The linguistic component of humanitarian education The processes taking place in the modern world community have fundamentally changed the view of the role and place of education in it. One of the most significant trends in the development of domestic education has become its

9. Language game Considering the linguistic characteristics of different waves of emigration, E. A. Zemskaya makes the following conclusion: “[people] are more prone to the language game. – A.Z.] of the last waves of emigration (third and fourth...). […] Representatives of the first [wave. – A.Z.] emigrations assimilate foreign

5 Conceptual Fashion HAZEL CLARKE Any mention of conceptual fashion instantly refers us to conceptual art. Conceptual art, established by 1970, affirmed the superiority of ideas over external form, self-reflection over determination,

Factors influencing the formation of a picture of the world Among such factors are almost everything that determines existence, everyday life and history. These are natural-geographical, climatic, civilizational, ethnic, religious-confessional, historical-cultural factors, level

The formation of any picture of the world occurs during two main processes - conceptualization and categorization. Conceptualization is one of the most important cognitive processes, consisting in the comprehension of information entering the consciousness, leading to the formation of concepts. Exactly concept as a certain sensory image to which knowledge about the world is “attached”, and is the unit of any picture of the world, and therefore the picture of the world itself is most often called conceptual, or - in the terminology of D.S. Likhachev – concept sphere.

Let us consider the nature of the “attachment” of knowledge to the corresponding sensory image using the example of the concept of “house”. In its first layer, one can identify those features of the concept that are recognized by all representatives of a given culture. Some of them, which form the core of the concept, are enshrined in the dictionary definition of home (“a house as a place of residence of a person”). Others are well understood by people (the house has a roof, there is a door, etc.). The second layer of the concept highlights features that are recognized only by certain social groups within a given culture (for example, a builder will immediately imagine the foundation of a house, the main stages of building a house, etc.). The third layer of the concept contains features that are recognized only by researchers conducting targeted surveys and familiarizing themselves with texts in the language of the culture in which the concept of “home” was formed.

Each concept, as defined by Yu.S. Stepanova, is a peculiar a clot of culture, since it groups knowledge, ideas, associations and experiences that are specific in each culture. Therefore, it is concepts that are often used as supporting elements for comparing cultures, which, due to their vagueness, are themselves difficult to analyze.

This feature of a concept—being a clot of culture—is most clearly manifested if the concept is key for a given culture. A key concept of a culture is a concept that has no analogues in other cultures, but is significant for a given culture in an emotional or intellectual sense. Thus, the concept of “melancholy” is key for Russian culture. In English, it is conveyed using the words melancholy, depression, longing, grief and the like, but the main content of the concept cannot be captured using these words. Russian “longing” is directed towards a higher world and is accompanied by a feeling of insignificance, emptiness, and the perishability of this world. The same emotions that are conveyed by the above-mentioned English words, as noted by N.A. Berdyaev, are aimed at the lower world. Fear speaks of danger threatening from the lower world; boredom is about the emptiness and vulgarity of this lower world. In melancholy there is hope, in boredom there is hopelessness.

In part, concepts from different cultures may cross. Thus, we usually talk about the coincidence of the content of the concepts conveyed by the words “friend” and “friend,” but for an American the word “friend” is applicable to any person who is not an enemy. This reflects Americans' reluctance to form too deep relationships, which is often attributed to their individualism and geographic mobility. Russians, for their part, are much more selective about who they can call a friend.

In order for concept spheres to synchronize, so that the mental formations of the native culture coincide in basic features with the mental formations of another culture, extensive experience in living and communicating with representatives of this culture is required. However, it is believed that a person who is not familiar with the concepts of another culture does not experience any discomfort from this.

As noted above, the formation of a picture of the world occurs not only in the process of conceptualization, but also in the process categorization. Categorization is the subsuming of objects or phenomena under a certain rubric of experience (the so-called category), recognizing them as members of this category on the basis of similarity in some respect. Categorization allows you to systematize and organize the elements of a person’s mental life. For example, a table, a chair, a wardrobe and a refrigerator fall under the category “furniture”.

