Бидний тухай
Багш ажилтан
Abstract: Due to the influence of digital evolution, meme culture has developed, allowing individuals to creatively express their ideas, foster social awareness, and ultimately build public relationships. This paper explores the dual impacts of meme culture by examining its positive contributions to contemporary society through the lens of 20th-century socio-cultural theory and its negative consequences through philosophical and ethical frameworks. The rise of meme culture, driven by the digital revolution, has transformed communication, enabling individuals to creatively express ideas, foster social awareness, and build communities. This research will examine meme culture as a contemporary form of interpersonal communication and discourse, drawing on the socio-cultural theories of Jean Baudrillard and Marshall McLuhan. While memes are recognized as a significant cultural phenomenon of the digital age, their pervasive nature presents substantial ethical challenges for society. Consequently, this study will integrate modern philosophical concepts to critically assess ethical issues associated with the spread of misinformation, stereotypes, and harmful ideologies. This analysis aims not only to elucidate the primary functions of memes but also to evaluate the positive and negative perceptions they foster within the public sphere. Ultimately, the research will conclude with an examination of several popular memes that have emerged among Mongolian internet users in recent years, with a particular focus on the common ethical concerns they raise. Keywords: Digital Communication, Mongolian Meme Culture, Sociological Issues, Hyperreality, Cultural Discourse
Abstract: This paper investigates the intersection between Mongolian cinema and feminist theory, with particular emphasis on the representation of women in twentieth-century Mongolian film. The first section provides a historical overview of the national film industry, contextualising notable cinematic works within the socio-political narratives of the era. Through close textual analysis, the study explores how female characters were constructed, examining the extent to which these representations reinforced or contested prevailing patriarchal ideologies. The second section engages with key frameworks from feminist film theory, drawing on Laura Mulvey’s concept of the male gaze and visual pleasure, alongside Judith Butler’s notion of gender performativity. These theoretical tools are employed to analyse specific films and characters that exemplify voyeuristic tendencies towards female protagonists. By bridging local cinematic traditions with global feminist discourse, this study contributes to a deeper understanding of gendered spectatorship and its implications within the context of Mongolian visual culture. Keywords: Feminism, Feminist film theory, Mongolian film history, Representation of women, Female protagonists
In recent years, museums and galleries have increasingly embraced outreach initiatives as integral components of their educational mission, aiming to engage diverse audiences and foster a deeper appreciation for the arts. Keywords such as art education, museum, gallery, outreach programs, community engagement, and cultural enrichment are examined to shed light on the various aspects of art education outreach initiatives. The study investigates the aims, methods, and results of these programs, highlighting their role in promoting creativity, critical thinking, and cultural appreciation among children. Furthermore, the research evaluates the challenges and opportunities faced by museums and galleries in implementing effective art education outreach initiatives, including issues of accessibility, inclusivity, and sustainability in the Mongolian context. I selected diverse range of museums and galleries that offer children’s art education outreach programs. Conducted in-depth case studies of these instructions to explore the objectives, methodologies, and outcomes of their programs. The data was collected through observation of program activities. By uncovering the transformative potential of art education outreach programs, this study contributes to understanding how museums and galleries can act as dynamic educational resources, enhancing the learning experiences of children in Ulaanbaatar.
This research paper delves into the intricate interplay between identity, tradition, and globalization within the Mongolian contemporary art scene, examining how these forces shape artistic expression and cultural narratives in a rapidly changing society. Through qualitative analysis of artworks, interviews with Mongolian artists, and examination of exhibition trends both within Mongolia and internationally, this study uncovers the nuanced ways in which Mongolian contemporary artists navigate the complexities of maintaining cultural identity and tradition in the face of global influences. The paper begins by exploring the historical context of Mongolian art, highlighting the transition from Soviet-era restrictions to the flourishing of artistic freedom in the post-1990 era. A significant finding of this research is the dual role of globalization in the Mongolian art scene: as a catalyst for artistic innovation and international exposure, and as a source of cultural homogenization and economic challenges that threaten traditional art forms. The paper discusses how Mongolian artists respond to these challenges by developing a distinctive visual language that bridges the local and the global, thus creating a dynamic platform for cultural dialogue and exchange. Case studies of influential Mongolian contemporary artists, such as Uuriintuya Dagvasambuu, Gerelkhuu Ganbold, and Erdenebayar Monkhor, provide insight into the diverse strategies employed to negotiate identity and tradition within the global context. These include the revitalization of traditional techniques and themes, exploration of national identity and historical narratives, and engagement with issues of environmentalism, urbanization, and social change.
Abstract: This research paper delves into the intricate interplay between identity, tradition, and globalization within the Mongolian contemporary art scene, examining how these forces shape artistic expression and cultural narratives in a rapidly changing society. Through qualitative analysis of artworks, interviews with Mongolian artists, and examination of exhibition trends both within Mongolia and internationally, this study uncovers the nuanced ways in which Mongolian contemporary artists navigate the complexities of maintaining cultural identity and tradition in the face of global influences. The paper begins by exploring the historical context of Mongolian art, highlighting the transition from Soviet-era restrictions to the flourishing of artistic freedom in the post-1990 era. A significant finding of this research is the dual role of globalization in the Mongolian art scene: as a catalyst for artistic innovation and international exposure, and as a source of cultural homogenization and economic challenges that threaten traditional art forms. The paper discusses how Mongolian artists respond to these challenges by developing a distinctive visual language that bridges the local and the global, thus creating a dynamic platform for cultural dialogue and exchange. Case studies of influential Mongolian contemporary artists, such as Uuriintuya Dagvasambuu, Gerelkhuu Ganbold, and Erdenebayar Monkhor, provide insight into the diverse strategies employed to negotiate identity and tradition within the global context. These include the revitalization of traditional techniques and themes, exploration of national identity and historical narratives, and engagement with issues of environmentalism, urbanization, and social change.
