The article is devoted to one of the urgent problems of mass musical culture - the problem of parodying and mocking of authoritative cultural phenomena that has become one of the inherent properties of postmodern aesthetics. Genre of author's song, which has found unprecedented popularity since the mid-1950s as a focus of freethinking and lyrical outpouring, is regarded as an object of ridicule and irony in the era of the 2000s. A parody of "loud" and "quiet" bards became mandatory in the sitcoms of recent years, humiliating this layer of amateur song culture. The phenomenon of parodying of performers in the art song genre as one of the important components of mass music becomes for the first time the object of scientific understanding, bringing the issue to the field of cultural and artistic research. The author of the article analyzes the ways of debunking the bards’ pseudo-truthfulness and nostalgia, naive dilettantism and commonness. Parodies to bard songs are regarded as new forms of challenge to society, "laughter therapy" through sophisticated vulgarity and absurdist scenes. Musical and scenic component (whether it is expressive manner in the spirit of Vladimir Vysotsky, or quasi-fake, primitive sounding of "outdoorsy campfire" bards) involves methods of making comical and serves to create an atmosphere of fun.
The paper deals with the complex of challenges which the museum faces while conserving Digital Arts. The absence of unified strategies and norms of keeping digital art is actual both for the Russian and international museum practice. Basic approaches to its museumification (traditional museum conservation, migration, emulation and reinterpretation) are studied in the context of contemporary museological theory and on the basis of the analysis of their application towards certain digital artworks.
ABOUT BUSINESS IN A “NEW” WAY: RECENTLY-COINED WORDS AND EXPRESSIONS IN ENGLISH BUSINESS DISCOURSE AT THE TURN OF THE 21ST CENTURYGalchuk L.M.
The article reviews the specifics of modern business communication on the basis of English words and expressions conceptualized around the notion of business and recorded in Word Spy online dictionary of neologisms within the last three decades. The newly coined words are analyzed through extra- and intralinguistic motivators of their emergence in the language inventory, the formal and semantic composition, pragmatic properties actualized in English business discourse. As the majority of neologisms possess the metaphorical potential, their intensive use in modern business communication tends to create the uncertainty effect and through it enhance the ideological impact on the audience. Thus, with the traditional norms of business communication being violated, English professional discourse recently experiences the loss of its conventionality in favour of increased efficiency of every single communicative act.
The article continues the earlier begun research in “Ideas and Ideals” (№-s 19, 21, 23). Now we examine the ethical aspect of the music function. ‘Music contributes to the moral perfection of people’- this well-known statement we meet in a great number of scientific and literary sources from Ancient Greece (music ethos, the “kalokagathia” doctrine – unity of Beauty and Kindness) till our days. The article's task is to argue our hypothesis about the moral aspect of music, describing the mechanisms of this impact. The main idea of the hypothesis is that it is the professionalism of a composer (as a talented person) that creates moral perfection of people and personal moral values of the composer have nothing to do with this process. The masterly organized music form triggers the mechanism of moral perfection. Just “well-made” music (not any accidental sounds' connection) evokes positive emotions, which have wholesome influence on listener's moral. The beauty of music forms has influence on auditorium; music harmony (in narrow and wide senses) contributes to the development of a harmonic person. The article contains some literary examples with the author’s music analysis, which prove the hypothesis (“Mozart and Salieri”, “War and Peace”). The highest form of this music transforming function is moral purgation (catharsis) as a result of emotional “explosion” during music listening. Music catharsis confirms “The Moral Law Within Me” (Kant).