All of the above allows us to assert that the conceptual picture of the world of representatives of any local culture appears in the form of a complex system.

In the life of its bearer - be it an individual or an entire nation - the conceptual picture of the world performs two main functions:

1.Regulatory function. The picture of the world serves as a guide for its bearer in carrying out life activities, regulating the peculiarities of his perception of new information about the world around him, the processing and storage of this information, as well as the external activity of a person in certain life situations in accordance with the information received.

2.Interpretive function. The point here is that knowledge about nature and social reality, which makes up the picture of the world, is not just combined within the framework of this picture of the world, but is also evaluated. Each culture builds its own idealized model of the world, and if new acquired knowledge corresponds to the idealized model of the world, then it is assessed as “good”; if it does not correspond to at least one of its inherent parameters, then it is assessed as “bad”. If knowledge is not involved in the idealized model, it receives an “indifferent” rating. In this regard, it is often said that, depending on the angle of view on the phenomenon of the picture of the world, not only knowledge, but also so-called values ​​can be distinguished in its composition.

©2015-2019 site
All rights belong to their authors. This site does not claim authorship, but provides free use.
Page creation date: 2016-04-11

Conceptual picture of the world

The result of the coordinated work of all cognitive mechanisms of human consciousness is a body of knowledge that reflects a person’s ideas about the world in a certain way. Such a body of knowledge in philosophical and linguistic literature is called a “picture of the world.” However, the picture of the world is not just the totality of a person’s knowledge about the world. If the world is considered as a picture of the world (PW), then a person’s position in this case should be understood as a worldview, which is a system of views and beliefs of a person, formed in the process of his life and determining his attitude to reality. N. Abieva believes that the picture of the world reflects the position, views and judgments of the individual regarding the world around him. In addition, a person’s attitude towards certain objects of reality can change them through activity. “Picture of the world” in this sense means the image of a certain world, both reflected and created by consciousness. Thus, KM is a global image of the world, the result of a person’s spiritual activity and his contacts with this world.

The process of reproducing CM in human consciousness, although it is a single, indivisible whole, is usually presented in the form of conceptual and linguistic models. This point of view is shared by many researchers: G.A. Brutyan, Yu.N. Karaulov, G.V. Kolshansky, R.I. Pavilionis, Z.D. Popova, I.A. Sternin, V.N. Telia, A.A. Ufimtseva and others. The conceptual picture of the world (CPW) is a CP obtained as a result of direct knowledge of the surrounding reality. It can be defined as cognitive, since it is “the result of cognition (cognition) of reality and acts as a set of ordered knowledge - the conceptosphere” [Popova, Sternin 2002: 4-5]. The linguistic picture of the world (LPP), which can also be designated by the terms “linguistic intermediate world”, “linguistic representation of the world”, “linguistic model of the world”, arises in the process of cognition due to the active role of language. This is the result of the fixation of the concept sphere by secondary sign systems that materialize and externalize the direct cognitive picture of the world existing in the mind.

As E. Balbina notes, conceptual and linguistic CM are very closely interconnected and interdependent. However, the linguistic picture of the world is not equal to the conceptual one; the latter is much broader. The JCM covers only a certain part of the conceptual picture of the world. YCM is the result of reflecting the unique socio-historical experience of a certain nation. Language does not create a picture of the world that is different from the objectively existing one, but only a specific coloring of this world, determined by the way of life and national culture of a given people. In light of the above, it seems necessary and appropriate to consider conceptual and linguistic CM, without dividing them according to the degree of significance for the human understanding of the world. As L. Gazizova notes, a person lives in a linguistic society. He enriches his conceptual system thanks not only to his personal life, but also to socio-historical experience, and therefore thanks to language, since it is in it that the universal and national experience is enshrined. The picture of the world that is formed and reflected in the human mind is the secondary existence of the world, recorded in a special material form, which is language.

