: the creator’s penetration, unique by its depth and paradoxical nature, into the social and moral world of man (a kind of “diagnosis”); the conceptual integration of the intertext and context of individual creativity and world cultural experience; and the formation of aesthetic foundations for the art of absurdity as a characteristic cultural phenomenon of the Chekhov and post-Chekhov eras.The “diagnosis” was a product of Chekhov’s unique intellectual insight and intuitive talent. The property of Chekhov’s diagnosis, and the explanation that there were no recipes, is the presence of Chekhov’s figure and his picture of the world in the cultural continuum. The continuation of Chekhov’s thoughts and imaginative systems, with all their details and models, are several layers of creative “products” created in different types of art and in different periods that have passed in the life of mankind after Chekhov.Chekhov’s intertext is a dialogue between a Russian person and other epochs and authors; this dialogue is not without irony in relation to the “interlocutors”, to the subject of discussion, to life itself, a source of unexpected associations and ideas about the paradoxical connections of life and being. The author believes that Chekhov’s context as a semantic facet of Chekhov’s discourse has been manifested primarily in those connections and influences that were and continue to be of a personalistic nature: researchers from different countries, followers in his creativity.In the space of eternity, against the background of paradoxical cultural trends, a phenomenon has been formed that we previously designated as the concept of “Russian absurdity” first introduced into scientific circulation. On the one hand, Chekhov’s discourse of world culture, had unobtrusively introduced into artistic practice the principles of alogism, mutual misunderstanding, alienation, ironic discrepancies of everyday manifestations and details, on the other hand, it had marked the existence of ordinary people in the space of eternity, in an empty and dangerous, alien and incomprehensible world.

Architecture of Antique Theaters as an Element of the World Cultural Landscape

The article deals with the history of development of the antique theatrical architecture in the context of the environment that forms the territory acquiring the status of a cultural landscape. The material of antiquity is interpreted in the aspect of the formation evolution of theater buildings, ranging from ancient Greek to ancient Roman, which, despite being in ruins, amaze us with their large-scale and unspoiled architecture. The article attempts to systematize the valuable evidence of the past, material (theater architecture) and non-material (theater art), since the repertoire is alive as long as it is performed, and the theater architecture remains to posterity. There is considered their relationship in space and time. The study’s methods (descriptions of the phenomena under study, field observation, problem-historical analysis) made it possible to focus on the construction specifics of the theater buildings located in open spaces representing cultural landscapes — vast areas of co-creation of man and nature. Over the epochs, the theater architecture, designed for spectacular performances and connected with the environmental factor and acting art, was transforming, just as the theater itself was changing, sometimes within a single performance on a single stage. Fragments of the lost cultural experience are today open systems in associative, semantic, historical aspects, as well as in terms of objects reconstruction. They form an attractive and popular place that goes beyond the limits of urban planning conditions and has the property of an important public space. The composition of theater construction and the principles of shaping that formed in the ancient period had a great influence on their subsequent development and have been preserved in modern design solutions. In this context, the experience of interpreting the architectural monuments belonging to the theatrical art has a great cultural and educational value, not only in terms of reconstructing the lost stratum of cultural heritage, but also, to a greater extent, in modeling a new vision of the emerging architectural culture of the world.

Use of the regional research component in teaching the History of Ukrainian Culture

The article emphasizes that the History of Ukrainian Culture is a component of the humanitarian cycle of disciplines; that a successful use of region-related history materials in the course of its teaching is ensured due to their cross-curricular nature; these materials increase learning motivation. It is noted that the discipline “History of Ukrainian Culture” combines the study of culture history and current trends of socio-cultural development of society in the context of globalization and modernization. It is aimed at developing students’ intention to get involved into the native culture, to respect a person as the main value, regardless of nationality, religion, place of residence. The development regularities of the Ukrainian culture in the context of socio-historical circumstances as well as the panorama of national and world cultural processes and their main stages, specific phenomena of the national Ukrainian culture are the object of the course studies. The experience has shown that appealing to the origins and current state of Ukrainian culture, especially taking into consideration the regional component, arouses keen interest of education seekers. The acquired knowledge remains in memory, performs educational function, arouses further interest in learning the history, culture and traditions of the native land. One can say without any exaggeration that knowledge of the culture history of your own people, your country, and your native land enhances personality, forms values, and cultivates dignity in man. It is assumed that the use of region-related history materials at lectures and seminars makes it possible to talk more convincingly, illustratively, vividly about the major milestones in the history of both national and world culture, contributes to the patriotic upbringing of students. At present, the issues related to scientific and methodological substantiation of the use of the region-oriented materials in teaching the History of Ukrainian culture in order to generate the culture of patriotism seem to be topical.

