iiIHrQQkgU

ние, похожее на пение хора (С. 148). Дело в том, что истина принципиально диалогична, то есть она предполагает разницу её постижения и невозможность полного и окончательного выражения истины в одном голосе, в одной точке зрения. Отсюда следует радикальный вывод о том, что ислам, возможно, нужен для того, чтобы восполнить недостаточность европейской точки зрения, европейского гуманизма в таком его понимании, что было выработано в немецкой философии, но в чём конкретно это выражается – это сформулируют уже не существующие голоса, а новые, которые ещё не появились.

Что же касается каждого конкретного участника диалогического взаимодействия, то он призван, по Бахтину и Достоевскому, как раз обрести свой собственный голос, но сделать он это может не путём заглушения чужих голосов в самом себе, а путём нахождения некоей высшей мелодии, на которую этот голос сможет настроиться и которая позволит ему участвовать в хоре, выводя только свою собственную партию. И Достоевский видит такой ориентир в слове, обладающем свободно признаваемым авторитетом для участников диалога и в то же время предоставляющим бесконечную свободу для многообразия диалогических взаимоотношений, только это слово уже не человеческое, а Божественное, следовательно, этим авторитетом является Христос (С. 57). Понятное дело, что в атеистических условиях СССР Бахтин не мог развивать этот тезис дальше, но он намекает на интересную метафизическую идею: чтобы диалог был возможен, надо, чтобы он имел какую-то высшую санкцию, то есть участники должны пройти через некое рождение свыше, искать какую-то высшую правду и не успокоиться, пока её не найти. В диалоге нельзя перебывать «теплохладным», используя образ Апокалипсиса (к которому также прибегает Достоевский), а надо быть способным возвыситься до экзистенциального риска. Наверное, в этом смысле и можно понимать знаменитые слова об отсутствии у каждого алиби в бытии: как невозможность быть невовлечённым в подлинный экзистенциальный диалог, даже если ты принимаешь какое-то монологическое решение и хочешь отделаться молчанием. В состоянии молчания в тебе зазвучат чужие голоса и разорвут на части твою собственную позицию! Поэтому всё равно проблема гармонизации разных голосов будет решаться, чтобы не возникла ещё более загадочная проблема небытия (диалог невозможен только в состоянии полного небытия и забвения самосознания). Однако без указанной санкции свыше подлинный диалог также невозможен, а превращается в свою имитацию, когда возникает ситуация «дурной бесконечности голосов», повторения одного и того же мотива, как заезженной пластинки и пр. Как раз проблема перехода от дурной бесконечности несвязанности отдельных голосов к состоянию поиска сложной хоровой мелодии и может быть сегодня проблемой критической теории. Это – проблема ревитализации субъекта, соединения разума и воли, осмысления бытия и готовности действовать в непредусмотренном ми-

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ре. И только сама жизнь в ситуации качественного перехода и поставит «теплохладных» имитаторов диалога перед лицом событий, нарушающих их жизненный строй. А тогда наступят новые обретения в знании о бытии, которые могут быть осмыслены уже на базе другой методологии, возможно, более широкой и глубокой, чем методология синтеза идей И. Канта и М. Бахтина.

Список литературы

1.Адорно Т.В. Проблемы философии морали. М.: Республика, 2000.

2.Бахтин М.М. Проблемы поэтики Достоевского. М.; Аугсбург: ImWerdenVerlag, 2002.

3.Кант И. Критика практического разума // Кант И. Сочинения в 4-х томах на немецком и русском языках. Т. 3. М.: Московский философский фонд, 1997.

С. 277–733.

4.Кант И. Метафизика нравов в двух частях // Кант И. Основы метафизики нравственности. М.: Мысль, 1999. С. 563–909.

5.Кант И. Трактат о педагогике // Кант И. Трактаты и письма. М.: Наука, 1980.

С. 445–504.

