{"id":8250,"date":"2026-06-18T17:24:28","date_gmt":"2026-06-18T14:24:28","guid":{"rendered":"http:\/\/intelsiberia.ru\/?page_id=8250"},"modified":"2026-06-18T17:24:31","modified_gmt":"2026-06-18T14:24:31","slug":"nae-350","status":"publish","type":"page","link":"http:\/\/intelsiberia.ru\/en\/nae-350\/","title":{"rendered":"CULTURE TURNS: AN EXAMINATION OF SPACES OF INTERACTION IN THE VISUAL ARTS SYSTEM. THE INTERMEDIARY ASPECT"},"content":{"rendered":"\n<p class=\"wp-block-paragraph\">\u0423\u0414\u041a:&nbsp;7.01-028.22:316.73<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>CULTURE TURNS: AN EXAMINATION OF SPACES OF INTERACTION IN THE VISUAL ARTS SYSTEM. THE INTERMEDIARY ASPECT<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Anastasia A. Zhigaeva<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Siberian Federal University, Krasnoyarsk, Russia<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Abstract<\/strong>. The study of intermediary spaces within the visual arts system has allowed for a refinement of the model of the visual arts system, created in analogy to the semiosphere and biosphere, both in its internal content and in the area of its boundaries, and partially in its interrelation with other semiotic systems. The choice of cultural turns was made through the lens of the translational turn: categories such as \u00abcommunication\u00bb, \u00abheritage\/memory\u00bb, \u00abcomplex of related texts\u00bb, \u00abrole of the viewer\u00bb, \u00abrole of the artwork\u00bb, \u00abspace of relationships\u00bb, \u00abtransformation\/transfiguration\u00bb, and \u00abreproduction\u00bb were identified, each of which served as the starting point in the selection of the corresponding turn. The intermediary spaces of the visual arts system, explored through various turns, emerged as a crucial part of this system, and thus became marked by the figure of the intermediary. Analysis of the various types of structuring of intermediary spaces allowed for a detailed description of the functions of the intermediary through the prism of each chosen cultural turn. These functions formed a comprehensive picture of the intermediary&#8217;s activities in the visual arts system, and also revealed unique features of the intermediary&#8217;s functioning specific to this system. This sequence, from the analysis of structural elements to the analysis of practical activities, corresponds to contemporary approaches in the study of cultural processes.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Keywords:<\/strong> Cultural turn, intermediary, space of interaction, artistic culture, visual arts.<\/p>\n\n\n\n<details class=\"wp-block-details is-layout-flow wp-block-details-is-layout-flow\"><summary><strong>References<\/strong><\/summary>\n<p class=\"wp-block-paragraph\">1. &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; \u0411\u0430\u0445\u043c\u0430\u043d-\u041c\u0435\u0434\u0438\u043a, \u0414. \u041a\u0443\u043b\u044c\u0442\u0443\u0440\u043d\u044b\u0435 \u043f\u043e\u0432\u043e\u0440\u043e\u0442\u044b. \u041d\u043e\u0432\u044b\u0435 \u043e\u0440\u0438\u0435\u043d\u0442\u0438\u0440\u044b \u0432 \u043d\u0430\u0443\u043a\u0430\u0445 \u043e \u043a\u0443\u043b\u044c\u0442\u0443\u0440\u0435 \/ \u0414. \u0411\u0430\u0445\u043c\u0430\u043d-\u041c\u0435\u0434\u0438\u043a. M.: \u041d\u043e\u0432\u043e\u0435 \u043b\u0438\u0442\u0435\u0440\u0430\u0442\u0443\u0440\u043d\u043e\u0435 \u043e\u0431\u043e\u0437\u0440\u0435\u043d\u0438\u0435, 2017. &#8211; 504 \u0441.