Палімпсест як метафора пам’яті кул ьтури: своєрідність візуалізації
An analysis of the phenomenon of palimpsest as a metaphor for cultural memory is being carried out, which is caused by the change of its architectonic model in the culture of the XX - early. XXI century and enables the interpretation of culture as a dynamic text with firsthand, «source code», which...
| Publicado en: | Hileya: Scientific Bulletin / Gileya no. 134; pp. 285 - 292 |
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| Formato: | Artículo |
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GILEYA Publishing
2018
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=131063181&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 131063181 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 20761554 JDNT jtl: Hileya: Scientific Bulletin / Gileya issn: 20761554 maglogo: N pubinfo: dt: 2018 iid: 134 pid: 97258 pub: GILEYA Publishing artinfo: ui: 131063181 ppf: 285 ppct: 7 formats: fmt: @attributes: type: P size: 2MB tig: atl: Палімпсест як метафора пам’яті кул ьтури: своєрідність візуалізації aug: au: Пушонкова О. А. affil: кандидат філософських наук, доцент кафедри філософії та релігієзнавства Черкаського національного університету ім. Богдана Хмельницького, Вчений секретар Черкаського обласного художнього музею (Україна, Черкаси) sug: keyword: archaisation of culture cultural memory cultural metaphor cultural trauma cultural-traumatic discourse palimpsest visual culture архаїзація культури візуальна культура культурна метафора культурна пам’ять культурна травма культурно-травматичний дискурс палімпсест archaisation of culture cultural memory cultural metaphor cultural trauma cultural-traumatic discourse palimpsest visual culture ab: An analysis of the phenomenon of palimpsest as a metaphor for cultural memory is being carried out, which is caused by the change of its architectonic model in the culture of the XX - early. XXI century and enables the interpretation of culture as a dynamic text with firsthand, «source code», which is actualized in the context of the archaising processes as a «recall» of the first text. The features of visualization in art, in particular in cinema and painting, present the phenomenon of a broken perspective and a cinematic canvas; flicker of archetypal horizon, polylinearity of time: reverse movement, complexity, confusion, absence. In the cultural-traumatic discourse, traumatic fixation leads to the «obliviondisplacement » of the past, embodied in the meaningless principle of the collage, with its tautological procedural and images of «fragments», «debris», «rubbish» and «rubbish». Forgetting makes life possible «here and now», but challenges the historical dimensions of memory and its collective background, which leads to the phantomization of the past and the formation of its hybrid simulations. The visualization of the traumatic experience forms the «islets of the confusion of passion» and forms the «range of blindness» in the culture of total visualization. pubtype: Academic Journal doctype: Article src: R language: Ukrainian refInfo: copyright: @attributes: flag: Y custom: Copyright of Hileya: Scientific Bulletin / Gileya is the property of GILEYA Publishing and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Hileya: Scientific Bulletin / Gileya holder: GILEYA Publishing dt: @attributes: year: 2018 holdings: @attributes: islocal: N |
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