DOI: 10.7256/2454-0625.2016.6.20623

Abstract: This article focuses on the role of global constitutionalism in the "scrapping" of the national cultural code. The author substantiates the position that the globalization of socio-political, public-legal and financial-economic structure of national societies and States focused on formatting and the destruction of national identity, cultural, moral and religious identity. The processes of globalization result in unification and universalization of culture in global scale, on the one hand, to simplify management processes the global device and on the other hand, to prevent the creation of conditions for isolation of individual national societies and states. The author of the present article uses a number of methods of scientific research, in particular: formal-logical; historicism; forecasting; dialectic analysis; statistical. According to the author, Russia should resist the processes of cultural globalization. This confrontation should be integrated through the development and implementation of socio-political, state legal programs, activities, and systemic in nature. Otherwise, as "scrapping" national cultural code, our state is doomed to loss of its sovereignty, territorial integrity and independence. 

Keywords: analys, socio-philosophical, code, cultural, national, global constitutionalism, Russia, West, demolition, international

DOI: 10.7256/2454-0625.2016.6.68495

Abstract: This article focuses on the role of global constitutionalism in the "scrapping" of the national cultural code. The author substantiates the position that the globalization of socio-political, public-legal and financial-economic structure of national societies and States focused on formatting and the destruction of national identity, cultural, moral and religious identity. The processes of globalization result in unification and universalization of culture in global scale, on the one hand, to simplify management processes the global device and on the other hand, to prevent the creation of conditions for isolation of individual national societies and states. The author of the present article uses a number of methods of scientific research, in particular: formal-logical; historicism; forecasting; dialectic analysis; statistical. According to the author, Russia should resist the processes of cultural globalization. This confrontation should be integrated through the development and implementation of socio-political, state legal programs, activities, and systemic in nature. Otherwise, as "scrapping" national cultural code, our state is doomed to loss of its sovereignty, territorial integrity and independence. 

Keywords: analys, socio-philosophical, code, cultural, national, global constitutionalism, Russia, West, demolition, international

DOI: 10.7256/2454-0625.2016.6.68496

Abstract: The present article is devoted to studying unofficial artwork of the Soviet Union in the 1950s - 1960s that expressed existential views of artists such as V. Sidur, E. Kropivnitsky, L. Kropivnitsky and V. Yakovlev. These artists who had experienced the terror of the war and abasement of human dignity not only in Stalin's GULAG but already living in Soviet shared apartments expressed loneliness, suffering, fear, inescapable anxiety and desire for freedom in their artworks. These themes and topics covered by the aforesaid artists allow to interpret their artwork in terms of existentialism which influence was worldwide. The methodological and theoretical basis of the present article involves a number of researches made in the following branches of knowledge: art history, philosophy, literary studies and psychoanalysis. The interdisciplinary influence of the diverse analysis methods enabled a deeper and more comprehensive understanding of the creative life of the 20th century artists. After the Second World War existentialism appeared as a result of new trends in art not only in the West but also in the East and Soviet Union. Such worldwide influence of existentialism is due to the common experience of war. The research of the unofficial Soviet art with reference to existentialism is important for understanding values of unofficial art in terms of the world art of the last century.   

Keywords: Vladimir Yakovlev, Lev Korpivnitski, Evgeni Kropivnitski, Vadim Sidur, unofficial soviet art, XXth century art, existentialism, fear, loneliness, anxiety

DOI: 10.7256/2454-0625.2016.6.68497

Abstract: In his article Svirsky invites us to consider several key concepts of the research strategy offered by the French philosopher Gilbert Simondon. Simondon introduced the concept of technical, biological, psychological and collective individuation which acquires the ontological status in the long run. In the course of the present research Svirsky carries out a comparison between substantial criticism and hylomorphic tradition of interpreting the origin of individual matter and such concepts as transduction and allagmatique involving other associated terms and concepts (initial information, internal resonance, metastability and others). The author applies the comparative research method to integrate Gilbert Simondon's philosophical strategy with the complexity paradigm providing that Simondon's concepts had a great influence on Gilles Deleuze, Jean Baudrillard, Bruno Latour, Isabelle Stengers and other outstanding authors who got close to the complexity paradigm in their research. The main conclusion of the research is that Gilbert Simondon's philosophical strategy relates to contemporary issues of both social and intellectural nature. First of all, the researcher means the plots of individuation of both technical and vital objects which is the guarantee of the modern society's existence. Moreover, according to the author Simondon's philosophy should be studied not only by Russian but also foreign philosophers. 

Keywords: autopoiesis, philosophy of biology, allagmatics, form, information, hylomorphism, individuation, meta stability, transduction, Simondon

DOI: 10.7256/2454-0625.2016.6.68498

Abstract: In his article Garin examines opportunities for implementing modern information and communication technologies in music education. The researcher also makes indirect conclusions about using such technologies in musical arts in general. The author analyzes the impact of network and communication technologies on music education and overall teaching process as well as the effect of creation and mass distribution of mobiles on music education. Garin analyzes opportunities of using touch-screens during practical classes as part of music education. The author uses classical pedagogical research methods. Garin also engages psychological and social science methods. He concludes that the creation of mobiles absolutely changed and continues to change music education. Firstly, this is due to the mass distribution of mobiles. Secondly, this is explained by powerful capabilities of these devices that are still being revealed. That entails capabilities of the digital sound processing, using these capabilities in the game format, and using mobiles and their applications as virtual musical instruments and accessory devices (for example, as a rhythmometer). Finally, such features of these devices as their portability, universality and multifunctionality, i.e. combination of several functions in one device, allow to make a statement that modern mobiles will soon take the first place in the music education process.   