&nbsp; EDN: ZDKXHL&nbsp;&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">2. &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; \u0416\u0443\u043a\u043e\u0432\u0441\u043a\u0438\u0439, \u0412. \u0418. \u0412\u0438\u0437\u0443\u0430\u043b\u044c\u043d\u0430\u044f \u0441\u0443\u0449\u043d\u043e\u0441\u0442\u044c \u0440\u0435\u043b\u0438\u0433\u0438\u0438 \/ \u0412. \u0418. \u0416\u0443\u043a\u043e\u0432\u0441\u043a\u0438\u0439, \u041d. \u041f. \u041a\u043e\u043f\u0446\u0435\u0432\u0430, \u0414. \u0412. \u041f\u0438\u0432\u043e\u0432\u0430\u0440\u043e\u0432. \u041a\u0440\u0430\u0441\u043d\u043e\u044f\u0440\u0441\u043a\u0438\u0439 \u0443\u043d\u0438\u0432\u0435\u0440\u0441\u0438\u0442\u0435\u0442 [\u041a\u0440\u0430\u0441\u0413\u0423]. &#8211; \u041a\u0440\u0430\u0441\u043d\u043e\u044f\u0440\u0441\u043a: \u041a\u0440\u0430\u0441\u043d\u043e\u044f\u0440\u0441\u043a\u0438\u0439 \u0443\u043d\u0438\u0432\u0435\u0440\u0441\u0438\u0442\u0435\u0442 [\u041a\u0440\u0430\u0441\u0413\u0423], 2006. &#8211; 460 \u0441.&nbsp; EDN: QUAYFJ&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">3. &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; \u0413\u0430\u0440\u0431\u043e\u0432\u0441\u043a\u0438\u0439, \u041d. \u041a. \u0422\u0435\u043e\u0440\u0438\u044f \u043f\u0435\u0440\u0435\u0432\u043e\u0434\u0430 \/ \u041d. \u041a. \u0413\u0430\u0440\u0431\u043e\u0432\u0441\u043a\u0438\u0439. \u0418\u0437\u0434\u0430\u0442\u0435\u043b\u044c\u0441\u0442\u0432\u043e \u041c\u043e\u0441\u043a\u043e\u0432\u0441\u043a\u043e\u0433\u043e \u0443\u043d\u0438\u0432\u0435\u0440\u0441\u0438\u0442\u0435\u0442\u0430, 2007. &#8211; 544 \u0441.&nbsp; EDN: UUJKUZ&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">4. &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; \u0424\u043e\u043c\u0438\u043d, \u041c. \u0412. \u0420\u0430\u043d\u043d\u0435\u0445\u0440\u0438\u0441\u0442\u0438\u0430\u043d\u0441\u043a\u0430\u044f \u0436\u0438\u0432\u043e\u043f\u0438\u0441\u044c \u043f\u043e\u0437\u0434\u043d\u0435\u0430\u043d\u0442\u0438\u0447\u043d\u043e\u0433\u043e \u0425\u0435\u0440\u0441\u043e\u043d\u0435\u0441\u0430. \/ \u041c. \u0412. \u0424\u043e\u043c\u0438\u043d \/\/ \u041c\u0430\u0442\u0435\u0440\u0438\u0430\u043b\u044b \u043f\u043e \u0430\u0440\u0445\u0435\u043e\u043b\u043e\u0433\u0438\u0438 \u0438 \u0438\u0441\u0442\u043e\u0440\u0438\u0438 \u0430\u043d\u0442\u0438\u0447\u043d\u043e\u0433\u043e \u0438 \u0441\u0440\u0435\u0434\u043d\u0435\u0432\u0435\u043a\u043e\u0432\u043e\u0433\u043e \u041f\u0440\u0438\u0447\u0435\u0440\u043d\u043e\u043c\u043e\u0440\u044c\u044f. &#8211; 2014. &#8211; \u2116 6. &#8211; pp. 299-389.&nbsp; EDN: TNYKBR&nbsp;&nbsp;&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">5. &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; \u0414\u0435\u0431\u0440\u044d, \u0420. \u0412\u0432\u0435\u0434\u0435\u043d\u0438\u0435 \u0432 \u043c\u0435\u0434\u0438\u043e\u043b\u043e\u0433\u0438\u044e \/ \u0420. \u0414\u0435\u0431\u0440\u044d. \u041c\u043e\u0441\u043a\u0432\u0430: \u041f\u0440\u0430\u043a\u0441\u0438\u0441, 2010. &#8211; 368 \u0441.