Features of the modern process of differentiation of sense and meaning in communication

Volkova, Polina S.; Orekhova, Evgeniya Sergeevna; Saenko, Natalya; Trofimova, L. V.; Barova, Alena Gennadevna

doi:10.15655/mw/2020/v11i4/204639

Cited by 4 publications

(1 citation statement)

References 2 publications

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“…The scientifically proven uncertainty and relativity of the world and human cognition have debunked the idea of completeness and perfection of the creative act (Volkova et al, 2020). "Under these circumstances, the introduction of randomness into a work of art, the desire to bring it closer to complexity, variability, and the ever-present element of instability of natural processes become deeply immanent" (Valkova, 1977).…”

Section: Resultsmentioning

confidence: 99%

Modern Dance as an American Alternative to Classical Ballet

Portnova¹

2021

rupkatha

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The choreographic art of the United States developed in a new direction and was looking for new forms corresponding to the trends of the modern era in many ways. By the beginning of the 20th century, the classical ballet of the USA rooted in Russian choreographic culture had experienced the lack of the means of expression that could reflect a new range of themes, images, philosophical and artistic concepts that had developed by that time and required a new dance style, genres, aesthetics. Modern dance emerged along with the development of the national political and artistic and creative self-consciousness of Americans in general, during the development of national musical, choreographic, and poetic traditions by cultural figures, who searched for their path in art. The study analyses the features of American modern dance. The artistic and aesthetic principles of modern dance are identified and the historical and cultural prerequisites for the development of the national choreographic school of the United States are revealed. The study uses theoretical methods such as visual and textual analysis of choreographic performances and music for performances, comparison of means of plastic expression, movements and figures of classical ballet and modern dance, principles of stage development of artistic images of performances. The empirical study is based on the generalisation of the practical experience of staging performances by leading American dancers of the 20th century. As a result, it is noted that the features of modern dance are completely different to those of the United States classical ballet, testifying to the desire of Americans to reflect the problems of modernity and convey the unique national character of the United States culture by using elements of African or Indian dances, as well as movements that are not characteristic of classical ballet but reflect the spirit of modernity. The materials of the study are of theoretical and practical value for specialists who work with the problems of culture and art of the 20th century, including modern choreography.

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Section: Resultsmentioning

confidence: 99%

Modern Dance as an American Alternative to Classical Ballet

Portnova¹

2021

rupkatha

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Simulations of Communicative in Screen Culture

Grigoryev

2022

jour

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The article raises the problem of transformation of the nature of the communicative in the context of virtualization and digitalization of all spheres of culture. The study is constructed in the form of a commented dialogue with the authors of “Violence and Social Orders. Conceptual Framework for Interpreting Recorded Human History” by D. North, D. Wallis, and B. Weingast1. The review represents the comparison of the types of communication in traditional society, open society and on-screen culture (in a situation of virtual expansion. Contradiction (speech against speech) is considered as a transitional stage from struggle and conflict to screen simulation of communication. The author considers virtualization of the communicative from a critical point of view and therefore draws conclusions regarding personal degradation of a modern communicant – an aborigine of the digital jungle. Such an experience excludes the possibility of a harmonizing dialogue as a process of reconciling contradictions for one simple reason. If speech property turns out to belong exclusively to the individual, then the total impersonality proclaimed by D. North, D. Wallis, and B. Weingast can only be supported by violence implemented through commands. Thus, communicative interaction inevitably degenerates into a communicative impact, which is initially built on the inequality of partners.

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Emotionalization of mass discourse as compensation for the crisis of reference

Lobanova

2024

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This article comprehensively explores and analyzes the main reasons for the emergence of a clearly emerging imbalance between the emotional and rational components of the communicative space of modern mass discourse, as well as the imitation role of the emotions of a participant in modern discursive practices, which, in essence, are designed to compensate for his lack of opportunities, methods and channels to summarize the information received. Particular attention is paid to the analysis of such situations of manipulation of emotions at the individual or mass level within the framework of modern mass discourse, which are on the verge of complying with the law, or even go beyond this line. In conclusion, the interrelated phenomena of insincere discourse and the crisis of reference are considered, the correlation between which is assessed as one of the most significant and weighty confirmations of the prevalence and frequency of the use of processes of forced emotionalization of a number of discursive practices. In the vast majority of discursive practices, the emotions of the object of information today play the role of masks, screens, curtains, decorations, against which there is an imitation of a reference that is actually absent. In modern mass discourse, all information without notes is rarely conveyed to the audience, while facts are replaced by interpretations or turn out to be staged events. The main reason for the emotionalization of mass discourse is allegedly following the ideas, expectations and emotions of the mass audience – information is presented in such a way that everyone sees, hears, reads what they themselves would like to see, hear, read. The crisis of reference within mass discourse has an artificial and deliberately provoked character. The crisis of reference imposed on society by the main moderators of mass discourse deforms the semantic, syntactic and pragmatic norms of natural language, which makes it possible to manipulate both the meanings of words and syntaxes themselves, and their mass perception.

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Features of the modern process of differentiation of sense and meaning in communication

Cited by 4 publications

References 2 publications

Modern Dance as an American Alternative to Classical Ballet

Modern Dance as an American Alternative to Classical Ballet

Simulations of Communicative in Screen Culture

Emotionalization of mass discourse as compensation for the crisis of reference

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