Language is the most important way of forming and existing human knowledge about the world. Reflecting the objective world in the process of activity, a person records the results of knowledge in words. The totality of this knowledge, captured in linguistic form, represents a linguistic picture of the world. So, YCM is a set of ideas about man and the world around him, reflected in specifically national linguistic forms and semiotics of linguistic expressions.

The center of the linguistic picture of the world is man as the pinnacle of the universe, the starting point, the meaning and purpose of all its components, in contrast to the systematized and consistent scientific picture of the world, where man is not the main character, but occupies a modest place along with many other system-forming elements of the universe.

E.S. Yakovleva understands the JCM as a scheme of perception of reality fixed in language and specific to a given linguistic community. “The linguistic picture of the world is a kind of worldview through the prism of language.”

The concept of YCM goes back to the ideas of W. von Humboldt and the neo-Humboldtians about the internal form of language, on the one hand, and to the ideas of American ethnolinguistics, in particular the so-called Sapir-Whorf hypothesis of linguistic relativity, on the other. Modern ideas about NCM as presented by academician. Yu.D. Apresyan look like this. Each natural language reflects a certain way of perceiving and organizing (“conceptualizing”) the world. The meanings expressed in it form a certain unified system of views, a kind of collective philosophy, which is imposed as mandatory on all speakers of the language. The way of conceptualizing reality inherent in a given language is partly universal, partly nationally specific, so that speakers of different languages ​​can see the world slightly differently, through the prism of their languages. On the other hand, the linguistic picture of the world is “naive” in the sense that in many significant respects it differs from the “scientific” picture. At the same time, the naive ideas reflected in the language are by no means primitive: in many cases they are no less complex and interesting than scientific ones. Such, for example, are ideas about the inner world of man, which reflect the introspection experience of dozens of generations over many millennia and can serve as a reliable guide to this world. In the naive picture of the world, one can distinguish naive geometry, naive physics of space and time, naive ethics, psychology, etc. .

According to V. Borisenko, the concept of YCM includes two related but different ideas: 1) the picture of the world offered by language differs from the “scientific” one and 2) each language paints its own picture, depicting reality somewhat differently than other languages ​​do . Reconstruction of the JCM is one of the most important tasks of modern linguistic semantics. The study of NCM is carried out in two directions, in accordance with the two named components of this concept. On the one hand, based on a systematic semantic analysis of the vocabulary of a certain language, a reconstruction of an integral system of ideas reflected in a given language is carried out, regardless of whether it is specific to a given language or universal, reflecting a “naive” view of the world as opposed to a “scientific” one.

On the other hand, individual concepts characteristic of a given language are studied, which have two properties: they are “key” for a given culture (i.e. they provide the key to its understanding) and at the same time the corresponding words are poorly translated into other languages: there is no translation equivalent at all , or such an equivalent exists in principle, but does not contain precisely those components of meaning that are specific to a given word.

Conceptualism from lat. “conceptus” – concept, thought, – direction in the culture of the twentieth century. It was formed during the course of postmodernism in the 1960s–1980s.

Conceptualism is aimed at creating compositions whose purpose is to present some artistic idea. He combined the process of creativity and its research. This creativity is engaged in the analysis of its own language. Its task is the transition from the formation of artistic works to the announcement of “artistic ideas”.

Discussing pop art, which focused on the objective world, conceptualists explained that the only deserved task of the artist is the generation of ideas and concepts.

As a direction conceptualism formed in the late 60s and 70s among artists from Great Britain, France, the USA, the Netherlands, the Soviet Union and Italy. As the apologists of this movement believe, since the concept of a work is more important than its physical expression, the goal of creativity is to convey an idea or testify to the events containing it, which can be done with the help of photography, various texts, tape and video recordings, and so on.

The instructions for explaining the art object play a huge role.