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">6. &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Jacobs, M., Spillman, L. Cultural Sociology at the Crossroads of the Discipline \/ M. Jacobs, L. Spillman \/\/ Poetics. &#8211; 2005. &#8211; Vol. 33. &#8211; P. 1-14.&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">7. &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; \u041b\u043e\u0442\u043c\u0430\u043d \u042e. \u041c. \u0418\u0437\u0431\u0440\u0430\u043d\u043d\u044b\u0435 \u0441\u0442\u0430\u0442\u044c\u0438: \u0412 3 \u0442. \u0422. 1: \u0421\u0442\u0430\u0442\u044c\u0438 \u043f\u043e \u0441\u0435\u043c\u0438\u043e\u0442\u0438\u043a\u0435 \u0438 \u0442\u0438\u043f\u043e\u043b\u043e\u0433\u0438\u0438 \u043a\u0443\u043b\u044c\u0442\u0443\u0440\u044b \/ \u042e. \u041c. \u041b\u043e\u0442\u043c\u0430\u043d. \u0422\u0430\u043b\u043b\u0438\u043d\u043d: \u0410\u043b\u0435\u043a\u0441\u0430\u043d\u0434\u0440\u0430, 1992. &#8211; 479 \u0441.&nbsp; ISBN: 5-450-01551-8&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">8. &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; \u0424\u0443\u043a\u043e, \u041c. \u0412\u043e\u043b\u044f \u043a \u0438\u0441\u0442\u0438\u043d\u0435: \u043f\u043e \u0442\u0443 \u0441\u0442\u043e\u0440\u043e\u043d\u0443 \u0437\u043d\u0430\u043d\u0438\u044f, \u0432\u043b\u0430\u0441\u0442\u0438 \u0438 \u0441\u0435\u043a\u0441\u0443\u0430\u043b\u044c\u043d\u043e\u0441\u0442\u0438. \u0420\u0430\u0431\u043e\u0442\u044b \u0440\u0430\u0437\u043d\u044b\u0445 \u043b\u0435\u0442. \/ \u041c. \u0424\u0443\u043a\u043e. \u041c.: \u041a\u0430\u0441\u0442\u0430\u043b\u044c, 1996.- 448 \u0441.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">9. &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Barnlund, D. A transactional model of communication. \/ D. Barnlund \/\/ Language Behavior: A Book of Readings in Communication. For Elwood Murray on the Occasion of His Retirement, edited by Johnnye Akin, Alvin Goldberg, Gail Myers and Joseph Stewart. Berlin, Boston: De Gruyter Mouton. &#8211; 1970. &#8211; pp. 43-61.&nbsp; DOI: 10.1515\/9783110878752.43&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">10. &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; \u0411\u043e\u0440\u0438\u0441\u0435\u043d\u043a\u043e\u0432\u0430 \u0410. \u041d\u0430\u0440\u0440\u0430\u0442\u0438\u0432\u043d\u044b\u0439 \u043f\u043e\u0432\u043e\u0440\u043e\u0442 \u0438 \u0435\u0433\u043e \u043f\u0440\u043e\u0431\u043b\u0435\u043c\u044b \/ \u0410. \u0411\u043e\u0440\u0438\u0441\u0435\u043d\u043a\u043e\u0432\u0430 \/\/ \u041d\u043e\u0432\u043e\u0435 \u043b\u0438\u0442\u0435\u0440\u0430\u0442\u0443\u0440\u043d\u043e\u0435 \u043e\u0431\u043e\u0437\u0440\u0435\u043d\u0438\u0435. &#8211; 2010. &#8211; \u2116 103. &#8211; \u0421. 327-332.&nbsp; EDN: MTDZFP&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">11. &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Conquergood, D. Rethinking ethnography: Towards a critical cultural politics \/ D. Conquergood. \/\/ Communication Monographs. &#8211; 1991. &#8211; 58 (2) &#8211; pp. 179-194.&nbsp; DOI: 10.1080\/03637759109376222&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">12. &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Martschukat, J. Geschichtswissenschaft und &#8220;performative turn&#8221;: Ritual, Inszenierung und Performanz vom Mittelalter bis zur Neuzeit. \/ J. Martschukat, S. Patzold. B\u00f6hlau, 2003 &#8211; Historiography &#8211; 285 p.