Source: https://culturalresearch.ru/en/archives-eng/79-cultmem
Timestamp: 2019-04-18 14:16:21+00:00

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Research, Head of the Division for the Humanities.
The main goal of the article is the analysis of the contribution of Russian humanitarian thought in relation to the first scientific programs in the field of memory studies in the 1920s and 1930s.
In the second half of the 1920s, the French sociologist, M. Halbwachs and the German art historian, A. Warburg, offered the concepts of collective/social memory, respectively, and formulated the basic principles and problems involved in the study of these phenomena.
The article posits that the cultural and historical psychology of L. Vygotsky, and M. Bakhtin's theory of genre, developed during the same time period in Russian humanities, highlight those mechanisms of functioning belonging to collective/social memory, which in the theories M. Halbwachs and A. Warburg were only briefly outlined.
The author concludes that the "Halbwachs/Vygotsky's" and "Warburg/Bakhtin`s" theories complement one another.
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What is the semantic spectrum of the "Hyper Memory" concept? To answer this question, it would be possible, as well as interesting, to consider the two concepts of the Digital Hyper Memory: two essays, published in 2009. The first is the book "Total Recall: How the E-Memory Revolution Will Change Everything" by known pioneers of computer science and authors of the project "True Recall" — Gordon Bell and Jim Gemmell, who have created a new technological Utopia of E-Memory Revolution.
The title of the second book is "Delete: The Virtue of Forgetting in the Digital Age". The author of this book is an American cyber-politics and e-commerce analyst — Harvard University Professor Viktor Mayer-Schoenberger, who talks about the value of the "Delete" button, and why, in the digital age, it is more important to learn to forget than to remember.
"Total Recall" and "Delete" are the alternative interpretations of the omnipotence of an artificial universal Hyper Memory hypothesis. The first book teaches us to remember, the second — to forget. We are faced with the necessity of reflection pro et contra. Yet, why not try to slip out of this suffocating binary logic? Why not seek out a "third way" that connects the oppositions? In this digital age of a Hyper Memory Panopticon, it's possible to reformulate one of Ludwig Wittgenstein's famous thoughts: "Whereof one cannot remember, thereof one must forget".
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The article discusses the master-narrative of historical conditions — together with the attraction of real and imagined mechanisms of the symbolical exchange of memory and oblivion. The article presents the narrative approach directed on interrelation of cultural history with practice of historians in their work with memory. In addition, the article discusses the attraction of the experience of modern art and Walter Benjamin's idea that thinking is necessary not only through movement, but also through the cessation of movement. The article also expresses the idea of creating a situational interactive monument of the flight of history and memory, for the purpose of finally getting out from under the yoke of history.
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The rememberance of history is a special ability unique to human beings. Without memory, there would be no history, no civilization and no culture. Memory, in the history of art, plays a very special role — one where continuity and inheritance are of the highest importance. Art itself is an effective instrument against the death of memory, preservation of the past, and cognition of the future.
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The specifics of poetry and philosophy, as a phenomenon of existential memory in its correlation with the human subject, are analyzed in this article. The function of poetry and philosophy, as an essential remedy for a holistic worldview, are also discussed. In addition, acomparative analysis of poetry and philosophy, as regulators of human psychics and existence, are also proposed here.
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The Department of sociology, social policy and regional history. PhD in sociological sciences, professor.
Cultural memory is closely linked to historical memory. The past does not exist in accordance with our perceptions of the past, but only our ideas about it. These ideas vary, and do not constitute a reliable reflection of the actual past. These ideas are socialized, and thus can be censored and corrected by the official ideology. Historical memory constructs a virtual past. In the fixation of the past, artistic texts play a key role, together with historical narratives, between which there is an obvious convergence. Changing the types of discourses of fiction and cinema, has the effect of changing the patterns of cultural memory, making it more individualized and fragmented, and often denying meta-narratives. In addition, another effect is the redirection of value judgments in regard to modern designs. For the last 150 years, cultural and historical continuity, in the traditional sense, has ceased to exist and has been replaced by new models that symbolize the genesis of new social and cultural identities.
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PhD in sociology, assistant professor.
MA student — National Research University, School of Economics.