Problems of Abai Studies in an International Context

In celebrating the harmony of world cultures, every nation or nationality is able to offer something of value to the world community. One of the great intellectual and cultural figures of modern Kazakh society is Abai Kunanbayuly. Abai’s deep artistic heritage is well known at the international level, and we regard this humanist thinker as a contributor to the world cultural community. Today, his legacy is being thoroughly studied in the direction of humanitarian sciences. Despite the number of researchers in the field of moral values and the study of the heritage of Abai, much remains to be explored. In particular is the question of Western society’s reception of Abai, as well as the question of his recognition in the Turkic-Kazakh world in the field of moral values. This article analyzes the works of western scientists who pointed to the role of Abai in Western culture. The aim of the article is to summarize the historical place of the Kazakh society in the world space, the inexhaustible values of Kazakhstan and Central Asia, its recognition as the values of world civilization in the English-speaking cultural space. In order to achieve the results, historical, cognitive, systematic, and analytical research methods were used in this article. The conclusion of the article is that the modern Kazakh cultural heritage in its new content occupies a significant place in the modern world and is thoroughly studied in the Humanities. Key words: Abai, Kazakh, thinker, nationality, idea, culture, values, harmony, prosperity.

DISCURSUS OF MANAGEMENT OF TAMAN AYUN TEMPLE AFTER UNESCO DETERMINED AS A PART OF WORLD CULTURAL HERITAGE

UNESCO made a movement to establish Taman Ayun temple as world culture heritage in 2012. Puri Ageng Mengwi as the owner of Taman Ayun temple considered revitalization of Taman Ayun is the way to preserve cultural heritage. The revitalization is also for beautifying Taman Ayun temple in order to give pleasure for visitors, it continuing from 2013 until 2016. However, the revitalization emerged many pro and con between Mengwi and Gulingan villages, part of society felt ignored and disturbed. For example, the “pekaseh”, Puri Mayun Wed and Kaleran, merchants in Tenten market, and Badung Goverment. Theoriticaly, Taman Ayun Temple as world culture heritage should give advantages for society surrounding, but in this case, farmer’s members of Subak Beringkit and Bukti Batan badung did not get any compensation from UNESCO and Taman Ayun. The condition showed up many difference point of view, each sides conveyed their opinions and strongly defend their thoughts. This condition was very interesting to study the form of discourse, ideology behind discourse and implication of diskursus in reality. The researcher got all of those diskursus from interview, observation, and newspaper. This research used qualitative method by collecting data through observation, interview and documentation from newspaper. Data analyzed using hegemony theory, relasi kuasa theory, and kuasa pengetahuan theory. Those three theories as the base in researching to uncover the problems in diskursus. The result of the reasearch pointed out the differences of ideology behind diskursus management of Taman Ayun temple after UNESCO establish it as one of world culture heritage. 
 Keywords: manufacture, diskursus, Taman Ayun temple, world cultural heritage.

GLOBALIZATION AND WORLD CULTURE OF XX – BEGINNING OF XXI CENTURIES: ACHIEVEMENTS, PECULIARITIES, PROBLEMS AND PERSPECTIVES

The article is about the modern world cultural processes – globalization in the culture sphere of XX – the beginning of XXI centuries in the context of its achievements, peculiarities, problems, perspectives. A brief excursion is made into the formation history of cultural researches, being radically changed in the beginning of XX century. The characteristic features of cultural globalization, according to its directions: the popular (mass) culture, modern world currents in art, the counter-culture as the opposition to the official culture and also the contents, peculiarities, the points of touching and understanding, the tendencies of modern world cultures and civilizations: Christian, Confucian, Islamic, Indian, Japanese, - are lighted up and analyzed. We discuss separately the postmodernism estimations of the Ukrainian researcher Yaroslav Dashkevych, the influence of the postmodernist directions on the state of the modern global cultural process. The positive and negative aspects on the way to the formation of the new world social order, modern integration processes of the non-western cultures and the results of the world cultural integration today and also the concepts of “civilizations’ collision”, “civilizations’ resistance”, probable scenario of the world inter-civilization integration, the positive achievements and problems, the mankind perspectives on the way to the globalization of cultural processes are examined.