Keywords: communication, virtual musical instrument, application, Internet, smartphone, modern technologies, music education, music, pedagogy, education

DOI: 10.7256/2454-0625.2016.6.21185

Abstract: The present article is devoted to studying unofficial artwork of the Soviet Union in the 1950s - 1960s that expressed existential views of artists such as V. Sidur, E. Kropivnitsky, L. Kropivnitsky and V. Yakovlev. These artists who had experienced the terror of the war and abasement of human dignity not only in Stalin's GULAG but already living in Soviet shared apartments expressed loneliness, suffering, fear, inescapable anxiety and desire for freedom in their artworks. These themes and topics covered by the aforesaid artists allow to interpret their artwork in terms of existentialism which influence was worldwide. The methodological and theoretical basis of the present article involves a number of researches made in the following branches of knowledge: art history, philosophy, literary studies and psychoanalysis. The interdisciplinary influence of the diverse analysis methods enabled a deeper and more comprehensive understanding of the creative life of the 20th century artists. After the Second World War existentialism appeared as a result of new trends in art not only in the West but also in the East and Soviet Union. Such worldwide influence of existentialism is due to the common experience of war. The research of the unofficial Soviet art with reference to existentialism is important for understanding values of unofficial art in terms of the world art of the last century.   

Keywords: Vladimir Yakovlev, Lev Korpivnitski, Evgeni Kropivnitski, Vadim Sidur, unofficial soviet art, XXth century art, existentialism, fear, loneliness, anxiety

DOI: 10.7256/2454-0625.2016.6.17579

Abstract: In his article Svirsky invites us to consider several key concepts of the research strategy offered by the French philosopher Gilbert Simondon. Simondon introduced the concept of technical, biological, psychological and collective individuation which acquires the ontological status in the long run. In the course of the present research Svirsky carries out a comparison between substantial criticism and hylomorphic tradition of interpreting the origin of individual matter and such concepts as transduction and allagmatique involving other associated terms and concepts (initial information, internal resonance, metastability and others). The author applies the comparative research method to integrate Gilbert Simondon's philosophical strategy with the complexity paradigm providing that Simondon's concepts had a great influence on Gilles Deleuze, Jean Baudrillard, Bruno Latour, Isabelle Stengers and other outstanding authors who got close to the complexity paradigm in their research. The main conclusion of the research is that Gilbert Simondon's philosophical strategy relates to contemporary issues of both social and intellectural nature. First of all, the researcher means the plots of individuation of both technical and vital objects which is the guarantee of the modern society's existence. Moreover, according to the author Simondon's philosophy should be studied not only by Russian but also foreign philosophers. 

Keywords: autopoiesis, philosophy of biology, allagmatics, form, information, hylomorphism, individuation, meta stability, transduction, Simondon

DOI: 10.7256/2454-0625.2016.6.21196

Abstract: In his article Garin examines opportunities for implementing modern information and communication technologies in music education. The researcher also makes indirect conclusions about using such technologies in musical arts in general. The author analyzes the impact of network and communication technologies on music education and overall teaching process as well as the effect of creation and mass distribution of mobiles on music education. Garin analyzes opportunities of using touch-screens during practical classes as part of music education. The author uses classical pedagogical research methods. Garin also engages psychological and social science methods. He concludes that the creation of mobiles absolutely changed and continues to change music education. Firstly, this is due to the mass distribution of mobiles. Secondly, this is explained by powerful capabilities of these devices that are still being revealed. That entails capabilities of the digital sound processing, using these capabilities in the game format, and using mobiles and their applications as virtual musical instruments and accessory devices (for example, as a rhythmometer). Finally, such features of these devices as their portability, universality and multifunctionality, i.e. combination of several functions in one device, allow to make a statement that modern mobiles will soon take the first place in the music education process.   

Keywords: communication, virtual musical instrument, application, Internet, smartphone, modern technologies, music education, music, pedagogy, education

DOI: 10.7256/2454-0625.2016.6.20681

Abstract: The author of the article provides a brief review of the creative work by Michael Yudin, the Russian composer and Leningrad and Kazan Conservatory professor (1893-1948). The uniqueness and diversity of Yudin's work was highly valued by musical culture figures of Leningrad and Kazan.  One of the purpose of this article is to describe main aspects of Yudin's musical creativity in 1942-1948 in Kazan. The teacher, public figure, and the author of many chorus compositions, Yudin became the first dean of the choral faculty in Kazan conservatory that was opened in 1945. As a result of Kazan's archives research, the author of the article managed to reestablish the history of creation of some works and to clarify the details of missing or previously misinterpreted facts. Yudin contributed to the development of opera in Tatarstan (in particular, his opera "Farida" written in 1944) during the era of intense formation of national musical cultures; Yudin also had an effective cooperation with the Tatar composer Saydashev ("Milaya Hafiza", 1943) and accordionist Tuishev ("Pioneer Suite" for string quartet).  It was he who created the Kazan Conservatory Choir.

