The subject of the study is a cultural code that gives the key to deciphering the cultural text of technical design. The object of the study is the language of technical design. The research uses methods of analyzing visual symbols used in technical design, the method of analyzing previous studies, the method of synthesis in conclusions regarding the concept of cultural code. The authors consider the following aspects of the topic: semiotic approach to the theory of culture and the definition of cultural code in visual semiosis; morphology and semantics of technical symbols in engineering design; syntax and pragmatics of cultural text in engineering design. Special attention is paid to the theory of complex analysis of a technical scheme as an example of a holistic cultural text. The main conclusions of the study are: 1. The semiotic approach to the definition of culture involves considering the sign system from the point of view of the diversity of meanings of its elements (symbols), and identifying three categories of symbols: semantics, pragmatics and syntax. The cultural text of technical design (device diagrams) is (in comparison with the text of art) a stricter, invariant system; however, as in any language, the genesis associated with changes in syntactics can be traced in it. 2. The syntax of the cultural text of technical design can be analyzed only if there is a cultural code of this technical language. This code includes the "alphabet" of symbol elements, their semantics (variety of meanings), pragmatics (scope of application) and syntax (relationships that form a unique schema text). A special contribution of the author to the study of the topic is the systematization of the morphology of pictorial symbols in engineering design from the point of view of cultural studies. The scientific novelty of the research lies in the culturological reading of the technical text.
The subject of the study is the cultural code of "Numbers", covering numerical symbols and their embodiment in the pictorial semiosis of the Jews of the Crimea. The object of the study is the traditional compositions and images associated with the symbolism of numbers in the pictorial practice of the Jews of the Crimea. The research uses methods of semiotic and semantic analysis in deciphering the meanings of numeric symbols and their embodiment in the Jewish pictorial semiosis of the Crimea, the method of analyzing previous research on the topic, the synthesis method in generalizing the meanings of numeric symbols. In the article, the authors consider such aspects of the topic as: the codes of the pictorial semiosis of the Jews of the Crimea are defined, their system, etymology, key meanings and the main code are indicated. The code of the Number and its features are considered in detail. The main conclusions of the study are: 1. The result of the consideration of the traditional culture of the Jews of the Crimea was the definition of five codes of the Jewish pictorial semiosis, including groups of images: phytomorphic, zoomorphic, skewomorphic, numerical. The Sefer code (Book) is a generalizing one. The interrelationships of the codes are structured, as a result of which the key meanings are revealed – Creation, Paradise, Torah persons, Messianic aspirations. The semantic center of the codes is defined – Aron Hakodesh - the repository of the Torah, which is the source of all Jewish doctrine. 2. The considered Number code includes images, the number of which has a symbolic meaning, the basis of which lies in the Torah. The main numbers mentioned in the Torah, their meanings and their embodiment in traditional pictorial practice are considered. In addition to the direct mention of numbers in the Torah, the meanings of numeric symbols follow from Kabbalah, which translates alphabetic values into numeric ones (due to the same spelling of numeric and alphabetic symbols in Hebrew). Scientific novelty of the study: for the first time, the interrelationships of cultural codes in the pictorial semiosis of the Jews of the Crimea were determined. The author's concept of the sacred geometric code of numbers in Judaism is presented on the basis of the study of the Torah, as well as the classical philosophy of the Pythagoreans and Platonists.
The subject of the study is the characteristic of the Baroque style and the integration of its elements into the decor of the architecture of the Crimea of the Art Nouveau period. The object of the study is the architecture of the Crimea and its decor of the period of the late XIX – first third of the XX century. The research uses the methods of art criticism analysis of Baroque visual forms and their integration into modernity, the method of analysis of previous studies, the method of synthesis in conclusions regarding the connotations of Baroque symbolism. The author considers such aspects of the topic as: a general overview of the origin of the Baroque style; features of the architecture of the Crimean Art Nouveau; integration of Baroque elements into the decor of the Art Nouveau of the Crimea. The main conclusions of the study are: 1. The appearance of the Baroque style in architecture and decor is attributed by architectural historians to the XVII century. However, its origins should be sought in the Middle Ages, since many Baroque elements repeat Arabesques brought by the Crusaders to Europe. Baroque has established itself as a church and palace style. In turn, the Asia Minor (Turkish) Baroque was a synthesis of traditional Arab elements and Western European influence in the XVIII century. 2. The Art Nouveau style in architecture and its decor is a synthesis of various elements of previous styles, arbitrarily used by architects in accordance with their personal tastes, as well as with the wishes of customers. The basis of the Crimean Art Nouveau, represented in country villas, mansions, palaces, apartment buildings, is classicism, Renaissance and Mudekhar style, with the introduction of individual features into them with the help of decor. The use of Baroque elements enlivened the buildings, giving them an elegant, southern flavor. A special contribution of the author to the study of the topic is to clarify the periodization and origin of the Baroque style. The scientific novelty of the research lies in the fact that the author for the first time analyzed the decor of the architecture of the Crimea of the modern period, identified and analyzed the elements of the Baroque, their origin and role in the style of modernity.