&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">13. &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Turner, V. Social Dramas and Stories about Them \/ V. Turner \/\/ Critical Inquiry. &#8211; 1980. &#8211; 7 (1) &#8211; pp. 141-168.&nbsp; DOI: 10.1086\/448092&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">14. &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Appadurai, A. Sovereignty Without Territoriality: Notes for a Postnational Geography \/ A. Appadurai \/\/ The anthropology of space and place: locating culture. Journal of The Royal Anthropological Institute. 2003. &#8211; 436 p.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">15. &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Michalsky, T. Raum visualisieren. Zur Genese des modernen Raumverst\u00e4ndnisses in Medien der Fr\u00fchen Neuzeit \/ T. Michalsky. Bielefeld. 2005. &#8211; 287-310 p.&nbsp; &nbsp;<\/p>\n<\/details>\n\n\n\n<p class=\"wp-block-paragraph\"><strong><a href=\"https:\/\/elibrary.ru\/item.asp?id=61475595\" target=\"_blank\" rel=\"noopener\">Get access to the full version of this article<\/a><\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"<p>\u0423\u0414\u041a:&nbsp;7.01-028.22:316.73 CULTURE TURNS: AN EXAMINATION OF SPACES OF INTERACTION IN THE VISUAL ARTS SYSTEM. THE INTERMEDIARY ASPECT Anastasia A. Zhigaeva Siberian Federal University, Krasnoyarsk, Russia Abstract. The study of intermediary spaces within the visual arts system has allowed for a refinement of the model of the visual arts system, created in analogy to the semiosphere &#8230; <a title=\"CULTURE TURNS: AN EXAMINATION OF SPACES OF INTERACTION IN THE VISUAL ARTS SYSTEM. THE INTERMEDIARY ASPECT\" class=\"read-more\" href=\"http:\/\/intelsiberia.ru\/en\/nae-350\/\" aria-label=\"Read more about CULTURE TURNS: AN EXAMINATION OF SPACES OF INTERACTION IN THE VISUAL ARTS SYSTEM. THE INTERMEDIARY ASPECT\">Read more<\/a><\/p>\n","protected":false},"author":10,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"cybocfi_hide_featured_image":"","_locale":"en_US","_original_post":"http:\/\/intelsiberia.ru\/?page_id=8248","footnotes":""},"wf_page_folders":[319],"class_list":["post-8250","page","type-page","status-publish","en-US"],"acf":[],"_links":{"self":[{"href":"http:\/\/intelsiberia.ru\/wp-json\/wp\/v2\/pages\/8250","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/intelsiberia.ru\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"http:\/\/intelsiberia.ru\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"http:\/\/intelsiberia.ru\/wp-json\/wp\/v2\/users\/10"}],"replies":[{"embeddable":true,"href":"http:\/\/intelsiberia.ru\/wp-json\/wp\/v2\/comments?post=8250"}],"version-history":[{"count":1,"href":"http:\/\/intelsiberia.ru\/wp-json\/wp\/v2\/pages\/8250\/revisions"}],"predecessor-version":[{"id":8251,"href":"http:\/\/intelsiberia.ru\/wp-json\/wp\/v2\/pages\/8250\/revisions\/8251"}],"wp:attachment":[{"href":"http:\/\/intelsiberia.ru\/wp-json\/wp\/v2\/media?parent=8250"}],"wp:term":[{"taxonomy":"wf_page_folders","embeddable":true,"href":"http:\/\/intelsiberia.ru\/wp-json\/wp\/v2\/wf_page_folders?post=8250"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}