6.Koch Lutz: Kants Revolutionen. In: Kant – Pädagogik und Politik / Hrsg. von Lutz

Koch und Christian Schönherr. Würzburg: ERGON-Verlag, 2005. S. 9–22.

7.Gühler Selap: Neue Leitkultur für Deutschland? URL: https://www.zdf.de/kultur/ forum-am-freitag/forum-am-freitag-vom-2-dezember-2016-100.html (дата обращения: 06.05.2017).

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УДК 172.4 ББК 87.6

B. Nikiforova

Lithuanian Culture Research Institute Vilnius, Lithuania

REFUGEES ON THE BORDER: VISUALITY AND DISCOURSE

Abstract. Today is no chance of returning to European world where all borders can be reinstated. The presentation is aimed to discuss methodological approaches to the intersection between mobility and security and its visual image. Border is a place where “past” and “future” are permanently clashed. In the new materialists’ view, the “past” is open to change. History suggests that borders and borderlands are territories where a possibility to “repair” the “now” situation exists (Karen Barad and

Donna Haraway). In an increasingly diasporic world borders are the tangible reality for all of the involved in this process and became “a new normality”. The nowadays meaning of European external borders includes survival, resistance and an attempt of escape from the armed conflicts, ongoing violence, persecution and instability in origin countries, ecological disasters and economic difficulties. Visual imagery is of particular importance for geopolitics because it is one of the principal ways in which news from distant places is brought home, constructing the notion of “home” in this process. This article includes virtual and narrative refugee discourse.

Key words: border, photography, refugee, safety, visual image.

Б. Никифорова

Литовский институт исследования культуры г. Вильнюс, Литва

БЕЖЕНЦЫ НА ГРАНИЦЕ: ВИЗУАЛЬНОСТЬ И ДИСКУРС

Аннотация. Статья посвящена обсуждению методологических подходов к взаимосвязи проблем мобильности и безопасности и их репрезентации в визуальных образах. Граница – это место, где «прошлое» и «будущее» постоянно сталкиваются. По мнению «новых материалистов», «прошлое» открыто для перемен. История показывает, что границы и пограничье являются территориями, где существует возможность исправить ситуацию «настоящего момента» (Карен Барад и Донна Харауэй). Во все более «рассеивающемся» («диаспорическом») мире границы являются ощутимой реальностью для всех вовлеченных в этот процесс и становятся «новой нормальностью». В настоящее время значение европейских внешних границ включает в себя выживание, сопротивление и попытку выхода из вооруженных конфликтов, продолжающегося насилия, преследования и нестабильности в странах происхождения беженцев, экологических катастроф и экономических трудностей. Визуальные образы имеют особое значение для геополитики, потому что это один из главных способов представления новостей из отдаленных мест, построения в ходе этого процесса понятия «дом». В статье обсуждаются виртуальный и повествовательный дискурс беженцев.

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Ключевые слова: граница, фотография, беженцы, безопасность, визуальный образ.

Introduction

In an increasingly diasporic world borders the tangible reality for all of the involved in this process and became “a new normality”. The nowadays meaning of European external borders includes survival, resistance and an attempt of escape from the armed conflicts, ongoing violence, persecution and instability in origin countries, ecological disasters and economic difficulties.

The migrant has become the political figure of our time. Social sciences offer a much-needed new political theory of an old phenomenon. Constrained by environmental, economic, and political instability, scores of people are on the move. But other sorts of have led to the fact that to some extent, we are all becoming migrants. Rather than viewing migration as the exception to the rule of political fixity and citizenship, Thomas Nail in the book “The Figure of the Migrant” reinterprets the history of political power from the view that the migrant is figure which possible to bring in the first place. For him, kinopolitics possible apply to several major historical dimensions (territorial, political, juridical, and economic) and different figures of migration process (the nomad, the barbarian, the vagabond, and other) .

