ART AS COMMUNICATION IN HOTSPOTS OF THE PLANET (ON THE EXAMPLE OF MODERN SYRIA). PART ONE
The article proves that in the context of coverage of global geopolitical catastrophes, the problem of unambiguous representation of facts is becoming more and more urgent since each of the participants in the conflict defends their views on the causes, consequences and unfolding of events. Moreover...
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| Format: | Article |
| Language: | English |
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Borys Grinchenko Kyiv Metropolitan University
2024-12-01
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| Series: | Інтегровані комунікації |
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| Online Access: | https://intcom.kubg.edu.ua/index.php/journal/article/view/339 |
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| author | Oksana Kosiuk |
| author_facet | Oksana Kosiuk |
| author_sort | Oksana Kosiuk |
| collection | DOAJ |
| description | The article proves that in the context of coverage of global geopolitical catastrophes, the problem of unambiguous representation of facts is becoming more and more urgent since each of the participants in the conflict defends their views on the causes, consequences and unfolding of events. Moreover, the mass media rebroadcast the information conflict, completely disorienting the recipients. It is easy to see by looking at how the media of America, Iran, Britain, France, and Israel show the war in Syria: the same event is completely unrecognizable in their situational coverage.
As a result of studying the information space of Afghanistan, Israel, Iran, Palestine, and Syria, it was established that the work of the mass media is not of high quality; their functions are much more effectively performed by old means of mass communication such as fiction, cinematography and other areas of cultural production. It was found that painting turned out to be the most effective and relevant in Syria: it marked the beginning of the revolution of dignity in 2011 and so far has been recording crimes committed against humanity.
Since no one has yet studied this aspect of communication, the goal was set to explore the visual arts of modern Syria as a means and method of communication with the help of structuralism (distinguishing the directions, methods and styles of modernism), semiotic and content analyzes (identifying symbolic units of communication), comparison (studying the process and experiences), modelling (defining the features of movements, directions and styles), etc.
As a result, it was found that culture is not silent. Modern artists express emotional experiences, record war crimes, and sound the alarm in order to draw the attention of the world community to the Syrian disaster. So, the task of mass communication theory is to show exactly how they do it. Therefore, the research unfolds and covers new areas of figurative codification.
So far, it has been proven that symbolization is the most significant in terms of symbolism (because it allows us to introduce high abstractions into circulation and testify to the connection of generations). The symbol also helps shape the worldview positions of representatives of numerous Syrian religions (with emphasis on Christianity, Islam and Judaism). Communication not only states reality with the "language" of symbols but also demonstrates ways to escape from its ideological cataclysms. However, gaining features of stereotyping, signs lose their aesthetics. So, the paintings are transformed into posters, murals, and caricatures. |
| format | Article |
| id | doaj-art-7a609e8a678b4785a8aaa5379c166986 |
| institution | Kabale University |
| issn | 2524-2652 |
| language | English |
| publishDate | 2024-12-01 |
| publisher | Borys Grinchenko Kyiv Metropolitan University |
| record_format | Article |
| series | Інтегровані комунікації |
| spelling | doaj-art-7a609e8a678b4785a8aaa5379c1669862025-01-08T12:13:22ZengBorys Grinchenko Kyiv Metropolitan UniversityІнтегровані комунікації2524-26522024-12-012 (18)4452https://doi.org/10.28925/2524-2644.2024.185ART AS COMMUNICATION IN HOTSPOTS OF THE PLANET (ON THE EXAMPLE OF MODERN SYRIA). PART ONEOksana Kosiuk0https://orcid.org/0000-0001-8093-1961Lesya Ukrainka Volyn National UniversityThe article proves that in the context of coverage of global geopolitical catastrophes, the problem of unambiguous representation of facts is becoming more and more urgent since each of the participants in the conflict defends their views on the causes, consequences and unfolding of events. Moreover, the mass media rebroadcast the information conflict, completely disorienting the recipients. It is easy to see by looking at how the media of America, Iran, Britain, France, and Israel show the war in Syria: the same event is completely unrecognizable in their situational coverage. As a result of studying the information space of Afghanistan, Israel, Iran, Palestine, and Syria, it was established that the work of the mass media is not of high quality; their functions are much more effectively performed by old means of mass communication such as fiction, cinematography and other areas of cultural production. It was found that painting turned out to be the most effective and relevant in Syria: it marked the beginning of the revolution of dignity in 2011 and so far has been recording crimes committed against humanity. Since no one has yet studied this aspect of communication, the goal was set to explore the visual arts of modern Syria as a means and method of communication with the help of structuralism (distinguishing the directions, methods and styles of modernism), semiotic and content analyzes (identifying symbolic units of communication), comparison (studying the process and experiences), modelling (defining the features of movements, directions and styles), etc. As a result, it was found that culture is not silent. Modern artists express emotional experiences, record war crimes, and sound the alarm in order to draw the attention of the world community to the Syrian disaster. So, the task of mass communication theory is to show exactly how they do it. Therefore, the research unfolds and covers new areas of figurative codification. So far, it has been proven that symbolization is the most significant in terms of symbolism (because it allows us to introduce high abstractions into circulation and testify to the connection of generations). The symbol also helps shape the worldview positions of representatives of numerous Syrian religions (with emphasis on Christianity, Islam and Judaism). Communication not only states reality with the "language" of symbols but also demonstrates ways to escape from its ideological cataclysms. However, gaining features of stereotyping, signs lose their aesthetics. So, the paintings are transformed into posters, murals, and caricatures.https://intcom.kubg.edu.ua/index.php/journal/article/view/339culturecommunicationsyriapaintingsignmodernismsymbolism |
| spellingShingle | Oksana Kosiuk ART AS COMMUNICATION IN HOTSPOTS OF THE PLANET (ON THE EXAMPLE OF MODERN SYRIA). PART ONE Інтегровані комунікації culture communication syria painting sign modernism symbolism |
| title | ART AS COMMUNICATION IN HOTSPOTS OF THE PLANET (ON THE EXAMPLE OF MODERN SYRIA). PART ONE |
| title_full | ART AS COMMUNICATION IN HOTSPOTS OF THE PLANET (ON THE EXAMPLE OF MODERN SYRIA). PART ONE |
| title_fullStr | ART AS COMMUNICATION IN HOTSPOTS OF THE PLANET (ON THE EXAMPLE OF MODERN SYRIA). PART ONE |
| title_full_unstemmed | ART AS COMMUNICATION IN HOTSPOTS OF THE PLANET (ON THE EXAMPLE OF MODERN SYRIA). PART ONE |
| title_short | ART AS COMMUNICATION IN HOTSPOTS OF THE PLANET (ON THE EXAMPLE OF MODERN SYRIA). PART ONE |
| title_sort | art as communication in hotspots of the planet on the example of modern syria part one |
| topic | culture communication syria painting sign modernism symbolism |
| url | https://intcom.kubg.edu.ua/index.php/journal/article/view/339 |
| work_keys_str_mv | AT oksanakosiuk artascommunicationinhotspotsoftheplanetontheexampleofmodernsyriapartone |