Conceptual artists

The trend quickly grew and became international. Artists who worked in conceptualism: L. Levin, LeVito, H. Haacke, R. Berry, J. Kosuth in the USA, J. Dibbets in the Netherlands, V. Acconchin in Italy, Craig-Martin, B. McLean, Bergin, Arnatt, Long , Kelly in the UK and others. The work of Dadaist practitioner and theorist Marcel Duchamp had a huge influence on conceptualists, who, back in 1913 in New York, began to exhibit mass-produced objects rethought in a new key - readymades: a bicycle on a stool, a urinal "Fountain", "Mona Lisa" with mustache and so on.

Conceptualism- intellectual creativity, mostly ironic - arose initially as a counterweight to commercial art.

There is no point in buying or selling a conceptual composition; the components for them were selected from everyday objects, sometimes the author himself became the artistic object. Stuart Brisley spent hours in a bathtub filled with black, dirty liquid in a London art gallery for two weeks (alluding to environmental pollution). Ingrid and Ian Baxter turned everything in their apartment into plastic bags and created an exhibition (the object of observation can be any thing). Keith Arnatt put up a sign saying “I am a true artist”, took a photograph of himself and placed the image in the exhibition (an artist is someone who considers himself to be one). Acconci photographed and then commented on how he got up and went to chairs every day, then compared the different methods in which he did this (varieties of modus operandi).

A conceptual object, with a comment, can be any object (telegram, photograph, diagram, text, graph, reproduction, diagram, object, copier, formula). The conceptual composition was a pure artistic gesture, freed from any plastic form. Natural materials were often used - grass, earth, ash, bread, fire ashes, snow. An integral part of the composition is the environment in which conceptual objects were demonstrated - the sea coast, a settlement, a street, a field, mountains, a forest, an engineering structure, a building, and so on.

Conceptualism is a movement that emerged in America and Europe in the 1960s, but also has a rich heritage in Russian culture. This distinguishes him from contemporary movements - abstract expressionism and pop art, which on the territory of the Soviet Union were transformed into completely different ones (see article)

1987. Plywood, acrylic. 24×30 cm

The main object of conceptual art is an idea, so it often works with text. Essentially, it explores the boundary between text and visual images. A work of conceptual art can be not only a painting, but also a sculpture, installation, and performance.

The most prominent representatives of conceptualism on the Western Front can be called Joseph Kosuth, Yves Klein, and in some periods of creativity - Piero Manzoni, Robert Rauschenberg. Apart from Kossuth, other artists came to conceptualism and after some time abandoned it.

Among the Moscow conceptualists, the main ones are Ilya Kabakov, Viktor Pivovarov, then Andrei Monastyrsky, Igor Makarevich and the “Collective Actions” group, in some of their works the “Nest” group.

Please note that we don't write "style", we write "direction" - conceptual art does not have a single "style" - like, say, impressionism. The most characteristic stylistic features can be called the frequent presence of text in the painting.

“The text is present in the work either literally, or the text is assumed, it seems to glimmer, shine through the picture - as, for example, in Pivovarov’s paintings - it is clear that a story is told there, but it is told by figures, color, spots, color segments" - Natalya Sidorova, ( art critic, teacher of the educational program “In the Footsteps of Contemporary Art” at the Garage Museum of Contemporary Art, senior researcher in the department of Contemporary Movements at the State Tretyakov Gallery )

Victor Pivovarov “Moscow speaks...”.1992

The most significant example of the concept of “conceptual art” is the work of Joseph Kosuth “One and Three Chairs”, or his numerous self-describing works of neon lamps. Kossuth summed up his art beautifully: “The main meaning of conceptualism, it seems to me, is to fundamentally rethink the way a work of art functions - or, how culture itself functions: how meaning can change even if the material does not change. ...the physical shell must be destroyed, because art is the power of an idea, not a material.”

Joseph Kosuth, “One and Three Chairs”. 1965

What's interesting about this chair? For example, the fact that Joseph Kosuth did not personally come to the store to choose a chair so that his work could be exhibited in a new place. The chair was chosen by the assistant curator - in fact, it didn’t matter who. Each time, with each repetition, this work will be the authorship of Joseph Kosuth, because the artist is the author of the idea.