Keywords: musical comedy, Tatar opera, national republics' music, co-authorship, Tatarstan Composers Union, Kazan of the 1940s, Mikhail Yudin, Salikh Saydashev, Faizulla Tuishev, Kazan Conservatory

DOI: 10.7256/2454-0625.2016.6.68499

Abstract: The author of the article provides a brief review of the creative work by Michael Yudin, the Russian composer and Leningrad and Kazan Conservatory professor (1893-1948). The uniqueness and diversity of Yudin's work was highly valued by musical culture figures of Leningrad and Kazan.  One of the purpose of this article is to describe main aspects of Yudin's musical creativity in 1942-1948 in Kazan. The teacher, public figure, and the author of many chorus compositions, Yudin became the first dean of the choral faculty in Kazan conservatory that was opened in 1945. As a result of Kazan's archives research, the author of the article managed to reestablish the history of creation of some works and to clarify the details of missing or previously misinterpreted facts. Yudin contributed to the development of opera in Tatarstan (in particular, his opera "Farida" written in 1944) during the era of intense formation of national musical cultures; Yudin also had an effective cooperation with the Tatar composer Saydashev ("Milaya Hafiza", 1943) and accordionist Tuishev ("Pioneer Suite" for string quartet).  It was he who created the Kazan Conservatory Choir.

Keywords: musical comedy, Tatar opera, co-authorship, Tatarstan Composers Union, Kazan of the 1940s, Mikhail Yudin, Salikh Saydashev, Faizulla Tuishev, Kazan Conservatory

DOI: 10.7256/2454-0625.2016.6.17002

Abstract: The subject of the research is the external and internal boundaries of science which define metamorphosis of non-scientific forms of knowledge at the boundaries of science. The object of the research is the relationship between science and non-scientific forms of knowledge from the point of view of their diachronic and synchronic dimensions. Special attention is paid to the boundaries outside which science cannot and should not be spread. It is due to the scientist's responsibility rather than the limits of the mind competence. Taking this into account, the problem of the boundaries of scientific or any other knowledge is related to the culture of rationality and thus acquires additional importance under new circumstances. The author of the article proves that destructive features of the industrial civilization where science plays the role of the innovative social code constitute grounds for the epistemological program of defining the boundaries of mind competence as it was introduced by Immanuel Kant. The main research method used by the author is the classical method of dialectics. This method allows to view the matter from the points of view of ontology, gnoseology, culture and history. When it was necessary, the author has also applied the phenomenological, hermeneutical and systems concept, thesaurus and contextual approaches to understanding and interpreting cultural phenomena. According to the author, philosophical interpretation of the boundaries of science or any 'other' knowledge is also important to understand the fact that there is no 'pure' science or 'pure' rationalism: the world of science involves a variety of other forms of knowledge (myth, theological concepts, intuition, mystical or esoteric experience); and all forms of knowledge are rational to a certain extent. In all cases metamoprhosis, interconversion and compatibility of all forms of knowledge at the boundaries of science and non-science can be observed. The article is devoted to philosophical problematic of the frontiers of scientific and other knowledge in the phenomenology of contemporary culture. Its leading sense acts to set the frontiers of science and other knowledge on the basis of ethical rationality and Biosphere ethics with a view to promoting the humanistic orientation of modern mankind in order to preserve the status quo and the intrinsic value of life itself.

Keywords: metamorphosis, boundaries of knowledge, 'other knowledge', global humanity issues, Biosphere ethics, ethic rationality, status quo, culture, science, knowledge

DOI: 10.7256/2454-0625.2016.6.68500

Abstract: The subject of the research is the external and internal boundaries of science which define metamorphosis of non-scientific forms of knowledge at the boundaries of science. The object of the research is the relationship between science and non-scientific forms of knowledge from the point of view of their diachronic and synchronic dimensions. Special attention is paid to the boundaries outside which science cannot and should not be spread. It is due to the scientist's responsibility rather than the limits of the mind competence. Taking this into account, the problem of the boundaries of scientific or any other knowledge is related to the culture of rationality and thus acquires additional importance under new circumstances. The author of the article proves that destructive features of the industrial civilization where science plays the role of the innovative social code constitute grounds for the epistemological program of defining the boundaries of mind competence as it was introduced by Immanuel Kant. The main research method used by the author is the classical method of dialectics. This method allows to view the matter from the points of view of ontology, gnoseology, culture and history. When it was necessary, the author has also applied the phenomenological, hermeneutical and systems concept, thesaurus and contextual approaches to understanding and interpreting cultural phenomena. According to the author, philosophical interpretation of the boundaries of science or any 'other' knowledge is also important to understand the fact that there is no 'pure' science or 'pure' rationalism: the world of science involves a variety of other forms of knowledge (myth, theological concepts, intuition, mystical or esoteric experience); and all forms of knowledge are rational to a certain extent. In all cases metamoprhosis, interconversion and compatibility of all forms of knowledge at the boundaries of science and non-science can be observed. The article is devoted to philosophical problematic of the frontiers of scientific and other knowledge in the phenomenology of contemporary culture. Its leading sense acts to set the frontiers of science and other knowledge on the basis of ethical rationality and Biosphere ethics with a view to promoting the humanistic orientation of modern mankind in order to preserve the status quo and the intrinsic value of life itself.