Gherghina Boda, The Convention concerning the Protection of the World Cultural and Natural Heritage (Paris, 1972) and Romania

The notion of the cultural heritage of humanity is relatively recent, but its protection and conservation date back to the Renaissance. Over time, this type of initiatives has been supported legislatively, which provided a legal framework, including the obligation to protect and rescue humanity’s exceptional natural and cultural assets. One form of legislation on the protection and conservation of heritage is the Paris Convention of November 1972 which, for the first time, brought to public attention the idea of World Heritage. Romania adopted the convention by Decree No. 187/1990. Since then, our country has managed to list eight UNESCO cultural and natural sites and with the promulgation of Law No. 410 of December 29, 2005, on the protection of intangible cultural heritage, it registered six other heritage elements, the Romanian culture thus occupying a well-deserved place among the cultures of the world. The 1972 Convention is important due to the impetus was given to the countries of the world to preserve, protect and promote their national values, but also to place them among other world property of exceptional value.

Программа «Память мира» ЮНЕСКО: оцифровка как метод сохранения для мировой культуры документального наследия

Данная статья призвана обратить внимание на документальное наследие как на полноправную самостоятельную часть культуры современного мира XXI века, века высоких технологий, проникающих во все сферы жизнедеятельности личности, общества и государства, со своими вызовами современному обществу и культуре в целом. Показана взаимосвязь между, культурой и последними современными достижения информационных, коммуникационных технологий и телекоммуникаций. Подчеркивается исключительная роль ООН как направляющей силы формирования устойчивого дальнейшего развития цивилизации, огромная роль ее института ЮНЕСКО как фундамента науки, образования и культуры в вопросах общемировой поддержки и сохранения мирового культурного наследия, в том числе и в цифровой форме. Международные акты последних трех лет констатируют, что деятельность ЮНЕСКО, как института ООН, учитывает современные глобальные вызовы и национальные интересы стран в сфере культуры и успешно продолжает координировать работу по укреплению мира и безопасности в нем за счёт расширения сотрудничества государств и народов, в частности, в области культуры как в классической ее форме, так и цифровой. В основе концепции ЮНЕСКО была и остается сохранность для будущих поколений все разнообразие культурных ценностей не зависящих от форм представления.

Statement of the Second World Cultural Forum

ABSTRACTThe World Cultural Forum, as a high-level platform for dialogue, was initiated by thinkers from various fields with both macro and micro visions. Paying close attention to cultural progressiveness and diversity across the world, this forum is an attempt to explore challenges that confront China and the world in terms of cultural development, enhance cross-cultural understanding and cooperation, and promote the development of the cultural cause of the entire human race. The Second World Cultural Forum was held on October 16, 2017, at the Chinese Academy of Social Sciences, Beijing, China, with the theme of “Cultural Diversity in the World and Socialist Culture with Chinese Characteristics,” and attracted 200 scholars from over 10 different countries around the world. After the one-day presentations and discussion, the statement of the Second World Cultural Forum was formed and agreed upon by all the participants present.

Baburnâmede Temel Fiiller Üzerine Notlar

Ghazi Zahireddin Muhammed Babur wrote his work in his mother tongue, known as Baburnâme, considered a valuable part of world cultural history. This prose text is among the masterpieces of the East Turkish which is generally called Chagatai language in Turcology. In the history of world culture, there has been a need to determine the basic words of languages since primitive but practical dictionaries and speech guides written for the languages of societies whose missionaries have been targeted by much earlier times. Undoubtedly in contemporary linguistics, the detection of the vocabulary lexicon has reached a more detailed and scientific level. The basic word that have been transmitted from one generation to the other and used to meet the most important concepts of human life have created an important field of investigation in terms of meaning changes in the historical process. The limit of the article, in which the basic verbs that meet the action field of the basic words are examined, is drawn with the “action verbs”