Post-Soviet nostalgia is an important phenomenon in the collective memory of both Eastern Europe and the former Soviet Union. The concept of nostalgia is at the center of many theoretical debates about the production of a collective memory. A theoretical analysis of the characteristics of nostalgia is not possible without the concept of a collective memory. Therefore, our paper consists of two parts. In the first part, we analyze the relationship between the concepts of collective memory and nostalgia, and provide a definition of nostalgia in the context of the humanities. The second part of the article is an analysis of the popular series of publications by Russian journalist and social activist, L. Parfenov, which are devoted to the history of the Soviet's recent past. The uniqueness of these publications is based on the integration of facts and information about major historical events and phenomena, as well issues that relate to everyday life. These publications have reached a wide readership and create a nostalgic image of the Soviet's recent past. We explore the reasons why the publication of the collections of the "Namedni.Nasha era" have evoked such nostalgic emotions in readers.
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The Stephan's text is comprised of all the works devoted to the acts and doctrine of Stephan of Perm, a Russian 14th century missionary. During the period spanning from the15th to the 21st century, this text is transformed from history into myth. The idea of Christian education also changes, at times being perceived asmore rational, while in other periods it is perceived as being more mystical.
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Institute of History (Russian Academy of Sciences, Saint-Petersburg).
The present article explores the phenomenon of Saint-Petersburg's society spanning the period of 2000–2010 — and the construction of a regional identity around the term "Ingria" or "Ingermanland". In the 17th century, the province of the Swedish Kingdom included the territory of the contemporary Saint-Petersburg and Leningrad region. The protagonists of this new identity don't recognize any ethnic factor, regarding their identification as Ingrians, in contrast to the Finns of Ingria, a sub-ethnic Finnish group, living in the Russian Federation. These "new Ingrians" emphasize their belonging to a region of European civilization, prior to the foundation of Saint-Petersburg by Peter the Great in 1703. The principles of openness, self-identification and a liberated personality strongly contrast to the ethnic closeness between the majority of Russian Finns, who claim to have an exclusive monopoly on the name of Ingria. From 2000–2008, this was a cause of great dispute. Nowadays, however, the dispute has been transformed into a state of mutual understanding through cooperation in cultural and commemorative actions and projects.
Krjukov A. V. Ob jetnicheskom samosoznanii ingermanlandskih finnov i izhor // Finno-ugorskie narody Rossii: problemy istorii i kul'tury. Istochniki, issledovanija, istoriografija. SPb, 2007.
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Kniga pamjati finnam repressirovannym za nacional'nuju prinadlezhnost' v SSSR. Sost. L. A. Gil'di, M. M. Braudze. T. 1. SPb, 2010.
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Pugovkin A. Baltijskij put' Peterburga. SPb, 2011.
Zhukov K. S. Istorija Nevskogo kraja (s drevnejshih vremjon do konca XVIII veka). Kniga dlja uchitelja. SPb, 2010.
Lanin D. Kul'tura Peterburga: ot imperskoj — k nacional'noj! // Ingermanlandskij mozhzhevel'nik. Stihi i pesni o nashej rodine. Vyp. II. SPb, 2009.
Gavrilina S. Vershiny sosen i korni travy // Ingermanlandskij mozhzhevel'nik. Stihi i pesni o nashej rodine. Vyp. IV. SPb, 2012.
Mustin I. «Chto jeto, Bjerrimor?» // Inkeri. № 2 (073). 2010.
Virki V. «Perepis' — 2010» // Inkeri. № 2 (073). 2010.
Dekonskaja A. Moleben na Mitrofan'evskom kladbiwe // Inkeri. № 2 (075) — 2011.
PhD, Full Professor of Aesthetics and Philosophy of Culture Department.
The culture of any society is a clear parameter of its "quality" — its capability to develop, improve, transform and evolve into something else. In some cases, such transitions can be qualified as a decline (or degradation) of culture — a "crisis" or disaster. In a directsense, a catastrophe or crisis is often a sign of a cultural "cancer", as it were — an unhealthy growth and multiplication of unhealthy cells, which eventually overcome the healthy cells. Thus, a cultural crisis often marks the beginning of the culture's demise, in the same way as a cancer is often the beginning of an organism's death. So-called "demonstrative consumption" has played the role of "cancerous cells" in the development of modern crises. Since the beginning of the 21st century, the spread of "cancerous cells" has achieved epidemic proportions: demonstrative consumption has, in fact, become the universal illness of specific dependence, describing a condition of public and individual health. Modern research studies emphasize the destructive character of demonstrative consumption, resulting in strategies of greediness, aggression and envy (resentment).