Keywords: metamorphosis, boundaries of knowledge, global humanity issues, Biosphere ethics, ethic rationality, status quo, culture, science, knowledge

DOI: 10.7256/2454-0625.2016.6.18354

Abstract: The subject of the present research article is the relationship between politics and translation as they have been formed in Russia. Special attention is paid to the political idea of 'invasion' of a text into culture through translation. The aforesaid idea opposes to the idea of mutual enrichment of cultures. Analyzing polemics evolving around Russian translations of writings by one of Nazi theorists Carl Schmitt, the author of the article points at the theory of cultural translation that can be implicitly found in Dostoevsky's works and Benjamin's concept of absolute translability that allows to better understand why it is Russia where Smitt's political ideas turned out to be in such demand. The research article is based on the immanentist methodology that defines the scope of a common political and cultural action and, as a result, allows to view the idea of translation from the point of view of political theories and translation concepts that may provide much material for better understanding of the political. The main result of the research is the author's discovery of the political unconscious existing in each translated text as well as the political desire expressed in a certain selection of these or those texts and authors to be iconic, especially those that express ideas and values alien to a particular culture. 

Keywords: universal sympathy, nazism, Dostoevsky, Walter Benjamin, Carl Schmitt, hospitality, invasion, politics, translation, political unconscious

DOI: 10.7256/2454-0625.2016.6.68501

Abstract: The subject of the present research article is the relationship between politics and translation as they have been formed in Russia. Special attention is paid to the political idea of 'invasion' of a text into culture through translation. The aforesaid idea opposes to the idea of mutual enrichment of cultures. Analyzing polemics evolving around Russian translations of writings by one of Nazi theorists Carl Schmitt, the author of the article points at the theory of cultural translation that can be implicitly found in Dostoevsky's works and Benjamin's concept of absolute translability that allows to better understand why it is Russia where Smitt's political ideas turned out to be in such demand. The research article is based on the immanentist methodology that defines the scope of a common political and cultural action and, as a result, allows to view the idea of translation from the point of view of political theories and translation concepts that may provide much material for better understanding of the political. The main result of the research is the author's discovery of the political unconscious existing in each translated text as well as the political desire expressed in a certain selection of these or those texts and authors to be iconic, especially those that express ideas and values alien to a particular culture. 

Keywords: universal sympathy, nazism, Dostoevsky, Walter Benjamin, Carl Schmitt, hospitality, invasion, politics, translation, political unconscious

DOI: 10.7256/2454-0625.2016.6.21149

Abstract: The object of the research is the regional art environment. The subject of the research is the role of art practices in the development of the art environment. Special attention is paid to special features of the art environment as an element of the sociocultural environment as well as their role in the creation of artists’ self-assemblies and art initiatives. The author describes two kinds of the art environment, internal and external, and examines stages in the development of the art community as well as studies the factors, which influence leads to the transformation of the art environment from being incapable of reproduction and development to a reproducing ‘alive’ community. The main research method is the analysis of the development experience of both state and private institutions that deal with contemporary art in Russian regions. The result of the research is the conclusion that the motive why today’s artists living in regions tend to create regional self-assemblies is the search for likeminded people, desire to communicate within the framework of the general discourse and develop a dynamic art environment. The novelty of the research is the analysis of the regional art environment as the basis for creation of artists’ self-assemblies. 

Keywords: decentralization, art galleries, kulturträger activity, agents of cultural influence, non-classical aesthetics, regional art, self-assemblies of artists, art community, art world, art environment, contemporary art

DOI: 10.7256/2454-0625.2016.6.68393

Abstract:

Keywords: neklassicheskaya estetika, samoorganizatsii khudozhnikov, khudozhestvennoe soobshchestvo, khudozhestvennaya sreda, sovremennoe iskusstvo, galerei, detsentralizatsiya

DOI: 10.7256/2454-0625.2016.6.21243

Abstract: The object of the research is the dance culture of Western Circassians living on the territory of modern Adygeya. The subject of the research is dance genres as combinations of musical-instrumental, plot-shaped and plastic components. The author examines such aspects of the topic as the cause of the deformation of the old system of dance genres, reasons, conditions and channels through which "forgotten" or other ethnic genres come into the dance culture generating new meanings in the reconstructed genres. Particular attention is paid to the problem of artistic values in the process of reproduction and generation of new artistic products. The author has used the methods of comparative-typological and systems analysis and empirical methods of participant observation and informal interviews with cultural figures. The scientific novelty of the research is caused by the fact that the author brings forth the problem associated with the attempt to define the genre-style dance music model of Western Circassians and analyzes causes and conditions of social and cultural changes that caused the formation of the new system of dance music. The main conclusion of the research is the statement of the fact that the gendre model of dance music of Western Circassians was renewed by developing the forgotten, borrowing and processing other ethnic artistic heritage. Noteworthy that people usually accept something new if it is perceived as succession or inheritance, i.e. what is understandable for the modern society, promotes spiritual potentials of the society and expresses social collective unconscious. 