Nail provides new tools for the analysis: kinopolitics which gave him possibility concludes that it is tool for reinvention of political theory. Right now political theory has this backwards. Migration is historically constant.

Visual imagery is of particular importance for geopolitics because it is one of the principal ways in which news from distant places is brought home, constructing the notion of “home” in his process. Following strategy of political geographer David Campbell, the investigator of the Darfur tragedy, we should give answer on such questions: what are the implications of a philosophical account of visuality for our understanding of photography generally and how has photography and photojournalism, as a geopolitical technology of visuality, problematized the current conflicts and affected ethical and political responsibility? In this article we are looking on virtual image of refugees as sociological site.

Also we should look on contemporary migration crises as a process which start sixty years ago and which was underlined by Hannah Arendt. She wrote that refugees have become a major issue of our time, a challenge for the nationstates and human rights. In last decades immigration has revealed two unexpected “contradictions of globalization”: the transnational circulation of persons became increasingly restricted, at least for the majority of the population and ethnic and religious divisions became the rule, leading to discrimination and violence. These two contradictions linked in the sense that borders as external territorial and as internal social categorizations are close related in a process in

Nail, Thomas. The Figure of the Migrant. Stanford: Stanford University Press, 2015.

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which immigrants are racialized and many national minorities are reminded of their non-host origin. Nowadays migrant cross borders to settle in a new society and discover boundaries inside states and towns. As Étienne Balibar notes, Europe is a frontier. Balibar concluded that borders are starting to be a “transitional object”, an object of permanent transgression, and European citizenship is a “citizenship of borders” in a metaphoric sense.

The Society of the Spectacle

I want to start article from name and general idea of Guy-Ernest Debord which was leader of the “situationist” concept. Debord helped both unify situationists praxis and destroy its expansion into areas not explicitly in line with his own ideas. His book “The Society of the Spectacle” (1967) remains today one of the great theoretical works about nowadays role of mediation in social and cultural relationships. In 1989 he published his Commentaries to “The Society of the Spectacle”, arguing that everything he wrote in 1967 was still true, only with one major exception: the society of the spectacle had reached a new form. In fact some his remarks and conclusions about image and real situationist praxis are important and fruitful for analyses of border and migration subjects.

Debord’s some ideas are actual from the view that “nowadays debates related to borders are perhaps one of the most visible signs that we are experiencing a process of change”1. The quick changes on European borders look as a spectacle which last act is yet not start. Today European borders is a “transitional object” and an object of permanent transgression and Debord’s situationists theory show us that “when the real world changes into simple images, the simple images become real beings and effective motivations of hypnotic behavior” and “every society which eliminates geographical distance reproduces distance internally as spectacular separation”2. He adds that every kind of critical theory must be communicated in its own language which is the language of contradiction, which must be dialectical in form as it is in content. “It is critique of the totality and historical critique. It is not a negation of style, but the style of negation”3.

De Genova uses same definition “spectacle” when he wrote about “methodological nationalism” that creates the frame of the nation-state which remains their defining horizons, while these are often no longer sufficient to understand contemporary mechanisms of bordering4. He adds that border policing and immigration law enforcement produce a spectacle that enacts a scene of “exclusion” and also leads that the citizenship inequalities become categorical differ-

1Zapata-Barrero, Ricard. Borders in motion. Concept and Policy Nexus. Refugee Survey Quarterly. Oxford Journals. January 2013, p. 1–23.

2Debord, Gye. E. (1994) The Society of the Spectacle, translation by Donald NicholsonSmith. New York: Zone Books. Thesis 167.

3Ibid, thesis 204 and 205;

4De Genova, Nicholas. Spectacles of migrant “illegality”. Ethnic and Racial Studies. 2013,

36(7), p. 1180–1198.

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ences that then may be racialized. Later we will see how it’s doing and interact with “image of the unimaginable”.

