Визуализация истории: новый поворот в развитии исторического познания
DOI:
https://doi.org/10.15826/qr.2015.3.117Аннотация
Анализируются процессы трансформации исторической науки в условиях формирования общества визуальной культуры. Наиболее очевидным показателем визуального поворота в исторической науке стало стремительное развитие визуальной антропологии, в рамках которой изучаются различные проявления визуальности и используется новый
инструментарий сбора и фиксации информации (кинокамера). Об усилении процессов визуализации исторической науки свидетельствует растущая популярность историко-документального кино, музейных инсталляций, исторических реконструкций. Кратко охарактеризованы основные направления трансформации исторической науки, в том числе изменение стиля языка, расширение тематики исследований, обновление источниковой базы и методов анализа визуальных источников. Отмечено широкое использование в словаре историка понятий, связанных с визуальным подходом (образ, облик, портрет, ландшафт и пр.).
Основное внимание уделяется методологическим и методическим аспектам историко-визуальных исследований, рассматриваются методологические подходы к реконструкции и механизмам формирования образа; его трансляции; влиянию на общественное сознание и поведение. Расширение современной источниковой базы исторических исследований связано со все более широким использованием аудиовизуальных источников. Особое внимание уделено такой разновидности аудиовизуальных документов, как художественные фильмы, раскрываются их потенциал и особенности репрезентации информации. Отмечено, что при анализе кинодокументов необходимо учитывать прежде всего характер отражения информации (образы «настоящего» или «прошлого»). Наиболее интересными для исторического исследования являются фильмы на современную авторам тему, поскольку они содержат значительный пласт информации, отражающей особенности материальной культуры, поведенческих моделей и отношений, социальных типажей.
Показано, что для изучения аудиовизуальных источников необходимо использование особых методов, в частности метода наблюдения. В статье рассмотрены его содержание, проблемы адаптации его к изучению аудио- визуальных документов. Приводится характеристика основных этапов реализации метода наблюдения при изучении кинодокументов. Изучение визуальных источников формирует особые навыки работы с информацией.
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Lejdinger, H. [Leidinger H.] (2014).Vizualizaciya vostochnogo fronta v avstrovengerskoj propagande Pervoj mirovoj vojny′ [Visualization of the Eastern Front in Austro-Hungarian World War I Propaganda]. In Quaestio Rossica, 1, pp. 112–128.
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Lotman, Yu. M. (2000). Semiosfera [Semiosphere]. 704 p. Saint Petersburg, Iskusstvo-SPB.
MacDougall, D. & Taylor, L. (Ed.). (1998). Transcultural Cinema. Princeton, Princeton University Press.
Magidov, V. M. (2012). Vizual′naya antropologiya kak sociokul′turnoe yavlenie v retrospektive i perspektive sovremennogo istoricheskogo znaniya [Visual Anthropology as a Socio-cultural Phenomenon in Retrospective and Perspective of Modern Historical Knowledge]. Available at: http://www.mdn.ru/cntnt/blocksleft/menu_left/nacionalny/publikacii2/stati/v_m_magido.html (accessed: 01.07.2013).
Magidov, V. M. (2005). Kinofotofonodokumenty′ v kontekste istoricheskogo znaniya [Film and Photographic Documents in the Context of Historical Knowledge]. 394 p. Moscow, Izd-vo RGGU.
Mitchell, W. J. T. (1995). What is Visual Culture? In Lavin, I. (Ed.). Meaning in the Visual Arts: Views from the Outside. Princeton, NJ, Institute for Advanced Study.
Narskij, I. V. (2008). Fotokartochka na pamyat′ : Semejny′e istorii, fotograficheskie poslaniya i sovetskoe detstvo (Avtobio-istoriograficheskij roman) [A Photograph as a Keepsake: Modern Stories, Photographic Messages and Soviet Childhood]. 516 p. Chelyabinsk, E′nciklopediya.
Nikolaev, A. I. (2011). Osnovy′ literaturovedeniya : Uchebnoe posobie [Foundations of Literary Criticism: A Manual]. 255 p. Ivanovo, LISTOS.
Obolenskaya, S. V. (1991). Obraz nemca v russkoj narodnoj kul′ture XVIII–XIX vv. [The Image of Germans in the Russian Culture of the 18th – 19th Centuries]. In Odissej. Chelovek v istorii. Kul′turno-antropologicheskaya istoriya segodnya. 1991 (pp. 160–185). Moscow, Nauka.
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Obrezkova, N. V. (2011). Donskaya gorozhanka: social′ny′j portret i povsednevnost′ 1920-h godov [A Female Citizen of the Don Region: A Social Portrait and Everyday Life of the 1920s]. (A PhD Thesis in History). 254 p. Novocherkassk.
Ochevidnaya istoriya. Problemy2032 vizual'noj istorii Rossii XX stoletiya [An Obvious History. Issues of the Visual History of Russia of the 20th Century]. (2008). 476 p. Chelyabinsk, Kamenny′j poyas.
Panakova, Ya. (2007). Vizual′ny′e metody′: na puti k postizheniyu migracionnogo opy′ta [Visual Methods: On the Way towards Visual Image Comprehension]. In Zhurnal sociologii i social′noj antropologii, 10 (4), pp. 165, 161–177. Available at: www.old.jourssa.ru/2007/4/7aPanakova.pdf (accessed: 08.07.2013).
Pikhan, G. (2014). Moya Rossiya. Temy′ i obrazy′ [My Russia. Themes and Images]. In Quaestio Rossica, 1, pp. 36–52.
Porshneva, O. (2014). Image of the German enemy as perceived by Russian army soldiers during World War I. In Quaestio Rossica, 1, pp. 79–94.
Razlogov, K. (2010). Iskusstvo e′krana: ot sinematografa do internet [The Art of the Screen: From Cinematography to the Internet]. 287p. Moscow, ROSSPE′N.
Roberts, Gr. Imperial Visions: Packaging Design, Branding and National Identity in Contemporary Russia. Available at: https://www.academia.edu/5443570/Imperial_Visions_Packaging_Design_Branding_and_National_Identity_in_Contemporary_Russia(accessed: 21.01.2015).
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Опубликован
2015-10-01
Как цитировать
Mazur, L. (2015). Визуализация истории: новый поворот в развитии исторического познания. Quaestio Rossica, (3), 161–178. https://doi.org/10.15826/qr.2015.3.117
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Раздел
Vox redactoris