Kossuth's works describe themselves in most cases, without being an object of aesthetic pleasure. It is important for an artist to appeal to your consciousness without affecting the emotional spectrum. If we think in a historical context, then this is quite understandable - the emotional spectrum of the viewer was completely squeezed out by the existential revelations of expressionist artists bursting onto the canvas.

William de Kooning, "The Exchange". 1955

What is the difference between Moscow conceptualism and Western? The main author who dissected and defined the concept of “Moscow conceptualism” is Boris Groys. He is the author of the term that is still in use today - “Moscow romantic conceptualism”. The fact is that Western conceptualism did not contain literature at its core (meaning “great” literature).

“Both founding fathers of Moscow conceptualism, Ilya Kabakov and Viktor Pivovarov, cite great Russian literature as the origins of their work. Kabakov very often bases his works on some characters. Among his heroes appears a mediocre artist. Or a person who doesn’t throw anything away - as in his installation “10 Characters”, in which Kabakov works between 10 fictional characters, each of whom is a little hero who lives in a small apartment, downtrodden, no one knows him, he’s so shy and marginal character, and he secretly, quietly, does some things for the soul. When he is in the public eye, he lives the quiet life of a clerk, a factory worker, and so on. A very inconspicuous person. And this hero, this little man - this same “little man” from the works of Gogol, Chekhov,” Natalia Sidorova.

The works of Moscow conceptualists are often “literature”, a story told not in literary language, but in the form of installations, paintings, or a set of objects.
Besides, it's always a bit of a confession. Kabakov does not talk about himself, but he “let it slip” about himself, trusting his story, dividing himself into several heroes. Something that is in him - some small, hidden trait - he talks about it, inventing a character who carries this trait in a more pronounced form.

“This is important, given that on the global stage, conceptualism and confessional art are perfect antipodes - you cannot compare conceptualism with expressionism - there is a confession, a tear in the soul, when the artist expresses himself to the utmost. But in Moscow conceptualism there is a certain confessionalism, even a certain emotionality, which is simply not manifested by shouting,” N.S.

Take, for example, the work of Kossuth described above - “One and Three Chairs” - there is no author in it. The author in these works is removed, and even the specific object on display can be picked up by anyone - from these works we learn nothing about Kossuth’s character. In the Western European direction, this absence is deliberately provided; there the author does not have a personal manner and cannot have one, there is no personal history, and there is only the primacy of the concept.

Pivovarov and Kabakov are the whales, but there is another generation, for example, Yuri Albert - he is a very consistent conceptualist. His work “Painting for the Blind” is a black shield covered with oil enamel, and on its part are attached small hemispheres, also covered with this color. Walking a short distance away, the viewer realizes that this is Braille. This font contains the phrase “Inspiration is not for sale, but painting can be sold.” The Braille font is large and a blind person could not read it, because the inscription is too large, and a seeing person cannot understand what is written there - for him it is just minimalism (see article about). It turns out that the main thing here is the concept, how much we understand or do not understand art.

Yuri Albert “Painting for the blind. Visual Culture N3" From the series "Elitist-Democratic Art" 1989

“There is a temptation to talk about what is most important for Albert - to state that the viewer very often does not understand contemporary art, but, in fact, how the artist himself comments on this project - we are talking generally about the degree of understanding of art - is there this ideal viewer , who truly understands what the artist is expressing. Moreover, contemporary art can be understandable to us because it comes from our time, and because we can easily, standing in front of a work, go online and immediately receive a certain number of texts about both Albert and EDI. What to do with the art of past centuries? You can talk about the paintings of Hieronymus Bosch as much as you like, cite historical facts, features of culture, people, eras as much as you want, we will not be able to rebuild our optics, because we are not people of the 16th century,” Natalia Sidorova.

If the “first wave” of conceptualists took their work very seriously (“Art before our time is as much art as a Neanderthal is a man!”), then the followers of this trend fully allowed themselves self-irony in their works - however, never refusing from the principles of the work, reflecting on the theme of itself and from the textual content.