Visual imagery

Visual imagery is of particular importance for geopolitics because it is one of the principal ways in which news from distant places is brought in our own country and abroad, constructing the notion of own country as non-stop changing process. For Campbell the images of death in contemporary media is next important and difficult subject. He explores the issue of how death is imaged in contemporary media accounts of atrocity. Drawing on examples from many geopolitical conflicts, he highlights the importance of social context in the construction of pictorial meaning. He against such conventional views that the media’s images of death are a source of get accustomed and a diminution in the power of photography to provoke and to struggle with violence and injustice. He maintains the intersection of three economies: the economy of indifference to others, the economy of “taste and decency” and the economy of display governing the details of an image’s production. All of them means that today we are witnesses of a disappearance of the dead which restricts the possibility for an ethical politics exercising responsibility in the face of crimes against humanity1.

Such definition as visual economy is superior to the notion of visual culture and linked with idea of economy which calls attention to the way in which “visual images are part of a comprehensive organization of people, ideas and objects”2. In the situation of mass migration, the conclusion that people in disparate places can be part of the same economy when they may not be part of the same culture is a very important.

For new materialism, invoking the idea of visual economy means that images cannot be isolated as discrete objects but have to be understood as imbricated in networks of cultural history and political contexts and at the same time close intersects with new theoretical work on materiality.

Media Visuality

A new way of thinking about Europe’s borders challenged necessity of a provocative and timely reflection on the debate of border security and migration management in Europe. All of that immediately found a response in researching literature which offers critical perspectives on current migration policies, detention and deportation, border controls during recent years.

Yasmin Ibrahim and Anita Howarth, using “Jungle of Calais” case, look on media visuality as a vision is defined as an instrumental function of the eye,

1Campbell, David. Horrific Blindness: Images of Death in Contemporary Media. Journal for Cultural Research. 2004, 8 (1): 55–74.

2Poole, Deborah. Vision, Race and Modernity: A visual economy of the Andean image world. Princeton: Princeton University Press, 1997, p. 8.

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visuality entails a social way of seeing and experiencing through the visual1. Authors underline such important theoretical idea that when we speak of ‘visuality’ rather than vision, we are referring to the cultural meanings consolidated in and as images and, at the same time, visuality is not a pure seeing. The visuality as such refers to a social reality. In this sense, the article uses visuality where the image is produced within a cultural context and produces cultural and symbolic meaning beyond its immediate visuality. It addresses media’s modes of representation as evidenced through imaging and picturing the refugee camp. The Calais crisis came back into media scrutiny due to bigger events in the Mediterranean, where unprecedented numbers of refugees were risking their lives in overcrowded boats. We equally contextualize this visuality through the border politics of the camp.

Using Agamben theory to analyses of “Jungles of Calais” they conclude that visuality or our modes of looking at the Other through increased media pho- to-imagery in fact re-inscribed their distance and alien status. But before embarking on the main themes produced by the visuality of the media, we need to be situated within the context of migration to ‘fortress Europe’. Compared to the preceding 2014–2016 years, the world was facing its biggest refugee and migration crisis since the Second World War. Labelled as a “migrant camp” they are stripped of every political status and reduced completely to naked life. According to Agamben, camps are paradoxically both outside the normal juridical order and yet somehow internal to that order. As result, people in the camps “move about in a zone of indistinction between the outside and the inside, the exception and the rule, the licit and the illicit”. For Agamben, in such a permanent spatial arrangement the refugees become produced as ‘bare life’ by sovereign powers. The bare life becomes the reference in distinguishing the ‘politically qualified’ subject and equally in shoring up the borders of a sovereign political community2. He argues that in such a permanent spatial arrangement the refugees become produced as ‘bare life’ by sovereign powers. The bare life becomes sociological site of biopolitical exceptional space in the “Jungles of Calais”. About this kind of crisis spokes James Nachtwey, famous photographer and photojournalist: “I have been a witness, and these pictures are my testimony. The events I have recorded should. not be forgotten and must not be repeated”3. He wrote: “Entire families, old folks, young children and infants brave the perilous crossing outfitted with flimsy “life preservers” or inflated inner tubes. Most of them make it across, but some have perished at sea… Once they set foot ashore, their past

1Ibrahim Y. and Howart A.H. Imaging the Jungles of Calais: Media Visuality and the Refugee Camp. Networking Knowledge 9/4, 2016, 1–22. URL: file:///C:/Users/B/AppData/ Local/Temp/446-1-872-1-10-20160524.pdf.