Keywords: system transformation, dance circle, genre model, zafak, dghegu, dance culture, Western Circassians, diaspora, peoples of the Caucasus, artistic values

DOI: 10.7256/2454-0625.2016.6.68502

Abstract: The object of the research is the dance culture of Western Circassians living on the territory of modern Adygeya. The subject of the research is dance genres as combinations of musical-instrumental, plot-shaped and plastic components. The author examines such aspects of the topic as the cause of the deformation of the old system of dance genres, reasons, conditions and channels through which "forgotten" or other ethnic genres come into the dance culture generating new meanings in the reconstructed genres. Particular attention is paid to the problem of artistic values in the process of reproduction and generation of new artistic products. The author has used the methods of comparative-typological and systems analysis and empirical methods of participant observation and informal interviews with cultural figures. The scientific novelty of the research is caused by the fact that the author brings forth the problem associated with the attempt to define the genre-style dance music model of Western Circassians and analyzes causes and conditions of social and cultural changes that caused the formation of the new system of dance music. The main conclusion of the research is the statement of the fact that the gendre model of dance music of Western Circassians was renewed by developing the forgotten, borrowing and processing other ethnic artistic heritage. Noteworthy that people usually accept something new if it is perceived as succession or inheritance, i.e. what is understandable for the modern society, promotes spiritual potentials of the society and expresses social collective unconscious. 

Keywords: system transformation, dance circle, genre model, zafak, dghegu, dance culture, Western Circassians, diaspora, peoples of the Caucasus, artistic values

DOI: 10.7256/2454-0625.2016.6.21233

Abstract: The subject of the research is the images of motherhood and fatherhood in the Soviet society and culture of the 1960s - 1980s between traditions and innovations, ideology and everyday life. The images of motherhood and fatherhood are being viewed from the point of view of collisions between the traditional and industrial (socialist) societies, between the socialist ideology and everyday life as they are presented in the images of the Soviet popular art and memories about those times. By analyzing iconic pieces of the popular Soviet art of the 1960s - 1980s and completing her analysis with published remembrances and her own memories, the author of the article attempts to trace back the dynamics of these sociocultural phenomena. In her research Sidorova uses the systems method, historical classification method, semiotic method and comparative historical method. According to the author, analysis of motherhood and fatherhood through artistic images allows to discover codes transmitting peculiarities and dynamics of culture. This is due to the fact that art has a capability of the in-depth generalization which is expressed in artistic images affecting both our hearts and minds. Art can create an integral image of the human world. The main conclusions of the research are the following: the Soviet socialist culture of the industrial society in the 1960s - 1980s preserved features of the traditional society along with technological breakthroughs and rationalized behavior patterns. Innovation-oriented culture contradictory engaged old and new forms of traditional culture in the Soviet socialist culture of the industrial society of the 1960s - 1980s. The same system's peculiarity can be found in the instutition of the family and its reproductive and socializing functions. Being part of a cultural actor's axiological system (human and society in general), motherhood and fatherhood and parents-and-children relationships violated between traditional values and new values of the innovative society. Moreover, results of the systems analysis demonstrated that motherhood and fatherhood and parents-and-children relationships violated between socialist ideology and everyday life as the 'microlevel of life' and individual's actual living space filled with particular items and events. Here we can observe the duality of the sociocultural phenomenon and consequently the duality of its representation in artistic images. 

Keywords: ideology, innovation, tradition, remembrances, images, popular art, Soviet culture, fatherhood, motherhood, daily occurence, everyday life

DOI: 10.7256/2454-0625.2016.6.68503

Abstract: The subject of the research is the images of motherhood and fatherhood in the Soviet society and culture of the 1960s - 1980s between traditions and innovations, ideology and everyday life. The images of motherhood and fatherhood are being viewed from the point of view of collisions between the traditional and industrial (socialist) societies, between the socialist ideology and everyday life as they are presented in the images of the Soviet popular art and memories about those times. By analyzing iconic pieces of the popular Soviet art of the 1960s - 1980s and completing her analysis with published remembrances and her own memories, the author of the article attempts to trace back the dynamics of these sociocultural phenomena. In her research Sidorova uses the systems method, historical classification method, semiotic method and comparative historical method. According to the author, analysis of motherhood and fatherhood through artistic images allows to discover codes transmitting peculiarities and dynamics of culture. This is due to the fact that art has a capability of the in-depth generalization which is expressed in artistic images affecting both our hearts and minds. Art can create an integral image of the human world. The main conclusions of the research are the following: the Soviet socialist culture of the industrial society in the 1960s - 1980s preserved features of the traditional society along with technological breakthroughs and rationalized behavior patterns. Innovation-oriented culture contradictory engaged old and new forms of traditional culture in the Soviet socialist culture of the industrial society of the 1960s - 1980s. The same system's peculiarity can be found in the instutition of the family and its reproductive and socializing functions. Being part of a cultural actor's axiological system (human and society in general), motherhood and fatherhood and parents-and-children relationships violated between traditional values and new values of the innovative society. Moreover, results of the systems analysis demonstrated that motherhood and fatherhood and parents-and-children relationships violated between socialist ideology and everyday life as the 'microlevel of life' and individual's actual living space filled with particular items and events. Here we can observe the duality of the sociocultural phenomenon and consequently the duality of its representation in artistic images. 