The subject of the study is ethnic cultural codes that are broadcast in the visual semiosis of decorative and applied art and architecture of the Crimea. The object of the study is architecture and decorative and applied art of various ethnic groups of the Crimea. The research uses methods of semantic, semiotic and artistic analysis of traditional images, the method of analysis of previous studies, the method of synthesis in conclusions regarding the formation of a unified Crimean style in visual semiosis. In the study, the author considers aspects of the topic: morphology and semantics of the elements of the visual semiosis of the Crimea and their belonging to a particular code of ethnic cultures; polyethnicity in the formation of the Crimean style of architectural and subject decor. The emphasis is placed on the multiculturality of the Crimea in the process of forming a semiotic universe in the visual semiosis. The main conclusions of the study are: 1. Crimea is a multicultural ecumene due to its geographical location, the interaction of ethnic groups on its territory generated various cultural processes, ranging from reception to integration, which led to the formation of a unique Crimean style in the visual arts. The elements of this style were the details of the ethnic art of various peoples who inhabited the Crimea from the first centuries of our era to the present. 2. Ethnic cultural codes defining the identification of the presence of a certain national artistic culture in the unified Crimean semiosis of architecture and decorative and applied art are elements and symbols characteristic of the traditional semiosis of a particular ethnic group. Over time, they have changed and experienced mutual influence, but the most persistent of them are still identified as belonging to a certain national and/or religious culture. 3. The scientific novelty of the research consists in the fact that the author for the first time conducts a semantic analysis of pictorial symbols in the visual semiosis of Crimea, identifies individual ethnic cultural codes, analyzes their genesis, commonality and differences of elements as part of a single Crimean stylistics.
The subject of the study is the cultural code of Judaism in the visual semiosis of the Crimea. The object of the study is the traditional symbolism in the decor of the Jews of the Crimea: Ashkenazi Jews, Karaites and Krymchaks. The article uses the methods of cultural (semiotic, ontological and hermeneutic) analysis in the continuum of signs of the traditional Jewish semiosis, the idiographic method in the concept of the totality of signs, the method of analysis of previous studies, the method of synthesis in substantiating the morphology of signs. The following aspects of the topic are considered in the study: five main codes of Jewish culture are identified, their morphology and interrelationships are substantiated, as well as key meanings and the main central code. The main conclusions of the study are: 1. The multiethnic landscape of Crimea is made up of the cultures of numerous ethnic groups. The main feature of the identification and self-identification of cultures is religion. The Jews of Crimea include Ashkenazi Jews, Karaites and Crimeans. A single source for cultural codes in the Jewish semiosis is the Torah (the Mosaic Pentateuch) for all three ethnic groups, and for two of them (Jews and Krymchaks), the interpretation of the Torah is also the Talmud. 2. Based on the studied material, five main codes of the Jewish visual semiosis of the Crimea are identified, each of which unites a certain group of symbols: skewomorphic, phytomorphic, zoomorphic, numeric. The unifying code and the primary source of all codes is the code Book (Torah). The interrelationships between the codes, the key meanings – symbols of Creation, Paradise, Torah persons and Messianic aspirations are revealed. The semantic center of all codes is the repository of the Torah – Aron Hakodesh, and the Torah itself. Thus, the ring pattern "from Torah to Torah" is revealed. 3. A special contribution to the research of the topic is the systematization of the cultural codes of the Jewish semiosis of the Crimea. The scientific novelty consists in the fact that for the first time a culturological analysis was carried out and the interrelationships of cultural codes in the visual semiosis of the Crimea were structured.
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