2Agamben, Giorgio. Homo Sacer: Sovereign Power and Bare Life. Stanford: Stanford University Press, 1998, p. 40.

3Nachtwey, James. “Journey of Hope”. URL: http://time.com/4065597/james-nachtwey-the- journey-of-hope.

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lives are no more than a memory, their futures uncertain. Now they must begin walking, with whatever possessions they can carry, but they’re not sure in which direction or even where they are going”1.

Narrative image of migration and refugees

The bestselling novel Dutch author Tommy Wieringa “These are the Names” (2015) presents images of several migrants that have fallen victim to human trafficking. Author suggests that the border that these migrants so desperately want to cross, and that they in the end also believe to have crossed, does not really exist. This border is not the national border the migrants wanted to cross to flee depressing conditions, but a constructed, virtual border, somewhere in the middle of an unidentified steppe between the world that the migrants want to escape and the one where they want to arrive. Virtual or material, this border nevertheless exists.

Tommy Wieringa in his interview says this illogical and senseless travel that it was “alone struck me as a great premise for a book. But there was more.

The refugees reported that they had crossed a border somewhere before being released on the steppe. Someone had given them directions: “That’s where you need to go. And so they walked and walked and walked but never got anywhere. When they finally reached the town, it emerged that they had never crossed a border”2. The novel has many allusions with nowadays situation in the migration process. He paints a picture of the despair on harrowing journey: all their dreams and ideals dissolve there on that barren land.

Wieringa explains that “a fear of the other” as “an understandable survival strategy”. In the novel there are “illegal” migrants who cross this border; traffickers who help them cross it; “citizens” who are afraid of those who want to cross it; a government that wants to “restore order” and reduce the “threat” the migrants cause. The narrative could be interpreted as a story about contemporary practices of bordering and about the ways in which notions and discourses of borders as such.

The border of Wieringa’s novel is that of the many real and imagined encounters between illegalized migrants, traffickers, policemen, administrators, and citizens. This border has following characteristics: the tangible reality of the various ways, border include their means of survival and resistance, strategies of smuggling and escape and the reasons and technics that support the migrants'

“illegality” status.

The novel explores what Nicholas de Genova has called the “border spectacle”. The spectacle of border enforcement renders “migrant ‘illegality’ visible and lends it the commonsensical air of a ‘natural’ fact”. The virtual borders start to “exist” as soon as they are crossed.

1Nachtwey, James. “Journey of Hope”. URL: http://time.com/4065597/james-nachtwey-the- journey-of-hope.

2Wieringa, Tommi. These are the Names. London-New York: Melville House Books, 2015.

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Conclusions

In an increasingly diasporic world borders are the tangible reality for all of the involved in this process and became “a new normality”. The nowadays meaning of European external borders includes survival, resistance and an attempt of escape from the armed conflicts, ongoing violence, persecution and instability in origin countries, ecological disasters and economic difficulties.

The meaning of metaphor “a new normality” includes such points as mass migration crisis, massive terrorist attacks, the strengthening of the right-wing populism, the high rate of unemployment and at the same time, necessity in new working force.

Today critical theory interdisciplinary and using mass media communicates in its own language which includes visuality and narrativity. Visual imagery is of particular importance for geopolitics because it is one of the principal ways in which news about violence from distant places is brought our home.