Keywords: ideology, innovation, tradition, remembrances, images, popular art, Soviet culture, fatherhood, motherhood, daily occurence, everyday life

DOI: 10.7256/2454-0625.2016.6.20702

Abstract: The subject of the research is the theory and practice of the gardening art of China during the period of the Myng Dynasty (1368-1644) when the gardening tradition reached the height of its development. The object of the research is the treatise 'Yuan e' ('Gardening') written by a famous practical and theoretical expert in gardening Ji Cheng (1582-1642?) as well as an essay 'Jan u Ji' ('About Things that Delight our Eye') written by a well-known writer Wen Zhensheng (1585-1645). The purpose of the research is to systematize artistic devices and analyze artistic principles which have predetermined the national singularity of the phenomenon of Chinese gardens. The art studies methodology was completed with the methods of semiotics, hermeneutics and cultural analysis. The author gives extracts from the aforesaid treatises in her own translation and offers new interpretations of the key terms there. Her analysis of the gardening tradition once again proves the unity of theory and practice that is so typical for Chinese art in general. The novelty of the results is caused by the fact that the author clarifies the content of theoretical postulates about Human having the right to actively transform Nature through the art of landscape design which creates prospects for better understanding of the status and role of Human in the traditional Chinese culture in general. 

Keywords: jie jing, jing dian, yang sheng, binglei, penjing, dengfen ping, jin you, jingmian qiang, danzi wo, fengshui

DOI: 10.7256/2454-0625.2016.6.68504

Abstract: The subject of the research is the theory and practice of the gardening art of China during the period of the Myng Dynasty (1368-1644) when the gardening tradition reached the height of its development. The object of the research is the treatise 'Yuan e' ('Gardening') written by a famous practical and theoretical expert in gardening Ji Cheng (1582-1642?) as well as an essay 'Jan u Ji' ('About Things that Delight our Eye') written by a well-known writer Wen Zhensheng (1585-1645). The purpose of the research is to systematize artistic devices and analyze artistic principles which have predetermined the national singularity of the phenomenon of Chinese gardens. The art studies methodology was completed with the methods of semiotics, hermeneutics and cultural analysis. The author gives extracts from the aforesaid treatises in her own translation and offers new interpretations of the key terms there. Her analysis of the gardening tradition once again proves the unity of theory and practice that is so typical for Chinese art in general. The novelty of the results is caused by the fact that the author clarifies the content of theoretical postulates about Human having the right to actively transform Nature through the art of landscape design which creates prospects for better understanding of the status and role of Human in the traditional Chinese culture in general. 

Keywords: jie jing, jing dian, yang sheng, binglei, penjing, dengfen ping, jin you, jingmian qiang, danzi wo, fengshui

DOI: 10.7256/2454-0625.2016.6.21356

Abstract: The subject of the research is the first stage in the active acquaintance of the Russian audience with Spanish art during the first half - the middle of the 19th century. According to the author of the article, this is a very important period because it was the time when the main approaches of Russian art studies to Spanish painting developed. The author analyzes responses and perception of Spanish art by Russian writers, artists and first scholars in art history. Writers discussed by the author are Botkin and Brullov and a scholar is Somov. The research method used by the author of the article involves comparison of evaluations of Spanish painting demonstrated by different people, representatives of literary groups, artists and the first representatives of new Russian art studies. The main conclusion of the research is that studies of Spanish images and styles were rather discrete. A major art critic Somov, for example, whose researches combined aesthetical and artistical approaches, expressed his admiration by the imaginary side of Spanish painting and dissatisfaction of its stylistic patterns. Evidently, Russian science was still to come to understanding that there was an inextricable connection between the former and the latter in Spanish painting of that time. 

Keywords: Zurbaran, Ribera, Murillo, Velazquez, images, style, Spanish art, Somov, Botkin, Brullov

DOI: 10.7256/2454-0625.2016.6.68505

Abstract: The subject of the research is the first stage in the active acquaintance of the Russian audience with Spanish art during the first half - the middle of the 19th century. According to the author of the article, this is a very important period because it was the time when the main approaches of Russian art studies to Spanish painting developed. The author analyzes responses and perception of Spanish art by Russian writers, artists and first scholars in art history. Writers discussed by the author are Botkin and Brullov and a scholar is Somov. The research method used by the author of the article involves comparison of evaluations of Spanish painting demonstrated by different people, representatives of literary groups, artists and the first representatives of new Russian art studies. The main conclusion of the research is that studies of Spanish images and styles were rather discrete. A major art critic Somov, for example, whose researches combined aesthetical and artistical approaches, expressed his admiration by the imaginary side of Spanish painting and dissatisfaction of its stylistic patterns. Evidently, Russian science was still to come to understanding that there was an inextricable connection between the former and the latter in Spanish painting of that time. 