Manhejm K. Diagnoz nashego vremeni. — M.: 1994.
Fuko M. Chto takoe Prosvewenie // Fuko M. Intellektualy i vlast'. T. 1. — M., 2002.
Mendel'son M. O voprose «Chto znachit prosvewat'?» (Perevod i vstup. stat'ja M. Demina) // Filosofskij vek. Al'manah 27. — SPb., 2004.
Kant I. Otvet na vopros: chto takoe Prosvewenie? // Soch. v shesti tomah. T.6. — M., 1966.
Mamardashvili M. Neobhodimost' sebja. — M.: «Labirint», 1996.
Arendt H. Ljudi v temnye vremena. — M., Moskovskaja shkola politicheskih issledovanij, 2003.
Arendt H. Skrytaja tradicija. — M., «Tekst». 2008.
Benda J. La Tragison des clercs (1927). Paris: Grasset, 1977.
Parham Shahrjerdi — Iranian poet, translator, board member of "The Society of Maurice Blanchot's friends", founder of the site "The Space of Maurice Blanchot". In this essay, the author questions how a translation could be possible under conditions where neither the language, nor the social and political horizon are suitable for such a translation, due to specific, mitigating circumstances. The essay attempts to help readers comprehend such a literary piece, as a translation.
St. Petersburg State University. Faculty of Philosophy. The center of mediaphilosophy. Researcher.
St. Petersburg branch of the Russian Institute of Cultural Research. Researcher, PhD.
Post-industrial technological civilization demands new research technologies. Beginning from continuous predictions and exclamations about cyborgs reducing the machine to a completelyt echnical level, universal gadgets and avatar duplications in social networks — the capitalist machine becomes a biopolitical megamachine. The concept "general Intellect", used by Marx to explain collective knowledge in its various forms (the sciences, practical knowledge of production) — is at the center of modern, postindustrial criticism or cognitive capitalism. Modern criticism expands Marx's "general Intellect" in regard to extensive areas of general knowledge and new forms of social and interpersonal relations, as well as social interactions.
St. Petersburg branch of the Russian Institute of Cultural Research. Deputy director.
This book shows an extremely important movement in the contemporary social condition, known as 'transmodrnism' — a profound combination of social development theory and unexpected aesthetic speculations. The author explores the concept of 'revolution' in contemporary philosophy and critical theory. Principal events of Western and early Sovet activism are discussed as a phenomena of the whole process of social transformation, under the power of Gilles Deleuze and Felix Guattari's concept of the "abstract machine".
Rauning G. Iskusstvo i revoljucija: hudozhestvennyj aktivizm v dolgom dvadcatom veke. — SPb.: Izdatel'stvo Evropejskogo universiteta v Sankt-Peterburge, 2012.
Hardt M. Negri A. Imperija. — M.: Praksis, 2004.
Valerij Podoroga Homo ex machina. Avangard i ego mashiny. Jestetika novoj formy. Logos № 1(74) 2010.
Delez Zh., Gvattari F. Anti-Jedip: Kapitalizm i shizofrenija. - Ekaterinburg: U-Faktorija, 2007.
Delez Zh., Gvattari F. Tysjacha plato: Kapitalizm i shizofrenija. — Ekaterinburg: U-Faktorija; M.: Astrel', 2010.
Delez Zh., Gvattari F. Shmit K. Teorija partizana. — M.: Praksis, 2007.
St. Petersburg State Agrarian University. PhD, Associate Professor.
This article is devoted to literary prophetism. The author believes that there is some connection between literary prophecy and the spatial characteristics of culture. The author concludes that, even as regards such ideologically and chronologically far-removed prophetic activities like those of authors like A. Pushkin and E. Limonov, they show an interest in the peripheral areas of social and cultural space.
Gercen A.I. Byloe i dumy. — Minsk: Nar. asveta, 1971. — S. 383.
Lessing G.Je. Izbrannoe. — M.: Hudozhestvennaja literatura, 1980. — S. 389.
Limonov Je. «Ja — jenergichnyj russkij muzhik s Volgi» // Literaturnaja gazeta. — 2009. — № 27.
Berlin I. Podlinnaja cel' poznanija. Izbrannye jesse. — M.: Kanon+, 2002. — S. 513 .
Berdjaev N.A. Mutnye liki. «Vospominanija o A.A. Bloke» A. Belogo// Filosofskie nauki. — 1990. — № 7. — S. 64–69.