The photography, photojournalism and narratives start to be catastrophe’s archaeology, the witness of all kind of “a new normality”. Refuges image on the border develop from local to global and start to be the symbol and the starting point of XXI century.

References

1.Agamben, Giorgio. Homo Sacer: Sovereign Power and Bare Life. Stanford: Stanford University Press, 1998.

2.Cambell, Dawid. Geopolitics and visuality: Sighting the Darfur conflict. Political Geography. 2007, 26, p. 357–382.

3.Debord, Gye E. The Society of the Spectacle, translation by Donald NicholsonSmith. New York: Zone Books, 1994.

4.De Genova, Nicholas. Spectacles of migrant “illegality”. Ethnic and Racial Studies. 2013, 36(7), p. 1180–1198.

5.Ibrahim, Y. and Howart, A. H. Imaging the Jungles of Calais: Media Visuality and the Refugee Camp. Networking Knowledge 9/4, 2016, 1–22. URL: file:///C:/ Users/B/AppData/Local/Temp/446-1-872-1-10-20160524.pdf.

6.Nail, Thomas. The Figure of the Migrant. Stanford: Stanford University Press, 2015.

7.Nachtwey, James. “Journey of Hope”. URL: http://time.com/4065597/james- nachtwey-the-journey-of-hope.

8.Poole, Debora. Vision, race and modernity: A visual economy of the Andean image world. Princeton: Princeton University Press, 1997.

9.Wieringa, Tommi. 2015. These Are the Names. London, New York: Melville House.

10.Zapata-Barrero, Ricard. Borders in motion. Concept and Policy Nexus. Refugee Survey Quarterly. Oxford Journals. January 2013, p. 1–23.

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УДК 314.15:316.4 ББК 60.546.7-41

А.В. Бурцева

Мурманский арктический государственный университет г. Мурманск, Россия

МЕЖДУ СТАРЫМ И НОВЫМ ДОМОМ: ПРОБЛЕМЫ АДАПТАЦИИ МИГРАНТОВ НА СЕВЕРЕ1

Аннотация. В статье представлен анализ современных концепций адаптации мигрантов, дана характеристика особенностей адаптационного процесса, выявлены ментальные модели поведения мигрантов на Севере.

Ключевые слова: этапы адаптационного процесса, адаптация мигрантов, хронотопы миграции.

A.V. Burtseva

Murmansk Arctic State University

Murmansk, Russia

BETWEEN THE OLD AND THE NEW HOUSE:

THE PROBLEMS OF MIGRANTS ADAPTATION IN THE NORTH

Abstract. The article presents an analysis of modern concepts of migrants’ adaptation, describes the features of the adaptation process, reveals mental models of migrants’ behavior in the North.

Key words: stages of the adaptation process, adaptation of migrants, chronotopes of migration.

По мнению ведущих исследователей2 в сфере миграционной проблематики, перспективы развития Российской Федерации тесно связаны с миграционным приростом, что обусловлено как историческими и экономическими, так и социокультурными связями РФ со странами постсоветского мира. Прежде всего, Россия нуждается в трудовых мигрантах, поскольку сокращение численности трудоспособного населения РФ, в целом, и отдельных регионов, в частности, в исследованиях последних лет характеризуется как катастрофическое. Так, по данным прогноза Рос-

1Исследование выполнено в рамках гранта РГНФ «Трудовая миграция в приграничных регионах России: траектории, масштабы и социальные хронотопы» № 17-33-01073.

2Мукомель В.И. Интеграция мигрантов: вызовы, политика, социальные практики // Мир России. Социология. Этнология. 2011. № 1. URL: http://cyberleninka.ru/article/n/integra- tsiya-migrantov-vyzovy-politika-sotsialnye-praktiki. Научная библиотека КиберЛенинка: URL: http://cyberleninka.ru/article/n/integratsiya-migrantov-vyzovy-politika-sotsialnye-pra- ktiki#ixzz4aualmmbY.

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