Үргэлж хувьсан өөрчлөгдөж буй хотжилтын дизайн болон нийгмийн чиг үүргийн огтлолцол нь хотуудын динамик шилжилтийг бүрдүүлэхэд чухал үүрэг гүйцэтгэдэг. Энэхүү судалгаагаар бид Улаанбаатар хотод эрчимтэй явагдаж буй хотжилтоос үүдэлтэй хотын дизайны бүтцийн асуудал болоод хотод түгээмэл ажиглагдаж буй дизайны гажуудлыг судлахаар эрмэлзлээ. Судалгааны нэгдүгээр бүлэгт тогтвортой хот төлөвлөлтийн суурь зарчим ба Улаанбаатар хотын түүхэн хөгжил, дизайны чиг хандлага, тэдгээрийн холбоо хамаарлын талаар дэлгэрэнгүй тусгана. Улмаар судалгааны хоёрдугаар бүлэгт хотжилтын дизайн болон түүний бүтцийг ёс зүйн онолын үүднээс шинжилж судална.
Хураангуй: Кич буюу “poor taste” гэх ухагдахууныг анх 1860-аад онд Германы Бавар мужид хэрэглэж эхэлсэн ба хожим төв Европ даяар худалдааны зориулалттай элдэв бараа, бүтээгдэхүүний дунд мэргэжлийн нэр томьёо болтлоо хөгжив. Баруун Европ, Америк төвтэй соёлын шүүмжлэгч, судлаачид “Кич бол масс соёлыг илтгэх хамгийн тод томруун жишээ” гэж үзсэн нь олонтоо. Тухайлбал Клемент Гринберг (1961) Кичийн уг чанар үндсэндээ масс соёлын нөлөөллөөс үүдэлтэй гэж дүгнэсэн бол Роберт Соломон (1991) тааруухан урлагийн бүтээлийг Кич төрөлд оруулж болох ч Кич гэх ухагдахууны цаад мөн чанар нь тааруу, үнэлэмж дорой гэсэн утга агуулгыг илэрхийлэхээс илүүтэй зөөлөн, эелдэг, өхөөрдөм гэх мэт хүний сэтгэл зүйн сентиментал утгуудыг агуулдаг гэж үзсэн. Миний бие уг судалгааны бичвэрийн хүрээнд нэгдүгээрт; Кич соёлын онцлогийг гоо зүйн онолын үүднээс тайлбарлан шинжилж, хоёрдугаарт; Кич шинж бүхий Монголын арилжааны уран зургуудыг соёлын шүүмжийн хүрээнд тайлбарлан эргэцүүлэхийг зорилоо.
19-р зуунд үүссэн цагаас хойш “феминизм” гэх ойлголт урлагт нэн чухал ач холбогдолтой төдийгүй маргаантай нэр томъёо байсаар ирсэн. Энэ нэр томъёо 21-р зууны эхэнд Монголын дүрслэх урлаг, тэр дундаа контемпорари салбарын уран бүтээлчдийн дунд эрчимтэй яригдаж эхэлсэн. Сүүлийн 10 гаруй жилийн хугацаанд Монголын дүрслэх урлагийн уран бүтээлчид феминизмын үзэл санааг шингээсэн бүтээлийг өөрсдийн олон янз медиумээр дамжуулан үзэгчдэд хүргэж байна. Уг судалгааны бичвэрт феминист урлагийн онолын түүхийг товч бөгөөд тодорхой танилцуулах нь миний эхний зорилго болно. Хоёрдугаарт, уг бичвэрийн гол бүтэц болох “феминизм ба Монгол зураг” сэдэвт анхаарлаа хандуулж дүн шинжилгээ хийнэ. Үүнд: арга зүйн хувьд феминизмийн хоёр дахь давалгаанд суурилсан феминист онол, хүйс, нийгмийн анги, олон соёлт үзлийг үндэслэсэн концепт бүхий бүлгийн загварыг ашиглаж Үржинхандын онцлох бүтээлүүдэд тайлбар өгч, формал дүн шинжилгээ хийх болно. Судалгааны бичвэрт О.Үржинхандын 2012-2022 оны хооронд урласан феминист шинж бүхий бүтээлүүдийг 4 төрөлд ангилан тодорхойлсон: эцэг эрхт ёс, жендэрийн үүрэг, ахуйн ажил, нийгмийн үнэлэмж. Бичвэрийн төгсгөлд эмэгтэй хүний бие махбодь, урлаг, идеологийн хоорондын уялдаа холбоог тусгаж О.Үржингхандын уран бүтээлийн практикт дүн шинжилгээ хийх, бүтээлээр нь дамжуулан түүний уран сайхны бүтээлч байдал, алсын харааг тодорхойлохыг зорилоо.
Abstract: The purpose of this study is to examine what changes are observed in the visual eye tracking behavior of the viewer looking at the painting. We describe the pattern of fixations of subjects looking at Mongolian traditional paintings from one of the famous artists Sharav Balduu. We found different eye tracking patterns depending on whether the subject saw the original or the modified version of the painting first. We conclude that the study of eye tracking patterns obtained by using the eye-tracker technology gives a useful approach to quantify how subjects observe art. Keywords: Нүдний хөдөлгөөн уншигч төхөөрөмж (Eye tracker), Б.Шарав (Sharav Balduu), “Нэг өдрийн явдал” (One day in Mongolia), “Үрс гарч байгаа нь” (Foaling Mare), Монгол зураг (Mongolian traditional art), Нүдний хөдөлгөөний өнгөт зураглал (Heat map fixation), Нүдний хөдөлгөөний тоон зураглал (Gaze plot fixation)