Paleolog M. Carskaja Rossija nakanune revoljucii. — M.: Mezhdunarodnye otnoshenija, 1991. — S. 325.
Al'tshuller M.G. Jepoha Val'tera Skotta v Rossii. Istoricheskij roman1830-h godov. — SPb.: Akademicheskij proekt, 1996. — S. 242.
Volgin I. Lev Tolstoj kak zerkalo… (nuzhnoe vpisat'). — Literaturnaja gazeta. — № 22–23.
Bondarenko V. G. Trubadury imperskoj Rossii. — M.: Jauza, Jeksmo, 2007. — S. 310.
Limonov Je. Moja politicheskaja biografija. Dokumental'nyj roman. — SPb.: Amfora, 2002. — S. 118.
Pushkin A.S. Istoricheskie zametki. — L.: Lenizdat, 1984. — S. 9.
Michail Alpatov and Hans Sedlmayer first met in Vienna in 1929. They became friends, andexchanged letters for many years. Alpatov's archive at the Moscow State Art Museum,named after A. Pushkin, includes 14 letters, written between 1960 and 1978. These letters show the international influence of the Vienna School of Art, and contain important remarks about art history, iconography, etc. For the first publication of these letters, see: V.Shestakov. Tragedy of Exile — The Fate of Vienna School of Art History. Moscow, 2005.
Vanejan S. Pustujuwij tron. Kriticheskoe iskusstvoznanie Hansa Zedl'majra. M. 2004.
Sedlmayr H. Epochen und Weke. Gesammelte Schriften zur Kunstgeschichte. 1985, Bd.2.
Sir Ernst Gombrich: An Autobiographical Sketch and Discussion // Rutgerts Art Review, VIII, 1987.
Slausberg K. Wiener Schule — Russischer Formalismus — Prager Strukturalismus: Ein komparatistisches Kapitel Kunstwissenschaft // Idea 2,1983.
Rosenauer A. Zur neuen Wiener Schule der Kunstgeschichte // XXVII congres internat. d'histoire de l'art (1985), Strasbourg 1992.
The current article focuses on the reappearance of the phantasmagoria in media art and its analysis. The Phantasmagoria medium, developed from the Laterna Magica and part of the history of immersion, opened up the virtual depth of the image space for the first time, as a sphere of dynamic changes. Events explored in contemporary art and visual representation, and united through a number of contemporary media artists, are now merged in the Phantasmagoria.
In contrast to the Panorama, the Phantasmagoria suggests that contact can be established with the psyche — the dead or artificial life forms. It is a model for the functioning of illusionism, a material image machine as basis of an art work that appears immaterial.
Pascal Beausse: Zoe Beloff: Images rémantes, After-images. Artpress, Nr. 35, 1998.
Chris Gehman: A mechanical medium. A conversation with Zoe Beloff and Gen Ken Montgomery. Cinéma Scope, 2001, Nr. 6.
Timothy Druckrey: Zoe Beloff. Nam June Paik Award 2002.
Future Past: Zoe Beloff´s Beyond. Artbyte. The Magazine of Digital Arts, Bd. 1, Nr. 3.
Victor Tausk, On the Origin of the "influencing Machine", Schizophrenia, in: Psychoanalytic Quarterly 1933, Nr. 2.
E. Cassirer: Individuum und Kosmos, Darmstadt 1963 (1927).
Oliver Grau: Virtual Art: From Illusion to Immersion, Cambridge/Mass., MIT-Press 2003.
Rudolf Arnheim: The Coming and Going of Images. Leonardo, Bd. 33, Nr. 33.
Walter Benjamin: Lichtenberg [Typoskript, 1932].
Ulrike Hick: Geschichte der optischen Medien, München (Fink) 1999.
W.A. Wagenaar: The Origins of the Lantern. The New Magic Lantern Journal, Bd. 1, Nr. 3, 1980.
Stephan Oettermann: Johann Karl Enslen's Flying Sculptures. Daidalos 37, 15, 1990.
Margret Cohen: Walter Benjamin's Phantasmagoria. New German Critique, Nr. 48, 1989.
E.G. Robertson: Mémoires récrétifs, scientifiques et anecdotiques d'un physician-aeronaute, Langres: Clima Editeur 1985. Ebenfalls: La Phantasmagorie, La Fleur Villageoise 22 (28.2. & 23.5. 1793).