Indian Cinema: Past and Present

Indian cinema is a unique, original phenomenon of world culture with a rich history and deep roots. The dawn of the era of cinema in India is referred up to 1913, when the film 'Raja Harishchandra' by J.G. Phalke was shot. Further development of cinema going in different directions in several chronologically successive stages, and the most famous center of the film industry has gradually led Bollywood in Northern India. The early cinema works are not enough accessible to study, and the first stage is clearly traced in the span of 1940-1960s, when the plot has become the basis of the social problems of the society, directly connected with striving for independence. 1970-1980s were characterized by relative imperturbation in the country and the lives of the Indians, so the results of this time became widely known in the USSR and influenced on Russian melodrama. The first Indian TV-series wore melodramatic and mythoephic nature. In 1990s the process of globalization touched upon film industry in India. As a result the films underwent substantial Europeanization, but on the other hand appealed to domestic traditions and values, performing a kind of popularization and propaganda. There is a fully manifested characteristic of the Indian film industry mixture of genres called "masala". In 2000s the line of reasonable combination of modern trends with traditional culture and national originality of cinema went on. Currently, the Indian film industry continues to develop. Conservative technology combined with modern technical equipment are actively used in the shooting process and in the cinematic action. However despite this the cinema of India is a vivid example of conservation of the unique national art in a world cultural unification process.

Exploring World Cultural Development and Advocating Progressive and Diversified Culture—Review of the First World Cultural Forum

ABSTRACTThe World Cultural Forum aims to build a platform for discussing and exchanging ideas on world cultural development in a broad sense, so as to jointly oppose “cultural hegemony,” “cultural imperialism” and “cultural colonialism,” to advocate the advancement and sustainable diversity of world culture, and to promote the construction of a new world cultural order. The World Cultural Forum is to be held once every two years. The First World Cultural Forum was held in Beijing on October 18–19, 2015, with more than 160 experts, scholars and progressives in attendance. On the theme of “Progressiveness and Diversity of Contemporary World Culture,” the participants discussed world cultural development in general and ideological and cultural issues in various fields, exchanged ideas on the relationship between culture and human destiny, community and social progress, and issued “The Consensus of the First World Cultural Forum.”

On Cultural Progressiveness and Diversity: Address at the First World Cultural Forum

ABSTRACTThis is an address to the first World Cultural Forum on October 18, 2015, in which the following ideas are proposed with regard to the development of world culture: pursuing harmonious coexistence and promoting the mode of harmonious development; maintaining cultural diversity of complementarity and co-prosperity while resisting cultural hegemony; displaying the unique charm of Chinese culture on the basis of seeking common ground while respecting differences; advocating advanced culture and promoting the unity of cultural progressiveness and diversity; encouraging a balance of cultural ecology and building a new international cultural order.

A Review on the World Cultural Typology of Zhu qianzhi - On the base of three world cultures

A Review on the World Cultural Typology of Zhu qianzhi - On the base of three world cultures

The “Third Pole” film culture may dazzle the world with its unique and elegant artistic achievements

Regarding the multi-cultural patterns in the world today, the most influential cultures are the European and the American cultures, which can be called the ‘‘two poles’’ of world culture. With its grand tradition developed over thousands of years, Chinese culture can be called the ‘‘Third Pole’’ for its unique characteristics, as well as its influence on and contributions to the world. The Chinese culture influences, conflicts with and learns from European, American and other cultures, thereby forming a varied cultural landscape. The Chinese culture has an independent, deep-rooted tradition and exhibits continuing vitality. Traditional Chinese culture survived centuries-long, unyielding struggles and trials and, at present, requires reform and innovation. Exploring the road to a renaissance is the essence of Chinese culture today. This ‘‘Third Pole’’, independent of the other two, is constantly absorbing the world’s advanced cultures and going its own way and has already begun to show signs of flourishing. The ideas and feelings that this culture carries forward are consistent with the core values of traditional Chinese culture, which is based on the pursuit of ‘‘harmony’’, reflecting a new cultural paradigm and style of humankind in the process of modern civilization. As the carrier and expression of culture, the worldwide film culture similarly reflects world cultural patterns. The medium of film was born in Europe, and European and American films have constituted the mainstream of world cinema. Although European and American films are characterized by different features and influences, they are intertwined, forming two ‘‘poles’’ of world film culture. If European film stands as one ‘‘pole’’ with its artistic ideas and cultural expression, then American film is another important ‘‘pole’’ with its mature industry and great influence. Outside the mainstream film culture led by Europe and America, Asian films (including those of India, Japan, South Korea, and Iran), as well as the films of South America and South Africa, although developed independently over the years,