Keywords: Zurbaran, Ribera, Murillo, Velazquez, images, style, Spanish art, Somov, Botkin, Brullov

DOI: 10.7256/2454-0625.2016.6.21448

Abstract: The subject of the present research is the society Compagnie della Calza and their role in the life of the Venetian Republic of the XVth - XVIth centuries. Very little is mentioned about Compagnie della Calza in Russian academic literature while descriptions of the unions of young noblemen may considerably complete the picture of the cultural life of Venice during Renaissance. The logic of existence of such unions in Venice of the XVth - XVIth centuries is explained by the fact that they were completely congruent with internal and external policy of the Republic's government aimed at supporting the so called Venetian myth. As a result of rare researches devoted to Compagnie Della Calza, the author has used the interdisciplinary approach to her studies. Ezernitskaya has conducted an analysis of the historiography on the phenomenon of Compagnie Della Calza. For the first time in the Russian academic literature the author views the reasons of appearance and the nature of activities of the representatives of those 'gilded youth' membership clubs'. Based on the analysis of archive materials related to Compagnie Della Calza's activities, the author defines new trends for further researches of plots and themes depicted in the artwork of such Venetian artists as Gentile Bellini, Vittore Carpaccio, Giorgione, Titian and others. 

Keywords: Titian, Vittore Carpaccio, Gentile Bellini, sumptuary laws, venetian art, Renaissance, Venezia, Compagnie della Calza, Giorgione, la Tempesta

DOI: 10.7256/2454-0625.2016.6.68506

Abstract: The subject of the present research is the society Compagnie della Calza and their role in the life of the Venetian Republic of the XVth - XVIth centuries. Very little is mentioned about Compagnie della Calza in Russian academic literature while descriptions of the unions of young noblemen may considerably complete the picture of the cultural life of Venice during Renaissance. The logic of existence of such unions in Venice of the XVth - XVIth centuries is explained by the fact that they were completely congruent with internal and external policy of the Republic's government aimed at supporting the so called Venetian myth. As a result of rare researches devoted to Compagnie Della Calza, the author has used the interdisciplinary approach to her studies. Ezernitskaya has conducted an analysis of the historiography on the phenomenon of Compagnie Della Calza. For the first time in the Russian academic literature the author views the reasons of appearance and the nature of activities of the representatives of those 'gilded youth' membership clubs'. Based on the analysis of archive materials related to Compagnie Della Calza's activities, the author defines new trends for further researches of plots and themes depicted in the artwork of such Venetian artists as Gentile Bellini, Vittore Carpaccio, Giorgione, Titian and others. 

Keywords: Titian, Vittore Carpaccio, Gentile Bellini, sumptuary laws, venetian art, Renaissance, Venezia, Compagnie della Calza, Giorgione, la Tempesta

DOI: 10.7256/2454-0625.2016.6.21405

Abstract: The article is devoted to a unique print of a portrait depicting Paul I of Russia. The engraved portrait is stocked in the collection of the Pushkin State Museum of Fine Arts and was made and printed using the calligraphic etching and cutting method by a German craftsman I. Nilson in Augsburg supposedly in the last third of the XVIIIth century and has a complex allegoric program. However, besides associated texts and allegoric images, the engraving has one very interesting feature. Over the entire engraving, there are small cuts that make an individual decorate pattern elegantly completing the general image. This distinguishes the aforesaid portrait from other artwork of the kind and thus provokes special interest. Appealing to the stylistic and iconological research methods, the author makes an attempt to decode the image program, to define circumstances and reasons for making such cuts, and to get an insight about the personality of the one who created them. The cuts are associated with the meaning of the engraving encoded in the image. The name of the owner of the engraving who was so witty to improve the composition in this way is still a mystery. However, based on the evidence, the author of the article tries to create a ‘portrait’ of the owner as well as to describe the cultural and political environment in which the engraving was created. By introducing such a unique piece of art, the author of the article makes a valuable contribution and extends our image of the cultural life of that epoch

Keywords: Catherine II, freemasonry, Russian art, German art, 18th century, portrait, engraving, Paul I, Dmitry Rovinsky, etching

DOI: 10.7256/2454-0625.2016.6.68388

Abstract:

Keywords: engraving, portrait, 18 century, German art, Russian art, freemasonry, Catherine II, Paul I, Dmitry Rovinsky, etching

DOI: 10.7256/2454-0625.2016.6.20961

Abstract: The subject of the present research article is the interpretation of lyrical images in creative work of Igor Stravinsky. Special attention is paid to the fact that despite the anti-romantic orientation of his aesthetic credo as it was declared by the composer, the lyrical beginning was still there in his music. It was most brightly expressed in his musical-theatrical compositions because performance specifics and chosen plots imply intend this or that variant of visualization of lyrical images. The objects of the research are Stravinsky’s works that are rather contradicting in terms of their expressive contents. These are the comic opera ‘Mavra’ and fairy-tale ballet ‘Fairy’s Kiss’. The main research method is the analysis of libretto and musical text of two works by Igor Stravinsky where a lyrical image is brightly presented. Further comparison of the aforesaid works allows to define various aspects of interpreting lyrical images in the composer’s creative work. As a result of the research, the author concludes that in Igor Stravinsky’s works visualization of lyrical images have brightly expressed specific features including the fact that the composer is always an ‘observer’ ‘showing’ but not actually feeling this or that situation including situations related to the development of lyrical feelings. Lyrical images are either represented as a comical-ironical image like in the opera ‘Mavra’ or ritual-mythological image like in the ballet ‘Fairy’s Kiss’. 