Joseph Pristley: Geschichte und gegenwärtiger Zustand der Electricität, nebst eigentümlichen Versuchen, Berlin 1772.
Edmund Burke: A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful, London, 1958 (1757).
Grimod de la Reyniére, Courrier des Spectacles, 1092, 7.3., 1800.
Ken Goldberg (Hg.): The Robot in the Garden: Telerobotics and Telepistemology on the Internet. Cambridge/Mass: MIT Press, 2000.
Hans Moravec: Robot. Mere Machine to Transcendent Mind, Oxford 1998.
Christopher G. Langton (Hg.): Artificial Life, Cambridge: MIT-Press, 1995.
Thomas Ray: An Approach to the Synthesis of Life. The Philosophy of Artificial Life, Oxford 1996.
Oliver Grau & Andreas Keil: Mediale Emotionen, Frankfurt/Main 2005.
As a rule, film directors tend to show the classic model of memory — where the memory is considered as a keeper of the Past and is perceived as an "information container". As a result, the majority of stories that portray the sense of memory are associated with the loss of memory or, rarely, with nostalgia for the Past. If the artistic model of memory, as nostalgia, stresses it as a process, the visualization of memory's loss transforms it in the object, distancing it from consciousness and imagination.
Rikjor P. Pamjat', istorija, zabvenie / Per. s franc. — M.: Izdatel'stvo gumanitarnoj literatury, 2004.
Nora P. Vsemirnoe torzhestvo pamjati. // http://magazines.russ.ru/nz/2005/2/nora22.html.
Derrida Zh. O grammatologii.// http://www.philosophy.ru/library/derrida/grammatologie.html#_Toc512272594.
Hal'bvaks M. Kollektivnaja i istoricheskaja pamjat'// Neprikosnovennyj zapas, N 2—3 (40–41).
Ferry J.-M. Les Puissances de l'experience. Essai sur l'identite contemporaine, t. II: Les Ordres de la reconnaissance. Paris, Ed. du Cerf, 1991.
Boltanski L., Thevenot L. De la justification. Les economies de la grandeur. Paris, Gallimard, 1991.
Leningrad State University n. a. A. S. Pushkin.
PhD in Art History, Associate Professor.
This article is devoted to the seven outstanding films of A. Tarkovsky: "Ivan`s Childhood", "Passions According to Andrei (Andrei Rublev)", "Solaris", "Mirror", "Stalker", "Nostalgia", and "Sacrifice". The imaginative-artistic structure of these films is considered an indivisible hypertext with reappearing characters, symbols and philosophies. Great attention is paid to the role and the place of artistic masterpieces, existing in these motion pictures, which the authoress of this article examines and perceives as special keys revealing the metaphysical sense of the director`s creative work.
A. Tarkovskij. Zapechatlennoe vremja. // Iskusstvo kino. Dekabr' 2001 g. — № 12.
Terehova M. S Andreem Tarkovskim. / O Tarkovskom. — Sost., avt. predisl. M. A. Tarkovskaja.- M.: Progress, 1989.
M. Lewilovskij. Odin god s Andreem. / O Tarkovskom. — Sost., avt. predisl. M. A. Tarkovskaja. — M.: Progress, 1989.
The New Baroque: About Tim Burton's film "Pee-Wee's Big Adventure"
The exposure of the cinema as a conditional idiom creates an affinity between Tim Burton's films and modernist art. However, Burton operates within the network of popular cinema and explores its conventions. "Pee-Wee's Big Adventure" (1985), his first live-action film, is a kind of encyclopedia of cinematographic genres. The film's "horizontal" or narrative dimension is combined with "vertical" dimensions,, which function together as elements of a synchronous paradigm — in a style that is strangely reminiscent of Baroque literature.
Horhe-Luis Borhes. Chetyre cikla // Horhe-Luis Borhes. Kollekcija / Per. s isp. — SPb.: Severo-Zapad, 1992.
Aleksandr Mihajlov. Izbrannoe. Zavershenie ritoricheskoj jepohi. — SPb.: izd-vo SPbGU, 2007.
A Review of M. Stolyar's book: "The Soviet Laughter Culture"
A review of the book "The Soviet Laughter Culture". The review focuses on the author's typology of laughter culture. Laughter begins with the ambiguous relations of Soviet ideology and power, as well as its opposition and interdependency.
M. Stoljar «Sovetskaja smehovaja kul'tura». — K.: Stilos, 2011. — 304 s.

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