Keywords: neofolklorism, music of the twentieth century, analysis of the musical text, Fairy's Kiss, Mavra Opera, interpretation of lyrical images, Stravinsky, neoclassicism, anti-romanticism, musical dramaturgy

DOI: 10.7256/2454-0625.2016.6.68305

Abstract:

Keywords: Stravinsky, interpretation of lyrical images, The Opera Mavra, analysis of the musical text, music of the twentieth century, neofolklorism, neoclassicism, antiromantic, dramaturgy of music

DOI: 10.7256/2454-0625.2016.6.21299

Abstract: The subject of the research is the opera concept being analyzed in terms of the artistic thinking of the second half of the XXth century, ‘Catholicism’ tendency in French musical theatre and analysis of musical dramaturgy as well as emotional and psychological aspects of the musical content. Based on the analysis of documentary sources, the author of the article describes the history of opera creation, how it developed on stage, stages of the development of the Christian concept of human, and principles regulating the relationship between the literary text (drama) and music in the opera. The subject of the research also involves the main vector of submitting the artistic meaning represented in the opera as an existential choice made by the main heroine, Sister Blanche, no her way to the Holy Spirit. The author of the article conducts the musical-philosophical, musical-theological and musical-psychological hermeneutic reconstruction of the process of the development of the artistic concept in Francis Poulenc’s opera ‘Dialogues of the Carmelites’ and analyzes the semantic and composition organization of the literary text and musical text in the opera. For the first time in the Russian academic literature the author analyzes the aspects of the Catholic mysticism in the structure of the opera and the relationship between the superior phenomenon of the Grace of God and human freedom. The author also views the main principles of the relationship between drama and music in the opera and analyzes documentary sources related to the process of the transformation of the opera structure during 1953 – 1955. Azarova also touches upon the counterpoint of the spiritual and social dimensions in the musical dramaturgy. The author makes a conclusion about a specific musical content of the opera revealing universal human, humanistic, psychological, philosophical and theological meanings of the Grace of God as one of the main Christianity concept.

Keywords: counterpoint of temporary lines, musical content, dramaturgy, Grace of God, concept of human, Christianity, Georges Bernanos, Francis Poulenc, Dialogues of the Carmelites, opera

DOI: 10.7256/2454-0625.2016.6.68352

Abstract:

Keywords: opera, Dialogi karmelitok, Fransis Pulenk, Zhorzh Bernanos, khristianstvo, kontseptsiya cheloveka, dramaturgiya, kontrapunkt vremennykh linii

DOI: 10.7256/2454-0625.2016.6.21359

Abstract: The object of the research is the musical dramaturgy and the structure of images in a mono opera 'Émilie' by a famous modern Finnish composer Kaija Saariaho. Based on the anaylsis of libretto, musical composition and combination of expressive means enabling plot-forming and dramaturgical solutions in the opera, the author of the present article describes and analyzes original principles used by the composer in her creating the image of the main heroine. One of the most brilliant principles is the composer's revealing the image of Émilie through her 'invisible presence' in monologues of other 'characters' mentioned in the libretto and expressed in music. The main analytical methods used by the author in this research relate to musical hermeneutics. In addition, the author also bases the research on approaches that are traditionally used by Russian music studies to analyze opera librettos and music. The scientific novelty of the research is caused by the fact that the author studies this particular opera. The result of the research is the conclusion that versatile dramaturgy of the opera libretto and music along with the polyphony of images in the opera 'Émilie' provides new opportunities for developing the genre. 

Keywords: Finnish composer, Lyonese opera, Amin Maalouf, music of the 21st century, modern opera, Saint-Lambert, Voltaire, mono opera, Émilie, Kaija Saariaho

DOI: 10.7256/2454-0625.2016.6.68507

Abstract: The object of the research is the musical dramaturgy and the structure of images in a mono opera 'Émilie' by a famous modern Finnish composer Kaija Saariaho. Based on the anaylsis of libretto, musical composition and combination of expressive means enabling plot-forming and dramaturgical solutions in the opera, the author of the present article describes and analyzes original principles used by the composer in her creating the image of the main heroine. One of the most brilliant principles is the composer's revealing the image of Émilie through her 'invisible presence' in monologues of other 'characters' mentioned in the libretto and expressed in music. The main analytical methods used by the author in this research relate to musical hermeneutics. In addition, the author also bases the research on approaches that are traditionally used by Russian music studies to analyze opera librettos and music. The scientific novelty of the research is caused by the fact that the author studies this particular opera. The result of the research is the conclusion that versatile dramaturgy of the opera libretto and music along with the polyphony of images in the opera 'Émilie' provides new opportunities for developing the genre. 

Keywords: Finnish composer, Lyonese opera, Amin Maalouf, music of the 21st century, modern opera, Saint-Lambert, Voltaire, mono opera, Émilie, Kaija Saariaho